Only Drunks and Children Tell the Truth is the emotional story of a woman’s struggle to acknowledge her birth family. Grace, a Native girl adopted by a White family, is asked by her birth sister to return to the Reserve for their mother’s funeral. Afraid of opening old wounds, Grace must find a place where the culture of her past can feed the truth of her present.
During the last thirty years of his life, Drew Hayden Taylor has done many things, most of which he is proud of. An Ojibway from the Curve Lake First Nations in Ontario, he has worn many hats in his literary career, from performing stand-up comedy at the Kennedy Center in Washington D.C., to being Artistic Director of Canada's premiere Native theatre company, Native Earth Performing Arts. He has been an award-winning playwright (with over 70 productions of his work), a journalist/columnist (appearing regularly in several Canadian newspapers and magazines), short-story writer, novelist, television scriptwriter, and has worked on over 17 documentaries exploring the Native experience. Most notably, he wrote and directed REDSKINS, TRICKSTERS AND PUPPY STEW, a documentary on Native humour for the National Film Board of Canada.
He has traveled to sixteen countries around the world, spreading the gospel of Native literature to the world. Through many of his books, most notably the four volume set of the FUNNY, YOU DON'T LOOK LIKE ONE series, he has tried to educate and inform the world about issues that reflect, celebrate, and interfere in the lives of Canada's First Nations.
Self described as a contemporary story teller in what ever form, last summer saw the production of the third season of MIXED BLESSINGS, a television comedy series he co-created and is the head writer for. This fall, a made-for-tv movie he wrote, based on his Governor General's nominated play was nominated for three Gemini Awards, including Best Movie. Originally it aired on APTN and opened the American Indian Film Festival in San Francisco, and the Dreamspeakers Film Festival in Edmonton.
The last few years has seen him proudly serve as the Writer-In-Residence at the University of Michigan and the University of Western Ontario. In 2007, Annick Press published his first Novel, THE NIGHT WANDERER: A Native Gothic Novel, a teen novel about an Ojibway vampire. Two years ago, his non-fiction book exploring the world of Native sexuality, called ME SEXY, was published by Douglas & McIntyre. It is a follow up to his highly successful book on Native humour, ME FUNNY.
The author of 20 books in total, he is eagerly awaiting the publication of his new novel in February by Random House as "One of the new faces of fiction for 2010", titled MOTORCYCLES AND SWEETGRASS. In January, his new play, DEAD WHITE WRITER ON THE FLOOR, opens at Magnus Theatre in Thunder Bay. Currently, he is working on a new play titled CREES IN THE CARRIBEAN, and a collection of essays called POSTCARDS FROM THE FOUR DIRECTIONS. More importantly, he is desperately trying to find the time to do his laundry.
Oddly enough, the thing his mother is most proud of is his ability to make spaghetti from scratch.
The premise is great but it seems so rushed that it came up short. There's little character development. Janice, Barb, Tonto all could be memorable characters if they had been developed fully and I do understand that a play is different from a novel but it could be accomplished. I like the situational irony set up of the Amy Hart scenario but I'm not sure it was effectively achieved. Also, Janice is presented as a strong character; however, she's too easily persuaded: first to return to Otter Lake and then to get drunk. The dialogue between the boys seems to create questions that were never addressed.
An easy read (lengthwise), the play itself is extremely sad but impactful. Wish it was longer and explored the depths of the storyline and characters more.
I read this play for a class and enjoyed it quite a bit for a mandatory read. It was a strong example of social exploration and sharp entertainment and kept us all engaged for the short runtime. The fact I had to voice a character in it *shudders* and I still loved it says everything!
We follow a woman Barb and her brother Rodney and brother in law Tonto as they ‘let themselves in’ (break in) to their estranged sister Janice’s apartment while she isn’t home and await her return. Janice and Barb are native, but Janice was taken from their mother to be raised in an upper class white family as part of the ‘sixties scoop’ - a real program of familial separation in Canada’s genocidal history. They arrive to inform Janice of their mother’s death and to convince her to face her past and return to the reservation to say goodbye to her. The issue is, Janice has run from her past. What follows is a chamber piece about the nature of identity, family trauma, the unpacking of baggage, and forgiveness. It’s interjected with plenty of witty lines from Tonto, who keeps the tone balanced and light when needed thanks to his confident exterior. This play is a strong example of how entertainment can explore social themes and perspectives that the reader might not have considered otherwise.
My class really enjoyed this play. It has a lot of humour and I believe this would have been a really entertaining play to watch. It is very short and easy to read, yet the themes highlighted are evident and easy for my grade 11s to identify. The setting flips between Toronto and Otter Lake. Although much truth is shed on Indigenous children being taken from their homes and adopted by White families, much of the tone throughout the play is light and humorous. You cannot help but feel bad for Janice (Grace), who got the short end of the stick when being separated from her family. The whole play focuses on Janice’s journey into accepting her identity. Through Janice’s interactions with members of her community, the audience can still see the sadness and unfair circumstances that happened to Indigenous communities throughout Canada’s history.
Indigenous play (2 acts, 3 scenes each) about Janice (Grace) who is asked to come back to the reserve, Otter Lake by her sister, Barb, to say goodbye to their mother who passed away. Janice struggles as a consequence of the 60's scoop which stole her away from her family and placed her in the care of a white family. Janice has an internal struggle of identity - debating between Native and Western values/traditions.
4.3 stars It’s really sad that Anne passes away. I understood why Janice ran away on their first reunion. It was a lost for Janice knowing that her biological mother is the sweetest mom. She had lost 35 years of her life on a chance of living with her mom. Sighs.... my poor heart is broken again.
A short play that revolves around a woman who was taken in the Scoop. It’s good. It uses humour to keep the play light despite its heavy subject matter. Some of the humor is— just ok.