By James V. Ruocco
As written by the 1491's, an intertribal sketch comedy troupe whose primary aim is to communicate, skewer and confront a predominantly white audience unfamiliar with the atrocities and massacres of Native American history, "Between Two Knees," which debuted at the Oregon Shakespeare Festival back in 2019 and is now celebrating its East Coast premiere at Yale Repertory Theatre, attempts to humorously set the record straight.
One's lack of knowledge, of course, is immediately, up for grabs.
On December 29, 1890, in the state of South Dakota, more than 250 men, women and children of the Lakota tribe were killed by the U.S. 7th Calvary Regiment during the Wounded Knee Massacre, also known as the Battle of Wounded Knee.
How many people know that?
On February 27, 1973, more than 200 members of the Ogala Lakota tribe seized and occupied the town of Wounded Knee for 71 days in a much publicized protest known as the Wounded Knee Occupation.
What prompted the protest?
Who was Richard Wilson?
And why was this tribal president the subject of impeachment?
What Native Americans fought for America during World War II and the Vietnam War?
During the opening minutes of "Between Two Knees," Larry, the personable, front-and-center jokester and narrator of the piece, played here in the Yale Rep version, by an energetic, talky Justin Gauthier, announces, "It's ok! We're going to make this fun. We're going to talk about war and genocide and PSTD and molestation. So, it's ok to laugh."
Laugh?
Really?
Yes, really.
Relying on humor that harkens back to the days of early 20th century vaudeville, "Between Two Knees" targets and parodies white audience ignorance, racial prejudice, absurdist story plots, cultural diversity, 1950's soap opera organ music, tribal folklore, American historical figures, drugs, marriage, hippies, television game shows, seized land occupation, family heritage, abandoned babies left on doorsteps, wounded and deceased soldiers, severed body parts, wheel chairs, small town bars and happy endings that spring out of nowhere.
But does it all work?
Mixing irony and unrest with shout, exploitation and zany, in-your-face collateral, "Between Two Knees" is a frenzied, fueled comic perspective and history lesson that may, or may not be everyone's brew. Or, satisfy everyone's taste.
There are laughs - lots and lots of them.
Jokes are frank, uncensored and surprising.
White people are attacked, bruised, ridiculed and reminded continually of their wrong doings.
Story arcs are dangerous, challenging, drug-induced and beneficial.
There are also times when "Between Two Knees" is ground-breaking, absolutely brilliant and completely fucked up.
But at the same time, this hopscotch through the decades, unravels and disconnects, if only fleetingly. Some scenes go on far too long. Others are cut short with no gratifying conclusion.
Making his Yale Rep directorial debut, Eric Ting (Artistic Director of California Shakespeare Theater), addresses "Between Two Knees" with marked determination, style and vaudevillian vitality. He also works overtime to bring things completely together with frequent off-the-cuff madness, references, encounters, shouty activity and fantastical pronouncements meant to ripen and enhance the play's storytelling potential.
Taking on the directorial challenge of the 1491's constantly changing subject matter - scene by scene; sketch by sketch - he covers the necessary comic ground of the play text and its fixated, quirky details with over-the-top silliness and creative aplomb, hoping to prompt chuckles in all the right places.
There's trap doors that open and close stage center; a "Wheel of Fortune" type-wheel; "Wild West" show acts; a New Age guru; an appearance by George Washington; an army of real and animated nuns; characters dressed in space suits; lots of distorted historical facts; a love story carried from generation to generation in B-movie fashion; jibes about "Custer's Last Stand;" choreographed fights and dances that are played for laughs; and lots of pop culture madness.
Gut busting absurdity and straight-faced delivery is played to the fullest here as Ting moves the play's crazy comedic and dramatic moments through some pretty rigorous, well-timed staging and blocking maneuvers across the Yale Rep stage. Working against a brilliant, colorful, atmospheric backdrop (smartly designed by Regina Garcia) reminiscent of Buffalo Bill's iconic Wild West shows, offset by well-positioned light and sound cues and vivid, immersive projections, Ting brings plenty of imagination, style and grit to the proceedings even when the material shoots itself in the leg or slightly disconnects for a minute or two before jumping back into the spotlight for another gleeful round or two.
"Between Two Knees" stars Shyla Lefner, Rachel Crowl, Derek Garza, Edward Astor Chin, Justin Gauthier, Wotko Long, Kholan Studi (understudy) and Joan Henry (understudy). Rapidly connecting to the roles (Luc Haac's costume designs are a plus) they are playing, all eight performers portray a variety of different characters essential to the growth and advancement of the story, as dictated by the 1491 writing troupe. All of this is accomplished with range, presence, nuance, voice, humor and impact. Even when the writing isn't up to par and certain jokes flat, the cast plunges ahead reconnecting the dots and locating the fun, hoping you won't notice bits of material badly in need of rewrites, editing or reconfiguration.
A humorous, high-pitched play of comedy sketches, Native-American-history, war, angst, family ties, unrest and endless jibes at its mostly white audience, "Between Two Knees" is an important, well-acted piece of theatre that demands to be seen, despite obvious flaws that often interrupt its multiple viewpoints, complexity and amplified humor. Regardless, it's yet another offbeat, daring offering that signifies Yale Rep's ongoing commitment to non-commercial works that entice, thrill, jump start and entertain, powered by language, storytelling, ideas and gimmicks that are decidedly different from other area regional theaters including Hartford Stage and Long Wharf. And therein, lies its decidedly different hook, spin, execution and presentation.
Yale Rep is also to be greatly commended for its enforcement of mandated COVID-19 rules and regulations. Upon entering the theater, all ticket holders must provide proof of vaccination and booster shots along with a current photo ID. Masks also must be worn at all times while inside the theater. No exceptions.
Photos of "Between Two Knees" by T. Charles Erickson
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