• Age: 15
• Grade: 10

Dead White Writer on the Floor uses two literary conventions—theatre of the absurd and mystery novels—to create one of the funniest and thought-provoking plays ever about identity politics. In Act One, six “savages”; noble, innocent, ignorant, fearless, wise and gay, respectively; find themselves in a locked room with the body of a white writer, which they stash in a closet. None of them can figure out how he died or which of them might have killed him. They realize as they point fingers at each other, however, that they are all profoundly unhappy with their lives as they’ve been constructed over the past four hundred years: Old Lodge Skins wants to know what it feels like to be a young man; Billy Jack wonders what spreading healing rather than pain would feel like; Injun Joe is desperate for an education; Kills Many Enemies is exhausted by his deadly seriousness and yearns for a sense of humour; Pocahontas seeks to feel respected as a woman rather than lusted after as a child sex object; and Tonto wants to “come out of the canyon” and be the one wearing the mask for a change. Gradually, they figure out that the latest iteration of Gutenberg’s invention buzzing like a beehive on the dead writer’s desk is actually a dream-catcher, which they can use to rewrite their lives in the image of their own inner beings.
Imagine their surprise when they reappear in the same locked room in Act Two as Mike, Jim, Bill, John, Sally and Fred—attending an A.A. meeting and bickering among themselves about reserve politics, unmanageable family relationships and whether Bingo has a place in their new air-conditioned casino—and realize the white writer must still be very much alive in their community; his body in the closet is still warm!

Ojibway writer Drew Hayden Taylor is from the Curve Lake Reserve in Ontario. Hailed by the Montreal Gazette as one of Canada’s leading Native dramatists, he writes for the screen as well as the stage and contributes regularly to North American Native periodicals and national NEWSpapers. His plays have garnered many prestigious awards, and his beguiling and perceptive storytelling style has enthralled audiences in Canada, the United States and Germany. His 1998 play Only Drunks and Children Tell the Truth has been anthologized in Seventh Generation: An Anthology of Native American Plays, published by the Theatre Communications Group. Although based in Toronto, Taylor has travelled extensively throughout North America, honouring requests to read from his work and to attend arts festivals, workshops and productions of his plays. He was also invited to Robert Redford’s Sundance Institute in California, where he taught a series of seminars on the depiction of Native characters in fiction, drama and film. One of his most established bodies of work includes what he calls the Blues Quartet, an ongoing, outrageous and often farcical examination of Native and non-Native stereotypes.

Drew Hayden Taylor's profile page

“Abstract theatre is not generally associated with comedy … but judging by the laughter issuing from the packed house at Magnus’ opening night of the show, it is also drop-dead hilarious.” — The Argus

Dead White Writer on the Floor

The main characters in this play are six First Nations stereotypes: Tonto (the Sidekick), Injun Joe and Billy Jack (the Villain and the Hero), Old Lodgeskins (the Wise Elder), Pocahontas (the Submissive Native Woman), and Kills Many Enemies (the Brave Warrior). They find themselves in an office that presumably belongs to the white writer lying dead on the floor. Aware that the writer has cast them as stereotypes, they rewrite the screenplay so that they can live the lives of their dreams. In Act 2 they reappear as contemporary Native characters who experience that the ideal life is an illusion.

Hayden Taylor has written numerous plays, short stories, essays, columns and scripts. His novel Motorcycles and Sweetgrass was nominated in 2010 for the Governor General’s Award for fiction.

Caution: Use of the term “Indian.”