Leaving Home in Orillia

February 9th, 2012 § 0 comments permalink

Break a leg to the cast and crew of Mariposa Arts Theatre’s Leaving Home, which opens tonight at the Orillia Opera House. Paul Blanche, who plays Harold in the show, sent me a copy of the beautiful poster he designed for the production:



 

Michael Clipperton, the director, wrote an article for the February 2012 issue of The Green Room that gives some insight into the cast’s rehearsal process. He’s kindly given me permission to quote from the piece here:

“In his first play, Leaving Home, which is based in part on his relationship with his father, the late playwright David French presents a story of troubled relationships, unspoken desires, and consequences of epic proportions.  He also gives us some earthy bawdiness, some classic Newfoundland humour, and an unbridled joie de vivre. Among the questions that he asks are: What is a family?  What does it mean to be a father? A mother? A son? A daughter? A husband? A wife? What does it mean to work all your life to support your family, and suddenly see that family break apart?  What does it mean to be so angry that you strike the person you love most? What does it mean to feel trapped in a situation that is beyond your control? Delving into the world of the Mercer family has revealed many things to me and to the cast and crew.  It has been a thought-provoking, laughter-filled journey…”

 

The show has eight performances, Feb. 9 to 12 and Feb. 16 to 19. Tickets are available from the Orillia Opera House box office, 705-326-8011 and online at www.orilliaoperahose.ca.

Preview Night

January 27th, 2012 § 1 comment permalink

The wonderful Bill Kennedy posted this tribute to David on Facebook last year under the title “A Death In The Family.” I am grateful to be able to post it here as well.

Scowling at the now empty stage, the man sat two thirds of the way back, as the audience, laughing and chatting, left for the lobby.  It was the end of Act I of the preview of the comedy Jitters at the Soulpepper Theatre in Toronto.  I watched the man, concentrating on the stage as though the actors were still there.  In his mind they were.  This was the man who had woven together his own experience as actor and playwright and  had run this play through his mind a thousand times as he revised and revised, boiling it down to its essence.  This was David French.

 

I walked over to the row he was seated in and sat down a respectful distance away, not wanting to disturb his train of thought.  I had met David through an introduction to dramatic writing course given by his partner, Glenda MacFarlane and I had emailed them a couple of times.  After a while he acknowledged my presence.  “There’s a lot of work to do yet,” was all he said.  This despite all of the laughter that had just come from the full house.

 

David was like that:  intense, passionate, uncompromising, as much a rock as the place where he had been born.  When he visited our class, we all talked about our current projects.  When I described mine, he said, “A novel maybe, not a play.”  He was right.  That comment made me start over from scratch, because after listening to him, all I wanted to do was write a play.  David’s approach was classical theatre:  a single protagonist with an all-consuming desire, facing overwhelming conflict and equipped with only their intelligence and feelings.  Salt-Water Moon features two actors on one set in one evening.  “The challenge,” he explained, “was that this story took place before my previous play, so the audience already knew the ending.”  Yet, even knowing not just the ending, but also the whole play, I was still riveted to my seat.  I took my family to see it at Soulpepper.  With two teenagers, it can be difficult to find something that engages all of us.  This play was an exception.  The conversation all the way home centered around the play and the two characters.

 

You can picture yourself in a French play.  Whether you see yourself as the parent or the child, the young lover or the frustrated patriarch, he spoke to all of us.  Each character is presented with understanding and compassion, true to all of the frailties and strengths of the human condition.  You can’t leave one of David’s plays untouched by the experience.

 

We will miss him.

“A Heart That Never Hardens”

January 27th, 2012 § 0 comments permalink

Dorothy Ward, voice coach extraordinaire and a friend of the family, sent a beautiful email to Leslie about David. She has given us her permission to quote part of it here. It’s particularly appropriate just now, as February 7, 2012 marks the bicentenary of Dickens’ birth.

A quotation fell out of a book I was reading this morning and suddenly I was aware of David’s presence.  Of course I had to share this.

