It has been quite a long while since I’ve seen a production that transcends conventional understanding of theater. Wusatoumuduk: We Make It Burn is one of those productions. As the program notes, the original play was “envisioned by Wiyot culture-bearer Marnie Atkins and collaboratively written by an inter-tribal group with direct connections to local efforts to restore fire to the landscape,” with writing credits to Maggie Peters (Yurok/Karuk), Merry Kate Lowry (Anishinaabe and Wyandot Decendent), Solomon Everta (Turtle Mountain Chippewa), and Marnie Atkins (Wiyot) with Artistic Directors Michelle Hernandez (Wiyot) and Zuzka Sabata. Its existence is a gift to the world that inspires creativity and excites possibility. When combined with its aesthetic beauty, the experience becomes more akin to a ceremony that feels far more important than a humble play; it’s soul satiating.
This multimedia presentation, directed by Tara Moses, follows stressed Lou (Mel Resendez) as they navigate the reconciliation of culture and colonialism amidst personal and emotional challenges. Lou and brother Thomas (Chingwe Padraig Sullivan) live with Aunt Della (Charli Crustal Perez) after the death of their Da’sh in a wildland firefighting incident. While Lou struggles with their professor Daggett’s (Doranna Benker Gilkey) microaggressions and “proper” source materials, Della and frequent visitor, cousin Chuchk (K’nek’nek Lowry) attempt to connect. Their aunt and brother also devise the best way to unveil that Thomas is following in their Da’sh footsteps into wildland firefighting, knowing it will trigger Lou’s traumas. Della urges Lou to participate in cultural practices to help them process the ways fire (vus in Soulatluk) is presenting in their life. They explore why they resist and choose to approach the stresses on their own terms, with varying outcomes.
The performance I attended, protected in the shadows created by new moon stars with the bite of cold carrying the impending winter, touched me with a reverence that I rarely experience in a theatrical presentation. The voice of one of the last Native Soulatluk speakers Della Prince telling a traditional story enacted through exquisite puppetry and projections inculcates the audience with the beauty, strength and spirit of the people directly connected with the land that hosts the production. It simultaneously grounds the action and elevates an overall entertaining piece into work that is essential and whose effects are far greater than any individual part.
Sullivan, through the difficulties of a shorting microphone, commands space and connects with special charisma. I might give them permission to “invade” fellow actors’ space as sometimes a physical retreat is antithetical to heightened emotions. Lowry’s comedic timing and comfort is a joy to witness. Being vulnerable when they are deeply hurt may add more dimension to their character and solidify relationships with others. Resendez successfully carries the emotional conflict of the show. Unexplained angst is a difficult disposition to sustain for over an hour. I suggest creating dimension by fighting for the things that they love in immediate situations rather than being consumed by things that happened to the character in approaching dramatic conflict. Perez’s acting debut is natural. An actor’s breath is the method by which the instrument (the body) works. Using breath to propel instinct and connect with emotions as opposed to clearing and resetting in search of lines will immediately elevate performance. Gilkey is believable and surefooted. I would give her full permission to stand by their character’s beliefs (as racist as they are) because their character is not a caricature nor exaggerated, rather the amalgamation of an entire community of educators that sustain the character’s beliefs. The truer to the source, the more effective the point.
Aesthetically the show is radiant. Underscoring the fact that everything is built, performed, struck and transported every day, it is nothing short of miraculous. The dynamic storybook set (James Hildenbrant) flawlessly folds and unfolds for contrasting spaces and has sliding redwood trees revealing a screen, housing exceptional projections and puppetry (Laura Munoz). Spike Foster’s lighting design is beautiful (as always) and they don’t shine lights directly in the audience’s eyes. The sound design (Jahni Caldwell and Zuka Sabata) is as good (better?) than those indoors even with the challenges of passing cars and lack of container. All the designs work in tandem to deliver an exceptionally beautiful show that amplifies and uses the outdoor space brilliantly and creates an ethereal atmosphere for the spirit of the production to shine.
Quite simply, missing this show is definitely missing out.
Sugarbush Hill Moving Lhatsik’s production of Wusatoumuduk: We Make It Burn continues with free 7:30 p.m. outdoor performances at public parks around Humboldt County. Visit wemakeitburn.com on Instagram @Wusatoumuduk for the full schedule and alternative locations in the event of inclement weather. Audience members are encouraged to bring camping chairs, blankets, headlamps or flashlights, and dress warmly.
Tiggerbouncer Custodio (he/she/they) is an empowered queer Indigenous Filipino artist whose works have been seen on Humboldt stages and elsewhere.
This article appears in Big Backyard Visitors.