"Coyote Hunts the Sun" Closing

Ranae Hedman

I tried things a little differently last night. Just before I left, I was listening to Jetty Rae on YouTube and got all inspired to be a musician. So I started playing on my box drum that I’m borrowing from my mom. I packed it with me to the theater, and when house opened, I was the

house music!

Ranae Hedman, Waylon Lenk

The show went fantastically again, and the talk back was once again longer than the show itself. People’s concerns about it maybe moving too fast in parts, script-wise, were apparent to me last night – it did feel like a race across the continent, as opposed to the 20 days one story says it actually took Pihnêefich. Afterwards, during the talk-back, we were able to focus in on where the play needs to be developed. I need to further develop Chris’ characters – the child, the Messiah, and Makataimeshkiakiak – and I need to explore the possibilities of setting it in a class room. After all, the Schoolteacher is the glue that holds Coyote Hunts the Sun together. And, to Ranae’s credit, she makes the role happen. I asked if maybe I should change her stories into the kind that exist in most text-books. Reidy Estevez, one of my students, showed me quite clearly that the answer is “no.” The Schoolteacher’s and Pihnêefich’s tellings of “Coyote and the Sun” form the bookends to the play and the journey – without her telling the colonial histories, there is little or no excuse for her to tell the pikvah.

Chris Petty

Waylon Lenk, Ranae Hedman

So what’s next for Coyote Hunts the Sun? Well, rewrites. I need to explore and develop the characters and their worlds. There are two stories that it seems I need to tell that don’t quite fit into Coyote Hunts the Sun. One is the Ghost Dance story – as I’ve mentioned earlier, I have a pretty strong bias against that particular ceremony, and what that tells me is that I need to learn more about it so that I’m not walking around carrying bad thoughts about those that did it. The second is the cannibal story that I try to tell during the Messiah scene. It was the first scene that I wrote for this play, but I’m realizing more and more that it isn’t part of Coyote Hunts the Sun, but is obviously a story that I feel compelled to tell. I need to tell it separately and get it out of the work at hand.

Ranae Hedman

It was a fun process, and now I have the post show blues. But while this phase of the project is over, we certainly haven’t seen the last of Coyote Hunts the Sun!

Waylon Lenk


 



Waylon Lenk



Ranae Hedman

Waylon Lenk, Chris Petty, Ranae Hedman, Darci Faye







"Coyote Hunts the Sun" Opening

That’s right folks! Coyote Hunts the Sun opened last night! Darci and I got there early to run lights, and that went pretty smoothly. She just needed a little more practice. Then we took a little break to eat dinner and set up the marquee and fold programs, and then Ranae and Chris got there. We ran through it with lights and only one hitch – Chris accidently got locked outside. So we ended up taping the locks down on the doors.

When we finished, we started to do a little photo shoot. I took the first picture, and then the room went dark. Apparently five lights, a laptop and a projector are too much for our poor little Cabaret, and we blew a fuse. We rushed to plug everything that needed to be plugged in to sockets that still had juice, and we tried to pick the lock to the breaker room. We couldn’t, though. I guess that’s I new skill I need to learn on YouTube.

But we got everything rigged up in the nick of time, we got Chris’ stigmata on, and we opened the house (special thanks to Erin Treat for agreeing to be house manager at the last minute).

I killed the house lights, and Darci brought up the stage lights. I gave my little intro about the play, and Native Arts Forum at Wompowog (of which this is the flagship piece – more about that later) and then we started.

Half an hour later we finished. The coyote was cooked and the sun was risen. We took a five, and then started the talk back.

What an informative event! I realized that Coyote Hunts the Sun is not even close to finished. Some of the things that bothered people – like the non-linearity and layered voices – are things that they’re not used too, but that I loved. They’re staying for sure. But I do appreciate that things moved fast, and that combined with the layering makes it easy to get lost. When I start rewriting, I’m definitely going to take more time to develop relationships between Pihnêefich, Wovoka, Makataimeshkiakiak and the Schoolteacher. When I was talking to the two Natives in the audience (that I knew of) afterwards, they brought up that the Schoolteacher was doing exactly what schoolteachers should do – they should talk about the Wounded Knee Massacre and the boarding schools – these are things that the dominant culture has a responsibility to address and take a responsibility for. In the new, longer version then, the Schoolteacher is going to have to tell the stories that we find in history books. You know, how Indians are in the first chapter and then poof! we’re gone.

This version is going remarkably well, though, and I’m really grateful to have Darci, Ranae and Chris on board. But I am finding out where this piece needs to go next, and I can’t wait to learn more tonight.

