by David French
LEAVING HOME OF THE FIELDS, LATELY SALT-WATER MOON
Also by David French
One Crack Out
Jitters
The Riddle of the World
1949
Silver Dagger
That Summer
Soldier’s Heart
The Seagull by Anton Chekhov (translation)
Miss Julie by August Strindberg (adaptation)
The Forest by Alexander Ostrovsky (translation)
LEAVING HOME OF THE FIELDS, LATELY SALT-WATER MOON
david french · three mercer plays
foreword by
albert schultz
Copyright © 2009 David French
All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher.
Leaving Home was first published in 1972 by New Press. Published in 2004 by House of Anansi Press Inc.
Of the Fields, Lately was first published in 1975 by New Press. Published in 2007 by House of Anansi Press Inc.
Salt-Water Moon was first published in 1985 by Playwrights Union of Canada. Published in 1988 by Talonbooks.
This edition published in 2009 by
House of Anansi Press Inc.
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House of Anansi Press is committed to protecting our natural environment. As part of our efforts, this book is printed on paper that contains 100% post-consumer recycled fibres, is acid-free, and is processed chlorine-free.
Rights to produce Leaving Home, Of the Fields, Lately, or Salt-Water Moon in whole or in part, in any medium by any group, amateur or professional, are retained by the author.
Interested persons are requested to apply for permission to Charles Northcote, Core Literary Inc., 140 Wolfrey Avenue, Toronto, Ontario, M4K 1L3, (416) 466-4929, [email protected].
13 12 11 10 09 1 2 3 4 5
Library and Archives Canada Cataloguing in Publication
French, David, 1939–
Leaving home, Of the fields, lately, and Salt-water moon : three Mercer plays / David French.
ISBN 978-0-88784-829-2
I. Title. II. Title: Three Mercer plays.
PS8561.R44L4 2009 C812’.54 C2008-908072-6
Library of Congress Control Number: 2009920762
Cover and interior design: Ingrid Paulson
We acknowledge for their financial support of our publishing program the Canada Council for the Arts, the Ontario Arts Council, and the Government of Canada through the Book Publishing Industry Development Program (BPIDP).
Printed and bound in Canada
CONTENTS
Foreword by Albert Schultz
Leaving Home
Of the Fields, Lately
Salt-Water Moon
About the Author
Foreword
Several years ago I summoned the courage to approach David French at a Toronto coffee shop where, for months, I had watched him read the paper over the top of my computer. He was the éminence grise of Canadian playwrights; I, the sophomore artistic director of a new classical theatre company called Soulpepper. I introduced myself and asked him: “Of all of your plays, which is the one you most want to see revived?” He answered without a pause: “Leaving Home.”
David French does not make small talk. He needs only the slightest provocation to let you know what’s on his mind, and he reveals his thoughts in terse staccato sentences. In this first brief conversation I learned that Leaving Home had not had a Toronto revival since Bill Glassco’s seminal Tarragon Theatre production in 1972. Glassco, the patrician founder of the Tarragon Theatre was, for thirty years, David French’s alter ego and greatest champion. It was Glassco who first took a chance on the angry young man, and it was Glassco who, until his death in 2004, helmed every play that David wrote.
French told me that he had been asking companies to revive Leaving Home for years, but to no avail. This, despite the fact that the play (his first) had been a colossal hit, cementing not only French’s reputation, but Glassco’s and the Tarragon Theatre’s. The play had toured across the country, and due to its popularity French had written the 1973 follow-up Of the Fields, Lately, which would have equal success. A decade later the love-soaked prequel Salt-Water Moon would mark the third installment of the Mercer family saga. These three plays, plus the subsequent 1949 and Soldier’s Heart (all directed by Glassco), would collectively make up what a recent Toronto Star poll called the most important contribution to English Canadian drama of the twentieth century.
There is a great tradition in modern North American theatre of thinly disguised autobiography serving as fertile dramatic soil. Think of the Wingfields of Tennessee Williams and the Tyrones of Eugene O’Neill. The Mercer family saga belongs on the top shelf with these plays. French uses memory with the same skill and poignancy that Williams does in The Glass Menagerie; he uses confession and forgiveness with the same devastating catharsis that O’Neill employs in Long Day’s Journey Into Night; but most remarkably he makes us laugh constantly, opening up our emotional capillaries to absorb and calm the pain. On every page of each play in this volume is the love and the writer’s heartbreaking need to communicate that love to the ghosts of his youth. In this way French is to be commended not as much for the characters he “creates” as for his ability to observe humanity with a complex and generous compassion. He reminds us of his hero Anton Chekhov, and it is no accident that French’s English version of The Seagull is considered by many to be unsurpassed.
