Episode Seventy-eight: Cottage Dog

In 2004, Max gained added novelty to his life when we started using our Pender Harbour cottage as a summer/weekend retreat. Our first tenants had been great, but work had taken them elsewhere, and there were problems with their replacements. These were serious enough that we had to issue an eviction notice, so rather than rent again, we decided to fix the place up so that all the family could enjoy it. Hugh had just retired from teaching, so cottage renovation became his first retirement project.

A rural cottage garden.
A rural cottage garden.

Max took to his new home-away-from-home like the proverbial duck to water. There was a fair-sized garden, and Hugh built a fence around the property, so Max had a big lawn to run on and a wild grassy slope to explore. He had cottage toys and town toys; he had treats and his own bowls in each location; best of all, he had a whole new set of walks to enjoy.

At the marine park.
At the marine park.

He loved the marine park, where he was able to run on the trails, but he also liked his extender-leash walks around the lagoon or up the road to the lake.  In town, Max had his morning walk, and the rest of the day was usually spent at home. However, at Pender Harbour, he would enjoy a long morning walk, and then have two or three more outings. I did most of my writing at the cottage, so had to get up and stretch my legs after a couple of hours at the computer. Max reaped the benefit as my break always included a stroll around the pub path and the lagoon.

ANOTHER VIEW OF RAPIDS
The Skookumchuck rapids.

There were several hiking trails that we could drive to from the cottage. Ruby Lake was bordered by a narrow, but accessible path, and the Lion’s Club park had a loop through the woods that was a great adventure walk for dogs. The longest hike was at the Skookumchuck Narrows Provincial Park. This walk provided Max with a good run—though he had to be leashed once we reached the rocks on the far side of the park. We kept him well back from the cliff while we watched the raging whirlpools below.

On the pub path.
On the pub path.

Max adapted well to the laid-back ambiance in Garden Bay. There was a disparate but congenial assortment of characters living in the area, and rich and poor alike seemed to like dogs. There were a lot of local dogs, but there was also an abundance of four-footed visitors during the summer months. The Royal Vancouver Yacht club had an outpost in the bay, so there was a frequent parade of boaters exercising their dogs around the lagoon. Unlike in town, where Max tended to be feisty, at the cottage he seemed to accept all these other canines as being part of the scenery.

Making friends with the locals.
Making friends with the locals.

Max soon became familiar with the locations that provided treats. He enjoyed ice-cream cones from Laverne’s fish and chip shop, which was next door to our cottage, or soft cones from John Henry’s Store if Laverne’s was closed. Shopping excursions by boat to the other side of the harbour usually included a hot-dog break at the stand by the IGA. Max also figured out quickly which of the locals kept treats in their pockets. Bribery worked every time if people wanted to make Max their friend.

Visiting the other side of the harbour.
Visiting the other side of the harbour.

On one occasion, when we had been in town for the winter months, Max really made us laugh on our arrival at the cottage. He had received his usual batch of new toys for Christmas, and forgetting that he already had a squeaky Kermit frog at Pender Harbour, we had bought him another one to be that year’s ‘cottage toy’.

Sometimes the kids came to stay.
Sometimes the kids came to stay.

When we arrived, I realized our mistake because the old green Kermit lay in the middle of the living-room rug, along with a variety of other cottage toys. However, I took the new toy out of the bag and gave it to Max anyway. He looked a little puzzled as I gave him the frog. Then, frowning as if concentrating took a huge effort, he took the toy over to the rug, dropped it to one side, then picked up the old Kermit toy and placed it side by side with the new one. Max was one smart dog, for all his naughty ways.

Those tempting toes.
Those tempting toes.

Usually, it was just me and Hugh present on these holidays, but sometimes the girls would drive up to join us too. When Caroline came with her children, we had to be vigilant. Max had never been overly tolerant of little people so the children were issued with strict instructions that they could talk to Max but were not to pat him. If I was busy and unable to properly supervise, Max would be banished to our bedroom. However, one morning when two-year-old Veronica was still asleep on the living-room sofa-bed with her little bare feet sticking out from under the quilt, Max showed a surprisingly benevolent side. He ambled out of the bedroom, sniffed the tiny feet and deposited a gentle lick on Veronica’s toes.

On his deck - old but content.
On his deck – old but content.

Max spent many happy holidays at the cottage. He was always excited when it was time to set off, and settled in, blissfully content, when we arrived. He particularly liked our cottage deck, where he could sit above the road and view all the action as trippers and boat dogs paraded around the lagoon. He sat king-like, viewing his subjects, happy in his superior position with the 180 degree view. Was it the advancement of age, or simply the laid-back Coast ethos that made him a much more mellow fellow? Who knows, but whatever the reason, Max loved being a cottage dog.

From play to mystery story —Shadow of Murder and “Mary Poppins, Where are you?”

My third play was another murder mystery. The idea came to me years ago when I was home with a dose of flu. I was too ill to concentrate on a book so I resorted to browsing through the want ads. Suddenly, I came across a notice for a children’s nanny. It read: “Mary Poppins, Where are You?” This was around the time of the Bernardo/Homolka murders and the thought popped into my head: What if the nanny had been one half of a homicidal couple and the ad had been placed by her partner in crime after she had been released from jail. Suddenly the cheerful wording of the notice took on a sinister tone.

