Tag Archives: Theatre PEI

Going Local

Mostly Local Cast at Watermark this Summer
 
Five out of the seven actors hired by Watermark for this summer’s productions of Steel Magnolias and Gaslight are from PEI. Gracie Finley, Marlene Handrahan, Benton Hartley, Kristena McCormack, and Marlane O’Brien are all local PEI actors. Sharleen Kalayil (Halifax) and Risha Nanda (Toronto) complete the casting for the summer.
 
“Every year we try to cast as many local actors as possible and this year worked out really well”, says Artistic Director Robert Tsonos. “There’s so much talent right here on the Island. I’m always thrilled when we can give local actors work.”
 
Steel Magnolias by Robert Harling will run from June 27th to August 26th and will be directed by Samantha Wilson. A group of Louisiana women bond and gossip at a local beauty shop while following the marriage and motherhood of one of the customer’s daughters. As the title implies, these ladies can be as delicate as magnolias – and as tough as steel. When tragedy strikes, they draw on their underlying strength and love. Steel Magnolias is an iconic play that continues to speak to audiences all over the world about hope, love, loss, and friendship. Gracie Finley, Marlene Handrahan, Sharleen Kalayil, Kristena McCormack, Risha Nanda, and Marlane O’Brien are all performing in Steel Magnolias.
 
Gaslight By Johnna Wright and Patty Jamieson, based on the play Angel Street By Patrick Hamilton will run from July 7th to August 25th and will be directed by Martha Irving, who directed last summer’s hit production of Educating Rita. The thriller that spawned the term ‘gaslighting’, Patrick Hamilton’s 1938 play gave us the word we now use for an insidious form of mental abuse. Bella Manningham hears strange sounds and the gas lights dim for no apparent reason. But is she losing her grip on reason, or is it being loosened for her? Bella thinks she’s losing her mind. The truth might be far worse. Marlene Handrahan, Benton Hartley, Kristena McCormack, and Risha Nanda will be performing in Gaslight.
 
Ticket Passes (4 Pack, 6 Pack) are now on sale at http://www.ticketwizard.ca or by calling the box office at 902-963-3963.
 
All single tickets will be put on sale soon. Fall and winter programming will be announced in the next few months.
 
For more information please contact Lara Dias at 902-963-3963 or admin@watermarktheatre.com

Theatre PEI

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Head Over Heels

By Ed Staskus

   “The end is always near,” Greg Harper said. My ears perked up. His hands were free and easy on the steering wheel. He was driving well enough to keep us on the road, but his eyes were like pinwheels. The magic mushroom he had popped into his mouth a half hour earlier was working its magic. I couldn’t tell him to slow down because he was driving slower than the oldest slowest man in the world. I reached for the seatbelt, anyway. When I did I found out Greg’s 1961 top drop Chevy Impala SS didn’t have seatbelts. 

   SS stood for Super Sport. There was nothing super about the car anymore, except for the engine, which was still super when it had to be. The rocker panels were rusting out, the front of the hood was dented, and the tires were bald as baloney skins. The car was Roman Red on the outside while the interior was scuffed black leather. I reached for the grab bar attached to the padded dashboard.

   “Did you know this car was built by union labor right here in the USA?” he asked, apropos of the Jap and German cars we had been seeing here and there.

   “No, I didn’t know that,” I said.

   “It’s got a V-8 engine. One of my relatives might have built it.”

   “Is that right? By the way, what do you mean the end is always near?”

   “Like they say,” he said, “the future’s uncertain and the end is always near.”

   At the moment the Chevy was running on V-1 and there were none of Greg’s car-making relatives in sight. What was in sight was the future. There was a flashing red light behind us. It was the kind of light that always looks final. It gave me the blues. The Meigs County cop didn’t have any trouble getting on our tail. He had trouble pulling us over, however, even though the road was straight as a preacher. The manual steering took more than five turns of the steering wheel to go from lock to lock. In the state he was in it took Greg a few minutes and a mile-or-so to master the mechanics of pulling off onto the shoulder.

   The policeman didn’t bother asking for Greg’s driver’s license. “Step out of the car and let me smell your breath, son,” he said.

    Greg exhaled in his direction.

