Monday 2 January 2012

The Rez Sisters: Personal Reflection

“The Rez Sisters” was first performed as a play in 1986, written by Native North American playwright Tomson Highway, and has received much attention and high praise by many critics for its unique representation of life on an aboriginal reservation. In attempt to “show and celebrate what funky folk Canada's Indian people really are” and educate the public of the reality of life on “the rez”, Highway entertains audiences through his exuberant, heartfelt, humorous story of seven women all related through birth or marriage, known as the “Rez Sisters”. Highway himself comments “I'm sure some people went to Rez expecting crying and moaning and plenty of misery, reflecting everything they've heard about or witnessed on reserves. They must have been surprised. All that humour and love and optimism, plus the positive values taught by Indian mythology.” Other critics, such as Carol Bolt, writing in Books in Canada, called the play a “freewheeling, unforgettable journey in terrific company, the Rez sisters, all of them full of energy and honesty and dreams and life.” Personally, I extremely enjoyed the quirky, heartfelt, unique characters; their journey to Toronto; the journey of their hearts and reading the play as a whole. I gained insight into the native culture, including their lifestyle, beliefs and how many aspects of this culture are similar to other Canadian cultures. I also observed that despite the emphasis of native culture in the storyline, it was still very accessible to non-Native audiences. While reading the play, I discovered that numerous aspects provoked various thoughts, such as how I related to the play, how it surprised me, and the many opinions I had developed surrounding the characters and plot.
            When our class was first informed that we would be reading the play “The Rez Sisters” and learned briefly of the plot, I was initially slightly disappointed and was not looking forward to the study for a number of reasons. My experience in elementary school history consisted of learning about aboriginal decent, their heritage, and culture, therefore I had already developed a biased distaste for learning about this topic, as I found the subject matter repetitive. We had studied this ancestry for years, and eventually found it incredibly boring. Another reason I was unexcited about the play was because it was written by a Canadian playwright. Although, I regret my pre-existing biased against Canadian work, I was unsure if it would compare to its American counterpart. I was unsure what to expect as I had studied the history of Canadian natives, but I had very little knowledge on life as a native in modern times. As we began to read the script however, it soon became clear that my preconceived notions of the play were incredibly untrue and far from the real nature of the play. “The Rez Sisters” surprised me by being so modern, relatable, and entertaining, considering it was first performed in 1986. As I mentioned earlier, Highway had anticipated audiences to be surprised, which I found was the case with me. Although I did not have the expectation for the play to be miserable and sad, I did not expect it to have “all that humour and love and optimism”, as Highway reported. I also found the storyline quite fascinating in the education of modern Canadian native culture. The play also surprised me by the fact that it was so largely be based on native culture, yet could be so relatable to non-Native audiences. Highway has received much praise for this portrayal, for example by John Bemrose, who wrote in Maclean’s that Highway is a playwright “who has learned to straddle two worlds with more grace than most people manage in one.” There were many aspects of this play that pleasantly surprised me, including how it was relatable, modern, and entertaining.
            While reading “The Rez Sisters” I found various elements of the play that are relatable to myself, my life, and to the generic Canadian culture. There are multiple qualities the women possess that are familiar to me, such as some of the women’s love of gossip. Being a teenage girl, gossip is unfortunately almost unavoidable, and like in The Rez Sisters, some thrive on it, and some find it meaningless and unimportant. I was surprised to realize that even in the women’s older age, childish things such as gossip still exist and is a regular occurrence. Also similar to teenage girls, some of the women are self-conscious and insecure, while others are confident, self assured, and could care less how others perceive them. Further, the common trend is that those in the group who are insecure, are the instigators of the gossip. The gossip, like in the lives of teenage girls, can be malicious and hurtful. For example, Veronique St. Pierre expresses her frustration and hurt as a result of others on the “Rez” talking behind her back and making fun of her, and her adopted daughter Zhaboonigan. The cattiness and immaturity of teenage girls is in some ways mirrors the women of “The Rez Sisters”.
