Tag: New Play

Christopher Scott and JC Charlton: Come Home

Posted on by James Hutchison

“Everything I do is to survive. What’s going on out there, and what’s going on in here. You think I’m not counting down the days? I can feel my mind unravelling at the seams. Waking up in the night, cold sweats, my heart pounding so hard I think my ribs are gunna’ crack. I can’t tell what’s fucken’ real anymore there’s this banging and drilling on the walls like someone’s hammering away – is it real? I don’t know.”  

CONNER from the Play Come Home by JC Charlton

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Living in Australia and working on the oil rigs far from home Connor Evans a young Calgary man finds himself falling deeper and deeper into a life of drug abuse and criminal activity. Come Home is a raw and honest play about addiction, the importance of friendship, and second chances.

Christopher Scott working the Rigs in Australia

The play is based on the real-life experience of Christopher Scott who along with his friend JC Charlton presented the play at the 2017 Calgary One Act Play Festival and the 2017 Alberta Provincial One Act Play Festival where it won several awards including Best Overall Performance and Best Original Script.

Now two years later the play has been workshopped and expanded and is being presented by Urban Stories Theatre from May 1st to 11th in the Motel Theatre at the Arts Commons. Tickets are $20.00 for adults and $15.00 for students, seniors, and artists and are available online at www.urbanstoriestheatre.org

Sally Cacic and JC Charlton in the Urban Stories Theatre Production of Come Home by JC Charlton. Directed by Nova Lea Thorne.

I sat down with JC and Chris, while they were in rehearsals, to talk with them about how the play came about and what message they want audiences to remember.

Christopher Scott musical artist and sound designer.

JAMES HUTCHISON

Come Home is inspired by your real-life experience of becoming involved in the drug trafficking world in Australia when you were there and eventually being given a second chance. Why did you want to tell your story?

CHRIS SCOTT

For the longest time, it was like a dark spot on the soul. I still held it deeply internally and it just started to eat away at me. I didn’t talk about it to anyone but when this opportunity arose to tell this story as part of the Calgary Regional One Act Play Festival I thought what better way to make something creative and positive come out of something dark and negative.

JAMES

How much of the play is based on real life and how much is poetic license?

JC CHARLTON

We’re saying it’s inspired by a true story. We’re not saying it is a true story. For example, we combined two different people from Chris’s life into one character that became our antagonist. The events we show were events that happened to Chris but at different times and with different people and we just lumped them together so we changed the timeline, so we could tell a story that had a solid beginning, middle and end.

JAMES

I know it’s a personal story but was there some sort of moral message you wanted to convey in the telling of the story?

CHRIS

Yes, you always have to stay positive because there’s always a light at the end of the tunnel it’s just sometimes you have to tough it out to get there. Looking back one thing kind of led to another and I’m surprised by how deep and dark it went. You just have to hold onto your friendships and stay away from nefarious people.

JC Charlton actor and theatre creation artist.

JC

You often watch a movie about drug addiction or drug trafficking or crime and it’s going to have a depressing ending. It’s solely a cautionary tale where you see the characters suffer and lose it all, and in this story – yes there’s suffering – yes there’s loss – but in the end – it’s the belief in this person by his friends and family that pulls him out of it, and I think that’s what separates our story from other stories.

CHRIS

The bonds that we have for each other can save us.

JAMES

The play has a whole soundscape that accompanies it. What was the process like for creating the music and sound for the production?

CHRIS

It was a lot of trial and error. We’d try to capture the feeling of what section we were working on and then we would tweak the soundscape and the music to try and enhance that feeling or that mood.

JC

There’s one section where the main character is having a panic attack envisioning all the terrible things that are going to happen to him, and the only thing that pulls him out of it is his girlfriend and, we’ve got this lovely piano melody that comes in there that’s very separate from anything else we’ve heard in the play up until that point. And then that melody keeps coming through the remaining pieces until we lead to the climax of the play.

JAMES

So, how different is the production that you’re presenting at the Motel compared to the one you did a couple of years ago at the One Act Festival?