Chris O'Connor and Isabel Mendenhall
Chris O’Connor and Isabel Mendenhall

A lot has been written and filmed about couples who have been convicted of multiple murders. The inevitable question that comes to mind is: Was the female half of the partnership a willing participant, or was she intimidated into aiding and abetting her partner? This became the subject of my play. The script deals with a serial killer named Peter Crampton who has escaped from jail in order to get even with the girlfriend who gave evidence against him. When the play begins, his girlfriend has been released from jail, but she has disappeared from view and no one knows where she is.

THE-BEACON-COVER
“Mary Poppins, Where are you” was published in The Beacon and Other Mystery Stories

I set the play in a hunting lodge in the mountains.  Although I was very attached to the title that had given me the idea for the plot, I realized that it would have to be changed as it would be misleading on a marquee. Therefore, the play-script became Shadow of Murder. However, I decided to re-use the plot for one of my mystery books, and in that format, I was able to keep the original title. As it turned out, “Mary Poppins, Where are you?” was already in print before the play was produced, so the short story provided a great resource for the actors’ character studies.

PAT MCDERMOTT AND MARY ADAMS
Pat McDermott and Mary Adams

Although the play has a very dark theme, its tone is that of a typical community-theatre murder mystery. There are elements of romance and humour that offset the serious subject matter. The suspense comes from the fact that the characters are isolated at the lodge and a dangerous killer is at large in the vicinity. Without these elements, the play would have been irretrievably gloomy. However, most of these features were unnecessary when I rewrote the script as a short story. Therefore, I dispensed with the humour and romance, and kept the tone serious and sinister.

Shadow Set
The Lodge

Transforming Shadow of Murder into story form was fun. I’d learned my lesson on my previous projects and I took a different approach right from the start. The biggest plus was being able to take the action outside the hunting lodge. Dialogues took place by the lake; characters mulled over problems while walking forested trails; squad cars raced along highways in high winds; motorists were stranded by landslides; policemen discovered bodies in the river. It was so much easier to narrate the events as they happened rather than write dialogue to let the audience know about the action that was occurring outside the stage set.

collcombo
The Vagabond Players cast

It was easy to create suspense with the short-story format, too. Instead of writing dialogue, I could describe the thoughts of the characters, far more evocative than the spoken word for communicating the fear that gripped them. The varied settings helped too. The dark forest, the raging storm, the turbulent river and the cold, sinister lake all generated a doom-laden atmosphere.

CHARLENE AND JOHN
Isabel Mendenhall and Dwayne Campbell

Other differences between the two formats? With a story, it is easier to insert red-herrings into the plot. The clues can hide amid pages of description or exposition. The stream-of-consciousness technique works well. Character’s thoughts can be written in a way that is entirely accurate, yet still leads the reader in the wrong direction.   Red herrings in a theatrical production are trickier. It is hard to fool a group of people collectively focussed on a live performance, so a play demands visual trickery and extraneous action to divert the audience from the clues in the dialogue.

MARY ADAMS, DWAYNE CAMPBELL, CHRIS O'CONNOR, DONNA THOMPSON AND RICK PARE
Whodunnit?

The final major difference between the two forms was in the endings. In spite of the darkness of the theme, I was able to end the stage play on an upbeat note that left the audience smiling. However, in translating that plot into a story, levity simply did not work. “Mary Poppins, Where are you?” had to be ‘played’ straight, and the story’s conclusion resounded with bitterness and a desire for retribution.  Same plot, totally different mood. The power of style and structure over content never ceases to delight me.

[box]Black and white photos by Doug Goodwyn. ‘Whodunnit’ by Craig Premack.[/box]

Episode Seventy-seven: Arvy Dog

In addition to being a local celebrity, Max gained some other bonuses in later life. Soon after we built the suite for my mother, we also sold Lisa, our old motorhome and acquired a newer one, suitably christened Arvy. Since Katie still lived at home and Mum’s caregivers were willing to put in more time, Hugh and I decided to try out Arvy with a trip to the Kootenays. Naturally, Max came along too.

On the road again!
On the road again!

Max thoroughly enjoyed the trip, sitting sedately between the two front seats when on the road, and snuggling up on his blanket when we tucked down at night. He seemed content to have walks on his extender leash at the various rest stops and RV sites, and didn’t appear at all bothered that he wasn’t getting to run off-leash. The sheer novelty of all those new smells and fellow travel-dogs was ample compensation for the loss of freedom.

Max liked the RV sites.
Max liked the RV sites.

Max found the RV sites generally entertaining. There was enough distance between us and the other campers that he didn’t feel threatened, yet there were always other dogs to glower at (if male) or flirt with (if female). Max also adapted happily to the campsite meals. He would eat his dinner outside, glaring suspiciously towards any other camp dogs in the vicinity or whiffling his nose in the air if other camp meals wafted enticing scents his way.

Sightseeing at Kaslo.
Sightseeing at Kaslo.

The Kootenays were glorious. The scenery was spectacular, with soaring mountains, vast stretches of water and quaint little towns. Max waited patiently and comfortably in Arvy when Hugh and I visited non-dog-friendly sites such as the paddle-wheeler at Kaslo. However, most of the time, Max could share in our fun.

Taking a dip.
Taking a dip.

