“A well-crafted, literary script by Caleigh Crow. Directed with a magical flair by Jessica Carmichael. The terrific ensemble takes the audience on a metaphorical and allegorical journey that is sometimes funny and sometimes dark. The conclusion is breathtaking.”

There are moments when I’m reminded of my late brother Bill and the sayings he used to have.

One of them was, “What da hell was dat?”

That was my initial thought with ‘The Born-Again Crow.’

But holy moly, there’s so much more happening with the subtextual layers of meaning that make Caleigh Crow’s intriguing script even more enlightening.

I hope there are talkbacks for future audiences. That's when the digging for meaning can start with discussion.

Beth (Tara Sky), an Indigenous grocery store clerk at Real Canadian Superstore, has had a challenging week. The events at the store slowly unfold with a clever touch under director Jessica Carmichael’s deft, visionary hand.

Some of Beth’s co-workers have tried to quash her soul and crush her spirit. The toll it takes on Beth’s mental health intensifies. She had had enough and began pushing back at those who were trying to destroy her spirit. The events at the store are bizarre, to say the least. Beth stabbed a steak on her boss’s desk. She also lights a magazine rack on fire. Although Beth is not keen on returning to living with her mother, Francine (Cheri Maracle), she does so to regain composure in her health struggles.

While living with her mother, Beth spends time outside Francine’s home, reflecting on recent events and contemplating her potential culpability. The arrival of Tanner Braeden (Dan Mousseau), the next-door neighbour whom Beth has known for quite some time, also weighs on her spirit. Additionally, when Francine gifts Beth a bird feeder, this gesture sparks a connection with a talking crow (Madison Walsh), who begins to help Beth rediscover her true power as an Indigenous person.

Shannon Lea Doyle soundly creates a working-class setting. The visual look and character development do not hint at an upper-class structure. Asa Benally selects costumes that visually delineate who the characters are. The striking dark costume selected for Walsh’s talking crow immediately catches the eye. Nice work by Chris Ross-Ewart to ensure the sound is clear.

Hailey Verbonac skillfully creates tense moments through her subtle shadowy lighting design. The first moment occurs as the audience enters the auditorium. Madison Walsh, as the Crow, stands stage left, casting a mysterious gaze at the audience while eating something from a can. This is unsettling, almost non-human, yet captures my attention. The conversations between Beth and the Crow are also enveloped in shadowy lights, emphasizing the growing excitement with a hint of dread about what might unfold.

Playwright Caleigh Crow’s script is expertly crafted. Filled with numerous allegorical and metaphorical references, the play is marketed as turning ‘post-capitalism on its head with righteous fury’ as Beth approaches her boss with a fair request that is unjustly denied. From that moment, the stage action is utterly breathtaking. The image remains boldly embedded in my mind as I write this article.

I had the opportunity to speak with Red Sky Performance founder Sandra Laronde via email. She stated that Indigenous stories are very much connected to the power of land, magic, pain and promise.

These four qualities relate to ‘The Born-Again Crow.’

Although I still have much to learn about Indigenous peoples and theatre, I am slowly beginning to grasp how essential Indigenous culture is to our shared stories. The magic of Caleigh Crow’s talking crow character (and Madison Walsh’s remarkable, haunting performance) strikingly (and brutally) highlights the pain of marginalized individuals who have been gaslit. That pain becomes apparent when Beth confronts her obstinate boss regarding her request, leading to complete chaos.

Jessica Carmichael directs ‘The Born-Again Crow’ with a magical flair that I ultimately bought. Some moments remind me of the film The Matrix. Keep an eye out for them; they made me smile.

Dan Mousseau plays multiple characters, bringing distinct differences to each and highlighting his talent as an actor. His Tanner Braeden appears to be brimming with promise in his budding relationship with Beth, which reaches a frightening climax. His Jane is a fantastic parody of the stereotypical female reporter who shows little interest in the bird story but must cover it for her job and to enhance her image. As Beth’s boss, Mousseau is unkindly cruel and uncalled-for nasty. Yet for a split second, there is a momentary pause to consider if the boss deserves what happened.

As mother and daughter, Beth and Francine, Tara Sky and Cheri Maracle complement each other’s performance work. There is genuine believability grounded in honest reactions to what is said, heard, and implied by both.

Sky effectively portrays a petulant Beth, prompting me to question why her mother didn’t kick her out again. As the truth about the events at the Superstore unfolds, Sky adeptly steers Beth away from her moodiness, and the character development reflects a high level of performance. Beth does not deserve the way her boss speaks to her. It’s painful to witness one person treating another in such a manner.

Cheri Maracle’s Francine is a mother who only wants the best for her adult daughter. Francine’s patience has been tested in the past. Maracle convincingly conveys an authentic emotional response following her daughter’s outburst, which prompts a reaction any mother would rightfully express to a daughter in the wrong because of her behaviour.

In her Director’s Note in the programme, Jessica Carmichael has written one dizzying run-on sentence of 19 lines. ‘There is’ is repeated throughout the sentence. Along with phrases such as ‘colonialism broke us’ and ‘there are no guarantees’, Carmichael quotes biblical Beatitudes – ‘Blessed are the merciful’; ‘’Blessed are the meek’ are just two.

Although I may not fully understand the central idea behind the paragraph, I can connect to certain statements. To name only two examples, ‘There is Questioning’ and ‘There is What is Not Fair.’

I’ve re-iterated how it’s taking me time to keep learning about Indigenous culture. My understanding begins to grow in small chunks. That’s what I did as a teacher with some students – make chunks for learning.

Jessica, is this what you intended me to take away from your Programme note? If so, thank you for letting me know it’s okay to continue learning about Indigenous culture bit by bit.

Running time: approximately 90 minutes with no intermission.

The production runs until March 29 at the Buddies in Bad Times Theatre, 12 Alexander Street, Toronto. For tickets: https://www.showpass.com/o/buddies-in-bad-times-theatre/

NATIVE EARTH PERFORMING ARTS and BUDDIES IN BAD TIMES THEATRE present
“There is Violence, and There is Righteous Violence, and There Is Death, or The Born-Again Crow” by Caleigh Crow

Directed by Jessica Carmichael
Set Design, Animal Prop Design and mask design by Shannon Lea Doyle
Lighting Design: Hailey Verbonac
Sound Design: Chris Ross-Ewart
Fight Director: Jenn Dzialoszynski
Stage Manager: Ferne Hudson

Performers: Tara Sky, Cheri Maracle, Dan Mousseau, Madison Walsh