JC

The script was in its infancy at the one-act festival. Since then we got in touch with Helen Young from Urban Stories, and I was blown away the first time I talked with Helen, because we wanted to get it into their play festival, and she told me couldn’t because the play was more than twenty minutes, but straight off the bat she said, “From the sounds of it we might want to do this for a mainstage show.” So, we sent her the script and went for a coffee with her, and the next thing we knew it was all in the works. We had them producing it. We’re going to be at Motel. We had a dramaturg come in, and we were fortunate enough to be given enough time to work on the script and develop it further.

Christopher Scott and JC Charlton (foreground) in the Urban Stories Theatre production of Come Home by JC Charlton. Directed by Nova Lea Thorne.

JC

We workshopped the script with Caroline Russell-King, who is a very talented dramaturg, and we completely changed the vehicle for the narrative. Before it was in the form of somebody telling their story to a friend, and now it’s all happening in the moment. And we’ve changed what the play is really about. Before it was focused on a single friendship and this friendship progressed the narrative, but now we’re focusing more on the individuals that Chris knew in Australia. The ones that kept him going when he was completely isolated. We get to know more about them and that changes the outcome of the play so now we have a new emotional climax – which I’m not going to spoil – but the main difference is that we’re including so many more characters and people responsible for bringing Chris home.

Sally Cacic, JC Carlton and Justin Many Fingers in rehearsal for the Urban Stories Theatre production of Come Home

JAMES

So, why should people come see it?

JC

It’s a unique show that combines theatre, electronic music, text and it’s inspired by a true story that happened to a local Calgarian here. Helen’s given us a lot of freedom to develop the play and to assemble a pretty talented production team. Our director is Nova Lea Thorne, and our lighting designer is Neil Fleming. Alexandria Inkster is designing the set, and Justin Many Fingers has come in and been a guest choreographer for us on a couple of occasions.

CHRIS

It’s an excellent tool for healing and also a way for us to express and showcase ourselves theatrically and artistically.

Sally Cacic and JC Charlton in the Urban Stories Theatre Production of Come Home By JC Charlton. Directed by Nova Lea Thorne

JC

When we did the show two years ago we were lucky enough to have a police officer come and see it, and what he said to me after the show was, “You know in my job it’s real easy to get jaded doing what I do, but after seeing this I’m going to remember that the next time I’m arresting a crack head or a drug dealer is that everyone has a story.” And I was surprised by how many people came up to me after the show with tears in their eyes and said that they had a family member that’s gone through the exact same thing. And that’s really what we’re trying to accomplish here. We’re trying to give an entertaining performance, but we’re also trying to do something that’s going to change the way people see people who are going through a hard time.

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Urban Stories Theatre presents Coming Home by CJ Charlton May 1st to 11 in the Motel Theatre at the Arts Commons. Tickets are $20.00 for adults and $15.00 for students, seniors, and artists and are available online at www.urbanstoriestheatre.org

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Come Home
By JC Charlton

CAST
JC Charlton
Christopher Scott
Sally Cacic

Directed by Nova Lea Thorne
Set Designer by Alexandria Inkster
Sound Design by Christopher Scott
Lighting Design by Neil Fleming
Guest Choreographer – Justin Many Fingers

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JC Charlton

JC is an actor and theatre creation artist based in Calgary, Alberta. JC is a University of Lethbridge alumni with degrees in education and fine arts. He has dedicated his career to acting and the development of new Canadian works. He has trained in advanced direction under his mentor Gail Hanrahan. Selected theatre credits include; (Kaahsinnoniks, dir. Justin Many Fingers), (Moon, Moon, No Moon, dir. Blake Brooker), (Come Home, dir. JC Charlton), (Okotoks, dir. Justin Many Fingers), (The Bear, dir. JC Charlton), (509, dir. Justin Many Fingers). 2016 Calgary + Provincial One Act Best Male Actor.

Christopher Scott

Christopher is a musical artist based in Calgary, Alberta. With a passion for melodic and bass heavy electronica he aims to create unique soundscapes and exciting experiences in a combination of theatre and sound design. He is a part of the new electronic duo, Mannequin. Chris has worked in a variety of fields from the drilling rigs in Canada and Australia to landscaping and construction here in Calgary, he has completed his training and holds certificates in the Fundamentals of Firefighting and Hazardous materials/ WMD incidents.

