Girls Can Hunt

A man returns as a ghost to his family’s home in Belleville in the region of Canada West in the Province of Canada. It is 1860 and two years since he left Belleville without a word to his only surviving family, the twin brother with whom he had been living as they managed the family business together. Their mother’s ghost is an abiding presence in the house as is Susanna Moodie and Charles Dickens.

A child born in Canada East in Montreal and now an orphan because of a fire in which both parents died is why the ghost Wally has come back to Belleville. A reconciliation between estranged brothers is necessary if the child is to have the promise of a life with a living father. And yet, a brother is dead and the other has had his fill of chatty ghosts.

With the guidance of their mother, the brothers find a way to cross the bridge that separates the living from the dead who watch over them. Together again, they come up with a plan to give the child the living father who died in the fire. To make it work, they have only to let a man die and bring a ghost back to life.

Themes and issues

Drama, ghosts, fraternal twins, sibling relationships, family reconciliation, history of railway, Susanna Moodie, Charles Dickens.

Production history

This play has not yet been produced. 

Genre

Historical drama, period, 19^th century Canadian history.

Acts and run time

The play may be staged in one or two acts. There are no set changes. If the play is performed without a break, it runs approximately 100 minutes. A break between acts is indicated in the script.

Cast

Three actors (2 men and 1 woman). Roles may be cast with actors of any race.

Note on casting twins

Although HARLAN and WALLY are twins, the actors need share only basic similarities such as race, age, height and general physical attributes. They should credibly be able to present as very similar but realistically they are twins because they say they are and have acted so for their entire lives. As children, they often switched identities to fool teachers and adults because it was fun. As adults, from a distance they can be mistaken for each other by people who know them only casually.

Production note

Set and props are best kept to a minimum to encourage the theatricality of the actors in performance. See the sketch for the essential set features and props. 

Simplified stage sketch

Performance rights

You may download a perusal copy of this copyrighted play for review. Performance rights inquiries to the playwright at rights@rbws.ca or the Playwrights Guild of Canada at playwrightsguild.ca.

https://www.canadianplayoutlet.com/products/girls-can-hunt-by-rick-butts