The Golden Age of Ernest Thompson

Ernest Thompson is one of New Hampshire’s most famous residents, and one of the most productive. The Oscar-winning writer of “On Golden Pond” is busier at age 75 than most people who are decades younger. Thompson writes lyrics, novels, movies and plays, which he also acts in, produces and directs.  

His film “The Constituent” is currently making the film festival rounds, and he is touring in the one-man play “Archie Parish’s Parting Words,” which he also wrote. In addition, this season, he will return to Broadway to both direct and star in his play “On Golden Pond.” Thompson took time from his whirlwind schedule to offer some insights into his drive and creativity, and the stories behind his projects. 

New Hampshire Magazine: You are currently in a very dynamic phase with multiple projects underway; where does this drive come from? 

Ernest Thompson: That’s just my normal state: to be busy. I look forward to getting up in the morning and having many things to work on. It’s a bit unusual to have multiple projects coming together at the same time, but in this business, you never know when something will come to fruition. Movies and plays can take years to go into production because you depend on collaborations and partnerships with other people. Books can take years from first drafts to publication. I don’t like sitting and waiting so I keep working on the next play or novel, song or film. Retirement is not on the table. George Bernard Shaw, the great Nobel Prize-winning playwright, was still creating plays and films into his 90s. He wrote 68 plays; I’m only 30 behind. I’ve got some catching up to do.

NHM: Many people your age and with your achievements would be content to rest on their laurels; why keep taking risks?     

ET: I guess part of me likes to live on the edge. It’s energizing. Also, I find writing to be a privilege. Like my character in “The Book of Maps,” I’ve been telling stories since I was a child. When I was 7 years old, I found an old recipe box at the dump. I started writing down thoughts and ideas and putting them in the box. And here I am — still at it.  Some writers fear a blank page, but I look forward to one. There’s always a story to tell.  

NHM: You are doing a one-man live show called “Archie Parish’s Parting Words,” which has been wildly popular in New Hampshire and is now moving into Maine. In this play, you perform multiple roles. One-man shows are not for the faint of heart — why do this now?   

ET: Why not? When I couldn’t get cast in plays in college, I directed myself in Samuel Beckett’s “Krapp’s Last Tape” and borrowed the theater for midnight shows. I have never forgotten that lesson: The only person in the way of your dreams is yourself. “Archie Parish” is hilarious and deeply moving, so it’s a joy to play those roles. Judging from the response, the message is getting through. My mission is always to reach my audience. If something I’ve created can make folks laugh, make them cry, make them feel, make them take offense, perhaps, get indignant or disagree, but mostly, make them think, then I’ve done something right. 

NHM: You are returning to Broadway to not only direct a revival of “On Golden Pond,” but also play Norman, the lead. What is it about this production that has you fired up?  

ET: “On Golden Pond” debuted 47 years ago; that’s a long time for a story to stay alive and resonate, and I’m grateful that this story still engages people. However, I’ve never seen the character of Norman Thayer Jr. portrayed quite as I envisioned him — a college professor of English at an Ivy League school who was compelling, inspiring and larger than life. For 40 years, students thronged to his classes; he was THAT teacher many of us, if we were lucky, got to learn from. He “turned the lights on” for us and opened doors. When he retired, he lost his audience and his sense of purpose, which surely didn’t help his cognitive well-being. Imagine being this guy’s daughter, Chelsea, the Jane Fonda character in the film; his expectations for his only offspring would have been high to say the least. But what a gift she gives her father by bringing young Billy into his life. At last, here is a worthy adversary to share books and laughs with, and a connection more meaningful and satisfying than what he had with his daughter at that age. 

Then there’s the husband/wife love story. Not that I’m any great shakes to look at, but I also want to show that Norman and Ethel are a couple who still have passion in their marriage; they’re still “getting it on,” if you will. We are casting the female lead now and she has to be someone who conveys that romantic chemistry with Norman. Katharine Hepburn and Henry Fonda were brilliant, and I was fortunate to have them in those roles — and I’m not giving my Oscar back — but I’ve had a lot of time to think about my little play and am eager to share with new audiences the story as I’ve always envisioned it. 

NHM: You have written a sequel to “On Golden Pond” called “Home on Golden Pond,” which is going to be a film. How is this progressing?    

ET: The script is ready; we are using the same main location, but the rest is, as I alluded to before — waiting for all the pieces to come together, starting with financing. Filmmaking is always a complicated process, but I have every confidence that when the time is right, all the elements of this amazing continuation, as we’re calling it, will fall into place.

NHM: In your “spare” time, you have written another novel — “Out Clause,” which comes out March 3, 2026. It is much different than many might expect; what led you there? 

Thompson’s recent projects include “The Constituent,” which has been screening at film festivals.

ET: I’ve long heard people complain about their current existences, which got me thinking — what if we could change our lives? In my book, there is an organization called Out Clause, which allows you, for a sum, to be given a completely new life — new identity, new location, a new chance.  Your old life is erased; you disappear. The book asks the question, if you could start over, would you? But, what if there were a caveat: You had to agree to live a better life, and if you couldn’t honor the bargain your body would be found near wherever you went missing — downriver from the bridge you jumped off or in the Himalayas when the snow melted. This ups the ante. Of course, we CAN always start over by changing the way we treat people and living our lives differently. We don’t need new identities to do so. We can’t erase our pasts, but we can learn from them and go in a new direction. Redefine our purpose. Still, I found it fascinating to explore the concept of being completely reinvented, and everyone who has heard the story has been intrigued.   

As Thompson headed off to his next appointment, he summed up his productivity thus:   

ET: I think the key to being productive at any age is simply to keep doing what you want to do. I still ski; I snowboard, skate and play volleyball because I’ve never stopped doing those things. I keep embarking on new projects because I’ve never stopped creating — it’s who I am. I may be older, but I don’t feel older. I still feel like I’m on the cusp of something new every day. NH

Visit ArchieParish.com to learn where “Archie Parish’s Parting Words” is next appearing. The Broadway revival of “On Golden Pond” is slated to open this coming season. Ernest’s novel “The Book of Maps” is available wherever you buy books; the audiobook of “Out Clause,” narrated by the author, is now available for pre-order. For all things Ernest Thompson,
visit ErnestThompson.us.