THE LEISURE SOCIETY - STUDY KIT Written by Francois Archambault Directed by Ellen Davis Infinithtre 2011/2012

Index Cast and Crew Directors Notes Artistic Directors Notes The Relationship Crisis of the 21st Century Questions for Discussion

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CAST & CREW

Ellen David - Director Ellen David is no stranger to Montral audiences as an actor, and has begun to amass directing credits in her hometown as well. She directed very successful productions of Intimate Exchanges and Six Dance Lessons in Six Weeks for Theatre Lac Brome; Ned Coxs Book Club for Chick-Lit Co-op at Freestanding Room; and recently wrote and directed her first short film What a Doll!, which won the ACTRA audience choice award for Best Film. On stage, Ellen was most recently seen as the explosive Veronica in God of Carnage at Centaur Theatre and as Dora in Equus at the Segal Centre. TV and film credits include ACTRA nominated performances in 18 to Life, Ciao Bella and The Business, as well as her award winning portrayal of Clara in the feature film Surviving My Mother. Franois Archambault - Playwright A graduate in playwriting from the National Theatre School of Canada in 1993, Franois Archambault is the author of more than fifteen plays translated into various languages presented in Qubec, in Canada and abroad. In 1998, he won the Governor Generals Award for his play, 15 Seconds. The Leisure Society, whose original production was performed 142 times, garnered the Masque award for best original play. In addition to writing for the theater, Franois has written for television, including two seasons of the Radio-Canada series Les toiles filantes and, among other things, co-wrote the web series, Fabrique-moi un Conte. Daniel Brochu - Peter Daniel is very happy to be working for Infinithtre for the first time. He was seen recently in Geordie Theatre's The Little Prince at Centaur Theatre and last month in Scientific Americans at the Segal Centre. Daniel is wrapping up his 16th season as the voice of Buster Baxter on the Emmy award-winning cartoon, Arthur, and is looking forward to re-vamping his role as the cute and cuddly Erskine Mole with Sidemart Theatrical Grocery at Centaur Theatre this coming May. Sheena Gaz-Deslandes - Paula Sheena is a graduate of the John Abbott College Professional Theatre Acting Program. This is her second production with Infinithtre; she had the opportunity to play the role of Carrie in their production of David Shermans The Daily Miracle. Other theatre credits include Rowena in Neil Simons Biloxi Blues, Anitra in Henrik Ibsens Peer Gynt, April Green in Lanford Wilsons Hot L Baltimore and the Stage Manager in Thorton Wilders Our Town. She has also had the occasion to work off-stage as an Assistant Stage Manager for the Montreal Theatre Ensembles production of John Steinbecks Of Mice and Men. Catherine De Sve - Mary Catherine De Sve studied butoh dance in Japan and graduated in acting from the National Theatre School of Canada. She shares her time and versatile talent between French and English theatre, voice work, television and film. Catherine made a name for herself on Qubec television in Sketch Show (Gemini nomination for Best Actress in comedy). Since 2003, she's been part of the prime-time program Lauberge du chien noir on SRC. She was also seen in the popular series La galre 3, the entertainment show Bar ouvert, and Ken Scotts feature film, Starbuck. On stage, amongst other things, Catherine was part of the

