Indian Princesses

Tweet

When playwright Eliana Theologides Rodriguez, who is half Yaki (Mexican indigenous) and half Tewa (New Mexican indigenous) on her mother’s side, was ten, she and her sister were enrolled by their father in the YMCA father-daughter program called “Indian Princesses” which was intended to help children of color connect with their roots. If her play Indian Princesses recreating the summer of 2008 during the recent economic crisis is any evidence, the program was blissfully incapable of accomplishing that goal. However, it did allow the pre-teens to meet and bond with other BIPOC children while their clueless fathers may have learned something about their cultures or confusions.

Set in the American Midwest, The Spirit Squirrels troupe are founded by leader Glen, given the honorary title of Chief, an employee of the YMCA, for white fathers with daughters of color. Glen has entered his half white, half Japanese granddaughter Samantha (we never learn anything about her parents.) His religious bent has confused Samantha a great deal to the point where she is always accusing herself of sin. Chris, a lawyer formerly from New York, who has had to move due to a new job, has brought his stepdaughters, Lily, age 11, and her biological younger sister Hazel, age 9. Lily, a budding actress, dreams of playing Penny in Hairspray while Hazel seems to live in her shadow. Chris, described “as very wise” by one of the girls always attempts to be politically correct but sometimes entirely misses the boat by revealing too much or hurting someone else’s feelings.

The others include Andi, age 12, a tomboy who is half-white and half Mexican. Her father Mac is in construction and has very conservative views. Andi is having trouble dealing with the death of her mother six months before and pretends to the others that she is still alive. Wayne is out of work and actively looking for a job. His adopted daughter Maisey, age ten, is Black and believes she has inherited supernatural powers from her ancestors. Normally these girls would not meet as they all go to different schools. Director Miranda Cornell helps give each a separate personality, but is not quite so good at letting us know who is who by name, although she did direct the world premiere at the La Jolla Playhouse.

The humor is implicit like the girls misunderstanding the Native American Storyteller’s Stick or the purpose of the arts and crafts. When they all go to compete at the annual festival at Camp Catoni, Glen writes a “play” not a skit called America the Beautiful the Play which contains a great many misconceptions about our history. The girls are disgusted when Lily, their best singer, joins the prize-winning Buffalo Besties who always seem to win because of their use of gymnastics while Lily is hoping to be cast in a part in Hairspray but is rejected as not white enough. During their performance, Chris tries to correct misconceptions but manages to step on Lily’s song. Along the way, the fathers who have tried to protect their daughters by not discussing certain things about their heritage discover their mistakes from questions from their daughters.

The play is interesting and enlightening for those of us not aware of this chapter of American history. However, the author doesn’t make it easy for the audience to follow the characters: all nine characters, fathers and daughters, are introduced simultaneously in the first scene so that it is difficult to know who is who and who goes with which. There are ways of introducing a great many characters in groups so that we can keep them differentiated but Rodriguez has not done that. Plus the characters do not always call each other by name which would help sort out the confusion.

Among the girls, three come to forefront: Anissa Marie Griego’s pretentious and ambitious Lily, Rebecca Jimenez’s Andi, the most mature and grown up of the bunch, and Lark White’s Maisey with her supernatural explanation for everything. Haley Wong’s Samantha and Serenity Mariana’s Hazel fall through the cracks as they have a great deal less to do, characters who are often needing things to be explained to them. The same is true of the fathers: we get to know some better than others. Frank Wood’s clueless, religious and cheerful Glen is recognizable as he is the leader of the troupe. Greg Keller (who appeared in the similar The Thanksgiving Play) has a great of stage time and is often misunderstood by the others. Fairly reticent is Pete Simpson as Mac still grieving over his wife’s death and intimidated among these more educated men. We see the least of Ben Beckley’s Wayne who is off actively seeking a new job.

While creating a suitable environment, the production team has not solved all of the play’s problems. Emmie Finckel’s sets are excellent for the group scenes at the rec center and the camp, but are not so satisfactory for the scenes set elsewhere. You may be surprised to find that some scenes are supposed to take place in the girl’s homes which are not defined except by lighting. Initially Sarafina Bush’s costumes define each character, but eventually all the girls are wearing the same pink logo t-shirt which makes it hard to distinguish them. Mextly Couzin’s lighting seems to have divided all the scenes between day and nighttime.

Eliana Theologides Rodriguez’s Indian Princesses is a revealing and gentle story of racism that BIPOC children face even from their own families. The portraits of their well-meaning  fathers who want the best for them but do no not know how to go about it are well drawn and compassionate. The five young actresses as the campers give excellent performances though they are not equally well defined. This Atlantic Theater Company and Rattlestick Theater coproduction introduces a talented new playwright to New York, one who has a great deal to say and has a unique viewpoint.

Indian Princesses (through June 7, 2026)

Atlantic Theater Company and Rattlestick Theater

Linda Gross Theater, 336 West 20^th Street, in Manhattan

For tickets, call 646-462-2220 or visit http://www.atlantictheater.org

Running time: one hour and 55 minutes without an intermission