Marty Strenczewilk

Marty Strenczewilk is an award winning Ojibwe/white mixed-race storyteller, playwright, librettist and lyricist, enrolled with the Sault Ste. Marie tribe. His first full-length play Pink Man or The Only Indian in the Room was the winner of the 2023 Crossroads Project Diverse Voices playwriting competition, culminating in a workshop and residency at Illinois State University, followed by a workshop production as part of the inaugural First Storyteller’s Festival in 2024. His second full-length play Indian Giver has been in development with InterAct Theatre in Philadelphia, under their new play development program. Marty is also the story editor for season 6 of the NPR podcast The Modern West, which explores the true history behind the Plains Indian Wars. He was the co-founder of At Hand...

Marty Strenczewilk is an award winning Ojibwe/white mixed-race storyteller, playwright, librettist and lyricist, enrolled with the Sault Ste. Marie tribe. His first full-length play Pink Man or The Only Indian in the Room was the winner of the 2023 Crossroads Project Diverse Voices playwriting competition, culminating in a workshop and residency at Illinois State University, followed by a workshop production as part of the inaugural First Storyteller’s Festival in 2024. His second full-length play Indian Giver has been in development with InterAct Theatre in Philadelphia, under their new play development program. Marty is also the story editor for season 6 of the NPR podcast The Modern West, which explores the true history behind the Plains Indian Wars. He was the co-founder of At Hand Theatre Company, an Off-Broadway new plays company that operated in NYC successfully for a decade. Previously, Marty was the Managing Director for Creative Nations, an all Indigenous artists collective, founded at The Dairy Arts Center in Boulder, CO. Under Creative Nations he produced Native art across genres, including launching the First Storyteller’s Festival to develop work for the stage by Native artists. He has a Theatre BA from SUNY Buffalo and has studied at The Barrow Group, Broadway Dance Center, Alvin Ailey, HB Studio, and Joffrey Ballet. He can be found online at strangemilk.org

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Scripts

Indian Giver

by Marty Strenczewilk

Cast Size
3
Genre
drama

Claire, A white non-profit vet acquires the resources to build a new organization to tackle addiction on reservations, IndigiHope.

Jodi, a young, mixed Native/white business mogul, is determined to join the cause come hell or high water, though she doesn’t say why.

As IndigiHope is launched into the stratosphere, with huge fundraising and growth, Jodi finds herself constantly having to speak for all Natives...

Claire, A white non-profit vet acquires the resources to build a new organization to tackle addiction on reservations, IndigiHope.

Jodi, a young, mixed Native/white business mogul, is determined to join the cause come hell or high water, though she doesn’t say why.

As IndigiHope is launched into the stratosphere, with huge fundraising and growth, Jodi finds herself constantly having to speak for all Natives, code switch, and make increasingly personal sacrifices.

As the house of cards comes tumbling down, Jodi must navigate the multiple identities of a mixed race person in the nonprofit industrial complex, and Claire must find a way to genuinely support her friend through it all without selling her out.

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Pink Man or The Only Indian in the Room

by Marty Strenczewilk

1
Cast Size
6—10
Genre
biography,
drama,
immersive,
movement/physical

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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