Description

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From the renowned author of Balconville, this powerful drama gives a voice to the disillusioned working-class women employed at the British Munitions Factory in Verdun, Quebec, during the First World War. Following in the trudging footsteps of Fennario's anti-war protest play Bolsheviki (Talonbooks, 2012), Motherhouse similarly debunks the sentimental notions of duty, heroism, and nationhood that figured so prominently in Canadian war effort campaigns and that persist in Canadian history textbooks today.

In 1915, with tensions running high across the country over conscription and linguistic and religious issues, dedicated mothers, wives, sisters, and sweethearts assemble artillery shells to support the war effort and inadvertently find themselves assembled to bring about change both in their working conditions and in their personal lives. Meanwhile, their beloved soldiers die on battlefields overseas while their children starve at home because of war profiteering. Verdun's munitions manufacturer employed more than four thousand women during the war, including Fennario's mother. Tragically, the city of Verdun sacrificed more soldiers to both World Wars than any other place in Canada.

About the Author

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David Fennario is an award-winning playwright, performer, and activist whose plays have been widely produced on stages nationwide, as well as produced by the Canadian Broadcasting Corporation and the National Film Board. Born David Wiper in Montreal, Fennario, whose pen name is borrowed from a Bob Dylan song, has described himself as being "repressed, depressed, oppressed, and compressed" as a young person living in the working-class district of Pointe-Saint-Charles, a neighbourhood he would later make the centre of most of his plays. The process of becoming a political activist in adulthood provided Fennario with the confidence to write plays. Reading socialist literature convinced him that working-class people could change themselves and the world around them. "We are not chained to fate, Freud, God, gender, or a genetic code," says Fennario. "We can make ourselves into what we want. I've been trying my best to do that ever since, and have had some success as a playwright and a prose writer."