Produced by ThreePenny Theatre Company
Director: Jonah Kirkhart
Light and Sound Opp: Jack Merlot
Abyanna Wood is a sophomore in the Actor Training Program at the University of Utah. She was born and raised in the Salt Lake valley. Abyanna is a proud descendant of the Navajo (Diné) tribe. She is excited to perform again after a hiatus of a year and a half. Abyanna would like to thank her family, friends, and loved ones for their support. She would also like to thank ThreePenny Theatre Co. for giving her the opportunity to be a part of this production.
Jared Dukepoo has been a part of the acting community for many years, performing in venues and film projects throughout Utah and Salt Lake County. He is incredibly grateful for this opportunity to be a part of Three Penny Theater Company’s production of Indian Radio Days!
Jared would like to personally thank his friends and family who continue to support him, and gladly welcomes you, yes you, and hopes you enjoy the show!
Dana fell into theater attending a play about 15 years ago. Since then, she has acted in over 20 plays/musicals, directed 15 plays, costumed 10 plays & attended countless performances. Ouiser is one of her favorite roles to date, along with Miss Skillon in See How They Run and Motormouth Maybelle in Hairspray. Indian Radio Days has been such a fun experience as an indigenous actor and Kiowa woman. She has been professionally represented by Talent Management Group for film/TV for 15 years, concentrating mostly on hosting and industrial videos. Dana enjoys traveling, hiking, singing and has thoroughly enjoyed her weekly trek up from Utah county.
Cami is excited to be performing in her second production with ThreePenny Theatre Company. She previously appeared with the company as Genevieve in last year's production of "John." Over the years of attempting to feed her chronic theatre habit, Cami has been lucky enough to perform with several SLC-area theatre companies, including ThreePenny, Wasatch (WTC), New World Shakespeare, Kallisti, and Silver Summit. She was most recently seen on stage playing Juliet in New World Shakespeare's age-flipped production of "Romeo and Juliet."
Cody O'Hare is a writer, actor, and life-long lover of theatre. He is very excited to see a play he's loved for years finally have a performance! Fans of ThreePenny Theatre may recall him as an actor in "Rime of the Ancient Mariner" at Great Salt Lake Fringe, or Love and Information earlier this year. As a co-founder of ThreePenny Cody is incredibly happy to be able to put on such a unique representative show, and he hopes you enjoy it as much as he enjoyed making it with this incredible cast.
Jonah Kirkhart is a writer, director, and actor. He’s the artistic director of ThreePenny Theatre Company and co-founder of Busking Bus Theatre Company (@buskingbustheatre). His written works include An American in Beirut (Uptown Theatre), Rime of the Ancient Mariner (ThreePenny Theatre Company), and an upcoming adaptation of The Legends of Sleepy Hollow (Timpanogos Arts Center). He’s directed several others including 21 Chump Street (K-State Directors Lab), Twelfth Night (New World Shakespeare), and Love and Information (ThreePenny Theatre Company).
I must begin truthfully by saying that this directors not, like me, is white, and unfortunately, there’s no getting around it. Which likely leads to the second piece of honesty: “Indian Radio Days: An Evolving Bingo Experience” by Roxy Gordon and LeAnne Howe terrifies me. This show saddles me with questions about appropriation, history, colonialism, and a myriad of other uncomfortable topics. Topics, I will add, that I’ve studied academically and discussed in safe, cushy (mostly white) classrooms. While I understand anti-colonialism in theory, I’d never, really, practiced it, I’d never been on the uncomfortable side of being the bad guy in The Narrative. Narratives have been on my mind through the entire construction of this piece, and I wouldn’t be involved in theatre if I didn’t think narratives have power: they create a crossroads between philosophizing, mythologizing, and humanizing. Unfortunately, The Narrative of white Eurocentric history has consistently dehumanized and demythologized any group that could be labelled as other; therefore, the elements of this production display this battle of narratives. The Native roles and characters of the show spar, work, and battle with the white Eurocentric narrators. As it is in our world, the white storytellers control The Narrative; however, the show also challenges this approach to the ownership of history, science, philosophy, life, land, and culture, and as a director coddled in the post-peri-(and in many ways pro)-colonial world of my upbringing, these challenges to The Narrative are uncomfortable, but I (and ThreePenny) believe this challenge to be useful, valuable, and necessary. While these topics could be, and have been, explored through dramas about the long lasting inter-generational trauma of what de-narrativizing actually does to a culture and person, “Indian Radio Days” instead vies after the incredibly powerful tool of comedy which, somehow, both defuses and amplifies the discomfort of expanding, pushing, and stretching The Narrative. As we witness The Narratives we’ve learned and built topple, you must accomplish the impossible task of finding the reformation of centuries both devastating and comical, apocalyptic and hilarious. I won’t approach this play by suggesting ThreePenny or I are somehow “providing a voice for the voiceless” (as the Kevin Costners or Jane Fondas of this play might suggest); if this play proves anything, it proves that Native people have been speaking for centuries. I hope you approach this play as I have: with open hearts, minds, and ears - in joy, in reverence (or irreverence), in terror.
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