Transcript: Louise Pitre | Sep 19, 1999

(Rhythmic string and wind music plays)

In animation, a word in pink slides by against a gray background as hands paint strokes using paintbrushes, play a piano, and touch as in a ballet performance.

The title of the show reads “Dialogue.”

The title of the episode pops up against an image of a young woman sitting at a restaurant table: “Louise Pitre. Singer.”

Then, Richard Ouzounian appears facing the screen. He's in his late forties, clean-shaven, with short side-parted blond hair. He's wearing rounded glasses, a light gray suit, and a black t-shirt.

He says WELCOME TO
DIALOGUE.
I'M RICHARD OUZOUNIAN.
WELL, YOU HEARD HER DREAM A
DREAM IN
LES MISERABLES.
SHE TOLD YOU SHE DIDN'T
REGRET ANYTHING IN
PIAF.
AND NOW SHE'S BACK TO REMIND
YOU THAT Mr. BREL IS, INDEED,
ALIVE AND WELL AND
LIVING IN PARIS.
IF WE HAVE ONE VRAIS CHANTEUSE
OF THE CANADIAN MUSICAL
THEATRE, YOU'RE
ABOUT TO MEET HER.
THIS
DIALOGUE
IS
WITH LOUISE PITRE.

Louise is in her late thirties, with straight white hair in a bob. She’s wearing a black blazer with a silver brooch in the shape of two palm trees, and a black cotton tee.

Richard continues LOUISE, WELCOME TO THE SHOW.

Louise says THANK YOU.

Richard says JACQUES BREL.
THE SHOW WAS FIRST DONE
IN ENGLISH 31 YEARS AGO.
PEOPLE ARE STILL
CRAZY ABOUT IT.
IN A NUTSHELL, WHY DO PEOPLE
LOVE JACQUES BREL AND HIS
MATERIAL SO MUCH?

Louise says OH, GOD.
I THINK JACQUES BREL SONGS
ARE IN A SPECIAL WORLD
OF THEIR OWN.
THEY ARE NOT JUST A SONG.
EACH SONG IS REALLY A PLAY, A
VERY IN-DEPTH OBSERVATION OF
A PERSON WHO IS FEELING
SOMETHING AT THIS PARTICULAR
MOMENT IN THEIR LIVES.
AND I THINK IT'S LIKE A LITTLE
BEGINNING, MIDDLE, END.
AND ONE SONG CAN JUST BE
PLUCKED AWAY FROM ANYTHING,
AND JUST THROWN ON A
STAGE, JUST LIKE THAT.
WHEN YOU WALK OUT TO SING ONE
OF THESE SONGS, YOU REALLY
FEEL YOU REALLY HAVE A
STORY TO TELL, AND THIS IS
VERY IMPORTANT.
WHICH IS WHAT YOU LOOK FOR IN
MATERIAL THAT YOU ARE GOING
TO DO ON STAGE.
THIS GIVES IT TO
YOU IN SPADES.
AND I THINK THEY ARE VERY RAW
IN WHAT THEY ARE SAYING, TOO.
VERY RAW EMOTION.
VERY DESPERATE.
IF IT'S FUNNY, THERE'S
A VERY DARK SIDE TO IT.
AND IF IT'S NOT FUNNY,
THERE IS A LITTLE STRANGE,
SARCASTIC, IRONIC TWIST TO IT.
IT'S REAL LIFE.

Richard says EVEN THE PRETTY
SONGS HAVE AN EDGE.

Louise says OH, SURE.
AN EDGE.
EVERYTHING HAS AN EDGE.
AND A REAL SHARP ONE.

Richard says IT'S FUNNY BECAUSE WHEN THE
MATERIAL FIRST CAME OUT, I
REMEMBER, IN THE LATE '60s, IT
WAS BECOMING A ERA WHEN THE
YOUNG CULTURE
DEBUNKED EVERYBODY.
RIGHT?
IT WAS MAKE LOVE NOT WAR.
WE DON'T WANT TO HAVE THIS,
WE DON'T WANT TO HAVE THAT.
AND BREL SEEMED PERFECT.

Louise says SURE.

Richard says AND THERE WAS A PERIOD, I
THINK, IN THE '70s, WHEN HE
MIGHT HAVE SEEMED,
OH, WELL, WHO CARES?
BUT I NOTICE, PEOPLE NOW
ARE EMBRACING THIS AGAIN.
WHY DO YOU THINK THEY WANT TO
HAVE THIS KIND OF MATERIAL?
IS IT SOMETHING TO DO WITH
THE END OF THE MILLENNIUM?

Louise says OH, MAYBE.
ISN'T THAT INTERESTING?
I HADN'T THOUGHT OF THAT.
PEOPLE ARE ALL OF A SUDDEN
RETHINKING THEIR VALUES,
AND THEIR ETHICS, PERHAPS.
I THINK, TOO, WHAT'S GOING ON
IN THE WORLD, HE REALLY LENDS
HIMSELF WELL TO, LIKE YOU SAY,
THE '60s, AND THIS WAS THE
WHOLE ANTIWAR MOVEMENT,
AND ANTIESTABLISHMENT.
AND HERE WE ARE AGAIN IN A
PLACE THAT'S EVERY BIT AS BAD,
IF NOT WORSE, IN THE WORLD.
WHEN WE FINISH THE SHOW WITH
IF WE ONLY HAVE LOVE.
IT ALMOST SOUNDS, IF YOU SEE
IT ON PAPER, IT'S LIKE, OH, MY
GOD, IT'S LIKE A TACKY
'60s ANTHEM SORT OF.
BUT OH, MY, I'LL TELL YOU, TO
STAND UP THERE AND LOOK PEOPLE
IN THE EYE AND SING THOSE
WORDS, IT IS SO TOUCHING,
RIGHT NOW BECAUSE IT STILL
APPLIES SO PATHETICALLY
THAT IT MAKES YOU SAD TO
HAVE TO SING THEM AGAIN.
AND THEY ACTUALLY STILL
MAKE SENSE TO SAY TODAY.

Richard says I WAS THINKING BACK, WHEN
WE WERE THINKING OF VIETNAM,
AND WE SAID, IF WE ONLY HAVE
LOVE, WE CAN MELT ALL THE
GUNS, AND GIVE THE NEW WORLD
TO OUR DAUGHTERS AND SONS.
NOW, ALL OF US WHO SANG THAT
WHEN WE WERE KIDDIES, HAVE
DAUGHTERS AND SONS, A LOT OF
US, AND YET, STILL, THERE IS
WAR EVERYWHERE.
KOSOVO, AND EVERYTHING
THAT'S GOING ON.

