Ladies and gentlemen! Non-binary and two-spirit! May I present to you the amazing true story of Almighty Voice, Cree outlaw and folk hero, and his ride-or-die wife, the fierce White Girl!Almighty Voice and His Wife
Both sides get a powerful treatment in Soulpepper’s landmark production – the first time the company has staged a work by an Indigenous Canadian playwright. I’ll admit I didn’t see the play’s previous major Toronto production, at Native Earth 10 years ago, but I suspect this one may be definitive. Directed with finesse by Jani Lauzon and performed with great spirit and charm by Michaela Washburn and James Dallas Smith, it fully discloses the play’s beauty and its audacity.
It’s a tender tale of love growing through adversity, by turns funny, sexy and moving, a sort of First Nations, with poetic passages and an elegant nine-scene structure that echoes the phases of the moon.
As the Ghost is put through his paces, singing, dancing and mugging, Moses heaps on every Indigenous cliché imaginable, from the relatively benign to the increasingly hateful, all delivered via a stream of bad puns, worse shtick and – in this production – goofy cartoon sound effects.
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