Sally Cacic

Sally Cacic is a West Australian actor. She is a graduate of Company of Rogues Actors’ Studio Master Class Program and StageMilk Drama School, and an ongoing member of StageMilk Drama Club in Sydney, Australia. She apprenticed in the Meisner Technique under her mentor Stacie Harrison, which she applies across her work in both theatre and film & television. Select theatre credits include Laughter (Urban Stories Theatre), How To Almost Be An Adult (Urban Stories Theatre), Late Night At The Plaza (Late Night Productions), and Australian productions A Chorus Line (The Old Mill Theatre), and Beauty & The Beast (The Ballet Company). Select film credits including Bright Hill Road (Nevermine Films), The Little Things (Shotlist Films), Joy To The World (SAIT Film Productions) 2017 AMPIA Rosie Award Finalist, and The Hundy (SAIT Film Productions) 2017 AMPIA Rosie Award Winner.

Nova Lea Thorne

Nova Lea is excited to be working on her first show with Urban Stories Theatre. She is grateful for the opportunity to direct this exceptional piece created by JC Charlton. Although much of her career, of late, has been in the area of stage management, she began her career as a performer, with Theatre New Brunswick, and has been involved in performance training and directing artist in residence programs, in Alberta, since the late 1990’s. She has instructed young performers with Quest Theatre, Theatre Calgary, Triangle Theatre School, as well as Theatre Works School of the Arts, a musical theatre school that she co-owned for twelve years. Nova Lea is the proud recipient of the Duval Lang Theatre for Young Audiences Award, a Betty Mitchell Juried Award.

Alexandria Inkster

Alexandria is a Calgary-based artist comes to performance through visual arts. She obtained her BFA in Sculpture in 2014 from the Alberta College of Art + Design (now the Alberta University of the Arts), and her MFA in 2016 from the University of Calgary. In her creative|research practice, Alexandria investigates the activation of agency and collective mobilization by enacting experiences of ambivalence, intimacy, freedom, and magical ideation. These investigations most often take the form of live performance and/or sculptural installation, where somehow her body always seems to become enmeshed in the work. Come Home is Alexandria’s first stint as a “set designer,” and she is absolutely thrilled to have the opportunity to work with its amazing cast and crew.

Neil Fleming

Neil is delighted to be part of the Come Home artistic team helping Chris and Jeff bring this story to life. Primarily a playwright, Neil sometimes likes to stretch his theatrical design muscles. Some past design credits include: Okotoks (Niitsitapi Dance, MT7), Gruesome Playground Injuries (Ground Zero, Hit & Myth), A Mid-Summer Night’s Dream (CYPT), The Vajayjay Monologues (Urban Curves), Shopaholic Husband Hunt (Lunchbox Theatre), Almost Perfect Thing, Kitchen Witches, In A World Created By A Drunken God, The Attic, the Pearls, & Three Fine Girls (New West Theatre), And So It Goes, Goodness, Bone Cage, Arm’s Length Embrace (Downstage).

URBAN STORIES THEATRE

Urban Stories Theatre supports local playwrights writing about social justice and humanity issues by nurturing their ideas from first draft to finished production. The company is made up of a core group of local artists who will oversee all productions and workshops. Budding actors, directors, stage managers and designers will be encouraged to share their ideas by becoming part of the team on a show by show basis.

Vision: To give local artists a voice in creating theatre that tells stories about real life.

Interview with Playwright Wendy Froberg: Queen of the Ring – The Story of Johnnie Mae Young

Posted on by James Hutchison
Playwright Wendy Froberg
Playwright Wendy Froberg

Queen of the Ring by playwright Wendy Froberg is the story of Johnnie Mae Young who spent over seven decades of her life slamming, punching and clawing her way to the top of the women’s professional wrestling world. Despite her pin-up good looks, she was a trash-talking bad girl the crowds loved to hate. From the carnival sideshows of the dirty thirties to the glitz and drama of the WWE, Mae Young rose to fame as the toughest, most dangerous female and one of the top attractions in the rough and tumble, disreputable world of old-school pro wrestling.