   “You smell all right,” the policeman said. “It don’t seem like you been drinking or puffing on stinkweed.” The car had a vacuum powered ash tray that sucked ashes to a container in the trunk. “Why are you going so slow when you got that power horse under the hood?”

   “I know this road doesn’t go anywhere but I’m looking for the end of it,” Greg said. “I don’t want to miss it.” The Meigs County cop wasn’t fazed by what Greg said. “It don’t go nowhere but it always brings you back again,” he said. Greg looked flummoxed for a minute. The policeman looked the Impala up and down. “This is the car the Beach Boys wrote a song about, son.”

   The song was a big hit in its day. “Nobody can catch her, nothing can touch my 409, giddy up, giddy up, my four speed dual quad 409,” Brian Wilson sang in his big falsetto while the rest of the boys layered the harmonies. The fired-up 409 was fitted with a 4-barrel carburetor and a solid lifter camshaft. The pistons were made from forged aluminum. The heads and engine block were made from cast-iron.

   “Those were the days, boys. Make no mistake, that Impala is a real fine car. Try to put some giddy up into your driving. And keep it on the yellow line.” He got back into his black and white Dodge Coronet police car and u-turned around going the other way. He went away straight as an arrow.

   I was along for the ride on Greg’s ride that day. I was spending the spring summer and fall in a place called Carpenter living with Virginia Sustarsic in an abandoned general store. She wasn’t my girlfriend, but we got along, even though she was a dyed in the wool hippie and I wasn’t. She rolled her homegrown delicately and deliberately. We kept two goats, gleaned plenty of food, and brewed our own beer. A kitten made us his crash pad. The town wasn’t a town so much as a whistle stop, even though the railroad had long since abandoned the place. There were fewer than a dozen residents, including us. There were dust balls in all the corners. Every star in the universe twinkled in the nighttime sky.

   Carpenter was in Meigs County. It was named after Return Meigs, Jr., who was the fourth governor of Ohio. The county is on the Appalachian Plateau in the southeast corner of the state. The Shade River and Leading Creek drain into the Ohio River. Leading Creek ran right through Carpenter. In the 1970s the county’s population was less than 20,000. As far as I could tell there were no Asians, Native Americans, or African Americans. There were hillbilly highways as far as the eye could see.

   Greg was a friend of John McGraw’s, who was Virginia’s on-again off-again boyfriend back home. They both lived on the bohemian near east side of downtown, near Cleveland State University. John was a part-time writer and drank booze right from the bottle. Greg came from a more polite class and drank from a glass. He and John had planned on visiting Carpenter together, but at the last minute John bowed out. Greg came anyway, cruising all the way from one end of the state to the other in his big red Chevy.

   Virginia dressed like it was still the Summer of Love while John dressed like the Age of Beatniks had never ended. Greg wasn’t any better off than them, living half on and half off the American Dream, but he dressed like a preppy. He read the classics. He was studying Latin so he could read Ovid and Seneca in the original. Nobody ever suspected he kept magic mushrooms in his wallet.

   Something came over Greg the minute the Meigs County cop was out of sight. He fired up the Impala. He spun gravel getting back on the asphalt. The next minute we were doing eighty in a forty. The Doobie Brothers came on the radio belting out ‘Rockin’ Down the Highway.’ I took a peek in the rearview. There was no hot potato behind us. I looked through the windshield at what was in front of us. All the danger was ahead.

   “We should maybe slow down,” I suggested as loud as I could yell. 

   The Impala was a four on the floor. She wasn’t good on gas and burned some oil. Greg picked up speed. We were doing a hundred in no time. There were no more gears to shift up into. His eyes weren’t pinwheels anymore. They glinted like icepicks. He leaned over the steering wheel. The car wasn’t sloppy, nor was Greg’s handling of it sloppy, but we were headed for trouble. We were blasting down a back road. It was cracked and rough. Meigs County didn’t have the tax base to keep its roads in any kind of Daytona 500 shape.

    “I’m not asking for a miracle, Lord, just a little bit of luck will do,” I whispered.

   “Every minute counts,” Greg shouted above the wind noise.

   “Keep your eyes on the road,” I shouted back. “You never can tell what’s around the corner.”