Louise says PLEASE, YEAH.

Richard says IT'S HAUNTING US.
WHAT DO YOU THINK THIS
BELGIAN TROUBADOUR WOULD
HAVE THOUGHT?
DID HE THINK HIS STUFF
WAS GONNA LAST FOREVER?

Louise says I DON'T THINK HE PROBABLY
WOULD HAVE THOUGHT THAT.
I THINK HE WAS PRETTY
MODEST, REALLY.
HE WAS JUST A REALLY HARD
WORKING, DESPERATE TO SHARE
WHATEVER HE HAD.
NO, I DON'T THINK HE WOULD
HAVE THOUGHT HIS SONGS WOULD
HAVE LASTED THIS LONG.
I REALLY DON'T.
HE DIDN'T KNOW WHY EVERYBODY
LOVED
IF WE ONLY HAVE LOVE
SO MUCH.
HE'D SAY, WHY DO THEY KEEP
ASKING FOR THAT SONG?
BUT PEOPLE WENT CRAZY OVER IT,
'COS IT TOUCHED THEM, YOU KNOW?

Richard says IT'S FUNNY.
HE STARTED OUT NOT
AS A THEATRE WRITER.
YOU TALK ABOUT HOW THE SONGS
ARE GREAT THEATRE, BUT HE
WROTE THESE THINGS TO BE
SUNG HIMSELF, YOU KNOW,
IN CABARETS AND BARS
AND COFFEE HOUSES.

Louise says SURE.
BUT IN CONCERT, NONETHELESS.
TO ACTUALLY STAND ON THE
STAGE AND DELIVER A SONG.
AND HIS CONCERTS EVOLVED INTO
THIS, HE WOULD WALK OUT SING
SONG AFTER SONG AFTER SONG,
HARDLY TALK AT ALL, WHATEVER.
I WISH I'D SEEN
HIM IN CONCERT.
I'VE SEEN CLIPS
AND READ ABOUT HIM.
BUT IT WAS ONE SOLID SESSION
OF I'M GIVING YOU EVERYTHING
I'VE GOT, AND WHEN I CAN'T
GIVE YOU ANYMORE, I'M DONE MY
CONCERT, THAT'S IT.
AND DON'T ASK FOR AN
ENCORE, BY THE WAY.

Richard says RIGHT.
HE ALSO VENTURED INTO
CONVENTIONAL MUSICAL THEATRE,
AND HE DID THE FRENCH VERSION
OF
MAN OF LAMANCHA.

Louise says YEAH.

Richard says AND I'VE HEARD THE
RECORDING OF IT.
AND HE SOUNDS GREAT SINGING
THE IMPOSSIBLE DREAM
IS NOT
THAT FAR REMOVED FROM
IF WE ONLY HAVE LOVE.
BUT I WONDER WHAT HE WOULD
HAVE BEEN LIKE AS AN ACTOR.
HE DID SOME MOVIES
AND STUFF, TOO.

A caption appears on screen. It reads “Louise Pitre. Singer.”

Louise says OH, YEAH.
HE DID LOTS OF FILMS.
LOTS OF FILMS.
HE QUIT SINGING IN PUBLIC,
AND THEN OFF HE WENT
ON HIS FILM CAREER.
WELL, HE WAS A STAR
ALREADY, BUT STILL.
I THINK AS A SINGER, AS
A PERFORMER, HE WAS A
BRILLIANT ACTOR.
NO DOUBT ABOUT THAT.

Richard says WHERE DO YOU THINK HIS SONG
WRITING MIGHT HAVE GONE?
HE DIED PREMATURELY OF
CANCER, AND HE WAS STILL
RELATIVELY YOUNG.
IN FACT, HE KNEW HE WAS DYING
WHEN HE WROTE HIS LAST ALBUM.
ONE OF THE LAST SONGS ON IT
IS ABOUT HOW HE WISHED HE
COULD GROW OLD, AND ABOUT HOW
THIS CANCER WILL DESTROY ME.
IT'S VERY POWERFUL STUFF.
DO YOU THINK HE WOULD HAVE
KEPT WRITING AND GOING?

Louise says HMM...

Richard says HARD TO TELL.

Louise says I DON'T KNOW.
HE'S A FUNNY GUY.
WHEN HE DECIDED NOT TO SING IN
PUBLIC ANYMORE, THAT WAS IT.
THAT WAS THAT.
AND HE WAS AT THE HEIGHT
OF HIS CONCERT CAREER,
AND HE NEVER DID AGAIN.
HE WAS THAT KIND OF GUY.
MAYBE TOMORROW HE WOULD HAVE
DECIDED, I'M NEVER WRITING
ANOTHER SONG.
I'VE HAD IT.
I DON'T KNOW.
IT'S HARD TO SAY.

Richard says NOW, IN THIS PARTICULAR
PRODUCTION, WHAT'S FASCINATING
ABOUT IT, THERE'S USUALLY,
EVERY TIME BREL IS DONE, THE
CENTRAL ROLE IS USUALLY
GIVEN TO ONE WOMAN.
THEY ALWAYS CALL IT
WOMAN ONE IN THE SCRIPT.

Louise says WOMAN ONE, WOMAN TWO.
I KNOW.

Richard says ALL THAT DIVISION AND STUFF.
BUT THIS PARTICULAR PRODUCTION
IS BEING STAGED BY THE
ORIGINAL WOMAN ONE, RIGHT?
ELLY STONE.
WHAT KIND OF EXPERIENCE IS
THAT FOR YOU BEEN FOR THE
WOMAN WHO FIRST DID
THOSE SONGS IN ENGLISH,
30 YEARS AGO, AND NOW YOU
ARE DOING THEM?

Louise says I'D WORKED WITH ELLY TEN
YEARS AGO, ACTUALLY.
I DID THE ONE AT MASSEY HALL.

Richard says THAT WAS IT.
BRENT CARVER, YOU.

Louise says I WAS WOMAN TWO THEN.
AND THE SPLITS HAVE
BEEN CHANGED VERY MUCH.
SO WE ARE ALL SINGING JUST
ABOUT THE SAME NUMBER OF
SOLOS, WHICH IS GREAT.
IT'S INCREDIBLE TO HAVE
SOMEONE WHO HAS BEEN WITH THAT
SHOW SINCE ITS INCEPTION.
I MEAN, THEY PUT IT
TOGETHER, SHE AND ERIC BLAU.
SO THEY KNOW IT INTIMATELY,
AND THEY KNEW BREL,
WHICH IS REALLY NEAT.
BUT SHE, HERSELF, I NEVER
SAW HER DO THE SHOW.
I WISH I HAD.
BECAUSE I KNOW I'VE BEEN
TOLD SHE WAS AN INCREDIBLY
HAUNTING PERFORMER.
SHE HAS A VERY SMALL VOICE.
VERY SMALL LITTLE
SOPRANO VOICE.
AND SHE'LL SAY THAT HERSELF.
BUT WHAT SHE DID WAS, SHE
HAS A STYLE OF NOT MOVING A
MUSCLE, KIND OF THING, AND
JUST FOCUSSING ON WHAT SHE'S
THINKING WHILE SHE IS
SINGING THESE SONGS.
AND IT WAS, APPARENTLY, A
REALLY STRONG AND POWERFUL
THING TO SEE HER ON STAGE.

