The Frybread Queen reviewed

I attended a preview of Carolyn Dunn's play The Frybread Queen last week. Here's the scoop on it:

"The Frybread Queen" Succeeds As Surprising, Entertaining DramaThe title of Carolyn Dunn's The Frybread Queen is mildly misleading. It's not really about frybread, the Native American staple, although there are several frybread recipes discussed. What the show is truly about is family, and the things people will do to keep it safe. Dunn's play, a world premiere by Native Voices at the Autry, is a successful blend of family comedy/drama and thriller, with an unexpected and intriguing detour into the supernatural. Director Robert Caisley and an accomplished quartet of actresses make this production both entertaining and dramatically compelling.And:Lind is believable throughout as the tough Jessie, but her dramatic scenes seem to work a bit better than the comedic ones. Marlin impresses as peacemaker Carlisle, solicitous of her sister-in-law and niece, and mesmerizes in a monologue where she describes gambling with the dead for her father's soul. Guerrero fully inhabits the ailing but fierce character of Annalee, and she makes the tragedy of the story manifest in her final expressions of horror and sadness. Frances, decked out in black lipstick and purple-streaked hair, is very funny as Lily, making the most out of a monologue where some Native American stereotypes are debunked.Theater Review:  ‘The Frybread Queen’ at the Autry

By David GerhardtWhile it is a distinctly Native American story, the themes that it explores are ones that we can all relate to. Losing a loved one is difficult for everyone, and it affects each of the characters differently. We see these four women bare their hearts and souls to each other, learning that none of them really understands the next. Each one has a secret that changes the story dramatically, and Dunn makes sure that we don’t see those changes coming. To make matters more interesting, the element of the supernatural leaves its mark on the production in very effective ways.

Including ghosts and spirits on stage can be a tricky business. The director, Robert Caisley, and his cast do a masterful job of making the audience believe in this ghost, and force us to fear it. The physicality of the actors, especially Shyla Marlin and Elizabeth Frances, is spot-on and terrifying. Pair that with the dynamic acting by Jane Lind and Kimberly Norris Guerrero and you have a cast that pushes each other beyond what is comfortable for the audience to watch. The audience must witness them tear each other’s beliefs and values apart, which is both difficult and engaging.But a few problems...

The Indian ComethAfter that show, the cast was joined onstage by members of the creative crew and took part in a talkback with the audience called “Peace Over Violence” about The Frybread Queen and the underlying issues of violence the drama delves into. However, some of the white theatergoers saw the violent plot as reinforcing the stereotype of Indians as “savages,” just as Alan Duff’s novel and the screen adaptation of Once Were Warriors was criticized by some (Native and non-Native alike) for perpetuating clichés about New Zealand/Aotearoa’s Maoris.

Dunn maintains that Frybread’s purpose is to end the cycle of violence that persists in indigenous communities and families that began with the coming of the Europeans and their genocidal conquest of what we now call America, or, as the Indians might call it: “How the West was lost.” Fair enough. However, Dunn’s verbal description of her play’s denouement, and that the survival of some of its characters escape an apotheosis of violence and go on to live full, healthy lives may be inferred from the action. But audiences aren’t mind readers, and Dunn needs to take her play, which has been extensively workshopped already, back to the creative drawing board in order to add a finale that makes this crystal clear. After all, Dunn won’t be able to explain what she really meant after each and every curtain fall, and again, playwrights should not expect ticket buyers to be clairvoyants. And ethnic nuances may fly right over the heads of unsophisticated viewers unfamiliar with the peoples being depicted.Theater review:  'The Frybread Queen' at the Autry National Center

By David C. NicholsDunn is a writer of talent and imagination, gifted at exposition and the telling detail, but her plot grows so over-seasoned--spousal abuse, incest and spectral possession are but three complications--that it cannot really breathe, and the explosively abrupt ending sorely needs an epilogue.

That said, each player has her tickling and/or arresting moment. Director Robert Caisley's staging certainly holds attention, as smoothly presented and flavorful as anything the Autry National Center's Native Voices series has yet housed. It suggests what "Frybread" might yet become with remixed ingredients.The "savage" thing didn't even occur to me. The violence seemed like the kind you might find in any dysfunctional family, not something inherent in Indians.

The ending was a bit abrupt and undermotivated, and a final scene might help. But it didn't ruin the play for me.

But I do agree with the comments in the last review. The Frybread Queen has a lot of good ingredients, but they need some remixing.

Background on the play

Also of interest are these articles on the play's history and Native Voices' development of Native playwrights. They explain how you build a Native arts community: with dedication and hard work.

Native Voices Opens Carolyn Dunn’s The Frybread Queen

Frybread Queen Is Poised for a Breakthrough

The last article is by me, so it has to be good. <g>

Here's a paragraph that didn't fit into my article:The novel [precursor to Frybread Queen] was inspired by a trip to Arizona's Lake Powell for camping and water-skiing. Dunn saw a father there who didn't look Native with two sons who did. She started imagining the circumstances that led to that scene.It's not important to know the novel's origin to talk about the play. I just liked the idea of Indians and water-skiing. As with Indians and jousting, those two terms may never have appeared in the same sentence before.

