POLLOCK, (Mary) Sharon 1936-

PERSONAL:

Born Mary Sharon Chalmers, April 19, 1936, in Fredericton, New Brunswick, Canada; daughter of Everett (a physician and politician) Chalmers; married Ross Pollock (an insurance broker), 1954 (marriage ended in early 1960s); children: six. Education: Attended University of New Brunswick, 1952-54.

ADDRESSES:

Home—319 Manora Dr. NE, Calgary, Alberta T2A 4R2, Canada.

CAREER:

Playwright, director, actress, artistic director, and dramaturge. University of Alberta, Edmonton, Alberta, Canada, affiliated with the drama department, 1976-77, visiting lecturer, 1976-81; Banff Centre School of Fine Arts, Banff, Alberta, head of playwright's colony, 1977-80; Theatre Calgary, Calgary, Alberta, dramaturge and assistant artistic director, 1983-84, artistic director, 1984; Manitoba Theatre Centre, Winnipeg, Manitoba, Canada, associate artisitc director, 1988; Theatre New Brunswick, Fredericton, New Brunswick, Canada, artistic director, 1988-90.

Alberta Theatre Projects, Calgary, playwright-in-residence, 1977-79; National Arts Centre, Ottawa, Ontario, Canada, artist-in-residence, 1981-83; Regina Public Library, Regina, Saskatchewan, Canada, playwright-in-residence, 1986-87; Theatre Junction, Calgary, playwright-in-residence, 1999—. Canada Council for the Arts' Advisory Panel, Ottawa, member, 1978-81, chair, 1979-80; National Theatre School, Montreal, Quebec, Canada, member of advisory committee, 1979-80; Playwrights Canada National Executive, vice-chair, 1981-83; Stratford Festival, Stratford, Ontario, associate director, 1990; Garry Theatre, Calgary, cofounder (with son, K.C. Campbell) of independent theatre group, 1992; Alberta Playwrights Network, Calgary, president, 1998.

Appeared in plays, including Lysistrata (title role) by Aristophanes; The Knack (as Nancy) by Ann Jellicoe; Private Lives (as Amanda) by Noël Coward; Separate Tables (as Miss Cooper) by Terence Rattigan; The House of Blue Leaves (as Bunny) by John Guare; Endgame (as Nell) by Samuel Beckett; All That Fall (as Maddy) by Arthur Miller; The Seagull (as Polina) by Chekhov; Miss Julie (as Julie) by Strindberg; Look Back in Anger (as Alison) by John Osborne; and Agnes of God (as the psychiatrist) by John Pielmeier. Has also appeared in some of her own plays, including My Name Is Lisabeth (as Lizzie Borden; title role), produced at Douglas College, New Westminster, British Columbia, Canada, 1976; Blood Relations (as Lizzie Borden; title role), produced in Calgary, Alberta, Canada, 1981; Getting It Straight (as Eme), produced in Winnipeg, 1989, and (as Mama George) at the International Women's Festval, Winnipeg, Manitoba, Canada, July, 1989; and Doc on CBC Radio, 1991. Also worked as an actress in amateur theatre with the semiprofessional theatre group Prairie Players (a touring company of MAC 14, the forerunner of Theatre Calgary).

Directed stage productions, including Betrayal (Calgary, April, 1999) and A Slight Ache by Harold Pinter; The Mousetrap by Agatha Christie; Scapin by Molière; The Gingerbread Lady by Neil Simon; The Bear [and] A Marriage Proposal by Chekhov; Period of Adjustment by Tennessee Williams; The Indian Wants the Bronx by Israel Horovitz; The Effect of Gamma Rays on Man-in-the-Moon Marigolds by Paul Zindel; and Buried Child by Sam Shepard. Has also directed some of her own plays, including One Tiger to a Hill produced at the National Arts Centre, Ottawa, 1981; Family Trappings produced at Theatre New Brunswick, Fredericton, March, 1986; A Death in the Family produced at Garry Theatre, Calgary, June, 1993; and Saucy Jack prodcued at Garry Theatre, Calgary, November, 1993.

