YMCA’s Indian Princesses was originally established in the mid-1950s. The objective was to nurture the bond between white fathers and daughters with Native American heritage. The good intentions that were behind the launch of the project are evident in Eliana Theologides Rodriguez’s play Indian Princesses, alongside the residual anger she felt after participating in the culturally deaf program with her sister. The financial stresses that emerged in the aftermath of the global market crisis of 2008 had forced her father to uproot his family just at a time when she needed stability and connection. The summer’s activities only added to her pain; resentment over the organization’s false narrative followed.
Fortunately for theater-goers, Rodriguez’s approaches her complex feelings about the appropriation that passed for honoring traditions with humor and compassion. A carefully composed Playbill insert provides helpful background to her simmering creative process. She has drawn on the similar experiences of other women of color to round out the narrative and included a Mexican American and an adopted African American in her cast of characters.
Five immensely talented adult actresses — Anissa Marie Griego (Lily), Rebecca Jimenez (Andi), Serenity Mariana (Hazel), Lark White (Maisey), and Haley Wong (Samantha) — portray girls ages 9 to 12. The audience is with them from the moment of their initial meeting at a YMCA somewhere in the midwest. So expressive and open are their faces that the constant fidgeting under the direction of Miranda Cornell is an irksome distraction from the authenticity that radiates from their interactions. The actors playing the white fathers — Ben Beckley (Wayne, adoptive father of Maisey), Greg Keller (Chris, stepfather to Lily and Hazel), Pete Simpson (Mac, widowed father of Andi) and Frank Wood (Glen, Indian Princesses program leader and Samantha’s grandfather) — are given narrower paths to tread, but each does so with commitment and warmth.
Photo by Ahron R. Foster.
The naive and questioning viewpoint of kids about identify, racism and family relationships is critical to the success of the piece. In absence of true insight, they’ve each designed their own personal mythology. While the girls approach their camp assignments such as decorating mini canoe paddles with colored masking tape with glum obedience they also draw ever closer to each other with genuine curiosity.
Co-produced by Rattlestick Theater and Atlantic Theater Company, this comedic social commentary is playing in the Linda Gross Theater. A converted church — its arched windows and wide beams still in view — has more than its share of staging challenges. The creative team has served this production well. Set designer Emmie Finckel gets the muted in-need-of-a-paint-job colors and multi-purpose arrangement of a Y room just right and adds a wildflower strewn strip downstage to serve as the more magical outdoor clearing. A car interior is among the areas of focus defined by Mextly Couzin’s shrewd lighting. Sound design by Salvador Zamora is beautifully woven into the dialogue.
Currently scheduled to run through Sunday, June 7, Indian Princesses is a comedy derived from discomfort. Though there are dark memories behind its creation, the story is rooted in love and empathy, resulting in both warm laughs and distressing cringes. Performances are in the Linda Gross Theater at 336 West 20th Street between 8th and 9th Avenues. There is an accessible entrance through the courtyard to the west of the main door. The house is shallow with a decent rake and staggered seating. Tickets range from $56.50 for standing room to $131.50 for “Tier 3”. Running time is nearly two hours without an intermission. In related news, the restrooms are downstairs and the elevator is very small. Visit https://atlantictheater.org/production/indian-princesses/ for tickets and further information.
The Unforgettable Line 