A suicidal young man is rescued by a white dog who gives him a save his father from death. His mission flounders until the dog's owner helps him by bringing his reluctant mother back into the family.Winner of the 1984 Governor General's Literary Award for Drama.
Packed with juicy language. Explores the most heightened intensity of love.
“I had to open my mouth so wide to let the love in that the evil came in too… and living with it was just like being skinned alive; worse pain than your kidney stones.” (Pony)
"You know the feeling when you're falling asleep and ya jump awake 'cause you dreamt you slipped on a stair? Well it's like you stayed on the slip -- if you dove right down into it and held your breath till you came out the other end. I'm in the holding your breath part, so I'm not sure what's on the other end" (Pony)
Every playwright of the 20th century goes through a stage where they write a family drama. Some of them prove to be valuable, like O'Niell or Sam Shephard. Others prove to be ill equipped, and so it is with Thompson's play. As Thompson began to drift into whatever perceived magical land she believed to write in, it became indulgent, and it is very clear by this play. It's all language and nothingness. That's not the intent, I don't believe, and I think this play has very little to offer.
Certainly an interesting play. Occasionally a bit too frenetic for me. I wonder if it would be more comprehensible off the page. But Pony’s monologue at the end was moving. “Oh Dad, I’m so big now I’d never fit back on earth.” Grief will always need to be written about.