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Certified

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Author’s Note: The following is an excerpt from the solo play Certified, written and performed by Jan (JD) Derbyshire. In this interactive piece, the audience is endowed as a Mental Health Review Board and determines JD’s sanity by the end of the show. The work premiered at the Vancouver Fringe Festival in 2016, was reworked and presented by Handsome Alice Theatre in Calgary, 2018, and reworked again for The Uno Fest in Victoria 2019 and the FoldA Digital Arts Festival, Queens University, Kingston. The show will be part of Vancouver’s Touchstone Theatre’s 2019/20 season and One Yellow Rabbits High Performance Rodeo in 2020. The play was used as inspiration material for the fictional memoir Mercy Gene; the man made making of a mad woman. The book awaits publication.

*

JD: OK. Being certified insane means being kept against your will in a psychiatric facility. You are incarcerated but inside a hospital. Less bars, mostly just on the windows. And no guards, just nurses, but male nurses, big male nurses. A lot of ex-biker gang guys, who get sober and become psychiatric nurses. FYI. The long and the short of it is this: you are certified to protect yourself from yourself. And sometimes to protect others from you. More later. You start out being certified for 72 hours, three days. And if things still aren’t looking good, you are certified for 30 days, and that 30 days can be reviewed and renewed until you are no longer a danger to yourself or others. Following so far? Great.

Now, there is something called a Mental Health Review Board. At any time during your enforced stay, if you feel like you’re not crazy anymore, you can make your case to a Mental Health Review Board. If they agree with you, they’ll let you go. If they disagree they’ll make you stay.

I never went up against a Mental Health Review Board when I was certified insane because, at that time, I was also suffering from the lowest self-esteem of my life. People thought it was about the Stigma but I blame the paper slippers. It’s hard to have any game in paper slippers. I’ve always thought that would be great though, to be told you’re sane again. I mean even when they let you go from the hospital, they don’t certify you sane. I think there should be some kind of paperwork or at least a rubber stamp across your forehead … SANE. Maybe it just shows up under black light or something. I’m a little ashamed to say, but even though it’s been years since I was certified insane, I want that. I want some people on the outside, looking in, to tell me I’m sane.

I believe I am sane now. I know that’s all that should matter. But, hear me out. One of the symptoms of psychiatric illness is thinking you don’t have one, when really you do. This is why I need your help. You are my Mental Health Review Board. Usually, it’s composed of three people: two psychiatrists and a mental health professional like one of those Hell’s Angels nurses. But I wanted a wider diversity of humanity to determine my sanity and I really couldn’t think of a group more suited to the task than people who still come to live theatre.

Did everyone get three cards on their way in? One red, one yellow, and one green? Great. When all is said and done, you will vote on my sanity with those cards. When asked to do so, you will hold up a red card if you think I’m still certifiably insane. You will hold up a green card if you think I am sane. Go dog go. You will hold up a yellow card if you aren’t quite sure but think I should proceed with caution. And please don’t worry about getting it exactly right. Psychiatry isn’t a precise science. There are no diagnostic tests to prove or disprove that you have a mental illness. Diagnosis involves what we call educated guesses.

So relax, have fun. Turns out close doesn’t just count in horseshoes and hand grenades, it counts in psychiatry, too. What else? Oh, absolutely everything is up for grabs to help you figure out if I’m still crazy after all these years: my appearance, my grooming, clothing, facial expressions, gestures, speed of movement, sense of calm and ease, where I pause, where I stumble, how I say what I say, how I look at you, where I look at you, what I take seriously, and when I’m glib. I love that word: glib, glib, glib.

I will now set a timer for 50 minutes. Why? Because that’s precisely the amount of time you have to prove yourself in front of a real Mental Health Review Board. Not that you’re not real. I know you’re real.

So what the fuck happened? Thanks for asking.