"Coyote Hunts the Sun" Rehearsal Log, Tech

Last night was our great big tech rehearsal, which went very smoothly. For the first hour, Chris and Darci and I focused the lights and got Darci set up with the light board. It’s her first time running lights ever, so that’s pretty exciting. She’s kind of nervous, but I’m confident that she’ll get it. At 8PM, when Ranae got there, we worked through all the tech cues, and then ran through it cue to cue. Darci’s still getting to know the light board, and, like I say, she’s nervous. But I know that once she familiarizes herself with it a little more, she’ll get confident and it’ll be a breeze.

The lights themselves are awesomely badass. We aren’t messing around with levels, so the high contrasts, along with the dramatic angles in which the lights are focused, give Coyote Hunts the Sun a film noire look. Combine that with the reds and blacks of our costumes, and I feel like I’m in an indigenous Nosferatu or something. The projections look cool, skewed and keystoned against the black cinderblock wall. The whole affect really augments the raw and driving atmosphere of Coyote’s hunt across the continent, and the conflict between him and the Schoolteacher.

"Coyote Hunts the Sun" Poster

"Coyote Hunts the Sun" Rehearsal Log, Dress Rehearsal

Last night we held our first and only dress rehearsal! And I remembered all my lines! Running them before with everybody helped. While we ran them, we painted stigmata on to Chris’ hands for the Messiah scene. He looks super badass/creepy in his black cowboy boots with his black shirt buttoned all the way up.

So we ran lines, and then we ran the show, which happened without a hitch. Darci didn’t even have any notes! She is getting nervous for tech though, because that’s going to be her one shot to learn the light-board. We’ll figure all that out on Wednesday.

Adding the costumes did give me some more information about the play, besides just how cool Chris looks as the Messiah. It didn’t seem to affect anything with Ranae – she always dresses like a teacher anyways – but adding in my hat gives me a good bit of business in the Messiah scene. In it, I have a line, “I have to go find the sun,” that I usually say as I go out the door. Chris’ line, “The sun? The sun will come in the morning. Wait here a while with me,” doesn’t seem to have the force to stop me. That’s always been an awkward part. But having the cap to put back on before I go outside does give me something to do before I open the door.

The blanket that Chris and I wear has a pretty cool effect, at least on him. I haven’t looked at the footage I took last night, so I don’t know how it looks on me. But it adds a substantial bulk to Chris in the Makataimeshkiakiak scene that makes him imposing without him having to really do anything about it.

All in all, a good rehearsal, and one that I filmed! Look forward to the commercial that I’ll be putting out on my YouTube channel (“WaylonLenk”) later today!

"Coyote Hunts the Sun" Rehearsal Log, November 4

This baby has legs! Today we ran this sucker through twice, but before that, Becky and Christina helped Chris and I move the curtain across the space to create our backstage, and we set up the chairs. The space is what it’s going to look like now!

Then we did it for Becky and Christina. Man, that felt good to do it for new people! Ranae said it felt the same for her. B & C couldn’t get over how well she’s doing. They said this idea I had to give her lesson plans instead of lines is sheer genius! It definitely seems like Ranae and Darci are people that we’re all going to be keeping in mind when we cast future stuff.

After our first run, Darci had Chris and I run our lines for the Messiah and Makataimeshkiakiak scenes. It’s a little obscene how poorly I’m doing with memorizing two of the lines I wrote: “It smells good” and – shoot, I can’t remember the other one. Chris and I were a little afraid of Darci when we started doing it again, so the Messiah scene was kind of halting, but other than that the run went well. We’re down to 26 minutes now, and it’s feeling like nuclear fusion! Or fission! Whichever’s cooler. We just decided that before tomorrow night’s rehearsal, Chris and I are going to have to run lines. But once we’re running it, we just have to let it roll.

"Coyote Hunts the Sun" Rehearsal Log, November 2

Last night was a lower key rehearsal, due to my recent cold, in spite of it being our very first walk through. It was good to do the whole thing straight through and to see how it flows, which is nicely.

To start off, we plugged Ranae into the Makataimeshkiakiak sequence. It definitely makes a lot of difference having her teach the lecture notes as opposed to Darci reading them. It heightened the tension in that scene, making it, in my estimation, the most explosive in the play.

Then we walked through it off-book. The first time through we had a lot of stops and starts, mostly due to me not knowing all the lines that I wrote for Pihnêefich yet. But it worked, and ran about half an hour. The second time through was smoother and ran about 27 minutes. It’s great having Darci on the team as the objective eyes in the house. She helped us strengthen the visuals in the Makataimeshkiakiak scene by having Ranae, Chriss and I move into two lit playing spaces separated by a wall of dark, and re-blocking the Introduction by putting the Pihnêefich-Grant physical relationship on a diagonal across the audience.