Whenever we stopped at a lake, Max went swimming. However, since the scent of wildlife followed us at every stop, Max’s swims always had to be on the end of his long line or on his extender leash. Not that Max seemed to mind. We just had to make sure we didn’t throw the stick out too far. Knowing Max, he would have towed one of us into the water.

Boat dog again.
Boat dog again.

On one occasion, Hugh decided to rent a boat so we could explore one of the lakes, so naturally Max came along. He had adapted to boating early in his life, and was quite happy to leap into the rented boat and roar around the lake with us, checking the small islands and coves as we went. Everything was a grand adventure.

Treats along the way.
Treats along the way.

There were treats along the way too. Each day we made a coffee stop for us and an ice-cream stop for Max. Whatever we decided to do, Max eagerly took part. He rode on ferries, hiked on trails, ate heartily at our campsites, and generally had a wonderful time.

After the storm.
After the storm.

On the return trip, we stopped in Merritt, and this was one visit that Max didn’t enjoy. He liked the walk along the Coldwater River, but that night, there was a ferocious wind storm with gusts that buffeted Arvy back and forth. Max was very anxious at the rocking and bucking. He also picked up my anxiety, for the RV site was surrounded by trees and I was worried about the possibility of one of them coming down on our motorhome. Hugh, in typical fashion, pooh-poohed my fears and went to sleep, but in the morning, he admitted that I’d had cause for concern. When we went for the morning walk by the river, we were climbing over tree trunks all the way.

Arvy Dog.
Arvy Dog.

Still, other than that one night, the trip was a big success. Max also benefitted from the fact that there were no children along to divert us with kid-friendly activities. He was the centre of attention, and seemed to thoroughly enjoy this changed family dynamic. We suspected that he considered this the best holiday he’d ever had. From then on, there was no question that he was Arvy dog. Any time that camper door was opened, Max was in there waiting for a ride.

Episode Seventy-six – Celebrity Dog

Well before my father died, the girls had grown up sufficiently that they were far too ‘cool’ for puppets. Hugh became my co-puppeteer as well as craftsman and technician and the team was reduced to the three of us: Hugh, me and Max. Caroline, however, married at eighteen and rapidly produced three children, so it was not long before Max and the puppets had a new adoring audience in the form of our grandchildren. Naturally, Max’s new fans liked coming to the shows since they were allowed to come backstage and play with the puppets after the final curtain.

Regular press photos with his puppet.
Regular press photos with his puppet.

During these years, Max became quite the celebrity dog. The local cable company did several features on him with his puppets, and twice CBC came to the theatre to film clips for the news. The local papers covered the Christmas shows every year, sending photographers who often wanted to include Max in the pictures alongside the puppets and puppeteers.

Celebrity chef
Celebrity chef!

The Max puppet was such an attraction I was even asked to be part of a celebrity cooking feature in the local paper. Dutifully I churned out my seafood crepes and posed with them for the photographer, but I was in no doubt that the celebrity they were really interested in was the little wooden one on my shoulder!

Max was much more interested in playing with Brandy.
Max was much more interested in playing with Brandy.

However, on one notable occasion when CBC was coming to film an excerpt, we thought it would be fun to have Brandy along for the photo session. What a disaster that was! Max was so distracted by having his girlfriend present that he forgot all his tricks and was thoroughly misbehaved. The cameraman dutifully took some clips of the naughty pair, but he was obviously not impressed. We were not surprised when the final airing showed lots of puppets but no dogs. Max learned the lesson that other temperamental actors have discovered the hard way. If you have an attitude, you end up on the cutting-room floor.

Max and Rudolph puppets were great for the Christmas parade.
Max and Rudolph puppets were great for the Christmas parade.

We realized that Max, the Ho Hum Husky had become a local celebrity when we began taking the puppet into the Hyack parades. Vagabond Players often had a troupe walking in the parade or riding on a float, so Hugh and I would walk on either side of the group, each one of us holding a puppet. In the spring, I would work the Max puppet and Hugh would take Brandy. For the Christmas parade, it would be Max and Rudolph. Whatever the season, every so often we’d hear a voice from the crowd cry out, “There’s Max! Hi Max!”

Dwayne Campbell, Max's perfect voice.
Dwayne Campbell, Max’s perfect voice.

This familiarity with the puppet began to show up at the theatre performances too. Every so often, the Max puppet would be applauded on his entrance like some big star on Broadway. What made that puppet so popular? It was certainly the efforts of three people that brought the character to life: Hugh, with his wonderful craftsmanship that created such an appealing marionette; myself, of course, with my scripts that put words in the puppet’s mouth; and Dwayne Campbell, our actor friend, who interpreted those scripts so perfectly in giving Max his voice.

Practicing his bow onstage.
Practicing his bow onstage.

However, the fact that Max was based on a real dog provided the extra magic. Children loved to hear stories about the real Max after the shows, and when Max, the flesh-and-blood husky, performed his tricks or took his bow, the oohs and aahs were enough to give any dog a swelled head. No wonder Max considered himself a star. Even today, children at the puppet shows are delighted to hear that Max was a real dog …. and yes, he really did eat a Christmas tree light bulb!

SEXTET
Boris never made it on stage!

Max’s personality made its way into my other arts activities too. My play, Renovations, included several references to a feisty dog named Boris who was always locked up in some other room so that he didn’t chew up the workmen. In my mystery books, Max appears as MacPuff, Bertram Beary ‘s well-loved, misbehaved mutt.