While French’s characters are richly drawn and a delight to play, it is his notion of place that sets him apart. French came to Toronto with his family from Newfoundland when he was six years old and has lived here ever since, yet his plays are saturated with the geography and culture of his birthplace. At first blush French seems to us a Newfoundland writer. But his plays — certainly the Mercer plays — thrive on a tension between “here” and “there.” The tension is between the urban and the rural, the haves and the have-nots, Central Canada and Maritime Canada. If the plays are set in Toronto (Leaving Home and Of the Fields, Lately) the “there” of Newfoundland is omnipresent — its glories and its shortcomings. In the Newfoundland of Salt-Water Moon, Toronto is ever-present as possibility and as threat. This duality makes French so resonant to his audiences of urban Canadians, all of whom, in their own way, share this geographical ambiguity. It is this that makes David French not only a great Newfoundland playwright but a great Canadian playwright.
Even for those of us who missed those original productions, French’s plays hold a mythic place in Canadian theatre. I remember vividly the first time that I heard the words “It takes many incidents to build a wall between two men, brick by brick,” the opening lines of Of the Fields, Lately. The year was 1981, and I was a summer student at the Banff Centre for the Arts. About fifty actors from across Canada were presenting the monologues that had won them a place in the program. Thirty years later I remember only one of those monologues. The actor was a young Kevin Bundy, and the story of a squandered opportunity for lo
ve between a son and his father — Ben and Jacob Mercer — moved me so much that I have never forgotten it. I still find the speech achingly difficult to listen to. Then, I was Ben Mercer’s age and I had a father. Now, my son is Ben’s age and I am the father. David French has a way of making plays that belong to us. They belong to us as artists, they belong to us as Canadians, they belong to us as parents, and they belong to us as children.
Thirty-five years after Leaving Home exploded onto the stage of the Tarragon Theatre, David French’s Mercer saga continues to inspire and enlighten. In 2007 Soulpepper revived Leaving Home, and it was as adored as it had been a generation earlier. The play remains raw, deeply funny, and heartbreaking. David French was right; it was time to see Leaving Home again, and nobody was more thrilled than the playwright. He attended every single rehearsal and many performances during the run.
In 2008 Soulpepper revived Salt-Water Moon, and as I write this the company is preparing for a revival of Of the Fields, Lately. A new generation of Canadian audiences is revelling in the mastery of David French, and I feel honoured to have played a small part in this revival. I am also thrilled that a new generation of readers will have the opportunity to read the three remarkable plays in this volume.
Recently, I told David that I would be writing this Foreword and asked him for some advice. In customarily terse fashion he said, “All those plays are about unrequited love.” That was it. If you want more you will have to start reading.
Albert Schultz
Artistic Director
Soulpepper Theatre Company
Toronto, Ontario
February 2009
LEAVING HOME
This play is lovingly dedicated to my parents, who were there, and to Leslie, who wasn’t.
Leaving Home was first performed on May 16, 1972, at the Tarragon Theatre, Toronto, with the following cast:
MARY MERCER Maureen Fitzgerald
BEN MERCER Frank Moore
BILLY MERCER Mel Tuck
JACOB MERCER Sean Sullivan
KATHY JACKSON Lyn Griffin
MINNIE JACKSON Liza Creighton
HAROLD Les Carlson
Directed by Bill Glassco
Designed by Dan Yarhi and Stephen Katz
Costumes by Vicky Manthorpe
Leaving Home was revived in Toronto on April 30, 2007, by the Soulpepper Theatre Company at the Young Centre for the Performing Arts with the following cast:
MARY MERCER Diane D’Aquila
BEN MERCER Jeff Lillico
BILLY MERCER Anthony Johnston
JACOB MERCER Kenneth Welsh
KATHY JACKSON Martha MacIsaac
MINNIE JACKSON Jane Spidell
HAROLD Oliver Dennis
Directed by Ted Dykstra
CHARACTERS
Jacob Mercer
Mary Mercer
Ben Mercer
Billy Mercer
Kathy Jackson
Minnie Jackson
Harold
SCENE
The play is set in Toronto on an early November day in the late 1950s.
ACT ONE
The lights come up on a working-class house in Toronto. The stage is divided into three playing areas: kitchen, dining room, and living room. In addition there is a hallway leading into the living room. Two bedroom doors lead off the hallway, as well as the front door which is offstage.
The kitchen contains a fridge, a stove, cupboards over the sink for everyday dishes, and a small drop-leaf table with two wooden chairs, one at either end. A plastic garbage receptacle stands beside the stove. A hockey calendar hangs on a wall, and a kitchen prayer.
The dining room is furnished simply with an oak table and chairs. There is an oak cabinet containing the good dishes and silverware. Perhaps a family portrait hangs on the wall — a photo taken when the sons were much younger.
The living room contains a chesterfield and an armchair, a TV, a record player, and a fireplace. On the mantle rests a photo album and a silver-framed photo of the two sons — then small boys — astride a pinto pony. On one wall hangs a mirror. On another, a seascape. There is also a small table with a telephone on it.