The quote is by Charles Dickens:
“Have a heart that never hardens, and a temper that never tires, and a touch that never hurts.”

On our infamous car ride together he talked to me about how important it was to read great literature to learn about the craft of writing.  I asked him who inspired him and he said without a moment’s hesitation, “always I return to Charles Dickens – it’s all there.  He’s the master.”

And so, on a cold, stark morning I am given this blessing.  And I wanted to write of it. His legacy is in his plays, the characters he gave us through his own joy and pain – to teach, to reveal, to change us.  In a half hour car ride he left
an indelible mark on me.

Playwright to Playwright

January 22nd, 2012 § 0 comments permalink

Recently I had some correspondence with playwright David Gow. In one of his emails, he mentioned meeting David. He’s kindly given me permission to quote the email here:

I was sorry to hear of your David’s passing. I was an admirer of his for some time and he had kind words for me once, having seen something of mine, very kind and encouraging words, which meant a lot to me. In a way it was a humbling moment. “Here is a great writer…” I thought, “who is telling my work is good”. Like the jerk of an elevator, I felt lifted and sobered one moment to the next, and remember the twinkle in his eye and humour which said in effect “we’re on the same ride”. A blinking moment, drinking in another man’s appraisal of my chops, a man whose writing I thought was above all the other writing for the stage- that I had heard under our flag, and great writing by any flag. David was born the same year as my father, and essentially, yet young by today’s standards. Great that he achieved so much and broke so much ground for so many of us to follow planting in.

David Gow

David’s Favourite Books

January 20th, 2012 § 4 comments permalink

Mark Twain

Jack London

Papa Hemingway

 

The only two books in the house when David was growing up were the Bible and the Book of Common Prayer. He used to read the Bible aloud to his Granny French, who was losing her sight — David said she was particularly fond of “The Song of Solomon.” David often spoke about the beauty of the poetry in the King James version, and you can see the influence of it on his own work.

He discovered fiction when he was in Grade Eight. Before then he’d been far more interested in sports than literature, but one day when he was acting up in class, his exasperated teacher told him to go get a book and to sit down and read it. David happened to pull Mark Twain’s The Adventures of Tom Sawyer from the shelf…and he was hooked; he loved Twain from that moment forward. A couple of weeks ago I noticed that we have two huge Twain compendiums on our bookshelves! I’m sorry David never got a chance to read the recently released Twain autobiography, which I’m sure he would have been very interested in. Reading Twain really did change his life — he said that before he’d even finished Tom Sawyer, not only did he know he wanted to be a writer, he knew that he was one.

David’s next big literary influence was Jack London. After reading his way through London’s adventure novels, David decided to head out on an adventure of his own. He and a friend hitchhiked to Vancouver, hoping to get work on a tramp steamer. David was fifteen at the time! Unfortunately (or fortunately,) the only job he could manage to land was working on one of the local ferries – and that came to an abrupt end when authorities discovered he’d lied about his age. He made it back home to Toronto in time for school in the fall.

In his 20s, David idolized Hemingway. He finally did make a sea voyage, and spent a month in Paris, where he lived on one meal a day (breakfast, which was included with his accommodation,) and retraced the steps of Hemingway and other “Lost Generation” writers like Fitzgerald, Callaghan, and John Glassco. As a young man David wrote a novel that was much influenced by Hemingway. It’s never been published, but it’s a wonderful bildungsroman about a group of friends who travel from Toronto to Carnaval in Quebec City.

Anton Chekhov

David read plays and books about playwrights, including everything he could get his hands on about Shakespeare’s life and work. When he talked to playwriting students David would ask them which playwrights they admired — and he was frequently irritated when they couldn’t come up with more than one or two names. He used to say that reading good plays was one of the best ways to learn how to write them. Sometimes David would take a break from working and walk to Theatrebooks to buy whatever plays looked new and interesting. He had a comprehensive collection of drama, from Aeschylus to Neil Labute, and everything in between. Chekhov, to whom David is sometimes compared, was a particular favourite.