Hum Ho, the princess's bodyguard.
Hum Ho, the princess’s bodyguard.

However, it was the Vagabond Players puppet shows that gave Max his fame in our local community. Because he was so popular, I found a way to incorporate his character into all the shows, even if they were traditional stories. In Aladdin, Max appeared as Hum Ho, the princess’s bodyguard; in King John’s Christmas, he was Sir Max, the Ho Hum, saving Santa from a dastardly plot thought up by Bad King John and his pet dragon.

Sir Max, the Ho Hum to the rescue!
Sir Max, the Ho Hum to the rescue!

Max used to love going to the Bernie Legge Theatre. The minute we arrived to set up, he would run to the apron of the stage and take a bow. Of course, he knew that he would get a cookie, whether the audience was there or not. Then he would settle down on his blanket in the stage-manager’s corner and sleep there contentedly while we performed the shows. However, he always woke up in time for his bow. We were convinced that our clever dog could recognize a final chorus, no matter what show was being performed.

Around the Christmas Tree.
Around the Christmas Tree.

Those years were good ones. We worked very hard, some Christmas seasons performing as many as eighteen shows at the Bernie Legge Theatre, followed by another dozen or so at the Burnaby Village Museum. However, our house was always decorated early and we would go home after performances and sit by the tree, enjoying Spanish coffees and Christmas treats, listening to carols and lapping up the festive atmosphere. Max would be at our feet, tired from the excitement of his outing at the theatre, but blissfully content. If friends had attended the shows, they would come back for drinks and snacks, and that was how we did our Christmas socializing for we were far too tired and busy to get out to parties. It was a routine I look back on with pleasure: Good company, the memory of children’s smiling faces, the joy of Christmas festivity, the knowledge of a job well done.

A Dog with a Job!
A Dog with a Job!

These days, whenever I watch the Knowledge Network’s ‘Dogs with Jobs’ program, I always remember how happy Max was when we came home from a show. Much as he was loved and cared for, Max needed challenges and discipline too. Being a dog with a job had been in large measure the reason our difficult adopted pet had found contentment. Those post-show Christmas interludes demonstrated just how well the lesson had been learned.

Celebrating the Festive Season at the Burnaby Village Museum

AT THE VILLAGE
Set up for the show.

The Burnaby Village Museum is a wonderful place to visit during Heritage Christmas.  For us, the village has special significance, since we have performed there annually since 1994.  Our first gig was a single-day booking when we were eager new puppeteers.  We were also the owners of a boisterous new pet, whose image had been recreated as Max, the Ho Hum Husky, and that first booking was the premiere performance of Guard Dog in Concert.  Max, the dog, came along with Max, the puppet, and hovered backstage throughout the performance, eagerly awaiting the moment when he would go out to bow with his puppet and receive a cookie as a reward.

max
Max, the Ho Hum Husky
MAX LOVES SANTA
Max rivaled Rudolph and Santa for popularity!

As the years rolled on, we continued to perform at the museum.  Whatever the weather—frost, rain, wind or blizzards—we made it to Brookfield Hall in time to deliver our shows.  The bookings increased to two, and then three days.  We put on two half-hour shows a day, and later, a third one was added to accommodate the people who wanted to get in.  Max became so seasoned at performing that on one occasion, he anticipated his bow and slipped out to socialize with the audience during the final few minutes of the show.  We couldn’t figure out why the audience was laughing more than usual until we realized that the backstage blanket was empty.

DSCN5637
Seen through new eyes.
057
The lights get better every year.

As our puppet company grew, we progressed from our rickety old trailer to a grand Wells Cargo version, which the village janitors probably hated as it threatened to tear down all the garlands as we made our way round to the loading door.  We developed a second Christmas show, The Fairy Tale that went Wrong, and alternated the shows from year to year.  In the early years, our daughters performed with us, and enjoyed touring the museum between shows.  More recently, our grandchildren have come to the shows, and we have enjoyed seeing the museum through young eyes all over again.   Our original trailer has come full circle too, since the grand Wells Cargo one was stolen in 2009; now the old one is back on the road, doing Trojan service and not offering any danger to the village decorations.

FLED NAG NAG NAG
Die Fledermaus, the Sequel
BACKSTAGE 2
That cozy backstage area.

Since the museum started offering free admission for Heritage Christmas, the crowds have grown so large that the longer shows are no longer practical.  Now we do eight shorter shows a day, and our booking this year is for seven days.  Quite the marathon, so we are very grateful for our cozy backstage area, and make sure we’re equipped with what we need to catch a few minutes rest in between shows.  We also venture out and take a turn around the grounds, for the lights seem to grow more brilliant and abundant every year.  So if you’re looking for a lovely way to celebrate the Festive Season, come down to the Burnaby Village Museum – and don’t forget to drop in and see the puppets on your way through.  Merry Christmas, everyone!

[box]This year at the museum: Max, the Ho Hum Husky running Dec. 26 – 29, 2015 and Die Fledermaus, the Sequel running Dec. 30, 2015 – Jan. 1, 2016.[/box]

Episode Seventy-five: Nana’s little boy

After my father died, we had to arrange care for my mother since her dementia had progressed to the point that she was not able to look after herself. We built a suite at the back of our house, and by the end of the year, we had moved her in with us. There she remained for more than seven years until she died. These years were fairly stressful ones for us, needless to say. However, my father had left sufficient money that we were able to have caregivers in for five mornings a week, so gradually, we learned to cope with the new situation.

