2023-05-18 19:302023-05-27 21:0060Canada/Eastern🎟 NAC: Little Red Warrior and His Lawyer
https://nac-cna.ca/en/event/30732
In-person event
NAC Indigenous Theatre in association with Theatre Calgary presents the Belfry Theatre and Savage Society production of Little Red Warrior and His Lawyer.
From director and Governor General’s Award-winning playwright Kevin Loring of the Nlaka’pamux Nation comes a wickedly funny satire about power, politics, and procreation.
Little Red Warrior, the last remaining member of the Little Red Warrior First Nation, discovers construction has begun on his ancestral lands. In a fit of rage,...
A Note From The Artistic Director, Indigenous Theatre
I'm excited to welcome you to the closing show of our 2022-23 Indigenous Theatre season, Little Red Warrior and His Lawyer!
There's a clear message in this play—land back. Indigenous sovereignty trumps all. Ottawa is unceded Algonquin territory. It was never lost in war or treatied away; we pretend that Canada can do as it does. But, when you reach the bottom of it, it's occupied territory on Indigenous land.I hope people will be a little bit scandalized by the show, find it funny and get a kick out of it. I hope people think about things differently.
We're so thrilled to have you here with us and look forward to seeing you next season.
Kevin Loring (Nlaka’pamux, Lytton First Nation) is a Canadian playwright, actor, and director, currently serving as the first Artistic Director of Indigenous Theatre at the National Arts Centre. He has received numerous accolades, including the Governor General’s Award for English-language drama and the Jessie Richardson Award for Outstanding Original Script for Where the Blood Mixes (2009), which also received a nomination for the Dora Mavor Moore Award for Outstanding New Play. His 2019 work, Thanks for Giving, was shortlisted for the Governor General’s Award for Drama.
Loring began his studies at Cariboo College (now Thompson Rivers University) and completed his theatre education at Studio 58, Langara College. He was recognized as a distinguished alumnus by Thompson Rivers University in 2015 and later awarded an honorary doctorate in 2024. In 2017, he received the REVEAL Indigenous Arts Award from the Hnatyshyn Foundation, and in 2021, he was recognized with an honorary doctorate from the University of Ottawa.
As an actor, Loring’s stage credits include Saint Carmen of the Main, The Ecstasy of Rita Joe, and an all-Indigenous production of King Lear at the National Arts Centre in 2012. He has appeared in film and television series, including Arctic Air, Health Nutz, Pathfinder and Bones of Crows. His writing credits feature Little Red Warrior and His Lawyer, Battle of the Birds, and The Boy Who Was Abandoned. In 2023, he collaborated with true-crime author Peter Edwards on Lytton: Climate Change, Colonialism and Life Before the Fire, reflecting on the community’s history and its significance to the Nlaka’pamux people after the devastating wildfire in 2021.
Loring has served as co-curator of the Talking Stick Festival, Artist in Residence at the Vancouver Playhouse Theatre, and current Artistic Director of Savage Society in Vancouver.
Membre de la Première Nation Nlaka’pamux de Lytton, Kevin Loring est un dramaturge, un acteur et un metteur en scène canadien; il est le premier et l’actuel directeur artistique du Théâtre autochtone du Centre national des Arts. Il a reçu diverses récompenses, notamment le Prix littéraire du Gouverneur général en théâtre de langue anglaise et le Prix Jessie-Richardson du meilleur texte original pour sa pièce Where the Blood Mixes (2009), qui a également été mise en nomination pour un prix Dora Mavor Moore de la meilleure nouvelle pièce. En 2019, sa pièce Thanks for Giving a été finaliste aux Prix littéraires du Gouverneur général dans la catégorie théâtre de langue anglaise.
Après des études au Collège Cariboo (aujourd’hui l’Université Thompson Rivers), Kevin Loring parfait sa formation au Studio 58 du Collège Langara. L’Université Thompson Rivers lui a remis un Prix de distinction en 2015, avant de lui décerner un doctorat honorifique en 2024. En 2017, il a remporté le prix en art autochtone REVEAL de la Fondation Hnatyshyn et a reçu en 2021 un doctorat honorifique de l’Université d’Ottawa.
Au théâtre, on a pu le voir dans Saint Carmen of the Main, The Ecstasy of Rita Joe, et la production entièrement autochtone de King Lear au Centre national des Arts (2012). Au cinéma et à la télévision, il a joué dans Arctic Air, Health Nutz, Pathfinder (Le sang du guerrier, en VF) et Bones of Crows (L’ombre des corbeaux, en VF). Comme auteur, on lui doit notamment Little Red Warrior and His Lawyer, Battle of the Birds et The Boy Who Was Abandoned. En 2023, il a coécrit avec l’auteur spécialiste en affaires criminelles Peter Edwards, Lytton: Climate Change, Colonialism and Life Before the Fire, un ouvrage qui retrace l’histoire de Lytton et de la communauté Nlaka’pamux et s’interroge sur l’avenir de la ville après l’incendie dévastateur de 2021.
Kevin Loring a œuvré comme coorganisateur du Festival Talking Stick, artiste résident au Vancouver Playhouse Theatre et directeur artistique de la Savage Society à Vancouver.
A Note From The Managing Director, Indigenous Theatre
When I met Kevin as a recent graduate over 20 years ago, we immediately connected over the stories we wanted to tell. Stories that centred our culture and highlighted the strength, resilience and humour we experienced in our communities every day. The fact that Little Red Warrior and His Lawyer is as relevant and as funny now as it was 20 years ago is a testament to Kevin's brilliance and deep understanding of issues that have been with our people for generations.
