Empathy Theatre Project’s musical is based on the Oak Flat controversy that pits mining against sacred land
The conflict between an indigenous tribe desperately trying to hold on to its ancestral river and the desire of the non-indigenous residents to exploit the same land may be a familiar story. In a new collaboration, Alex Walker, a tribal elder from the Mesquakie community in Iowa and Cordelia Zars, a playwright and composer from Colorado, created the Empathy Theatre Project’s production of We’re Still Here. The story involves a (fictional) tug-of-war over a proposed copper mine on sacred land that would destroy the river running through. The action is seen through the eyes of two families living in the town of Temple, Iowa.
The collaboration between Walker and Zars grew out of years of research and interviews with Native activists and descendants of miners at Oak Flat, Arizona. The story is based on a similar conflict there that arose on sacred Apache land accompanied by the promise of economic rejuvenation to the nearby town.
The story unfolds as experienced by two families – one Native American and one not – where the immediate needs and desires of each family seem readily apparent. Yet we learn that the two groups are remarkably similar. Each has suffered tragedies in the past and now struggles to survive while the prospect of destruction of their respective way of life escalates around them. It appears only one side can win: either the preservation of the river in its natural state or extraction of the valuable copper resource to the detriment of the property.
The empathy for both sides is drawn out through the developing romance between Maggie (the daughter of the local city manager and her alcoholic husband) and Zander (the grandson of the tribal elder who is raising Zander and his sister after their parents died in a drunk-driving accident). Maggie (Lainey Martin) and Zander (Minh-Anh Day) share many things along with their growing romance: their youth, a love of painting and devotion to their families. And yet, as their attachment grows to one another, they struggle with how to remain aligned with their family’s priorities — which will inevitably destroy the other one’s foundation. Like Romeo & Juliet, they keep their relationship secret to avoid criticism and rejection. As the tension mounts, they desperately seek a path to salvage their relationship and the needs of their families.
A simple production, with music
The production is relatively simple, allowing the story and the performances unfold without distraction. Three musicians accompany the actors onstage during the musical numbers. The set is mostly free-flowing furniture pieces and other props in the open black box. There’s a large mural painting on one side of the stage depicting two hands, palms up as if offering a collection of the river water within them. Another nice touch is an ever-present length of dark or light blue silk maintained and manipulated across the floor by a series of “river spirits.” The silk is cleverly rotated around the floor to delineate whether we are in Zander’s house or Maggie’s – or somewhere else. The lighting is minimal yet effective as we move from scene to scene.
Each of the main characters in the two families exhibits their own personal passion over the past as well as the prospective future if the copper mine proceeds – or doesn’t. Maggie’s parents — played by Sarah Duttlinger and M. Shane Grant — both feel desperate about their economic circumstance but do not agree that the future mine is the best solution for the family. Maggie’s mother can barely contain her excitement at the potential infusion of “billions” into the local economy. Her father wants his daughter to follow her dreams to attend art school in Rhode Island rather than remain stagnant in their hometown.
Zander’s grandfather and sister Ariel, played by Eric Kills A Hundred and Aria Summer Wallace, are both passionate about the need to preserve the ancestral land and the river running through. Ariel expresses her emotions explicitly through her (not always kind) words or song while Eric Kills A Hundred as the grandfather appears more reserved yet still devoted.
The dialogue flows easily. The score slightly less so – a bit stilted at times or suffering from multiple voices that are not entirely entwined. As a whole, the story was well told even if somewhat predictable in the end. Although the intent was to cultivate empathy around issues that divide us as Americans, the parallels to the present conflict in Gaza were looming in the background, underscoring the importance of and need for empathy well beyond our country’s shores.
I found the show very, very moving. Yes, it’s simply produced and directed. It’s a debut production staged by a community theatre. The melodies are piercing and catchy, however. And the real strength of the show is the deep, nuanced, sincere collaboration achieved by the co-writers, the cast, and the musicians. WE’RE STILL HERE is original, fresh, and powerful. I’m still thinking about it every day.
I thoroughly enjoyed this musical! The cast was an amazing blend of experienced actors and people who had never acted before and brought a genuineness to their roles that I’ve never seen in any theater performance. The music was wonderful and days later, I am still humming many of the songs. The pit crew of three professional musicians were a perfect addition to a narrative that depicted, with empathy and sensitivity, the perspective of an indigenous community and the struggles faced by families in isolated, rural communities. Bravo Empathy Theatre Project! I look forward to more shows like this one.