The big winner.
The big winner.

The big winner, of course, in this new setup was Max. Suddenly, he had a doting Nana ever present, plus a variety of amiable ladies who came in most days to provide the necessary care. Naturally, they also learned quickly that the route to Max’s heart was to provide extra treats for him. So it came about that Max, for the rest of his life, was never home alone. If his owners were out, he could resort to the caregivers for entertainment.

Oh, isn't he sweet!
Oh, isn’t he sweet!

Needless to say, given Max’s nature, the caregivers had to be given strict instructions on the dos and don’ts of our temperamental pets. Max and Minx were never to be in the same area unattended, Max was restricted to the two top floors, and most particularly, Max was not to be allowed in with Nana while she was eating. In spite of Max’s early propensity for digesting things like dead mice and work socks, he had a sensitive stomach and would deposit large piles of barf on the carpet if given anything but the plainest scraps of human food. Since Nana had a preference for pastas with sauces, her dinners were definitely off limits. Given her dementia, she could not understand why her furry friend was not allowed treats. “Oh, isn’t he sweet,” she would say, while tossing dollops of creamy noodles his way.

Love those leftovers!
Love those leftovers!

Our caregivers were generally on the ball and supervised meticulously. However, one evening when Hugh and I were out for a much needed date night, the lady in charge left the room while my mother was eating and failed to close the door. When she returned, she found that my mother had not only put her plate down on the carpet, but was rolling her hand around in the pasta encouraging Max to finish the leftovers. Since the dog was hardly able to distinguish the difference between the pasta and the fingers in the middle of it, he’d also managed to give my mother a goodly bite on the hand. Our caregiver assured us that it wasn’t serious and that she’d cleaned it up, but one look from us and we could see right away that a couple of stitches were in order. Ninety-plus-year-old skin is pretty fragile and it doesn’t take much to tear it.

Constant companions in our mad household.
Constant companions in our mad household!

So my date night ended with me taking my mother down to emergency and sitting for over an hour in the packed waiting room. People who have no experience of dementia could not realize what torture this was. My mother, sweet as she was, would think nothing of making child-like observations about other people in the room. “My, isn’t she fat!” is a typical example. She would also repeat the same phrase over and over, since she would forget what she had said two minutes after she had spoken. That night, the issue became the absence of her handbag. My mother was rather like the Queen. The handbag was always present. However, given the situation that night, I had made sure her bag was safely left at home. What a mistake that was. Every two minutes, my mother asked me where her handbag was. Every two minutes, I reassured her that it was safe at home. By the time we had sat there for forty minutes, the entire waiting room had become like a Greek chorus. Everyone chanted along with me: “Not to worry, it’s safe at home.” Unlike a Greek chorus, all the waiting patients had big grins on their faces. To add to my humiliation, when we finally saw the doctor and I explained how my mother had been bitten, he roared with laughter and was clearly ready to dine out on the story. Hugh was also grinning ear to ear when we got home and Max, the perpetrator of the piece, was already tucked up asleep. Definitely a date night to put a rosy flush in my cheeks. Too bad it was the result of raised blood pressure.

The perpetrator!
The perpetrator!

Still, somehow we survived with our mad household. For a dog with limited people and canine skills, Max had certainly broadened his social circle. Dogs to the side of him, a resident cat, an amiably dotty grandmother, a parade of jolly caregivers, visitors at the luncheons I threw for my mother. Thinking back to how skittish and difficult he was when we acquired him, it just went to show what progress he had made. Finally, Max had really learned how to be a Ho Hum Husky.

Episode Seventy-four: Learning to co-habit with that darn cat.

Because Max and Minx fell in hate at first sight, there was no question of Minx becoming an indoor cat. Fortunately, given her history, she was used to fending for herself, so each morning she would eat her breakfast, then go out to patrol the block and make her rounds. There were many old houses in the area, and every year a couple of them would be demolished. Whenever this happened, Minx became a cat with a mission. She would set out, determined to round up the dispossessed mice. We used to refer to her as the neighbourhood policeman. She would return to nap in Katie’s room in the afternoon, often bringing gifts to the window and being most put out when made to discard them before entering. However, Katie’s room became Minx’s sanctuary as a gate in the stairwell prevented Max from getting down to the lower floor.

LOVE THAT BALL
My ball and my space!

Naturally, Max and Minx had to share the garden, but fortunately we had a wide front garden and a gated and fenced back garden with a trellis dividing off the rear section. Max was able to enjoy the large grassy area in the back in safety and security. Minx claimed the front garden and the rear section beyond the trellis, and would either stroll along the high brick wall between the two or neatly slip through the side fences to the neighbours’ gardens and go back and forth through their lots. This, of course, only worked if Sheamus and Max F were not outside in their own gardens, but she seemed to developed radar for which dogs were out when. Her skill in negotiating these three large canines in time earned her the epithet, The Grey Shadow.

The Neighbourhood Policeman.
The Neighbourhood Policeman.

Minx also used her fences to tease Max unmercifully. Seeing Max lying in the garden, she would bob under the gate by the trellis, take a leisurely sniff in the flower bed, always keeping one eye watching for when Max gave in to temptation and charged. Then, at the very last moment, she would slip back under the gate, leaving her arch foe panting in fury on the other side. After a couple of years, Max gave up trying to catch her, although he never stopped being jealous of the new acquisition.

