A young Canadian homesteader travelling far from home, finds himself accused of murder in the state of Kansas in 1871. With only his wits to defend himself, he turns the law of the land—and the men hell-bent on enforcing it—upside down. This authentic western is a uniquetake on the days when guns were the law.
Norm Foster was born in Newmarket, Ontario on St. Valentine’s Day. Raised in Toronto, he attended West Hill Collegiate Institute and then went on to study Radio & Television Arts at Centennial College in Toronto and then Confederation College in Thunder Bay. Upon completion of his studies, he began a radio career that would span 25 years and which would take him from Thunder Bay to Winnipeg to Kingston and finally to Fredericton, New Brunswick. It was in Fredericton in 1980 that Norm was introduced to the world of theatre.Foster fell in love with the theatre right then and there, and two years later he penned his first professionally produced play, Sinners. It was produced by Theatre New Brunswick and directed by Malcolm Black, who would also direct Foster’s next effort, the highly successful, The Melville Boys. The Melville Boys would go on to be produced across Canada and in the United States, including a well-received run Off Broadway in New York. It would become Foster’s signature play, and the one which would bring his name to the forefront of Canadian theatre. Since then, Norm Foster has produced an astonishing output of work. Nearly forty plays in all, including The Affections of May, the most produced play in Canada in 1991.He has also written a musical with composer Leslie Arden (The Last Resort) and three musicals (Jasper Station, Race Day & Sitting Pretty) with composer Steve Thomas.“Acting is great fun, but writing is my first love. A lot of people out there like the ‘idea’ of being a writer. The romance of it. The notion that we all sit around in cafes and talk about our writing with other writers. Personally, I would rather do it than talk about it. The actual process of writing is what excites me. Creating a world from the ground up and populating it with characters I’ve pulled out of my head. This is why I rarely set my plays in real cities with place names we recognize. I want the audience to imagine these locations right along with me.”