(JD on mic)

In the worst of it, thoughts, ideas, feelings, fly over the corpus callosum like cows gone mad in an endlessly repeated nursery rhyme. There’s always some cat playing fiddle on the corner and a good sport of a dog laughing. For culinary reasons outside sanity’s protocol, the dish always runs away with the spoon. The fork and the knife remained, gleaming for the attention they felt they deserve. “Avoid sharp, pointy things,” one of the airborne Bovines reminds on her last pass over the moon. And this piece of advice makes the most sense of the trillions of synapses and snippets of sayings and opinions and trivia fighting to be heard in your head. Facts and fictions merged into factions. Run on sentences start limping badly. Memories surface like milk-soaked photos, you can’t even begin to see what they might have been. It’s a cerebral dog’s breakfast, brought to you by Kellogg’s: snap, crackle and pop. Logic hides in the bomb shelter, rage riots, moments are stolen. You try calling the mental police, but you can’t remember the number. 8 … 8 … 86 … 867 … 8675 … 8675309. (sing) 867-50309. Jenny, I found your number, oh no, not Jenny, not now. Outside the window, the grass growls, you can hear a squirrel’s heartbeat, the leaves on the cherry trees scream green. The emotional rollercoaster kept on going. (carney voice) “Do you want to go faster?” Fuck Yeah!

You fly off your amusement park moorings, overshooting the sound of mind completely and landing in the street with nothing but a pack of cigarettes and a rant. You start batting Starbuck’s coffee cups out of people’s hands, denouncing them all as addicts of North America’s most insidious drug … coffee. You pop up on a metal paper box and pontificate on the dangers of caffeine. “Caffeine does not give you energy. It stimulates your nervous system and that’s not energy, that’s stress. The energy you get from caffeine is on loan from your adrenals and your liver and the interest you pay is high: anxiety, depression, hypertension, hypoglycemia, mood disorders, say what? So give it up Starfucks, Starfucks, Starfucks.”

(JD mimes knocking coffee cups out of hands in slow motion)

It was sort of like that, from what I can remember.

I vividly recall what happened next. Some handsome boys in blue came, put some lovely matching bracelets on my wrists, gently helped me into the back of their pumpkinah, a squad car—and took me to the hospital. I was admitted against my will.

Section 34, Mental Health Act. R. S. B. C. c.288
Reasons for Involuntary Admission.

A medical doctor signs a medical certificate to keep you because the medical doctor is of the opinion that a) you are a person with a mental disorder that seriously impairs your ability to react appropriately to your environment or associate with other people, b) you require psychiatric treatment in or through a designated facility, c) you should be in a designated facility to prevent your substantial mental or physical deterioration or to protect yourself or other people, and d) you can not be suitably admitted as a voluntary patient.

And then things got weird.

(JD moves to mic. Sung to tune of Girl from Impanema)

Lithium adds some Zyprexa
Serequel twinned with Effexor
Respiradol, Zyban and Prozac too.

Wellbutrin, Xanax and Paxil
Tegertol and Chlorpromazine
Olazepine, Ativana and Celexa.

Oh what a wonderful feeling
To hit an emotional ceiling
Never too high or too low
Numbed out with nowhere to go.

(The music becomes distorted as JD’s body slowly collapses and slowly shuffles just past centre stage. When the music stops she stands tall again)

I was definitely calmer.

England and Theatre, My Neverland

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“England” (from Traveltheatrics)

Author’s Note: TravelTheatrics is a storytelling show written and performed by solo performer Keara Barnes, who enacts six of her travel stories and encompasses 18 different characters. It continues to tour around Canada. “England” is the opening story from TravelTheatrics and Keara would like to dedicate it to her stalwart mother. “Theatre: My Neverland” is dedicated to the audience members that keep theatre alive.

*

My name is Keara.

I am the child of two immigrants.

Two adventurous souls who found each other on the other side of the globe.

England, the lair of Shakespeare, produced my Father.

Ireland, isle of the storytellers, created my Mother.

Canada, our multicultural country, conceived me.

Travel trickles through my blood.

My bones burst with stories.

To me, travelling and storytelling and theatre all centre on the same thing.

Moments of connection.

To each other, ourselves, the world.

Uniting the three like roots of a tree that when connected, flourish, but when disconnected, the tree deteriorates, and the wood slowly decays.

It is dead inside, no longer able to thrive, and I have been at this point many a time.

