Tag Archives: Marsha Weeks

Soul Music

20424212_1606125269421932_5066442236704435886_o.jpg

“I’ve always been obsessed by weddings,” said Marsha Weeks. “I used to buy wedding magazines when I was 7-years-old and dream about planning a wedding.”

Most kids don’t grow up to be the firemen and rock stars, much less heroes and explorers, they dreamt about becoming. It’s less than 1 out of 30. It’s a long shot when it comes to becoming a hero, or even a wedding planner. The rest of children, because of ups and downs, twists and turns, turn out becoming and doing something else, mechanics, working in stores, teachers, and doctors.

Marsha Weeks grew up in Fredericton, a small rural community in western Queens County on Prince Edward Island. The province is Canada’s smallest, made up of only three counties, as well as the most rural. It is the only province without a metropolis. Most islanders live in country and small town areas.

After graduating from high school she moved west, almost three thousand miles west, enrolling at the Southern Alberta Institute of Technology. She stayed for ten years. “I did hospitality management, managed restaurants,” she said. When she moved back to PEI she worked in hotels in Charlottetown, the capital, then went into sales and marketing at the Stanley Bridge Resort, not far from where she grew up.

“I now work for the Children’s Wish Foundation,” she said. She is a wish coordinator. “We grant wishes to children from the ages of 3 to 17 who have been diagnosed with life-threatening illnesses.” Founded in 1983, the charitable organization has chapters in every province and territory of Canada. It has granted more than 25,000 wishes. The most popular ones include travel and meeting celebrities.

Super heroes are splashed across the pages of comic books and IMAX screens, battling super villains and saving the world. Real heroes are usually real people helping another real person. She helps kids hitch their wagons to a shooting star.

She also helps grown-ups get hitched to their sweethearts. Since returning to Prince Edward Island, she has become a licensed marriage commissioner and officiant. Dreaming about weddings and watching re-runs of “Say Yes to the Dress” has finally paid off.

“The provincial government started licensing it in 2006, because there was a demand for same-sex marriages,” said Marsha. “There was the church, too, which doesn’t allow marriages outside of the church. A priest wouldn’t be allowed to marry somebody on the beach.”

When 90 people flew to the island last summer for the wedding of Matthew MacDonald, a PEI native, and Katie Shaver, they landed at a wedding officiated by Marsha Weeks staged on a red cliff overlooking the Northumberland Straight.

“It was important to us to showcase the island and have a real east coast feel,” said Katie. “We were blessed with perfect weather, a quintessential late summer PEI day!”

Although you have to take the birds and bees into consideration, as well as inclement weather and the buffet table surviving the wind, nothing beats getting married outdoors. Unless you mistake the lay of the land and your car gets marooned. “Someone from Ontario coming to a wedding here decided to drive over the dunes on to Cavendish Beach,” said Marsha. “They got stuck in the sand and had to be towed out.”

In any event, the flowers are already there – pink and purple lupins line the fields, roads, and ditches in June and July – and your photos will look great.

Almost 900 marriage certificates were issued in the province in 2018, according to PEI Vital Statistics, nearly 400 of them going to couples with a relationship to the island, but not necessarily living there. The Marriage Act was simplified in 2016, allowing people off-island to marry with passports, doing away with the need for birth certificates. There are almost one hundred marriage commissioners licensed to conduct a legal marriage ceremony.

Marsha Weeks is one of the busiest of them. On a summer day last year she officiated five weddings on a Saturday. She didn’t wait for all the traffic lights in all directions to go green before getting going.

“I started at Cavendish, a destination wedding, went to Fox Meadows Golf Course, a farmer’s field in Brookfield, to the woods at Clinton Hills, and ended up on a back road on the Trout River, at a private residence.”

For once, she hired somebody to drive her. “I didn’t want to risk being late, and I wanted to be able to give them as much attention as I could,’ she said. “I didn’t want to just jump out in time for their ‘I do’s’”

It isn’t only traditional wedding season bells, either.

“I recently officiated a large wedding in western PEI,” she said. “The bride and groom chose to incorporate their children with a sand ceremony to symbolize the blending of their two families into one, and presented the children with necklaces as their own special gifts. It was a reflection on how important one big happy family meant to the couple.

“That same day I officiated a small intimate wedding in Charlottetown. The bride and groom couldn’t keep their eyes off of each other for even a second, and as they exchanged their vows, their love for each other radiated. It was honestly beautiful.”