Richard says I REMEMBER, I DID SEE
HER WHEN I WAS A KID.

Louise says DID YOU?
OH.

Richard says I WAS LIKE 18.

Louise says WHAT DID YOU THINK?

Richard says WELL, IT WAS FASCINATING.
ONE OF THE BUZZES ABOUT HER,
REMEMBER, THIS IS THE LATE
'60s, SHE WAS THE FIRST
PERFORMER THAT WAS WIDELY
KNOWN WAS USING
A WIRELESS MIC.

Louise says FOR GOD'S SAKES.

Richard says WHICH NOW EVERYBODY USES.
BUT IT WAS IN A
RELATIVELY SMALL THEATRE.

Louise says SHE'D HAVE TO, THOUGH.

Richard says SHE'D HAVE TO.
AS YOU SAID, SHE USED
TO TOTALLY STILL.
SHE WOULD VERY RARELY RAISE
AN ARM OR DO A GESTURE, BUT I
REMEMBER THE FACE AND THE
EYES JUST BLAZING OUT.
AND WHAT'S STRANGE IS, HAVING
SEEN LOTS OF OTHER PEOPLE,
AND WORKED ON THE SHOW MYSELF
OVER THE YEARS AND THINGS,
YOU SEE NOWADAYS, EVERYBODY
ACTS THE STUFF A LOT MORE.
AND EVEN IN THAT PRODUCTION, THE
MEN WERE ACTING IT A LOT MORE.
BUT SHE WAS LIKE THERE.
NOW, THAT'S NOT YOUR STYLE.
LOUISE BRINGS IT ALL
TO THE TABLE AND GOES,
OKAY, LET'S DO THIS.

Louise says YEAH, YEAH.
AND EVEN IN REAL LIFE, I'M NOT
A PERSON WHO JUST SITS LIKE
THIS ALL THE TIME I'M TALKING.
OBVIOUSLY.
SO FOR ME TO GO AND DO THAT...

Richard says SO IS SHE TRYING TO MAKE YOU
BE ELLY, OR IS SHE LETTING
YOU BE LOUISE?

Louise says OH, WE'VE GONE THROUGH
SOME OF THAT, SURE.
AND I THINK IT'S
HARD FOR HER NOT TO.
I THINK SHE'S SO CLOSE TO THIS
MATERIAL THAT SHE OWNS IT,
YOU KNOW?
AND I CAN UNDERSTAND WHY
SHE WOULD FEEL THAT WAY.
BUT LIKE YOU SAY, NO, I AM NOT
ELLY, ELLY IS NOT LOUISE,
SO WE HAVE TO MEET
SOMEWHERE IN THE MIDDLE.
AND I THINK IT'S A GOOD
EXERCISE, THOUGH, TO ACTUALLY
THINK ABOUT EVERY
MOVEMENT YOU MAKE.
I DON'T LIKE TO MAKE
A MOVE FOR NOTHING.
AND IF MY HAND IS NOT LIKE
THAT, THEN I DON'T MEAN THIS
MOVE, SO I SHOULDN'T DO IT.
ABSOLUTELY.
AND IT'S GOOD TO REALLY
THINK HARD ABOUT THAT.
AND THINK HARD ABOUT WHAT AM
I THINKING EVERY TIME I SAY
THIS LINE, AND THIS
LINE, AND THIS LINE?
SO IT MAKES YOU STRIP AWAY,
THAT'S HER PROCESS, STRIP
EVERYTHING AWAY, AND THEN PUT
THINGS BACK IN, BUT ONLY THE
MEANINGFUL ONES.

Richard says WORKING WITH THE SONGS
THEMSELVES, IN THE ERIC BLAU,
AND MORT SCHUMANN, WHO WAS
ALSO ONE OF THE ORIGINAL MEN
WHO HELPED TRANSLATE THEM.
IN SOME CASES THEY ARE
LITERAL, IN SOME CASES,
THEY ARE VERY DIFFERENT.
AND, OF COURSE, YOU BEING
FRENCH, AND HAVING ACCESS TO
THE ORIGINAL LYRICS, DID
YOU EVER SIT DOWN AND GO,
WAIT A MINUTE, THAT'S
NOT WHAT BREL SAID?

Louise says YEAH.
I TRY NOT TO.
I MEAN, GEE, IT MAKES IT HARD.
SOME OF THE SONGS I DIDN'T
KNOW BEFORE, SO I THOUGHT,
BUT I DID, OH, I'M LYING
WHO AM I KIDDING?
I WENT OUT AND BOUGHT THE DAMN
CD WITH THE SONGS I DIDN'T
KNOW, AND I LISTENED
TO THEM IN FRENCH.
SOMETHING LIKE
MON OFFENSE
IS VASTLY DIFFERENT.
AND IT'S MORE ERIC BLAU
TALKING ABOUT HIS MEMORIES
OF HIS CHILDHOOD, YOU KNOW?
IT'S VERY DIFFERENT.

Richard says NUMBERS LIKE
MARATHON,
WHICH
IS REALLY SUPPOSED TO BE...

Louise says OH, MY GOD.
YEAH, WHICH IS A
WONDERFUL THING.

Richard says MARATHON
IN THE ORIGINAL IS
ABOUT THE PRETENTIOUSNESS AND
HYPOCRISY OF THE FLEMISH
PEOPLE, LES FLEMANDE,
AND NOW IT BECOMES A NUMBER
ABOUT THE ADVANCE
OF THE 20th CENTURY, RIGHT?
SO THEY SWITCH
IT AROUND A LOT.

Louise says WHAT'S THE OTHER ONE?
NO LOVE, YOU'RE NOT ALONE.
IT'S JEFF IN FRENCH.
IT'S A GUY SINGING
TO HIS BUDDY.

Richard says YEAH.

Louise says WHEREAS, I'M A WOMAN SINGING
TO, WHOEVER I'M SINGING TO.
WHO CARES.

