ERIKA: Fringe Edition
- The Street Fighter Collective
- Bryce Volrath
- 50 minutes
Erika is a First Nation's woman who is facing a problem. She recently fell in love (don't tell him), but has been sent a piece of paper that could drastically change her life. The deadline to sign is TODAY. Should she sign? Does she have a choice?
- Sound Designer
- Dave 'National Treasure' Stephan
- Trini Nish
- Aaron Hamm
- Santosh Vijayakumar
- Maisie Gee
- Mark Kalzer
- Stage Manager
- Raymond Ho
More about the show experience
This show will not have a late call.
This company has set their capacity to 80%
8 : Streetcar Crowsnest Guloien Theatre
345 Carlaw Avenue
- Level of Physical Access
- Self-screening form
- Proof of vaccination
- Air Conditioned
More about the show and company
This show was created as a revolutionary act of comedy. It was created with EVERYONE in mind - including you. The Street Fighter Collective works with talented individuals to tell stories, and this happens to be our first.
Land Acknowledgements are tricky things for me – given my own background with the Ojibwe, Lakota, Dakota, Ho-Chunk, Cherokee, Menominee, Dine, and Mohican Nations in the United States where I grew up. Really the only thing we learn about land in public schools in the U.S. is that North America was occupied (maybe?) by Native Americans (very broad stroke) before European explorers arrived and then it was ours (i.e. America’s). It is a short and semi-sweet explanation for an issue that has brought countless traumas, tribulations, and trials to North America’s original peoples. We know this now because of Canada’s Truth and Reconciliation, the American Indian Movement, Idle No More, and listening to Indigenous People who have been saying this is a problematic telling of history for hundreds of years (to say the absolute least). This brings me to my Land Acknowledgement for my Fringe offering. I am indebted to Indigenous People in countless ways, from the formation of the United States, Indigenous contributions to medicine, sports, location names, the building of roads (which often times were originally trails used by Indigenous People), so it seems strange to acknowledge the use of land by way of an introduction when we are shaped and continue to be shaped by Indigenous contributions to our world. So, I instead would like to acknowledge that I am extremely thankful to the Mississaugas of the Credit, the Anishnabeg, the Chippewa, the Haudenosaunee and the Wendat peoples for the use of Toronto as my current home and place where I work, and though Treaties can shape the ways in which we interact with one another – they are living documents that need and deserve to be revisited in communication with Indigenous People (and Nations) who are our partners (at the very least) on the planet Earth. Remembering history is great, but remembering that history can assist us to be better human beings in the present and future is a gift, and for that I am humbled and thankful.
Not recommended for persons under 18 years of ageSexual contentAbrupt cuesMature language
This show is made to be listened to. There is a lot of dialogue and not a lot of movement (i.e. it's not a dance piece). However, if you close your eyes and or listen to the rhythm of the words - you'll be transported and dialed into something that is important. The lighting and sound effects are just to bring some theatricality to the work, as they are not sweeping artistic statements or purpose, but functional. This play should be enjoyed by everyone, as it was written for everyone - I just suggest you listen close, as the rest is theatre.