Wine and Little Breads
SYNOPSIS
When Louella, the preacher's wife, calls on Oata to investigate rumours of her sinful justice-of-the-peace marriage, small talk about dresses, rings, noodle machines, and shower gifts from mothers-in-law rapidly relaxes into playful theological questions such as "Must we be thankful that we are born bad?" and "Are you feeling the rib?" When Oata reveals that a childhood prayer makes her think of God as a cauliflower, Louella blurts out that the same prayer makes her taste wine and little breads. Thus begins a revealing of the darkness lurking behind the surface appearances of family and community as victims break silences and find strength to confront perpetrators and their enablers.
When Louella, the preacher's wife, calls on Oata to investigate rumours of her sinful justice-of-the-peace marriage, small talk about dresses, rings, noodle machines, and shower gifts from mothers-in-law rapidly relaxes into playful theological questions such as "Must we be thankful that we are born bad?" and "Are you feeling the rib?" When Oata reveals that a childhood prayer makes her think of God as a cauliflower, Louella blurts out that the same prayer makes her taste wine and little breads. Thus begins a revealing of the darkness lurking behind the surface appearances of family and community as victims break silences and find strength to confront perpetrators and their enablers.
For production inquiries please email: arminwiebe954@gmail.com
ARTIST STATEMENT
Wine and Little Breads grew out of my fictional world of Gutenthal, the setting for four of my novels and my play The Moonlight Sonata of Beethoven Blatz. I have lived with many of my characters for more than 30 years, and from time to time their voices speak new revelations previously hidden within their families, communities, and church institutions. Though Wine and Little Breads is set in a past some 50 years ago, the characters' struggle to speak of their mistreatment and to find the courage to face their abusers is still very current. Most importantly, I want the audience to feel the hope that is possible when hurting people break their silence, share their stories, and take each other seriously.
Wine and Little Breads grew out of my fictional world of Gutenthal, the setting for four of my novels and my play The Moonlight Sonata of Beethoven Blatz. I have lived with many of my characters for more than 30 years, and from time to time their voices speak new revelations previously hidden within their families, communities, and church institutions. Though Wine and Little Breads is set in a past some 50 years ago, the characters' struggle to speak of their mistreatment and to find the courage to face their abusers is still very current. Most importantly, I want the audience to feel the hope that is possible when hurting people break their silence, share their stories, and take each other seriously.
JURY COMMENT
2019 Herman Voaden National Playwriting Competition Honorable Mention
Wine and Little Breads:
The world in which Wine and Little Breads inhabits so completely is one unfamiliar to the jury, and yet felt so immersed in through this play. Drawing us into a rarely-seen world, that felt specific, and detailed, the play gave light to the very private world in which silences and secrets were finally spoken. The claustrophobia induced by the play, through the women's circumstances was palpable and stifling. Although the play is set in the 60s, among a particular closed-off religious community, the systemic abuse experienced by these women felt all too familiar and relevant.
2019 Herman Voaden National Playwriting Competition Honorable Mention
Wine and Little Breads:
The world in which Wine and Little Breads inhabits so completely is one unfamiliar to the jury, and yet felt so immersed in through this play. Drawing us into a rarely-seen world, that felt specific, and detailed, the play gave light to the very private world in which silences and secrets were finally spoken. The claustrophobia induced by the play, through the women's circumstances was palpable and stifling. Although the play is set in the 60s, among a particular closed-off religious community, the systemic abuse experienced by these women felt all too familiar and relevant.