creation team of Brigitte Haentjenss Tout comme elle (Usine C) and several plays of mime company, Omnibus. She also played Mercedes in The Count of Monte Cristo, La Binette in Scaramouche (Denise-Pelletier Theatre); the Marquise de Merteuil in Dangerous Liaisons (Segal Centre for Performing Arts) and Stella in A Streetcar Named Desire (Thtre du Rideau Vert). Howard Rosenstein - Mark Howard Rosenstein is a Montral based actor back in Le Bain again with Infinithtre after performing in last months production of Arthur Holdens Ars Poetica. He has also worked with Guy Sprung on Father Land, The Daily Miracle, Rabbit Rabbit and The Elephant Song. He played Marco in last seasons Segal Centre production of A View from the Bridge and was recently seen with Paul Van Dycks Rabbit in a Hat Productions at Theatre Ste-Catherine as Rex in Jim Burkes Cornered. This is the first time he is working with Ellen David as director, and is happy for it and her beautifully chosen cast. Howard plays Senator Allen in the soonto-be-released And Now a Word from our Sponsor with Bruce Greenwood and Parker Posey, and is currently working on the web series Heroes of the North. Enjoy the show and please visit howardrosenstein.com. Julien St-Pierre - Lighting Designer A lighting designer for 12 years, this is both Juliens first creation for Infinithtre and for professional theater. Working mainly in the field of variety shows and special events, for Julien the theater has always been a place synonymous with passion, imagination and innovation. In addition to The Leisure Society, Julien is now collaborating with Visigo Group, a company made up of multidisciplinary artists from the Montreal area with whom he produced the Dome Project at the Monument National in 2010. He also designed lights for vocal impersonator Michael Rancourts new Qubec tour. George Allister - Video Designer The Leisure Society marks Georges first time designing video projections for Inifinithtre. He currently works full-time as the Segal Centres Multimedia Producer. Past credits include video compositions for Scientific Americans (2012) Equus (2011), Lies My Father Told Me (2011), A View from the Bridge (2010), Cat on a Hot Tin Roof (2009) and Tryst (2008). He was also responsible for video projections in Geordie Productions For Arts Sake in 2010 at Centaur Theatre. A Montral native, George graduated from Ryerson Universitys New Media program in Toronto. Patrick Andrew Boivin - Video Designer Patrick Andrew Boivin is a video designer, electronic musician and artist based in Montral. The Leisure Society marks his fourth theater credit. Past productions include co-designing the video projections in Scientific Americans (2012) and Equus (2011) at the Segal Centre for Performing Arts. He recently collaborated with Calgarys Ghost River Theater and Vancouvers Rumble Productions, working as co-creator and video design specialist in a three week devising theater creation workshop. Patrick, a Montral native, graduated from Concordia University in Communication Studies. Other work includes video editing for visual artists Sylvia Safdie and Genevive Cadieux. Christian Thomas- Composer and Sound Designer Versatile artist, Christian Thomas recently composed original music for La Compagnie JeanDuceppe including Match, Dans l'ombre d'hemingway and Pourquoi Pas. He also created the sound conception for Revue et corrige 2011 at Thtre du Rideau Vert and the original score for Equus at the Segal Centre for Performing Arts. For the cinema, he created the 4

music for the documentary Du Big Bang au Vivant with Hubert Reeves and Jean- Pierre Luminet. The film, showing large images taken by NASA from satellites, rockets and powerful telescopes, is a celebration in image and music of our knowledge of the universe. With this music, Christian composed his first symphonic melody for a CD recorded at RadioCanadas Studio 12. He was a member on the final jury for Evolution; CBC/Radio-Canadas national composition prize. Christian has been working in the Montral and international music scene for over 25 years. Ginette Grenier- Costume Designer A 1997 graduate of the National Theatre School of Canada, Ginette Grenier has designed many costumes as well as sets for theatre, dance and film. With over seventy shows to her credit, Mme. Grenier has earned seven nominations at Le Gala des Masques and an Opus Award for Marisol et Rmi sur les chemins de la nuit with the OSM. Past costume creations for Opera McGill include The Rape of Lucretia, Thse, The Rake's Progress, Hnsel und Gretel, Imeneo, La Bohme, Radamisto and Alcina. She also has conceived costumes for Relative Good and Paradise by the River at Centaur Theatre as well as Death & Taxes with Infinithtre. Vincent Lefvre - Set Designer A 1997 graduate of the National Theatre School of Canada, Vincent Lefvre also received a diploma in Applied Arts in Strasbourg, France. He has designed sets and costumes for theatre, dance and opera productions in Montral and Ottawa. Credits include Opera McGill set designs for Don Giovanni, Idomeneo, Louis Riel, Cos fan tutte, Alcina and The Rake's Progress. He also designed sets for Relative Good and Paradise by the River at Centaur Theatre; Intimate Exchanges and 6 Dance Lessons in 6 Weeks directed by Ellen David at Theatre Lac Brome; as well as Death & Taxes with Infinithter. His work has been nominated for various awards including an Opus Award for Louis Riel with Opera McGill and Marisol et Rmi sur les chemins de la nuit with the OSM, and a Mecca nomination for set design for The Caretaker at Centaur Theatre. Michael Panich - Stage Manager Michael is very happy to be working with Ellen David again having stage managed Book Club with Chick-Lit Co-Op under her direction in April of 2011. Michael graduated from Concordia Universitys theatre department in 2008. Since then he has been stage managing and doing a bit of acting in Montral and Qubec City. He recently designed his first set and lights for Robin Hood Redux: There Will be Tights with Purple Doorknob Productions. Selected stage management credits include: Ars Poetica and Joe Louis: An American Romance with Infinithtre; The Poster with Teesri Duniya Theatre; Macbeth with Repercussion Theatre; and I Am I as part of Centaur Theatres 2011 Wildside Festival. Selected ASM credits include: Medea with Scapegoat Carnivale Theatre; Romeo & Juliet with Repercussion Theatre; and The Daily Miracle with Infinithtre. Congratulations to the cast and crew of The Leisure Society. Rachel Dawn Woods - Apprentice Stage Manager Rachel is a graduate of the National Theatre School of Canada and St. Thomas University. Stage management credits include: Ed's Garage, Footloose (Grand Theatre London); Gifts of the Magi (Theatre New Brunswick) Romeo and Juliet (National Arts Centre); Christmas@thePlayhouse: Heart in Every Home (Fredericton Playhouse); Demolitics, Nomentacke (NotaBle Acts Theatre Festival); Henry VI, Stop Heart (NTS); The Hostage.