   He waved at the outdoors with his left arm. Southeastern Ohio on a sunny day in the summer is beautiful. When we roared around a blind curve there wasn’t anything there, to my relief, until there suddenly was. It was a roadhouse with some cars and pick-ups in the front dirt lot. The sign said Frank’s Roadhouse. There were antlers nailed to the outside wall above the front windows. We pulled in, skidding in three or four different directions. There were half a dozen bungalows in the back.

   Inside there was a bar, a kitchen, some tables, a dance floor, a riser protected by chicken wire, and a pool table. A man and a woman were having mashed potatoes with pulled pork at one of the tables. A bottle of BBQ sauce stood at the ready between their plates. There was some action going on at the pool table but none on the dance floor. Before I knew it Greg had found his own action at the bar, where a cute brunette was sitting, a lowball glass half full of red wine and a paperback book in front of her.

   There was an oblong mirror on the wall behind the bar. It was too smudged to see into. There was a hand-written warning, too. It said, “Don’t eat the big white mint!” I didn’t ask what it meant. I didn’t want to know.

   What’s a simple man to do? I looked around for something to do. I put a dollar on the lip of the pool table marking my turn in line. There were two men playing nine ball. It was the middle of the day on a Thursday. Neither of them was on union soil. Neither of them was being especially efficient. There were seven or eight bottles of Burger Beer on a small round table behind them.

   One of the men looked me up and down. “I’m a pretty big man around these parts,” he said, flashing an ersatz grin. He had sharp teeth. He was shorter than me, but I knew what he meant. “I thought you’d be bigger,” I said. He didn’t laugh. He had the sense of humor of a circus strongman. The other man laughed his head off. My man broke the rack. He was no Minnesota Fats. When my turn came I ran the rack and took my dollar back. I collected a dollar from the local yokel. He tried his luck two more times and paid me two more dollars. He didn’t know, and I didn’t tell him, that I spent more time than I wanted to admit shooting snooker at Joe Tuna’s Pool Hall back in Cleveland.

   I bought them both beers, they clapped me on the back, the circus strongman harder than he needed to, and I went back to the bar, joining Greg and the brunette. He wasn’t paying any attention to her book. He gave me a wink, which meant the main drag from the eye to the heart doesn’t go through the intellect, or words to that effect.

   Her name was Jeannie. She was a third-year student at Ohio University in Athens, 20-some miles to the north of where we were. She was majoring in English. She wasn’t enrolled in classes that summer but had stayed in Athens instead of going home to Cincinnati. She spent her spare time exploring. She had found Frank’s Roadhouse by accident, liked the looks of it, and stopped in for the afternoon.

   “What do you like about this dump?” I asked.

   “It looks real,” she said.

   I was willing to grant her that. When the bartender approached I ordered a Vernors Ginger Soda. Between Greg’s psychedelics and the shot of whiskey in front of him, one of us had to stay sober. “Who is Frank,” I asked the bartender. “There ain’t no Frank, at least not no more,” he said. “What happened to him?” I asked. “Nobody knows,” he said. 

   I reminded Greg we had promised Virginia we would stop at the grocery store in Pomeroy and pick up milk, cheese, and toilet paper. The toilet paper was like gold where we lived. Greg’s eyes had gone soft. He needed reminding. I had to remind him twice. He finally slid off the bar stool glowing like an electric eel.

   Jeannie followed us out to the Impala. “I like your car,” she said. Greg asked her if she wanted a ride back to town. She pointed to a VW Beetle. “Fontasse postem infantem,” she said, jotting her name and phone number down on a  scrap of paper. She pressed it into Greg’s hand. She rose up on her tiptoes and gave him a kiss on the cheek. I never saw a man go head over heels as fast as Greg did that minute.

   Once we were in the car, humming along Route 143 on our way to Pomeroy, I asked him what she had said.

   “Maybe later baby,” he said. “That’s what she said.”

   There was enchantment in his eyes. “Keep your eyes on the road and your hands on the wheel,” I reminded him for the last time. I didn’t have to remind him to keep his hands off the magic mushrooms in his wallet. He was riding high on a different kind of magic. Love may not make the world go round, but it makes the ride worthwhile.

Ed Staskus edits Theatre PEI. He posts on 147 Stanley Street http://www.147stanleystreet.com and Made in Cleveland http://www.clevelandohiodaybook.com.