Stephen King

Stephen King was one of David’s favourite contemporary authors. He liked Salem’s Lot in particular, and bought each new book in hardcover as soon as it appeared. I read the new one (11/22/63) a couple of months ago, and all the while I kept thinking about how he would have enjoyed it. David also loved mysteries, and there are a lot of those on our shelves, too — PD James, Peter Robinson, Giles Blunt, Rennie Airth, and many more. David was working on a mystery set in a small Ontario town before he got sick, and having a lot of fun writing it.

Near the end, David was having trouble with his eyes, so we started reading books aloud together. We finished Faulkner’s Light In August while riding out chemotherapy side effects…and we were about halfway through Treasure Island when he died.

There were, of course, so many other books David loved…the books I love best are the ones that have “David French” on the spine.

 

Students Review Salt-Water Moon

November 19th, 2011 § 0 comments permalink

The National Arts Centre’s production of Salt-Water Moon has had uniformly wonderful reviews in the press. I posted links to several of them on David’s Facebook fan page at: http://www.facebook.com/pages/David-French-Playwright-1939-2010/110950725649498 (Please “Like” this page if you’re not already a fan.)

Yesterday Sean Fitzgerald posted some reviews by Ottawa high school students on the NAC blog. Some of the reviews are raves, some not so much! But because the characters of Jacob and Mary are teenagers in Salt-Water Moon, it’s interesting to hear what 21st century teens have to say about those two young people of 1926.

STUDENT REVIEWS FOR SALT-WATER MOON  

Posted by Sean Fitzpatrick in English Theatre

October 26th, 2012 was the NAC’s student matinee of Salt-Water Moon.  In the audience that day was Nadine Dawson and her students from Gloucester High School. The next day Karen Gilodo, NAC English Theatre Education and Outreach Coordinator, visited their classroom for a discussion on writing play reviews. She was very impressed by the students’ observations of the show and asked if we could share some of them for the NAC Blog.

Here are some quotes from their play reviews.

“The play is easily a play that almost anyone could like, it is full of humour that is easily understandable and emotion that is expressed so well you feel as if what you are watching is a real situation.” – Jake.

“…Max-Otto Fauteux the set designer, created an almost whimsical looking porch, with different dimensions and levels which created more visual interest not just as a background but also with Mac and Gauthier-Frankel’s performance…Salt-Water Moon has been played across Canada and around the world since 1984 but I definitely believe that the NAC was able to put their own stamp on this classic Canadian play.”  – Emily

“Salt-Water Moon portrayed a profound sense of love and the beauty of it. Using technical elements to refine artistic interpretations and having been carefully directed by the elegant hands of Micheline Chevrier, the play has resulted into a spectacle. Using only two actors, David French conveyed all emotions one would feel during such circumstance. In conclusion the play is a worthwhile teaching of compassion, the importance of memories and the everlasting bind love can emit, and is without a doubt a worthwhile expenditure of time and money.” – Tanvir

“As far as my review of the play goes, Salt-Water Moon combined both humour and charm fairly well in under a two-hour time span and I would definitely recommend it to anyone who is a fan of romantic comedy. This play targets both the issues of today and the issues of tomorrow very well in my opinion. Once again, I was engaged in the dilemmas of both Mary and Jacob and by the end of the play I had learned a lot about both Jacob and Mary’s relationship with one another. I was surprisingly satisfied.” – Taras.

“Overall, this was quite a fine production that I will rate eight stars as this heartwarming play appeals to all ages and its humour leaves you satisfied.” – Zaineb

“Jamie and Holly made a excellent performance considering they were the only two actors onstage. They managed to express their roles and make us laugh at the same time.” – Jonathan

“The October 26th Salt-Water Moon play at the NAC was a special play for Gloucester High School to attend. The general public was accompanied by other high schools from Ottawa. What I would like to know is if the public enjoyed our company or not?”  – Jack

“The only exciting thing that happens in the play is when the characters argue. To summarize the play in simpler terms, Jacob and Mary argue for two hours and then they make up. The play ends very abruptly.” – David