            I was also able to relate to the play due to the fact that a few years ago, I visited a town called Moosonee located in northern Ontario with a population of 85% Cree natives. While visiting this reserve, I became aware of its seclusion, the low financial status of its inhabitants, and how there was very little to do. This was illustrated in the play when Pelajia complained about “plain, dusty, boring old Wasy” and how there were “no jobs. Nothing to do but drink and screw each other's wives and husbands and forget about our Nanabush.” When I read this quote, I became aware of how unfortunately, very true this aspect is in present day native communities. I visited Moosonee with my mom and we both agreed it was a good thing we “liked each other’s company” because of the lack of entertainment and recreation. Highlights of the trip included walking down the dirt roads kicking stones, and visiting the local dump in hope to catch sight of bears. We also took note of the fact that there were security bars on the windows of the liquor store but not the bank, indicative of their different values. The description Pelajia provided of life in Wasy was very reflective of my experience in Moosonee and what life was like in this small town of approximately 3000 residents. Pelajia’s comment of the minimal employment on the “Rez” was also reflected in Moosonee, as due to its small size and seclusion there would not be many jobs available. Also, the low income was portrayed through the quality of the homes and communities, as many homes consisted of shacks. My experience in Moosonee also led me to an understanding of the gossip and fighting between the sisters. I would imagine there would be little to discuss other than what the others on the “Rez” were doing, and its low population would mean spending much time with the same people. I found my trip to Moosonee and my experience in the small town to be reflective of the description of life in “Wasy”.
            Other concepts in the play I thought to be relatable to generic Canadian culture, were the hardships and conflict the sisters were presented with in the play; for example, illness, specifically cancer. I know many people that have been affected by this terrible disease, including my aunt, grandmother, and various family friends.  Due to my understanding of how upsetting and frightening this illness can be to a patient and they’re family, I have developed an admiration for Marie-Adele’s strength and bravery during her battle with cancer. Also, I am aware that this disease can be fatiguing and painful, yet despite these symptoms, Marie-Adele is selfless; constantly taking care of and worrying about her family, which is yet another reason for my admiration. Other problems the characters in the play are faced with are alcoholism, unemployment and poverty. Although I cannot personally relate to these matters, I recognize that they are societal problems in all Canadian culture, as there are many families in Canada that are not of native descent dealing with these same issues. Although the native culture portrayed in the play is different from the general Canadian culture in a variety of ways, it also emphasises the many similarities between the cultures, such as the same issues each struggle with in their communities.
            Not only did the play pleasantly surprise and relate to me, but it also quite simply captivated my attention and was entertaining. I loved how Highway created a story that allowed myself, as an audience member, feel as though I also was a part of this amazing journey. For example, the script literally involved the audience through participation during the bingo game near the close of the play. I had never experienced anything like this before, and thought it was a brilliant way to enrapture the audience, as they too experienced the excitement of the game. As Carol Bolt said in her essay on The Rez Sisters, in Books in Canada, the audience feels as if they “have been a part of an extraordinary, exuberant, life-affirming family.” I also thoroughly enjoyed the characters of the play and their relationships between each other. It was exciting and humorous to read how these individual characters with such opposing personalities collided and meshed. The scene of all the women in the store fighting with each other was very comical and entertaining. Yet, I also enjoyed reading of the women getting along and supporting one another, such as when they shared their individual stories receiving emotional comfort from their sisters. I thought Highway did a wonderful job of portraying the different sides of each woman, their personalities on the surface and their inner self; confessing their secrets, fears, and emotional scars. Overall, I loved Highway’s creation of this group of women, Pelajia Patchnose the leader, Annie Cook the gossip, Veronique St. Pierre the busybody, Emily Dictionary the sister with a tough exterior but warm heart, Philomena Moosetail the light-hearted comic relief, Marie-Adele Starblanket the kind mother-figure, and Zhaboonigan Peterson the honest and joyful optimist.
            I extremely enjoyed this play, and its many aspects such as its quirky, heartfelt, unique characters, their journey to Toronto, and the journey of their hearts. I observed that despite the emphasis of native culture in the storyline, it was still very accessible to non-Native audiences, as I found many relatable concepts in the play. While reading the play, I discovered that numerous aspects provoked various thoughts, such as how I related to the play, how it surprised me, and the many opinions I had developed surrounding the characters and plot. “The Rez Sisters” was a heartfelt portrayal of seven women’s journey to achieve their dreams that along the way included bitter arguments, heartfelt revelations, and a closeness that developed between the characters. It is a great play that evokes humour and emotion on all levels that I would highly recommend.
            

