by Hugh Hunter
The Stagecrafters Theater kicks off the holiday season with a lively production of “The Thanksgiving Play,” penned by acclaimed playwright Larissa FastHorse. This engaging comedy boldly explores the complex relationship with the struggles faced by Native Americans, all while intertwining humor with serious undertones.
Stepping into the scene, we find ourselves in the midst of the vibrant yet chaotic world of behind-the-scenes theater. Logan, a harried high school drama teacher, is grappling with the fallout from her last disastrous production, which has led to growing calls for her dismissal from the school. In a desperate bid to save her career, Logan aspires to create a fresh Thanksgiving play that authentically presents Indigenous perspectives.
With determination, she secures funding through the “Native American Heritage Month Awareness Through Art Grant,” allowing her to hire a Native American actress from Los Angeles to bring her vision to life. Logan fervently hopes to “devise” a captivating drama centered around this actress, only to discover that the talent she recruited is, in fact, a white American starlet known more for her glamorous Hollywood status than ethnic authenticity.
Richard Stewart’s set design cleverly blurs the lines between a typical high school cafeteria and a formal theater stage, embodying the mixed intentions that permeate their one-day rehearsal. Director Mariangela Saavedra embraces the chaos, encouraging her four-member cast to channel their characters with exuberant, almost burlesque energy, adding layers of humor to their interactions.
Sarah Heddins portrays Logan, the beleaguered director, capturing her intense anxiety and frantic spirit as she searches for a story worth telling. Her performance reveals the depth of Logan’s despair, which extends well beyond mere job security, as she wrestles with her own artistic identity and the cultural implications of her work.
Daniel Romano takes on the role of Jaxton, an aspiring actor and Yoga enthusiast who also happens to be Logan’s romantic partner. He offers her vital emotional support during her turbulent moments, introducing calming breathing exercises that contrast sharply with the frantic atmosphere. Ryan Kirchner embodies Caden, a fellow educator who engages in meticulous research to ensure their proposed drama is historically accurate, all while wrestling with his own ambitions as a playwright.
Caden’s infatuation with Alicia, the Hollywood actress, adds another layer of complexity to the narrative. Samantha Leah Smith brings Alicia to life as the sole beacon of cheerfulness in the play. With her electrifying presence, she flits across the stage in form-fitting jeans, exuding an air of carefree sensuality, while expressing her disinterest in anything beyond a straightforward acting career.
The briskly paced 90-minute production keeps the audience engaged as short scenes seamlessly transition into behind-the-scenes visual interludes. A movie screen at the rear occasionally displays humorous, tongue-in-cheek elementary school sequences that critique traditional Thanksgiving narratives. One memorable moment features children singing, “On the 12 days of Thanksgiving the Natives gave to me,” with gifts including a crushed pumpkin and three broken arrows. In another skit, participants use clay finger puppets to humorously comment on the reduction of Native American identity to mere mascot icons.
Notably, playwright Larissa FastHorse made history as the first Native American woman to see a show produced on Broadway. Rumor has it that she faced challenges securing venues for her previous works, as many producers doubted the availability of appropriate Native American actors for her scripts. This struggle inspired her to craft “The Thanksgiving Play,” in which Logan exclaims, “Let’s see how we can support Native Americans without them in the room,” reflecting a deeper critique of tokenism.
To avoid “Red Face” stereotypes, Logan concocts a concept wherein Alicia dreams of being Native American. This inventive twist positions their play as a poignant commentary on how Native Americans have been marginalized and obscured from American history, all while maintaining a sense of their ongoing presence.
On one level, “The Thanksgiving Play” serves as both a parody and a critique of “Devised Theater,” an improvisational format where a collective team creates narratives without a prior script. FastHorse also subtly critiques popular movements she perceives as superficial, touching on yoga, gender politics, and the vegan lifestyle.
However, her primary focus remains on exposing the often-hidden layers of social activism. Alicia stands out as the only character with a grounded sense of self, free from the self-righteousness that plagues the other characters. Her light-hearted demeanor acts as a counterbalance to the competing agendas of Logan, Caden, and Jaxton, each of whom is trying to fulfill personal goals under the guise of social responsibility.
As a work of satire, “The Thanksgiving Play” attempts to hold a mirror to societal facades. While Saavedra and her ensemble do their best to portray colorful characters brimming with potential, the play’s simplistic archetypes and exaggerated portrayals often veer into buffoonery. The intended satirical humor sometimes feels more like disparagement than insightful critique, leaving the audience to ponder the true message behind the laughter.
Stagecrafters is located at 8130 Germantown Ave. “The Thanksgiving Play” will run through Dec 8. Tickets available at 215-247-8881.
