By Steven Dietz. Based on the unpublished memoir As My Sun Now Sets by Joyce Simmons Cheeka, as told to Werdna Phillips Finley.
Product Code: R68000
Full-length Play
Drama
Cast size: 13m., 12w. (may double to as few as 9m., 8w., plus possible dancers and musicians.)
Awards: AATE Distinguished Play Award
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Canada, United States
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The Rememberer tells the true story of Joyce Cheeka, a young Squaxin Indian girl, who is forcibly taken from her home and placed in a government-run school in 1911. As the chosen "rememberer" for her tribe—an honor passed down to her from her grandfather, Mud Bay Sam—it is Joyce's duty to pass on the stories, history and wisdom of her people. However, the aims of the white boarding school are quite the opposite. Their job is to eliminate any trace of Joyce's heritage. Through her friendship with the headmaster at the school, and with the help of her "spirit guide," Joyce succeeds in forming a bridge between this new world and the world of her ancestors. Through her patience, grit, humor, curiosity and inclusiveness of spirit, she does honor to the words of her elders: "Each day is a gift. And to waste that day is inexcusable. Account for yourself. Be useful." Joyce Simmons Cheeka lived a remarkable, heroic and, indeed, useful life. Ages 7 and up.
I think it is a wonderfully written, poignant play.
A beautifully written play about an important topic. We incorporated a great deal of educational and sensitivity training, including speakers from a local Native American nation; this helped the actors to gain greater respect and understanding. The production was moving, beautiful and well received. It was a challenge for middle-school actors but an exciting and achievable one.
Takes you on a journey across time to a fascinating world whose very existence is imperiled. To 'remember' is a way to keep it alive, and it is the young who must carry it forward.
Wagon and haircutting scene are very short and do not warrant the expense of building wagon and purchasing wigs, etc. for cutting scene. Running time of play can be shortened. We accomplished this by easy flow transitions with flute and drum.
We used a circle of memory painted on the floorÑalso a scrim and a cyclorama so we could project shadows. It worked very well.
Do contact both local Native American groups and Squaxin/Coast Salish organizations. Their guidance and information was essential to our creating a sensitive and detailed production.
Sue Dorsch, Attic Theatre, Appleton, Wis.