Sunday 1 January 2012

The Rez Sisters: Directing Notes

Veronique St. Pierre “passes by” with her adopted daughter    Zhaboonigan Peterson.
ENTERING DL, SLOWING DOWN WHEN PASSING MARIE-ADELE’S HOUSE ATTEMPTING TO HIDE HER INTENTION TO TALK TO MARIE-ADELE.IT IS OBVIOUS TO THE AUDIENCE SHE IS WALKING BY TO TALK TO MARIE-ADELE. VERONIQUE ST. PIERRE GLANCNING AT MARIE-ADELE.
WHILE PASSING BY, BUT STOPPING IN FRONT OF THE HOUSE AT END OF COMMENT WITH ZHABOONIGAN.
VERONIQUE: (Said in a snooty manner, looking down on Marie-Adele)
Talking to the birds again, Marie-Adele Starblanket?
DL IN FRONT OF HOUSE. MARIE-ADELE UR IN HER FRONT YARD HOLDING A LAUNDRY BASKET UNDER HER RIGHT ARM.
SLOWLY WALKING DIAGONALLY TOWARDS VERONIQUE DL, STOPPING AT DC.
MARIE-ADELE:(Said with slight sarcasm)
Aha. Veronique St. Pierre. How are you today?
WALKING WITH PURPOSE INTO MARIE-ADELES YARD TO JOIN HER DC. ZHABOONIGAN FOLLOWING, THEN TRAILING OFF TO EXPLORE THE YARD AND WATCH THE BIRDS.
VERONIQUE:(Eager to share this news, Veronique shares this with Marie-Adele as gossip, displaying Veronique St. Pierre’s love of gossiping)   
Black Lady Halked’s sister-in-law Fire Minklater, Fire Minklater’s husband, just bought Fire Minklater a car in Sudbury.
(Through the following back and forth between Veronique and Marie-Adele, a sense of each character is portrayed, as Veronique is a gossiping busy body and Marie-Adele is a laid back individual that finds gossip unimportant)
MARIE-ADELE:
New?
VERONIQUE:
Used. They say he bought it from some Frenchman, some garage. Cray-on.
MARIE-ADELE:
Raymond.
MARIE-ADELE TURNING TO TEND TO A LAUNDRY LINE (UR) HUNG ON THE RIGHT SIDE OF SET FROM THE HOUSE TO THE FRONT OF THE STAGE, WHILE VERONIQUE QUICKLY FOLLOWS. VERONIQUE TALKS AS MARIE ADELE TAKES DOWN AND FOLDS THE LAUNDRY, PLACING IT IN THE BASKET AND MOVING DOWN THE LINE TOWARDS DR  
VERONIQUE:
(Still just as eager to share the latest gossip, parts of the following being said as Veronique thinking out loud, Veronique moving from thought to thought very quickly)
There Frenchmen are forever selling us their used cars and I’m sure that’s why Black Lady Halked has been baring those big yellow teeth of hers, smiling all over the reserve recently. She looks like a hound about to pounce on a mouse, she smiles so hard when she smiles. I’d like to see her smile after plastic surgery. Anyway. At the bingo last night she was hinting that it wouldn’t be too long before she could go to the bingo in Espanola more frequently. Unfortunately, a new game started and you know how Black Lady Halked has to concentrate when she plays bingo – her forehead looks like corduroy she concentrates so hard – so I didn’t get a chance to ask her what she meant. So. Fire Minklater has a used car. Imagine! Maybe I could make friends with her again. NO! I wouldn’t be caught dead inside her car. Not even if she had a brand-new Cadillac. How are your children? All 14 of them.
MARIE-ADELE:
Okay, I guess.
VERONIQUE:
Imagine. And all from one father. Anyway. Who will take care of them after you
(Catching herself, pausing and not sure what to say for the first time in this conversation)
... ahem ... I mean ... when you go to the hospital?
MARIDE-ADELE: (Said matter-of-factly)
Eugene.
ZHABOONIGAN RETURNS TO THE CONVERSATION, WHICH IS NOW DR WITH MARIE-ADELE AND VERONIQUE.
ZHABOONIGAN:
Is he gentle?
STOPPING FOLDING TO TALK TO ZHABOONIGAN
MARIE-ADELE: (Said kindly, as she cares about Zhaboonigan)
Baby-cakes. How are you?
ZHABOONIGAN: (Speaking very childish and innocently throughout the following conversation)
Fine.
     Giggles.
VERONIQUE: (Protective of Zhaboonigan)
She’s fine. She went berry-picking yesterday with the children.
ZHABOONIGAN:
Where’s Nicky?
MARIE-ADELE:
Nicky’s down at the beach.
ZHABOONIGAN:
Why?
MARIE-ADELE:
Taking care of Rose-Marie.
ZHABOONIGAN:
Oh.
MARIE-ADELE:
Yup.
ZHABOONIGAN:
Me and Nicky, ever lots of blueberries!
MARIE-ADELE: (Correcting Zhaboonigan in a friendly manner)
Me and Nicky picked lots of blueberries.
ZHABOONIGAN:
I didn’t see you there.
MARIE-ADELE:
Where?
ZHABOONIGAN:
Before today.
MARIE-ADELE:
How come Nicky didn’t come home with any?
ZHABOONIGAN:
Why?
     Marie-Adele shrugs. Zhaboonigan imitates this, and then   pretends she is stuffing her mouth with berries.
MARIE-ADELE:
Aw, yous went and made pigs of yourselves.
ZHABOONIGAN: (Giggling innocently)  
Nicky’s the pig.
MARIE-ADELE:
Neee.
ZHABOONIGAN:
Are you going away far?
MARIE-ADELE: (Understanding that Zhaboonigan is referring to Marie-Adele’s cancer)
I’m not going far.
ZHABOONIGAN:
Oh. Are you pretty?
     Marie-Adele, embarrassed for a moment, smiles and    Zhaboonigan smiles, too.
MARIE-ADELE:
You’re pretty too.
     Zhaboonigan tugs at Marie-Adele’s shoelaces.
RECOILING A COUPLE STEPS WHILE GIGGLING
Oh, Zhaboonigan. Now you have to tie it up. I can’t bend too far cuz I get tired.
ZHABOONIGAN RETURNING TO MARIE-ADELE
     Zhaboonigan tries to tie the shoelaces with great              difficulty. When she finds she can’t she throws her arms up   and screams.
RUNNING TO THE OPPOSITE SIDE OF THE YARD DL
ZHABOONIGAN:
Dirty trick! Dirty trick!
     She bites her hand and hurts herself.
MARIE-ADELE: (Trying to deal with the situation calmly)
Now, don’t get mad.
VERONIQUE:
Stop it. Stop it right now.
ZHABOONIGAN:
No! No!
MARIE-ADELE: (Remaining calm)
Zha. Zha. Listen. Listen.
ZHABOONIGAN: (Yelling at Zhaboonigan)
Stop it! Stop it right now!
TAKING A STEP TOWARDS ZHABOONIGAN AND MOTIONING FOR HER TO JOIN MARIE-ADELE ON HER SIDE OF THE YARD
MARIE-ADELE:
Come on Zha. You and I can name the koo-koos-suk (the little pigs). All 14 of them.
ZHABOONIGAN RETURNS TO DR
ZHABOOHNIAN:
Okay. Here we go.
     Marie-Adele leads Zhaboonigan over to the picket fence and      Veronique follows them.
WALKING TOWARDS THE PICKET FENCE AT THE FRONT OF THE STAGE ON THE RIGHT
ZHABOONIGAN:
     To Veronique.
FORCEFULLY MOTIONING WITH HER HAND FOR VERONIQUE TO STOP
No.
     Veronique retreats, obviously hurt.
MARIE-ADELE:
     Taking Zhaboonigan’s hand and counting on the 14 posts of     her white picket fence.
Simon, Andrew, Matthew, Janie, Nicky, Ricky, Ben, Mark, Ron, Don, John, Tom, Pete and Rose-Marie. There.
     Underneath Marie-Adele’s voice, Zhaboonigan has been      counting.
ZHABOONIGAN:
One, two, three, four, five, six, seven, eight, nine, ten, eleven, twelve, thirteen, fourteen.
     Giggles.
MARIE-ADELE:
Ever good counter you, Zhaboonigan.
ZHABOONIGAN: (Said proudly, pleased with herself)
Yup.
MARIE-ADELE AND ZHABOONIGAN RETURNING TO DR WHERE VERONIQUE IS STANDING
VERONIQUE: (Feeling bad for herself, self-pity)
This reserve, sometimes I get so sick of it. They laugh at me behind my back, I just know it. They laugh at me and Pierre St. Pierre because we don’t have any children of our own. “Imagine, they say, she’s on her second husband already and she still can’t have children!” They laugh at Zhaboonigan Peterson because she’s crazy, that’s what they call her. They can’t even take care of their own people, they’d rather laugh at them. I’m the only person who would take Zhaboonigan after her parents died in that horrible car crash near Manitowaning on Saturday November 12 1964 may they rest in peace She makes a quick sign of the cross without skipping a beat. I’m the only one around here who is kind enough. And they laugh at me. Oh, I wish I had a new stove, Marie-Adele. My stove is so old and broken down, only two elements work anymore and my oven is starting to talk back at me.
MARIE-ADELE: (Unsympathetic to Veronique’s spiel before mentioning the stove)
Get it fixed.
VERONIQUE:
You know that Pierre St. Pierre never has any money. He drinks it all up.
     She sighs longingly.