Most people, as recently as ten years ago, used to get married in a church. Nowadays most people get married in a civil ceremony. “I think it’s going to continue that way,” said fellow commissioner Marlo Dodge. “You can get married wherever you want, whenever you want. You can tailor the ceremony to the way you want.”

As long as you include the legal parts, you can write your own ceremony.

Not many people, however, write their own music. There are scores of wedding ceremony songs, from the traditional to the modern. “All You Need Is Love” by The Beatles is still popular, as are Josh Groban’s “The Prayer” and “Fairytale” by Enya. “The Wedding March” by Felix Mendelssohn has stayed a Top 10 on the soul music charts since it was first played in 1858 as a recessional for a royal wedding.

Marsha started making soul music on her own when she moved back to Prince Edward Island.

She had gotten the hang of the pump organ as a tot sitting at her grandmother’s side. “One of the fondest memories I have growing up is of her playing hymns. She loved playing for herself. I’m like that. I get something out of it on the inside.” She started taking fiddle lessons six years ago from Gary Chipman.

“Someone recommended him,” she said.

She couldn’t have tied the bowstring knot with anybody better. Gary Chipman learned to play the fiddle when he was 5-years-old. His father, a well-known Charlottetown-area fiddler, taught him his first tunes. By the 1960s he was often featured at local dance halls. He toured with Stompin’ Tom Connors and is well known for his down east Don Messer style of fiddling.

“The Cape Breton style is rhythmic, with Scottish cuts,” said Marsha. ”The down east style is melodic, it flows, it’s a lot faster.”

If Don Messer played with little ornamentation and great assurance, Gary Chipman plays with expressiveness and great assurance.

“I was taking lessons from him, but I had not heard him play,” said Marsha. She heard him one afternoon at Remembrance Day. “I couldn’t see the stage, but I could hear a person playing. That is amazing, I thought. Who is playing that fiddle?”

It was her music teacher. She had only ever heard him play scales. She didn’t know he had played on the folk musical TV variety show “Don Messer’s Jubilee” when he was still a lad. “My chest swelled so much I thought it would burst, it was so exciting,” said Gary. The half-hour show at the time was second in viewership only to “Hockey Night in Canada.”

“These are the good old days, today,” said Gary. “I’m going to keep playing until I can’t play anymore.”

“Musicians don’t retire,” said Louis Armstrong. “They only stop when there’s no more music in them.”

“The Don Messer show was near and dear to a lot of people in Atlantic Canada,” said Marsha. ”When they cancelled it, there was a huge protest. Not riots, but a huge uproar.”

Since brainstorming is the marriage of ideas, Marsha put on her thinking cap. She went to the beach on the national seashore. She went for a walk by herself. She went home and took a hot shower. It’s where some people do their best thinking. Warm water helps increase dopamine flow to the brain. She let her thoughts take center stage.

“I’ve always had an element of promotions and event planning in my career. His natural ability to play music, my entrepreneurial spirit, it was a kind of natural fusion, and I decided I wanted to organize a show.”

They put together a performance, and then did another, and then ”it kind of blossomed after that.” They spent two seasons doing shows at Avonlea Village and two seasons after that at Stanley Bridge. In between they took a Don Messer show on the road.

Avonlea Village is in Cavendish, on the north-central coast, the small town Lucy Maud Montgomery called Avonlea in “Anne of Green Gables.” It is a re-creation of the 19thcentury town, merging purpose-built with heritage buildings. The Women’s Institute in Stanley Bridge is 4 miles up the main drag on Route 6. There are ceilidhs at the community hall six days a week in the summer.

“The Stanley Bridge hall has such a soul,” said Marsha.

Two years ago Gary Chipman spent summer nights there playing with Keelin Wedge, a hairpin turns wizard on the fiddle, and Kevin Chaisson. Last year he played Mondays with the Chaisson Family Trio and Wednesdays with the Arsenault Trio. Jordan Chowden, a world-class step-dancer, made the stage boards go percussive. The Chaisson’s from Bear River have deep roots in PEI’s music scene They are part of the spearhead keeping traditional fiddling alive and well on the island.

Marsha hosted the shows, joining in when the opportunity arose, although keeping up with the Arsenault’s was no mean feat.

“Their liveliness is amazing,” she said. “If we were playing ‘St Anne’s Reel,’ they definitely add more notes to it. They put their own spin on everything. It’s their Acadian style and it’s fast.”

