government, has bred playwrights that take a critical, often comical look at capitalism.
Some such plays of note are Charles Friederick’s The Decision Maker (1984); The
Encapsulation of Marvin Beale by Martha Morgan; Mischa Popov’s Casual Fridays;
Barbara Sapergia’s Harvest the Sun (1989); and Geoffrey Ursell’s Great Bridge Plan
There are a significant number of radio dramas in serial form in this collection
such as Dianne Warren’s “End of Season” (5 episodes, 1992); Geoffrey Ursell’s “Lou
Trilogy”: The Adventures of the Lady that’s Known as Lou (5 episodes, 1989), The Rum
Runners of Rainbow Ravine (10 episodes, 1990), and Murder at Manito (5 episodes,
1995); and Mansel Robinson’s The Education of Annie McBride (5 episodes, 1995). The
serial form provides a radio playwright a bigger canvas (time-wise) than is usually
provided. A study into both the serial form and the themes/content of plays chosen for
the serial form could be another interesting path into these plays.
Barbara Sapergia, in our conversation regarding The Giant Who Wept, brought up
the question of the voice of the play. Beaupré was of the French and Métis culture.
Sapergia and Ursell are not. Sapergia admits that they probably would not pursue such a
project today because their voice as playwrights is so different from Beaupré’s voice.
This awareness of the voice of the playwright and the appropriateness of the stories the
playwright chooses to tell warrants more study. Such study is especially necessary when
it comes to the Aboriginal voice in Saskatchewan radio drama and audio art.
Defining the Aboriginal Voice within the framework of Saskatchewan radio
drama can be difficult for several reasons. The first issue faced is identifying the “voice
of the story” as a part of the institutional voice of CBC Saskatchewan. It is important to