AWARDS, HONORS:

Dominion Drama Festival award, 1966, for best actress (role of Nancy) in Ann Jellicoe's The Knack; Alberta Playwriting Competition award, 1971, for A Compulsory Option; Association of Canadian Television and Radio Artists award for best radio drama, 1981, for Sweet Land of Liberty; Nellie Award, for radio play, 1981; Golden Sheaf, 1981, for radio play The Person's Case; Governor-General's Literary Award for published drama, Canada Council for the Arts, 1982, for Blood Relations; Alberta Award of Excellence, 1983; Chalmers Award, 1984; Senior Arts grant, Canada Council, 1984; Alberta Writers Guild award, 1986; Governor-General's Literary Award for English-language drama, Canada Council for the Arts, 1986, for Doc; honorary doctorate, University of New Brunswick, 1986; Alberta Literary Foundation award, 1987; Canada-Australia Literary Award, 1987, for achievement as a dramatist; Japan Foundation award, 1995; Harry and Martha Cohen award, 1999, for significant contribution to Calgary theatre.

WRITINGS:

STAGE PLAYS

A Compulsory Option (two-act), produced at Department of Culture, Youth, and Recreation, Edmonton, Alberta, Canada, 1970; revised version produced at New Play Centre, Vancouver, British Columbia, Canada, August, 1972; produced as No! No! No!, Toronto, Ontario, Canada, 1977.

Walsh (two-act; produced at New Play Centre, Vancouver, British Columbia, Canada, 1972; produced at Theatre Calgary, Calgary, Alberta, Canada, November 7, 1973; revised version produced at Third State at the Stratford Festival, Stratford, Ontario, Canada, summer, 1974; revised version produced in Ottawa, Ontario, Canada, 1983), Talonbooks (Vancouver, British Columbia, Canada), 1973, revised 3rd edition, 1983.

And Out Goes You (two-act), produced at Vancouver Playhouse, Vancouver, British Columbia, Canada, 1975.

The Komagata Maru Incident (one-act; produced at Vancouver Playhouse at the Vancouver East Cultural Center, Vancouver, British Columbia, Canada, January 20, 1976; produced in London, England, 1985), Playwrights Co-op (Toronto, Ontario, Canada), 1978.

My Name Is Lisabeth (produced at Douglas College, New Westminster, British Columbia, Canada, 1976; revised as Blood Relations and produced at Theatre Three, Edmonton, Alberta, Canada, March 12, 1980), published as Blood Relations and Other Plays (contains Blood Relations, Generations, and One Tiger to a Hill), introduction by Diane Bessai, NeWest Press (Edmonton, Alberta, Canada), 1981, 1991, revised edition (also contains Whiskey Six), 2002.

(With others) Tracings—The Fraser Story, produced at Theatre Network, Edmonton, Alberta, Canada, 1977.

Mail vs. Female, produced at Lunchbox Theatre, Calgary, Alberta, Canada, March, 1979.

One Tiger to a Hill, produced at Citadel Theatre, Edmonton, Alberta, Canada, February, 1980; revised version produced at Festival Lennoxville, Lennoxville, Quebec, Canada, summer, 1980; at Manhattan Theatre Club, New York, NY, November, 1980; at the National Arts Centre, Ottawa, Ontario, Canada, 1981; aired on CBC Radio, December 8, 1985.

Generations (adaption of the original radio play Generation), produced by Alberta Theatre Projects at Canmore Opera House, Calgary, Alberta, Canada, October 28, 1980.

Whiskey Six, produced at Theatre Calgary, Calgary, Alberta, Canada, 1983.

Doc (produced at Theatre Calgary, Calgary, Alberta, Canada, April, 1984; revised version produced at Toronto Free Theatre, Toronto, Ontario, Canada, September, 1984; revised as Family Trappings and produced at Theatre New Brunswick, Fredericton, New Brunswick, Canada, March, 1986), published as Doc Playwrights Canada Press (Toronto, Ontario, Canada), 1986, Broadview Drama (Peterborough, Ontario, Canada), 2003.