Richard says THAT'S AN INTERESTING POINT
BECAUSE I REMEMBER ONE WOMAN
SAID, I'M SINGING
IT INTO THE MIRROR.

Louise says OH, INTERESTING.

Richard says THAT'S ANOTHER IDEA YOU
CAN TAKE AWAY WITH YOU.
FILE THAT AWAY.
YOU HEARD IT HERE FIRST.
I'M GOING TO COME BACK TO BREL
LATER, BUT I WANT TO TALK
ABOUT YOU AND YOUR CAREER.
FOR A LOT OF THEATRE-GOERS,
THEY FIRST DISCOVERED YOU WHEN
THEY HEARD YOU SING
I DREAMED
A DREAM
IN
LES MISERABLES
WHEN IT OPENED HERE.
BUT YOU'D BEEN WORKING AND
DOING INTERESTING STUFF
FOR A WHILE BEFORE.
LET'S GO WAY BACK.
WHEN DID LOUISE START SINGING?
OR WERE YOU DOING
IT IN THE CRADLE?

Louise says I'VE ALWAYS SUNG.
I'VE PLAYED PIANO
SINCE I WAS SEVEN.
MY SISTER AND I
ALWAYS SANG TOGETHER.
I WOULD ALWAYS DO THE HARMONY,
SHE WOULD SING THE MELODY,
AND WE'D WORK OUT LITTLE...
WE SANG ALL THE TIME.
AND PLAYING PIANO MADE ME SIT
AT THE PIANO AND SING ALONG
EVEN MORE.
SO I THINK, REALLY, I ALWAYS
HAD THIS LITTLE DREAM, SEE,
I WOULD BE ON A STAGE
SINGING WITH LONG DRESSES.
AND I ACTUALLY HAD A DREAM
TO THAT EFFECT, ONE NIGHT,
AND I GOT UP.
I WAS ABOUT EIGHT OR
SOMETHING, AND TOLD MY FAMILY.
AND THEY LAUGHED AT ME.
AND THIS DREAM BECAUSE I SAID,
EVERYBODY STOOD UP AND I WAS
ON STAGE, AND I
HAD A LONG DRESS.
AND I SAID, EVERYBODY
WAS DOING THIS...
AND TO THIS DAY, MY PARENTS,
OH, LOUISE, THAT REFERS BACK
TO THAT, WHEN I WAS EIGHT
YEARS OLD, FOR GOD'S SAKE.

Richard says SO THERE WAS NOBODY IN YOUR
FAMILY IN SHOW BUSINESS?

Louise says OH, HECK, NO.
NO, NO, NO.
SO I WENT TO WESTERN
UNIVERSITY TO STUDY MUSIC.
I WAS GOING TO BE A MUSIC
TEACHER IN HIGH SCHOOL.
THAT WAS THE PLAN.
I WAS A PIANO MAJOR.
AND IN MY FINAL YEAR, THEY
DID A SHOW CALLED
FLICKS
AT TALBOT THEATRE.

Richard says ABOUT SILENT MOVIES.

Louise says DAVID WARRACK AND JIM SAAR.

Richard says AND DAVID WARRACK, WHO IS NOW
YOUR MUSICAL DIRECTOR HERE.

Louise says WHO I WORK WITH ALL THE TIME.
AND I AUDITIONED FOR IT.
I THOUGHT, YOU KNOW,
IT'S NOW OR NEVER.
I THINK I'D LIKE TO DO THAT.
SO I WENT, AND I GOT IT.
AND THAT WAS THE VERY
FIRST SHOW I EVER DID.
AND I'VE BEEN DOING
THAT EVER SINCE.
I NEVER WENT TO
TEACHER'S COLLEGE.
I DID A COUPLE OF THINGS AT THE
GRAND,
JESUS CHRIST SUPERSTAR
AND
GODSPELL,
AND LITTLE
MUSICAL REVIEW CALLED
RHYTHM, BLUES AND
ALL THAT JAZZ.
AND THEN I THOUGHT, WELL, THIS
IS DUMB, I MEAN, IT'S TOO EASY
IN LONDON, ONTARIO, OBVIOUSLY,
SO I MOVED TO TORONTO.

Richard says AND THEN?

Louise says I WORKED AS A SECRETARY FOR
THREE YEARS BECAUSE I COULD
TYPE REAL FAST.
OH, GOD.

Richard says THIS IS IMPORTANT ADVICE.
BECAUSE THERE ARE GOING TO BE
YOUNGER PEOPLE WATCHING THIS
WHO THINK, OH, BOY, YOU KNOW,
I SAW LOUISE IN THIS SHOW,
I SAW HER IN THAT SHOW,
SHE'S A BIG STAR.
YOU DON'T JUST COME AND
BECOME A BIG STAR OVERNIGHT,
OR EVEN OVER TEN NIGHTS,
DO YOU, OR TEN YEARS?

Louise says NO.
WELL, I THINK EVERYBODY
HAS A DIFFERENT ROAD, TOO.
YOU MIGHT LUCK OUT, AND DO
IT A LITTLE MORE QUICKLY.
I TOOK THE VERY SLOW ROAD.

Richard says DID YOU GET DEPRESSED
DURING THAT PERIOD?
DURING THE THREE
YEARS OF TYPING?

Louise says YEAH, SURE, OF COURSE.
YOU TAKE THE STREETCAR INTO
WORK EVERY DAY, WITH THE
MASSES WHO ARE GOING INTO
WORK IN THE TD TOWER.

Richard says DRIVING BY THE ROYAL
ALEX, SAYING, AM I EVER
GONNA BE IN THERE?

Louise says YOU WONDER WHAT THE
HELL YOU'RE DOING?
I STILL GET THIS THING, WHEN I
GET TO THE CORNER OF KING AND
BAY, I SWEAR TO GOD, IT'S LIKE,
OH, I'M NOT GOING IN THERE.

Richard says REALLY?
SO WHAT DID YOU DO TO KEEP
YOUR SANITY IN THOSE YEARS?
DID YOU SING ON THE WEEKENDS?
DID YOU SING AT CLUBS?
DID YOU SING IN THE SHOWER?

Louise says NO, NO, AND NO.

Richard says THERE, THAT'S
PRETTY CATEGORICAL.

Louise says NO.
I ALWAYS SANG ANYWAY, YEAH,
FOR THE HELL OF IT, BUT I MUST
SAY, DURING THAT TIME, IT WAS
VERY DIFFICULT TO FIND ANY
TIME -- I DIDN'T KNOW A THING
ABOUT IT, TOO, BY THE WAY.
FRIENDS OF MINE, WE'D SAY,
YOU HAVE TO GET AN AGENT,
OR YOU SHOULD TRY TO
DO SOME INDUSTRIALS,
THAT'S THE WAY TO GO.

