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.