Lori Marchand took up her role as the first Managing Director of Indigenous Theatre at the National Arts Centre (NAC) in April 2018, where she is ensuring First Nations, Métis and Inuit stories are brought to the national stage. Ms. Marchand is a nationally recognized leader within the professional theatre community who made a significant impact as Executive Director of Western Canada Theatre (WCT) in Kamloops, BC, for 19 seasons. A member of the Syilx First Nation, she has played a key role in the encouragement, development and production of Indigenous work.
Ms. Marchand graduated from UBC in 1985 with a degree in English literature. After experience with the BC Native Women’s Society, as Executive Director of the Ontario Native Women’s Association and then as a human rights officer with the Ontario Human Rights Commission, she returned to her love of theatre in 1989.
After a decade of theatre roles in Alberta and Saskatchewan, she returned to Kamloops in 1999 to join Western Canada Theatre. Her leadership in making live theatre accessible, innovative, powerful and financially sustainable has helped make WCT the southern Interior’s largest professional theatre company; a company recognized for developing new work and new talent, producing work of exceptional caliber and, through partnerships and touring, impacting the national stage.
Her contributions in BC and nationally also include serving in many capacities for the Professional Association of Canadian Theatres, helping to drive policy relevant to all theatre practitioners in Canada. She was an active member of the BC Arts Council from 2010 to 2017, chairing the strategic planning and program committees and serving as vice-chair.
Ms. Marchand was recognized for her commitment to live theatre and the production of Indigenous work that has contributed to the arts and to Reconciliation with a Doctor of Letters, honoris causa, from Thompson Rivers University in June 2018 and with the Mallory Gilbert Leadership Award for outstanding leadership in Canadian Theatre in June 2021.
Lori Marchand a pris ses fonctions comme première directrice générale du théâtre autochtone au Centre national des Arts (CNA) en avril 2018, où elle veille à ce que les histoires des Premières Nations, des Métis et des Inuits soient portées sur la scène nationale. Mme Marchand est un leader reconnu à l’échelle nationale au sein de la communauté théâtrale professionnelle, ayant eu un impact important en tant que directrice générale du Western Canada Theatre (WCT) à Kamloops, en Colombie-Britannique, pendant 19 saisons. Membre de la Première nation de Syilx, elle a joué un rôle essentiel dans l’encouragement, le développement et la production d’œuvres autochtones.
Mme Marchand a obtenu un diplôme en littérature de langue anglaise de l’Université de la Colombie-Britannique en 1985. Après avoir travaillé pour la BC Native Women’s Society, comme directrice générale de l’Ontario Native Women’s Association, puis comme agente des droits de la personne à la Commission ontarienne des droits de la personne, elle s’est remise à sa passion pour le théâtre en 1989.
Après une décennie de rôles théâtraux en Alberta et en Saskatchewan, elle est revenue à Kamloops en 1999 pour se joindre au Western Canada Theatre. Le leadership dont elle a fait preuve pour rendre le théâtre accessible, novateur, puissant et financièrement viable a contribué à faire du WCT la plus grande compagnie théâtrale professionnelle de l'Intérieur-Sud, une compagnie reconnue pour développer de nouvelles œuvres et de nouveaux talents, produire des œuvres de calibre exceptionnel et, grâce à des partenariats et des tournées, avoir un impact sur la scène nationale.
Ses contributions en Colombie-Britannique et à l’échelle nationale comprennent également de nombreuses fonctions au sein de l’Association professionnelle des théâtres canadiens, contribuant à l’élaboration de politiques pertinentes pour tous les praticiens du théâtre au Canada. Elle a été un membre actif du Conseil des arts de la Colombie-Britannique de 2010 à 2017, présidant les comités de planification stratégique et de programmation et occupant le poste de vice-présidente.
Mme Marchand a été récompensée pour son engagement envers le théâtre en direct et la production d’œuvres autochtones qui ont contribué aux arts et à la réconciliation par un doctorat en lettres, honoris causa, de l’Université Thompson Rivers en juin 2018 et avec le Mallory Gilbert Leadership Award pour son leadership exceptionnel dans le théâtre canadien en juin 2021.
As a proud Nlaka’pamux from the Lytton First Nation, Kevin Loring is deeply committed to using his artistry to tell the stories of Indigenous peoples and bring attention to pressing issues. His contributions to the arts and his community are widely recognized and celebrated.
He is a highly accomplished playwright, actor, and director, currently serving as the Artistic Director of Indigenous Theatre at the National Arts Centre. Through his art, he provides a powerful voice for Indigenous culture and history, working to promote awareness, understanding, and appreciation.
More than 20 years ago, Loring conceived the idea for Little Red Warrior and His Lawyer during his theatre studies in Vancouver. As he delved into classic European farces, including those by renowned French playwright Molière, he was reminded of the traditional creation stories of his Salish-speaking Indigenous culture; stories that originate from the interior of what is now British Columbia.
In this Trickster Fable, we are taken through the play from the storyteller's perspective: the Coyote. As Kevin explains, “In Trickster stories, nobody gets away unscathed.”
Touching on weighty topics such as land usage, sovereignty, colonialism, and the historical exclusion of First Nations from having rights to their land, Little Red Warrior and His Lawyer challenges—in a very satirical form—experiences and realities about Canada, our relationship with First Nations people and First Nations people's relationship with the Crown, all while poking fun at everything and everyone.