For more on the subject, see Frybread Queen at the Autry and Frybread Queen Explores Tribal Connections.

Below:  Shyla Marlin, Elizabeth Frances, and Jane Lind.

Frybread Queen at the Autry

Native Voices At The Autry Presents THE FRYBREAD QUEENNative Voices at the Autry continues its vital role as the country's only equity theatre company dedicated exclusively to developing work of Native American Playwrights with the world premiere main stage Equity production of The Frybread Queen, which runs from Saturday, March 12 through Sunday, March 27, 2011 (previews begin March 9), at the Wells Fargo Theater at The Autry National Center, Los Angeles. Written by esteemed playwright Carolyn Dunn (Muskogee Creek, Cherokee*) The Frybread Queen is a quietly poetic drama with all the haunting qualities of a Chekhovian tragicomedy--Navajo-style. Native Voices' deep commitment to nurturing new works and seeing them fully realized is illustrated by this production, which is the culmination of the play's pivotal three-and-a-half-year development process shepherded by Native Voices. Robert Caisley, who served as dramaturge during the play's development, directs, and the four-member cast features Jane Lind (Aleut*) as Jessie Burns, Kimberly Norris Guerrero (Colville, Salish-Kootenai, Cherokee*) as AnnaLee Walker Hayne, Shyla Marlin (Choctaw*) as Carlisle Emmanuel Burns, and Elizabeth Frances (Cherokee*) as Lily Savannah Santiago Burns.

The Frybread Queen portrays three generations of strong, opinionated, passionate Native women bound by marriage and family ties who come together for the funeral of a beloved son, and in their grief confront long-simmering tensions and family secrets that threaten to tear them apart. The play addresses many of the challenges facing Native people across the country today, from the erosion of traditional values to the loss of family and tribe and ownership of belonging, elements that factor into the relationships of the women as they struggle to deal with their troubled situation. Each character has her own unique recipe for frybread, a Native American staple, all reflecting their individual attempts to assert some kind of "authority" over the past and to take some kind of control over the future. In competing, both literally and metaphorically, to be the real "frybread queen" in the play, they illustrate the friction between traditional Native ways and contemporary assimilation, from the grandmother's traditional use of lard to her daughter-in-law's "new-fangled" use of self-rising flour.Comment:  For more on the subject, see Frybread Queen Explores Tribal Connections and Developing The Frybread Queen.

Frybread Queen explores tribal connections

‘Frybread Queen’ explores individuals, roles, tribes

By Joe NickellIn Indian Country, frybread isn’t simply food. Though comprised of the simplest ingredients, the humbly named staple sandwiches aspects of culture, family and tribal tradition in its folds. And it’s the meaning, more than the meal, that matters in Carolyn Dunn’s play, “The Frybread Queen,” says Jere Hodgin.

“The interesting thing about the title, each of the women in the play at some point tells the story of how they make frybread; but the frybread itself isn’t the point,” said Hodgin, director of a production of the new play, which opens at the University of Montana tonight. “Rather, it’s something that unifies these women as Natives from different tribes, and that allows some of their different perspectives to come forth.”

For the four women in “The Frybread Queen,” those different perspectives encompass elements of generation, tribe, and family--all of which come to bear when they are called the funeral of an enigmatic man who connects them all.Comment:  For more on the play, see Frybread Queen at University of Montana and Developing The Frybread Queen. For more on frybread, see Review of Losing It with Jillian and Jillian Stirs Frybread Furor.

Below:  "“The Frybread Queen” is presented by The University of Montana School of Theatre and Dance and is co-produced by Native Voices at the Autry and Montana Repertory Theatre."

Frybread Queen at University of Montana

Arigon Starr starring in 'The Frybread Queen' at University of MontanaThe Autry National Center, the School of Theatre & Dance, and the Montana Repertory Theatre are proud to present the newest production from Native Voices at the Autry on the UM-Missoula campus. Native Voices at the Autry is America’s leading Native American theater company.

The Frybread Queen, by Carolyn Dunn (Muskogee Creek), is the winner of the nationwide Native Voices development competition held each year at the Autry and is the first to be mounted in collaboration with The University of Montana and Montana Rep. It is the spirited story of three generations of Navajo women bound by marriage and family ties. They come together to Lake Powell for the funeral of a beloved son, and in their grief, they confront long-simmering tensions and family secrets that threaten to tear them apart.

The Frybread Queen will be mounted in the Masquer Theater on The University of Montana campus September 16-19, and 23-26, starring professional stage actors Jane Lind and Arigon Starr, The University of Montana and Montana Rep alumnus Lily Gladstone, and current UM student Tiffany Meiwald.Comment:  For more on The Frybread Queen, see Developing The Frybread Queen and All About Carolyn Dunn. For more on the subject in general, see Native Plays and Other Stage Shows.