Egg (originally titled God's Not Finished with Us Yet), produced at Theatre Calgary, Calgary, Alberta, Canada, 1988.

Getting It Straight (monologue), produced at the International Women's Festival, Winnipeg, Manitoba, Canada, 1989.

A Death in the Family, produced at Garry Theatre, Calgary, Alberta, Canada, June, 1993.

Saucy Jack (produced in Calgary, Alberta, Canada, 1993; at Theatre & Company, Kitchener, Ontario, Canada, November, 1995), Blizzard (Winnipeg, Manitoba, Canada), 1994.

Fair Liberty's Call (produced at Tom Patterson Theatre at the Stratford Festival, Stratford, Ontario, Canada, summer, 1993; at Garry Theatre, Calgary, Alberta, Canada, November, 1993), Coach House Press (Toronto, Ontario, Canada), 1995.

Moving Pictures, produced at Theatre Junction, Calgary, Alberta, Canada, 1999.

End Dream, produced at Theatre Junction, Calgary, Alberta, Canada, 2000.

Angel's Trumpet, produced at Theatre Junction, Calgary, Alberta, Canada, February, 2001.

Sharon Pollock: Three Plays (also known as Three Plays; contains Moving Pictures, End Dream, and Angel's Trumpet), introduction by Sherrill Grace, Playwrights Canada Press (Toronto, Ontario, Canada), 2003.

Also author of the stage play "It's All Make Believe—Isn't It?" Marilyn Monroe.

PLAYS FOR TELEVISION

Portrait of a Pig, CBC-Winnipeg, 1973.

The Larsens, CBC-Winnipeg, 1976.

Ransom (episode of The Magic Lie series), CBC-Edmonton, 1976.

(With others) Country Joy (six episodes), CBC-National, 1979-1980.

The Person's Case (originally titled Free Our Sisters, Free Ourselves), 1980.

The Komagata Maru Incident (adaptation of the stage play), 1984.

PLAYS FOR RADIO

A Split Second in the Life Of, CBC, November 22, 1970.

31 for 2, CBC, February 7, 1971.

We to the Gods, CBC, September 5, 1971.

Waiting, 1973.

Walsh (adaptation of the stage play), CBC, 1974.

Generation, CBC, December 10, 1978.

The Story of Komogata Maru, (adaptation of The Komagata Maru Incident), 1979.

Sweet Land of Liberty, CBC, December 2, 1979.

Intensive Care, CBC, June 5, 1983.

Whiskey Six Cadenza (adaptation of stage play Whiskey Six), October 22, 1983.

One Tiger to a Hill (adaptation of stage play), CBC, December 8, 1985.

The Making of Warriors, 1991.

Also author of radio plays The B Triple P Plan, In Memory Of, Mrs. Yale and Jennifer (eight episodes), Mary Beth Goes to Calgary, and In the Beginning Was.

PLAYS FOR CHILDREN

New Canadians, produced at Playhouse Holiday, Vancouver, British Columbia, Canada, 1973.

Superstition Throu' the Ages, produced at Playhouse Holiday, Vancouver, British Columbia, Canada, 1973.

The Great Drag Race (also known as Smoked, Choked, and Croaked), commissioned by British Columbia Christmas Seal Society, produced in secondary schools, British Columbia, Canada, 1974.

Wudjesay?, produced at Playhouse Holiday, Vancouver, British Columbia, Canada, 1974.

The Happy Prince (adaptation of the story by Oscar Wilde), produced at Playhouse Theatre School, Vancouver, British Columbia, Canada, 1974.

The Rose and the Nightingale (adaptation of the story by Oscar Wilde), produced at Playhouse Theatre School, Vancouver, British Columbia, Canada, 1974.

Star-child (adaptation of the story by Oscar Wilde), produced at Playhouse Theatre School, Vancouver, British Columbia, Canada, 1974.