Richard says AND YOU DIDN'T
KNOW WHAT THEY WERE.

Louise says WHAT THE HELL
IS AN INDUSTRIAL?
AND AGENTS, I DON'T KNOW.
SO FINALLY, THE FIRST THING I
EVER DID HERE, A FRIEND OF
MINE CALLED ME AND SAID,
THERE'S A THING IN THE PAPER.
YOU CAN AUDITION FOR THIS
THING CALLED DISCOVERIES.
AND IT'S ALL THE NEW TALENT.
AND THEY ARE INVITING CASTING
AGENTS AND AGENTS TO COME.
AND YOU MIGHT GET AN AGENT.
ANYWAY, SO I WENT,
AUDITIONED, AND I GOT THAT.
AND I THINK I SANG,
MAYBE
THIS TIME, OR SOMETHING AS
I RECALL, AT THE PAULINE
MCGIBBON CENTRE HERE.
AND I GOT AN AGENT.
AND THIS FIRST AGENT, THEY
NO LONGER EXIST HERE, THE
CONSTANCE BROWN AGENCY,
THEY'RE NOT HERE ANYMORE.
AND HE GOT ME, I DON'T
KNOW, MAYBE JUST ONE JOB,
I THINK, WHILE I WAS WITH HIM.
IT WAS NOT A GREAT THING.
WE MOVED UP FROM THERE.
HE GOT ME AN INDUSTRIAL.
AND I'M GOING TO
TELL YOU WHAT IT WAS.

Richard says EXPLAIN WHAT INDUSTRIALS ARE TO PEOPLE.

Louise says AN INDUSTRIAL.
AN INDUSTRIAL IS A THING
YOU DO FOR A COMPANY.
IT'S AN EVENT THAT
A COMPANY PUTS ON.
AND THEY CAN GO FROM TINY
LITTLE THINGS TO GREAT BIG
HUGE, THE HOME SHOW, OR BIG
TRAVELLING SINGING AND DANCE
SHOW FOR SHACKLEY
OF CANADA, OR GM.

Richard says AND SOMETIMES YOU SING
ORIGINAL SONGS, AND SOMETIMES
YOU PUT NEW LYRICS TO --

Louise says EXISTING SONGS, TO SUIT THE
COMPANY YOU'RE TALKING ABOUT.
NOW, SOMETIMES, THEY ARE A
LITTLE SIMPLER THAN THAT,
AS THIS ONE WAS.
AND HE CALLED ME, AND HE SAID,
I HAVE AN INDUSTRIAL FOR YOU.
I SAID, GREAT.
WHAT IS IT?

Richard says HE SAYS IT'S A HUNDRED DOLLARS A DAY.

Louise says I WENT, OH, MY GOD!
HELLO, I WAS IN HEAVEN.
TWO DAYS, FINE, I'LL
DO IT, WHATEVER IT IS.
SO I DIDN'T HAVE A CAR THEN,
SO OUT I SHLEP ON THE
SUBWAY, AND ANOTHER BUS AND
ANOTHER WAS BUS, AND I MAKE IT
WAY THE HECK OUT WEST IN
MISSISSAUGA SOMEWHERE.
AND IT WAS AN ITALIAN
SUPERSTORE, GROCERY STORE,
KIND OF THING.
AND THERE WAS A COTTONELLE
DISPLAY IN THIS THING.
AND THERE WAS A CAR.
AND THERE WERE BALLOTS TO FILL
OUT TO TRY AND WIN THIS CAR.
AND THERE WERE BASKETS OF
SUCKERS THAT YOU WERE TO GIVE
TO THE LITTLE CHILDREN WHO
WERE COMING ALONG WITH THEIR
PARENTS WHO WERE
FILLING OUT THE BALLOTS.
TOILET PAPER
EVERYWHERE AND THE CAR.
AND YOU HAD TO WEAR A RABBIT
SUIT TO BE THE COTTONELLE BUNNY.
AND I DON'T MEAN A
PLAYBOY BUNNY OUTFIT.
I MEAN THE FULL
FURRY THING.
IT WAS JUST YOUR
LITTLE FACE SHOWING.

Richard says THE FULL EASTER THING.

Louise says AND THERE WERE TWO GIRLS.
AND THERE WAS A PINK
AND A WHITE RABBIT.

Richard says WHICH RABBIT WERE YOU?

Louise says WELL, I WAS WHITE THE FIRST
DAY, AND THEN WE DECIDED,
FOR EXCITEMENT, WE'D SWITCH
COLOURS ON THE SECOND DAY.

Richard says SEE, THAT'S YOU, ALWAYS
LOOKING FOR VARIETY.

Louise says AND I CAN STILL SEE MYSELF,
TO THIS DAY, I WISH I'D TAKEN
A PICTURE, BUT ON MY BREAK, I
WENT OUT IN THE BACK, AND I
SAT ON A CASE OF LETTUCE,
AND I HAD MY COFFEE AND MY
CIGARETTE, AND I WAS THINKING,
OH, MY GOD, MAYBE SECRETARIAL
WORK DOESN'T LOOK SO BAD.

They both laugh.

Richard says I WAS GOING TO SAY, RIGHT
THEN, DID THE KING AND BAY
SPECTRE SEEM AS AWFUL AS BEING
THE COTTONELLE BUNNY FOREVER?
NO.
WAS THERE ONE PARTICULAR SHOW
OR ONE EVENT THAT TURNED IT
AROUND FOR ROW?

Louise says I'D SAY BLOOD BROTHERS.

Richard says IN HIGH PARK.
THAT WAS INTERESTING
BECAUSE GUY SPRUNG HAD
JUST LAUNCHED
THE DREAM
IN HIGH PARK, AND IT WAS
SUPPOSED TO BE SHAKESPEARE.
BUT THEN VERY EARLY ON, HE HAD
DECIDED TO DO
BLOOD BROTHERS.
AND THIS WAS BEFORE ALL
THE MIRVISH TOURS OF IT
CAME HERE, RIGHT?
WHEN IT WAS STILL
VERY HOT IN ENGLAND.

Louise says OH YEAH, YEAH.
THAT'S TEN YEARS AGO.

Richard says MAYBE YOU'VE JUST
ANSWERED MY QUESTION.
I WAS GOING TO ASK WHEN YOU
MADE THIS BIG LEAP TO SUDDENLY
BEING THE WOMAN WHO ALWAYS
COMMITS TO THE MATERIAL, AND
STANDS OUT THERE, AND THE
AUDIENCE KNOWS YOU'RE
REALLY GOING TO DO IT.
WAS THAT WHERE IT STARTED?