Max was most annoyed about the newcomer.
Max was most annoyed about the newcomer.

On one occasion, Hugh and I were enjoying coffee in the garden. Max was at our feet, lying between our chairs. Suddenly Minx bobbed into view by the trellis. Max made a great show of pretending not to see her. If he couldn’t eat her, he preferred to ignore her. However, Minx continued to sit at the other end of the garden, and after a few minutes, I made the mistake of calling “hello” to her. Instantly Max’s face was transformed. If a white husky could turn green, he would have done so at that moment. He might have learned to tolerate the cat’s presence, but he had no intention of allowing his mistress to talk to the animal. He charged down the garden at such speed we were amazed he was able to brake at the gate. Minx, by then, was gloating on the other side. Poor Max! Such indignity to be outfoxed by the invader to his home.

Just coping at Christmas.
Coping at Christmas. Claws off my toy!

To our relief, at some point in their lifetime, Minx and Max seemed to declare a truce. They didn’t like each other, but they left each other alone. Each Christmas Day, they looked a little mulish, but they accepted that we all inhabited the same room for present-opening, albeit, in their case, at opposite ends of the room. And occasionally, we even caught a glimpse of collaboration, like the time a big moggy came through the fence and chased Minx across our garden. Max happened to be outside, and as Minx streaked the length of the yard and whizzed out the front gate, Max bounded between her and the visitor, treeing the intruder mid-garden. It was almost as if he and Minx had planned it, so who knows what really went on between those two sets of furry pointed ears.

Thuggerpaws, the stepmother's cat.
In Cinderella Caper, as Thuggerpaws, the stepmother’s cat.

The ongoing feud between Minx and Max was trying at times, but it inspired several new puppet shows. Hugh made a grey Manx puppet, I wrote some new scripts, one of which included a theme song for Minx, and the dog-and-cat rivalry was transferred to the stage. Rehearsals could sometimes be tricky, for Max liked to hang out under the theatre as we worked, but occasionally, Minx would amble into the area, hop onto the stage to join the puppets, or go hide in the stacks of revolves in the scene shop, and we would have to call a halt while we restored order out of the chaos that ensued. It was also interesting to note that, whenever Minx came to check out the marionettes, it was always the Max puppet that she whacked on the nose.

The Christmas Spirit.
The Christmas Spirit.

Still, those two rivals were both much loved members of our household, and in their puppet forms, they co-starred in several shows. Max and Minx always played themselves or their pet ancestors. In shows with modern settings like The Christmas Spirit or The Cinderella Caper, they belonged to a character named Jim McCluskie, but were often in the care of Tilly and her boyfriend, Pete. The Cinderella Caper was the first show for Minx, and as it was a show about putting on a show, she also got to play Thuggerpaws, the stepmother’s cat.

In The Highwayman's Christmas, Minx and the grandchildren all got puppets.
In The Highwayman’s Christmas, Minx and the grandchildren all got puppets.

In The Sorcerer Princess, Max and Minx were palace pets in the court of Mad King George and had a wonderful adventure rescuing Santa from the machinations of a villainous bat. The Highwayman’s Christmas starred Max as MaxHeath and was originally produced before Minx’s arrival, but years later it was expanded into a bigger show with a long first scene that included not only parts for Minx the Manx, but also roles for our three grandchildren.

Isabel Mendenhall, Minx's perfect voice.
Isabel Mendenhall, Minx’s perfect voice.

However, it was Max’s final show that provided the best showcase for the two puppets. This was The Christmas Present of Christmas Past, where Max, along with Santa and a variety of other characters, was transported back to Ancient Rome. Minx had a double role, playing herself in the modern scenes and ‘I Clawdia’, the empress’s cat in the Roman scenes. Just as Dwayne Campbell provided the perfect voice for Max, the Ho Hum Husky, Minx also acquired a perfect voice from Isabel Mendenhall, a wonderful local actress who ironically had played opposite Dwayne many times in stage plays. The interaction between the two was as charming on the puppet stage as it had been in the live productions. So like it or not, Max the Ho Hum Husky was linked permanently with Minx the Manx, on stage and off. He just had to learn to co-habit with that darned cat.

Reversing the process—how Renovations became “Sisters in Crime”.

My comedy, Renovations, was a play that I had no intention of duplicating in another form. However, when I was assembling stories for my book, A Black Tie Affair and Other Mystery Stories, I needed something short and light-hearted to complete the collection. Renovations had contained a hint of mystery, so I set to the task of transforming the plot into a short story. I had whipped the first draft of the play off in a week so I was sure it would be easy to write the story, which I renamed “Sisters in Crime”.

The Vagabond Players cast.
The original Vagabond Players cast.

However, just as I’d struggled with Casting for Murder, every one of my early attempts to transform Renovations ended in failure. Following the narrative structure of the play’s plot-line didn’t work because it was a complicated story which involved eight different characters. I had no desire to write the piece as a novel, and the subject was too light and frothy for a novel anyway. Finally, I chucked everything I’d done so far and took a totally different approach.

I focussed on only two of the characters.
The trick was to focus on two of the characters.