JAMES HUTCHISON

So, Wendy, how did you stumble upon the story of Johnnie Mae Young?

WENDY FROBERG

I was reading my Facebook newsfeed in early 2014 and a story came up about her because she had just died at the age of 90. And even though I’m a native Calgarian and I grew up with Stu Hart’s Stampede Wrestling I’d never heard of Johnnie Mae Young. The photo of this blonde bombshell throwing another woman around a wrestling ring captivated me and I just had to click on the link and once I started, I couldn’t stop. Everything I read led me to the conclusion that this was one of those, truth is stranger than fiction, stories that needed to be told.

JAMES

Well, why did you feel this need to tell her story and write a play?

WENDY

This woman wrestled from the dirty thirties of the depression era right up to the post-millennium WWE. Seven decades. Can you imagine stepping into the wrestling ring and getting tossed around when you’re in your eighties?

Johnnie Mae and other female wrestlers like her had to overcome incredible odds to make their mark in a world dominated by men. A lot of them escaped brutal childhoods where they were neglected or abused, and they were exploited physically, sexually and financially by the male wrestling promoters who they depended on to make a living.

These women lived in a time when women were supposed to be demure ladies in heels and make-up, and not down-and-dirty, ass-kicking fighters. They broke the rules about how women were supposed to behave sometimes at a great cost to themselves. These women were feminists before we had a name for it. They were trailblazers who proved that despite the theatricality and fakery involved in wrestling it’s a true sport and they were bona fide athletes.

And as someone who writes for the theatre, you can’t find anything more theatrical than professional wrestling! So, audiences coming to the show should be prepared for a lot of physicality, some sweating, and slamming, and maybe even being made to feel a little uncomfortable by the rawness of Mae’s life. But don’t be afraid to get involved in the moment because we all know it’s always a lot more fun when you pretend it’s real!

JAMES

What sort of message do you think Mae’s story has for the people of today?

WENDY

There has always been a history of people in power, often white men, taking advantage of those with less power, often women and people of colour, and so I think Mae’s story is very timely considering the greater awareness and growing power of the #metoo and #timesup movements. Mae and her colleagues fought back against their exploitation and rose to create lives of truthfulness and empowerment. She knew she had skills, talent, ambition, and drive and didn’t let anyone stand in her way which sometimes led to real fights outside of the ring as well as in. But it’s also true that she used her sexuality as a source of power and this brings up another question we grapple with today and that’s if a woman chooses to use her sexuality to get ahead, is she still being exploited because it’s largely men who want what she has? That’s something I’ll let the audience decide for themselves.

JAMES

Any time you tell a story there’s a certain amount of poetic license involved. How did you balance the real story of Mae’s life with the needs of creating a compelling story for the stage?

WENDY

I wanted to honour this woman by telling her story accurately, but you can’t fit everything in because there just isn’t enough time in a stage play. Sometimes you have to condense characters or change the order or timing of events. But I’ll say this: the characters in the show are real people and the events really did happen and the spirit of her story, the amazing contributions she made to the sport of wrestling, is one hundred percent truthful.

JAMES

Tell me about the creative team behind the production. Who is the cast and who is the director and what’s it been like to work with that team?

WENDY

I’ve been so impressed with the professionalism of Attollo Productions. They’re a new company and they’ve worked hard and employed all their creative skills to figure out a way to tell Mae’s story in a compelling, exciting and engaging way. They’ve respected my script and my role as the playwright and they’ve honoured the actors time, skills and process. The production is being directed by Chelsea Friesen who is also a fight choreographer, so she’ll be ensuring the safety of our actors while working with all the performers to make the wrestling moves believable. Brett Waring is producing the play and she’s also the dialect coach and assistant fight director on the production. Chelsea and Brett and several of the other cast members had previously worked on developing Queen of the Ring so I’m grateful we’ve been able to keep many of the original cast and I’m really honoured they’ve chosen my play for their inaugural production.

JAMES

So, who should come and see the show?

