I wish our users would just be more mature. (thinks for a minute) But some photos maybe shouldnвЂ™t stay around, now that I think about it. Images leave me the minute they enter my mind.ДЄll of YOUR pictures are always dumb, Snapchat! Pictures are supposed to stay and be enjoyed by users. I know! I saw some dumb picsвЂ¦ or at least I think I did. A barista is working behind the coffee counter.)

All of the different social medias are sitting at a table talking whatвЂ™s going on. (Lights come up in the social media coffee shop.

TEXTВ - (M/F) no emotion вЂ“ just straight forwardДEXTER/DOROTHEAВ - (M/F) clumsy customer with no manners TWITTERВ - (M/F) speaks in less than 140 charactersДЇACEBOOKВ - (M/F) old man with old-timey views SNAPCHATВ - (M/F) suffers from memory loss Includes: discussion questions casting suggestions costume ideas and set diagram. This is a great play to open discussions about how social media affects us every day! These two wonderful actors and their potentially interesting characters-how many plays feature two 65-year-old women?-deserve a much better vehicle to bring them together.Students will have a blast becoming social media apps in this funny play about the perils of social media. There canвЂ™t be anything less dramatically engaging for an audience than watching a character talk on the telephone to an invisible neighbour, merchant, landlord or daughter. Dexter into the scene onstage? What I found even more annoying were the many one-sided phone calls first Peggy then Mrs. Dexter visible to us, or at least place her stage left or right so Cavendish wouldnвЂ™t have to upstage herself so much? Better yet, why wouldnвЂ™t Glass just write Mrs. Dexter, sheвЂ™s talking to the back of the set while the voice of the invisible Reid yells back at her. Director Maraden has placed the offstage garden behind the upstage wall so each of the many times Cavendish goes to the door to yell out to Mrs. The monologue format of the play seems bizarre and almost perverse in places. But this act, like the first, goes on too long and has no real dramatic shape. And all the while we see her barely suppressing the panic that threatens to well up and overwhelm her. DвЂ™s monologue is better written and Reid is fabulous, sloshing back the whiskey and toasting to вЂњfermentation, distillation and maturation.вЂќ SheвЂ™s bawdy and feisty, calling one neighbour вЂњMissy PissyвЂќ and another, the one who stole her husband, вЂњthe rodent.вЂќ She also offers a very funny, boozy, sceptical commentary on religion. The act feels long, and then comes intermission, and only then does Mrs. The daily chores we see her do have a kind of workaday dignity, but running real water and even rewiring an electric fan so that it works (cue the applause) arenвЂ™t especially dramatic to watch.

Dexter is вЂњhandsome enough to melt the lard off your bonesвЂќ), PeggyвЂ™s monologue is pretty prosaic. But despite the East Coast accent and the odd vivid description (Mr. Cavendish plays the role with her usual delightful gusto, emphatic delivery, and marvellous ability to turn a simple declarative sentence into a gut-splitting comic line. DвЂ™s, and tries to remember all her chores. DвЂ™s house, doing the laundry, cleaning the glassware, making lunch and fixing an electric fan while she tells the audience her life story and Mrs. Peggy is a tough, uneducated Nova Scotian who has had a difficult life but maintains a sunny disposition (вЂњThereвЂ™s always someone worse off than meвЂќ is her motto) as she rambles around Mrs. These are the situations around which their monologues revolve. Dexter is coping with the trauma of her banker husbandвЂ™s having recently left her for the widow next door, and Peggy is about to give her notice and move back in with the neвЂ™er-do-well who fathered her four children so she can get out of social housing. Cavendish plays Peggy Randall, the maid who comes in every day to cook and clean for the matron, ReidвЂ™s Mrs. Here she gives us a day in the life of two ordinary/extraordinary 65-year-old women in the large kitchen (Pam JohnsonвЂ™s set stretched across the Stanley stage) of an upper-middle class Toronto home. Glass specializes in dramatizing womenвЂ™s stories and has done so very well in plays like Play Memory, If We Are Women, and Trying. But thatвЂ™s the least of the problems with this script and Marti MaradenвЂ™s Arts Club-National Arts Centre co-production. Glass has constructed her two-character play as separate monologues so Cavendish and Reid are never on stage at the same time until their curtain call.

What a terrible shame that we donвЂ™t get to see these remarkable women perform together. ItвЂ™s a privilege to watch them at work, and thatвЂ™s the only reason to see the premiere of Joanna McClelland GlassвЂ™s new play at the Stanley, Mrs. 60 or Nicola Cavendish and Fiona Reid are two of CanadaвЂ™s very best actors.

Dexter script monologue