Awoowaakii shines a light on Blackfoot Two-Spirit identity at Theatre Calgary

What does it mean to come home to yourself in a world that has tried to erase you?

That is the beating heart of Awoowaakii, a world premiere play now on stage at Theatre Calgary’s Big Secret Theatre. Written by Sable Sweetgrass and directed by Alanis King, this new work centres a Blackfoot transgender woman’s story with tenderness, humour, and spirit.

Set in an apartment in Calgary’s inner city, Awoowaakii follows Chrissy Sipatsimo, her drag queen best friend Toni, her teenage son Richie, and the unexpected arrival of her estranged father Joseph Two Guns — a man seeking forgiveness after years of absence. Two Guns comes back hoping to find his child anew, and is maybe not totally prepared for what he finds.

King says the story is about transformation and healing, but it is also grounded in the everyday.

“It is about real life,” she says. “It is about family, humour, forgiveness. The journey of living your truth. These are universal things.”

Awoowaakii is rooted in Blackfoot culture, with moments of ceremony, language, and resilience woven throughout. King, who is herself Odawa, says it was important that the production feel grounded in authenticity without becoming a history lesson.

Much of that authenticity comes from the design.

The set and costumes were crafted to reflect a reality that feels lived-in, layered, and deeply connected to place. Chrissy’s Beltline apartment is modest but personal — every object helping reveal who she is and what she has built for herself.

“It is not about poverty,” King says. “It is about pride. It is about carving out a space where you can live authentically.”

The costumes follow the same philosophy. Chrissy’s clothing is playful, elegant, and rooted in self-expression, with careful nods to Blackfoot identity. Toni’s wardrobe brings bursts of sparkle and drama. Even Richie’s choices hint at the tug between tradition and modernity.

The colours throughout honour the everyday beauty of Indigenous life in an urban setting.

“We wanted the design to be true to now,” King says. “Indigenous people are not stuck in the past. We are here, we are modern, and we are thriving.”

For King, the timing of Awoowaakii could not be more urgent — or more hopeful.

Across Canada, conversations about reconciliation, gender identity, and Indigenous resurgence are louder than ever. But even with progress, Two-Spirit voices remain vastly underrepresented on major stages.

“There is still a lot of fear, a lot of misunderstanding about Two-Spirit people,” King says. “This play brings those stories forward with love, with laughter, with truth.”

King points to the resurgence of Indigenous storytelling across film, theatre, and literature as a sign that audiences are ready for deeper, more nuanced stories — ones that embrace joy as much as they confront injustice.

“There is power in seeing yourself onstage,” she says. “And there is power in seeing someone else’s story with your whole heart open.”

In Awoowaakii, the act of witnessing becomes an act of community healing — and attending becomes an act of reconciliation.

“This play is ceremony,” King says. “It is a chance to come together in hope.”

The cast features Marshall Vielle as Chrissy, Garret C. Smith as Toni, Jenova Calixto as Richie, Kevin Lance Littlelight as Joseph, and Cherish Violet Blood as Rosie Running Eagle. Blackfoot Elder Talenny Rose also supported the production, guiding the team in ceremony and cultural grounding.

The title Awoowaakii itself means Two-Spirit person in Blackfoot — a reminder that Two-Spirit people have always held respected roles in Indigenous societies before colonization tried to erase them.

“This story is a restoration,” King says. “It is about coming back to the circle.”

King adds that Awoowaakii is not limited to any one identity or community.

“You do not have to be Blackfoot or Two-Spirit to see yourself in this,” she says. “You just have to have a heart.”

At the end of the play, the audience is invited into a communal round dance — a rare moment where the divide between performers and spectators dissolves completely.

“We want the audience to feel what community feels like,” King says. “That they belong. That they are part of the healing too.”

Humour is a vital part of that balance. King says laughter was a deliberate choice — and a necessary one.

“Humour is medicine,” she says. “It helps us navigate hard conversations.”

Awoowaakii runs April 22 to May 11, 2025, at the Big Secret Theatre (Arts Commons).

All tickets are $44 as part of Theatre Calgary’s Theatre For All initiative.

Performances are general admission seating.

Tickets and information at theatrecalgary.com.