Intermission Magazine: Strife, MacKenzie’s newest work, continues that line of inquiry, focusing on Monique, an oil-patch worker navigating a family and community reckoning after the violent loss of her brother, Nathan, an Indigenous climate activist. As she grapples with her grief, she is drawn into a recurring dream in which she reconstructs his bones under the guidance of a spectral Owl — a presence that blurs the boundaries between the physical and spiritual worlds.
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When making theater there is this requirement in the society we live in that that performance needs to make money. Because it at least needs to earn enough to like keep the place open and keep the actors and designers paid. But when things are required to make money it often can feel like whatever is being portrayed is being commodified. because it sort of has to be in this society. But I think that this conversation that they're having about how to navigate that sort of inherent commodification and to maintain sovereignty and maintain identity is still important. because even though it's difficult it is not impossible to still do moving pieces about and centered on a specific identity without it just becoming commodification of that identity. it is a hard balance to find I think for the most part but without having the conversations about how to find it it can't be accomplished at all.
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