Podcast Summary: New Books Network Episode: Sean Minogue, "Prodigals" (Latitude 46 Publishing, 2025) Host: Holly Gattery
Guest: Sean Minogue
Date: December 27, 2025

Episode Overview

This episode of New Books Network features host Holly Gattery in conversation with playwright and author Sean Minogue, discussing his play Prodigals, published by Latitude 46 in 2025. The conversation delves deeply into the genesis of the play, the working-class culture of Sault Ste. Marie, the universally resonant "prodigal returns" narrative, and Minogue's methods of crafting authentic dialogue and nuanced characters. The discussion also explores the play's setting, character arcs, and the importance of small-town identity, all within the context of a murder trial that serves as the story’s background rather than its main focus.

Main Themes and Key Insights

The Genesis of Prodigals

• Origin of the Play
  • Sean Minogue began by channeling voices from his youth, first writing a short piece for a student showcase.

    “I kind of let a couple of voices jump on the page and they argued with each other and I was like, oh, this is a lot of fun.” (03:04)

  • The piece resonated, leading to further development with a Vancouver theater company, where Minogue confronted his relationship with his hometown, Sault Ste. Marie.

Small-Town Life and Identity

• Sault Ste. Marie Context
  • Minogue highlights the city’s industrial roots and existential reliance on the local steel mill (04:45), painting it as a “very working class kind of city” with a strong identity separate from Toronto.
  • Gattery and Minogue discuss their own experiences with rural Ontario and the tension of leaving and returning.

The Prodigal Trope

• Why Leaving and Returning Appeals
  • Minogue identifies with those who see creative destinies in big cities but notes the realization that the hometown—no matter how much one tries to escape it—shapes one’s identity.

    “Writing the play was a way to, like, reconcile who I wanted to be with who I actually was.” (07:15)

Character Deep Dives

Nips (Michael) – The Heart of the Play

• Nips’ Characterization
  • Described as “an awkward telemarketer who wants to make the best of his life and dreams of taking a chance.”

    “He is whole. He's just like a little bit of a doormat...he just assumes the best out of people.” (10:34)

  • Represents the contentment found in small-town life, resisting the pressure to seek validation elsewhere.

Jen – The Linchpin

• Jen’s Duality
  • As Wesley’s ex and Nips’ current partner, Jen is crucial to the story’s direction. Gattery notes being torn by Jen’s narrative.
  • Minogue:

    “Jen holds the keys to which direction the story goes, and it's what she wants that really shapes the story of prodigals.” (15:38)

  • Jen is “grossly underemployed,” feels stymied, but also cannot envision herself leaving her hometown.

Greg – The Sarcastic Truth-Teller

• Greg’s Role
  • Greg is described as “a sarcastic loudmouth who lives off his parents and has little ambition.”
  • Minogue acknowledges Greg’s technical function:

    “He's the one who cracks open the tension to allow you to access the...dramatic seriousness of what is lying underneath.” (31:15)

  • Memorable for his biting wit and ability to say what others avoid.

Benny – The Absent Presence

• The Off-Stage Defendant
  • Benny, on trial for murder, remains unseen yet central. Greg calls out the group’s tendency to excuse Benny’s behavior:

    “Nips, the guy is pure evil. They should make after school specials about how to avoid people like Benny. He's freaking Skeletor, all right? And there's no such thing as a Sault Ste. Marie success story, so you can drop that bullshit.” (33:27)

Setting and Structure

• The entire play takes place in or just outside a “dingy, small-town pub, aesthetically stalled in the late 90s,” which, despite being static, feels dynamic due to emotional energy (22:24–22:37).

The Murder Trial – An Atmospheric Catalyst

• The play’s central action—a murder trial in which Wesley must testify—remains in the background, serving more as tension than as primary plot.

  “It’s something that we hear about...but we never go into the courtroom in the play. I always thought of it as kind of like, you know, when you tell like a World War II story...the war encroaches upon the personal drama.” (20:22)

Notable Quotes & Memorable Moments

• On Place and Identity

  “The place that I thought I was escaping...was a big part of shaping my identity.” — Sean Minogue (07:15)

• On Contentment and Worth

  “What's wrong with just being happy in the Sioux? Why do we always seek validation outside of ourselves?” — Holly Gattery (12:30)

• On Greg’s Humor

  “There’s enough pity sex happening in Sault Ste. Marie to make Darwin rethink his life’s work.” — Greg (paraphrased by Sean, 31:15)

• On Dialogue

  “It's having like a really solid perspective from each character where they feel they're so correct in their view of the world that you can just, like, put the spotlight on them and just like, then, blah, blah, blah, blah, there they go.” — Sean Minogue on writing dialogue (27:20)

Important Segments (Timestamps)

• 03:04 – Sean describes the spark that started Prodigals
• 04:45 – Background on Sault Ste. Marie’s working-class culture
• 07:15 – Discussion of the “prodigal” narrative’s universal appeal
• 10:34 – Creation and importance of Nips’ character
• 12:30 – Holly’s reflection on validation and rural value
• 15:38 – Jen’s complex motivations and pivotal role
• 20:22 – The murder trial as backdrop, not focal point
• 22:36 – The unity of setting (the pub) and why it works
• 23:28 – Reading: Key dialogue between Wesley and Jen
• 27:20 – Crafting authentic dialogue: Sean’s advice
• 31:15 – The function and joy of writing Greg
• 33:27 – Example of Greg’s sharp lines about Benny and the local scene
• 36:43 – Sean discusses his current projects and writing process

Further Notes

Play Adaptations:

• While Prodigals has been produced and adapted into a feature film, Minogue clarifies distinctions between the play and film (the film includes courtroom scenes, unlike the play) and expresses hope for future stage productions (35:21–36:16).

Advice for Writers:

• Sean encourages writers to “see the way [characters] actually talk” and embrace quirks and perspective, rather than striving for “perfect” dialogue.

Closing Encouragement

• Prodigals is available for reading anywhere books are sold or borrowed.
• Producers interested in staging the play are encouraged to contact Sean.

Conclusion

This episode of New Books Network offers an intimate, insightful look at the making and meaning of Prodigals, blending literary analysis with personal anecdote and craft wisdom. Both host and guest reveal the enduring pull of the “homecoming” story, the complexity of small-town identity, and the challenge of writing dialogue that captures both the truth of character and the drama of real life.