400 Kilometres
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About this ebook
400 Kilometres is the third play in Drew Hayden Taylor’s hilarious and heart-wrenching identity-politics trilogy. Janice Wirth, a thirty-something urban professional, having discovered her roots as the Ojibway orphan Grace Wabung in Someday, and having visited her birth family on the Otter Lake Reserve in Only Drunks and Children Tell the Truth, is pregnant, and must now come to grips with the question of her “true identity.” Her adoptive parents have just retired, and are about to sell their house to embark on a quest for their own identity by “returning” to England. Meanwhile, the Native father of her child-to-be is attempting to convince Janice/Grace that their new generation’s future lies with their “own people” at Otter Lake.
Which path for the future is Janice/Grace to choose, for herself, her families and her child, having spent a lifetime caught between the questions of “what I am” and “who I am”?
Cast of 3 women and 2 men.
Drew Hayden Taylor
Ojibway writer Drew Hayden Taylor is from the Curve Lake Reserve in Ontario. Hailed by the Montreal Gazette as one of Canada’s leading Native dramatists, he writes for the screen as well as the stage and contributes regularly to North American Native periodicals and national newspapers. His plays have garnered many prestigious awards, and his beguiling and perceptive storytelling style has enthralled audiences in Canada, the United States and Germany. His 1998 play Only Drunks and Children Tell the Truth has been anthologized in Seventh Generation: An Anthology of Native American Plays, published by the Theatre Communications Group. Although based in Toronto, Taylor has travelled extensively throughout North America, honouring requests to read from his work and to attend arts festivals, workshops and productions of his plays. He was also invited to Robert Redford’s Sundance Institute in California, where he taught a series of seminars on the depiction of Native characters in fiction, drama and film. One of his most established bodies of work includes what he calls the Blues Quartet, an ongoing, outrageous and often farcical examination of Native and non-Native stereotypes.
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400 Kilometres - Drew Hayden Taylor
ACT ONE
Scene One
Lights up on ANNE WABUNG, an elderly Native
woman sitting somewhere in the theatre, a fair
distance from much younger JANICE
WIRTH/GRACE WABUNG who is sitting on the
dark stage. ANNE is talking while sewing white
baby clothes, her voice searching out and finding
JANICE/GRACE. She exudes a warm, motherly
personality which JANICE is drawn to. JANICE does
not move, nor speak but ANNE has her full
attention.
ANNE
Did I ever tell you where the name Otter Lake
came from? No? Well, then I should tell you. It’s
important that you know about the place you
come from. Now, as my grandfather tells it, and
keep in mind this isn’t necessarily gospel. If the
story wasn’t interesting enough, my grandfather
was known to add a few details here and there to
make it really interesting. It seems that a long
time ago, the Chuganosh … that’s what we called
white people, were still trying to figure this land
out. These fur traders came paddling their way
up Otter Lake one day. In this one particular
canoe were a bunch of scruffy Frenchmen and a
Jesuit. They were looking to build a settlement of
some kind to trade for furs with the
Annishnawbe. That’s us. And much like
Columbus, the Chuganosh were lost. Somewhere
along the way, they took the wrong river or lake,
the one they were looking for was a couple miles
up stream. But the Jesuit was sure they were in
the right lake and started to give orders about
setting up camp, but the French guide started
arguing with him. He knew they were in the
wrong place. They were supposed to be in the
other lake. He kept trying to tell that to the
Jesuit who refused to listen. No, no,
the guide
kept saying in his thick French accent, "that is de
ot’er lake. De ot’er lake." That is why we are
known as the Otter Lake Band of the Great
Ojibway Nation. It only goes to show, Grace, that
regardless of where the name comes from, it can
still be a place to be proud of.
Scene Two
Lights up on the home of LLOYD and THERESA
WIRTH, a well-to-do older non-Native couple
enjoying their retirement. The house, in particular
the living room, is tastefully and expensively
decorated with knick-knacks from around the
world. THERESA enters the room and checks
herself in the mirror. She is dressed for an evening
out.
THERESA
Darling, did I leave my earrings on the dresser?
There is silence.
Darling?
Annoyed, she opens a small drawer, rustles
around and pulls out a small device.
I swear, that man …
She exits, still muttering. There is a pause, then
she enters again, putting her earrings in.
Keep your hearing aid in. I hate talking to
myself.
She is followed by LLOYD WIRTH, a mature man
also set for an evening out.
LLOYD
Why? Keeps the plants healthy.
THERESA
I’m serious Lloyd, you’ve already lost three of
those since you got them.
LLOYD
Yes dear. You look splendid.
THERESA
I look fat.
LLOYD
I like women with a little meat on them.
THERESA gives him a stern look.
Then again, maybe I don’t.
THERESA
At my age, maybe I should stop wearing dresses
that are so tight. What do you think?
LLOYD
It’s questions like this that make me lose my
hearing aids. Wear whatever you want. Are you
ready yet?
THERESA
Almost.
LLOYD
Translation: at least another 20