One of a series of posts about working in radio back in the day.
(Here’s some more).
Set on the rock five years after Newfoundland’s Ocean Ranger disaster, Stacy Gardner’s Worms for Sale is a moving and amusing story of a mother still reeling from loss after the Ocean Ranger disaster and dealing with a daughter wanting to leave her small newfoundland town for Toronto.
“The title came first,” Stacy told me about writing it. “And then the characters just started popping up.”
A colleague at Covenant House in Toronto, where Stacy worked, had told her about a recent CBC Radio Drama submission call for which we ultimately received four hundred submissions. Stacy submitted Worms for Sale. I selected Worms for Sale because it exhibited a fresh charm and a clear originality of voice that appealed to me. Stacy hadn’t expected anything to come of her submission, but felt fortunate to have been short-listed, then finally commissioned.
“All of it was just beautiful, an unexpected gift,” she said.
As Stacy got Worms for Sale in shape for production, with the support of script editor Bev Cooper, it didn’t take long to complete. But no sooner had we got the script finalized did I found myself locked out of the CBC, along with most of my colleagues in yet another labour dispute, the infamous 2005 lockout.
Back inside after two months of pounding the pavement, we decided to produce Stacy’s play in St. John’s Newfoundland, with the help of regional producer Glen Tilley. I had great admiration for Glen Tilley’s work (and his terrific moustache). He radiated Newfoundland charm and had produced the renowned satirical radio drama The Great Eastern (hosted by Paul Moth, aka Mack Furlong). Tilley was also responsible for influencing the build of their first proper radio drama studio in St. John’s, Studio F, which over the years hosted The Wonderful Grand Band, Great Big Sea, and more. It was in Studio F that we proposed to record Worms for Sale.
One day producer James Roy sidled up to my workstation. “You’d probably better get going on Worms for Sale,” he said. He didn’t explain why but it was clear that something was up.
Alarmed, I phoned Tilley to expedite dates and other arrangements. Stacy, excited about the impending recording, would be coming with us. I was looking forward to my first trip to Newfoundland, as well as the opportunity to direct another radio play.
And then it all came crashing down.
Before we could board the plane to Newfoundland, The Powers That Be cancelled most of the radio drama projects from our submission call that had not already been produced. That included our half-finished project Worms for Sale. I never learned exactly why, though no doubt it was a financial decision.
I was left wondering, if only I had moved the project along faster, booked the tickets to Newfoundland earlier … but probably it wouldn’t have mattered. I felt terrible for Stacy.
“It was just shitty,” she described the experience of having Worms for Sale cancelled. “Like being in love with someone and then breaking up unexpectedly.”
The decision was, of course, entirely the CBC’s prerogative. Still, it was embarrassing for me personally. We set all these writers up, only to pull the rug out from under them.
Stacy didn’t give up, though. “I stayed with the script,” she said. “I got a Toronto Arts grant for the script to adapt it into a stage play.”
In the summer of 2012, Stacy produced Worms for Sale for The Alumnae Theatre in Toronto, featuring actors Tajanna Penney, Jennifer Neales, William MacGregor, Deborah Perry, and Bruce Williamson. Janina Kowalski directed it.
“It was a seed,” Stacy said. “It didn’t grow in the original garden, so I took it and grew it in a different one.”
It ran for seven sold out nights at The Alumnae Theatre. I made sure I was there to see it. It was great on stage.
It would have been great on the radio, too.