Some day! Anyway. Zhaboonigan here wanted to go for a swim so I thought I’d walk her down – drop by and see how you and the children are doing – it will do my weak heart good, I was saying to myself.
MARIE-ADELE NOTICES A SEAGUL SITTING ON A ROCK IN HER YARD DL
MARIE-ADELE:
Awus!
     As she throws a pebble at the seagull on the stone, Veronique, for a second, thinks it’s her Marie-Adele is     shooing away. There is a bit of a brief silence broken after awhile by Zhaboonigan’s little giggle.
VERONIQUE: (Returning to her gossiping ways)
Anyway. I was walking down by that Big Joey’s shameless little shack just this morning when guess who pokes her nose out the window but Gazelle Nataways – the nerve of that woman. I couldn’t see inside but I'm sure she was only half dressed, her hairdo was all mixed up and she said to me “Did you know, Veronique St. Pierre, that Little Girl Manitowabi told me her daughter, June Bug McLeod, just got back from the hospital in Sudbury where she had her tunes tied and told her that THE BIGGEST BINGO IN THE WORLD is coming to Toronto?”  
MARIE-ADELE: (The bingo is the first thing Veronique has said that has sincerely caught Marie-Adele’s attention)
When?
VERONIQUE: (In her own world, disregarding Marie-Adele’s question)
I just about had a heart attack.
MARIE-ADELE: (Persistent to find out more information about this bingo)
When?
VERONIQUE: (Continuing to disregard Marie-Adele)
But I said to Gazelle anyway: Is there such a thing as a BIGGEST BINGO IN THE WORLD? And she said: Yes. And she should know about these things because she spends all her waking and sleeping hours just banging about in bed with the biggest thing on Manitoulin Island, I almost said.
MARIE-ADELE: (Getting impatient due to Veronique’s disregard for her question)
This bingo. When?
VERONIQUE:
She didn’t know. And now that I think of it, I don’t know whether to believe her. After all, who should believe a woman who wrestles around with dirt like Big Joey all night long leaving her poor babies to starve to death in her empty kitchen?
(Getting excited at the thought of this bingo)
But if it’s true, Marie-Adele, if it’s true that THE BIGGEST BINGO IN THE WORLD is coming to Toronto, I'm going and I want you to come with me.
MARIE-ADELE: (Wanting to, but thinking rationally)
Well ...
VERONIQUE: (Her excitement growing, like a kid in a candy store)
I want you to come shopping with me and help me choose my new stove after I win.
MARIE-ADELE:
Hang-on ...
VERONIQUE: (Carried away in her own thoughts)
They have good stoves in Toronto.
MARIE-ADELE: (Being the voice of reason)
Let’s find out for sure. Then we start making plans.
(Both women desperately trying to think of a way to confirm the existence of the bingo)
VERONIQUE:
Maybe we should go back and ask that Gazelle Nataways about this. If she’s sure.
MARIE-ADELE:
Maybe we should go and ask June Bug McLeod herself.
VERONIQUE:
We can’t walk to Buzwah and I'm too old to hitch-hike.
MARIE-ADELE:
There’s Eugene’s van. He’ll be home by six.
VERONIQUE: (Very self-conscious, caring about what others might think of her)
I want to find out NOW. But what if people see us standing at Big Joeys door?
MARIE-ADELE: (Sure of herself, not caring what others think of her)
What do you mean? We just knock on the door, march right in, ask the bitch, and march right out again.
VERONIQUE:
Zhaboonigan dear, wait for me over there.
ZHABOONIGAN WALKING TO DL
     She waits until Zhaboonigan is safely out of earshot and then leans over to Marie-Adele in a conspiratorial whisper.
Anyway. You must know, Marie-Adele, that there’s all kinds of women that come streaming out of that house at all hours of the day and night. I might be considered one of them. You know your youngest sister, Emily Dictionary, was seen staggering out of that house in the dead of night two nights ago?
MARIE-ADELE: (Scolding Veronique)
Veronique St. Pierre, what Emily Dictionary does is Emily’s business.  


