Indigenous stories given wings by peers, playwrights

Hey there, time traveller!
This article was published 24/09/2025 (380 days ago), so information in it may no longer be current.

Six Indigenous storytellers are sharing new works with local audiences this week through Royal Manitoba Theatre Centre’s Pimootayowin: A Festival of New Work.

From October to May, the participants — Martha Troian, Dannielle Morrisseau, Andrea Friesen, Julia Ross, Kirby Fults and Donnie Osler — worked with program director and playwright Ian Ross (FareWel) to learn with and from one another, a peer-focused experience that Friesen, a longtime stagehand and lighting professional, describes as eye-opening.

“The others gave me the strength to continue on telling my story as they said to me, ‘This is a powerful story and it needs to be told and heard.’ Those words will forever sit with me,” says Friesen, whose Redwood Woman — a fact-based story of a young Métis woman raised in Winnipeg’s Child and Family Services System fighting to keep her child — will be read tonight at the Tom Hendry Warehouse.

Friesen, Troian and Fults talked to the Free Press about their experiences working within Pimootayowin, a word that means journey in Anishinaabemowin.

Troian, an investigative journalist, author and member of Obishikokaang (Lac Seul) First Nation, premièred The Creatives — a workplace comedy following Indigenous artists hustling at pop-up markets, trade shows and powwows — on Monday night. Fults, an actor and longtime community worker in Winnipeg whose familial roots are in Rainy River First Nation, will share Dreaming of Him — a story of unearthed family secrets and unplanned reunions — on Friday.

Who or what inspired you to participate in Pimootayowin?

Troian: It has been on my bucket list to write a play for at least a decade or so. In the past I have been involved in theatre, a travelling theatre troupe, and enjoyed it as an observer. I heard of Pimootayowin through Gabriel Daniels, a cohort member from last year.

Fults: Pimootayowin first was introduced to me by my friend Trish Cooper, who is an accomplished playwright (her latest work, Holland, opens at the Warehouse in February) and, more importantly, an amazing mom from our neighbourhood. When I say introduced, I really mean she bullied me for a few years to apply. I am truly grateful for her doing that. When I was accepted, I was deeply shocked and honoured. I have tried to do right by that decision.

Friesen: (Writer and dramaturg) Craig Francis was told by another director the day before the applications were due. We spent the majority of the evening going through the application and submitted it.

What did you learn about the creative process that challenged your own understandings?

Troian: While writing The Creatives, I crafted two acts consisting of five scenes each, utilizing the five main pillars of a story structure. With various story threads to manage, I had to consider which ones to carry through the entire play and which characters or threads would serve a purpose up to a certain point. Additionally, I dedicated time to planning set scenes and transitions within the play. New territory for me!

Fults: The biggest teaching I received had to be that “art” not only is about creating something but that it can also be seen as short for “art”ificial. My writing got stalled when I became concerned that what I was writing was straying too far from what was. (With) this teaching from our mentor Ian Ross, I gave myself the permission to write a story to include and build on other characters as well. This opened up my mind to other possible paths for the characters I was writing and creating.

Friesen: I learned that when you are writing a story based on facts, not everything in that story needs to be complete facts, that it is OK to write off of your imagination to help make the play better or have a smoother flow to it. I also learned that it is OK to just write. It is easier to take things out than to add things in.

Pimootayowin participants get a crash course in theatrical storytelling. Based on your experience in the circle, what advice would you give to other aspiring playwrights as they begin crafting their own scripts?

Troian: My advice would be to: Let go and let in. Take in the experience, be ready, listen, and then go home and reflect. Read and watch as many plays as possible. Look and study the craft that you are immersed in. Follow your gut. If your writing and characters are taking you to an unfamiliar area, explore it!

Fults: Finding the space and time to do work is always going to be a challenge. So I figured that out for myself. I like to be in the centre of our home with all the things happening around me. (That) really worked. I tried listening to music of various genres but landed on classical for the lack of words and the ability to be carried away by it without having to think about it. And coffee.

Friesen: The advice that I would give is to not create too many characters, write as much as you can, and whatever ideas come to mind, take notes and ask questions. Ian Ross is an amazing teacher, and he is more than willing to sit with you one one-on-one to ensure that you are heading in the right direction with your play.

What surprised you most about your experience with Pimootayowin?

Troian: I was nervous! It’s all about stepping out of your comfort zone. I believe it also has to do with how long I’ve been wanting to write a play, too. Working alongside Ian Ross, who has a wealth of knowledge and experience, was a bit intimidating. Melissa Langdon’s expertise was also invaluable.

Fults: I didn’t expect to really love writing. I didn’t expect to become so emotionally involved with the writing and process of my cohort of writers in the circle. I connected with each person with a level of intimacy for their stories that scared and amazed me. They are all so talented and have such great stories to tell.

Friesen: I was surprised by how supportive every participant is. The bonds that were created are everlasting. I was surprised by the knowledge that was shared with us. I knew that Ian was super smart, but when I got to listen to him educate us, he went above and beyond anyone else I have ever seen before.

Are there any other projects you’ve already begun dreaming up?

Troian: In terms of playwriting, I am working on my second play, an Indigenous drama. It focuses on a couple grappling with encroachment on their territory and contemplating a potentially irreversible decision. I feel confident to pursue playwriting endeavours thanks to this program.

Fults: As part of this process, I have started writing two other stories that I feel could be told on the stage. Keeping connected with this cohort of writers from this circle is going to be a huge value to me. The amount of support that (RMTC artistic director) Kelly (Thornton) and Ian have provided us has been quite motivational to continue on, for me. Some people may write one story and be “Good, that’s what I wanted to say,” and be done with it, and that’s OK too. I am inspired.

Friesen: Of course, I am going to be looking into writing a comedy this time. As this was a heavier emotional play, I want to change it up to something that is full of happy tears.

Any other thoughts?

Troian: I believe that having a program like Pimootayowin is crucial, especially for places like MTC. Most mainstream institutions and establishments were not designed with Indigenous people in mind. Our community is diverse, with various lived experiences and stories to share with a wider audience. I would love to see more Indigenous playwrights and plays hit a mainstream stage and regularly be part of their season.

Fults: The process of colonization and residential school has had a multi-generational impact on Indigenous folks in North America. School hasn’t always been seen as a positive thing for me, but learning is always welcome. Kelly and Ian’s approach to supporting Indigenous writing and writers is to be commended and applauded. Keep up the good work. You have my eternal gratitude.

Friesen: To be able to sit and learn from Ian Ross was a great honour. He is someone who really cares about the people in the community and helping people become the best that they can be. The compassion and understanding that come from this group are outstanding, and I would not change that experience for the world.

ben.waldman@freepress.mb.ca