Before the shows Marsha does all of the social media, organizes the schedule, takes notes during rehearsals, and types up the play list in capital letters. She makes sure the doors of the hall are open, the lights are on, and the soundboard is right on.  “I’m always so proud to hand them their play list, although by the end of the night they might have done a few songs on the page,” she said. “It’s just the way it is. Most of the time it works.”

During the shows Marsha is the emcee and stage manager. “Everybody likes the sound of their instruments through the monitors a certain way. They’ve got to have water. Gary has to have his guitar on his right side, or else he gets all tangled up.”

She is also the timekeeper. “It seems like I’m the boss of it, but that’s only because they never think to look at the clock. They would keep going all night. Gary is the biggest offender. I don’t necessarily want the music to stop, either, but I’m the one who knows the show has to end at 9:30.”

Marsha’s own fiddle has become an extension of herself. “I understand now what I was missing,” she said. “It’s a part of me, a part of who I am. It’s a part of what makes myself me. You don’t have to be the best. You just have to feel it.”

It’s her own soul music.

“I don’t think of it as a genre. It’s more of a feeling,” explained Louis Kevin Celestin, a Montreal DJ and partner in the hip hop duo the Celestics, explaining soul music.

“Don Messer was my idol when I was a kid,” said Gary. “I thought his band was the best type in the world.  I had the dream of doing my own tribute show.”

The dream came true in 2015 when he did a tribute show at Winsloe United Church, on the road between Oyster Bed Bridge and Charlottetown. Gary’s daughter was in the band and the Charlotte Twirlers, a square dance group, hoofed it up.

Two years later Marsha and Gary took “A PEI Salute to the Music of Don Messer and His Islanders” farther down the road. They took the Messer-style toe-tapping jigs and reels to National Fiddling Day in Charlottetown and the Harbourfront Theatre in Summerside. They took the show to Harvey, New Brunswick, Don Messer’s hometown.

“It’s of real sentimental importance to me, having tried to emulate the sounds of Don Messer for my entire fiddling career,” said Gary.

“The older the fiddle, the sweeter the sound,” is what they say.

In September 2017 they took the show to Walter’s Dinner Theatre in Bright, Ontario. “I don’t even know where Bright is, but we’ll find it,” said Gary. When they found it they sold out all the nine shows they did during their week’s run at the watering hole and show hall.

“Gary plays old tunes in new ways,” said Marsha. “He’s the real deal. He puts his own twist on things.”

Sometimes Marsha puts her own twist on weddings. Sometimes stepping up to the altar and step dancing happen all on the same day. Sometimes somebody’s first dance is in the center aisle at the Stanley Bridge community hall, to the soul music of three or four island fiddlers serenading you.

“There were the two moms, the couple, their son, and me,” said Marsha. “It was an intimate wedding.”

The couple from Alberta had come especially to PEI the middle of last summer to get married. “I try to personalize it. I want them to have an amazing experience when they’re making their forever promises to each other.” There’s a forever kind of happiness in making a commitment. The first event many couples plan together is their wedding. There’s nothing unfun about it, either.

“Marsha brought a genuine joyful vibe that is priceless. We felt she was truly happy for us. We are so glad we chose her to officiate our ceremony. That joy is something one can’t pay for.“

Even though the climate is more mild than it should be thanks to the warm water out in the Gulf of St. Lawrence, summer is short and winter is long on Prince Edward Island. It starts to snow in November and lasts until April. Harbors can be frozen solid into May.

“I’m a bit of an old soul,” she said. “I work full-time, but in the winter I slow down, recharge. I write, do projects, and plan for the spring. I practice my fiddle. I practice every day.”

Winter is when wishes get organized and saved up for the heyday of springtime.

“If I could just do weddings and fiddles all the time, it would be my perfect life,” said Marsha Weeks, springing a smile.

147 Stanley Street (short stories and non-fiction). If you enjoyed this story, consider supporting the site by clicking here to donate. 

aerial-beverage-coffee-990825-e1550878549646

Click here to see more writing between fiction and non-fiction by Ed Staskus.

 

 

 

 

Advertisements

Let ‘Er Rip

louise-et-Jonathan

“J’aurais quelque chose a dire.”  Barachois

The Sterling Women’s Institute is the Stanley Bridge Hall on the corner of Route 6 and Rattenbury Road on the north-central coast of Prince Edward Island. The small town of Stanley Bridge spreads out in all directions.

