fareWel is a play by Métis playwright Ian Ross. In this story life is tense on the Partridge Crop Reserve. The Chief is in Las Vegas (again), the band is in receivership, and there's a move on to unilaterally declare self-government. And now that the welfare cheques have gone missing, the people of this fictional First Nation are forced to take control of their lives. fareWel is a raw and funny look at a group of ordinary people tackling some extraordinarily big issues.
Only Drunks and Children Tell the Truth is the emotional story of a woman's struggle to acknowledge her birth family. Grace, a First Nation girl adopted by a White family, is asked by her birth sister to return to the Reserve for their mother's funeral. Afraid of opening old wounds, Grace must find a place where the culture of her past can feed the truth of her present. Ojibwe playwright was the Winner of the 1996 Dora Mavor Moore Award Small Theatre: Outstanding New Play.
The Baby Blues by Ojibwe playwright Drew Hayden Taylor is a social satire mixed with a large dose of Indigenous humour about identity, parenthood, powwows, and stereotypes. An aging fancy dancer, a young fancy dancer, an anthropology student with 1/64th Aboriginal heritage, a single-parent mom, and her daughter all meet during a powwow weekend. All participants in this drama learn important lessons about themselves, life, and First Nations cultures.
alterNatives: A Play by Ojibwe playwright sets the stage with a very liberal contemporary couple, Angel, an urban Native science fiction writer, and Colleen, a non-practising Jewish intellectual who teaches Native literature as the pair hosts a dinner party. The guests at this little sitcom soiree are couples that represent what by now have become the cliched extremes of both societies: Angel's former radical Native activist buddies and Colleen's environmentally concerned vegetarian / veterinarian friends.
The Boy in the Treehouse, and Girl Who Loved Her Horses is collection of two plays about the process of children becoming adults by Ojibwe playwright Drew Hayden Taylor. In The Boy in the Treehouse, Simon, the son of an Ojibwe mother and a British father, climbs into his half-finished tree house on the vision-quest his books say is necessary for him to reclaim his mother's culture.
The Buz'Gem Blues is the third play in Drew Hayden Taylor's ongoing zany, outrageous, often farcical examination of both Native and non-Native stereotypes in what is to become what he calls his Blues Quartet. Marianne has talked her mother, Martha, into attending an Elders conference with her, where she is to be used as a resource person, even though Martha doesn't believe she has anything to offer anyone.
Toronto at Dreamer's Rock and Education is Our Right: Two One-Act Plays was the first book by critically acclaimed Ojibway playwright, Drew Hayden Taylor. In these two plays, Taylor explores the dilemmas facing Aboriginal youth today. In Toronto at Dreamer's Rock, a teenage youth is torn between the traditions of his people and the lure of urban life. During a vision quest, Rusty meets two people from his Nation - one from 400 years in the past and one from the future.
Someday is a play written by award-winning Ojibway playwright Drew Hayden Taylor. This play takes place on a fictional Ojibway Indian reserve somewhere in Ontario. It could be set in any Native community in Canada because it deals with a painful time when thousands of Native children were removed from their families during the notorious "scoop-up" of the 1950s and 1960s. Anne Wabung's daughter was taken from her by children's aid workers when the girl was a toddler. Now, 35 years later at Christmastime, Anne's hope to be reunited with her daughter is realized.
Dry Lips Oughta Move to Kapuskasing is the award-winning play by Cree playwright, Tomson Highway. The action is set on the mythical Wasaychigan Hill Indian Reserve and focuses on the lives of seven "Wasy" men and the game of hockey. This fast-paced story combines tragedy, comedy and hope. Highway explores contemporary Native Canadian reality in the dominant Canadian society. Recommended for mature readers.
Rose is the eagerly awaited third installment in Tomson Highway’s “rez” cycle—a large-cast musical set on the Wasaychigan Hill Reserve in 1992, reintroducing many of the characters from the first two plays, The Rez Sisters and Dry Lips Oughta Move to Kapuskasing. The play features, as the title suggests, Roses. One Rose has recently become chief of the reserve, a woman who must fight constantly to keep her position and maintain the integrity of her culture.