True Love Lies Read online

  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.