Theatre PEI

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In Front of the Camera

Join us at the Guild for a five-week session on acting for film and television. Let this class be a jumping-off point for creative fulfillment and growth as an individual. We offer stimulating thought-provoking acting workshops that will give you a base from which to further develop your outlook on both your professional and personal life. We will delve into many aspects of an actor’s training. Beginning with understanding the space around us and how our physical bodies take up and influence that space.

Classes meet every Tuesday evening from 6 PM to 7:30 PM April 11th to May 9th or every Wednesday evening from 6 PM to 7:30 PM April 12th to May 10th.

Our goal is to offer a positive space where judgment is relegated to the sidelines, a space where you are free to be yourself with no fear. This will continue to be a judgment-free, inclusive, positive arena, where expectations are few and outside-the-box thinking is encouraged.

For adults 18+ https://theguildpei.ticketpro.ca/en/pages/1563676001…

Class Description:

A person walking across the road is just that until we examine their gait, and tilt of the head, where their focus is among many other physical cues. From that information we can infer many aspects of this person, are they happy, in a hurry, relaxed, etc.? That in a nutshell is what an actor does. Through the adopted physical characteristics they employ, they convey the essence of a character.

That is where this course begins, reaching deep into acting exercises that will open a new appreciation of who we are and how we interact with each other. Our five-day, ninety-minute courses will take you from a standing start to working with others, through improvisation, and learning to listen earnestly, all while building your self-esteem and confidence. Your tools are your body and your voice and we will train you to use both in an effective way, whether you pursue acting as a profession or simply want to feel more confident in your everyday life.

About the instructor:

Carl Marotte is an actor with over thirty years of experience in the profession. A graduate of the renowned Professional Actors Program of Dawson College in Montreal.

His credits run the gamut from actor to director, producer, and even on occasion as a stunt performer. His many credits include the lead role in the CBC/Radio Canada television series “He shoots He scores”, for which he was nominated for a “Gemini” award. He was again nominated a few years later for best-supporting actor in the tv movie “Networth”. He also had the starring role in the USA network series “Beyond Reality” co-starring Shari Belafonte.

After a season at the Shaw Festival in Niagara on the Lake, he moved to Toronto where he landed the title role in the Brad Fraser play “Wolfboy” co-starring his friend Keanu Reeves.

A selection of his credits includes:

“Ice Bound” where he had the fortune to work with Susan Sarandon

“One Kill” Carl got to meet and work with one of his heroes Sam Shepard

“The Mighty” with Sharon Stone

“When justice fails” with the wonderful Marlee Matlin

“Ultimate Weapon” co-starring with Hulk Hogan

“To Carl Marotte…thank you for showing me how noble and excellent acting could be” -Keanu Reeves, Canada’s walk of fame induction speech

Theatre PEI

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Art Fest Talk Fest

Welcome to Good Art Talk #2 – https://bit.ly/goodarttalks

A series of 10 community conversations where we explore the meaning of Good, Art and the intersections of the two. We’ll enjoy food from T’s Jamaican Flavours in a niche, quaint and intimate gallery setting surrounded by Art.

The guiding questions will be:

🌟 What is Art? Who makes Art? Where is Art?

🌟 What is Good? Who is Good? Why be Good?

🌟 Is Art inherent and/or Good? Can Art create/ lead to collective Good?

We welcome anyone and everyone to this series. There is a monthly capacity of 20 guests.

With this series we hope to explore Goodness and Art on this little sand bar we call home.

The Good Art Talks will be hosted at the Guild, facilitated by King Kxndi, supported by Creative PEI and funded by the GEDI provincial grant.

Theatre PEI

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Independent People (1939)

By Ed Staskus

   “I started to help in the sugar beet fields when I was 9 years old,” my mother said. “My sister Irena started helping me two years later when she turned nine.” The year was 1939 when the sisters worked together for the first time. Six years later my mother was in a refugee camp outside of Nuremberg and my aunt was on her way to a slave labor camp in Siberia. My mother was lucky Americans ran the camp she ended up in. My aunt was unlucky Russians ran the camp she ended up in. She was lucky to survive her first year, much less the next decade.