Lessons in Swizzlery (also known as A Lesson in Swizzlery), produced by Caravan Theatre touring ensemble, New Westminster, British Columbia, Canada, 1974.

The Wreck of the National Line Car, produced by Alberta Theatre Projects, Calgary, Alberta, Canada, 1978.

Chautaqua Spelt E-N-E-R-G-Y, produced by Alberta Theatre Projects, Calgary, Alberta, Canada, 1979.

Also author of children's play Prairie Dragons.

OTHER

The Sharon Pollock Papers, compiled by Sandra Mortensen and Shirley A. Onn, edited by Apollonia Steele and Jean F. Tener, introduction by Denis Salter, University of Calgary Press (Calgary, Alberta, Canada), 1989.

Sharon Pollock Papers are housed in the special collections at the University of Calgary.

Work represented in anthologies, including Plays by Women 3 (contains Blood Relations), edited by Michelene Wandor, Methuen (London, England), 1984; NeWest Plays by Women (contains Whiskey Six), edited by Diane Bessai and Don Kerr, NeWest Press (Edmonton, Alberta, Canada), 1987; Playhouse: Six Plays for Children (contains Prairie Dragons), edited by Joyce Doolittle, Red Deer College Press (Calgary, Alberta, Canada), 1989; Airborne (contains The Making of Warriors), edited by Ann Jansen, Blizzard (Winnipeg, Manitoba, Canada), 1991; Heroines: Three Plays (contains Getting It Straight), edited by Joyce Dolittle, Red Deer College Press (Calgary, Alberta, Canada), 1992; Six Canadian Plays (contains The Komagata Maru Incident), edited by Tony Hamill, Playwrights Canada Press (Toronto, Ontario, Canada), 1992; Modern Canadian Plays (contains Walsh), 3rd edition, edited by Jerry Wasserman, Talonbooks (Vancouver, British Columbia, Canada), 1993; Instant Applause: 26 Very Short Complete Plays (contains "It's All Make Believe—Isn't It?" Marilyn Monroe), Blizzard (Winnipeg, Manitoba, Canada), 1994.

SIDELIGHTS:

"Sharon Pollock is one of only a handful of playwrights in Canada who have put together a solid and developing body of work over a number of active years in the theatre," wrote Richard Paul Knowles in the Atlantic Provinces Book Review, "and of that handful she is one of the best." During Pollack's prolific career—which has established her as one of the "two finest living [Canadian] playwrights," according to University of Toronto Quarterly contributor Jerry Wasserman—she has moved from writing plays concerned with historical and political topics to more personal plays with families and individuals as subjects. Her body of work, which also includes writings for television and radio, has brought her wide recognition and inspired Paul Matthew St. Pierre, writing in the Dictionary of Literary Biography, to call her "one of the most innovative and versatile dramatists in [Canada]."

Pollock's interest in history is illustrated in 1976's The Komagata Maru Incident, an examination of the real-life plight of a group of Sikh immigrants who, in 1914, attempted to enter Canada but who were illegally turned away because of their race. Later in 1976, Pollock presented another play based on a factual event. Entitled My Name Is Lisabeth, the play revolves around the life of nineteenth-century American Lizzie Borden, who was accused of brutally slaying her father and stepmother with an axe, but acquitted after the famous 1892 trial.

Lizzie Borden reappears in Pollock's 1980 play Blood Relations, a revision of My Name Is Lisabeth, in which, ten years after the murder trial, Lizzie's actor friend and possible lover, called Actress, chooses to study her character and actions, as if she were preparing to perform as Lizzie in a play. Actress's fascination with the events causes Lizzie to relive her experiences with her family and the trial. Actress follows Lizzie into the events surrounding the murder, performing the actions of Lizzie's instructions until she becomes Lizzie. She fails, however, to obtain the confession she's striving for. "Did you do it, Lizzie? Did you," Actress asks, to which Lizzie responds, turning to the audience: "I didn't … you did."

