Production Photo from Manahatta
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Manahatta

By Mary Kathryn Nagle Directed by Laurie Woolery World Premiere
March 28 – October 27, 2018 Thomas Theatre

Parallel lives and hidden histories

In this timely world-premiere drama by celebrated playwright, activist and attorney Mary Kathryn Nagle, past and present intertwine. Nagle’s story illuminates the tragic consequences of commercial exploits, including the removal of Native people and the attempted eradication of their culture, that gave rise to the America we know today. Securities trader Jane Snake is torn between worlds. Her return to Wall Street in 2008 brings her to Manahatta (“island of many hills” in Lenape), the homeland her ancestors were violently forced to leave in the 1600s. Meanwhile, her family in Oklahoma struggles to save their language, their culture and their over-mortgaged home. Jane Snake’s return to Manahatta defiantly demonstrates that the Lenape are still here. Directed by Laurie Woolery (The River Bride).

Production of Manahatta and related programs are supported by a grant from the James F. and Marion L. Miller Foundation.

Length: Approximately 95 minutes with no intermission

  • SPONSORS
  • Edgerton New Play Award Logo
  • The Goatie Foundation
  • Ed McCurtain and Jane Dryden
  • PARTNERS
  • Marian and Richard Baldy
  • Lynn Booth and Kent Kresa
  • Sid and Karen DeBoer
  • Wally and Sheila Weisman
  • Jim and Kate Wolf-Pizor
  • Diane C. Yu and Estate of Michael J. Delaney
Suitability Suggestions

The play contains some profanity. Middle and high school students who can handle the language are strongly encouraged to see this fascinating look at the ways that history still resonates today.

Accessibility

The Thomas Theatre is outfitted with an elevator to the theatre level.

The Oregon Shakespeare Festival is committed to accessibility. We recognize the needs of persons with disabilities and strive to make our facilities and productions accessible to all. OSF offers a variety of accommodations, outlined here.

Vidas paralelas e historias escondidas

El pasado y el presente se entrelazan en el estreno mundial de este oportuno drama de la célebre autor, activista y abogada Mary Kathryn Nagle. La historia de Nagle ilumina las trágicas consecuencias de hazañas comerciales, incluso la destitución de gente indígena y el intento de erradicar a su cultura, hechos que dieron lugar a la América que hoy día conocemos. La comerciante de valores Jane Snake está dividida entre mundos. Su regreso a Wall Street in 2008 le trae a Manahatta (“isla de muchos cerros” en Lenape), la patria que sus antepasados indígenas tuvieron que abandonar a fuerza violenta en los años 1600. Mientras tanto, su familia en Oklahoma se esfuerza por salvar a su idioma, su cultura y su casa sobre-hipotecada. El regreso de Jane Snake a Manahatta demuestra de manera desafiante que los Lenape todavía están presentes aquí. Dirigida por Laurie Woolery (La Novia del Río).

La producción de Manahatta y programas relacionados están apoyados por una dotación de la James F. and Marion L. Miller Foundation. 

Sugerencias de idoneidad 

La obra contiene algunas profanidades. Se les anima mucho a los estudiantes de secundaria y preparatoria que puedan manejar el lenguaje, a que vean esta vista fascinante de cómo la historia todavía resuena hoy en día.

Accesibilidad

El Teatro Thomas cuenta con elevador al nivel del teatro.

El Oregon Shakespeare Festival se compromete a la accesibilidad. Reconocemos a las necesidades de los patrones con discapacidades y nos esforzamos a asegurar que nuestras instalaciones y producciones les sean accesibles a todos. OSF ofrece una variedad de acomodaciones, aquí descritas here.

Production Photo of Manahatta
View Full Image with Credit Steven Flores, Tanis Parenteau, Jeffrey King, Sheila Tousey, Rainbow Dickerson. Photo by Jenny Graham.
Production Photo of Manahatta
Steven Flores, Tanis Parenteau, Jeffrey King, Sheila Tousey, Rainbow Dickerson. Photo by Jenny Graham.
e-Luminations: Materializing the Message in Wampum

Picture a midden of shells, fresh from the feasting, piled near the shore of what is now the northeastern United States. Dark and light, broken and whole, these are the material remains of the marine creatures whose salty flesh fed the Indigenous people who gathered here. Mingled together are the exoskeletons of crab and lobster, the shells of the bivalve mollusks (oysters, mussels, clams) and the spiral-shaped shells of the univalve gastropods (snails, whelks).

This gathering was more than just a meal, however. Important business was conducted here: Weapons were laid aside; peace negotiated; words spoken. Minds will remember, but minds are fragile things. Sturdier materials were needed.

And so it is that the hands of Indigenous artisans gathered, from this midden, two kinds of shells: univalve and bivalve, white and purple, whelk and quahog. From the center whorls of the youngest whelk, and from the outer edges of the oldest quahog, beads were painstakingly cut, sanded, drilled and strung with leather from the tanned hides of deer, and fibers from the pith of dogbane. Woven together, water’s edge, forest thicket, and open fields materialized the message.

In strings, arm’s lengths, or fathoms, these shell beads—called Wampumpeag, or Wampum—encoded and communicated the intentions of those who carried them. Some were used in healing ceremonies and rituals of condolence, or worn as protective adornment. Some were woven into diplomatic collars and belts, and meticulously patterned with symbols. These patterned wampum objects were assigned specific meanings to recall the significance of that encounter, the history of that tribe, or the intentions of those parties.

For centuries, the Indigenous people of these eastern shores—Lenape, Mohegan, Montauk, Narragansett, Niantic, Shinnecock, Wampanoag and others—have made wampum beads. They shared these beads with the Haudenosaunee—Mohawk, Oneida, Onondaga, Cayuga, Seneca and Tuscarora—who perfected the art and science of wampum diplomacy.

Native people shared their understandings of wampum with strangers from across the ocean—Dutch, English, French, and others—who, at times, embraced the protocols of wampum diplomacy as an effective means of building alliances. But during the settler colonial era, these strangers also used wampum beads for money, transmuting the shells of these once-living beings into dead agents of commerce. Wampum was strong, but vulnerable; when war broke out, even wampum belts would be marked with blood. Yet, blood could be washed away by the exchange of good words and good wampum.

And so it is that the hands of Indigenous artisans have always gathered these shells to weave new wampum.

—Dr. Margaret Bruchac 

Reprinted from OSF’s 2018 Illuminations, a 64-page guide to the season’s plays. Members at the Donor level and above and teachers who bring school groups to OSF receive a free copy of Illuminations.

Creative Team

* Member of Actors' Equity Association (AEA)

Cast

Ensemble: Danforth Comins*, Rainbow Dickerson*, Steven Flores, David Kelly*, Jeffrey King*, Tanis Parenteau*, Sheila Tousey*

* Member of Actors' Equity Association (AEA)

Our 2018 Season