Hogan's "Indians"

As I sat and revised a scene from my interquel Peter Pan: Betwxit-and-Between involving the "Indians" in the Neverland, I got to thinking that I never addressed the "Redskin" characters as portayed in P.J. Hogan's Peter Pan. Now's a good a time as any.

Much like Hogan's movie itself, I had mixed feelings.

In the plus column: I'm quite pleased that he included them at all, since the way this movie repackaged the story the Indians could easily become unnecessary. I'm especially pleased how well he handled them. He presented them quite realistically, while still capturing some of the fantasy ideal. Tiger Lily is played by Carsen Gray, who is a Native American. She speaks real Iroquois to Captain Hook, too. Later, in the gathering in the Indian Village, we see a ritual given a real weight and significance, but not without being peppered by a dash of Barrie whimsy. Even cooler is that the tribal leader is a woman. A choice that makes one take notice and think.

In the minus column: Even though I loved the matriarchal figure addition, it sorely lacks Great Big Little Panther and some other "braves." I, for one, would love to have seen a depiction of him on all fours with his scalps. (Ew, I know, but hey, the Neverland can be a dark place.) And what of Lean Wolf? Point being it seems like there'd been a lot of wasted opportunities. There's even a place for them to fit in... Barrie gave it to us, in fact... oh yes, the Pirate-Redskin battle. But alas, this film does not have the scene where Tiger Lily stands guard over the Underground House. I'm not sure why they disrupted the flow that way. I suppose one could argue that as Barrie has it, it's a bit cumbersome. But even if true, this film had touted bringing the book faithfully to life for the first time. It just seems odd to exclude it. (Time constraints, I bet.)

And I have to say, I'm not so fond of switching Tiger Lily's affections from Peter Pan (if there had ever been any for him in this movie) to John Darling. As I saw it, it merely served as a way to introduce the "I'm turning pink and I'm invigorated!" nonsense early on so it wouldn't seem so jarring and "what the pink?" later on...

But all in all, I'm glad with what we do have in the movie.
I suppose my real issue is that there had simply not been enough of them.

Fortunately I get to "see" more of them... so back to writing...

P.J. Hogan's Boy Who Never Grew Up

Typical.

Just a little to say on the “Indians” stereotype in the story of Peter Pan.
It’s been brought up in many different forms - from Barrie’s own treatment to Disney’s horrific portrayal. In the foreword of Peter Pan’s NeverWorld, I explain the wherefore of how I present them.

However, regardless of the way Native Americans are handled in the eternal boy story, let us not forget one essential truth: They’re not the only ones who “suffer” at the onslaught of a cliché. For instance, Mr. Darling can be seen as a parody of fatherhood, Mrs. Darling as the ideal mother (despite “losing” her children!), Wendy is all “girl” and John and Michael Darling have an overlaying desire to be English Gentleman.

Barrie didn’t mean offense. In his day, “Indians” (Native Americans) were a mysterious group in a far away land. Little had been known other than what adventure stories already depicted by stretching some truth.

All in all, I think Barrie shows them as noble, intelligent and with reverence while keeping their (now stereotypical) customary aspects intact. I strove to do the same.

So before bashing Tiger Lily, Great Big Little Panther and their tribe, consider how much Barrie is mocking the English aristocracy as well.

Take a Holiday...

What do the teachings, mythology and cultural icons of Native Americans have to do with traditional ‘Christian’ Christmas? “Incongruous!” you may bark. But if that is your answer, then you have not seen Vitalist Theatre’s new masterpiece, Anung’s First American Christmas.

I’ll admit that when Laughter first showed me the model of the set and explained the premise of the show, I could not help but be skeptical. As I say in the Foreword of Peter Pan’s NeverWorld, I have acquired a great respect and admiration for Native American culture and beliefs. Thus, mixing their sacredness up into all that has come about from the Xmas holiday did not quite sit right with me. But as Laughter explained more of what would develop within the story of Anung, the clouds began to disperse.

I don’t want to say I doubted, for I knew the caliber of those producing the play. I mean after all, it is written by Sparrow, the man who honed the craft of writing in me. Blend these two incongruous clashing cultures? Sure, I knew he’d manage it. But I should have realized the degree to which he could resonate their similarities. During the premiere’s after party Bart (speaking of a particular “cross reference”) told me, “Sparrow is a genius.” Bravo, Sparrow!

It’s a show full of, well, vitality. It speaks to the heart (without the sense of “cheese” that this idea conjures), plays on fears, stimulates the intellect, ignites wonder and generates laughter as well.

Everything I’ve said up until the point of actually viewing it (posts here and here) can be doubled in magnitude. The shadow work, puppetry, costumes, sound design, set manipulation and lighting are not to be missed. A portion of the Dreamtime is truly invoked onto the stage. Anung’s journey races forward and yet pleasantly lingers… just as in a dream.

