by Brad Fraser
TRUE LOVE LIES
BRAD FRASER
PLAYWRIGHTS CANADA PRESS
TORONTO
Other Works by Brad Fraser:
Love and Human Remains
Cold Meat Party
Martin Yesterday
Poor Super Man
Snake in Fridge
The Ugly Man
The Wolf Plays
PLAYWRIGHT/DIRECTOR’S NOTES
It’s amazing where plays come from. One minute you’re working on a successful cable series and the next you’re being contacted by an ex-lover you haven’t seen in twenty years. A couple of emails and telephone calls later you find out he’s married and has children. This leads to a few “what if?” scenarios that suddenly start to spill out onto the computer screen in a manner I’d neither foreseen nor intended until that real life incident is transformed into a highly fictional piece of dramatic fiction.
The first draft of this play came to me relatively easily. Most people liked it but I had this nagging feeling it wasn’t quite what it was meant to be. So I sought out the naysayers, the people who didn’t like the script, and tried to get them to talk. This is much harder than it would appear. Saying you like something is very easy, trying to pin down and explain to someone what you don’t like about their work takes real effort, and many, quite rightly, can’t be bothered. Fortunately there were a few who took the time and, whether or not I agreed with them, their comments helped me to peer into the play and the characters more deeply, to ask even more “what if” kinds of questions. And after a draft or two I realized the focus was wrong. I was writing another David McMillan play (Wolfboy, Love and Human Remains, Poor Super Man) with him as the centre point when what I really wanted to be writing was a play about the family that David just happened to appear in.
This revelation led to further rewrites and a play that maintained much of the action of the earlier draft but had that action unfold with a much different focus. Within a couple of drafts the whole play was reinvented. The people I sent it out to responded favourably and a production was set to open at my artistic home, Manchester, England’s Royal Exchange Theatre, in 2009. That production, directed by Braham Murray, was a genuine hit and currently there are plans to move it into London’s West End if a suitable “star” is ever found. (Don’t blame me for the vagaries of the English theatrical star system.) Meanwhile a number of other productions are slated to open at various cities across North America in the coming years.
As for directing, it’s been nine years since I directed for the theatre. I have done a great deal of it throughout my career but I find it very taxing. My general rule is never to direct the first production of my own play, allow some other director to premiere it and then stage the second production myself—allowing me to avoid all of the first director’s pitfalls while also stealing his or her best ideas. Unfortunately that wasn’t the case with this show. A sudden need for spinal surgery meant that I was only able to attend the first ten days of rehearsal in Manchester, in order to ensure the script was performable, before flying back to Canada to go under the knife. This was frustrating but, in the end, turned out to be quite liberating as well. Not having seen the RX production that Braham Murray staged means I might be in danger of repeating some of his mistakes but it also ensures that all of my work is entirely original.
Over the last few years I have become obsessed with finding ways to keep theatre in the present tense. Far too much of our stage work is obsessed with the past, relies on events from the past and is told almost entirely, often including the delivery of the performances by the actors, in that safe, slightly sentimental “past tense” style that keeps everything from being immediate. To my mind this is a betrayal of all that is unique about the theatre as an art form—which is all about its immediacy. Attempting to do this hasn’t been easy. Nearly everything about the contemporary theatre has a slightly dated, museum-like quality about it and the way our writers, actors, directors, designers, etc. are trained almost invariably leads to this style of playing. However, if we manage to replace this past tense with a sense of the present, and even the future, we might just find the way plays are truly meant to be performed. Will I succeed in doing this with four weeks of rehearsal? Hard to say. But I will admit it’s been a hell of a lot of fun to try.