A new traffic circle at the old intersection keeps the traffic moving. On one corner is the Race Trac gas station and farther down is the farmer’s market. Where the road flattens out at the river is the actual bridge that kids spend the summer jumping off down into the channel flowing out to the New London Bay.

The Women’s Institute is a yellow two-story clapboard building with white trim and a fair-sized deck. From the vantage of the front deck is a solitary house across the street, a cropland spread out wide and long, and the Atlantic Ocean. It is a quiet building on rising ground, except when six nights a week ceilidhs fill the hall with Irish Scottish Acadian fiddles guitars pianos and step dancing.

The hall holds close to 150 if every seat and bench along the side is taken. The night the Arsenault Trio – Helene Arsenault Bergeron, Jonathan Arsenault, and his mother Louise Arsenault – joined by Gary Chipman, played their first show of the summer in Stanley Bridge on a Wednesday night, there were upwards of a hundred ready to go.

“It’s great to see you all, thanks for coming,” said Marsha Weeks, the host of the show.

“All set?” asked Gary Chipman.

“All set,” said Louise Arsenault.

Ceilidhs are concerts, but more like musical gatherings, often staged at small halls in the Canadian Maritimes. Not so long ago, and sometimes even today, they were more along the lines of a kitchen party, a kind of jam session at home with the neighbors. Whoever could play a fiddle or a guitar or belt out a song at the top of their lungs would inevitably find themselves in the kitchen with everyone else. In the middle of January a case of beer might be close at hand in the snow just outside one of the windows.

The word itself comes from the Old Irish for companion.

“On long, dark winter nights it is still the custom in small villages for friends to collect in a house,” Donald Mackenzie wrote explaining ceilidhs more than a hundred years ago. “Some sing old songs set to old music or new music composed in the manner of the old.”

The music at Prince Edward Island ceilidhs is alert animate full of life, mainly jigs and reels, with a mix of waltzes and country songs. There are occasional vignettes about life on the island, some island humor, and stories about islanders making the music. Most of the shows are set in community centers, churches, town halls, and Lion’s clubs.

The Arsenault Trio ripped into the ‘Acadian Reel,’ an Evangeline Region tune in the Cape Breton style played in 4/4 time, in other words, on the fast side. From kitchen parties to laser-lit techno dance floors, the same rhythm pattern is part and parcel of the carousing. The signature style of Acadian fiddling is down home rhythmic drive with sawstroke syncopation, sometimes called shuffles.

“When you do the shuffle,” said Louise Arsenault, “it’s like two up bows in a row. That was dad’s style.”

The Evangeline Region of PEI is the land west of Summerside, from Miscouche to Mont Carmel to Abrams Village. Flags in blue, white, and red with a single gold star fly from front porches and front yards. Mailboxes are painted in the Acadian colors. The annual Agricultural Exhibition and Acadian Festival features boot throwing, horse pulling, and a big music and dance party at the end.

The communities are about co-operatives, farming and fishing, vittles and fiddling.

“Where’s everybody from?” Marsha asked the crowd.

Ontario, Quebec, Alberta, Ohio, Florida, and Australia were some of the answers.

“Massachusetts,” a man called out.

“Whatever you said,” said Marsha. “I can’t pronounce that.”

“Wellington,” another man called out.

Several in the audience, probably all from Prince Edward Island, laughed. Wellington is a small town on PEI. It is home to the head office of College Acadie as well as the Bottle Houses, which are three fantasy-like buildings made of approximately 30,000 recycled glass bottles.

Most of the year islanders have the island to themselves. In the summer ten times as many people as live on PEI visit there for a week-or-two.

“They gave it 150% and we could feel it down to our tappin’ toes,” said a man from Amherst, Massachusetts.

The Aussies in the audience thought it was an “all there bonzer” show.

“The energy was amazing,” said a woman from New South Wales, Australia. “We all clapped and stamped our feet.”

Gary Chipman announced he was going to sing a song.

“I’ve been told I have a great voice, but that I’m going to ruin it by singing,” he said. Still and all, he has been singing for many years. He sang ‘Prince Edward Island Is Heaven To Me,’ a country song penned in 1951 by Hal Lone Pine and recorded with his Lone Pine Mountaineers.  

“The air is so pure, and the people so gay, Prince Edward Island, I’m coming to stay, there’s swimming and hunting and fishing galore, the sun shines so bright on its long golden shore, a touch of God’s great hand this island must be, Prince Edward Island is heaven to me.” 

