Pink Man or The Only Indian in the Room

by Marty Strenczewilk

Pink Man is a semi-autobiographical journey of self-discovery that follows one American Indian as he battles tradition, stereotypes and himself. With mixed blood and white features, he faces constant internal and external struggles. As he revisits the formative stages of his life, we watch him grapple with expectations, self doubt, and finding acceptance.

The play utilizes Ojibwe traditions for storytelling...

Pink Man is a semi-autobiographical journey of self-discovery that follows one American Indian as he battles tradition, stereotypes and himself. With mixed blood and white features, he faces constant internal and external struggles. As he revisits the formative stages of his life, we watch him grapple with expectations, self doubt, and finding acceptance.

The play utilizes Ojibwe traditions for storytelling while putting a clear focus on the various ways that our native American culture has been weathered away over time.

Being red is terrifying. Being white feels fraudulent. So, the Indian finds himself forced to live in the pink.

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Pink Man or The Only Indian in the Room

Recommended by

  • Nick Malakhow: Pink Man or The Only Indian in the Room by Marty Strenczewilk
    “

    A complex and super theatrical exploration of identity, home, and feeling like you exist in a liminal space with regards to both of those things. I've read several drafts of this as part of a playwright's group and I've loved seeing its developmental journey. The theatrical tools used to communicate the story have become so much more focused and potent, as has the central arc of the Pink Man. Clever usage of chorus, a compelling trickster story facilitator, and lots of opportunity for community engagement and unconventional use of theatrical space are just a few additional strengths.

    A complex and super theatrical exploration of identity, home, and feeling like you exist in a liminal space with regards to both of those things. I've read several drafts of this as part of a playwright's group and I've loved seeing its developmental journey. The theatrical tools used to communicate the story have become so much more focused and potent, as has the central arc of the Pink Man. Clever usage of chorus, a compelling trickster story facilitator, and lots of opportunity for community engagement and unconventional use of theatrical space are just a few additional strengths.

    ”

Character Information

The chorus can flex in size to meet the needs of the production. It can be done with as few as four, but ideally is six or more.
  • Indian
    Light skinned
    30-45
    Native American (Any Tribe),
    Indigenous
    Male
    Can be played by:
    • Actor Age
      30s,
      40s
    • Actor Race/Ethnic Identity
      Indigenous, First Nation, or Native American
    • Actor Gender Identity
      Male
  • Native Chorus
    4-8 actors, any age, mix of genders, they play the various parts in the Indian's stories
    any
    Any
    Both Male and Female
  • Nanabozho, The Trickster
    The traditional coyote/rabbit/raven etc, always causing problems to entertain themself. The antagonist who drives the story forward. Androgynous.
    Ageless
    Native American (Any Tribe)
    Androgynous,
    Agender/Non-binary,
    Almost any gender
    Can be played by:
    • Actor Age
      40s,
      50s,
      60s,
      70s+
    • Actor Race/Ethnic Identity
      Indigenous, First Nation, or Native American

Development History

  • Reading, BETC, 2022
  • Reading, The Barrow Group, 2021

Production History

  • Workshop, Illinois State University, 2023

Awards

  • Emerging Artist Festival
    Renaissance Theatre
    Finalist
    2023
  • Diverse Voices Playwriting Initiative
    The Crossroads Project - Illinois State University
    Winner
    2023