   “We worked with our father, who had a one-row horse-drawn puller.” My grandfather Jonas Jurgelaitis followed on foot behind the puller, picked up the beets, scalping the tops with a small machete, and dropped them behind him as he went. He recycled the heads for animal feed. His daughters brought up the rear, shaking dirt off the beets, and loading them into a side slat cart. When it was full he made his way to Mariampole, the nearest market town, where there was a storehouse and a train station to later take the root vegetables to a sugar beet factory. 

   Their other major crop was cabbage. They could harvest upwards of ten thousand heads an acre. When they cut the cabbage head out of the plant they left the outer leaves and root in the ground. That way they got two crops. Jonas took them to Mariampole, too.

   “My older brothers Bronius and Justinas helped handle the livestock, and they did field work and repairs. Something always needed to be fixed. My younger brothers were still growing up. My father did everything outside the house and my mother did everything inside the house. All of us worked around the clock at harvest time, even the boys.” Most of the food and drink the family of eight ate and drank came from their own fields and pastures, although their sugar beets were grown on land they rented from a neighboring childless widow.

   The farm was in the Naujeji Gizai region hallway between Lake Paezeriu and Mariampole, although it was far closer in spirit to the lake than it was to the city. Some farmers had tractors. Most farmers had draft horses. They preferred tractors, but the Great Depression had put a dent into what they preferred. Some big land owners had cars. Everybody else had a horse and carriage to get the family to church on time on Sundays.

   My grandfather kept cows, pigs, and chickens. “We made our own bread and butter, made cheese, gathered eggs, and collected berries.” There were patches of wild blueberries at the edge of their fields. Although they didn’t have a cellar, my grandmother Julija still canned pickles and beets and stored them in the well. “We raised our own pigs and my father killed them.” When the time came, Jonas selected a pig for slaughter, walked it to a clearing beside the barn, hit the animal hard between the eyes with a club hammer, and cut its throat. With the help of his two eldest sons, he cleaned and skinned the pig with a sharp knife, keeping a knife sharpener at hand.

   Once the skin was separated from the muscle and fat, he cleaned out the guts and sawed the pig’s head off. After quartering the animal, Jonas found the hip joints and slid his knife into them, cutting off the two hams. He did the same thing when cutting off the shoulders of the pig. At the center, where the ribs are, he took whatever meat he could find. They made sausages, bacon, and cured slabs of pork with salt and pepper. Jonas had built a closet around the chimney in the attic of the house, which could be gotten to by ladder. There were no stairs. He smoked the pork in the closet, laying the meat on grates, opening a damper to vent smoke into the closet. “I was scared to death of the upstairs, of the fire up there, although the pig meat was delicious,” my mother said. “When we ran out of food, my father killed another animal. He was a serious man.”

   The dining room was big enough for all of them at once. There were no chairs. There were two long benches. My mother always sat cross-legged when eating. “I was scared that a Jew would sneak under the table.” She was afraid he would bite her legs and suck her blood. “Everybody said the Jews had killed God and they drank the blood of Christians.”

   One of my mother’s chores was killing chickens for dinner. She didn’t like chopping their heads off, so she grabbed them by the neck instead and swung them in a circle around her until their necks snapped. There were barn cats and a watchdog. They chained the dog up at night. There were potatoes and fruit trees. They grew barley and summer wheat, putting in a barnful of hay every autumn. Sugar beets were my grandfather’s number one cash crop, followed by cabbage and hemp. He grew some stalks of marijuana and tobacco behind the barn. He didn’t puff on pot himself. He smoked his homegrown tobacco instead, packed in a pipe, taking a break at the end of a long hard day.

   “I let the young men smoke their stinkweed and get silly,” he said. My grandfather got silly in a different way. He brewed his own beer and krupnickas. My grandmother didn’t smoke or drink. She kept a close eye on her husband. He kept a close eye on her, never smoking in the house. She had chronic tuberculosis, coughing and running a fever, and wasn’t long for this world.

   Making home brew is the simplest thing in the world. Sumerian farmers brewed beer from barley more than 5,000 years ago. The Codes of Hammurabi, that were the laws during the Babylonian Empire, decreed a daily beer ration to everybody from laborers to priests. Laborers got two liters a day. Priests got five liters a day. In the Middle Ages Christian monks were the artisanal beer makers of the time. Since my grandfather had water, malt and hops, and yeast within easy reach, he had beer within easy reach year-round.