Kevin Loring (Nlaka’pamux, Lytton First Nation) is a Canadian playwright, actor, and director, currently serving as the first Artistic Director of Indigenous Theatre at the National Arts Centre. He has received numerous accolades, including the Governor General’s Award for English-language drama and the Jessie Richardson Award for Outstanding Original Script for Where the Blood Mixes (2009), which also received a nomination for the Dora Mavor Moore Award for Outstanding New Play. His 2019 work, Thanks for Giving, was shortlisted for the Governor General’s Award for Drama.
Loring began his studies at Cariboo College (now Thompson Rivers University) and completed his theatre education at Studio 58, Langara College. He was recognized as a distinguished alumnus by Thompson Rivers University in 2015 and later awarded an honorary doctorate in 2024. In 2017, he received the REVEAL Indigenous Arts Award from the Hnatyshyn Foundation, and in 2021, he was recognized with an honorary doctorate from the University of Ottawa.
As an actor, Loring’s stage credits include Saint Carmen of the Main, The Ecstasy of Rita Joe, and an all-Indigenous production of King Lear at the National Arts Centre in 2012. He has appeared in film and television series, including Arctic Air, Health Nutz, Pathfinder and Bones of Crows. His writing credits feature Little Red Warrior and His Lawyer, Battle of the Birds, and The Boy Who Was Abandoned. In 2023, he collaborated with true-crime author Peter Edwards on Lytton: Climate Change, Colonialism and Life Before the Fire, reflecting on the community’s history and its significance to the Nlaka’pamux people after the devastating wildfire in 2021.
Loring has served as co-curator of the Talking Stick Festival, Artist in Residence at the Vancouver Playhouse Theatre, and current Artistic Director of Savage Society in Vancouver.
Membre de la Première Nation Nlaka’pamux de Lytton, Kevin Loring est un dramaturge, un acteur et un metteur en scène canadien; il est le premier et l’actuel directeur artistique du Théâtre autochtone du Centre national des Arts. Il a reçu diverses récompenses, notamment le Prix littéraire du Gouverneur général en théâtre de langue anglaise et le Prix Jessie-Richardson du meilleur texte original pour sa pièce Where the Blood Mixes (2009), qui a également été mise en nomination pour un prix Dora Mavor Moore de la meilleure nouvelle pièce. En 2019, sa pièce Thanks for Giving a été finaliste aux Prix littéraires du Gouverneur général dans la catégorie théâtre de langue anglaise.
Après des études au Collège Cariboo (aujourd’hui l’Université Thompson Rivers), Kevin Loring parfait sa formation au Studio 58 du Collège Langara. L’Université Thompson Rivers lui a remis un Prix de distinction en 2015, avant de lui décerner un doctorat honorifique en 2024. En 2017, il a remporté le prix en art autochtone REVEAL de la Fondation Hnatyshyn et a reçu en 2021 un doctorat honorifique de l’Université d’Ottawa.
Au théâtre, on a pu le voir dans Saint Carmen of the Main, The Ecstasy of Rita Joe, et la production entièrement autochtone de King Lear au Centre national des Arts (2012). Au cinéma et à la télévision, il a joué dans Arctic Air, Health Nutz, Pathfinder (Le sang du guerrier, en VF) et Bones of Crows (L’ombre des corbeaux, en VF). Comme auteur, on lui doit notamment Little Red Warrior and His Lawyer, Battle of the Birds et The Boy Who Was Abandoned. En 2023, il a coécrit avec l’auteur spécialiste en affaires criminelles Peter Edwards, Lytton: Climate Change, Colonialism and Life Before the Fire, un ouvrage qui retrace l’histoire de Lytton et de la communauté Nlaka’pamux et s’interroge sur l’avenir de la ville après l’incendie dévastateur de 2021.
Kevin Loring a œuvré comme coorganisateur du Festival Talking Stick, artiste résident au Vancouver Playhouse Theatre et directeur artistique de la Savage Society à Vancouver.
Originally from Ottawa, of mixed settler and Anishinabe decent. A member of the sketch troupe Tonto's Nephews, former Artistic Associate at Native Earth Performing Arts. Toured Darrell Dennis’ Tales of an Urban Indian across Canada and Australia.
Theatre credits: The Darkest Dark (Y.P.T), Detroit (The Coal Mine), Where the Blood Mixes (Soulpepper), Midsummer Night’s Dream (Stratford), The Drawer Boy (Theatre Passe Muraille), Thunderstick (Persephone Theatre), King Lear (N.A.C), Trudeau & Levesque (VideoCaberet)
Television credits: Trickster, Murdoch Mysteries, The Guilt Free Zone, Fool Canada, Air Farce, The Ron James Show, Beyblade and Beyblade: The Movie.
Originaire d’Ottawa, Craig Lauzon est un artiste aux origines anishinaabes et européennes. Ancien associé artistique de Native Earth Performing Arts, il est membre de la troupe comique Tonto's Nephews. Il s’est produit dans tout le Canada et en Australie dans le cadre de la tournée mondiale de la pièce Tales of an Urban Indian de Darrell Dennis.
Au théâtre, on a pu le voir dans The Darkest Dark (Y.P.T), Detroit (The Coal Mine), Where the Blood Mixes (Soulpepper), Midsummer Night’s Dream (Stratford), The Drawer Boy (Theatre Passe Muraille), Thunderstick (Persephone Theatre), King Lear (CNA) et Trudeau & Levesque (VideoCaberet). À la télévision : Trickster, Murdoch Mysteries, The Guilt Free Zone,Fool Canada, Air Farce, The Ron James Show, Beyblade et Beyblade: The Movie.
