Stone and Bone Spectacular – Montreal’s Centaur Theatre

The Centaur Theatre, situated in the area of Vieux Montréal (Old Montréal), is a venue I have always enjoyed visiting over the years, even before I began writing my website. I have experienced some avant-garde performances there, as well as shows that premiered in Toronto before their run in Montréal. I have appreciated observing how the production translates in a different venue.

Stone and Bone Spectacular (running from October 15 to 26) at the Centaur deserves attention. According to the Centaur website, the production is billed as a “vibrant new theatrical experience that reimagines the layered history of Tiohtià:ke (Montreal) and the very land Centaur occupies through a uniquely Kanien’kehá:ka (Mohawk) lens.”

Written and directed by acclaimed theatre-maker Ange Loft and created in collaboration with Clifford E. Lee Award-winning choreographer Barbara Kaneratonni Diabo and performer Iehente Foote, Stone and Bone Spectacular’s large-scale new work is the culmination of Centaur’s inaugural Indigenous Artist Residency.

Recently, I had the opportunity to interview Loft via email, who shared some important information with me.

First, the Centaur’s Indigenous Artist Residency was initiated in 2021. Loft applied with the general framework for the show. Ange was aware of old village sites around the island and wanted to learn more about them. There was a plan to ask some knowledgeable locals for some leads. By asking a few community contributors some questions regarding the early Indigenous history of the island, Loft was pointed to a few key locations, each requiring further research. This further research is also where many of the concepts in the show emerged, revealing themes connected to the discovery of ancestral remains across the island, historic land grievances and shifting colonial regimes.

Early in the process, Ange and the team found they were dealing with some heavy topics. The choice was made to keep the production light and musical. That first phase culminated in a development cycle, already incorporating the Indigenous design team for the final work. For Ange, design is an important part of Stone and Bone. The presence of the design for the development was crucial, knowing that Loft had strong intentions to wrap the whole work in patterns from the pottery shards found around Montréal. Many of the characters, including the burlesque beaver act were inspired by this early design phase.

Each time I see the title Stone and Bone Spectacular, I’m increasingly fascinated by it.

For Loft, the title speaks to the rapid changes around the area of Montréal, particularly in the early days of the city’s development, when archaeological remnants of old village sites were upturned without much care. The community of Kahnawake had been one of the sites in which stone had been quarried, further reducing the minimum reserve land. Ange is proud that the whole show is written with an ear for alliteration. There’s a lot of wordplay and language games. The title, for Ange, rolls off the tongue.

I agree with that statement.

Loft explains further a further understanding of the upcoming production:

“In laying out the tale of the show, framing the growth of Montréal in a time of major changes, punctuated by french violence, and in an attempt to clear the land didn’t work. The island has always maintained an Indigenous presence, including the time on the island at the missions and forts.

Ange proudly told me that the preparatory work for the upcoming show has been interview-oriented, starting with asking questions. From there, there’s a figuring out of the story Loft wanted to share on stage. Ange writes of often working in big images, determining which are the best ones to get to the heart of a historical narrative. Loft tells me further:

“One of the stories we pass through involves the legacy Kahnawake cultural performers dancing on the island as entertainment, annually, including members of the Loft family who performed.”

I’ve seen Barbara Kaneratonni Diabo and Wahsontí:io Kirby’s work on stage in other productions. Loft speaks highly of the other artists. Marie-Celine is an established hoop dancer and performer. Dylan was recently nominated for two METAs for his work in Jordan. Iotaratenion is a creative performer from Kahnawake who trained at Montréal’s National Theatre School. Iehente has been working in stage management and has been part of Loft’s many community-generated works in Toronto.

In this time of reconciliation, stories such as Stone and Bone Spectacular are especially important for as many people to see. Will the production tour to other cities in Québec, along with other stops in Toronto and out West?

Loft remains hopeful there will be more productions of Stone and Bone across Canada. There are no plans at this time to travel when the show concludes its Centaur run.

The Cast and Creative team for Stone and Bone Spectacular include:

Playwright/Director/Co-Creator: Ange Loft

Choreographer/Co-Creator: Barbara Kaneratonni Diabo

Co-Creator/ “Seaway Sister Sandra”: Iehente Foote

“Seaway Sister Suzanne”: Marie-Celine Einish

“Fortune”: Wahsontí:io Kirby

“Two Dogs”: Véronik Picard

“Ramrock”: Iota’keratenion Thomas-Beaton

“Magic”: Dylan Thomas-Bouchier

Scenography: Jay Havens

Costume Design: Lauren Ashley Jiles

Puppet Design: Kaia’tanó:ron Dumoulin Bush