By Upstaged Reviewer Charlotte
|
Set in 1898 in the Yukon Territory, North-West Canada, this play also subtly projects the untold stories of the reality of the Residential Schools in the area, which resulted in thousands of children’s deaths at the hands of Christian Churches and the Canadian Government’s Department of Indian Affairs. Conflicted between the traditions of her native people and the new, unfamiliar, hostile society she finds herself in, Lyzbet struggles to fit in until she adopts a wolf pup, whom she names ‘White Fang’. Together, they explore the land and learn of their ancestors’ ways, growing into a fierce duo of hunters. However, when the arrogant, dishonourable Beauty Smith decides to separate Lyzbet from her home, he threatens to destroy her last connection with her past and origin, so she must discover who she truly is - who really is White Fang, the wolf or the girl?
One of the most striking features of this theatre piece was the use of sound, song and lighting to create the atmosphere and setting. During the transitions between scenes, the company (consisting of six people) would break out of character (yet still remaining in complete focus) and begin singing original folk-style songs, with one person starting first, then everyone joining in one by one; there was no use of backing tracks, so there was only the simple sound of the beautiful, pure harmonies. This also emphasized the traditions from Lyzbet’s native background. The director also uses complete blackouts during transitions between scenes, which builds up suspense and, since there is a close proximity between the stage and audience, causes a fear of the wolf or characters jumping out, taking the audience by surprise (although this does not actually happen in the play).
In addition, the use of puppetry makes this piece even more unique. The wolf ‘White Fang’ is a realistic puppet, with fur and a detailed face, and is operated by two people (the actors and actresses take turns in this job). At the beginning of the play, the campfire on centre stage is taken apart to reveal parts of the wolf pup and transformed into a running wolf. This image of the running wolf is also depicted at the end of the play, therefore could be seen as a symbol foreshadowing how Lyzbet , throughout the play, is chasing after answers as to who she is.
|
The Park Theatre has two spaces, Park 200 and Park 90. White Fang is in Park 90, a relatively small theatre, with the stage in one corner and the audience sat around it, therefore provides an intimate space for the director to explore the issues in this piece with the audience. The stage has wooden flooring on a bed of snow and a grey curtain upstage, which opens to reveal a wooden cabin, which is equipped with a table, a few stools, some rope, a lamp, whiskey bottles and a small fireplace. The cosy cabin gives a feeling of warmth and safety, whereas, when the curtain is drawn, the scene is always set outside in the snow, therefore the grey colour depicts the cold and ice.
What makes White Fang so captivating is the moral behind the storyline, which, for me, is the struggle of finding identity, facing discrimination and how hatred towards others simply due to their racial background or gender is wrong. The racial and gender discrimination is clearly shown in the story when a villager would not trade with Lyzbet, purely because she is both an Indian and a girl. Despite this play being set in 1898, these issues are still relevant in today’s society, therefore the way Lyzbet stands her ground and does not listen to what Beauty and the other traders say about what she should or should not do as an Indian girl is inspiring.
|
During her journey of discovering her identity, Lyzbet also realizes the way that she has been tackling discrimination against her, which was to shut everyone out and always keep her guard up, may not be the best way, because she learns that some people actually care for her and try to help her (such as her friend Curly). From this, the audience can learn that there should be a balance of standing your ground and listening to others, because if Lyzbet had been completely obstinate, she would never have ventured out into the world.
Overall, this is a brilliant production for people aged 12+ (as it is quite a complex and serious play), who are interested in plays with a moral and lessons they can take away. Since this play has an important message of always being true to who you are, I feel it is a must watch.