Nick Miami Benz, Shapeshifter, Storyteller, Self. Nick is a Leo-nominated performance artist trained in dances from the Afro, Latinx and Indigenous diasporas, focusing on the embodiment of animal movements. While studying dance in New York City, they worked as an equestrian for The Metropolitan Opera, which inspired them to return to theatre as an actor and singer. Nick’s acting training is founded on the Meisner technique and voice work through the Lovetri method. Their theatre credits include God’s Lake, Little Red Warrior, Blackhorse and working with Atomic Vaudeville, Mascall Dance, Netflix and John Fluevog. In addition, Nick Miami Benz shares their expertise in movement through holistic exercise coaching in Vancouver.
Nick Miami Benz, métamorphe, est habile à raconter des histoires. Artiste de scène finaliste aux prix LEO, Nick Miami Benz a suivi une formation en danse africaine, latino et autochtone, avec une approche basée sur la reproduction des mouvements des animaux. Pendant ses études en danse à New York, l’artiste participe à un spectacle équestre au Metropolitan Opera, lui donnant envie de revenir au jeu et au chant. Adepte de la technique Meisner (interprétation) et de la méthode LoVetri (chant), Nick Miami Benz a joué au théâtre dans God’s Lake, Little Red Warrior et Blackhorse, en plus de ses collaborations avec Atomic Vaudeville, Mascall Dance, Netflix et John Fluevog. Nick Miami Benz donne des cours d’exercices holistiques à Vancouver sur les différentes postures corporelles.
Luisa is filled with joy to be part of the team bringing the story of Little Red Warrior and His Lawyer to the stage. She was born to immigrant parents on the unceded territory of the Coast Salish Peoples, including the xwməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish), and Səlíl̓wətaʔ/Selilwitulh (Tsleil-Waututh) Nations, where she still lives. She is a performer, teaching artist and coach who loves cooking, eating, laughing and dancing. For performance credits and more detailed biography, please visit luisajojic.com. Enjoy the show!
Luisa Jojic est ravie de faire partie de la distribution de Little Red Warrior and His Lawyer. Née de parents immigrés, elle a grandi sur le territoire non cédé des peuples salish de la côte, y compris les Nations xwməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish) et Səlíl̓wətaʔ/Selilwitulh (Tsleil-Waututh), où elle réside toujours. Elle est interprète, artiste-enseignante et répétitrice. Elle aime danser, s’amuser, cuisiner et déguster de bons plats. Pour en savoir plus sur Luisa Jojic, rendez-vous sur son site Web : luisajojic.com. Bon spectacle!
Kevin had the pleasure of seeing the original production of Little Red Warrior and His Lawyer some years ago at Studio 58 in Vancouver and being in the first professional production last year at the Belfry in Victoria. Most recently, he was on stage in The Father (The Search Party) (Jessie Award - Best Actor), Stupid Fucking Bird (The Search Party), and at the NAC with Little Red Warrior and His Lawyer. His recent film credits include Yellowjackets and Schmigadoon. In 1965, Kevin was part of St. Anthony’s Boys Choir in Calgary and remembered his first ‘studio session’ recording a jingle for the Hudson’s Bay Company’s 295th birthday. In the 1990s, he shot various projects in Calgary for film and TV, including North of 60 and A Good Day To Die, working with Sidney Poitier.
Kevin McNulty a assisté à la production originale de Little Red Warrior and His Lawyer il y a quelques années au Studio 58, à Vancouver, avant d’intégrer l’an passé la distribution de la première production professionnelle au Belfry Theatre, à Victoria. Plus récemment, on a pu le voir au théâtre dans The Father (The Search Party et prix Jessie du meilleur interprète masculin), Stupid Fucking Bird (The Search Party) et Little Red Warrior and His Lawyer (CNA). À la télévision, on a pu le voir dans les séries Yellowjackets et Schmigadoon. En 1965, il fait ses premiers pas dans un studio avec le chœur St. Anthony’s Boys de Calgary pour enregistrer la chanson publicitaire célébrant les 295 ans de la Compagnie de la Baie d’Hudson. Dans les années 1990, il est un habitué des plateaux de télévision et de cinéma à Calgary (North of 60 et A Good Day To Die avec Sidney Poitier).
After disappointing his family by not going into medicine, Shekhar has played doctors in many Films & TV shows, most recently as Dr. Hook in season 3 of Superman & Lois. As well he’s worked in theatres across Canada, including Bard on the Beach, CanStage, Arts Club, Manitoba Theatre Centre, Belfry, Globe, Vancouver Playhouse, and ATP. Shekhar is also an author and playwright—his novel, An Extraordinary Destiny, was published in 2017 by Brindle & Glass; he’s had two children’s books published by Annick Press; and VACT recently produced a workshop of Shekhar’s new play about cancel culture and historic statues Gandhi & Churchill’s Excellent Adventure!
Shekhar Paleja n’a pas fait des études de médecine, au grand désespoir de sa famille. Et pourtant, cela ne l’a pas empêché d’enfiler à plusieurs reprises la blouse blanche au cinéma et à la télévision. Il a notamment campé le rôle de Dr Hook dans la troisième saison de Superman et Lois. On a pu le voir sur les scènes de tout le pays, notamment au Bard on the Beach, à la Canadian Stage, au Arts Club Theatre, au Royal Manitoba Theatre Centre, au Belfry Theatre, au Vancouver Playhouse Theatre et à l’ATP. Auteur et dramaturge, il publie en 2017 un roman intitulé Extraordinary Destiny (Brindle & Glass), et deux albums pour enfants (Annick Press). Gandhi & Churchill’s Excellent Adventure!, sa nouvelle pièce sur la culture du bannissement et les statues historiques, a fait l’objet d’un atelier au Vancouver Asian Canadian Theatre (vAct).