Louise says I THINK, YEAH, PERHAPS SO.
THAT WAS THE FIRST THING IN
TOWN THAT BROUGHT ME
SOME KIND OF NOTICE.
AND PERHAPS, THE FIRST TIME
PEOPLE SAID, OH, SHE CAN ACT,
I THINK, TOO, AND
NOT JUST SING A SONG.
THAT WAS THE MAIN THING.
FOR ME, THAT'S WHAT THAT
SHOW REPRESENTS, YEAH.

Richard says WHAT WAS IT LIKE DOING THAT?
BECAUSE IN HIGH PARK, FOR THE
PEOPLE WHO DON'T KNOW IT, IT
RAKES REALLY STEEPLY UP, AND
PEOPLE SIT ON THE THING, AND
THEY COME FROM OUTDOORS TO
WATCH YOU, AND THEY LINE UP
FREE, EVERY NIGHT TO SEE IT.
AND YOU'RE DOING THIS KIND OF
IN YOUR FACE, WORKING CLASS
BRIT ROCK MUSICAL ABOUT
TWINS SEPARATED AT BIRTH
AND EVERYTHING.
WAS IT AT ALL SCARY TO GO
OUT THERE AND FACE THOSE
THOUSANDS OF PEOPLE EVERY
NIGHT WHO WERE JUST SITTING
THERE WITH THEIR POPSICLES?

Louise says NO, ACTUALLY.
IT WAS A REALLY
INTERESTING SET-UP.
THE TOUGHEST PART OF IT WAS IT
WAS REALLY HOT THAT SUMMER
AND VERY HUMID.
WE BROKE ALL THE
RECORDS IN HUMIDITY.
IT WAS SO HOT, DEATHLY HOT,
THAT WITHIN FIVE MINUTES,
I'D BE DRIPPING.
BUT I DROPPED WEIGHT.
I WAS JUST A SOAKING WET
MOP BY THE TIME THE SHOW...
THAT WAS THE
TOUGHEST PART OF IT.
THE REST, NO, IT'S
AN AMAZING THING.
FIRST OF ALL, YOU START,
AND IT'S NOT DARK YET.
AND YOU WORRY ABOUT THE
ELEMENTS AND THE THIS, BUT SO
WHAT IF A SQUIRREL RUNS ACROSS
A TREE THAT'S ABOVE THE SET.
IT'S PERFECT, ISN'T IT?
WE ARE OUTSIDE, AND THIS
COULD BE TAKING PLACE
ON THE STREET ANYWAY.

Richard says AND THEY MOVE TO KIND
OF THE SEMICOUNTRY.

Louise says AND TO SEE YOUR
AUDIENCE MOVE, TOO.
IT WOULD GET BIGGER.
THEN SOMETHING WOULD MOVE OVER
THERE, AND MORE PEOPLE WOULD
COME IN, AND IT
WOULD JUST ENLARGE.
AND THEN IT GOT DARK.
AND YOU COULD HARDLY
SEE THEM AT ALL.

Richard says AND IT WAS LIKE
A THEATRE AGAIN.

Louise says AND YOU'RE OUTSIDE, AND
YOU'RE SINGING TO THE STARS.
WHICH IS KIND OF NEAT, TOO.

Richard says BLOOD BROTHERS
IS ALWAYS
THE SHOW THEY SAY EVERYBODY
ALWAYS STANDS UP EVERY NIGHT.
DID THEY DO THAT IN THE PARK?

Louise says AS I RECALL.

Richard says SO YOU GOT THE THING, LOUISE.
BUT YOU WEREN'T IN THE
BEAUTIFUL GROWN YET.
YOU WERE IN KIND OF THE
WORKING CLASS DRESS.

Louise says THAT HAPPENED WHEN I DID
APPLAUSE AT LEAH POSLUN'S,
AND THAT WAS JUST BEFORE
BLOOD BROTHERS.
AND MY MOTHER CAME TO
THAT AND MY SISTER.

Richard says AND YOU WERE THE
GLAMOROUS HOLLYWOOD STAR.

Louise says AND THEY BOTH SAID, LOUISE...
AND YES, I WAS THERE IN MY
LONG DRESS WHEN I TOOK
MY CURTAIN CALL.

Richard says AND THEY STOOD UP,
SO THAT WAS GOOD.
SO SHORTLY AFTER THIS
COMES LES MISERABLES.
NOW, WHEN THAT CAME ALONG, DID
YOU HAVE ANY IDEA THAT WAS
GOING TO BE KIND OF ANOTHER
CAREER-DEFINING MOMENT AND
SHOVING YOU YET
FURTHER FORWARD?

Louise says YEAH, BECAUSE IT'S THE FIRST
SHOW THAT I DID THAT YOU CAN --
WE ALL DID, THAT WE CAN
FINALLY WALK AROUND AND SAID,
I'M DOING
LES MIS, AND
EVERYBODY KNOWS WHAT YOU ARE
TALKING ABOUT.
BECAUSE WE'RE SO ACCUSTOMED
TO SAYING, I'M DOING A SHOW.
AND THEY SAY, WHAT'S THAT?
OH, THAT'S NICE.

Richard says AND IT'LL CLOSE IN TEN DAYS.
NO, I'M DOING THIS SHOW, AND
IT'S GOING TO STAY HERE
FOR A WHILE.

Louise says NEVER HEARD OF IT,
AND THAT'S ALL RIGHT.
BUT THIS IS LIKE...
AND EVERYBODY I EVER KNEW
CAME TO SEE IT BECAUSE WOW,
YOU'RE IN
LES MIS, YOUR
OLD HIGH SCHOOLTEACHERS ARE
SHOWING UP, AND
IT'S INCREDIBLE.

Richard says NOW, THE PART IN PARTICULAR,
YOU GET, SOME PEOPLE SAY,
THE BEST SONG IN THE SHOW.
YOU GET TO STOP THE SHOW EARLY
ON, THEN YOU VANISH, RIGHT?

Louise says OH, NO.

Richard says YOU COME BACK.

Louise says YOU VANISH AS FANTINE, BUT
YOU ARE RUNNING AROUND AS A
LITTLE BOY, ON ALL THOSE GROUP
SCENES AND THE BARRICADE SCENES.

Richard says SO YOU'RE STILL CARRYING
AROUND IN THE CHORUS.

Louise says AND YOU DIE ON THE BARRICADE
WITH EVERYBODY ELSE.
THEN YOU GO AND PUT ON YOUR
LITTLE WHITE NIGHTIE AND COME
BACK FOR THE ENDING.

Richard says SO IT'S ACTUALLY HARD WORK.