The Rez Sisters: Marie-Adele Monologue

When I win THE BIGGEST BINGO IN THE WORLD, I'm gonna buy me an island. In the North Channel, right smack-dab in the middle – eem-shak min-stik (a great big island) – the most beautiful island in the world.and my island will have lots of trees – great big bushy ones – and lots and lots and lots of sweetgrass. MMM! And there’s gonna be pine trees and oak trees and maple trees and big stones and little stonelets – neee- and, oh yeah, this real neat picket fence, real high, long and very, very, very white. No bird shit. Eugene will live there and me and all my Starblanket kids. Yup, no more smelly, stinky old pulp and paper mill in Espanola for my Eugene – pooh! – my 12 Starblanket boys and my two Starblanket girls and me and my Eugene all living real nice and comfy right there on Starblanket Island, the most beautiful incredible goddamn island in the whole goddam world. Eem-shak min-stik! When I win THE BIGGEST BINGO IN THE WORLD! 

Friday 30 December 2011

The Rez Sisters: Character Profile of Marie-Adele Starblanket

            The “Rez Sisters” was first performed as a play in 1986, written by Native North American playwright Tomson Highway, and has received much attention and high praise by many critics for its unique representation of life on an aboriginal reservation. In attempt to “show and celebrate what funky folk Canada's Indian people really are” and educate the public of the reality of life on “the rez”, Highway entertains audiences through his exuberant, heartfelt, humorous story of seven women all related through birth or marriage, known as the “Rez Sisters”. Highway tells the story of these women’s travels to partake in the BIGGEST BINGO IN THE WORLD, and takes an in depth look at each women’s life and their relationships with each other. Loved for its range of vivid characters, “The Rez Sisters” portrays a broad spectrum of native women and makes light of native stereotypes through satire. Audiences enjoy the genuine characters portrayed by Highway, from the hard working, driven Pelajia, to the tough Emily, and the kind Marie-Adele Starblanket. The play discusses various aspects of the character of Marie-Adele and through the facts and subtext of the play, the audience is able to draw conclusions about her physical description, background and personal history, thoughts, emotions, values, her opinions of others, surroundings, and speech.
            Marie-Adele Starblanket is a family oriented woman that cares deeply about her husband Eugene, and their fourteen children. Unfortunately, Marie-Adele is battling with the life threatening disease of cancer. However, despite this dreadful and incredibly fatiguing illness, Marie-Adele carries herself as a very strong woman until her final breath. Marie-Adele also demonstrates her strength through her attitude, as although she is terrified of the effect of her disease, she attempts to stay her optimistic, humorous, driven self.
            Marie-Adele is a 39 year old middle aged woman that has a weakening physical state, as she is plagued with the crippling disease of cancer. Her walk has a sense of purpose, as the audience would imagine that in her everyday life she would be a very busy woman with no time to waste; having 14 kids and a husband that drinks away the family’s savings. A strong woman with purpose, Marie-Adele however, would experience spouts of weakness with too much physical exertion, due to her illness, where she would almost collapse, reeling with pain. Also due to her illness, she would experience a reduced physical strength, lose of weight and would be experiencing fatigue, common for cancer patients. All these aspects would affect the way she carried herself, sat, and stood; sitting and standing comfortably, and slouching at times due to her fatigue. She would be very sure of herself and dignified, yet slightly passive, as she is a confident, yet laid back character. As for Marie-Adele’s hand gestures, they would be casual for the most part, but pronounced and forward when necessary. Her voice may be described as, similar to her walk, purposeful; she talks with reason, but is not forceful or loud. She can be seen wearing comfortable clothing, such as jeans and a plaid shirt, which reflects her sense of work, and simple outlook on life. Marie-Adele’s illness would have an impact on her physicality, however she strived to stay her strong, yet easy going self.
            Marie-Adele Starblanket was born from aboriginal Cree descent on the Wasaychigan Hill Indian Reserve (referred to by residents as "Wasy"), Manitoulin Island, Ontario, which she currently lives on. She was born into a large, less fortunate family, with low financial status in the late 1940’s.  Living on the reservation, Marie-Adele as a child, would have received a simple education through interaction with her family and others on the reserve; different from the curriculum in the general public school system in Canada. Her education would be spiritually oriented and would consist of learning about aboriginal history, culture, language, and community values. History would repeat itself, as following the trend of her family, Marie-Adele had a low financial state and many children; living with the 14 of them and her alcoholic husband Eugene, her job consisted of taking care of her family to the best of her ability. Although she loved her family, Marie-Adele was an ambitious individual that longed for a higher standard of living and better life; the reason why she strived to raise money through exhausting work to participate in THE BIGGEST BINGO IN THE WORLD.
            Marie-Adele Starblanket is a kind, caring, easy going woman that chooses her battles and stands up for herself and what she believes in. She is a very passionate and giving individual, which is displayed in her monologue concerning what she would do if she won THE BIGGEST BINGO IN THE WORLD. She discusses how she would buy an island for just herself, Eugene, and their 14 Starblanket children; her objectives in the play being to take care of her dysfunctional family, and rise above her surroundings, creating a better environment for her loved ones. She attempts to achieve this by partaking in THE BIGGEST BINGO IN THE WORLD. She also displays her love for her family when she expresses her concern of what will happen to them if she was to pass away due to her cancer. Family is a very important value to her and she plays the archetype of a gentle caregiver. She continuously gives to her family, asking for nothing in return, despite her deathly condition.   Marie-Adele, although not the chattiest of the Rez Sisters, is an extrovert that enjoys spending time with her fellow sisters, socializing, and catching up on the latest news. She also has an interest in and largely enjoys playing bingo with her sisters. Marie-Adele is not only caring of her immediate family, but also her fellow sisters; she protects them, and cares about their well being. For example, when Veronique St. Pierre quips that Emily Dictionary was seen coming out of Big Joey’s house, Marie-Adele responds “Veronique St. Pierre, what Emily Dictionary does is Emily’s business,” (Highway 29). Also, when Marie-Adele notices Emily Dictionary has a black eye she says concerned “Emily. Your Eye,” (Highway 38). When Emily gets defensive about it, Marie-Adele pleads “Emily, please,” (Highway 38). However, Marie-Adele doesn’t always get along with her sisters. During a large argument between them, Marie-Adele at first doesn’t partake in the fight, but when her name is brought into it, she fights back, spitting insults at her sisters. This is an example of how Marie-Adele is innately respectful, considerate and passive, until it is necessary for her to stand up for herself, in which she may get aggressive with her speech. Marie-Adele’s values are composed of her family, her Rez Sisters, happiness, enjoyment, optimism, love, respect, devotion, and unity, as she believes all of these are important in simply enjoying life, loving and being with your family and friends. Marie-Adele has been going through a difficult time in her life though, due to her battle with cancer. Her mental state revolves around this disease and although she tries to stay strong and be brave for her family, her emotional state is largely affected as well. She is constantly captivated by thoughts of the how this disease is affecting her life, such as no longer being able to be intimate with her husband, how her family would survive without her, and the idea of death itself. Marie-Adele, although attempting to stay courageous for her family and rarely discussing her illness, is constantly thinking of this dreadful disease and what effect it will have on her life, and more importantly her family’s lives.
            Marie-Adele Starblanket is a kind, caring, easy going woman with a simple outlook on enjoying life, and the strong value of loving your family and friends. She is a social character that gets along with others, generally avoiding conflict, but chooses her battles when necessary. Suffering from the lethal disease of cancer, Marie-Adele strives to be brave and strong for her family, yet is haunted by the thought of what will happen to them when she passes, displaying her selfless quality. The play discusses various aspects of the character of Marie-Adele and through the facts and subtext of the play, the audience is able to draw conclusions about her physical description, background and personal history, thoughts, emotions, values, her opinions of others, surroundings, and speech. Marie-Adele is a pivotal character in the play that assists in Highways goal to “show and celebrate what funky folk Canada's Indian people really are” and to entertain audiences through his exuberant, heartfelt, humorous story.

