Daniel MacIvor

This book contains two of the most enduring plays from one of Canada s most accomplished playwrights and performers. A funny, satirical story, "Never Swim Alone" is about two men locked in a ruthless competition of one-upmanship. A hilarious metaplay, "This Is A Play" follows three actors who reveal their thoughts and motivations as they struggle through a performance."

I, Animal is a trio of riveting monologues from celebrated playwright Daniel MacIvor, each of which explores identity with tremendous insight and dark humor. In "Man in Scrubs," a queer black nurse is getting awfully tired of being put in a box. "Boy in Hoodie" is the story of a boy fascinated by death. In "Woman in Prada," a former suburban housewife navigates social expectations and desires.

Vic and Kat were the stars of iconic 90s punk band, Trigger. A decade or so after both the band and their friendship imploded on stage, they meet again to make an appearance at a fundraiser provided, of course, that they can stand being near each other again. In a single night, they crash through their past, their respective addictions, their fears, and their remaining aspirations, each longing in a way for when we were pure when we were perfect while knowing all the while that there isn t a chance in hell of getting that feeling back Trigger is a fiercely personal and philosophical clash between two women, a battle between ideologies, lifestyles and between memories and the present. Scirocco Drama is proud to launch its entry into screenplay publishing with the filmscript of this acclaimed movie, directed by Bruce McDonald and starring Molly Parker and Tracy Wright.

A new play by an award-winning playwright and one of Canada's most accomplished playwrights and performers follows five classmates in town for their thirtieth high school reunion. The more alcohol that's consumed, the closer the friends come to confronting their darkest secrets.

This fascinating version of Daniel MacIvor's most successful play to date lets the reader in on a secret: it was never primarily written as a work for live theatrical performance, but as a vehicle for his development of a screenplay, also included in this new edition. In his surprisingly revealing introduction, MacIvor talks about the genesis of both the play and the movie; the lessons he learned about the differences between the two media; and their radically different stylistic, technical and practical demands on both their authors and their audiences. A well-known practitioner of Canada's theatre of the avant-garde, MacIvor had for years wanted to write a brilliant screenplay, but there was a problem: he didn't know how. Most of his stark improvisational work for the live stage, centered around minimalist sets and props, dramatic effects of light and sound, and usually his own improvisational solo performances, did not translate well into the medium of film.So in order to realize his ambition he decided to create Marion Bridge, a piece of "conventional theatre," as a vehicle or transitionary playscript he thought he could use as a stylistic "bridge" from the live stage to the cinema. In the fact that Marion Bridge has become his most successful play to date lies one of the most important lessons MacIvor learned about the vast differences between the two media--between live performance that always relies on the audience to participate with the actor(s) in the active and collective creation of landscape and time within the space they share, and the cinematic experience wherein the creators and actors are absent, and the audience is estranged from the action by its passive consumption of a narrative of space and time always understood to take place in someone else's world outside of the theatre.

Co-founder of Toronto's groundbreaking theatre company da da kamera, Daniel MacIvor is Canada's most influential post-modern playwright. In his latest collaboration with director Daniel Brooks, MacIvor plays the role of Leonard, who narrates the events leading up to his murder while trying to understand them himself. Through the course of the play, we peer behind the curtains of his neighbourhood as MacIvor transforms into the multiple characters who bear witness to Leonard's life and death. Yet each of their stories, while internally consistent, tells a subtly different version of what happened, progressively colouring and transforming our understanding of the characters as we think we had come to know them. In a headlong rush we understand that everyone's story inevitably dead-ends at precisely the bottom of the preconceptions they brought to its telling. Punctuated by brilliant lighting and a mood-setting soundscape, this dazzling one-man show is storytelling of the highest order.