ELLEN DAVIS - ARTISTIC DIRECTORS NOTES

Directors Statement In 2003, I had the good fortune of attending one of the premiere performances of La Socit des Loisirs, Governor General literary award winner Franois Archambaults scathing and hysterically funny expos of a marriage on the verge of a nervous breakdown. It was an evening of great theatre I never forgot. The play tore to shreds the 30-something generation and their self-destructive desire to have it all, costs be damned! The small Thtre de la Manufacture show that began at La Licorne, went on to experience great success all over Qubec, seducing more than 27,000 theatre-goers, won two Masque awards for best original text and best actor, was re-mounted many times including at Thtre du Rideau Vert in 2006, toured the province twice, and made its way over to Europe. A faithful and fluid translation of the play into English by Bobby Theodore called The Leisure Society led to successful productions across Canada from British Columbia to Newfoundland, where Anglophone Canadians have had the opportunity to see this wickedly funny, often shocking and caustic social commentary. Alas, the play has never been performed here in Montreal in English apart from a single scene that was representative of an English theatre component at the Prix des Masque awards in 2006. I also had the good fortune of playing the role of Mary in that televised performance. People seemed to be blown away by the subject matter, content and translation and yet The Leisure Society was never picked up by any of the English companies here in Montrealuntil now. When Guy Sprung asked me what show I would be interested in directing for the Infinithatre season, I did not have to think too hard. As soon as I mentioned The Leisure Society, he smiled and nodded in acknowledgement, having been fortunate enough to have seen the original production as well, and been very moved, touched and awe-struck by its raw genius. What is spectacularly wonderful about this being a premiere of sorts in English, and the fact that it is happening in 2012 as opposed to when it was first produced and translated, is that the play is even more timely and poignant a story to be told at this point in our history. What with advances in technology, rampant consumerism and overspending as a factor in the recent economic crisis, and the nuclear family growing farther apart than ever, the time is not only right, but demands that this provocative story be told now. As well, one of the joys and benefits of producing this play here in Montreal is that we have the benefit of the two cultures living and sleeping side by side to enhance the script. As a partner in a biculture relationship myself, I feel I have an ideal perspective from which to direct this play and I intend to exploit our unique situation in Montreal. In directing the play I will be using the English translation but also taking from the original French text wherever possible. This will be an English production with a nod to the French productions that came before it. The actors I have chosen are not only gifted and dynamic performers, they represent a cross cultural and multi-racial profile of our community and will serve to enhance and anchor the play in our current reality. Catherine De Sve, who I have cast in the role of Mary, is a versatile and charismatic bilingual Francophone actor who has made a name for herself performing leading roles with such companies as Omnibus and Momentum, and she recently played Stella in A Streetcar Named Desire at Thtre du Rideau Vert, and the Marquise de Merteuil in Dangerous Liaisons in English at the Segal Centre. Daniel Brochu, who will be playing Peter, is an Anglophone performer known for his