—Brad Fraser, September 17, 2009
True Love Lies was first produced by the Royal Exchange Theatre, Manchester, England, on January 28, 2009, with the following cast and crew:
Jonny Phillips
David
John Kirk
Kane
Teresa Banham
Carolyn
Amy Beth Hayes
Madison
Oliver Gomm
Royce
Directed by Braham Murray
Set and costume design by Johanna Bryant
Lighting design by Richard Owen
Sound design by Steve Brown
True Love Lies had its North American premiere at the Factory Theatre, Toronto, on October 1, 2009, with the following cast and crew:
David Keeley
David
Ashley Wright
Kane
Julie Stewart
Carolyn
Susanna Fournier
Madison
Andrew Craig
Royce
Directed by Brad Fraser
Set and lighting design by Bretta Gerecke
Costume design by Ina Kerklaan
Sound design by Christopher Stanton
Stage managed by Sherry Roher
Apprentice stage management by Natalie Gisele
Assistant direction by Briana Brown
CHARACTERS
DAVID 50
KANE 45
CAROLYN 44
MADISON 20
ROYCE 17
SETTING
Various locales as specified. The set should not be naturalistic. Elements should be shared by all locations and all transitions should be made without blackouts.
PUNCTUATION NOTE
A period is used to indicate the end of vocalization, not necessarily the end of a thought, likewise with capital letters at the beginning of sentences. Commas and other punctuation have been intentionally omitted.
ACT ONE
Lights rise on the Sawatsky kitchen. CAROLYN is filling the dishwasher with items from the sink. MADISON enters.
MADISON
Hey.
CAROLYN
Back already?
MADISON
I need to change my top.
CAROLYN
Why?
MADISON
The last place was über casual. This one’s a little more classic.
CAROLYN
Who knew looking for a job was so complicated?
MADISON
Adulthood involves way too many different outfits.
MADISON exits. KANE enters.
KANE
Hello.
CAROLYN
You’re early.
KANE
We’re celebrating.
CAROLYN
What’s the occasion?
They kiss quickly. He gives her a squeeze.
KANE
The Liebowskis loved everything about our design and I was able to get a big fat cheque out of them. I think we can now replace the furnace.
CAROLYN
I told you that design was brilliant.
KANE
They loved the chenille. Perfect choice again.
They kiss again, more passionately.
When are the kids expected?
CAROLYN
Maddy’s upstairs right now.
KANE
So no time for a quick bit of.
CAROLYN
None.
KANE
Damn.
CAROLYN
Later.
KANE
Promise.
They kiss again. MADISON enters changed.
MADISON
Hey Pop.
KANE
How’s the job hunting?
MADISON
There’s not a lot out there.
CAROLYN
A job wouldn’t be an issue if you were in university.
MADISON
What’s the point of paying for an education if you don’t know what you want to do?
ROYCE enters.
ROYCE
Howdy.
KANE
Hey Royce. Anything cool happen today?
ROYCE
Yeah. High school’s just full of cool things that happen. When’s dinner?
CAROLYN
About an hour.
ROYCE
Call me.
ROYCE exits.
MADISON
I need the car.
CAROLYN
Why?
MADISON
There’s a new restaurant looking for servers and I’m already late.
CAROLYN
Do you really think working in a restaurant is going to be that much more interesting than working in a store?
MADISON
Are you kidding? Kara’s working at the Poplars and you should see the money she’s making. After five or six hours a night.
CAROLYN
But those late night shifts.
MADISON
Work for me.
KANE throws MADISON his keys.
KANE
Here you go.
CAROLYN
Don’t speed.
MADISON
Back in a flash.
MADISON exits.
CAROLYN
Let’s hope this one pans out.
KANE
It’s not easy getting a full-time job.
CAROLYN
Sweetie—she’s twenty-one years old. She can’t sell lip gloss at a kiosk three nights a week anymore.
KANE
It’s still very young.
CAROLYN
Are you forgetting some of the things you’d done at that age?
KANE
They’re our babies.
CAROLYN takes him in her arms.
CAROLYN
I like to think we didn’t raise the kind of kids who live at home until they’re thirty.
KANE
Would that be so bad?
CAROLYN
Yes it would.
A light on DAVID at the restaurant, seated at one of the tables doing paperwork. MADISON enters.
MADISON
Hi.
DAVID
Hello.
MADISON
You need waiters?
DAVID
Yes.
