It is Christmas Eve, 1970. In the shipping room of a Montreal dress factory, the workers get drunk and decide to go on strike.

“So many of the guys I knew on the street are gone dead or crazy, man. There’s no escape. This whole country is just one big factory, one big jail, Billy … Either you’re a good nigger or ya die. Know what I mean? … Black, yellow, white. We’re all niggers down on Rockefeller’s Plantation, man.”

“Punks, Billy. All we get now is punks … I used to have this shipping room running like a new machine, remember, Billy? … No trouble, no fuss, ’cause everybody did their job and knew their place, but now … In the last five years, the kids been getting more and more like that Gary Boyce. Shit disturbers. They all got that look in their eye. Know what I mean? Like they don’t give a damn.”

On the Job is David Fennario’s post-mortem on the ’60s and a look at the Canadian class structure. The play was first performed at Centaur Theatre, Montreal. Subsequently, it has been performed at the National Arts Centre, Ottawa; been revived by Centaur Theatre; and been staged at the Arts Club Theatre, Vancouver.

Anglophone playwright born David Wiper in Montreal, Quebec, 1947. He was raised in the working class district of Pointe-St-Charles, an area he would make the centre of most of his plays. He was one of six children, his father was a housepainter. His pen name, given to him by a girlfriend, was part of a Bob Dylan song, “Pretty Peggy-O.” David Fennario has described his life as: Born on the Avenues in the Verdun-Pointe Saint Charles working-class district of Montreal; one of six kids growing up in Duplessis’ Quebec, repressed, depressed, oppressed and compressed. “School was a drag. My working experience turned me into a raving Red calling for world revolution. The process of becoming a political activist gave me the confidence to be a writer. Up to then, I thought only middle-class people could become artists, because they were not stupid like working-class people, who were working-class because they were stupid. But reading Socialist literature convinced me that working-class people can change themselves and the world around them. We are not chained to fate, Freud, God, gender or a genetic code. We can make ourselves into what we want. I’ve been trying my best to do that ever since, and have had some success as a playwright and a prose writer.”

David Fennario's profile page

• Winner, Chalmers Award for Best Canadian Play

“Vibrates with the rough and ready energy of a street fight.”
— Quill & Quire