“Yes, sir!” somebody rang out at the end of the song.

Somebody else called out a request for the ‘Arkansas Traveler.’

“It was some hot day today,” said Louise Arsenault. “You can go from your fur coat to your bikini just like that here on this island.” A few days earlier it had rained eighteen hours straight and never reached fifty degrees. The day of the show it was a breezy sunny 74 degrees.

“Arkansas Traveler!”

“Has anybody got a drink in his car?” asked Gary Chipman, to keep his singing voice well-oiled. He told a joke about a young woman in a tight skirt trying to board a bus.

“Arkansas Traveler!”

The ‘Arkansas Traveler’ is a plantation fiddle tune, a quick reel, from the early 19thcentury, one of the most famous of American fiddle tunes. Back in the day it was a barn raiser, meant to tear the audience up. The band tore into it, followed by ‘The Maid Behind the Bar’ and ‘Farmer’s Daughter.’

Jonathan Arsenault played ‘Cottonwood’ on his guitar. In the second half of the show he played ‘Jerry’s Breakdown.’ Written by Jerry Reed, a Nashville guitarist and country singer, the song is played finger-style on guitar in a similar way to the banjo.

“It’s a wicked hard tune to play, but Jonathan makes it look easy,” said Gary.

“When I was a boy, mom bought a little guitar at a flea market,” said Jonathan. “That was her only guitar back then. She sat me at a table, put the fiddle in her lap, and played a set. I learned to flat top pick from my mom, from the fiddle, since she didn’t have a second guitar to show me what a fret was.”

Step dancing is a part of most, if not all, ceilidhs on Prince Edward Island.

“Louise and I are from Acadian backgrounds,” said Helene Arsenault Bergeron. “We grew up with fathers playing the fiddle. In those days they didn’t have a lot of accompaniment, so they accompanied themselves with their feet. That way they always had their accompanists with them.”

She and Louise Arsenault stepped to the front of the stage.

“When you hear that every day, you learn how to play and dance and you don’t even remember learning it. We saw our fathers, aunts and uncles, and grandfathers, and it was just kind of always there, and so we’re going to do a dance for you now.”

The dancing was sparkling high-spirited swashbuckling.

“I was waiting all night for that,” said Jonathan.

Step dancing descends from traditional Irish dancing. Tap dancing is a modern form of it. It is a looser form. The arms move along with the feet. Step dancers keep their upper bodies still with their arms at their sides, except when they don’t, when they’re fiddling at the same time.

Creating your own melody by using your feet is challenging enough, but fiddling a reel at the same time as step dancing like the Arsenault’s do is gnarly, time to sit up and take notice. Louise and Helene do it like a walk in the park, no matter the large front tap on one of Helene’s shoes secured with black electrical tape.

Louise grew up down the road from Helene and Albert Arsenault, who she would later collaborate with in a roots music band. Her father, Alyre Gallant, played music, too. “I grew up in a musical family,” she said. “My father played the fiddle and my mother played the pump organ. I started playing when I was seven. I learned a lot of tunes from my dad.”

At a time in the 1960s when few Prince County girls picked up the fiddle, her father jigged tunes when she was a girl so she could find them on her instrument.

The first half of the show ended with a series of reels. “Whoop, whoop,” someone in the audience shouted. Someone else stamped their feet. It was getting dark on the other side of the windows. It was still fired up inside the hall.

The second half opened the same way as the first half, with the ‘Acadian Reel.’ The song is the work of Eddy Arsenault, a carpenter and fisherman and one of the hands-down best fiddlers on PEI for more than 70 years. Helene Bergeron’s father, he blended local Acadian fiddling with the Scottish approach.

“Is this a new tune,” asked Marie Gallant Arsenault the first time she heard the song a few minutes after its composition. “It is lively.”

“Yes, it is,” said Eddy Arsenault. “What are we going to call it?”

“That sounds right like Acadian music,” said Marie. “Why don’t you call it the Acadian Reel?”

The name stuck.

Even though Eddy Arsenault wrote it, it’s the kind of song that was never new and never gets old.

Gary Chipman strolled into ‘You Are My Sunshine,’ inviting everyone to join in, which many did, some of their voices uncommonly good.

“You are my sunshine, my only sunshine, you make me happy when skies are gray, you’ll never know dear, how much I love you, please don’t take my sunshine away.”

