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When the Saskatchewan Native Theatre Company (SNTC) was formed nearly five years ago, it was built upon foundations of identity and growth. From its creative and business leaders Kennetch Charlette and Donna Heimbecker, to the dedicated and skilled members of its youth ensemble, to the dozens of young people who have participated in its annual Circle of Voices training program, everyone involved in the company is continually challenged to learn about themselves and their heritage, and to use that knowledge to become better, more well-rounded individuals.
Given that approach, the SNTC's latest production-Wawatay, written by Vancouver playwright Penny Gummerson and directed by Toronto's Alanis King-was a natural choice. Wawatay's themes of individual identity, family unity and personal growth mirror the themes of the company itself. It therefore seemed only fitting when Wawatay turned out to be such a first-rate theatrical experience, rivalling and arguably surpassing anything the SNTC has done before.
The play, which ran from May 24 to June 6, tells the story of a fragmented family from Flin Flon, Man. whose members reunite for the first time in many years when the mother falls seriously ill. Each of the family members is dysfunctional in their own way, using crutches of alcoholism, religion, reclusiveness and rage to deal with the unresolved family issues that haunt them.
Over a mere two acts and two hours, these issues were identified, explored, brought to their powerful climaxes, and ultimately resolved in a final scene poignant enough to move many in the audience to tears. The human drama on display was so real that one had to wonder-how closely did the play's events follow the life of its award-winning (and Flin Flon raised) Metis author?
"It's certainly born of me and my experiences, but it's not an autobiography," assured Gummerson, who also served as the play's assistant director. "It's not my family. My family isn't as dysfunctional as this ... Anything I write has to come from the heart, but from that point, the characters take on their own life forces, and become their own people."
Part of that life force certainly came from the playwright's elegant words and authentic dialogue, but equal credit must also be given to the uniformly excellent cast. Stage veteran Ian Black was riveting as family patriarch Frank, whose long-held secret and lifetime of neglect and abuse had left the family in its present state. Eldest offspring Mary (played by stage newcomer Sara Loutitt) seeped desperation as she clung to, then questioned, her God, while coming to terms with the situation. Curtis Peeteetuce, playing first son Junior, was utterly convincing as an alcoholic-in-denial, and Robert Benz, portraying youngest son BJ, was just as impressive as a hunter/trapper who preferred the company of rabbits and loons to that of his father. Andrea Menard played Jaz, the youngest of the offspring, with a tender wisdom perfect for the role-of the four siblings, Jaz had come the closest to understanding her identity, and she was the play's emotional and spiritual core. Sharon Bakker rounded out the cast as the stricken mother.
"I feel privileged to play such a role," raved Menard, understandably thrilled at being able to portray such a rich character. "I'm grateful to Penny Gummerson for having the courage to write such a play."
"This is a playwright's dream come true, to have such a hugely talented cast," Gummerson raved in return. "I'm not kidding, these are some of Saskatchewan's very finest actors. It was beautiful to watch them work."
Since the play's run has ended, anyone unlucky enough to have missed it can look forward to its return in a different genre. Gummerson is currently hard at work on a screenplay of Wawatay, and development on the feature film version has already begun.
During the wait, entertainment seekers are urged to check out the latest happenings at the SNTC. This is an organization rapidly establshing and coming to terms with its own identity, as one of the premier Aboriginal theatre companies in Canada.
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