Every Day She Rose
- Publisher
- Playwrights Canada Press
- Initial publish date
- May 2022
- Subjects
- Women Authors, Gay & Lesbian, Canadian
- Categories
- About LGBT2QS people or experiences
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Accessibility summary:
A simple book with the cover, author, and logo images described. This book contains various accessibility features such as a table of contents, page list, landmarks, correct reading order, structural navigation, and semantic structure. A number of blank pages in the print equivalent book have been removed resulting in some pages not appearing in this digital EPUB. This publication conforms to WCAG 2.0 Level AA.
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eBook
- ISBN
- 9780369103406
- Publish Date
- May 2022
- List Price
- $13.99
Library Ordering Options
Description
- Nick is the creator of the Social Distancing Festival, an early adopter of virtual events during the pandemic, which showcased work from around the world.
- Andrea is a story editor on CBC’s Murdoch Mysteries, and was recently awarded an opportunity to pitch a series to Netflix.
- The script was originally only about the friends, but when the playwrights joined Nightwood Theatre’s Write from the Hip program, they realized adding themselves would frame the play in an even more relatable way.
- First produced by Nightwood Theatre at Buddies in Bad Times Theatre, Toronto, in November 2019
About the authors
Andrea Scott’s play Eating Pomegranates Naked won the RBC Arts Professional Award and was named Outstanding Production at the 2013 SummerWorks Festival. Better Angels: A Parable won the SummerWorks Award for Outstanding Production. Both were published by Scirocco Drama in 2018. Don’t Talk to Me Like I’m Your Wife, which won the Cayle Chernin Award for theatre, ran at SummerWorks in 2016. 2019 saw her co-written play with Nick Green, Every Day She Rose wow audiences at Buddies in Bad Times Theatre. Her play about Viola Desmond, Controlled Damage, had its sold-out world premiere at Neptune Theatre in 2020 and will open at the Grand Theatre in 2022. She won the Magee Diversity Screenwriter’s Award for her first TV script, Dust to Dust. Her dark comedy Bad Habits landed her a job in the all Black writer’s room of The Porter (BET/CBC) which she followed up with snagging a spot pitching to Netflix with her supernatural drama Cassidy Must Die. 2021 saw her winning $10,000 from Amazon and the Indigenous Screen Office, pitching her coming-of-age dramedy DONE! She’s currently working in the writer’s room on the fifteenth season of Murdoch Mysteries while co-creating a one-hour drama for Sienna Films. She lives in Toronto.
Nick Green is a Dora and Sterling Award–winning playwright, and the creator of the Social Distancing Festival. Credits include Happy Birthday Baby J (Shadow Theatre); Every Day She Rose (Nightwood Theatre, co-written with Andrea Scott); Fangirl (book; Launch Pad at the Musical Stage Company); In Real Life (book; Canadian Music Theatre Projects); Dinner with the Duchess (Next Stage Festival, BroadwayWorld Toronto Award); Body Politic (Buddies in Bad Times/lemonTree Creations; Dora Award); Poof! The Musical (book and lyrics; Capitol Theatre, Sterling Award nomination); and The Fabulous Buddha Boi (Guys UnDisguised, Sterling Award). He lives in Toronto.
Excerpt: Every Day She Rose (by (author) Andrea Scott & Nick Green)
MARK: I’m still losing it. I’m screaming JUSTIN! JUSTIN! But he doesn’t hear me.
CATHY-ANN: A man walking behind him gives us a look. It feels like a warning.
MARK: JUSTIN!
CATHY-ANN: I put my hand on Mark to calm him down.
MARK: I’m like... what?
CATHY-ANN: I don’t like the look that man is giving us.
MARK: Cathy-Ann’s making a stink face about something.
CATHY-ANN: He finally calms down.
MARK: Like I was just excited. Like everyone is screaming. But whatever.
CATHY-ANN: The guy moves on with the rest of the parade.
MARK: And Justin is gone. Just like my chances of being first lady of Canada. Thanks a lot, Cathy-Ann.
CATHY-ANN: I really didn’t like the look on that guy’s face.
MARK: I’m starting to feel like dancing. It’s probably because I’ve switched to vodka Fresca.
CATHY-ANN: I just want to stick it out until PFLAG.
MARK: I have to pee.
CATHY-ANN: This blister is screaming at me.
MARK: Suddenly the parade just kind of... stops.
CATHY-ANN: Everyone’s looking up the street.
MARK: There’s something happening a couple blocks up.
CATHY-ANN: People start heading up the block to see what’s going on.
MARK: I’m like... uh I don’t like this.
CATHY-ANN: I start going with the crowd, dragging Mark behind me.
MARK: I’m thinking maybe we should just go.
CATHY-ANN: We arrive at Yonge and College and see a bunch of people dressed in black.
MARK: What the fuck?
CATHY-ANN: A bunch of black people dressed in black.
MARK: Some black woman with a bullhorn.
CATHY-ANN: It’s Black Lives Matter.
MARK: Other people in black start sitting down.
CATHY-ANN: They’ve stopped the parade.
MARK: She’s stopped our parade.
CATHY-ANN: Black Lives Matter has stopped the parade.
Editorial Reviews
“All of the writing is superb… [Every Day She Rose is] absolutely of the moment and asks important questions. And that is what theatre is supposed to do.”
Susan G. Cole, NOW Magazine
“A blazingly intelligent play… Every Day She Rose is a bracing, highly charged, funny, intelligent play and it’s important.”
Lynn Slotkin, The Slotkin Letter
“Every Day She Rose asks more and more complex questions: whose experience should be centered? Whose fears are valid? Is Pride a celebration or a site of protest? How do we hold and validate each others’ trauma? What is the responsibility of an ally or co-resistor to their best friend? Of a collaborator to their collaborator? The characters hold it all.”
S. Bear Bergman, Mooney on Theatre