Jani Lauzon’s I Call myself Princess which opened Thursday night at the Aki Studio is a really good show and an important addition to the dramaturgy around Reconciliation and Cultural Appropriation. I was reviewing for Opera Canada where I trust the review will appear in due course but don’t wait… go see it.
It’s September and the long, slow awakening after the annual aestivation begins. There’s not a lot on yet but what there is is interesting. The middle of the month sees Native Earth’s production of I Call myself Princess at the Aki Studio; previews from 9th to 12th September with official opening on the 13th and then shows until the end of the month. My interview with playwright Jani Lauzon is here. Also opening on the 13th is Tapestry Briefs at the Ernest Balmer Studio. Hear the product of the LibLab, hear Stephanie Tritchew, Teiya Kasahara, Peter McGillivray and Keith Klassen and eat tapas. It runs until the 16th.
I Call myself Princess is a new “play with opera music” written by Métis playwright and actor Jani Lauzon which will première at the Aki Studio in Toronto in September in a production directed by Marjorie Chan. I heard about this project a while ago from Marion Newman who will headline the new production and was intrigued. I knew it was going to be about American composer Charles Wakefield Cadman and his Creek/Cherokee collaborator Tsianina Redfeather. I knew they did a touring show including Cadman’s song cycle From Wigwam to Tepee and that’s about it. It sounded like the worst kind of late Victorian cultural appropriation and “Redsploitation” so why would serious and intelligent Indigenous artists like Lauzon and Newman be interested? Today I spoke with Jani in an attempt to find out.