remarkable characterizations and willingness to take risks. His roles at theatres such as Centaur, The Grand and companies such as Sidemart Theatrical Grocery have garnered him much critical praise and the admiration and respect of his peers. For the role of Paula, I have cast recent John Abbott College Professional Theatre Program graduate Sheena GazDeslandes, an up-and-coming bilingual performer of Jamaican descent. She made her professional debut last season in Infinithatres The Daily Miracle and is a mesmerizing presence, someone to watch out for. And finally, in the role of Mark, I have cast Neil Napier, a wonderful and committed actor, much in demand these days who has made his own mark with companies such as Gravy Bath and recently at Centaur and Infinithatre. The cast represents the versatility that is Montreal with English and French, black and white, maturity and youth, seasoned pros and a newcomer all part of the fabric of our production. Working with the highly talented set designer Vincent Lefvre, I envision our set to be indicative of a chic, ultra modern, very au-courant living room. I would like to access new innovations in computer-controlled projected scenery, along with digital enhancements of artwork and images that are thematically related to reflect the mood of the play. Skype, texting, projected digital imagesall so much an integral part of our daily lives and devices that were designed to enhance and ease our experience, thereby granting us the time and means to access our own leisure society, will be incorporated into the daily lives of our characters and their world. What proponents of the leisure society did not account for was how these aids would create a very detached and empty me generation always on the look out for more and better and faster all this to the detriment of the human experience and interaction so necessary to be happy and productive on a more soulful scale. These characters literally strip bare this essential human need to connect and the various ways in which they attempt to achieve this are both achingly funny and painfully raw. I think audiences will embrace The Leisure Society of 2012 and come away having seen communally a show that speaks to our own alienation from self and spirit with a renewed perspective on our current identity crisis, and a sore gut from having laughed a little too hard at our charactersand themselves perhaps.

Directorss Program Notes Just over two years ago, I was performing in David Shermans The Daily Miracle, when Artistic Director Guy Sprung made me an offer I couldnt refuse and it was legal! He asked me if I would like to direct a play for Infinithtre I took a while to think it over and when I responded in the affirmative about 3 seconds later, his next question was What play do you wanna do? Without even thinking about it, and I am sure in less time than it took to answer the previous question, I blurted out La Socit des loisirs in English of course! I had seen the original production at La Licorne almost ten years ago directed by friend and colleague Michel Monty and I had never forgotten the dark humour and the searing tragiccomical effect of Franois Archambaults scathing expos of a marriage on the verge of a nervous breakdown. The Qubec public of course felt the same and the show went on to experience unbelievable critical and popular success in its many runs and tours, eventually being translated very effectively by Bobby Theodore and enjoying success across Canada and overseas. It never saw the light of day in Montral in English, save for a very brief excerpt during a televised Les Masques Award ceremony, in which yours truly played the role of Mary. What stroke of luck that Guy had also seen the original production, and taking his own sweet time, said immediately YES! And so, here we are it may have taken a few years, some juggling of theatre spaces from here to the Segal Centre and back here again, mostly as a result of grant limbo but The Leisure Society is now ready for prime time! In a serendipitous kind of way, those delays have only made the play more timely and important, more relevant in ways that Franois might not have imagined when he first thought up these characters, and posed the question: what is the cost of having it all? With rampant consumerism and overspending a factor in the economic crisis of recent years and individuals questioning as never before the values and morals that have brought them to the brink of personal disaster, the further erosion of the nuclear family and advances in our high tech designer society have spawned new recreational forms of alienation from each other and our human condition. The journey may be funny, but its no joke. As for finally exposing this play to an English Montral audience, I am in the privileged position of being able to reflect in my casting the beautiful diversity of language and culture that belongs to our city, and to expose our audience to the masterpieces of our very own Qubecois modern artists past and present, including JeanPaul Riopelle and Paul-mile Borduas. I would like to thank playwright Franois Archambault for trusting me to tell this story and for turning me inside out as I watched this raw and moving play. His generosity extended to attending our rehearsal, and tweaking and tailoring the text to reflect the current world economic situation. Translator Bobby Theodore hopped on board to make those changes accessible to our English audience. I would like to thank the original cast, Marie-Hlne Thibault, Christian Bgin, Genevive Nron and Normand DAmour, for their unforgettable performances and making me laugh out loud while I was crying on the inside. I would like to thank director Michel Monty for his inspiration and perfect blend of humour and gravitas. I would like to thank my own creative team for giving me the wings to realize my vision of moving the work forward in time and space, and Chris Hidalgo and the staff and crew at Infinithatre for their dedication, tirelessness, craftsmanship and support. I am extremely grateful to the actors four brave souls who bring this play to life and who were game to go the distance to tell the truth, and of course my biggest thanks goes out to Guy Sprung, the man who works his own daily miracles to keep it all going despite the challenges and the odds, and who took a chance on me and opened a door with a spirit of grace and generosity. - Ellen David