After Gary put his guitar down to the side, Helene stepped around her piano to the front of the stage, and brought some perspective to the sunshine song that had brought a warm glow to the hall.

“Louise and I used to be in a band called Barachois,” she said.

Helene Arsenault Bergeron got her start as a fledgling in a barn putting on step dancing shows set to old records scratching out fiddle tunes. She watched her elders. “The kitchen parties we had at my grandfather’s and at our house, everybody was always jumping up to dance because the fiddling, the music was so lively.” By her 30s she was one of the best step dancers on Prince Edward Island. She took up the piano, taking on the Cape Breton style, with lift, syncopated, marked by step dancing rhythms.

“Jonathan would come on tour with us when he was a small boy, and he just loved this song we’re going to do for you. Some of the older generation, they used to compose songs as a way of keeping track of local events. It’s a song about an old maid, an old girl, whose neighbor, a young girl, asks for advice about getting married, but the old girl is disillusioned, so it’s not a very encouraging song.”

Louise threw her head back and laughed zestfully full-mouthed.

“It’s called ‘The Family Song,’” said Helene.

Later in the summer Gary might tell a joke about a RCMP officer who calls his station from a crime scene.

“I have an interesting case here,” he says. “A woman shot her husband for stepping on the floor she just mopped.”

“Have you arrested her?” asks his sergeant.

“No, not yet, the floor’s still wet.”

After more hoedowning by the band, Helene and Louise brought two chairs to the center front of the stage.

“Helene and I are going to do a sit down dance,” said Louise. “It’s not because we’re lazy. We can dance standing, we can dance sitting, so here we go!”

Their arms at their sides, their hands gripping the sides of their seats, able-bodied, their feet a breakdown blur, seeming to never leave the floor no matter the tapping, they chair danced up a storm.

Marsha Weeks walked out from the wings with her fiddle.

“You know it’s a great show when the host comes back on stage,” said Jonathan.

Gary, who taught Marsha how to play, picked up his fiddle, as did Helene and Louise.

Gary Chipman has been playing the fiddle since he was five-years-old. He says it was “about a hundred years ago.” Later in life he picked up the guitar and vocals, when “Elvis Presley and the boys came along and the fiddle was out.” With the revival of PEI fiddling in the 1990s, he rosined up his bow again. He earned a degree in clinical psychology, but says it “only made me a smarter fiddle player.”

A hundred years later he concedes, “I’m going to keep playing until I can’t play anymore.”

They played an arrangement of the ‘Tennessee Waltz,’ a tune from the 1940s whose lyrics were first written down on the back of a matchbox and whose music by Pee Wee King remains sad and lively to this day, tracing a man and a woman turning around and around a dance floor.

“I was dancing with my darling to the Tennessee Waltz, when an old friend I happened to see, I introduced her to my loved one, and while they were dancing, my friend stole my sweetheart from me.”

They played a pretty arrangement on four fiddles of the pastoral melody ‘The Rosebud of Allenvale.’

Although they had been letting it rip all along, at the last Gary and the Arsenault’s let it rip. “We’re going to end with the fastest tune of the night, I’m pretty sure,” said Marsha. They dove headlong into an instrumental version of the ‘Orange Blossom Special.’

Laisse les aller!

The tune is for raising high the roof beam. It is sometimes just called ‘The Special’ and is known as the fiddle player’s national anthem. For a long time fiddle players needed to know how to play that one song before being able to join any bluegrass band.

“It is a vehicle to exhibit the fiddler’s pyrotechnic virtuosity,” wrote Norm Cohen in his book about railroads in folksongs. “It is guaranteed to bring the blood of all but the most jaded listeners to a quick, rolling boil.”

No one at the Stanley Bridge ceilidh was left jaded as the last notes of the ‘The Special’ steamed away into the night.

“She’s the fastest train on the line, it’s that Orange Blossom Special, rollin’ down the seaboard line.”

The show ended with hootin’ and hollerin’ and a big round of applause.

“If you had a great time, please tell everybody at your cottage and campgrounds,” said Marsha as the lights came up. “If you didn’t have a good time, you can just see Gary in the kitchen after the show.”

It wouldn’t be a kitchen party if something lively wasn’t going on in the kitchen.

147 Stanley Street (short stories and non-fiction). If you enjoyed this story, consider supporting the site by clicking here to donate. 

aerial-beverage-coffee-990825-e1550878549646

Click here to see more writing between fiction and non-fiction by Ed Staskus.