Wednesday 28 December 2011

The Rez Sisters Summary

            The “Rez Sisters” was first performed as a play in 1986, written by Native North American playwright Tomson Highway. A Cree Native of Manitoba, Canada, Highway wanted to make life on the reservation (short for “Rez”) seem appealing by educating and entertaining the Canadian audience of the reality of reservation life. Highway’s goal in writing the play was to “show and celebrate what funky folk Canada's Indian people really are” (Napierkowski). The play received very high reviews including that of William Peel who in Canadian Theatre Review called them, “a striking cast of characters who reveal both blemishes and beauty” and who “possess, on the whole, great human dignity”.

            The play takes place during a summer in 1986, on the fictional Wasaychigan Hill Indian Reserve (referred to by residents as "Wasy") on Manitoulin Island, Ontario, and provides the portrait of seven “Rez sisters” who are all related by birth or marriage. The distinct personalities of each character are used to offer the audience a different attitude towards life and their role on the reservation (Napierkowski). The seven women arrange a road trip from their Indian reserve to Toronto to participate in “THE BIGGEST BINGO IN THE WORLD”; each woman dreaming of winning the bingo jackpot and what life changing fortunes it will bring them; Pelajia hoping for paved roads and their beloved Nanabush to return, Philomena a big white toilet, Marie-Adele her own island for her family, Annie Cook every one of Patsy Clines records, a new record player, and to sing with Fritz the Catz, and Veronique St. Pierre a big new stove. These characters display the natural desire to rise above their surroundings and create a better environment for their children and each other.  Although the reserve can be viewed as a place of misery, with little hope, and where there is nothing to do but “drink and screw each other’s wives”, the screenwriter uses optimism and humour in his characters and includes the positive values taught in Indian mythology. Each “Rez” sister has their own personal demons and tragedies and hopes that winning the world’s biggest bingo game will be the answer to all their problems (Napierkowski).  

