Moonlodge by Margo Kane, Sept 24, 1997

Moonlodge by Margo Kane

Festival of the Dreaming.

At La Mama Oct 7-12, 1997

Reviewed by Kate Herbert around Sept 24, 1997

Brecht said about Mother Courage that a slow silent scream was a more powerful expression of her grief than any vocal sound could ever be. So it is in Margo Kane's solo show, Moonlodge.

It seems that Stolen Children were not restricted to Australian aboriginal communities. Kane's moving, energetic show reveals one Native American-Canadian who was a victim of 'the scoops in the mid-50's. "Scooping" was the practice of the Children's Aid Department that sent black cars driven by priests, police or welfare to steal children.

What more effective way to decimate a culture than to sever its children's contact with it? As we know, it was criminal, particularly when perpetrated on a community that was kept unaware of its rights or processes of redress.

Kane performs with an inner fire generated by her commitment to telling the stories of her native culture. She peoples the stage with characters. We see Agnes, the stolen child, happy with her mother, then foster mother and as a rebellious hippy hitching to Nirvana - California - in the 60's. Finally, she reclaims her heritage in the women's Moonlodge ceremony.

The continual self-narration interspersed with character dialogue combine effectively with Kane's movement skills to colour the story and engage the audience. She employs seamless physical character shifts to introduce us to characters.

We meet Aunt Sophie the gossip with a good heart, Marlon the inarticulate and dangerous biker and the attractive Lance who takes her to her first Pow-Wow. Most affecting was Millie, the old Native American who gently invites Agnes into her family and the Moonlodge.

There are some hilarious depictions of white stereotypes of Native Americans. Kane dryly satirises cigar store Indians, the 60's song "Running Bear loves Little White Dove", Hollywood's Red Injuns and ditties she learned on Brownies camp. Ironically, she accompanies the rape scene and the Pow-Wow with Broadway Musical romantic ballads.

The Pow-Wow finally shows Agnes the wonderful variety of non-stereotypical people in her lost culture. Everybody dances differently and sings with her own voice.

The most deeply moving moments were the child Agnes' silent scream as she beats her little fists against the window of the car driving her away from her mother. The reincorporation of this image as she tells her dream in the Moonlodge is mesmerising.

Moonlodge comes to La Mama, the perfect space for it, for a limited season.

KATE HERBERT