Let's Talk Antigonish Podcast
If you’ve lived in Antigonish for any length of time, chances are someone has told you to go see the Ships of 1801. And if you’ve been, you already know why. And if you haven’t, this episode is your entry point. Justin and Anuj sat down with Duncan MacDonald, the writer and producer behind one of the most beloved annual events in Antigonish, for a wide-ranging conversation about the show’s origins, its evolution over twelve years, what’s coming this summer, and why a community theatre production about 19th century Highland immigrants keeps selling out to crowds of 1,200 people year after year. Where It All Started: A Shore in Scotland and a Good Idea The Ships of 1801 began, as the best things often do, with two unrelated experiences colliding at exactly the right moment. About twelve years ago, Duncan MacDonald and his wife were standing on the shore near Fort William in Scotland, early in the morning, when the image struck him; ships leaving the harbour, filled with people. Around the same time, he’d seen a local production by Hector McIsaac called the Black Donnellys, in which performers dressed as their characters and the songs took on new meaning because of it. Put those two things together, add a conversation with Irene MacLeod of the Antigonish Highland Society about wanting a local concert, and the idea took shape. In 1801, roughly five ships arrived at Pictou carrying Gaelic-speaking Highland Scots (many of them MacDonald’s own ancestors) who were fleeing desperate conditions and making for the promise of land in the new world. That journey—the courage, grief, music, and hope it contained—became the subject of the first three shows. From the Ships to the Keppoch: Twelve Years of Stories The first three shows told the immigration story directly, set aboard the ships themselves. The Highland Society agreed to include the show as part of the Highland Games, and 1,200 people showed up for that first production at the Millennium Centre. After the ship trilogy, MacDonald shifted the setting to the Keppoch—the rural Antigonish County community where many of those settlers eventually made their homes—and the tone shifted with it. Less drama, more comedy, more celebration. The format became a ceilidh house: neighbours gathering in a community home, the way people actually gathered in those years, sharing songs and stories and the particular comedy of community life. The Keppoch shows have run for roughly nine years now, each one built around a real historical moment from the area’s past. The range of subjects covered across those years is remarkable. The closure of one-room rural schools. The mass exodus to the “Boston States”. The Fall Fair, when Keppoch neighbours faced off against the people of Eigg Mountain in a rivalry over who got to entertain. This year, the show brings Moses Coady and the Sisters of St. Martha to the Keppoch — dramatizing the movement that came out of StFX and changed the economic lives of rural Nova Scotians — a show requiring careful research and consultation with people who still remember Coady personally, including two sisters whose fathers were pallbearers at his funeral. The show features many returning cast members and musicians, and brand new music. A song called Buttermilk Blues—written by the show’s longtime songwriter Kevin Gilfoy—features three frustrated young women forced to churn cream in the kitchen. “Giants of Men,” another Gilfoy composition, celebrates the extraordinary courage of the settlers who walked into the Keppoch with an axe and a saw and built a life from nothing. How the Show Actually Works The Ships of 1801 is roughly half music and half dialogue. It is not a musical in the conventional theatre sense; it’s closer to a ceilidh with a story running through it. The cast is a cooperative: everyone who participates gets a share of the ticket revenue. Performers include musicians of serious calibre some professional, many highly accomplished—alongside local actors and children who are taking fiddle or step-dancing lessons and don’t often get a chance to demonstrate what they know in front of a proper audience. That last point is one MacDonald returns to with obvious feeling. Giving young performers a stage in front of 1,200 people is one of the show’s founding purposes. It reinforces the tradition from the inside, showing kids that what they’re learning has a living community around it. Rehearsals run through the spring and the script, by MacDonald’s own admission, keeps getting adjusted until the last possible moment. The show has toured to the Gaelic College, to the Strathspey Performing Arts Centre in Mabou, to audiences beyond Antigonish — but the logistics of moving thirty-plus community members with full-time jobs are genuinely difficult. The Upcoming Book Alongside the show, MacDonald has been working on something that will outlast any single production: a book, commissioned through the Highland Society and currently at the printer, covering the customs and traditions of the Highland Scottish community in Antigonish. Individual chapters cover fiddling, step dancing, bagpiping, the ceilidh house, food, and more, each written by someone with deep knowledge of that tradition. The idea started as a primer for new members of the Highland Society—something to give people the background they’d need to understand what they were stewarding—and grew from there. The Highland Society is sponsoring it; copies should be available for sale in July. A Future Show: Lochaber No More MacDonald is already thinking about the next ship show — a return to the ships themselves, this time set around 1812. It would tell the story of Highland people who had already been forced off their inland farms to the coast, who tried to survive by fishing and harvesting kelp, and who found themselves destitute again when the Napoleonic wars ended and the kelp market collapsed. MacDonald wants to call it Lochaber No More, after the song of the same name, and to use real documented characters from the ships—people whose names and histories are actually recoverable—to tell the story of what it meant to make that choice. To go, or to stay in a place that had nothing left to offer. Why It Works The answer to why it works is simpler than it might seem: people like to see their own story. The one-room school. The family members who went to Boston and wrote home. The Fall Fair. Moses Coady showing up at someone’s kitchen table and telling them the way they’d always done things wasn’t going to get them anywhere. These aren’t abstract history lessons. They’re memories—direct or inherited—that people in this community still carry. The show puts those memories on a stage and celebrates them with music and comedy and a cast of neighbours, and the audience recognizes itself. The shows run July 2nd, 3rd, 4th, and 5th at Schwartz Auditorium. Maximum capacity is 312 per show. Tickets are $40 for adults. Get them soon. Get full access to Let's Talk Antigonish at letstalkantigonish.substack.com/subscribe [https://letstalkantigonish.substack.com/subscribe?utm_medium=podcast&utm_campaign=CTA_4]
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