WENDY

Everyone—assuming you’re eighteen or over. The producers decided that since the show is raw and deals with sensitive subject matter such as sexual abuse, it would be best to limit the audience to adults. If you love a good, rollicking story, if you’re interested in the history of an unusual, sometimes wild and wacky sport, if you love stories about real-life, flawed people who nevertheless inspire us as we see them overcome obstacles and live their truth—then this play is for you.

JAMES

If Mae were alive today and could come to see the show you’ve created what do you think she’d say – or what do you hope she’d say?

WENDY

Well, I’d be scared shitless if I got it wrong and she didn’t like it, because that woman – literally – wouldn’t pull any punches about letting me know what she thought. I do think—or hope—she’d see that we’ve recognized the depth of her skill and tenacity, the obstacles that she and her fellow female wrestlers had to overcome to survive and thrive in a tough, unfair world, and the fact that she didn’t care about being nice or liked, as so many women do. We didn’t sugar-coat anything or cover up any ugly realities about her less-than-perfect behavior. We captured her strength, resilience, and love of the sport as both an athlete and an entertainer. Mae Young truly did it her way and I think she’d agree that we showed that.

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CAST: Jade Benoit, Hailey Carr, Chris Gibson, Kathryn Kozody, Fred Krysko, Jesselle Lauren, Shaylea Pangle

CREATIVE TEAM: Playwright Wendy Froberg, Director & Fight Director/Choreographer: Chelsea Friesen, Stage Manager: Danelle White, Producer & Dialect Coach & Assistant Fight Choreographer: Brett Waring, Intimacy Director: Anastasia St. Amand, Costume Design: Christie Johnson, Props Manager/Costume Intern: Kaylee Pratt, Dramaturg: Caroline Russell-King Produced by Attollo Productions.

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WENDY FROBERG:  Wendy’s solo shows Interruptions and A Woman of a Certain Age® were each awarded “Outstanding Original Script” at the 2011 and 2013 Calgary One-Act Play Festivals, with AWOAC going on to win “Best of Fest” at the Calgary International Fringe Festival. Her plays, Riches and Best Interests, were produced in 2013 and 2014 by Urban Stories Theatre. She wrote the libretto for the 2015 Cowtown Opera Company production Annie Davidson. Wendy is also an actor who has appeared on stage with Theatre BSMT, Morpheus, Urban Curvz, Fire Exit and Scorpio theatres in a wide range of roles. In addition to working in theatre, Wendy is a registered clinical psychologist. She hopes you, like her, are inspired by the story of Mae Young and her fellow tough broads of wrestling!

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Link Graphic to It's a Wonderful Life at Lunchbox Theatre - Review by James Hutchison

An Interview with Playwright Meredith Taylor-Parry: Book Club II

Posted on by James Hutchison
Playwright Meredith Taylor-Parry – Photograph James Hutchison

“I enjoy writing humour and I like the challenge. At the same time, if the story doesn’t have heart, if nothing serious is going on underneath the humour….what’s the point really? I want my plays to address some aspect of the human struggle that hopefully people can relate to. That’s what I want to see when I go to a play so naturally I aspire to that in my writing.” Meredith Taylor Parry interview Book Club II

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Meredith Taylor-Parry is a Calgary-based actor and playwright whose fun and insightful comedy Book Club was a runaway hit for Lunchbox Theatre back in 2016. At that time I did a two-part interview with Meredith. In Part One we talked about Meredith’s play Survival Skills which won the New Works of Merit Playwriting Contest in 2013 and was produced Off Off Broadway by the 13 Street Repertory Company. In Part Two we talked about Meredith’s play Book Club which was a funny and insightful look at motherhood and the joys and disappointments of life. Now in this third interview, Meredith and I talk about her very funny and moving sequel to Book Club – Book Club II: The Next Chapter, which premieres at Lunchbox Theatre and runs from September 18th to October 7th.

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JAMES HUTCHISON

The first Book Club was a big hit for Lunchbox Theatre and ended up having an extended and sold-out run. Audiences loved it! Why do you think the play resonated so well with audiences? And did you notice any difference in how men and women reacted to the play?