I decided to focus on two of the play’s characters, with the other six merely mentioned in conversation. I incorporated my popular series character, Bertram Beary, into the plot, making him the godfather of the play’s heroine, and told the story through a series of meetings in a restaurant. Beary lunched with the two characters in turn, heard their tales of woe and offered fatherly advice. To my amazement, the story came easily to life, and the end result became one reader’s favourite story in the entire book.

HE-LIKES-YOU-MARJORIE
Those exuberant characters had to leap off the page.

Analyzing why this process worked, I conclude that it was because the characters ended up telling the story in their own words. Therefore, even though the story as a whole was narrated in the third person, long segments were told in the first person by the people who were directly affected by the events. This allowed the personalities of the play characters to leap off the page and appear as bubbly, cantankerous, stubborn or devious as they were on stage.

JON AND DAVID
What works on stage can fall flat on the page.

Although this first-person-character narration worked perfectly as a story-telling vehicle, it did affect the order in which events were revealed. What worked as a dramatic and funny climax in the play seemed anticlimactic if left to the end of the story. Instead, a relatively minor revelation from the play made a better conclusion. Lesson learned: Material delivered with great style orally can fall flat if read silently from the page, whereas insignificant asides sometimes can gain from the extra detail provided by the written word.

With the cast of the first Ontario production.
With the cast of the first Ontario production.

I was to repeat the play-to-story process with my next script, but because that was a mystery and not a comedy, there were other elements needed to make the transformation work. However, the key with turning Renovations into “Sisters in Crime” was simply the fact that so much of the humour in the play derived from the characters, and therefore, the story version had to be character driven as well.

Next: Repeating the process with variations—how Shadow of Murder became “Mary Poppins, Where are you?”

Episode Seventy-three: Losses and Gains

Max was very sad at the loss of my father. He had no idea why this special human had disappeared from his life, and it was one of the saddest moments when, for the first time after Dad’s death, we took Max to my parents’ house, for he searched every room and corner of the garden looking for his namesake.

gtIt was hardly surprising that Max, the dog was so bonded with Max, the human. Dogs had always been a part of my father’s life, but he was old by the time his last dog died, so he had not wanted to get a new pet of his own. Therefore, Max filled a gap in his life during his old age.

A unique gravestone.
A unique gravestone.

My father’s love of dogs, along with his love of his bank book, is noted on a unique gravestone in the tiny Pender Harbour cemetery where his ashes are buried alongside my mother’s. Mum is commemorated with engraved roses and a poem touching on her charm and grace. Dad’s gravestone sports a German shepherd in one corner and a dollar sign in the other. It also contains a quotation from my play, Renovations, which only people in the family circle would understand. However, I suspect Dad would have been highly entertained by the fact that strangers who wander through the pretty country graveyard would see the gravestone and puzzle over the significance of the inscription. Like Max, the dog, Max the human was quite a character.

The most annoying intruder.
The most annoying intruder.

Max, the dog, was not a happy camper in the period after my father died. To add to the sorrow of Dad’s demise, Max also had to suffer the indignity of some new arrivals around the home. Minx the Manx was now firmly entrenched in the household, so there were frequent battles when Max cornered Minx and received a claw in his nose for his pains. A pesky cat was definitely no substitute for an adoring grandfather.

The boy next door.
The boy next door.

As if this wasn’t enough, new tenants appeared next door along with a large and beautiful dog named Sheamus. On the day they moved in, I was painting scenery in the garage below our deck. I had the door open to reduce the fumes, and Max was enclosed on the upper deck since I didn’t want him running out onto the road. As I continued with my painting, I was vaguely aware that there was activity in the driveway next door. Jody and Trevor were in the process of moving in. Suddenly, I had company. The large, shaggy and exuberantly friendly Sheamus had bounded in to introduce himself. As I patted the newcomer and told his owners how beautiful he was, I heard the clicking of paws and huffing and puffing overhead. Max was not impressed.

You in your garden and I in mine.
You in your small garden and I in mine.

Although I expected some scuffles on either side of the fence when the two dogs were out in their yards, Max and Sheamus seemed to declare some sort of truce. As long as they kept to their own gardens, there didn’t seem to be a problem. I suspect that Sheamus attempted to be friendly and was snubbed by Max, who would have ignored him on principle for daring to make friends with his mistress. However, one day when Jody and I inadvertently left for our walks at the same time, the two dogs forged through their side-by-side gates, found themselves adjacent to each other, woofed loudly and veered joyously towards each other, finally given the chance for a scrap. If Jody and I hadn’t hauled on the leashes and back-pedalled at speed, doggy mayhem would have ensued.

Max F had failed police school.
Max F had failed police school.

No sooner had Sheamus moved in on one side of our garden, the neighbours on the other side also acquired a dog. This was a large black German shepherd, and to add insult to injury, he was also called Max. His owner informed us that their Max had trained to be a police dog but had ultimately been rejected for being temperamentally unsuited. The moment Hugh heard that the newcomer had failed police school, he christened him Max F, and so we distinguished him from our own Max from then on. Poor Max. He was so irked to have large male dogs on either side of him, especially since his mistress always talked to them when she was in the garden.

Stubby legs never held Max back.
Stubby legs never held Max back.

