Age of Minority: Three Solo Plays Declarations Late Company Theatre of the Unimpressed: In Search of Vital Drama
2016 by Jordan Tannahill No part of this book may be reproduced, downloaded, or used in any form or by any means without the prior written permission of the publisher, except for excerpts in a review or by a licence from Access Copyright, www.accesscopyright.ca. Jacket design by Julian Montague. Exterior jacket image elements and interior jacket taken from a photograph by Erin Brubacher Author photo Alejandro Santiago
202-269 Richmond Street West Toronto, ON, M5V 1X1 416.703.0013 For professional or amateur production rights, please contact: Colin Rivers, Marquis Entertainment 312-73 Richmond St. W., Toronto, ON M5H 4E8 416.960.9123, First edition: March 2016. Library and Archives Canada Cataloguing in Publication Tannahill, Jordan, author Concord Floral [electronic resource] / Jordan Tannahill. A play.
Issued in print and electronic formats. ISBN 978-1-77091-495-7 (paperback).--ISBN 978-1-77091-496-4 (pdf). --ISBN 978-1-77091-497-1 (html).--ISBN 978-1-77091-498-8 (mobi) I. Title. PS8639.A577C65 2016 C812.6 C2016-900205-5 C2016-900206-3 We acknowledge the financial support of the Canada Council for the Arts, the Ontario Arts Council (OAC), the Ontario Media Development Corporation, and the Government of Canada for our publishing activities.
Introduction
Erin Brubacher and Cara Spooner
From 20122014, we worked with Jordan as he wrote versions of
Concord Floral.
We made three performances over three years, with ten teenagers from Toronto, Canada, from which Jordan wrote the version of our story that you now have in your hands. We all, in our own ways, grew up with this project, but, in a most literal sense, when we began working together, performers Theo Gallaro, Erum Khan, and Rashida Shaw were thirteen, seventeen, and eighteen years old; by the time we took our original production to one of the largest stages in Canada, they were eighteen, twenty-two, and twenty-three. We owe them thanks, in particular, for being with us throughout that entire journey. Before this text was taken up by many other companies across Canada and beyond, we co-directed four casts of teenagers in our production in six Canadian communities. Each time we held a first reading of Concord Floral, we were reminded of the alchemy of this text and teenage voices: we watched our younger co-conspirators light up as the words left their lips, as they listened to a story they could claim as their own and offer back to us. This was a great honour to witness.
We are grateful for a play that allowed us to work in such fine company, and to learn from the hearts, minds, and imaginations of the next generation of artists.
Playwrights Note
Jordan Tannahill
As a teen growing up in the suburbs, my friends and I found refuges for ourselves in the abandoned or underused spaces of our neighbourhood: the oversized parking lots, the vacant bus shelters, the unlit parks and walking paths beyond our backyards. In the summer of 2011 I went to a party at Concord Floral, a million-square foot abandoned greenhouse in Vaughan. Judging from the piles of old cigarette butts, broken beer bottles, underwear, used condoms, and graffiti, I realized that the greenhouse was, and had likely been for several generations, a haven for youthful transgressionmuch like the ones my friends and I had claimed for ourselves as teens. Around the same time I was reading Giovanni Boccaccios
The Decameron,a thirteenth century allegory in which ten youth flee plague-ridden Florence to an abandoned villa in the countryside for ten days. There was such a tangible connection in my mind between this medieval villa and Concord Floral: both were secret hideaways reclaimed by youth as shelters for their stories and coming of age.
I began writing Concord Floral as a kind of fantastical portrait of my own neighbourhood, and specifically those liminal spaces adolescents claim for themselves. The suburb I grew up in was both new and quiet, and yet it always carried for me the possibility of myth and magic, of danger and desire. But then perhaps thats just adolescence anywhere. Concord Floral was written by Jordan Tannahill over a three-year development process with Erin Brubacher, Cara Spooner, and a group of teenagers from across the Greater Toronto Area. The premiere production of Concord Floral was created and directed by Erin Brubacher, Cara Spooner, and Jordan Tannahill. Concord Floral was first produced by Suburban Beast and presented by Why Not Theatre at the Theatre Centre, Toronto, from October 12 to 26, 2014, with the following creative team: Liam Sullivan as 1 (Just Joey) Troy Sarju as 2 (Bobolink) Theo Gallaro as 3 (John Cabot) Melisa Sofi as 4 (Forever Irene) Jessica Munk as 5 (Rosa Mundi) Erum Khan as 6 (Nearly Wild) Sahra Del as 7 (Couch) Eartha Masek-Kelly as 8 (Fox) Rashida Shaw as 9 (Greenhouse) Jovana Miladinovic as 10 (Bobbie James) Music composition and sound design by Christopher Willes Lighting design by Kimberly Purtell Stage management by Laura Hendrickson Dramaturgy by Erin Brubacher
Characters
1 (Just Joey) 2 (Bobolink) 3 (John Cabot) 4 (Forever Irene) 5 (Rosa Mundi) 6 (Nearly Wild) 7 (Couch) 8 (Fox) 9 (Greenhouse) 10 (Bobbie James)
Notes
In the premiere production, 9 (Greenhouse) announced each chapter number and title.
This reinforced her position as narrator and had the effect of repeating the first line of each scene, to sometimes comedic or poetic effect. The teens never leave the stage. In the premiere production they often stood in a line across the upstage wall, faintly illuminated, witnessing the unfolding action. Directors should feel at liberty to update pop cultural and geographic references, as well as slang, to fit the production context. Directors are strongly encouraged to cast actual teenagers from the locale of production.
Prologue
Lights rise slowly.Fog hovers over a bare stage.From out of the fog appears(Bobbie James).
She appears naked but is too heavily cloaked in shadow and fog to tell for certain.Somewhere in the distance a chorus of teens can be heard singing a medieval choral piece.Lights fade slowly to black.
1 //
It was night. We were in a field.
Lights up faintly on a line of teen chorus
far upstage. Teens,,,, andwalk downstage. It was night We were in a field Behind our houses is this big field and on the other side You gotta walk through the field to get to the McDonalds The worst But when youre jonesing for a McFlurry you just gotta because otherwise you gotta walk all the way around the highway Its fine if you cut through in a group It was dark Except you get covered in burrs We were supposed to be working on our group presentation For English My life is one big group presentation Everyone came over to my basement But somebody thought it would be a great idea to I brought the whisky to get the juices flowing Yeah, really helped the brainstorming And then, when everyone was turned Rolo McFlurries, bitches! Was I the only one who even read the book?