Kevin Loring (Nlaka’pamux, Lytton First Nation) is a Canadian playwright, actor, and director, currently serving as the first Artistic Director of Indigenous Theatre at the National Arts Centre. He has received numerous accolades, including the Governor General’s Award for English-language drama and the Jessie Richardson Award for Outstanding Original Script for Where the Blood Mixes (2009), which also received a nomination for the Dora Mavor Moore Award for Outstanding New Play. His 2019 work, Thanks for Giving, was shortlisted for the Governor General’s Award for Drama.
Loring began his studies at Cariboo College (now Thompson Rivers University) and completed his theatre education at Studio 58, Langara College. He was recognized as a distinguished alumnus by Thompson Rivers University in 2015 and later awarded an honorary doctorate in 2024. In 2017, he received the REVEAL Indigenous Arts Award from the Hnatyshyn Foundation, and in 2021, he was recognized with an honorary doctorate from the University of Ottawa.
As an actor, Loring’s stage credits include Saint Carmen of the Main, The Ecstasy of Rita Joe, and an all-Indigenous production of King Lear at the National Arts Centre in 2012. He has appeared in film and television series, including Arctic Air, Health Nutz, Pathfinder and Bones of Crows. His writing credits feature Little Red Warrior and His Lawyer, Battle of the Birds, and The Boy Who Was Abandoned. In 2023, he collaborated with true-crime author Peter Edwards on Lytton: Climate Change, Colonialism and Life Before the Fire, reflecting on the community’s history and its significance to the Nlaka’pamux people after the devastating wildfire in 2021.
Loring has served as co-curator of the Talking Stick Festival, Artist in Residence at the Vancouver Playhouse Theatre, and current Artistic Director of Savage Society in Vancouver.
Little Red WarriorCraig Lauzon
Originally from Ottawa, of mixed settler and Anishinabe decent. A member of the sketch troupe Tonto's Nephews, former Artistic Associate at Native Earth Performing Arts. Toured Darrell Dennis’ Tales of an Urban Indian across Canada and Australia.
Theatre credits: The Darkest Dark (Y.P.T), Detroit (The Coal Mine), Where the Blood Mixes (Soulpepper), Midsummer Night’s Dream (Stratford), The Drawer Boy (Theatre Passe Muraille), Thunderstick (Persephone Theatre), King Lear (N.A.C), Trudeau & Levesque (VideoCaberet)
Television credits: Trickster, Murdoch Mysteries, The Guilt Free Zone, Fool Canada, Air Farce, The Ron James Show, Beyblade and Beyblade: The Movie.
LizzyNick Miami Benz
Nick Miami Benz, Shapeshifter, Storyteller, Self. Nick is a Leo-nominated performance artist trained in dances from the Afro, Latinx and Indigenous diasporas, focusing on the embodiment of animal movements. While studying dance in New York City, they worked as an equestrian for The Metropolitan Opera, which inspired them to return to theatre as an actor and singer. Nick’s acting training is founded on the Meisner technique and voice work through the Lovetri method. Their theatre credits include God’s Lake, Little Red Warrior, Blackhorse and working with Atomic Vaudeville, Mascall Dance, Netflix and John Fluevog. In addition, Nick Miami Benz shares their expertise in movement through holistic exercise coaching in Vancouver.
DesdemonaLuisa Jojic
Luisa is filled with joy to be part of the team bringing the story of Little Red Warrior and His Lawyer to the stage. She was born to immigrant parents on the unceded territory of the Coast Salish Peoples, including the xwməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish), and Səlíl̓wətaʔ/Selilwitulh (Tsleil-Waututh) Nations, where she still lives. She is a performer, teaching artist and coach who loves cooking, eating, laughing and dancing. For performance credits and more detailed biography, please visit luisajojic.com. Enjoy the show!
FloydKevin McNulty
Kevin had the pleasure of seeing the original production of Little Red Warrior and His Lawyer some years ago at Studio 58 in Vancouver and being in the first professional production last year at the Belfry in Victoria. Most recently, he was on stage in The Father (The Search Party) (Jessie Award - Best Actor), Stupid Fucking Bird (The Search Party), and at the NAC with Little Red Warrior and His Lawyer. His recent film credits include Yellowjackets and Schmigadoon. In 1965, Kevin was part of St. Anthony’s Boys Choir in Calgary and remembered his first ‘studio session’ recording a jingle for the Hudson’s Bay Company’s 295th birthday. In the 1990s, he shot various projects in Calgary for film and TV, including North of 60 and A Good Day To Die, working with Sidney Poitier.
LarryShekhar Paleja
After disappointing his family by not going into medicine, Shekhar has played doctors in many Films & TV shows, most recently as Dr. Hook in season 3 of Superman & Lois. As well he’s worked in theatres across Canada, including Bard on the Beach, CanStage, Arts Club, Manitoba Theatre Centre, Belfry, Globe, Vancouver Playhouse, and ATP. Shekhar is also an author and playwright—his novel, An Extraordinary Destiny, was published in 2017 by Brindle & Glass; he’s had two children’s books published by Annick Press; and VACT recently produced a workshop of Shekhar’s new play about cancel culture and historic statues Gandhi & Churchill’s Excellent Adventure!
