Whispering Pines
By Richard Sanger
In 1987 the Soviets hold an iron grip on East Berlin. Espionage is rampant. The Stasi employ half a million informants, and every third citizen is under surveillance. In this divided city live Renate and Bruno, two artists who want to write, sing and paint their way to a new world. When Thomas, a Canadian academic, arrives on their doorstep bearing gifts from the West and dreams of life beyond the Wall, their lives are turned upside down. Years later, in a peaceful cabin surrounded by pines on the shores of Lake Superior, Renate brings the three old friends together once more to confront the secrets, passion and betrayal that tore them apart.
Production History
Premiere Production
Great Canadian Theatre Company, Ottawa
October 28 – November 13, 2011
Directed by Brian Quirt
Featuring Tracey Ferencz, Kris Joseph, Paul Rainville
Set & Costume design by Brian Smith
Lighting design by Beth Kates
Projections designed by Beth Kates & Brian Smith
Sound Design/Composer: Ian Tamblyn
Assistant Director: Leora Morris
Stage Management by Samira Rose
Apprentice Stage Manager: Erika Morey
Whispering Pines was commissioned and developed by Nightswimming. It received a workshop and public reading at Calgary’s Alberta Theatre Projects, and a workshop at GCTC when Richard Sanger was playwright-in-residence there. Thank you to the following performers for their invaluable contributions: Nola Augustson, Oliver Becker, Kevin Bundy, Dmitry Chepovetsky, Ins Choi, Todd Duckworth, Tracey Ferencz, Natascha Girgis, David Jansen, Kris Joseph, Trevor Leigh, Tony Nappo, Gord Rand, Jane Spidell, Greg Spottiswood, Kristen Thomson, Nigel Shawn Williams and Rylan Wilkie.
Special thanks to Naomi Campbell, Deborah Lambie and Andrea Romaldi for all their work on this play. Thanks also to Marie Barlizo, Liz Engelman, Lise Ann Johnson, Jordan Tannahill and ATP’s Vanessa Porteous and Vicki Stroich.
Dramaturgy and process
Nightswimming commissioned Richard’s play following a long collaboration between him and Nightswimming’s producer Naomi Campbell. Richard and his partner lived in Berlin in the 1980s and in this play he sought to capture the complex networks of allegiances that lived between Berliners and between Germans and visiting Canadians.
Richard, in addition to his plays, is a wonderful poet and his approach to this play was to write scenes and fragments, with the intention that they could be combined and shuffled during the creation process. Workshops and readings to test various permutations were critical to the process, revealing myriad ways that these characters might reveal their truths to one another and hold back their secrets until the right moment.
This play is a dramaturgical puzzle. Richard, Naomi and I sought out a pattern that kept the secrets reverberating among the characters, but also allowed the audience inside their tension, their paranoia, their beliefs, and their changing loyalties.
It was never just for the two of us,’ says Renate at the start of the play. She’s talking about the idyllic retreat she’s built on the north shore of Lake Superior, but she might be describing the impulse behind many of the perfect things we design, be they dinners, cabins in the woods, or new societies. Even the greediest capitalists, she observes later, like to share their wine with others. Although inspired by unique historical events—the collapse of socialism in the Eastern Bloc, the release of the Stasi files — Whispering Pines explores themes that, I hope, extend beyond those circumstances: what happens when our ideals are tested? Can we ever really be free or true? Then there are the usual dishes: love, art, betrayal.Richard Sanger
Wonderfully poetic and dramatic, filled with intelligence, emotion, perception and surprise.
The Toronto Star
Whispering Pines a gripping tale with many ah-ha moments.
The Ottawa Citizen