Лучшие книги Морриса Панича

A man returns after thirty years to sit with a relative on her deathbed. Kemp’s problem is: she’s not dying fast enough. Through Kemp’s own errors and inattentiveness, the visit that he thinks will take a day or two stretches into a year. A play of mistaken identity, twisted circumstance, and surprising turns, this is one Vigil worth keeping.

Of all our contemporary urban myths none is more absurd than the fiction of the “classless society,” and Morris Panych’s latest comedy penetrates ruthlessly to the shock and horror of the residue of hardened pesto soiling its porcelain heart.

Haplessly determined to have his own miserable authority vindicated, chief dishwasher Dressler presides over the steam-choked basement of an up-scale restaurant, a place of seamless existential drudgery so utterly remote from the light of day that its wage-slaves have no contact with anyone outside. Spouting an indiscriminate cornucopia of working-class ethic, an interminable babble of pride of craft, Marxist rhetoric and the virtues of individual entrepreneurship as celebrated by Ayn Rand, Dressler tyrannizes his co-workers relentlessly.

Unfortunately, both the “old hand” Moss and the “new guy” Emmett fail utterly to see things his way as they stubbornly and inexplicably pursue both their rejection of and aspiration to join “the folks upstairs.”

As Morris Panych’s latest comedy opens, we hear Iris, a precocious girl of ten, saying: “These are the last few days of my childhood.” The death of her goldfish, Amal, she is sure, has been announced by the air-raid sirens during the day’s school drill. For Iris, there remain a few more days of life in a universe that is inherently ordered, where the spirit of her departed and ritually interred goldfish can, of course, be re-incarnated in a lost and amnesiac drifter given to rhetorical questions of seemingly deep philosophical import.

Iris’s terminally depressed parents, trapped within the nostalgic desires of their own lost youth, are oblivious to how the child’s eye view of their daughter works and what it sees. They remember too well their own loss of innocence as they abandoned themselves to the existential chaos of adulthood. The middle-aged family boarder has spent years in a frustrated search for any kind of gratification, immediate or otherwise, at the Legion after a full day’s work in the fish cannery.

It is into the goldfish bowl of this dysfunctional family of lethargic piranhas, existential bottom-feeders and aggressive guppies that the audience peers with incredulity, acute recognition, hysterical laughter, and an overwhelming sense of the creative healing power of the imagination.

Cast of three women and two men.

Winner of the 2004 Governor General’s Award for Drama.