MADISON
I’m Madison.
DAVID
Hi Madison. David McMillan. Have we met before?
MADISON
I don’t think so.
DAVID
You seem familiar.
MADISON hands him her resumé.
MADISON
Okay. I brought my resumé.
DAVID
Do you have restaurant experience?
MADISON
No but I’ve got a lot of retail. Part-time.
DAVID
We’re really looking for experienced waiters. I’d have to start you as a bus-person or on the coat check.
MADISON
That’s fine.
DAVID
Sawatsky?
MADISON
Yes.
DAVID
You’re not related to Kane Sawatsky are you?
MADISON
He’s my dad. You know him?
DAVID
No not a bit a long time ago.
MADISON
Cool. Should I say hi for you?
DAVID
If you like. In all honesty Madison we are looking for people with experience in the business.
MADISON
I’m a very quick learner.
DAVID
I’m sure you are.
MADISON
I’m happy to bus or whatever.
DAVID
I’m afraid all the positions have been filled. Thanks for stopping by.
MADISON
Okay. Bye. Thanks.
MADISON exits. Lights rise on the Sawatsky kitchen. ROYCE is at the table. KANE and CAROLYN are making dinner.
KANE
Did you look at those fabric samples I left on your desk?
CAROLYN
The pumpkin’s too garish and that tweed stuff is an interesting colour but too itchy looking.
KANE
What about the aubergine?
CAROLYN
Loved the aubergine.
KANE
Whadaya wanna bet that Liebowski job leads to some big-time referrals?
CAROLYN
That’s what we’re hoping for.
ROYCE
Are those the west-end Liebowskis whose daughter joined that sperm cult?
KANE
I have no idea.
CAROLYN
Sperm cult?
ROYCE
Self-explanatory Ma.
MADISON enters.
KANE
Just in time.
MADISON
I’m not hungry.
CAROLYN
What’s wrong?
KANE
Did the interview go that badly?
MADISON
I got stiffed because the guy knows you.
CAROLYN
Really?
MADISON
Yeah he seemed all interested until he found out you’re my dad.
KANE
What’s his name?
MADISON
McMillan.
CAROLYN
David?
KANE
David McMillan?
MADISON
That’s right. Good shape. Nice hair. A bit you know.
Long pause.
What?
CAROLYN
Kane the sauce is burning.
KANE
Shit sorry damn.
CAROLYN
Everything’s ready.
ROYCE
Why are you acting weird?
KANE
Madison sit.
CAROLYN
Is the sauce?
KANE
Yes. You?
CAROLYN
Yes. Go.
KANE
Hot stuff.
CAROLYN
Careful.
KANE
Sweet and sour pork chops.
CAROLYN
Grilled okra.
MADISON
Uh—guys.
KANE
Just.
CAROLYN
Eat.
MADISON
Who is David McMillan?
KANE
He was.
CAROLYN
Just a.
KANE
Friend.
CAROLYN
Of your father’s.
KANE
A long time ago.
ROYCE
What kinda friend?
KANE
Just you know a friend like you have.
CAROLYN
When you have friends.
KANE
Yeah.
MADISON
So why’d he blow me off then?
KANE
We—aren’t close anymore.
MADISON
Why not?
KANE
We just.
CAROLYN
Grew apart.
ROYCE
Was he a good friend?
KANE
At one time.
CAROLYN
No more talking. Eat.
They eat. Pause.
MADISON
He seemed gay.
Pause.
Is he?
CAROLYN
Yes.
ROYCE
You had a gay friend?
KANE
Yes.
MADISON
So was he like your boyfriend or something? Is that why everyone’s acting so weird?
Long pause.
Omigod.
ROYCE
Get out.
CAROLYN
It’s ancient history.
MADISON
Are you kidding?
ROYCE
You’re a fudgepacker?
KANE
I’m not sure we should use the term fudgepacker.
MADISON
Are you more comfortable with queer?
KANE
I don’t think this is.
CAROLYN
Something we need to.
KANE
Discuss.
CAROLYN
Right now.
