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    The Josephine Knot
    The Josephine Knot
    The Josephine Knot
    Ebook70 pages35 minutes

    The Josephine Knot

    By Meg Braem and Amiel Gladstone

    ()

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    About this ebook

    After Samantha’s baba dies, her fractured family is summoned to pick through the house full of belongings and trash, leaving taped notes on whatever they want to take. Between old napkins, a closet full of ketchup packets, and a freezer full of rotting meat are gems like a grandfather clock and plastic deer statuettes that hold more sentiment. While her father David sifts through his own memories, all Samantha wants is to find a simple object that could represent her place in the family. When other family members arrive, tug of wars and passive-aggressive conversations commence. In a house full of junk and sadness, it comes down to Samantha and David to find a new way to fit together.
    LanguageEnglish
    PublisherPlaywrights Canada Press
    Release dateApr 9, 2018
    ISBN9781770918955
    The Josephine Knot
    Author

    Meg Braem

    Meg Braem’s plays have won the Gwen Pharis Ringwood Award for Drama at the Alberta Literary Awards and the Alberta Playwriting Competition, and Blood: A Scientific Romance was nominated for a Governor General’s Literary Award for Drama. Her work has been presented at the Citadel Theatre, Theatre Calgary, Lunchbox Theatre, the Belfry Theatre, Sage Theatre, Sparrow & Finch Theatre, Theatre Transit, Atomic Vaudeville, and Intrepid Theatre. She is a past member of the Citadel Playwrights Forum and was a playwright-in-residence at Workshop West Playwrights’ Theatre. Her next book, Feminist Resistance: A Graphic Approach (co-authored with Norah Bowman and Domique Hui), will be published by University of Toronto Press in 2019. Meg currently divides her time between Edmonton as the Lee Playwright in Residence at the University of Alberta and Calgary as the co-director of the Alberta Theatre Projects Playwrights Unit.

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      Book preview

      The Josephine Knot - Meg Braem

      9781770918931.jpg

      Winner of the Playwrights Theatre Centre’s THE NEWS Play Competition

      Chosen as the University of Victoria’s 2010/2011 Spotlight on Alumni project

      "Anyone who has lost a parent or grandparent knows the potential for drama — big and small — such is the simple beauty of The Josephine Knot."

       — Monday Magazine

      An endearing bit of emotional theatre.

       — Bob Clark, Calgary Herald

      Also by Meg Braem

      Blood: A Scientific Romance

      Contents

      Also by Meg Braem

      Foreword

      Production History

      Characters

      Setting

      The Josephine Knot

      Acknowledgements

      About the Author

      Copyright

      For my father

      Foreword

      Being part of a family is hard. Writing about family is harder.

      When we first started rehearsing the premiere production, a small group of us in an empty office that used to be the headquarters of the Victoria Fringe, Laura Harris, playing the role of Samantha, began the first read-through:

      Grandmothers will always die and their houses will always be pulled apart like meat from ribs. Hopping, squawking crows will always land to fight over every last morsel until all that’s left is a mess of bone china and where you came from.

      Such an evocative start. The immediacy of Grandma’s death, the sense of poetic macabre, not to mention crows, which always make me think of Vancouver. We were obviously in the hands of a writer.

      We went on to create two related productions of the show with our dedicated Bombus crew, one performed more immersively in the lobby of the Belfry Theatre, and the second back at our old school, the Phoenix at the University of Victoria. It is the mark of a good play that it was compelling in both versions, the text and storytelling shining forth. I still think of the Kaluke clan as many unique individuals, even though they were all performed by only the two actors, the vulnerable and generous Laura Harris and Brian Linds.

      In an odd twist, a couple of years after the Belfry premiere I was about to direct a workshop of Meg’s play Blood, and the day before, I was suddenly called away because my father was unconscious and in hospital. He died the day after I arrived. Much like Baba in The Josephine Knot, my father had spent his time gathering a bizarre collection of things, and I was now tasked to sort through them. A strange collection of books and papers and bags and Converse All Stars. I was living my own real-life version of the story and it brought into stark focus how real everything in this play is. It made me hear the always in the play

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