Billed as a "true crime comedy," the new play
Sweet Revenge is, on one level, an entertaining revenge fantasy. But on another level, it's an unflinching look at the generational trauma carried by the Native people of this land that we call Minnesota, known by the Dakota as Mni Sota Makoce. Native playwright Marcie Renden has been writing this play for over a decade, and it's finally being produced by new #TCTheater company Mni Giizhik Theatre Ensemble, in partnership with Exposed Brick Theatre.
Mni Giizhik was founded in 2024 by Sequoia Hauck (who directs this piece), Sara Pillatzki-Warzeha, and Adrienne Zimiga, who was in
For the People at the Guthrie Theater a few years ago, their first Native play in 60 years, and is a founding member of their Native Advisory Council. But, as she said in a pre-show speech on opening night, they weren't about to potentially wait another 60 years for the Guthrie to do their next Native play, so these three artists started their own company. Their second season includes a co-pro with
Stages Theatre Company Bowwow Powwow, seen at the Hopkins theater in September and touring to a few locations.
Sweet Revenge continues at Red Eye Theatre in South Minneapolis through October 17.
When ice cream truck drivers in the Phillips neighborhood of Minneapolis keep getting shot, the cops think they have a serial killer on their hands. But who would want to target "the ice cream guy," who only brings joy to kids? And maybe annoyance to parents, and others who can't get away from the incessant music of the truck. Like Maggie (Fern Renville), who's raising her two grandchildren (George Auginash-Bezhigogahbow and Jada Rogers), selling prayer ties and ribbon skirts and food and whatever else she can convince people to buy, and dealing with a demanding older relative Granny Josephine (Oogie Push). It turns out Granny is triggered by the ice cream truck's tinny version of the hymn "Simple Gifts," which reminds her of her time at American Indian Boarding Schools, and the abuse that she experienced and witnessed there. That in turn triggers Maggie, but she's not the only one who doesn't like the ice cream truck. There's also a Vietnam vet with PTSD (Thomas Draskovic), and a local teenager (Dallas Jenings) who's always in trouble with the law. The law in this case is a police chief (Brian P. Joyce) who becomes enamored with Maggie, perhaps clouding his investigation into the murders. He never does solve the case, but we're witness to some key frozen evidence that gives us a strong idea of who did it, and why.
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Granny (Oogie Push) and the kids (George Auginash-Bezhigogahbow
and Jada Rogers) with the vet (Thomas Draskovic)
(photo by Jaida Grey Eagle) |
The 11-person all Native cast (which is a rarity outside of that one show at the Guthrie, and
New Native Theatre) are all interesting to watch, and very natural in their roles. Particularly the two youngsters, who are just acting like kids, who happen to be on stage, eating a sandwich, staring at the TV, elbowing each other in the ribs. The play was originally supposed to be ninety minutes no intermission, but was extended to two hours, plus intermission, in the rehearsal process. I suspect it could be tightened to that original 90-100 minute length; the momentum is a bit slow in parts, and the story seems to drag a little at times, but that may tighten up during the run or in future iterations of this new play.
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Granny (Oogie Push), Maggie (Fern Renville), and the Chief
(Bryan Joyce, photo by Jaida Grey Eagle) |
The play mostly takes place in Maggie's home, which has a realistic, modest, lived-in feel. Dishes, real food, and lots of (not real) coffee being poured, with a fridge and cupboards full of necessary items, and a couch and TV on one side. The cast is dressed in casual clothes, with some Native touches, and change costumes an impressive number of times throughout the play, which shows the passage of time. The play opens with a black and white cartoon history of the Indian Boarding Schools, and later, we see real images from that time when Granny tells her horrific story. This is a troubling part of Minnesota's history, a wound that cannot be healed without stories like this being told, and heard. (Scenic design by Will Rafferty, sound design by Bailey Fenn, lighting design by Claudia Errickson.)
Sweet Revenge is a comedy and a murder mystery, but also deals with some serious and important topics. What better way to celebrate Indigenous People's Day than to go see a new play by Native artists, telling Native stories.
