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Culture Theatre

>>> Mistatim

MISTATIM by Erin Shields, based on a concept by Sandra Laronde (Red Sky/Young Peoples Theatre, 165 Front East). Runs to February 19, see youngpeoplestheatre.ca for schedule. $10-$34. 416-862-2222. Rating: NNNN

A boy, a girl and a horse sounds like the perfect start for a childrens story.

But Mistatim, written by Erin Shields and based on a concept by Red Sky Performances Sandra Laronde, is more than just an entertaining narrative. It also deals with trust, two worlds seemingly far apart and a tragic segment of Canadian history.

Red-headed Calvin (Brendan McMurtry-Howlett), whose father breeds horses, and Speck (Sera-Lys McArthur), a native girl, are initially separated by a fence, one that keeps the white and aboriginal communities apart. It also traps a wild horse (Carlos Rivera, wearing a clever mask designed and built by Karen Rodd) firmly, uncomfortably, on Calvins side of the barrier.

Determined to break and ride the untamed horse to prove himself to his father, Calvin turns out to be fearful of both the animal and his parent. With the help of Speck, who has an instinctive way of communicating with the animal, the boy learns patience and gets help in overcoming his fears.

Its telling that Calvins name for the horse is Bruiser, while Speck calls him Mistatim, the Cree word for horse. The first sets up an adversary, the second acknowledges the animals basic nature.

Speck, who both lives and is schooled on a reserve, also has a back story. On her side of the fence, shes carved the names of family and friends dear to her, those who lived in residential schools. Credit designer Andy Moro with expressive videos of the prairies and the night sky as well as the rotating set, which shows us the characters worlds from different viewpoints.

Over the course of the show, the children remove the various boundaries that keep them apart, including the fence that imprisons Mistatim. Part of their growing closeness comes from sharing how they feel about the adults who care for them: Calvin for his angry father, Speck for her sad kookum (grandmother), whose family has suffered in a residential school. Sharing and getting feedback gives each child a better understanding of the other as well as the grown-ups in their lives.

One of the strengths of the script and the production, directed by Andrea Donaldson, is the relaying of the horrors of the school, woven so well into the fabric of the show that theres no sense of our being taught a (necessary) history lesson. The writing falters only in the last few minutes, where an ending of spirited dance and song feels too easy and a bit simplistic.

The cast is strong, too. Riveras horse is sensitive and expressive (the performer co-choreographed Mistatims movement with Laronde), while McArthur and McMurtry-Howlett give the children a believable growth path. The scene in which the two ride off on Mistatims back vibrates with energetic freedom and thrilling, eye-opening discovery.

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