Review: HONOR BEAT at Theatre Calgary Starts The Season Right

In a world struggling to find connection, how strange that we're brought together in one place to witness the beautiful love and ultimate separation of a family, in an oddly comforting way. I was so grateful to be among the audience during opening weekend of the World Premiere of "Honor Beat", presented at Theatre Calgary - the stunning season opener for their 51st season.

Originally developed in 2017 as part of FUSE: The New Play Development Program, the show tells the story of two indigenous sisters, brought together as their mother lays in a palliative hospital room in Toronto, Ontario. She went to sleep one night and never woke up and now the two sisters - Anna-Rae and Rae-Anna - must make the right decision for the entire family. Guided by their mother's spirit, and her favourite nurse Spanish, the sisters reconcile and remember the life of the woman who raised them to be strong, independent woman with resilient hearts.

To say the least, this is a beautiful story. And one that might be hard to hear. Playwright Tara Beagan does not shy away from the challenging topics, baring a lifetime of pain in just over two hours. A main topic of the show is their mother's life in an Indian Residential School - a topic I encourage my readers to educate themselves on. How do you even begin to talk about the horrors that those who are still alive to talk about it deal with every day? With honesty, a little anger, and a lot of tears. These actors brought all of it.

But this story is so much more than calling out an entire nation on it's horrific past; it's about family. And I think director Michelle Thrush - whose Award winning One-woman show "Inner Elder" will appear at the Big Secret Theatre from October 23rd to 27th - really encapsulated the message.

It's a story about motherhood and the strength of the matriarch to care for her family. The mother, played by Paula-Jean Prudat, gave a stunning performance as the youthful spirit of an aged woman with the wisdom of her years and a constant gentleness that even I, in the back of the theatre, found soothing.

I admit, I spent too much of the first act stuck in my own head; and that is due, in part, to Monique Mojica who played the older sister, Anna-Rae. You see Mojica, though the older of the two, carried herself so lightly and played such a petulant free-spirit that I began to overanalyze the character dynamics of sisterhood. I came to realize that families are not character tropes, they are human and varied. Monique Mojica shattered my expectations of what this show would be by simply being herself.

Tracey Nepinak as Rae-Anna was unexpectedly quite a comedic - or at least lighter - role in my mind. The weed smoking, mother of two, pretends to have her life in order because she's much more practically minded than her idolized older sibling but when the chips are down, we see how closed off and in need of affection she truly is. I saw her journey quite clearly and enjoyed traveling with her, praying for her to finally see her mother for who she was before the end.

Speaking of which, this show was visually very well put together. Designer Andy Moro used a mix of tactile set and projection to show the world around them. While they never physically leave the hospital, we see how their minds travel through forests and down roads, twisting and bursting with colour despite their beige surroundings. Without providing any spoilers, the ending of this two-act play moved me to tears. The use of colour and music truly touched the entire audience.

The original music and vocals by Pura Fé, combined with Deanna H. Choi's sound design created a fulfilling palate of sound to fill the silence when needed and guided the audience through a serene auditory journey. Music inspires movement and I enjoyed seeing the actor's different reactions to the songs they sang - how it brought them together.

I would have liked to see more of Bernard Starlight, playing Nurse Hector, nicknamed Spanish. His character is so crucial to the progression of the story, and we're given much of his history but I so rarely saw his reactions to the world around him. While Spanish is not the focus of the story, I believe he is a very important part of it and I thought Bernard Starlight brought something very endearing and almost naïve to the role - despite the heavy subject matter.

And what heavy subject matter, indeed. "Honor Beat" deals with family, motherhood, rape, residential schools, identity, and trauma; leaving the audience stunned to silence and moved to their feet. What made it so much more special was to see an entire cast, plus the majority of the crew and creative team, of Indigenous artists gracing the stage at the Max Bell Theatre - some for the very first time. I see this show as fantastic step forward for the Calgary theatre community in terms of inclusivity, storytelling, and collaboration.

A question that stayed with me long after the lights came up was asked by Anne-Rae as she struggles to cope with the idea of losing her mother: "Who will I be when she is gone?" It's a question I'm sure every daughter asks - certainly one I've pondered. Who am I without my mother, what will I become without her to guide me? It's such a wonderfully vulnerable moment for Anne-Rae and even now, I believe that question sums up the show quite nicely. Who will these women become when their mother is gone? Are they ready?

I sincerely hope you have an opportunity to see "Honor Beat" playing at the Max Bell Theatre in the Arts Commons from September 4th to 29th.

Please note that there are counselors on-site throughout the entire run due to the sensitive subject matter.

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