Samantha McCue(she/her) is Anishinaabekwe from the Chippewas of Georgina Island and Ned’u’ten from Lake Babine First Nation. She grew up on the Musqueam Reserve in Vancouver, BC, and currently lives in Ottawa. Samantha graduated from York University’s Theatre Production program in 2017. Selected design credits include: Selected design credits include The Breathing Hole (National Arts Centre); Kamloopa (Soulpepper Theatre Company, Western Canada Theatre), Where The Blood Mixes (Soulpepper Theatre Company), Little Red Warrior and his Lawyer (Belfry Theatre), I Am William (Stratford Festival), Honour Beat (The Grand), Aqsarniit (Confederation Centre of the Arts), The Monument (Factory Theatre), Thanks For Giving (Arts Club Theatre Company). sammccuedesign.com
Samantha McCue est une Anishinaabekwe des Chippewas de Georgina Island et Ned’u’ten de la Première Nation du lac Babine. Elle a grandi sur la réserve de Musqueam à Vancouver, en Colombie-Britannique, et vit actuellement à Ottawa. Elle a obtenu son diplôme en production théâtrale de l’Université York en 2017. Parmi ses faits d’armes en tant que conceptrice, mentionnons The Breathing Hole (Centre national des Arts); Kamloopa (Soulpepper Theatre Company, Western Canada Theatre), Where The Blood Mixes (Soulpepper Theatre Company), Little Red Warrior and his Lawyer (Belfry Theatre), I Am William (Festival de Stratford), Honour Beat (The Grand), Aqsarniit (Centre des arts de la Confédération), The Monument (Factory Theatre) et Thanks For Giving (Arts Club Theatre Company). Instagram : @sammccuedesign. Site Web : sammccuedesign.com.
Jeff is a four-time Jessie Award winning lighting designer for his work on Carousel Theatre’s Pharaoh Serket & the Lost Stone of Fire, Patrick Street Theatre’s Floyd Collins, Pi Theatre’s Blasted and Arts Club’s Hand to God. He is a graduate of SFU’s School for the Contemporary Arts, attended the Banff Centre for the Performing Arts and is a member of the Associated Designers of Canada.
Établi à Vancouver, Jeff Harrison est le lauréat de quatre prix Jessie pour ses conceptions d’éclairages dans les productions PharaohSerket & the Lost Stone of Fire (Carousel Theatre), Floyd Collins (Patrick Street Theatre), Blasted (Pi Theatre) et Hand to God (Arts Club). Il est membre de l’Association des designers canadiens (AIEST, section locale ADC659). Il a également conçu les éclairages de Little Red Warrior & His Lawyer (Savage Society), Beautiful Man (Pi Theatre), Batboy the Musical et The Full Monty (Patrick Street Theatre), Children of God (Urban Ink), Beneath Springhill (Arts Club) et Women of the Fur Trade (Théâtre autochtone du CNA).
A sound designer and electronic music composer, Troy recently scored and designed the sound for the new CBC Gem series The Bannocking by Damien Eagle Bear and designed the sound and produced the beats for the audio play Black Fly by Amy Lee Lavoie & Omari Newton. Upcoming, he will be doing the sound design and composition for Blithe Spirit at The Shaw Festival. In addition, Troy has created original music and sound design for over 50 theatrical productions. Highlights include The Lamentable Tragedy of Sal Capone (NAC), The Rez Sisters (Belfry), and Buried Child (NAC/Segal Centre). Select Film/TV credits include sound design and original music for Looking at Edward Curtis (Knowledge Network); MIA (Salmon) (TIFF, VIFF); and sound design for documentary features The Road Forward, That Higher Level, True North - The Rise of Toronto Basketball (NFB); Grey Roads (HOTDOCS 2021). Troy has been nominated for a Soirée Des Masques Award, several Mecca and META Awards, and won the Jessie Richardson Award for Outstanding Sound Design for The Pipeline Project (ITSAZOO/Savage Society).
Concepteur sonore et compositeur de musique électronique, Troy Slocum a signé la trame sonore de la série The Bannocking de Damien Eagle Bear diffusée sur CBC Gem et des rythmes sonores de la pièce radiophonique Black Fly d’Amy Lee Lavoie et Omari Newton. Prochainement, il composera la bande sonore de la pièce Blithe Spirit au Festival Shaw. Il a composé la musique originale et la trame sonore de plus de 50 productions théâtrales, notamment The Lamentable Tragedy of Sal Capone (CNA), The Rez Sisters (Belfry) et Buried Child (CNA/Centre Segal). Au cinéma et à la télévision, on a pu entendre ses créations dans Looking at Edward Curtis (Knowledge Network) et MIA (Salmon) (TIFF et VIFF Centre), et dans les documentaires The Road Forward, That Higher Level, Direction nord – La montée du basketball à Toronto (ONF) et Grey Roads (HOTDOCS 2021). Finaliste à la Soirée des Masques, aux Montréal English Critics Circle Awards (MECCA) et aux prix du Théâtre anglais de Montréal (META), Troy Slocum a remporté le prix Jessie Richardson de la meilleure conception sonore pour The Pipeline Project (ITSAZOO/Savage Society).
Candelario Andrade is a video editor and media designer based in Vancouver. Recent theatre design credits include: Women Of The Fur Trade (NAC, Native Earth, GCTC); Zahak (The Biting School); Julius Caesar (Bard on the Beach); I Carry Your Heart With Me (egg theatre); Little Red and His Lawyer (Savage Society/Belfry/NAC); Tree Drum (Theatre Terrific); Mom’s the Word Talking Turkey (Arts Club); White Girls in Moccasins (The Frank); Six of One (Studio 58); White Noise (Savage Society/Firehall); Clean/Espejos (Neworld) and DYMISH (Theatre Replacement). Recent editing credits include Bard on The Beach feature film Done/Undone; Belfry Theatre digital productions (2020-2021), as well as the short films: Common Law; a film about a uterus and The Day My Cat Saved My Life. In recent years, Cande has edited several short films and projects for Mochizuki Studios and has worked as an editor and promo producer for Knowledge Network and the Vancouver International Film Festival.