“In this play Mary Snow was deeply hurt by Jacob’s abrupt departure, so Jacob tries to win her heart (impressing her)…Many things I liked about the play including the setting, the lighting, the sound, characters, direction, costumes.” – Amna

“…The performers did a great job. I respect them for the emotion they put into the performance. I don’t know how Newfoundland was in 1926 bit I think they nailed it. I give this a 3.5/5.” – Damien

“I won’t reveal much about the plot, but I will say that Salt-Water Moon truly is a romantic comedy, with Mary providing the romantic aspect and Jacob the comedic. The story is about young love, which almost all of us can relate to, and will leave some in tears from both the hilarity and the heart.” – Devan

“…Jacob leaves and it is a very sad moment in the play…or so I thought. Mary starts to cry and yell out “Jacob!!!” and me and a lot of my other classmates thought this was funny even though it was probably meant to be serious. That’s why I think this play is more directed toward an older age group 20+, unless you like dramatic/romantic plays that keep you on edge for the whole time. In total though, I liked the play and I would give it a 7/10.” – Nick

“I found the play rather entertaining. It only had two people in it, a man and woman. They were both terrific. The man had an air about him as if he were king of the land. The woman however acted as if she thought nothing of him for most of the play. At the end she makes him leave but then calls him back. I liked this about the play since if it ended with him leaving there would have been no point to the story considering the whole play was based on him trying to get her back.”  – Noah

“To me, the play had many similarities to The Taming of the Shrew by William Shakespeare. What I would have suggested to the actors if I had the chance; I would have told them to be less outgoing. I thought their acting was rather melodramatic, so if they toned it down, it would’ve passed off as believable. However I was thoroughly impressed with the acting when Mary screamed out Jacob’s name in desperation.” – Roya.

[Karen Gilodo is Education and Outreach Coordinator for English Theatre at the National Arts Centre - Ed.]

First Performance of Jitters Tonight!

November 15th, 2011 § 0 comments permalink

Jitters is on at 8 PM tonight at the Belfry Theatre in Victoria. Here’s a photo from the show. Love the costumes!

Norman Browning, Kyle Jespersen, Ted Cole and Gerry Mackay (standing) in Jitters by David French / Photos by David Cooper

Getting Jittery in Victoria

November 12th, 2011 § 0 comments permalink

Jitters opens at the Belfry Theatre next week, with the first performance on Tuesday.

The production stars: Lindsey Angell, Norman Browning, Jason Clift, Ted Cole, Dean Paul Gibson, Kyle Jespersen, Gerry Mackay, Laurie Paton, and Hazel Venzon.  It’s directed by Patrick McDonald and stage managed by Kim Charleen Smith; the set is designed by Charlotte Dean, the costumes by Nancy Bryant, and the lighting by John Webber.

Jitters, which is loosely based on David’s experiences with the first production of Leaving Home, is one of the funniest shows ever written. I hope that cast and crew are having a lot of fun in rehearsal! Here’s a photo of Kyle Jesperson as Robert, the frantic playwright:

 

Some Reviews From Ottawa

October 26th, 2011 § 0 comments permalink

The National Arts Centre production of Salt-Water Moon has been getting some terrific reviews. I’m going to paste some links below:

Ottawa Citizen review by Patrick Langston

Apartment 613 review by Andrew Snowdon

The Charlebois Post review by Jim Murchison

The Visitorium online review. (Warning: Some salty language in this one!)

ARTchoo mini-review

Photos From Writing Home

October 24th, 2011 § 0 comments permalink

Here are a few photos from Friday night’s opening at the National Arts Centre. These feature the opening of the “Writing Home: David French” exhibit that took place just prior to the opening of Salt-Water Moon.

Curators Michael Wallace of Theatre Museum Canada & Judi Pearl of the NAC with Glenda and Mary

Some of the exhibit's displays

 

Map of Canada highlighting SWM productions

The view from above

French family members

The photos from the celebration are by photographer Michel Dozois; the ones of the exhibit alone are by Yannick Beauvalet.