Know that we all know our lines, we’re ready to run it a few more times on Friday, and then start putting in costumes and tech. We’re going to have a great show next week!

"Coyote Hunts the Sun" Rehearsal Log, October 30

It’s been one heck of a week, and what a productive way to cap it off! This afternoon Darci, Chris and I worked through the Makataimeshkiakiak, or Black Hawk, scene. I’m trying to refer to him by his name in Sauk. It seems more respectful.

Darci had to get there late today, so Chris and I read through the scene several times just getting the feel for it. Several textual changes were in order, but the blocking flowed pretty naturally out of it.

When Darci arrived, she watched the scene. Her note was, “It’ll be interesting to see how it works with Ranae in it.” In this scene, the Schoolteacher is trying to give a lesson while Makataimeshkiakiak and Pihnêefich have their jailhouse scene. The gist is supposed to be competing storytelling. But Ranae couldn’t be with us today, so I asked Darci to step in and read her part. I wasn’t sure it was working, but after talking to Darci and Chris when we were done, I’m convinced that the competing storytelling will work as compelling theater. But we’ll find out for sure when we plug Ranae in on Wednesday.

Now it’s time to rest up. I feel the start of a sore throat coming on.

"Coyote Hunts the Sun" Rehearsal Log, October 29

Today it was just Ranae and me. Torrential weather outside, so perfect weather for telling the story of the Wounded Knee Massacre inside.

The “Wounded Knee Sequence,” as I’m calling it, is really Ranae’s scene, where her character has regained power in the play, and is regaining momentum. The process with all of these lesson plans seems to be to get her comfortable enough telling the story that she can put it into her body. Once she gets to that point she’s really an engaging storyteller.

After we got that sequence up to speed, I had her do all of her lesson plans in sequence without interruptions. The only transition that was tenuous is the one between the stealing of Indian children and the Ghost Dance. That tells me that the Ghost Dance lesson plan is a direct reaction to the Pihnêefich/Messiah scene.

"Coyote Hunts the Sun" Rehearsal Log, October 26

Last night’s rehearsal was smooth sailing. The only troublesome part was hashing out how the songs towards the end are going to work, and the only change I had to make to the script was actually an un-scripting of the car-chase scene. Just like I’ve been creating structures for Ranae to riff on as the Schoolteacher, and for me when I tell the story at the end, I let the words I wrote for the car-chase go, and just riffed on the high points. This allows me to have a much more organic, even flirtatious, relationship with the audience.

The transition songs between the Battle of Kekionga and the final story troubled me at first, because I just wasn’t feeling it as an organic transition. So we tried a thing or two, tweaked this and that, and ended up pretty much with the structure I’d written, with only the minor change of having Ranae sit after she starts singing. My singing, while it felt unmotivated when we started rehearsing it, seems to derive organically from the tension that Ranae and I create in the Battle of Kekionga. The songs do provide the atmospheric bridge that I need between the Battle and the final story.

All in all, I’m pleased with the direction Coyote Hunts the Sun is headed, and I’m especially confident with this final sequence that we rehearsed last night.

"Coyote Hunts the Sun" Rehearsal Log, October 22

Last night we finished the second week of rehearsals with the Ghost Dance sequence. As a playwright, director and actor, I’m excited with how this scene is shaping up, especially since it’s descended from the first scene I wrote for this play. From a storyteller’s perspective, however, I’m concerned with how much I’m leaving out.

In this scene, Pihnêefich confronts the Ghost Dance Messiah, and begins to take control of the story away from the Schoolteacher. Ranae Hedman, who is playing the schoolteacher, is doing fabulously. She’s one of those awesome actors who have a penchant for research, and she came in knowing more about California Indian slavery than I do. She knows the stories better than she thinks she does, and so our process with her is just to get her out of her own head.

The confrontation really works. I hadn’t blocked it out before-hand: I wanted Chris Petty and me to do it and see what happened organically. With my assistant director Darci Faye’s help, we created a tense standoff between two vicious predators. Pihnêefich is, after all, Coyote, and there’s nothing lamblike about this Messiah!

And that’s where I feel I’m not doing the Ghost Dance story justice. I don’t think Wovoka was a bad person, and I think most of the Ghost Dancers did it with their hearts in the right place. After reading Mooney’s The Ghost-Dance Religion and the Sioux Outbreak of 1890, the seminal book on the Ghost Dance, it became clear to me that the tribes that really took to it had seen their religions decimated, and perhaps had already been pushed from their homelands. It’s easy for me, a 21^st century Karuk, to say they should have stuck with their own religions, but in too many cases that was impossible. Do I think they would have been better off if they had? Absolutely, and I take that stance strongly in Coyote Hunts the Sun. Do I appreciate that they were doing the best that they could? Yes, I do, but I’m concerned that that part of the story does not come out in my play.