MEREDITH TAYLOR-PARRY

I knew I had a dream team as far as our director, actors, production and design team, but I never once imagined it would do so well! I can’t even tell you how much fun it was sitting in the audience listening to the laughs and waiting for the responses to my favourite moments. That was so exciting for me and unexpected.

I really think the reason the play resonated so well with people was because of the chemistry we had together as a group of artists. Everyone contributed so much to that script in the Stage One workshop process. There wasn’t one person in that room who didn’t add value to the script because everyone was brave enough to share themselves with me. I think that process and the generosity of the artists I was working with allowed me to find authenticity in the script along with the humour.

And, I think, the audiences liked it because they could relate to human beings, regardless of gender.  One of the best comments I got was from a man who said, “good comedy is good comedy.”

Anna Cummer, Cheryl Hutton, Kira Bradley, Arielle Rombough and Kathryn Kerbes in the 2016 Lunchbox Theatre Production of Book Club

JAMES

How soon after Book Club did you start thinking about a sequel?

MEREDITH

I was watching performances of Book Club sell out and I was thinking, better strike while the iron is hot Meredith! I didn’t want to miss the opportunity to approach Mark Bellamy, Lunchbox Theatre’s Artistic Producer, when things were going well, and I had already been working on an idea for a sequel based on a weekend I had spent in Banff with my girlfriends.

I have the BEST group of girlfriends. We’re all moms and we have a lot of laughs together, and I’m constantly writing down ideas when I’m with them. They don’t mind either, they’re very supportive of my writing.

So, I took my idea and managed to scrape together 20 pages of Book Club II and a rough outline and I submitted it to Mark pretty much as soon as Book Club closed.

He was thrilled and considered it for the 2016 Stage One workshop but, due to scheduling issues, we couldn’t get the same team together to work on it. So, he scheduled me in for the 2017 Stage One series AND programmed it for the beginning of this season. He let me know at the beginning of this year and it was very exciting and of course a bit terrifying because I didn’t have a full script yet.

JAMES

What is Book Club II about?

MEREDITH

I wanted to further explore the nature of really good female friendships and examine how that works within one’s marriage.

There’s a special kind of intimacy I share with my girlfriend’s and I’ve questioned how that affects my relationship with my husband. Does he feel left out because I rely on them so much? What about my girlfriend’s spouses? How do they feel?

The first play was all about good girlfriends supporting each other through the messy business that is motherhood. I wanted Book Club II to explore the toll parenthood takes on a marriage and examine where the character’s husbands fit into the complicated lives of these women.

Anna Cummer, Cheryl Hutton, Kira Bradley and Arielle Rombough in a scene from the Lunchbox Theatre production of Book Club II: The Next Chapter – Playwright Meredith Taylor Parry Book Club II

JAMES

Even a good marriage has rough patches and, I think, unfortunately, our society places a lot of unrealistic expectations on our relationships. For example, there’s the idea that our romantic partners should know what we want and feel and think without us actually having to tell them. That’s a romantic notion that doesn’t reflect the reality of marriage or relationships. To make any relationship work, romantic or otherwise, you have to communicate. You have to tell your partner – when you’re hurting – what you need – what’s going on in your life – otherwise they won’t know. So, I guess what I’m asking is whether or not you think that some of the problems people face in their marriages are because the reality of marriage doesn’t live up to the romantic fantasy of marriage? And maybe – now that I think of it – men and women have different expectations of what marriage is?

MEREDITH

Yes, and yes! We are raised on a certain brand of romance. Cinderella has been around for a long, long time! I think we are both unrealistic in our expectations and I think men and women have different expectations for their romantic relationships. I also agree that communication is key. Humans are terrible mind readers yet we easily make assumptions about our partner’s thoughts and behaviours and communicate our needs in cryptic ways.

In the workshop, we did discuss the typical “husband on the couch while wife slams dishes into the dishwasher” scenario. Why doesn’t she just ask for help? Why doesn’t he pitch in without being asked? We also talked about the different expectations for men and women when it comes to emotional vulnerability in communication. I think we’re improving but there’s still a culture of emotional toughness when it comes to boys.

JAMES

Where did the actual story for Book Club II come from?

