Last Friday evening, I had the pleasure of attending On Native Land, a new contemporary Indigenous musical by Corey Payette, the writer behind Children of God and Les Filles du Roi. The story explores themes of identity, land, and connection through the lens of three central characters: Blood (Dustyn Forbes), an Indigenous singer-songwriter on the verge of success; Chief (Taninli Wright), an elder fighting to defend Indigenous land rights; and her lawyer Rielle (Amanda Trapp), an Indigenous professional navigating the tension between her career obligations and her ethical responsibilities to the Indigenous community. Their stories intertwine to form a triangle in which love, land, and duty are in constant tension—and where identity itself becomes the central question.
The production features a cast of 12 and 14 musical numbers that blend Indigenous drumming with a Broadway-style score. The vocal performances are powerful throughout. A minimalist set and evocative lighting design create a mystical atmosphere, while the choreography is striking—most notably a stunning pas de deux featuring choreographer Jera Wolfe and Nathan Coburn. This dreamlike sequence viscerally explores the characters’ inner conflicts.
At the heart of the production is a standout performance by Wahsontii Kirby as Land, the storyteller, who opens the show by explaining that they have taken human form to share this story. Through their charm and grounded exuberance, Land becomes the emotional anchor of the piece—the character you ultimately find yourself rooting for. Their warm, powerful singing voice only deepens that connection.
Other notable performances include Zac Bellward as Jakob, Blood’s boyfriend, who urges him to more fully embrace his Indigenous identity, and Jenna Brown as the Chief’s daughter, delivering a credible and moving portrayal that captures the emotional weight of the responsibility of protecting both land and culture for future generations.
On Native Land runs at the York Theatre from April 8–19.