Candelario Andrade est un monteur et un concepteur de médias établi à Vancouver. Parmi ses récentes contributions en conception, mentionnons Women Of The Fur Trade (CNA, Native Earth, GCTC); Zahak (The Biting School); Julius Caesar (Bard on the Beach); I Carry Your Heart With Me (Egg Theatre); Little Red and His Lawyer (Savage Society, Belfry Theatre et CNA); Tree Drum (Theatre Terrific); Mom’s the Word Talking Turkey (Arts Club); White Girls in Moccasins (The Frank); Six of One (Studio 58); White Noise (Savage Society et Firehall); Clean/Espejos (Neworld) et DYMISH (Theatre Replacement). Comme monteur, il a travaillé sur le long métrage Done/Undone (Bard on The Beach), les productions numériques du Belfry Theatre (2021–2021), et les courts métrages Common Law, A film about a uterus et The Day My Cat Saved My Life. Récemment, Candelario Andrade a réalisé le montage de plusieurs courts métrages et projets pour le studio Mochizuki et a travaillé comme monteur et producteur promotionnel pour la chaîne de télévision Knowledge Network, et le Festival international du film de Vancouver.
Tai Amy Grauman (MFA) is Métis Cree with ties to Haudenosaunee voyageurs from Ardrossan Alberta. She is a Callihoo as well as a Beauregard and her family comes from a community in Alberta formerly known as St. Paul des Métis. She is the first elected Provincial Women’s Representative as part of the first Otipemisiawk Métis Government within Alberta.
“I have done a lot but I think the people who got me here are more important than what I have accomplished.
First of all, my Mom and Dad are my foundation. They gave me the space to experience the wonderful and magical world of theatre. Thank you for the ponies, the music and dance lessons and all the love that made all my beautiful dreams come to life.
I would also like to thank Savage Society for everything they have done for me. I would not have this artistic career without their unfaltering support. Kevin and Chelsea, thank you for teaching me the true meaning of loyalty, mentorship, community and how powerful storytelling can be.
Last but definitely not least, I would like to thank the Métis Nation of Alberta and Audrey Poitras for her 28 years of leadership. I would not be here today without all the Métis leaders in Alberta who came before me. Thank you for giving us our stories back.”
Tai Amy Grauman est une métisse crie qui a des liens avec les voyageurs haudenosaunees d’Ardrossan, en Alberta. Callihoo et Beauregard, elle est issue d’une famille originaire de Saint-Paul (anciennement Saint-Paul-des-Métis), en Alberta. Elle est la première représentante pour les femmes élue du premier gouvernement métis Otipemisiwak de l’Alberta.
« J’ai une vie bien remplie. Mais ces accomplissements ne sont rien sans le précieux soutien de mes proches.
Il y a tout d’abord mes parents, qui sont mon socle. Ils m’ont laissée libre de découvrir la beauté et la magie du théâtre Merci pour les leçons de danse, de musique et d’équitation et pour tout cet amour qui m’a permis de réaliser mes beaux rêves d’enfant.
J’aimerais également remercier l’équipe de la Savage Society pour tout ce qu’elle a fait pour moi. Ma carrière artistique n’aurait pas été la même sans son soutien sans faille. Kevin et Chelsea, merci de m’avoir appris le véritable sens des mots « loyauté, mentorat et communauté » et de m’avoir rappelé le pouvoir des contes.
Enfin, et surtout, je tiens à remercier la Nation métisse de l’Alberta et Audrey Poitras pour ses 28 ans de leadership. Je ne serais pas ici sans le travail incroyable de tous les leaders métis qui m’ont précédée. Grâce à vous, nous nous sommes réapproprié nos histoires. »
Hailey is an Afro-Indigenous (Red River Métis) artist and theatre designer. Originally from Inuvik, NWT (on Inuvialuit and Gwich’in land), he trained at the National Theatre School of Canada in production design and technical arts. Lighting, video, watercolour, and digital artwork are his preferred media for storytelling. His primary passion is to support the development of Indigenous stories in Canada. He has been lucky enough to be involved with projects such as Hush by Sylvia Cloutier (2020, NTS), Lovesong for the Thunderbirds by Summer Bralette (2021, Grand Theatre), The Herd by Kenneth Williams (2022, Citadel/Tarragon), Echoes of the Homesick Heart by Laura Michel (2022, WCT), Feather Gardens by Jimmy Blais (2022, Hudson Village Theatre), and Bentboy by Herbie Barnes (2022, YPT). Wiyaatikosiw eeako ooma ohci aacimowinis ekwa otaacimowak. Kinanaskomitin.
Hailey Verbonac est un artiste et un concepteur de théâtre afroautochtone (métis de la rivière Rouge). Originaire de Inuvik, dans les Territoires du Nord-Ouest sur les terres des Gwich’in et des Inuvialuit, il est diplômé du programme de Création et production de l’École nationale de théâtre du Canada. L’éclairage, la vidéo, l’aquarelle et le numérique sont ses médiums de prédilection pour raconter des histoires. Sa passion première est de soutenir la diffusion des histoires autochtones au Canada. Parmi ses collaborations, notons Hush de Sylvia Cloutier (2020, NTS), Lovesong for the Thunderbirds de Summer Bralette (2021, Grand Theatre), The Herd de Kenneth Williams (2022, Citadel/Tarragon), Echoes of the Homesick Heart de Laura Michel (2022, WCT), Feather Gardens de Jimmy Blais (2022, Hudson Village Theatre) et Bentboy de Herbie Barnes (2022, YPT). Wiyaatikosiw eeako ooma ohci aacimowinis ekwa otaacimowak. Kinanaskomitin.