My soul has struggled to survive amidst a dark wood where the only echo is “you can’t,” instead of “you could.”

But amidst the darkness I have sought out light, and initiated a spark to make that blaze bright.

The resulting fire then conspires to bring us lost souls together.

The embers crackling like laughter.

Stories are our flames.

Theatre is my spark.

And travelling is my fuel.

___

England: Wet, Pebbly, Enchanting.

My first international trip.

I’m six years old with an imagination on the go.

The Barnes family rents a lovely cabin in the seaside town of Selsey, trees dotting the beach like straws in a cocktail.

The ocean breeze is inexplicably alive as it snakes through every orifice, every pore, invigorating me in a way I’ve never experienced before.

Nothing is amiss.

And OH MY GOD they have candyland!

Now this is bliss.

I make a friend, Katie, her straight dark hair framing huge brown eyes, wide open with excitement as we skip through the sand searching for those perfectly rare sea shells.

KATIE: Would you like to build a fairy house?

KEARA: Yeah!!! (Pause) Um, what’s a fairy house?

KATIE: You don’t know what a fairy house is? We have them all over England.

KEARA: Uh … ya I do! It’s … a house for fairies?

KATIE: Precisely!

Turns out I’m smarter than I showed!

It’s not exactly the Enigma code.

We scour and scrounge for our perfect treasures, our amused parents overseeing fondly from afar.

We find a rivet in a sandbank, a perfectly hollowed-out shelf on which to construct our dreams.

KATIE: First we have to place the shells around the house like furniture. Then we leave it overnight for the fairies to move around as they please. We have to come back every day until it stays the same as the day before and that means the fairies like it.

KEARA: Wow. How do you know all that?

KATIE: I’m British. We know everything.

KEARA: No wonder my Dad always has the right answer.

KATIE: See you tomorrow, Keara! Fingers (crossed)!

KEARA: Fingers (crossed)!

The following morning I fly across the sand, wings bursting from my sides, towards my magic mentor, the six-year-old fairy guru who stands overseeing our creation.

I’m nearly there, it’s about time to decree–

KATIE: It’s changed! See!

Sure enough, the furniture has been rearranged.

Pieces have been plucked and carefully placed, changed, but with a thoughtful purpose.

KEARA: Did you move it around?

KATIE: No! It wasn’t me, it was the fairies.

She is so earnest and sincere, I feel a sudden and immense revere.

Maybe, just maybe, there really are fairies here!

I suddenly feel nauseous and hot. Is that a spot?

I’m just overwhelmed. This is a lot.

KATIE: Would you like to come get some ice cream?

This is clearly the girl of my dreams.

One mint chocolate cone down the hatch, with candyland spread across the ground, I feel the dizziness return.

Ignoring it, I protest as I’m scooped off to bed.

And as I slip into sleep, to a land where magic has always been, I grin at realizing for the first time, it’s not just within.

Magic is real.

(KEARA starts vomiting)

The flu. AND chicken pox.

Then, the storm hits.

Our perfect family vacation suddenly plummets into chaos.

The rain menacingly lashes, the ocean dashes threatening waves at our door like meteors headed to earth.

CLAIRE: Jesus, Mary and Joseph, Alan will ye go and do something about the power!

ALAN: What the bloody hell do you expect me to do about it, Claire?

KEARA: I’m scared! (She scratches her arms)

CLAIRE: It’s alright pet, the storm will pass soon.

ALAN: I told you, stop scratching or you’ll look like a cork board when you grow up!

KEARA: But I’m itchy! (She throws up)

CLAIRE: Oh for the love of god, Alan will ye grab another bowl, she’s filled this one up already.

ALAN: For Christ’s sake, I can’t see anything in the dark!

KEARA: Am I gonna die? (She throws up again)

CLAIRE: Will ye stop, you’ll be fine you just need to keep your medication down! Alan!

ALAN: Alright, alright! Bloody hell-Ow!

CLAIRE: Alan fer fecks sake what are ye doing over there?

ALAN: I’m trying to find a bloody bowl like ye told me to!