MEREDITH

It started with the original idea of the characters getting away for the weekend and talking about their marital woes. I talked with lots of girlfriends and a few male friends about their marriages and I also did a lot of reading. There’s a lot of material out there about marriage and relationships! I went back as far as Men Are From Mars and Women Are From Venus, remember that one?

One of my favourites was “How Not to Hate Your Husband After You Have Kids” by Jancee Dunn. So, the story of Book Club II contains bits and pieces of all the research I did and of course it evolved greatly in the Stage One workshop this past June. Curt Mckinstry was extremely helpful with developing the husband character. Once again, I was blessed with a generous artist who was willing to share himself. And, of course, I got the rest of my dream team back as well.

Cast of Book Club II – Anna Cummer, Cheryl Hutton, Kira Bradley, Arielle Rombough and Curt Mckinstry Playwright – Meredith Taylor Parry Book Club II

JAMES

Did you feel any pressure writing the sequel? Were you able to focus on the writing without worrying about it being as big a success?

MEREDITH

The pressure made me sick to my stomach to tell you the truth.  What if number two sucks? But the great thing about a deadline is, you have no choice. I wasn’t going to walk into the workshop empty handed. It was a very intense week, the script was rough and I spent a lot of late nights writing so that I could address the issues that had come up during the day. That kind of intense writing leaves no room for your inner critic to get in the way. I did breathe a sigh of relief at the reading however when the audience seemed to like it. I also completely trust Shari Wattling, my dramaturg/director. She keeps me truthful and she keeps me focused and tells me when I’m drifting off course.

JAMES

I think one of the things that worked so well in the first play was the mix of humour and drama all brought to life by a wonderful cast and a terrific production. And I’d say based on the reading for Book Club II, which I saw back in June, I think you’ve managed to capture that same mix of humour and drama. So, I’m curious when you’re writing is the mix between humour and drama something you do intentionally or is it more of an intuitive process?

MEREDITH

I guess when I’m working I’m always looking for ways to work in funny or quirky bits. I enjoy writing humour and I like the challenge. At the same time, if the story doesn’t have heart, if nothing serious is going on underneath the humour….what’s the point really? I want my plays to address some aspect of the human struggle that hopefully people can relate to. That’s what I want to see when I go to a play so naturally I aspire to that in my writing.

Arielle Rombough, Cheryl Hutton, Kira Bradley, Curt Mckinstry and Anna Cummer in a scene from the Lunchbox Theatre production of Book Club II: The Next Chapter – Meredith Taylor Parry Book Club II

JAMES

It’s been a couple of years since you wrote the original Book Club. In what ways do you think you’ve evolved as a playwright?

MEREDITH

I’m learning more about structure and I’m learning more about the practice of writing. I was an on again off again kind of writer, creating in fits and starts and then buckling down when I had a deadline. But now, I write every day. A play is kind of like a lover, you need to give it attention so that it will give something back. If I give a play attention every day it seeps into my unconscious mind and feeds me new ideas constantly, even when I am not sitting at the computer. And hopefully on opening night, your lover doesn’t screw you over. Ha ha!

JAMES

If you loved Book Club you’re definitely going to love the sequel, but the great thing is you don’t need to have seen the first play in order to enjoy the second play. Both plays stand as full stories on their own. What do you want audiences to take away after they see the new story.

MEREDITH

My hope is that the audience will see a story they can relate to and enjoy a great night of theatre. I hope they will leave with a desire to see more theatre! There are so many spectacular offerings this season in Calgary!

JAMES

Are the girl’s stories going to continue? Is there a full-length play in the works?  A book maybe? A possible television series?

MEREDITH

Good lord, you’re getting way ahead of me. Let’s see how this one goes first, shall we?

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Book Club II: The Next Chapter runs from September 18th until October 7th at Lunchbox Theatre. Performance times are Monday to Saturday at 12:00 noon plus a 6:00 pm show on Thursdays and Fridays. Tickets are $26.00 for adults and $21.00 for students and seniors. Tickets can be purchased on-line at Lunchbox Theatre or by calling the box office at 403-265-4292 x 0.

