When Pierre and Simone planned a vacation to the Irish coast, they were hoping to revive their failing marriage. What they weren't expecting was to stumble upon the body of Mary, a drowned woman, during a walk along the beach. It's not long before curiosity and obsession take over, and the couple begin to piece together Mary's history using both facts and their imaginations. As her story comes alive, Mary's presence integrates itself into Pierre and Simone's lives, resurrecting their memories and regrets, fears and obsessions. Now they must struggle more than ever to revisit the past in order to write their own story.
About the authors
Evelyne de la Chenelière, Montreal-based author and actress, has written plays staged in Quebec and abroad that have been translated and published in several languages. Her collection of plays, Désordre public, won the Governor General’s Literary Award for French Drama in 2006, while her plays Les pieds des anges, La chair et autres fragments de l’amour, and La vie utile were nominated in 2009, 2012, and 2019 respectively. Her play Bashir Lazhar was adapted to filmby Philippe Falardeau and was nominated for Best Foreign Language Film at the 2012 Academy Awards. The Académie des lettres du Québec awarded La vie utile the Marcel Dubé Prize in 2021, and the play will be produced in German in 2022 at Landungsbrücken Frankfurt. Evelyne’s first feature film is currently in development with micro_scope and her new play will be presented in the 2021/2022 season at Théâtre Denise-Pelletier in Montreal.
Linda Gaboriau is a dramaturge and literary translator renowned for her translations of some 100 plays and novels by some of Quebec's most prominent writers, including many of the Quebec plays best known to English Canadian audiences. After studying French language and literature at McGill University, she freelanced as a journalist for the CBC and the Montreal Gazette. She has worked in Canadian and Québécois theatre and is founding director of the Banff International Literary Translation Centre, where she directed numerous translation residencies and international exchange projects. Her third translation of a Wajdi Mouawad play Forests in 2010 won her a second Governor General's Literary Award for translation. Originally from Boston, Linda Gaboriau has been based in Montreal since 1963. David Homel is a writer, journalist, filmmaker, and translator. He is the author of five previous novels, including The Speaking Cure, which won the J.I. Segal Award of the Jewish Public Library, and the Hugh MacLennan Prize for Best Fiction from the Quebec Writer's Federation. He has also written two children's books, including Travels with my Family, which was co-authored with his wife, Canadian children's author Marie-Louise Gay. He has translated several French works, receiving two Governor General's Literary Awards for translation. Homel was born and raised in Chicago and currently resides in Montreal.Maureen Labonté is a dramaturge, translator and teacher. She has also coordinated a number of play-development programs in theatres and playwrights' centres across the country. In 2006, she was named head of program for the Banff playRites Colony at The Banff Centre. She was dramaturge at the Colony from 2003-2005. She was also literary manager in charge of play development at the Shaw Festival from 2002-2004. Previous to that, she worked at the National Theatre School of Canada (NTSC), first developing and running a pilot directing program and then coordinating the playwrighting program and playwrights' residency. She still teaches at NTSC. She has translated more than thirty Quebec plays into English. Recent translations include: The Bookshop by Marie-Josée Bastien, Everybody's WELLES pour tous by Patrice Dubois, Martin Labreque and The Tailor's Will by Michel Ouellette, Wigwam by Jean-Frédéric Messier and Bienvenue à (une ville dont vous êtes le touriste) by Olivier Choinière.
"A beautiful, poetic piece. The writing is in equal parts sophisticated, sensible, and ironic." —Marie Labrecque, Le Devoir
"Evelyne de la Chenelière's play is magnificently well-written, sparking the emergence of deeply-felt emotions. A superb piece… as troubling as it is moving." —Louise Bourbonnais, Journal de Montréal