   Krupnikas is a spiced honey liqueur. The Order of Saint Benedict whipped it up for the first time in the 16th century. It can be spiced with just about anything, including cardamon, cinnamon, and ginger. If they had them, farmers added lemons, oranges, and berries. Honey was essential, although not as essential as a gallon or two of 190 proof grain alcohol. There was grain as far as the eye could see, and everybody knew somebody who made moonshine, so making krupnikas full-bodied was never a problem. Lithuanians pour it down on holidays and weddings. Everybody likes a warm snort of it in the dead of winter, whether they have a cold or not.

   Next to the lowlands of central Lithuania, the carbonate soils of the west are the best. That is where my grandfather was. More than half of the country’s land area was farmland. Most of the rest of it was meadow and forest. What was left was where the towns and cities were. The agrarian reform of 1922 promoted farmsteads. Landless peasants got some acres of land, if not a mule. Most holdings, except those Polonized, were between 5 and 40 acres. The Poles were Lithuania’s rural aristocracy. My grandfather had been a landless peasant. He got 10-some acres of his own and rented more of it. During the interwar years more than 70% of the population depended on agriculture for its livelihood. In the 1930s Lithuanians fed themselves and were the source of 80% of the country’s export income. Lithuania is roughly two-thirds the size of the state of Maine. The small country was the sixth-largest butter exporter in the world.

   My grandfather didn’t know anything about the legality of cannabis. He didn’t know it was called “Sacred Grass” three thousand years ago in India. He didn’t know the Romans had used it as medicine. He didn’t know Queen Elizabeth in 1563 ordered all English land owners with 60 or more acres to grow it or face a 5 pound fine. One year later King Philip of Spain ordered cannabis be grown throughout his empire from Spain to Argentina. George Washington cultivated it at Mount Vernon and smoked it when his teeth hurt too much to bear.

   After World War One some nations began to outlaw marijuana. It became seriously illegal in the 1930s. The United States led the way. The plow breaking new ground was “Reefer Madness” and the man behind the plow was William Randolph Hearst. His chain of newspapers ran one article after another demonizing marijuana. There were articles about Mexicans gone crazy after smoking it, running around with a “lust for blood,” and articles about reefer-mad Negroes dancing to voodoo jazz music and raping white women.

   Harry Anslinger, head of the Federal Bureau of Narcotics, turned the nativist, as well as racist, battle against marijuana into a war. “Reefer makes darkies think they’re as good as white men,” he said. He believed it had a bad effect on the weak-minded “degenerate races.” He was especially worried that white women might smoke it at parties and consort with black men. 

   “Most marijuana smokers are Negroes, Hispanics, and Filipinos,” he said. “Their satanic music, jazz, and swing, result from its usage. This marijuana causes white women to seek sexual relations with Negroes, and entertainers, and many others. I consider it the worst of all narcotics, far worse than the use of morphine or cocaine.” The soft drink Coca-Cola contained cocaine from 1894 until 1929. It was why kids could walk five miles to school, both ways, uphill in the snow, jumping barbed wire fences. 

   “Under the influence of marijuana men become beasts. It destroys life itself,” Harry Anslinger declared. He called for a nationwide ban on the weed. Just in case anybody had missed the point, he added, “Smoking it leads to pacifism and communist brainwashing.” The top pot cop got the Marijuana Tax Act passed in 1937. It effectively made the weed illegal from coast to coast. Other countries worldwide got on the bandwagon. Even the Netherlands criminalized cannabis for a few years. The American law was declared unconstitutional in 1969, but Richard Nixon replaced it with the Controlled Substances Act the next year. Darkies couldn’t catch a break any which way.

   The Nixon administration quickly changed the name of the Controlled Substances Act to the War on Drugs. The next Republican president dragged out the big guns. “I now have absolute proof that smoking even one marijuana cigarette is equal in brain damage to being on Bikini Island during an H-bomb blast,” said President Ronald Reagan. The First Lady consulted advertising executives and her astrologer and they came up with a snappy slogan: “Just Say No!” When asked what she meant she said she wasn’t talking about H-bombs but about marijuana.

