Th'owxiya review: Indigenous design carries a meandering tale
The Kwantlen First Nation play opened at the National Arts Centre with stunning costumes and set pieces that outshone the narrative.
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"Th'owxiya: The Hungry Feast Dish," a play written for young audiences by Kwantlen First Nation playwright Joseph Dandurand, opened at the National Arts Centre on May 16 with phenomenal design that elevated a meandering story.
The narrative follows Kwa'tel/Mouse (Cassandra Bourchier), who steals from a spirit and spends the play trying to avoid being eaten by the great spirit Th'owxiya (voiced by Margo Kane). While the production kept audiences engaged, the plot could have been structured for greater impact.
The costumes, designed by Jay Havens, were the evening's standout. Actors began as human storytellers, then transformed into animals using distinct headpieces that made each creature unmistakable. Kwa'tel/Mouse wore a bright yellow mouse headpiece with a tail; the two Sp:ath/Bears sported bright pink and vibrant blue headpieces; the Sqeweqs/Raven (played by Izzy Bull Bear) featured a spectacular feathered cloak and raven headpiece; and Sasq'ets/Sasquatch (Kassandra Sison) wore a half mask in deep green with wild hair suggesting fur, layered cloth adding bulk to the silhouette.
The set design matched this detail. Painted backdrops, a large spirit painting, and individual blocks for seating and storage created a rich environment. The centerpiece—a large carved statue of Th'owxiya surrounded by baskets of food and an open stomach with a rainbow fish inside—was treated as a character rather than mere set piece, a choice that fit the story.
Yet the design was underutilized. The large painting was never referenced directly, disappointing since it appeared poised to play a symbolic role. Several costume changes happened on stage rather than using the painted backdrops that could have framed them.
Near the play's end, time seemed to skip forward: characters magically received everything needed to solve their problem, but this happened off-stage, making the resolution feel less satisfying. This may reflect fidelity to the original Kwantlen oral tradition, but it left the narrative feeling disjointed. Still, the production's commitment to Indigenous storytelling and its visual artistry made for a memorable evening.