Angela is thrilled to be part of the Little Red team. Some of her other favourite theatre experiences include Hey Viola!,Miss Shakespeare and J. Ceasar (Musical TheatreWorks); Kinky Boots, Thanks For Giving, Hand to God, One Man, Two Guvnors, Venus in Fur, The 39 Steps, It’s A Wonderful Life, Blood Brothers (Arts Club Theatre), Urinetown: The Musical, The Shooting Stage (Firehall Arts Centre), Kill Me Now, Sex in Heaven, Lion in the Streets (Touchstone Theatre). In June 2008, Angela received the Mary Phillips Prize for her behind-the-scenes work. All my love to SJT, forever in my heart.
Angela Beaulieu est ravie de faire partie de l'équipe de la pièce Little Red Warrior and His Lawyer. Au théâtre, elle a collaboré aux productions Hey Viola!, Miss Shakespeare et J. Ceasar (Musical TheatreWorks), Kinky Boots, Thanks For Giving, Hand to God, One Man, Two Guvnors, Venus in Fur, The 39 Steps, It’s A Wonderful Life et Blood Brothers (Arts Club Theatre), Urinetown: The Musical et The Shooting Stage (Firehall Arts Centre), Kill Me Now, Sex in Heaven et Lion in the Streets (Touchstone Theatre). En juin 2008, Angela Beaulieu reçoit le prix Mary Phillips pour son travail en coulisse. « Tout mon amour à SJT, tu resteras toujours dans mon cœur. »
Becca is an Indo-Canadian settler born and raised on lək̓ʷəŋən and W̱SÁNEĆ territory. As a Stage Manager, Becca has artistically supported teams across Canada, from Theatre to Opera to dance. Becca is an avid half marathoner (2:27:12) and two-time marathoner (5:23:36) and holds a BFA in Theatre Production and Management from UVic. For more personal information, write to her mother.
Becca Jorgensen est une Indo-Canadienne qui est née et a grandi sur les territoires des peuples lək̓ʷəŋən et W̱SÁNEĆ. Elle a travaillé partout au Canada comme régisseuse, aussi bien pour des opéras que des spectacles de danse. Adepte du demi-marathon (2 h 27 min 12 s) et du marathon (5 h 23 min 36 s), elle est titulaire d’un baccalauréat en production théâtrale et en régie de l’Université de Victoria. Pour en savoir plus sur elle, veuillez écrire à sa mère.
Lacey is Oneida/Mohawk, Wolf Clan, from Six Nations of the Grand River Reservation. She is a singer/songwriter and an inspirational speaker. Her debut solo album, 528, was independently produced and released in 2013, which put her on the indie music radar and kick-started her career. 528 Volume II M was released in 2017 and took her across Canada, New Zealand, Australia and the UK in 2018-19. Lacey wrote original compositions for the stage play Deer Woman by Tara Beagan, where she also stage-managed the production. Her single “The Shiner” (2020) premiered on APTN’s Amplify series, and she was one of Rogers TV Highlight artists. Recently, Lacey has been acting on NDNS on the Airwaves Comedy Web Series (YouTube) and worked on songs for her third album, 528 Vol 3 The Moon, available on all streaming platforms. Check Out the latest Music Video, “The Conduit,” on YouTube.
Lacey Hill est une Oneida-Mohawk du clan du Loup de la bande Six Nations de Grand River. Elle est auteure-compositrice-interprète et conférencière motivatrice. En 2013, elle sort de l’ombre avec 528, un premier album produit sous étiquette indépendante et se fait un nom sur la scène musicale indépendante. Son deuxième album, 528 Volume II M, paraît en 2017 et l’entraîne dans une tournée internationale au Canada, en Nouvelle-Zélande, en Australie et au Royaume-Uni. On a pu entendre ses talents de compositrice dans la pièce Deer Woman de Tara Beagan, pour laquelle elle a également assuré la régie. Son simple The Shiner (2020) a été diffusé pour la première fois dans la série documentaire Amplify d’APTN. Elle fait partie des artistes coup de cœur de Rogers TV. Récemment, elle a joué dans la série Web humoristique NDNs on the Airwaves (YouTube) et sorti son troisième album, 528 Vol 3 The Moon, disponible sur toutes les plateformes de téléchargement. Le vidéoclip de sa chanson The Conduit est disponible sur YouTube.
Projectionists, Wardrobe Mistresses, Masters and Attendants are members of International Alliance of Theatrical Stage Employees Local 471.
NAC Indigenous Theatre is a member of the Professional Association of Canadian Theatres and engages professional Artists who are members of Canadian Actors' Equity Association under the terms of the jointly negotiated Canadian Theatre Agreement.
NAC Indigenous Theatre Team
Artistic Director
Kevin Loring Managing Director
Lori Marchand Producer
Samantha MacDonald Associate Producer
Sage Nokomis Wright Indigenous Cultural Resident
Mairi Brascoupé Education Coordinator
Kerry Corbiere Technical Director
Spike Lyne Communications Strategist
Ian Hobson Marketing Strategist
Jenna Spagnoli Senior Marketing Manager
Bridget Mooney Associate Producer #ReconcileThis
Paula Chinkiwsky
International Alliance of Theatrical Stage Employees
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