The play opens with Pelaija Patchnose, a contractor, who reveals her desire to escape her distasteful life in “Wasy” and complains to her sister, Philomena that she wants to leave “Wasy” and go to Toronto, where her sons are living.  Philomena, full of gossip, helps to lift her sisters’ spirit and offers humour to the storyline; obsessed with owning a new big, wide and white toilet. It is later unveiled that Philomena conceived a child whom she never met, after having an affair with her boss, who eventually abandoned her. Both she and Pelaija remain “trapped” on the reserve.

            The varied cast of characters includes Marie-Adele Starblanket who has 14 children and is diagnosed with the onset of cancer and later expresses her true fears of dying. She optimistically believes that her husband, Eugene would carry the load and care for her children if it became necessary for her to check into a hospital, or worse, pass away.

            Annie Cook, older sister of Marie-Adele and half sister of Pelaija and Philomena, lost her husband Eugene, to her own sister Marie-Adele. Annie has unrealistic hopes of being a country singer and to someday marry Fritz the Catz, a Jewish country musician; a dream that might be easier to accept if she could sing.

            Emily Dictionary, sister of Annie, works in the local store and is a rough ex-biker who lost her lesbian lover in a tragic motorcycle accident; although previously married with a husband that abused her and almost killed her. She offers conflict between the characters.

            The “busybody” Veronique St. Pierre, sister in-law of Emily, is generally disliked and has two equal sources of distress in her life including a mentally disabled adopted daughter, Zhaboonigan Peterson and an unpredictable stove.

            The spirit of “Nanabush”, the only male character, who is also known as “The Trickster,” is a mythological spirit that observes (and sometimes enters into) the action of the play.

            Zhaboonigan Peterson, daughter of Veronique St. Pierre, is the adopted, mentally challenged daughter of Veronique that was orphaned after a car accident killed her parents. Zhaboonigan was sexually abused by two white males and carries this burden with her, while being the only character besides Marie- Adele that is able to see the spirit of Nanabush.  

            The “sisters” encounter and over come several diversions and obstacles on their way to Toronto, and the climax of the characters’ emotional personalities are heightened during the exchange of the women’s stories. The audience gets to know these women; they see their generosity and their faults through their stories, and how they treat each other. Even when the women argue and fight and gossip maliciously about each other, they also look out for one another. The bond of sisterhood transcends all racial labels and material objects (Napierkowski).

            Once the sisters reach Toronto, they play the bingo game of their lives, along with the audience. During the game, Marie-Adele Starblanket passes away; finally going with Nanabush away into the afterlife.  The women, unfortunately not winning the big jackpot, return home to “Wasy”. However, Philomena and Veronique win a portion of money, which they each use on what they dreamed of having at the beginning of the play; Philomena buying her toilet, and Veronique her stove. Veronique, with her new stove is thrilled to cook for the 14 Starblanket children and Eugene. Emily returns home to her store, but with big news; she is pregnant, which she informs Zhaboonigan of in her final scene. Annie Cook’s dream of signing back up for Fritz the Catz comes true and Pelajia returns to her contracting on the roof, as the play started, unaware that her wish of Nanabush returning to the Rez had come true. Unseen by Pelajia, Nanabush, in his guise of the seagull, joins her on the roof, dancing to the beat of her hammer, merrily and triumphantly. Although the women of the Rez return to their normal lives, and routines, largely unchanged, they return with a deeper understanding and appreciation of each other.
           
            As the play comes to an end, the audience learns that one of the plays themes include that home is where the heart is; and how a group of women learn to respect themselves and where they live, rather than running off to a new, unfamiliar place (Napierkowski). “This place is too much inside your blood.”


Works Cited

"The Rez Sisters: Introduction." Drama for Students. Ed. Marie Rose Napierkowski. Vol. 2. Detroit: Gale, 1998. eNotes.com. January 2006. 28 December 2011. <http://www.enotes.com/rez-sisters/introduction>.