Louise says SO EVERYBODY DOES THAT,
EXCEPT VALJEAN AND JAVERT.
EVERYBODY ELSE PLAYS SOMETHING
ELSE UNTIL THEY ARE THEIR
CHARACTER, OR THE
OTHER WAY AROUND.
YEAH, YEAH.
WHICH I LIKED,
ACTUALLY, FRANKLY.
WHAT AM I GONNA DO FOR TWO AND
A HALF HOURS, OR TWO HOURS IN
MY DRESSING ROOM?
NO, I THOUGHT THAT
WAS ALL RIGHT.
I DIDN'T MIND THAT.

Richard says BUT STILL, IT WAS
ONE BIG NUMBER.
AND GRANTED, A
TERRIFIC NUMBER.
BUT THEN THE NEXT THING YOU
KIND OF EMBLAZONED YOURSELF ON
OUR CONSCIOUSNESS WITH WAS
WHEN YOU CAME AND DID
PIAF.
AND YOU DID
PIAF
FOR QUITE A WHILE.
WHAT DREW YOU TO THIS
WONDERFUL GREAT SINGER,
DESTRUCTIVE WOMAN?

Louise says JUST THAT.

Richard says I JUST SAID IT.
GREAT SINGER,
DESTRUCTIVE WOMAN.
RIGHT UP YOUR STREET.

Louise says INTERESTING TO ME.

They laugh.

Richard says WORKS FOR ME.

Louise says I CAN RELATE.
IF THERE IS ANYBODY ELSE, IF
YOU ASKED ME, WHAT SONGS WOULD
YOU RATHER SING IN THE WORLD,
I WOULD SAY, PIAF'S MATERIAL,
AND BREL WOULD ZERO IN ON
WHAT I THINK ARE SOME OF THE
STRONGEST SONGS EVER.

Richard says WHAT ABOUT THIS KIND OF VEIN
OF MASOCHISM THAT RUNS THIS
THE PIAF THING.
PEOPLE USED TO SAY, YOU KNOW,
AND
MILORD
AND THOSE NUMBERS,
AND IT'S KIND OF LIKE,
I'M GONNA SIT HERE AND WHIP
MYSELF FOR A WHILE AND FEEL BAD.
THEY'RE GREAT, BUT IS THAT
WHAT YOU FELT ABOUT IT?

Louise says NO, ISN'T THAT FUNNY?
I JUST THINK OF IT AS
A REALLY DEEP PASSION.
IT'S NOT A WHIPPING.
IT'S NOT A DOWN THING
TO ME, WHATSOEVER.
IT IS DESTRUCTIVE, PERHAPS.
SHE WAS.
THERE IS NO DOUBT ABOUT IT.
HOWEVER, I THINK WE ALL TAKE
GREAT PLEASURE IN WALLOWING IN
WHATEVER THE HELL WE'RE
FEELING, FRANKLY.
AND I SHOULDN'T SAY THAT,
MAYBE NO ONE ELSE DOES,
MAYBE ONLY I DO, I DON'T KNOW.
BUT I DO.

Richard says YOU DO.

Louise says YEAH.
THERE IS NOTHING MORE
THRILLING TO ME, AND MORE, AH,
THAN WALLOWING IN WHATEVER
THIS PARTICULAR FEELING IS
RIGHT NOW.
AND YOU'RE SINGING,
“MON DIEU, MON DIEU.”
I MEAN, OH, IS THERE A MORE
DESPERATE SONG IN THE WORLD?
I CRIED EVERY DAMN TIME
I SANG THAT SONG.
BUT IT'S GREAT.
I MEAN, TO ACTUALLY FEEL THAT
THAT STRONGLY FOR THIS LENGTH
OF TIME, THEN YOU LET IT GO.

Richard says HOW MANY YEARS DID YOU
DO
PIAF
ON AND OFF?

Louise says FOUR.
FOUR YEARS.

Richard says NOW, DOESN'T THAT KIND OF
GET TO YOU AFTER A WHILE?

Louise says YES.
BUT THERE WERE
BREAKS IN BETWEEN.

Richard says AND YOU DID OTHER SHOWS.
YOU WERE LIVING IN THE
COUNTRYSIDE FOR A WHILE.
YOU WERE DOING DRAMATIC
ACTING, AND YOU WERE DOING
ALL KINDS OF STUFF.
BUT AFTER A WHILE, DID THE
FOUR YEARS, DID YOU FINALLY
REGRETTE
THE FOUR
YEARS OF
REGRETTE RIEN?

Louise says I DIDN'T REGRET THEM, BUT I
DIDN'T WANT TO DO THEM AGAIN.
NO, I THINK, YEAH,
IT DOES GET TO YOU.
NOT ONLY, IT'S NOT SO MUCH THE
NATURE OF THE MATERIAL, THAT
DOESN'T GET TO ME, IT'S THE
VOLUME OF IT, AND WHAT IT
TAKES OUT OF YOU TO
DO THAT KIND OF SHOW.
IT'S HARD.
IT IS SO HARD.
AND I ATE LIKE A HORSE,
AND I STILL LOST WEIGHT.
IT'S THAT KIND OF THING WHERE
YOU SAY, I DON'T KNOW HOW
LONG I CAN DO THAT?
IS IT WORTH IT?

Richard says THE OTHER THING, YOU WERE
TERRIFIC IN THE SHOW, AND IT
GOT SEEN IN A LOT OF PLACES.
BUT THAT MOMENT YOU KIND OF
WAIT FOR WHERE IT BECOMES
SUPERSTARDOM DIDN'T
HAPPEN WITH IT.
EVERYBODY SAID YOU'RE
BRILLIANT IN THE SHOW,
BUT THE CRITICAL MASS
DIDN'T TAKE OVER.
WHAT DID THAT FEEL LIKE, WHEN
YOU SAID, I'VE JUST SPENT
FOUR YEARS DOING THIS SHOW I
WAS GREAT IN, BUT I DIDN'T
BECOME THAT HOUSEHOLD WORD,
OR THAT MULTI-RICH PERSON?

Louise says WELL, YOU KNOW, AND I'M STILL
NOWHERE NEAR THAT, BUT I
GUESS I AM NOT, I'VE GIVEN
THIS A LOT OF THOUGHT, I'M
NOT THAT HUNGRY FOR STARDOM.
AND I THINK THAT'S
PART OF THE REASON.
I'M NOT A PERSON THAT GETS OUT
THERE AND SMASHES DOWN THE
WALLS TO TELL EVERYBODY
HOW GREAT I AM.
I JUST AM NOT AT
EASE WITH THAT.
SO I DON'T DO IT.
I HAVE A NEW MANAGER THAT I'VE
HAD FOR A COUPLE OF YEARS,
JOAN MATHERS, AND SHE'S
DOING THAT FOR ME NOW.