CLAIRE: RIGHT! That’s it! Alan sit down. Keara bend over. Your not going to like this but lord have mercy, here come your pills!

Thanks to my cool-handed Mother, I get better, my body finally unfetters from its illness.

My fear of death having now passed, I re-focus on the fairies, who I need to get back to fast.

KEARA: I’m back! How is it?

KATIE: There you are! I’ve been waiting ages for you! Shall we look together? On the count of Three. One …

KEARA: Two…

TOGETHER: Three!

It’s gone. The storm destroyed the fairies home.

This is the first heartbreak I have ever known.

KATIE: I hate you storm! I’m glad you’re dead!

KEARA: Stupid Storm! If you ever come back, my Mommy’s gonna make you take YOUR pills!

We set to work re-building our dreams, which is something always worth doing if they are big enough.

KEARA: How long does it usually take until they like it?

KATIE: I don’t know. It’s always different.

KEARA: But … I have to leave tomorrow.

KATIE: Oh. Me too.

My first day on the beach, I found the most perfect shell. Smooth and pale pink, I have been envisioning its new home on my bedside table.

It will be a vessel through which to hear the sea, while I snuggle up in bed, cosy as can be.

(KEARA pulls the shell out of her pocket)

KEARA: Here. Let’s use this.

KATIE: It’s perfect!

KEARA: I know.

(KEARA places the shell in the house)

KEARA: See you in the morning. Fingers (crossed)!

KATIE: Fingers (crossed)!

The following morning, I am very calm approaching the house.

I think, even if we fail, I tried my best.

And in that moment, that became my new life manifest.

Once again, Katie has beat me there, standing before the house like a mother bear.

Katie excitedly points at the fairy house.

Nothing is astray. And my pink shell is exactly where I placed it yesterday.

KEARA: We did it!

KATIE: They really like it.

We quickly wet some sand and seal up the fourth wall, save a small entrance for someone no bigger than a doll.

KATIE: Done. Now it’s their home forever.

KEARA: Will you ever come back to visit it?

KATIE: No. We always go somewhere different every summer, and I build a new fairy house.

KEARA: Do you ever see the fairies?

KATIE: Sometimes. If I close my eyes and then open them super fast. I can just see them disappear.

KEARA: Wow.

KATIE: I gotta go. Thanks for being my friend. (Pause) I’ve never built a fairy house with anyone before. I’ll really miss you.

KEARA: I’ll miss you too.

And with that, she leaves.

It’s like watching Peter fly back to Neverland, but Tinkerbell has found a new home.

And I, Wendy darling, have gone on one great adventure.

And now, that it’s all over, I know this to be true.

I do believe in fairies, I do, I do.

*

“Theatre, My Neverland”

Darkness.
Then dazzling light.
Magic is within your sight.
The energy shifts, your interest is captured, enraptured.
You are entranced, forevermore enhanced.
It speaks to you, guides you over to the window and pushes you out.
And though you have doubt,
You trust in its power; its unassailable influence,
Keeping you safe yet vulnerable.
Anything but comfortable.
You are flying among the stars.
Over parked cars and jazz bars.
Destination: Neverland.
The journey is carefully planned,
Not a moment astray.
The cold night air takes your breath away.
You relax and then tense,
Putting up a pretense that you are unaffected,
But we are all connected,
Feeding off the same energy.
Soon all of this will be a memory.
Stay engaged, stay present.
It’s not always pleasant
But that’s life.
Rife with unending strife.
And that is precisely why we are here.

Playing Ball

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Author’s Note: Playing Ball was one of four libretti that I wrote while taking part in Tapestry Opera’s Composer-Librettist Laboratory (Lib-Lab) in the summer of 2016. It was presented as part of Winter Briefs in December 2017. Composer Norbert Palej and I wanted to create a piece with few words. I proposed a scenario featuring a woman visiting her convalescing father who had lost the power of speech. At the time, I was reading the World War II novel All the Light We Cannot See by Anthony Doerr. It contains a powerful story line of a father protecting his young daughter. In the opera, the daughter reads while at her father’s bedside and can’t help but be almost jealous of the relationship depicted in book. At the same time, the father tries to express his love and regret for their strained relationship. The daughter can’t understand his garbled words. The only communication they share is when he drops his therapy ball and she gives it back to him again and again.

