Drama/ 9 characters, 6 Men, 3 Women (double casting possible)/ Full Length, 90 mins.
Synopsis (from Vue Weekly): “Like Billy Pilgrim in Kurt Vonnegut’s Slaughterhouse-Five, Scout, the hero of Ken Cameron’s play My One and Only, has come ‘unstuck in time,’ hopscotching unpredictably back and forth among the key events in his life, including an idyll with an impossibly sexy, gloriously yielding movie star. . . .
“Scout’s lover . . . is Marilyn Monroe, who has come to Banff, where Scout lives with his lonely, alcoholic mother, to shoot that turgid Otto Preminger potboiler River of No Return. The two of them meet by chance one afternoon on a deserted mountain road (“Ssshhh — I’m incognito!” whispers Marilyn from behind her attention-getting sunglasses) and they strike up an odd friendship when Scout allows Marilyn to take a ride on his bicycle. Scout soon becomes Marilyn’s pet companion on the set, helping her run her lines and smuggling bottles of whiskey to her, which he steals from his mother every night after she passes out. The whole situation is so sexually charged that it’s a wonder the virginal 15-year-old Scout doesn’t die from some kind of hormone overdose — Marilyn even winds up giving Scout his first sexual experience as they bathe together, naked, in a secret pool Scout knows about deep inside a mountain cave.”
Scout keeps getting pulled out of these blissful events, however, and into an incident 10 years later, in 1963, shortly after Marilyn’s death. It’s night, and Scout’s car has been pulled over by a California highway patrolman; Scout has been speeding, but when the cop discovers a map to Marilyn’s home in his glove compartment, it soon becomes apparent that he’s committed a crime a lot more serious than going 100 in a school zone. Gradually we realize the full extent to which Scout was never able to move on from his affair with Marilyn; he can’t stop reliving his time with her over and over again, and yet at the same time, Scout desperately wishes he could have done everything differently so that their affair could have had a happier outcome.”
– Paul Matwychuk, Vue Weekly
“Switching back and forth in time between scenes with Scout and his drunken slattern of a mother, whom he catches in trysts with the local reverend, Scout’s ongoing roadside lecture from an inquisitive cop with memories of his own to tell, and, of course, Scout’s encounters with the famous movie star herself — Cameron weaves an intriguing and convincing tale of boyhood obsession. . . . engaging, taut, and beautifully written.”
– Calgary Herald
“Cameron’s script, through its non-linear disjointedness, constructs a compelling portrait of a person hanging somewhere in time, caught like an insect in amber, unable to move forward, or erase the past in order to move on.”
– SEE Magazine“The intriguing oddity of Ken Cameron’s coming-of-age story is the way time lurches to a stop at the intersection of Fantasy and Desire. . . . memory, fantasy and physics make a mysteriously heady compound.”
– The Edmonton Journal
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About the Playwright: Ken has written, directed or collaborated on a variety of projects including I Think I’m a Wolf (staring the klezmer-pop sensations The Plaid Tongued Devils), and Stop Thinking! and The Climate: a Province in deKlein for The Art Ranch; Martian, and Zertrummerung for Shiny Beast; andOffice Hours and Alien Love Connection for Lunchbox Theatre. The play Might As Well Live, an adaptation of ten short stories by Dorothy Parker, was recently premiered in Calgary by The Art Ranch; the short monologue Dear Canada Council made its premiere at the Solocentric Festival in Calgary in April, 2004.Ken worked with the theatre company One Yellow Rabbit for five years as assistant director on all of their new productions and tours to Glasgow, Edinburgh, Toronto, Philadelphia and Vancouver. Included in this work were the international successes Doing Leonard Cohen, Thunderstruck, Death In New Orleans and The History of Wild Theatre.
Ken is the Executive Director of the Alberta Playwrights’ Network, a provincial organization that develops plays and playwrights around Alberta. In 2002 Ken was elected Convenor and Spokesman of The Play Development Centres of Canada, a national network of non-producing playwright organizations across the country.
My One and Only premiered at the Enbridge playRites Festival of New Canadian Plays in January, 2004, produced by Alberta Theatre Projects.