Dreary and Izzy

By Tara Beagan

Dreary and Izzy
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1975, Lethbridge Alberta. When the Monoghan sisters lose their parents in a car accident, Deirdre remains as the sole caregiver to her older sister, Isabelle. Just as Deirdre is poised to enter university and begin exploring, for the first time, her own future and independence, ... Read more


Overview

1975, Lethbridge Alberta. When the Monoghan sisters lose their parents in a car accident, Deirdre remains as the sole caregiver to her older sister, Isabelle. Just as Deirdre is poised to enter university and begin exploring, for the first time, her own future and independence, she must choose how much of her own life she will sacrifice for the love of Isabelle. Deirdre is barely staying afloat under the strain of this reality when hope arrives in the form of gorgeous vacuum cleaner salesman Freddie Seven Horses. Both sisters find in Freddie a new world of unexplored emotions and ideas, where Freddie is a port in a storm.

Tara Beagan

Tara Beagan is a proud Ntlaka’pamux and Irish “Canadian” halfbreed from Mohkintsis (Calgary, Alberta). She is co-founder/director of ARTICLE 11 with her most cherished collaborator, Andy Moro. She served as the artistic director of Native Earth Performing Arts from February 2011 to December 2013. A Dora Mavor Moore Award–winning playwright, she has been in residence at Cahoots Theatre, NEPA, the National Arts Centre, and Berton House. Five of her twenty plus plays have been published, and her first film script, 133 Skyway, co-written with Randy Redroad, won the imagineNATIVE award for best Canadian drama. Beagan is also a Dora and Betty Mitchell Award–?nominated actor.

Reviews

"If you want to see how a gifted playwright stages strong emotions, you can find no better example than Dreary and Izzy, Tara Beagan's heartfelt look at a family affected by fetal alcohol damage. " —Jon Kaplan, NOW Magazine

"A droll and engaging story… the second act is completely unpredictable. Dreary and Izzy is a thought-provoking exploration of family dynamics, sexuality and faith. By the end of the play, the laughter had been replaced by tears. " —Ashante Infantry, Toronto Star

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