GUY SPRUNG: ARTISTIC DIRECTORS NOTES

What is Leisure? The Toronto economists try and tell us that Quebec is one of the poorest provinces in terms of average income and standard of living. Let those poor benighted heathen in English Canada think that, so they wont all head back down the 401 and try and horn in on our paradise here in Montreal. M. Archambaults caustic wit reminds us that leisure has nothing to with how many swimming pools we may have in our back yard or owning the latest model Merc or Beemer. Leisure might have more to do with selfknowledge, avoiding being conned into wanting more, and finding the wisdom in appreciating the incredible richness we are surrounded with. Including some really great theatre we can experience at almost no cost!

THE RELATIONSHIP CRISIS OF THE 21ST CENTURY

We are in the midst of a social crisis - a crisis in relationships. There are probably some that would flat-out disagree with this statement. For instance, according to the Associated Press (2007), Americas divorce rate peaked at 5.3 divorces per 1,000 people in 1981 and since then, has dropped to about 3.6 (although it should be noted that 34.8% of first marriages still end before their 15th anniversary). Most would probably look at the decline in divorce rate and point to that as a clear indicator for why relationships are as strong as ever in the first part of the 21st century. Then again, that indicator is mitigated by the following facts: Number of couples who live together without marrying has increased tenfold since 1960; The marriage rate has dropped nearly 30% during that time; Americans are waiting nearly five years longer to marry than they did in 1970. So in other words, just because divorce rates are in decline does not mean that break-up rates or frequency of break-ups between couples are in decline - since there have been no broad scale studies that look at break-up rates (to my knowledge). So if we take a different perspective on the situation we can trace an unprecedented boom in divorce rates occurring in the 70s. Over the next thirty years, our collective consciousness began to look more critically at the institution of marriage and now we are in a societal state in which we tend to regard marriage with a relatively high degree of skepticism. By age 30, most of our parents generation were entrenched in lifelong relationships and had already begun developing the ensuing generation while at age 30, most people I know are either struggling to deal with long-term relationships or still single (although I do admit to knowing a handful of happily married couples my age). So what exactly is going on? Im no sociologist (although I did do my graduate studies in sociology) but here are some general thoughts I have based on anecdotal evidence as well as fragmented memories from when I did my academic studies): Increasing Individualism (and decreasing sociability) People are becoming increasingly individualistic. According the famous sociologist Robert Putnam, there are very clear indicators - declining rates in various types of civic and political participation, decreasing attendance at religious institutions, etc. - that all paint a picture of an American population that is becoming less interested in public life and more interested in private life. In addition, the increasing pressures of finance and time, increasing suburbanization, and increased consumption of solitary media (like television) have contributed to a broad decline in social capital in the United States. Anecdotally, I couldnt agree with him more. I feel as though single people simply participate less in social activities. Increasingly, the social outlet for young(er) single professionals is nightlife - and as we all know, nightlife is never extremely successful at creating long-term satisfactory relationships because the basis for commonality is normally quantity of alcohol consumed and raw sexual attraction; whereas the basis for commonality at non-bar/club social functions is normally shared interests.

