“If you can’t name who you’re supposed to be paying reparation to, you obviously can’t even begin,” Larissa FastHorse says.
On Thursday, the playwright Larissa FastHorse will become the first Native American woman to have a play produced on Broadway. In “The Thanksgiving Play,” a satire that has already been staged across the country, four performers struggle to devise a school pageant that is historically accurate and respectful of Native peoples but won’t leave the audience feeling terrible—a tall order, presented comedically, that the characters may not be able to pull off.
I do want to go back to ballet, because it does seem like this really important part of your life, that you are a professional ballet dancer. How much did your training as a dancer stay with you? Is that a part of your approach as a writer? Do you think about that often when you’re working? So, “The Thanksgiving Play”: it’s about four people who, let’s say, present as white. They’re trying to put on a play about the first Thanksgiving, and often failing to acknowledge this Native presence that they are somehow trying to highlight. I was thinking a lot about, about how we educate our children about topics that might make them feel guilty or upset.
The other thing about Alicia is that she’s brought in specifically not just to be an actorly presence but, like, “We’re going to use her expertise” and “What do you have to say? Please tell us.”Oh, it’s exhausting. [.] I always say I just can’t imagine what it would be like for a white male playwright: like, they just walk into a theatre and they’re just a playwright, and they don’t do anything else. I can’t imagine what that’s like.
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