In Blood Relations, Pollock "explores the ambivalence of empirical evidence and subjective testimony and of family and especially woman-to-woman relationships," St. Pierre noted, concluding that Pollock's ability to evoke "dramatic suspense … is the source of the play's triumph." Blood Relations was the first play recognized with the prestigious Governor-General's Literary Award for published drama. It was published, along with Generations and One Tiger to a Hill, in 1991 as Blood Relations and Other Plays. The 2002 revision of the book included Pollock's play Whiskey Six as well.

In 1984 Pollock's most autobiographical and most discussed play was produced. Doc tells the contemporary story of Catherine, a writer, and her father, Ev, a well-known, respected physician. The play follows Catherine as she returns to her childhood home after an absence of years to visit her father, who recently experienced a heart attack. Catherine views her father as a man who forfeited his family life in order to further pursue his career and, by so doing, drove his wife to alcohol and, eventually, suicide. Pollock, however, doesn't trivialize Ev's decision to tend to society's ills and thereby distance himself from his wife and daughter. As Wasserman quoted, Ev explains: "Should I have tended my own little plot when I looked round and there was so damn much to do—so much I could do—I did do! … You tell me, was I wrong to do that!" Aside from his wife's suicide, Ev also carries the weight of his mother's apparent suicide, the reasoning of which is purportedly carried in an envelope he holds throughout the play and which he has left unopened for thirty years. Catherine and Ev, at the end of the play, are able to burn the letter, exorcising themselves of their shared, troubled past.

A technical innovation of the play that lends further drama to the situation is the splitting of Catherine's character: not only does she appear as her present self, but another actor plays her as a young girl. This technique allows Catherine to talk to and observe herself through the years and enables Pollock to disregard a traditional, chronological plot in favor of transitions based on the psychological condition of the characters and the emotional responses their memories evoke. The play constantly switches between past and present, a movement Pollock defines with the stage direction "shift."

Aside from winning Pollock her second Governor-General's Literary Award, Doc met with a considerable amount of critical acclaim. "Doc's exploration of an unhappy family meets all the criteria of the well-made play while at the same time managing to cast an understanding but unsentimental light on other families as well," noted Alan Stewart in the Globe and Mail. Wasserman wrote, "Virtually jettisoning plot for the first time in her career, the better to follow the rhythms of intuition and the unconscious, Pollock takes Catherine on a journey that ends with her able to smile at her father and forgive herself for being human. This is Pollock's most emotionally complex and structurally sure-handed work yet." In the Canadian Theatre Review, Cindy Cowan judged that Pollock "compassionately and skillfully [layers] in her thematic concerns regarding the nature of guilt and forgiveness within the realm of the family, where we might find guidance for living with dignity and equality." And Mark Czarnecki commented in Maclean's, "Doc is more ritual than play, a gripping but oppressive exorcism of the demons in Sharon Pollock's past. Coming in the middle of a distinguished career, it stirs curiosity about where the playwright's inspirations will lead her."

Saucy Jack takes place in Victorian England, right after the brutal murders executed by notorious serial killer Jack the Ripper. Pollock again draws on a real-life unsolved mystery to provide the background for plot, but this time the character quests to solve the mystery. James Kenneth Stephen is a scholar who invites his friends, Crown Prince Albert "Eddy"—Queen Victoria's nephew and former student of Stephen—and Montague Druitt, to a staging of the murders. Stephen hires an actress named Kate to play each one of the five murdered prostitutes. The enactment is designed to draw a confession out of one of the men, but instead, more murders take place. Through the dominant female personae of the prostitutes, Kate slowly drains the three male figures of their power—literally and figuratively—until she is the only remaining character. Kate's resistance to domination reflects Pollock's own feminist views. Stage Door reviewer Jim Lingerfelt was less than impressed by Pollock's feminist ideals. Claiming that Saucy Jack has a "plausible but confusing" plot, he thought that the play's "opportunistic feminist twist" was "not needed, and not appreciated," continuing that it was "a play, in fact, not needed and not appreciated." An Oxford Companion to American Literature contributor pointed out, however, that "the dramatist's main purpose is to give voice to the anonymous underclass victims."

