This production marks the fortieth anniversary of the first appearance of the play on this stage in 1969, when it was the first English-language play to open the National Arts Centre. There are two issues here: the quality of the production and how well the script stands up after forty-two years.

The set, with its five distinct areas, allows the action to switch effortlessly in time and place. The design of each area illustrates its character: the rigidity of the court system, the beauty and flexibility of the rez (reservation), the ugliness and complexity of the charity offered to city Indians. The railroad serves as both a conduit and barrier, effectively substantiating  Rita Joe’s assertion that she can’t find a way home. The forestage looks a bit like the rez, but without the beauty and the peace.

Lisa C. Ravensbergen was exquisite as Rita Joe. More than anything it was her body movement that expressed the character, backed up by facial expression and voice and her costume, particularly the flowing nature of her skirt, which along with the lacings on her knee-high moccasins, beautifully emphasized her free-flowing lower body movement, particularly the gestures of her legs and feet which were a significant element in expressing her free-spirited youth. Continue reading →