“A theatre lover’s dream to watch Jeremy Proulx and Jane Wheeler spar. They are the reasons to see the show. They perform with class, sensitivity and dignity.”
Drew Hayden Taylor’s smartly written 2018 two-hander of sharp character-driven dialogue and profound monologues still hits hard in 2025. ‘Cottagers and Indians’ takes inspiration from an actual event in the Ontario Kawartha Lakes Region. An Indigenous man, Arthur Copper (Jeremy Proulx), takes it upon himself to begin a repopulation and harvesting of the nearby lakes with wild rice known as manoomin among the Anishinaabe. The local non-Indigenous cottagers see manoomin as noxious. Cottage owner Maureen Poole (Jane Wheeler), her unseen husband, and the residents grow irate about the abundance of the wild rice. It spoils the lake views. It brings down the property values of the surrounding cottages, including the Pooles’, and interferes with safety for boating and swimming. To add ‘insult’ to the views of the non-Indigenous cottagers, the sound of Arthur’s harvester (that he affectionately calls Gertie) is louder than the SeaDoos and the powerboats on the water.
Kevin John Atawakon Saylor has a deep appreciation for the subject matter of the story. In his Director’s Programme Note, he expresses that it is a rare privilege for him, as an Indigenous director, to bring to life Hayden Taylor’s often comical script, which also contains moments of profound poignancy just moments apart.
Saylor makes good choices throughout to maintain audience attention.
The first occurs before the show begins with the reading of the Land Acknowledgment. A good choice is made not to have one. This time around, rather than including a voice recording of Canada’s First Nations people as original stewards of the land, Saylor provides an introductory address of thanksgiving to the audience, which centres on expressing appreciation for life in Canada. It’s appropriate and works. Nicely.
Set designer Peter Vatsis creates a visually interesting representation of a retreat in Kawartha Lakes. The façade of the Poole cottage is positioned stage left on a modest elevation, furnished with a summer Muskoka chair, barbecue and other summer props. This slight elevation is noticeable and establishes a visual class distinction that highlights the tense dynamic between Maureen and Arthur, as she perceives herself as above him. Slightly angled on stage right, Arthur’s birch bark canoe adds to the setting. Behind the canoe, what appears to be pom fronds suggests its location. Surrounding the cottage and the canoe are hints of grass and greenery. Bex Tralli’s sound design includes water effects that help indicate the canoe’s position.
Kahentanó:ron Brianna Montour’s lighting scheme emphasizes the dramatic delivery of monologues by Proulx and Wheeler. Costume designer Jennifer Coe selects attire that distinctly reflects the backgrounds of Arthur and Maureen, outfitting Arthur in earthy tones of brown and beige. At the same time, Maureen wears sophisticated and stylish-looking summer clothing. These clothing choices become another visual distinction of how Maureen views herself above Arthur.
Jeremy Proulx and Jane Wheeler are the two reasons you must see this production. They are master storytellers who perform with dignity, class, and sensitivity.
Hayden Taylor’s script features emotionally powerful monologues that provide essential backstory for understanding Maureen and Arthur. For theatre lovers, watching Wheeler and Proulx engage in their dynamic performances is a dream come true. Wheeler’s portrayal of Maureen is often thoughtless, angry, and even cruel in her interactions with Proulx’s Arthur, who exudes self-assurance, confidence, and a certain smugness. Despite Maureen’s rants, Proulx’s Arthur finds the humour in her outbursts. He confronts her directly and stands his ground, matching her both physically and vocally.
There are instances in which the audience may sympathize with Arthur, only to align with Maureen subsequently. This dynamic interchange of perspectives heightens the play’s central tension. The focus remains on the complexities between Indigenous and non-Indigenous relations, as well as the contrast between consumerism and appreciation for the land.
The conclusion remains impactful as Proulx’s Arthur and Wheeler’s Jane disclose to each other the significant events that have taken place in their lives during their ongoing conflict. There’s complete silence from the audience as the two recognize there are no differences at all between them. They are flesh and blood humans who have begun the process of listening and hearing what each is saying.
It’s powerful. It’s memorable.
And it also makes for excellent theatre.
Running time: approximately 80 minutes with no interval/intermission.
‘Cottagers and Indians’ runs until August 30 at the Firehall Theatre, 185 South Street, Gananoque. For tickets: 1000islandsplayhouse.com or call (613) 382-7020.
THOUSAND ISLANDS PLAYHOUSE presents
‘Cottagers and Indians’ by Drew Hayden Taylor
Directed by Kevin John Atawakon Saylor
Set Designer: Peter Vatsis
Costume Designer: Jennifer Coe
Lighting Designer: Kahentanó:ron Brianna Montour
Sound Designer: Bex Tralli
Stage Manager: Jenn Hewitt
Apprentice Stage Manager: Natacha Kneeland-Lloyd
Performers: Jeremy Proulx and Jane Wheeler