It is around five-thirty on a Friday afternoon, and MARY MERCER, aged fifty, stands before the mirror in the living room, admiring her brand new dress and fixed hair. As she preens, the front door opens and in walk her two sons, BEN, eighteen, and BILL, seventeen. Each carries a box from a formal rental shop and schoolbooks.
MARY Did you bump into your father?
BEN No, we just missed him, Mom. He’s already picked up his tux. He’s probably at the Oakwood. (He opens the fridge and helps himself to a beer.)
MARY Get your big nose out of the fridge. And put down that beer. You’ll spoil your appetite.
BEN No, I won’t. (He searches for a bottle opener in a drawer.)
MARY And don’t contradict me. What other bad habits you learned lately?
BEN (teasing) Don’t be such a grouch. You sound like Dad. (He sits at the table and opens his beer.)
MARY Yes, well just because you’re in university now, don’t t’ink you can raid the fridge any time you likes.
BILL crosses the kitchen and throws his black binder and books in the garbage receptacle.
MARY What’s that for? (BILL exits into his bedroom and she calls after him.) It’s not the end of the world, my son. (pause) Tell you the truth, Ben. We always figured you’d be the one to land in trouble, if anyone did. I don’t mean that as an insult. You’re more . . . I don’t know . . . like your father.
BEN I am?
Music from BILL’S room.
MARY (calling, exasperated) Billy, do you have to have that so loud? (BILL turns down his record player. To BEN) I’m glad your graduation went okay last night. How was Billy? Was he glad he went?
BEN Well, he wasn’t upset, if that’s what you mean.
MARY (slight pause) Ben, how come you not to ask your father?
BEN What do you mean?
BILL (off) Mom, will you pack my suitcase? I can’t get everything in.
MARY (calling) I can’t now, Billy. Later.
BEN I want to talk to you, Mom. It’s important.
MARY I want to talk to you, too.
BILL (comes out of bedroom, crosses to kitchen) Mom, here’s the deposit on my locker. I cleaned it out and threw away all my old gym clothes. (He helps himself to an apple from the fridge.)
MARY Didn’t you just hear me tell your brother to stay out of there? I might as well talk to the sink. Well, you can t’row away your old school clothes — that’s your affair — but take those books out of the garbage. Go on. You never knows. They might come in handy sometime.
BILL How? (He takes the books out, then sits at the table with BEN.)
MARY Well, you can always go to night school and get your senior matric, once the baby arrives and Kathy’s back to work. . . . Poor child. I talked to her on the phone this morning. She’s still upset, and I don’t blame her. I’d be hurt myself if my own mother was too drunk to show up to my shower.
BILL (a slight ray of hope) Maybe she won’t show up tonight.
MARY (Glances anxiously at the kitchen clock and turns to check the fish and potatoes.) Look at the time.
I just wish to goodness he had more t’ought, your father. The supper’ll dry up if he don’t hurry. He might pick up a phone and mention when he’ll be home. Not a grain of t’ought in his head. And I wouldn’t put it past him to forget his tux in the beer parlour. (Finally she turns and looks at her two sons, disappointed.) And look at the two of you. Too busy with your mouths to give your mother a second glance. I could stand here till my legs dropped off before either of you would notice my dress.
BEN It’s beautiful, Mom.
MARY That the truth?
BILL Would we lie to you, Mom?
MARY Just so long as I don’t look foolish next to Minnie. She can afford to dress up — Willard left her well off when he died.
BEN Don’t worry ab
out the money. Dad won’t mind.
MARY Well, it’s not every day your own son gets married, is it? (to BILL as she puts on large apron) It’s just that I don’t want Minnie Jackson looking all decked out like the Queen Mary and me the tug that dragged her in. You understands, don’t you, Ben?
BEN Sure.
BILL I understand too, Mom.
MARY I know you do, Billy. I know you do. (She opens a tin of peaches and fills five dessert dishes.) Minnie used to go with your father. Did you know that, Billy? Years and years ago.
BILL No kidding?
BEN (at the same time) Really?
MARY True as God is in Heaven. Minnie was awful sweet on Dad, too. She t’ought the world of him.
BILL (incredulously) Dad?
MARY Don’t act so surprised. Your father was quite a one with the girls.
BEN No kidding?
MARY He could have had his pick of any number of girls. (to BILL) You ask Minnie sometime. Of course, in those days I was going with Jerome McKenzie, who later became a Queen’s Counsel in St. John’s. I must have mentioned him.
The boys exchange smiles.
BEN I think you have, Mom.
BILL A hundred times.
MARY (gently indignant — to BILL) And that I haven’t!
BILL She has too. Hasn’t she, Ben?
MARY Never you mind, Ben. (to BILL) And instead of sitting around gabbing so much you’d better go change your clothes. Kathy’ll soon be here. (as BILL crosses to his bedroom) Is the rehearsal still at eight?