*

The scene opens in a bedroom in a nursing home. TABITHA is placing a rubber ball on a nightstand. KEN (her father) sits in a wheelchair. Tabitha hums while she is combing his hair. Tabitha finishes combing. She puts the ball into Ken’s hand and has to wrap his fingers around it. He squeezes it rhythmically. It complements the tune that she is humming. Tabitha sits in an arm chair. She stops humming. A moment passes as Ken continues to squeeze the ball. She reaches into her purse and takes out a thick novel which she starts to read. Another moment passes.

Ken looks at her. He drops the ball. She gives it back to him and goes back to reading. He drops it again.

She returns it. They do this continuously throughout her aria. Reading, dropping the ball, putting it back in his hand.

TABITHA: This one is set in World War Two.
A little blind girl leaves Paris with her father before the occupation.
I like stories like this.
Where a father shows so much love for his daughter.

(Ken doesn’t drop the ball.)

Don’t want to play anymore?

(She settles into the chair and reads.)

KEN: (garbled, unintelligible) I do love you.

TABITHA: What?

KEN: (garbled) I do love you. And I’m sorry. Please forgive me.

TABITHA: Right.

(She stands. He looks at her hopefully. She opens the blinds to bring in the sunlight.)

Better?

(Ken doesn’t answer. She sits and starts reading. After a moment, he drops the ball. She picks it up and puts it in his hand. She settles in the chair and goes back to reading while humming. He drops the ball. She ignores it and continues reading.)

Developed in Tapestry Opera’s Composer-Librettist Laboratory, 2016
Performance: Tapestry Briefs: Winter Shorts, December 2017
Director: Michael Hidetoshi Mori
Composer: Norbert Palej
Performers: Jacqueline Woodley and Keith Klassen
Videography: Darren Bryant

Seven Pieces

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Author’s Note: Seven Pieces is an interdisciplinary play about hope and healing. Through physical, vocal, breath, and sound languages, as well as humour and text, Seven Pieces theatrically explores the effects of dissociation from one’s Self and Body as a result of childhood sexual abuse through the portrayal of Kate and her child self—Katie. The presence of an elephant in this story plays a key symbolic role on this journey, further illuminating the consequences of lost matriarchy, family, identity, and belonging. Throughout the play, Kate explores the many seeds of dissociation perpetuated in her childhood home, including the denial of their Métis roots, the dull, distant disconnect to their French Canadian culture, and the powerful force of religion as the shield between secrets, truths, and what we refuse to see. This is a story of courage, healing, and the reclamation of a woman with the child she was, and with her Body.

*

SCENE: BEFORE

We hear cello music.

The music morphs into the drone of voices speaking the Apostle’s Creed. “I believe in God, the father almighty….”

On a backdrop, we see a moving shadow. A projection of something large that takes up most of the backdrop. Gradually, it grows smaller and towards the end of the scene we discover it is the body of an elephant.

One by one, we see three women emerge onstage.

Mother holds a Catholic rosary which she moves through, bead by bead, with her hands as she speaks/prays.

Child Katie, seven years old, is wearing a purple towel makeshift superhero cape and has a purple stuffed elephant tied around her neck as though she is piggy-backing it.

Kate, a woman in her forties, enters carrying a backpack, holding three notebooks. She places her backpack and the books down.

Slowly, the women begin to speak, with growing intensity and pace. The prose is a chorus, a prayer, a story.

Behind them, we see the shadow moving, swaying, journeying.

KATE
Before bird songs and dreamy blue skies

CHILD KATIE
All dotty with magical puff-cloud creatures

KATE
Before crickets and sticky humidity

CHILD KATIE
On crooked cut brown bangs over green eyes on a brown body

KATE/MOTHER
Long long before

MOTHER
The pestering curiosity of skin and origins

Overlapping

KATE
The Little Indian Girl /

CHILD KATE
I’m an Indian? /

MOTHER
We’re not Indian.