A number of themes permeate Pollock's 1993 play Fair Liberty's Call. The plot revolves around a United Empire Loyalist family, the Roberts family, who has relocated from Boston to Canada after the American Revolution. The family's dominant father—George Roberts—advocates war as a means of obtaining land and wealth. His sons go to war, but one fights on the Loyalist side, while the other fights as a Rebel. The Rebel son is killed in battle and the Loyalist son commits suicide after witnessing the brutal horrors of warfare. The compassionate and sensitive mother, Janet Wright, loses first her sons, and then her sanity. George is concerned that if the British lose war, the family will lose their property rights without a soldier in the war, and so he turns to his daughter, Emily, who is disguised as a man, called "Eddie," and sent to war to take on her Loyalist brother's identity. Gender lines blur, and Pollock creates strong representations of gender political issues, as Emily/Eddie is thrust into war, becoming both empathetic woman and empowered man. "In her own career, as in the women she creates, Sharon Pollock refuses compromise, resists male and established authority, and shatters historical myth," pointed out one Contemporary Dramatists contributor. The play is ultimately not just a call to war; it is a call to reevaluate notions of loyalty, morality, family, gender, race, and identity. In a review for Theatre Journal, contributor Owen E. Brady called Fair Liberty's Call "a highly theatrical compound of history, revenge, and murder" and a "conceptually fresh" production, stating that it "strives to turn history into ritual, seeking to balance essential, communal, Canadian powers." Fair Liberty's Call was published as a book in 2002.

Published in 2003, Sharon Pollock: Three Plays showcases three of the playwright's most recent plays: Moving Pictures, End Dream, and Angel's Trumpet, each highlighting the true life of a tragic female figure. Premiering on the stage in 1999, Moving Pictures presents the life of Canadian silent film actress and director Nell Shipman. Nell Shipman's character takes three forms: "Helen," the young actress, "Nell," the middle-aged actress and director, and "Shipman," the elderly figure who is dying at the start of the play. Shipman looks back on her life, trying to interact with Helen and Nell, in an effort to find peace and understanding before she dies. Shipman reflects on her choices, and at the play's conclusion, Shipman has accepted her past.

End Dream's plot was drawn from a story of Jenny Smith, a young Scottish nanny who, it was speculated, was murdered, but may have committed suicide. The play opens on the young woman's death in 1924, symbolized with dramatic and lurid use of light and sound effects. The story rewinds as Pollock attempts to represent the events leading to the young woman's death. "I always draw what I can from history," Pollock told Nikki Sheppy in an interview for FFWD: Calgary's News and Entertainment Weekly, "whether it be public history, personal history, or the current events that are in the process of becoming history." Pollock turned to a historical figure with her 2001 play Angel's Trumpet, which portrays the tragic relationship of writer F. Scott Fitzgerald and his ostentatious literary wife, Zelda Sayre. The play begins as Zelda is committed to a mental institution, where doctors attempt to strip the woman of her creative energies, pinpointing her gift as the catalyst of her mental illness. "I think artists have to be misfits," Pollock told FFWD. "But I think that sense of not fitting in is something that the artist carries within. It's not something that other people see. It's a self-portrait, really. There's a hole that drives them to create in order to fill it." In Angel's Trumpet, Pollock also shows the competition between the married writers as they each try to fill their own holes. She ultimately depicts, however, the persistence of their love for one another.

BIOGRAPHICAL AND CRITICAL SOURCES:

BOOKS

Contemporary Dramatists, 6th edition, St. James Press (Detroit, MI), 1999.

Dictionary of Literary Biography, Volume 60: Canadian Writers since 1960, Second Series, Gale (Detroit, MI), 1987, pp. 300-306.

Feminist Writers, St. James Press (Detroit, MI), 1996.

International Directory of Theatre, Volume 2: Playwrights, St. James Press (Detroit, MI), 1993.

