My love of theatre was probably cemented when my mother took me to the then O'Keefe Centre in Toronto to see Richard Burton play Hamlet. The experience was unforgettable. By then, of course, I was well tuned to the language of Shakespeare and had read and understood Hamlet.

But to see Richard Burton, as he stood on a nearly barren stage (such was the stark rendition they did of the play), worrying and fretting inside Hamlet's skin about Hamlet's dilemmas, made the studied words come to life in a startling way.

One of the joys of living in London, U.K. was going to the theatre. The so-called West End of London, the theatre land around Piccadilly Circus, is home to the best theatre in the world. Excellent drama, comedy, music all happen in a relatively small perimeter in the centre of that great city.

Whenever there was the opportunity to watch one of the great theatrical figures participate in a production, I made a point of attending at least once. I saw Elizabeth Taylor in Little Foxes. During the intermission, a lady commented as she washed her hands in the ladies' room, "Well, but she can't act." I laughed aloud - who cared whether Elizabeth Taylor was a particularly skilled actress? She was fabulously beautiful and a charismatic and powerful presence on the stage.

I watched Laurence Olivier in a Checkov play. I hated the play but Olivier was wonderful.

Finally coming to London to play Shylock in the Merchant of Venice, a role he had wanted to do for many years, was Dustin Hoffman. I could not miss that. When he dash onto the stage, the audience greeted him with thunderous applause. At the end of the play, he was similarly rewarded for his delivery of the part, a little out of proportion for the importance of the character. And it was a bit strange to hear Shylock offer his defence - "prick us, shall we not bleed?" etc., with a New York accent.

I attended a play called The Magistrate starring the marvellous Alistair Sim, who made us laugh until we were nearly faint. Normally, I do not bother to go to the stage door but, after all those years of Christmas Eve with "Scrooge" and the "Belles of St Trinian's," I could not resist. I was the only person there and he was somewhat surprised to see me. In those few seconds, neither one of us could really know what to say. I asked for his autograph from lack of imagination and he told me that he never signed autographs and laughed, but in a self-deprecating and very kindly way at my admiration for the old films.

Beside that, my favourite was Jimmy Stewart starring in the charming "Harvey."

Here in the countryside in Hockley Valley, there is not the same inclination to traipse into Toronto to see the shows. I am must say that I find them rather expensive too. Having said that, we did go in to see "Twelve Angry Men" with Richard Thomas (John-boy Walton, as was) for the last performance earlier this month. It was a fine piece of theatrical with no special effects, no change of scenery, no intermission. There were just 12 reasonably well known, extremely well seasoned actors who delivered a story through dialogue about the virtue of reasonable doubt and the necessity to question what seems obviously damning. It was great theatre.

There is magic to live theatre where there is no chance for a re-take. Most film actors worth their salt long for a stint in the theatre from time to time to keep them sharp. As well, the connection with the audience, feeling the tension and approbation is deeply satisfying, just as watching a play on the stage is very involving, giving an intimacy that cannot be felt in a movie house.

Happily, there is also theatre closer to home. In the country are the summer theatres, calling on tourists to come to a show presented in a rural setting. The visitors can make a small holiday of an evening's outing by dining locally and staying at one of the many bed and breakfast establishments that abound in rural Ontario.

From the village theatres in community centres to the Shaw and Stratford Festivals, summer theatre is a beloved tradition.

Growing up with steady strength, though, are the year round theatres outside city centres, of which our own Theatre Orangeville is a major player. Of the considerable challenges facing any theatre to concoct a chain of programs that will fill the seats all year, the directorship of Theatre Orangeville must be admired for its wisdom in the determination to present original works by Canadian writers.

There has not been enough recognition, over the years, on the part of Canadians for the talent of their own. Far too often have Canadians taken their star potential south of the border in order to achieve the status they deserve. So, to find an enclave of appreciation for skilled and funny and clever playwrights here in Orangeville both does this town, this theatre, credit and draws on a considerable pool of talent in a way that benefits everyone.

It is really no longer the case that Canadian theatre is in its infancy. Vying for the public attention and purse with the public's wild devotion to sports, Theatre Orangeville still very often plays host to a full house.

This should always be the case, where local patrons ought to come often and bring their friends from the city.

The energy, the work and the real caring about standards and results, which are quite well reflected in the calibre of the productions at the theatre while keeping the cost of the entertainment very reasonable deserve the support and enthusiasm of this area's citizens.

So, "Rope's End" is a play on at Theatre Orangeville until March 2. Do yourself a favour and catch this show.

You could become an addict. Live theatre is the best.