KATE
The je ne c’est quoi of shushed hushed languages

MOTHER/CHILD KATIE
Kilts and bagpipes and filthy Scots and—

KATE
The jagged lines of tight lips and severed bloodlines.

MOTHER
Before the long fade out buzz of the heat bugs in the maples

KATE/CHILD KATIE
Those covers off hot Ontario nights

KATE
Before church

MOTHER
And God

KATE
And promises and

MOTHER
Kneeling to be better

KATE
And begging for

MOTHER
Forgiveness

KATE
For guidance

CHILD KATIE
For protection

KATE
For belonging—

KATE/MOTHER/CHILD KATIE
For love.

KATE/MOTHER
Before the call to mother

KATE
The reach for warm breasts

CHILD KATIE
For soft arms

KATE/MOTHER
The absence of response

MOTHER
The turn again to God

KATE
And promises

CHILD KATIE
And protection

MOTHER
And forgiveness.

CHILD KATIE
Before the sunrise promise of tomorrow and

MOTHER
The deep sleeping breath of others

CHILD KATIE
So close

KATE
Before the creak

CHILD KATIE
Of the door

MOTHER
Those slow steps in the night

KATE
The thievery of breath

CHILD KATIE
Before the black black black of dark

KATE
The white eyed search to see

MOTHER
The hot knives of

KATE
Taboo

MOTHER
Touch

CHILD KATIE
Before the whisper

KATE
Of lies

CHILD KATIE
And the pretty costumes of

MOTHER
Lovely promises

CHILD KATIE
Before covered eyes

KATE
Shut eyes

MOTHER
No eyes

CHILD KATIE
Not I—

MOTHER
Not he—

KATE
Not he—

MOTHER
Not /

KATE/CHILD KATIE
No.

KATE
Before the /

CHILD KATIE
/ Bang bang of heart

KATE (checks her pulse)
And pulse

MOTHER
And blood

CHILD KATIE
Crack of

KATE
Lungs suspended

All Inhale—suspend breath—release

MOTHER

Before the

CHILD KATIE
Not there

KATE
Not there

MOTHER
Never there

CHILD KATIE
Not here, no where

KATE
The drifting

CHILD KATIE
Plopping, plunking

KATE
Dropping pieces

CHILD KATIE
Two tiny legs, two tiny arms /

KATE
Tiny head, tiny torso /

MOTHER/KATE/CHILD KATIE (Not in synch)
Dirty dirty down down there

CHILD KATIE
Floating falling fleeting flying

KATE
Before the

MOTHER
Capture

CHILD KATIE
Before the

KATE
Taking

KATE/CHILD KATIE
There was a girl and her BODY

MOTHER
Her first land

CHILD KATIE
Her home land

KATE
Her unstolen land

Lights out except for BODY who is standing assuming a position reflected larger on the wall behind her
the shape of an Elephant.

End of Scene

***

Acknowledgements

The development of Seven Pieces was supported by Native Earth Performing Arts Animikiig Creators’ Unit and Weesageechak Begins to Dance 2018 and 2019.

Jenn Forgie acknowledges the support of: Canada Council for the Arts, short-term projects component of Creating, Knowing and Sharing: The Arts and Cultures of First Nations, Inuit and Métis Peoples; Native Earth Performing Arts; Cahoots Theatre; Buddies in Bad Times; and Volcano Theatre through the Ontario Arts Council Recommender Grants.

Jenn continues the interdisciplinary development of Seven Pieces with her creative senior artists: dramaturge and mentor Marjorie Chan, playwright, librettist, and Artistic Director of Theatre Passe Muraille; movement devisor/choreographer Heidi Strauss; and vocal/breath/sound devisor Fides Krucker.

Follow Jenn on Facebook Jenn Forgie, Instagram @jennforgie, Twitter @JennForgie, Website www.jennforgie.com (in development).

The Way You Remember It

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The Way You Remember It (Part 1) by Monica Lacey references the fallibility of memory, and the way personal perspective shapes the archive of experiences we share with others. The way we remember things is not necessarily the way things happened. We all create a version of reality based on our unique lens.