However, just as he had with Sheamus, Max proceeded to ignore Max F—until the day we returned from our walk and Max F was outside with his owners. We stopped to talk and I made the mistake of saying hello to Max F. My Max’s eyes narrowed and glittered, jealousy emanating from his pupils like laser beams, and the next thing I knew, Max F was flattened in the road. This was no mean feat considering that our Max, with his short stubby legs, only came up to the big shepherd’s midriff. I hauled Max off and took him inside, but his eyes continued to glitter, this time with delight. Two dogs and a cat invading his territory, but finally he had been given the chance to put one of the newcomers in his place. Once again, Max had proved he was leader of the pack.

Story to play: how “To Catch an Actress” became Casting for Murder.

My first attempt at adapting a story from one form to another resulted from my husband’s reading my short story, “To Catch an Actress”. He thought it would make a good play, and I decided to rise to the challenge. I had written several scripts for marionette shows, so thought writing for the theatre shouldn’t be that much more complicated. However, the project proved much more difficult than I thought.

po
The Vagabond Players poster.

The original short story is set in an actress’s apartment in Vancouver. It is told from the point of view of the actress, and the plot revolves around four characters. Once I began to consider a script, I realized that there were not enough characters to make a traditional murder-mystery play, so unless I wanted to write the piece as a Sleuth-style character study, I had to add to the cast list. I also realized that the setting was another obstacle—both for time and place. The murder takes place long before the story begins and in a different location from the story setting. Furthermore, part of the investigation has already taken place. In other words, I had a story that had no real action and was merely a conversation between three people. Since a play depends on the audience seeing some action on stage, it didn’t take me long to realize that an entirely different approach was needed.

The Vagabond Players original production.
The original Vagabond Players production.

Once I accepted that the setting had to be changed and the cast of characters increased, I realized that I could also add new action to make the play more interesting. Basically, I needed extra murders and a more mysterious location than a downtown apartment. At the time I was preparing to write, we were vacationing in Pender Harbour. We were doing a lot of boating up and down the coast and seeing the exclusive homes on privately owned islands.

That exclusive, privately owned island.
That exclusive, privately owned island.

That holiday gave me my setting: a privately owned island off the Sunshine Coast, where, in traditional whodunit style, my characters could be stranded due to a storm. Having made that decision, the play started to ripple off my fingers. The first two acts flew by, but then I became stuck again. The third act was torture to write, and I probably revised it ten times before I finished. The trouble I had with Act Three also forced me to go back and make revisions to the earlier acts.

c
St. Luke’s Players in Victoria.

The reason it is so hard to write the final act of a mystery play is simple. Audiences expect their mysteries to be neatly wrapped up with all loose ends explained, but they do not want to be bored by lengthy sections of exposition. Therefore, in order to ensure people are satisfied with the ending, but not stultified by a mass of anticlimactic dialogue, you need to front load as much information as possible prior to the climax, and leave only minimal details to be revealed in the final act. You need to slip pertinent detail into many different dialogues and action sequences, and assign these to a variety of characters. This serves two purposes: less chance for the audience becoming bored and more equal distribution of lines for the actors. It’s also best if you can slip information into action sequences that seem unrelated to the mystery—sort of a visual red herring—thus the audience may be distracted by the action and miss the clues.

posters
Nova Scotia, B.C. & Ontario posters.

Ultimately, I finished the script, but when the play was first produced in 2000, I quickly discovered that more revisions were needed. The dialogue had to be further simplified and many more cuts were made. As the director and I whittled the script down until only essential material remained, the play become more streamlined. In hindsight, I would probably have cut even more from the script. However, the play does seem to work, and has had seven productions in various parts of Canada, so it has certainly done well.

Dwayne Campbell, director of the first production.
Dwayne Campbell, director of the first production.

What did I learn that I later applied to future plays? There was one outstanding lesson that all mystery playwrights need to know. Never have a murder on stage unless it’s at the end of an act. Otherwise the director will have an impossible time knowing what to do with the body. Dwayne Campbell, who so ably directed the first production of Casting for Murder, came to me after a blocking rehearsal and pointed out that the final murder would have to take place off stage. He told me that they’d tried everything, including having the corpse die behind the sofa, but even then, there were feet pointing out like the witch in The Wizard of Oz. The end result had been a great deal of hilarity and the realization that my play would rapidly turn from mystery into comedy. Needless to say, we rewrote in a hurry, and I’ve never made that mistake again.

With the director and lead actor of the Scarborough production.
With the director and lead actor of the Scarborough production.

The other significant lesson for me was never to write another three-act play. These days, people do not seem as willing to spend long and leisurely evenings in the theatre, and shorter is considered more desirable by play-reading committees. I personally hate the way companies compress three-act plays and operas into two acts, and would far prefer to have the additional intermission. However, this is the trend of the times. I have seen Casting for Murder performed both ways, and there’s no doubt that it works far better in the three-act format. Scarborough did an excellent three-act production, but most companies squeeze the play into two acts. My advice to playwrights is: if you want your play performed the way you wrote it, stick to the two-act format. It’s by far the most popular with theatre groups.

BANNER
Definitely a play with legs!

And the final lesson I learned? It’s a lot easier writing a play from scratch than trying to adapt a story to the stage. If I tried such an adaption again, I would simply list the key characters, make a timeline of the plot, pick out the one most significant event, and then build the play about that and forget everything else in the story. Still, creating Casting for Murder  was a great writing exercise and it continues to roll on, so I guess I did something right!

Next: Reversing the process—how Renovations became “Sisters in Crime”.