Nothof, Anne F., editor, Sharon Pollock: Essays on Her Work, Guernica (Buffalo, New York), 2000.

Pollock, Sharon, Blood Relations and Other Plays, NeWest Press (Edmonton, Alberta, Canada), 2002.

Wallace, Robert, and Cynthia Zimmerman, The Work: Conversations with English-Canadian Playwrights, Coach House Press (Toronto, Ontario, Canada), 1982, pp. 114-141.

Writers Directory, 18th edition, St. James Press (Detroit, MI), 2002.

PERIODICALS

Alberta Report, February 28, 1983, p. 50; April 30, 1984, pp. 54-55; September 10, 1984, pp. 40-41.

Alberta Views, spring, 1999, Harry Vandervlist, "Playwrights: Alberta's Forgotten Wordsmiths?," pp. 36-41.

Atlantic Advocate, August, 1974, p. 50.

Atlantic Provinces Book Review, February-March, 1987, p. 19.

Books in Canada, April, 1982, p. 8; March, 1987, pp. 17-18; November, 1995, review of Saucy Jack, p. 42.

Canadian Book Review Annual, 1994, review of Saucy Jack, p. 231; 1995, review of Fair Liberty's Call, p. 238.

Canadian Drama, fall, 1979, pp. 104-111.

Canadian Literature, winter, 1984, pp. 51-62; summer, 1999, review of Fair Liberty's Call, p. 203.

Canadian Theatre Review, spring, 1982, pp. 34-38; fall, 1987, pp. 95-96.

Cinema Canada, December, 1983, pp. 26-27.

Globe and Mail (Toronto, Ontario), October 27, 1984.

Maclean's, April 23, 1984, p. 52.

Performing Arts, Volume 22, number 4, 1980, p. 24.

Quill & Quire, April, 1982, p. 29; November, 1994, review of Saucy Jack, p. 32.

Saturday Night, October, 1984, pp. 73-74.

Theatre Journal, May, 1994, Owen E. Brady, review of Fair Liberty's Call, pp. 272-274.

University of Toronto Quarterly, fall, 1987, pp. 67-69.

ONLINE

Athabasca University Web site,http://www.athabasca.ca/ (June 2, 2003), "Canadian Writers: Sharon Pollock" and "Sharon Pollock Bibliography."

Buzz Web site,http://www.acs.ucalgary.ca/ (March 3, 2004), David Kenney, "Great Gatsby's Seamy Underbelly," article on Angel's Trumpet.

Canadians Abroad Web site,http://www.canadiansabroad.com/ (June 2, 2003), "Blood Relations by Sharon Pollock."

Encyclopedia of Canadian Theatre Web site,http://www.canadiantheatre.com/ (February 27, 2004), "Pollock, Sharon."

FFWD: Calgary's News and Entertainment Weekly Web site,http://www.ffwdweekly.com/ (March 3, 2004), Nikki Sheppy, "Theatre," interview with Sharon Pollock and preview of Moving Pictures.

NeWest Press Web site,http://www.newestpress.com/ (June 2, 2003), description of Blood Relations and Other Plays and author profile.

Stage Door Web site,http://www.stage-door.org/ (March 3, 2004), Jim Lingerfelt, review of Saucy Jack.

Talon Books Web site,http://www.talonbooks.com/ (February 27, 2004), author profile and description of Saucy Jack.

Theatre Research in Canadahttp://www.lib.unc.ca/ (fall, 2001), Jerry Wasserman, review of Sharon Pollock: Essays on Her Work; Anne Nothof, "Staging the Intersections of Time in Sharon Pollock's Doc, Moving Pictures, and End Dream" and "Sharon Pollock at Play."

University of Calgary Library Web site,http://www.ucalgay.ca/library/ (June 2, 2003), "Special Collections: Sharon Pollock."

University of Calgary Press Web site,http://www.uofcpress.com/ (February 27, 2004), description of The Sharon Pollock Papers.*