When I was originally contacted by Roseneath Theatre to adapt the Irish play, Tir Na N’Og, I was reluctant. I wasn’t sure what connection a play about Irish gypsies had with Native Canadians, specifically the Stoney Nakoda people of Alberta. The two don’t usually sit at the same table in the restaurant of people’s minds. But it was a challenge, and I love challenges. (PDF | RTF)
In creating the world of this play, the director and I chose to use the materials found in the modern world combined with shapes found in the traditional native world. The main characters of the play are living on the fringe of a society where many of the structures are made of metal and concrete, while their heritage lies in structures that were made of wood, bark, and animal skins. (PDF | RTF)
David Craig, Artistic Director of Roseneath Theatre, first saw Tir Na N’Og at a theatre festival in Philadelphia. It eventually played on Broadway. He loved the style and energy of the piece and was excited at the possibility of the story being adapted to reflect a Native Canadian context. I love the opportunity David has created to breathe new life into my play. (PDF | RTF)
Click here to learn about the theatre that produced the Irish play Tir Na N’og in 1995.
I am going to tell you a bit about the musical composition for the production and then let the on-stage musician in this year’s production tell you a bit about how he has used different musical instruments to bring my composition to life. (PDF | RTF)
Click here to visit Anne’s website.
Along with the fiddle, I also play several percussion instruments in the play such as drums and rattles, an accordion, a jaw harp, various kinds of flutes, as well as both my voice (whistling) and my feet. I wear special shoes and use a specially made floorboard to make rhythms with my feet while I am playing the fiddle. (PDF | RTF)
Click here to hear the music of Métis fiddle player Alex Lamoureux.