Lunchbox Theatre 2017/2018 Season

Book Club II: The Next Chapter by Meredith Taylor-Parry
Book Club is back. Get ready for another page turner.
September 18 – October 7, 2017

During a weekend getaway where the girls talk about creating a Mommy Commune and Lisa runs into an old boyfriend, the girls of Book Club have to examine what marriage and sisterhood truly means to them.

CAST

Kira Bradley – Kathy
Anna Cummer – Ellen
Cheryl Hutton – Lisa
Arielle Rombough – Jenny
Curt Mckinstry – Barry / Bartender / Colin

CREATIVE TEAM

Meredith Taylor-Parry – Playwright Book Club II
Shari Wattling – Director
Chris Stockton – RBC Emerging Director
Terry Gunvordahl – Scenic & Lighting Design
Rebecca Toon – Costume Design
Allison Lynch – Sound Design
Ailsa Birnie – Stage Manager
Ava Bishop – Production Assistant

Flight Risk by Meg Braem
One man’s heroic journey to find peace.
October 23 – November 11, 2017

World War II veteran Hank Dunfield is about to celebrate his 100th birthday, but painful memories of his time as a tail gunner during the war don’t make him feel much like celebrating. Only his new nurse Sarah is finally able to get to the heart of Hank’s pain and sorrow and help Hank find peace with the past.

The Santaland Diaries by David Sedaris, adapted by Joe Mantello
The is one elf that won’t make the nice list.
November 27 – December 23, 2017

An out-of-work actor in New York city takes a job as an elf in Macy’s Santaland Village and reveals all the crazy and hilarious behind-the-scenes shenanigans of the holiday season. A Christmas comedy for the little bit of humbug in all of us.

Inner Elder created and performed by Michelle Thrush
One woman show for all people.
Co-Presented with the High Performance Rodeo
January 15 – 27, 2018

Using real memories about her Grandmother’s impact on her life, award winning Calgary actress, Michelle Thrush takes audiences on a journey of discovery. A journey where we see the transformation from child to elder and learn that for everyone laughter is the best medicine.

Ai Yah! Sweet & Sour Secrets by Dale Lee Kwong
Dinner is served. So are juicy family secrets.
February 19 – March 10, 2018

When her father invites a surprise guest to celebrate Chinese New Years more than one family secret comes out of the closet and Chinese-Canadian Jade Wong is caught between being true to herself and living up to her family’s cultural expectations. A funny heart-warming story for anyone who has ever faced an awkward family dinner.

Miss Caledonia by Melody Johnson
This story will be over in an hour. Her Hollywood dreams may be too.
April 2 – 21, 2018

Peggy Ann Douglas dreams of becoming a Hollywood movie star and leaving behind all the stall cleaning, hay-baling drudgery of her 1950’s life on Rural Route 2. Step one is to sing, twirl and pivot her way to being crowned Miss Caledonia in the local pageant!

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Playwright Meredith Taylor-Parry

Meredith Taylor-Parry is a playwright based in Calgary, Alberta. Her plays include So Long, a TYA play which toured Calgary and area schools in 2012 with Sandbox Children’s Theatre, Survival Skills (Winner New Works of Merit Playwriting Contest 2013) which was produced Off Off Broadway in 2014 by the 13 Street Repertory Company NYC and Devices which was produced as part of the 27th annual New Ideas Festival presented by Alumnae Theatre in Toronto. Her one act comedy, Book Club, received its world premiere at Lunchbox Theatre in Calgary in 2016, performing for a majority of sold-out audiences and held over due to the play’s popularity. She is looking forward to returning to Lunchbox with the sequel this September: Book Club II: The Next Chapter. Meredith is a co-founder of Bigs and Littles Theatre Society and a stay-at-home mom to 11 and 12-year-old girls. She is currently pursuing her MFA in Playwriting at the University of Calgary.

Lunchbox Theatre

Bartley and Margaret Bard and Betty Gibb founded Lunchbox Theatre in Calgary in 1975. Lunchbox delivers a fun and unique experience to its audience – upbeat performances in an intimate and comfortable atmosphere. Patrons are encouraged to eat their lunch while they enjoy the show. Lunchbox Theatre focuses on the development and production of original one-act plays; many of which are written by local Calgarians.