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Rising Cost of Living The assumption that two well-matched people will be able to have a utopic lifelong relationship without some hard work is a fallacy at best. Relationships take work regardless of how well-matched two people are. In the 1950s, it was feasible (actually expected) for a middle-class man to support a family on his wages. With a traditional division of labor between genders it was therefore feasible for couples to spend their free time focused on maintaining and building their relationship. Over the past several decades, we have seen increases in inflation, energy prices, and real estate prices - without commensurate wage growth - creating a situation where most working and middle class couples have to get by on dual-incomes. The dual-income situation has resulted in less available time for couples to spend with one another working on their relationship. The Balancing of Infidelity in Men and Women In the nuclear family of the 1950s, the man went to work during the day and the woman stayed at home and tended to the household. Chances are that the man probably enjoyed affairs at the workplace and when he went on business trips while the woman stayed relatively faithful at home. Then the sexual revolution occurred in the 1960s and women sort of started to realize that they actually enjoyed sex and f@%k men for thinking that they were the only sexual beings that existed. Throughout the latter part of the 20th century a number of factors including innovations in information-communication technologies and increasing rates of female employment have contributed to an increase in female infidelity. According to a relatively heralded 2004 Newsweek feature article on the subject,
Couples therapists estimate that among their clientele, the number (of women who have had extra-marital affairs) is close to 30 to 40 percent, compared with 50 percent of men, and the gap is almost certainly closing. In 1991, the National Opinion Research Center at the University of Chicago asked married women if theyd ever had sex outside their marriage, and 10 percent said yes. When the same pollsters asked the same question in 2002, the yes responses rose to 15 percent, while the number of men stayed flat at about 22 percent. The best interpretation of the data: the cheating rate for women is approaching that of men, says Tom Smith, author of the NORCs reports on sexual behavior. When Michele Weiner-Davis, a marriage counselor and founder of the Divorce Busting Center in Woodstock, Ill., started practicing 20 years ago, just 10 percent of the infidelity she knew of was committed by women. Now, she believes, its closer to 50 percent.

Now clearly Im not putting this on women - that would be idiotic. What Im saying is that there has always been a high rate of men who have cheated while their wives have stood stoically by. During the past thirty years there has been an increase in female infidelity, which has come close to rivaling that of men, and our society has simply not figured out how to deal with men and women who cheat at almost an equal rate. Glorification of Sex Up until now, the mainstream media has avoided sharing the blame. My opinion on the media is that they are predominantly a reflection of our society - and that although they do have an influence on our cultural norms and perceptions, it is not as fundamental as other social and economic factors - and even if it were we have unsatisfactory methods for measuring the impact of media.

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That being said, I do feel that they do play a role in assisting us shape the lense through which we examine ourselves and our society on a day-to-day basis. The media could play a greater role in showing us the best and worst sides of ourselves - in helping us reflect on our shortcomings and our strengths as a society, and ultimately serve a beneficial role in helping us move forward as a society. Our corporate American media seems mostly interested in packaging and selling sex to mass consumer audiences. Im sure producers who work for network and cable television stations look condescendingly at cultural products like Girls Gone Wild and think to themselves, Boy Im glad I dont produce crap like that. Guess what idiots? You do produce crap like that each and every day and it is force fed into the eyes and ears of our collective psyche until everyone we look at of the opposite gender is an object to be f#%ked and every weekend is an opportunity to go get drunk and find someone new to f$*k. How else do you explain the popularity of Desperate Housewives, Sex in the City, every single show on MTV, Big Brother, Entourage, The Real Housewives of Orange County, The Real Housewives of New York City, etc. With every episode we watch, we get a little bit more deluded in our perspective of how to relate to other human beings. We lose sight of what is important as a culture and as a society. So to wrap things up (and maybe help shift the perception you may have created by now of me as some cantankerous iconoclast) I simply think that to get out of this storm we have created for ourselves, we need to remember what is truly important and act accordingly. It is not truly important to be the most beautiful or the most sexy, to be the most wealthy or the most well known. What is important is that we remember who we are and what makes us as individuals happy on a daily basis, and if we follow what it is that makes us truly happy and fulfilled as individuals then hopefully we will find someone who matches our trajectory in life and we can then move forward optimistically.

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FOR DISCUSSION
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. Do you think this play is a realistic portrayal of Western society and the direction it is headed? Are you satisfied with the direction we seem to be headed? Which character do you relate with most and why? Which character evolves the most? Choose one character to have a conversation with; what would you like to discuss with them? What advice would you give any or all of the characters? List the value or values that each character holds dearest? Whose were closest to your own? Do you think the characters are locked in their behaviours or do their lives allow them to change? Do they want to change? What are the pros and cons of consumerism? Advertising? Competition? Religion? Technology? The sexual revolution? Is the nuclear family disappearing? If so, what are the short and long-term consequences? What did you like best about the play? What did you like least? Did you learn anything? If so, what? Are you glad you live in todays society or would you prefer to live an another age? If so, when? What do statistics reveal over the last century regarding ratio of marriages that last compared to those that end in divorce? What is your rationale for the changes? What do statistics reveal about the number of households with single parents over the last 60 years? What do you think are the sociological consequences? Could you list your top 3 values? What are they?

15. 16.

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