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also by Tara Beagan

Dreary and Izzy

The Mill Part 3: The Woods

There is an enduring emptiness created when a child goes missing. Everything and every person is affected. A missing child is an unquantifiable symptom of the greed and corruption of society. No child should have to know that terrible behaviour is possible, yet all too many Indigenous children are subjected to unfathomable wrongs. This play is for those children who bear the weight of the ways in which this world has failed them.

Contents

also by Tara Beagan

Production History

Notes

the reality of this story

place

design

language

Characters

In Spirit

Acknowledgements

About the Author

Copyright

Production History

In Spirit (with the working title Quilchena) debuted through halfbreed productions, in association with Red Pepper Spectacle Arts, as part of the 2007 SummerWorks Performance Festival at the Tarragon Theatre Extraspace in Toronto, Ontario, with the following cast and creative team:

Actor: Michaela Washburn

Designer: Andy Moro

Director: Tara Beagan

Dramaturg: Jovanni Sy

Stage Manager: Jennifer Lau

This early version of the play was later produced as part of Factory Theatre’s 2009 CrossCurrents Festival with actor Paula Jean Prudat. It was further workshopped by Native Earth Performing Arts individually and as part of the twenty-sixth Weesageechak Begins to Dance Festival in November 2013.

The full production was first produced by Native Earth Performing Arts in 2014 at Full Circle’s Talking Stick Festival with the following cast and creative team:

Actor: Sera-Lys McArthur

Designer: Andy Moro

Director: Tara Beagan

Stage Manager: Mike Lewandowski

Supplemental Rehearsal Director: Jessica Carmichael

The current, revised version is with thanks to the Queen’s University Drama Department 2014, Gregory Wanless, Tim Fort, Adair Redish, and the George Taylor Richardson Memorial Fund.

In Spirit was the creation that forged an artistic alliance between Tara Beagan and Andy Moro, and is now their company ARTICLE 11’s creative property.

Notes

the reality of this story

This play would not exist if not for the courage of those who remain. With the blessing of a relative who survived great loss, I have undertaken the creation of this play to honour her daughter and the effects that the grievous loss of a life and of lost potential can have on a community. Names and identifying details have been changed.

Every missing and murdered person has her own story. This is one fictionalized account inspired by all too many true stories.

place

The Ntlaka’pamux word for Grannie is Yuh’yuh. The accent is on the first syllable and there is a glottal stop between syllables, which is noted with the apostrophe.

design

All non-textual elements appear either as sound, light, or video. When they appear without a space between the lines, they take place concurrently. Similarly, when they appear before or after a stage direction, they take place as that action takes place. The Super 8 segments are the size of a large 1970s television screen.

language

Molly is an extremely intelligent twelve-year-old, yet she still has her doubts in this adult world. These doubts manifest in “upspeak,” or in sentences that sound like questions — they go up in pitch toward the end — even if they are statements. They are noted with a question mark in parentheses following a sentence, like so.(?) Further, Molly struggles to understand her world, so her thoughts often trail off. When she can intuit the end of the thought but cannot bear to speak it, the end of the thought appears in parentheses . . . (like so). Occasionally, the beginning of a thought appears in parentheses because she is searching for the assembly of a thought. (Exactly) like so.

Characters

Molly, twelve years old