Preview of More than Frybread

Auditions Announced For Next Holt Hamilton Film

'More Than Frybread' slated to begin shooting this summerWith two films already available on store shelves ('Turquoise Rose' and 'Blue Gap Boy'z'), and a third film that is preparing for a fall 2009 theatrical release ('Pete & Cleo'), it's surprising that Holt Hamilton Productions is already gearing up for their fourth feature film currently entitled 'More Than Frybread.'

The film 'More Than Frybread' is the fictional story that follows five individuals from various reservations in the state of Arizona that are going to the First Annual Arizona State Frybread Championships. "It's all about bragging rights in this one. Who really does make the best bread." Hamilton stated. "I was shooting a river trip last summer with the Hualapai Cultural Department and the question came up as to who has better bread. I thought it was an interesting idea and played around with it and then wrote the script a few months later. It should get the adrenaline going for the audience in this one."Comment:  There sure seems to be a lot of Native movies, plays, and books about frybread. Why doesn't someone make a film on the best Native science project, fashion design, or movie?

For more on Hamilton's movies, see Casting Hamilton's New Movies and Followup to Turquoise Rose. For more on the subject in general, see The Best Indian Movies.

Developing The Frybread Queen

Spotlight on playwright Carolyn Dunn for THE FRYBREAD QUEENCarolyn Dunn (Muskogee Creek, Seminole, Cherokee) is a poet, playwright and scholar whose poetry, short fiction, and nonfiction have appeared in numerous journals and anthologies. She's the founding director of the American Indian Theatre Collective and her play Ghost Dance is currently in development with the Los Angeles Theatre Project. She's also a songwriter and member of the all–women Native drum group The Mankillers.

The Frybread Queen centers around three generations of Indian women who have come together for the funeral of a beloved son. The collision of personalities forces them to confront long-simmering tensions that threaten to tear them apart. This play was developed at Native Voices' 2007 Playwrights Retreat and during NV's 2008 First Look Series.

Native Voices: Briefly describe your play.

Carolyn Dunn: Four women, four frybread recipes, one man. Let the beans fall where they may.

NV: What do you hope your play will elicit in an audience member?

CD: That we are all haunted by ghosts and those ghosts can be many things--including home and landscape.Comment:  For more on the subject, see Native Plays and Other Stage Shows.

All about Carolyn Dunn

The “Frybread Queen” is crowned in Los Angeles

By Arigon StarrMs. Dunn is a poet, academic and traditional singer and an outstanding playwright. Carolyn is of Cherokee, Muskogee Creek, and Seminole descent on her father’s side, and is Cajun, French Creole, and Tunica-Biloxi on her mother’s. She grew up in Los Angeles, but her roots are deep within all of Indian Country.

Her most recent play, “The Frybread Queen,” was presented as a staged reading in Los Angeles as part of Native Voices at the Autry’s “First Look” series. Native Voices at the Autry is dedicated to developing and presenting new plays from Native American writers and paired Carolyn with an all female production cast and crew. I was lucky enough to play “Annalee Walker,” and was joined by fellow actresses Kateri Walker, LaVonne Rae Andrews and Rayanna Zargosa and first-time director Jennifer Bobiwash. Early in the rehearsals, we looked around the production table and were amazed and proud to not only recognize ourselves as sister artists–but also Native sisters.

Ms. Dunn’s work has been recognized by the Wordcraft Circle of Storytellers and Writers as Book of the Year for poetry (Outfoxing Coyote, 2002) as well as the Year’s Best in 1999 for her short story Salmon Creek Road Kill, the Native American Music Awards (for the Mankillers CD “Comin to Getcha”) and the Humboldt Area Foundation.

As an academic, Carolyn’s work has primarily focused on landscape in American Indian women’s literature (poetry, prose, and drama), and urban American Indian identity formation in California. Currently, she is a James Irvine Foundation Fellow at the Center for American Studies and Ethnicity at the University of Southern California, where she is pursuing a doctorate. She has taught and developed university curriculum in American Indian literature (poetry and fiction), history, and theatre; she has adapted and directed numerous radio theatre plays as well as staged productions of traditional stories, poems and songs with the American Indian Theatre Collective, Chapa De Indian Youth Theatre Company, The Los Angeles Theater Project and Native Voices at the Autry.

“The Frybread Queen” tells the story of three generations of Indian women, bound by marriage and family ties. They come together for the funeral of a beloved son and in their grief, they confront long simmering tensions and family secrets that threaten to tear them apart.Comment:  For more on the subject, see Native Plays and Other Stage Shows.

Below:  “Frybread Queen” director Jennifer Bobiwash and writer Carolyn Dunn at the Wells Fargo Theater, Autry National Center, in Los Angeles, CA.