The Continuing Saga of "Coyote Hunts the Sun"

My friend Becky Goldberg has started a playwrighting workshop at SBU where folks who have written stuff get together and hear their work out loud. We've had two sessions, and I've gotten to hear "CHTS" read both times, and the feedback has been tremendously helpful. After our first session, I knew that the several episodes weren't congealing for the listeners. In response, I added back the Storyteller character from earlier drafts, but gave her a definite character. The key scenes for my proto-audiences seem to be the ones with dueling storytelling, and the key theme that of Native people reasserting an autonomous voice. As such, the Storyteller became a clear antagonist in the role of an academic, well-intentioned but speaking out of turn. This second reading made it clear that, as of now, she's troublingly one-sided. What I plan on doing is rewriting her speeches, or "lessons", as lecture notes or lesson plans, as opposed to scripted dialogue. It is also becoming increasingly clear that my play is heavy on visuals, especially towards the top. To really be sure if it works or not, I'm going to have to see it.

A Rough Chester Pepper Translation

As part of my work on dramatizing "Coyote Hunts the Sun," I've been trying to expose myself to every version of that story I can lay my hands on. I found a recording that Bill Bright made of Chester Pepper telling it - interestingly, it's a different version than the one Bright translated for his Dictionary. That they were different was all I could tell just listening to it, so I sat down with the cassette in my tape recorder, a Word document open on my laptop, and both Karuk dictionaries open on my lap. I worked through it line by line, trying to tell what Chester was saying and then rendering it into English so I could tell what was going on. Here is my very rough translation (the numbers on the first section correspond to the time marker on my tape recorder):

56.              Pihnêefich úum ‘ukúphaanik.

Coyote       it      he-did-anciently.

Coyote did it.

57.              Vúra          ‘xúti             pa  kúusrah u’ahoo     thírav.

(emphatic) He-thinking the sun         he-walks  to trail [like a deer]

He thinks, “I’ll trail the sun where he walks!”

 

58.              Ma’     pa  ta                súpaah tur                (váa tur     pa  vásih)

Uphill the (perfective) day      pack [wood] (he   pack the back)

Uphill the day packs wood, he packs it on his back.

59.              Kumâam                    vúra            hôoy   poo’aramsîiprivtih (tur     vásih)

It-a-little-ways-uphill (emphatic) where no-comes-from       (pack back)

But it doesn’t come from a little ways uphill, where it’s packing! 

60.              Xas   xuti

Then thinks

Then he thinks

Kíri     váa kari uum

I-wish he   still  arrive

“I wish he’d still arrive.”

61.       Pukára   kúusrah úuyroov                 ánsim

            Nobody sun         mountain-upriver  go-to-bed

            Nobody was the sun so he went to sleep in the upriver mountains

62.       Ta               mukfúukraa

            (perfective) his-climbing-up-from-downhill

            He climbs up the hill.

            Vúra          kaan úum maruk fúku

            (emphatic) there he    uphill  climbs

            He climbs uphill there.

63.       Yee  yáxa sáruk       kari vásih pa   kus’

            Well look downhill still  back  the sun

            Well look downhill: it’s still the sun’s back.

            Pa   kum   pa’ahoo

            The some the-walk

            He travels on. 

64.       Koovúra váa kaan  uum

            All          he   there arrive

            He arrives there.

            Kumisha   xas   ta                 vásih pa  kus’

            It’s-water  then (perfective)  back  the sun

            It’s water and he still sees the sun’s back.

65.       Nu vêen vura           vêetshiip             tu                páapvuuy tu                xuti     nu amvaan mûuk   aramsîiprivtih

            We pray (emphatic) start-to-attack    (perfective) the-tail     (perfective) thinks we eater     with      starting-out

            We pray that the tail we think to catch and eat will start out!

66.       Vura           vaa pihnêefich ukúpanik.              That’s all. Vaa vura           kich.

            (Emphatic) he   coyote        he-did-anciently. That’s all.  It’s (emphatic) over.

            Coyote did it. That’s all.

1.         Coyote did it.

2.         He thinks, “I’ll trail the sun where he walks!”

3.         The day packs uphill: he packs it on his back.

4.         But it’s not just a little ways up the hill, where he’s packing!

5.         Then he thinks,

6.         “I wish he’d still arrive.”

7.         Nobody there on the mountain upriver was the sun so he went to sleep.

8.         He climbs up the hill.

9.         He climbs up the hill there.

10.       Well look downhill: it’s still the sun’s back.

11.       He travels on.

12.       He arrives there.

13.       He’s at water and still he sees the sun’s back.

14.       We pray that the tail we think to catch and eat will start out!

15.       Coyote did it. That’s all.