Review: Positive message from dark subject matter the true magic of Popcorn Elder
- Andréa Ledding | May 20, 2016
In Curtis Peeteetuce’s latest offering, Popcorn Elder, Gordon Tootoosis Nikaniwin and Dancing Sky Theatres have co-produced an ambitious play that explores fatherhood, ceremony, and a whole lot of other themes along the way, all set in the context of a shared colonial past.
But believe it or not, it’s not all heavy slogging — there is constant humour to keep the audience laughing alongside the emotional intensity, and the actors offer intimate and connected performances while they struggle with their demons, and with one another.
In fact, the real magic of the play is how such dark subject matters can result in the takeaway of such a positive message on fatherhood. This is a play all parents can relate to, and it’s also a play that fathers — and sons — will get a lot out of.
A young father, Darren (Cory Dallas Standing) has been released from the pen and is back home on the rez with his father (Sam Bob). The relationship between the two of them is the big journey the audience is taken on, with a lot of side trips along the way supported by a plastic shaman character (Bruce Sinclair), a colourful local Elder named Madge (Wanita Bird), and several supporting characters including Darren’s baby mama Cindy (Krystle Pederson). Bird and Pederson additionally fill other roles along the way.
The play is Peeteetuce’s first two-act play, with a 15 minute intermission separating the two halves which fly by at break-neck speed.
The highly original and flexible set design places the audience up close and personal— there is not a bad seat in the house, because the stage diagonally cuts the room in half with three small stages on which all the action takes place.
From the city to the rez to sweat lodges to flashbacks in time and place — the characters seamlessly bring the story to life on director and set designer Angus Ferguson’s simple but elegant three-ring creation.
The show also incorporates live music, none of it actually coming from the ukulele which is revealed early in act one (hopefully that doesn’t count as a spoiler.) Musician Anthony Orr supports the action both directly and indirectly with his stringed stylings.
There is a lot of material crammed into such a brief play, ranging on a lot of topics which will give food for thought long after the initial belly laughs (and maybe a tear or two) have faded, along with the f-bombs from the main character, for which the play comes with a strong language warning.
After playing for two weeks in Meacham’s Dancing Sky venue, the play has moved into Saskatoon’s Studio 914 on 20th Street, May 19th to 29th. The Tuesday to Saturday shows take place at 8 pm, with a 2 pm Sunday Matinee. It is recommended you get your tickets in advance from the Persephone Theatre Box Office if possible, so you aren’t disappointed. Gather friends and family and, astam - come.
This is a play that really examines reconciliation at the most basic level, parent-to-child.