   The town of Gizai is situated at a crossroad. There was a church, a police station, a hardware store, and a coffee shop in the 1930s. “We went to church every Sunday without fail and my father went to the store whenever he needed a tool or something he couldn’t make himself,” my mother said. “When he took us along he treated us to candy at the coffee shop while he drank coffee and had a slice of lazy cake.”  

   Back on the farm everybody slept on the ground floor of the house. The bedrooms were three side rooms. One was for Jonas and Julija. One was for my mother and her sister. The third room was for the four boys. There was no electricity. The house was lit by kerosene lamps. The dining room was the biggest room. It was lit by a big kerosene lamp that was raised and lowered from the ceiling by a pulley attached to a counterweight. Everybody washed their meals down with tea. My grandfather bought tea from a German smuggler rather than pay the taxes levied on it. In the winter the fireplace was stuffed with wood and turf. The boys had the chore of making sure it never died out November through March.  Once a year a chimney cleaner came with ladders, brooms, and brushes. The sweep used a long rope attached to a weight for pushing out the soot.  

   My grandparents couldn’t afford a washerwoman, so my grandmother did all the laundry. She put a tripod inside the fireplace and heated water in a copper kettle. After the clothes were washed she rinsed them in another kettle. She hung some of the clothes on a line in the attic to dry. She used a mangler on other laundry to get the wrinkles out. It was a wooden box with rollers like a wringer that squeezed and smoothed water-soaked clothes. When she was done she didn’t need any marijuana to help her relax. She fell asleep the minute she was done.

   My grandmother Julija died of tuberculosis in 1941. She had been in and out of a sanatorium in Kaunas. When she decided to go home for the last time it was to go home to die. My grandfather built an addition for her, which was a bedroom with a window. He built a new bed and stuffed a new mattress with clean straw. He moved their wedding cask to a corner of the bedroom. When the end was near he stood a coffin up beside the door. She was buried in a cemetery outside Gizai a few months before the German Army suddenly invaded.

   My grandfather Jonas died in 1947 after the Russians took the country over and collectivized everybody’s farms. The authorities told him he could keep one cow and one pig. They didn’t care about his chickens. They told him to stop growing marijuana and tobacco. All his crops had to be delivered to the state and the state would pay him whatever they thought was appropriate. He had differences with them about it, but what could he do? What he did was die soon afterwards of some kind of brain disease. His head probably exploded. Who wants to be a slave of the state? His farm disappeared down the Soviet sinkhole.

   Lithuania criminalized cannabis in 2017, a hundred years behind the times. The country was going against the grain. Almost everybody else in the world outside of China and Russia was decriminalizing it as fast as they could. They were sick of the drug gangs and lost tax revenue and prisons bulging with one-time losers. By then everybody knew marijuana didn’t make anybody sex-crazy or lust after blood. The country pivoted four years later and decriminalized small amounts for personal use. Growing any amount of jazzy stinkweed remained illegal. My grandfather might have mulled the matter over on his front porch, puffing vigorously on his pipe to get it going, but I doubt he would have paid too much attention, unless it was at the point of a gun, to whatever monocratic laws the boss men promulgated regarding his crops. 

Ed Staskus edits Theatre PEI. He posts on 147 Stanley Street http://www.147stanleystreet.com and Made in Cleveland http://www.clevelandohiodaybook.com.

Theatre PEI

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Get Ready for Summer

Summer is almost here and we are excited to announce that the Confederation Centre’s camp registrations are officially OPEN! 🌞

With multiple camp options to choose from, your kids won’t want to miss out on all the fun!

Visit our website now for more information and to secure your child’s spot in their favorite camp 👉️confederationcentre.com/summerbreakcamps/

Theatre PEI

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Pitch Your Play

Playwrights Guild of Canada proudly presents Pitch It!, a national pitch showcase for professional playwrights in Canada. Over 60 playwrights have created written, audio and video pitch presentations to showcase on their custom website until June 30th, 2023. Discover your next project, collaborator, or fellow community member by browsing each pitch by province.

This initiative is made possible by the Canada Performing Arts Workers Resilience Fund from the Government of Canada.

View the Pitch It! website here: https://pitchit.playwrightsguild.ca/

#playwrights#artsandculture#cdntheatre

Theatre PEI

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