Richard says GOOD, GOOD.

Louise says AND IT'S GOOD, IT'S GOOD.
WE'RE GETTING SOME REALLY
GREAT STUFF HAPPENING,
WHICH IS GREAT.
I WILL GET CREDIT
WHERE CREDIT IS DUE.
I FEEL GOOD ABOUT THE WORK I
DO, BUT I DIDN'T EXPECT
PIAF
TO DO THAT FOR ME.
BUT I LIKE WHEN THEY'VE SEEN
THE SHOW, WHEN THEY CAN SAY,
THAT WAS GREAT.
I'M PROUD OF THAT WORK, BUT I
DON'T KNOW THAT WAS THE SHOW
THAT WAS GOING TO
SHOOT ME TO STARDOM.
THERE'S SOMETHING BETTER.

Richard says IT SOUNDS LIKE YOU'RE NOT
LOOKING FOR
A
SHOW TO DO IT.
YOU JUST WANT TO
KEEP DOING THE WORK.

Louise says YEAH, I DO WANT TO JUST
KEEP DOING THE WORK.
AND IF A SHOW IS GOING TO HELP
ME GET THERE, THEN THIS'S
A BONUS, YOU KNOW?
THAT'S FINE.
I'D RATHER HAVE A GOOD
CONTRACT, MAKE A GOOD LIVING
DOING WHAT I'M DOING, AND
STILL HAVE A REALLY GOOD
PRIVATE LIFE.
THAT'S MORE
IMPORTANT FOR ME NOW.

Richard says AS WE SPEAK RIGHT NOW, THE
WHAT YOU ARE DOING IS JACQUES
BREL, AND IT'S FULL
OF GREAT MATERIAL.
I WANT TO MAKE YOU DO
SOMETHING YOU SHOULDN'T MAKE A
SINGER DO IS TO
PLAY A FAVOURITE.
AT THE MOMENT, TODAY, WHAT
MOMENT IN THE SHOW, WHAT SONG
IN THE SHOW, DO YOU
LIKE DOING THE BEST?
NOT THAT YOU THINK IS THE
BEST, BUT THE ONE THAT TODAY
IS TURNING YOUR
CRANK THE MOST?

Louise says I'D SAY, MARIEKE.

Richard says NOW, WE SHOULD EXPLAIN ABOUT
THAT PARTICULAR NUMBER FOR
OUR LISTENERS BECAUSE IT'S
A LITTLE HARD TO GET INTO.
IT'S IN FLEMISH, AS WELL AS
ENGLISH, IN YOUR VERSION.
AND WHAT'S THE SCENARIO
FOR IT, THE BACKGROUND?
WHAT'S IT ABOUT?

Louise says WELL, TO ME, AGAIN, THIS IS
ONE OF THOSE THAT IS A LITTLE
ODD TO GIVE TO
A WOMAN TO SING.
AND I'M SURE IT'S BECAUSE
ELLY WAS IN THE SHOW
ORIGINALLY, AND SHE
WANTED THAT SHOW.

Richard says IT'S THE BIG SONG.

Louise says BUT IT'S A MAN, TO ME, WHO
IS EITHER SINGING, TAKE YOUR
PICK, ABOUT MARIEKE THE
WOMAN WHO HAS EITHER GONE,
OR WHO HAS DIED.
I THINK SHE'S DIED.
AND I CAN THINK OF MARIEKE
AS BEING MY NANNY.
I CAN THINK OF HER AS BEING
MY MOTHER, MY BEST FRIEND,
MY SISTER.
SOMEONE WHO MEANS THE WORLD
TO YOU, AND WHO HAS VANISHED,
DIED, GONE AWAY, BUT SHE IS
TIED IN WITH EVERYTHING THAT
YOUR UPBRINGING MEANS TO YOU,
YOUR COUNTRY, YOUR FLANDERS,
YOUR LANGUAGE.

Richard says WHEN IT GOES BACK TO THE
FLEMISH THEY SING, THOSE GREAT
LYRICS ABOUT...
[speaking in Flemish]
IS THAT MAYBE AN OLD LOVER
OR AN OLD NANNY OR SOMEBODY
FROM A PAST COMING BACK?

Louise says YES.
AND ACTUALLY, IT WAS A NICE
CHALLENGE TO DO THAT SONG, TOO
BECAUSE OF THE FLEMISH.
AND I THOUGHT I'LL
LISTEN TO THE RECORDING.
THEN I THOUGHT, WHAT
IF THAT'S NOT RIGHT.
SO I CALLED THE FLEMISH
BOARD OF TRADE IN TORONTO.
AND I WENT AND MET
THIS LOVELY WOMAN.
I SAT DOWN WITH HER,
SHE KNEW THE SONG,
SHE KNEW ALL ABOUT BREL.
SO I PUT HER ON CASSETTE.
SHE READ ME THOSE WORDS VERY
PEDANTICALLY AND SLOWLY, AND
THEN AT NORMAL SPEED, AND I
DROVE AROUND IN MY CAR WITH
THAT TAPE FOR QUITE SOME TIME.

Richard says SO NOW WHEN YOU GET INTO THE
FLEMISH, IT'S SECOND NATURE
FOR YOU.

Louise says YEAH, IT'S GREAT.

Richard says DO YOU DO ANY OF THE SONGS
IN THE SHOW IN FRENCH?

Louise says NO.

Richard says YOU SAID THAT WITH A LITTLE
TRISTESSE IN YOUR VOICE.

Louise says YES.
WITH A LOT OF TRISTESSE.
YEAH, THAT'S TOO BAD.
THAT'S THE WAY IT IS.

Richard says THAT'S IT.
WE'LL GET YOU HEAR
YOU SING IN FRENCH.
WE'LL GET TO HEAR YOU SING,
I HAVE THE FEELING,
FOR A LONG TIME TO COME.

Louise says I HOPE SO.

Richard says LOUISE PITRE, THANK YOU FOR
BEING HERE, AND ALIVE AND
WELL, AND PERFORMING
IN ONTARIO.

Louise says THANK YOU.

Richard says TAKE CARE.

He faces the screen and concludes
FOR
DIALOGUE, I'M
RICHARD OUZOUNIAN.
GOOD-BYE FOR NOW.

Music plays as the end slate reads “Special thanks to Elgin Theatre Toronto. Dialogue.”

A production of TVOntario. Copyright 1999, The Ontario Educational Communications Authority.

Watch: Louise Pitre