Everyone is to be congratulated, but the show just would not work as well as it does without the delightful performance of Eden Newmark, who portrays Anung on the quest. She commands the stage, the embodiment of a rambunctious, eager and nervous young boy. Brava! (Gee, what other brave little boy do we know who has been played by talented women?) And allow me to give an additional “Bravo!” to the whole cast.

Children were in attendance as well. How wonderful to see their reactions. Whether it be cowering at the dreadful Weendigo or chuckling at the silly-but-scintillating Turtle, they seemed just as caught up in the dream as anyone.

Anung’s First American Christmas shows that the spirit of one story can take many forms, can be disguised and repackaged until it becomes difficult to see where one version ends and another begins. To give you some idea of what I mean: At one point, shepherds argue whether their visitor had been a bird or an angel. But when the visitor’s message is clear … does it really matter?

At the after party, I literally found myself munching a cracker to the rhythm of the dreams (ok... I meant to type drums... but both work!) at the finale.

It’s a magical work.


If you are in the Chicago area, I urge you:
Take a trip across Space and Time to sink into the SpaceTime Continuum and transmute your old knowledge with (k)new, to gain a better understanding of the mystical world around you.

Bravo Vitalist Theatre!


You can find information about the show here.

The image I used in this post came from the Vitalist Theatre website. The image is © Lori Reed.
Please allow its usage to promote the show and Reed Studios.

Helping to Build a Dream

Just wanted to take a minute to put in an early plug for the new Vitalist Theatre show. Even though I haven’t even seen it, nor read it. But I can already get a sense of its grandeur . I’m posting this now because the next time I am able to visit the Theatre Building, much more will have been done with the set. For I know what is yet to be done. And it shall be nothing short of magical.

To give you some idea, center stage is a 14-foot dreamcatcher. Yes, you read that right. Laughter built a dreamcatcher that large. Even better, it spins 360° (Vertically…not circularly.) Plus, it can also swing pendulum-like. And be easily lifted and tilted to any desired angle. It’s amazing. It looks terrific, even without all of the “dressing” (wrapped fabric and a painting treatment around the ring) that will go on it.

I should explain that I do know the basic idea of the plot. I also saw Laughter’s model quite some time ago. But watching it come to fruition is causing anticipation to build, right along with the set. Last night while I helped secure platforms, they had a run-through of sorts of the projection elements. Lovely, ornate shadow work…and continuous! As in landscapes scrolling by and by and by and…birds flew in, the moon rose. Just wonderful. Then, the drummers thumped a bit. The sound moved right through the core of the space. A deep, resonant bellow. I thought how the drums would demand attention during a performance. Later, Laughter, one of his former students and I painted the floor - in phase one. Okay, technically I did not paint this time. My job had been to wield the water in a spritz-adjustable bottle. You see, the painting had also been done with spray bottles. The water helped diffuse the color and splatters of the mist. Why on Earth, you might ask? Well, because it is not on Earth! The floor will reflect the amazing colorful gases and nebulae and stars that comprise the Cosmos. It’s the Dreamtime.



Here are some examples of what I am talking about. These are actual photographs, people. Taken by the Hubble Telescope. Behold the mystical, magical glory of the Universe! No, these are not specifically the pictures being used in the show design. Laughter has dozens to inspire him. But it will give you some idea.

Perhaps from the poster (and the mention of a giant dreamcatcher and drums) you figured out this show deals with Native American legends and philosophies. The script is adapted from the novella by Carl Nordgren (as told to him by former Tribal Council Chief Steve Fobister (Baminowekapo) of the Keewatin Ojibway, Grassy Narrows First Nation, Canada). And who is writing it? No, not me. It's penned by the co-founder of Vitalist Theatre, my college mentor. Thus, the production has a special significance for me. He’s quite the poet, so the language of the play will be exquisite and beautiful.

This time Vitalist is pairing up with one of the members of Redmoon Theater, a company here in Chicago acclaimed for their masterful work using masks, physical performance, and an international range of puppetry style. I’ve seen some of the masks while at Knox for Homecoming. And I’m sure they will be further developed and even more spectacular and haunting.

The World Priemere of Anung’s First American Christmas, even in this stage of development, is damn impressive. The little white model is paling in comparison to the marvels that are taking shape. It just didn’t show the true scope of the vision.

I’m not sure how much more I will get to help out before it’s completed, as much of it will probably be accomplished over the weekend. Bart and I have previous engagements all weekend, so my time there might already be spent. I hope not. (But then, for their sake, I do hope they have a speedy completion.) Plus, this time I had the “thrill” of working on a Vitalist show at Knox! All the previous shows I saw the fruits of labor that came from the college which needed assembly here. But I spent some of my time at Homecoming making myself useful, such as grommeting the 40-foot silk curtains-strips as well as the fabrics on which the shadows will dance. But I do know that the next time I see it, I will be “w0w”ed even more. And I’m pretty damn excited to see this show as it is.

Information about the show can be found on the Vitalist Theatre website, here.