Tara Moses

When Pancake's activist spirit is once again called to join AIM in California during the summer of 1989, he faces an impossible choice between the family man he's worked a decade to become and the restless radical still itching inside him—but his wife Loretta understands that some itches demand scratching, blessing his journey while secretly enlisting her skeptical brother, Joe Tiger to keep an eye on him. As Pancake's 1979 Z/28 Camaro heads west carrying two men who fundamentally disagree on the definition of "responsibility", the roadtrip unfolds in front of his youngest son Tommy, now 29-years-old in 2019, hearing this story in full for the first time. Bending linear time, Erke asks: what is the cost of family duty? Can a man remain soft when the unimaginable happens? What the delicate balance is between being the father we've promised to be and the person we've always been? Erke is the fourth play in the Oklahoma Cycle.

Twenty years have passed since Ash and Aaron died, and they're sick and tired of haunting the house they've been tethered to with no end in sight. But they have found ways to entertain themselves as new residents move in, especially in spite of the harmful stereotypes and myths of Native people they still have to encounter in the afterlife. Even though this "Indian Burial Ground" has early 2000s bops, classic ouija board scares, and even a "Conjuring" movie style home destruction sequence, the siblings can't help but wonder why they're stuck haunting this house and not in the Spirit World.

Siblings Dylan and J set out in the woods during the witching hour to investigate an abandoned house on the Mvskoke Reservation despite the many warnings from their mother and elders to not mess around with bad spirits. However, Dylan is determined to see if Creator even exists. A 10-minute play about crisis of faith and culture, Poyvfekcv reminds us of those who came before.

Billie girls don't doubt themselves when it comes to love. In 1950, Billie Starr meets Charles Tiger, the love of her life, outside a bus station during a road trip to Oklahoma City from Seminole Nation - and she doesn't waste a single moment. We see the soulmates still happily in love 58 years later in 2008 as Charles tends to Billie while she is in home hospice care for advanced kidney cancer. Paralleling their love story is another: Billie's granddaughter who shares her names and her unapologetic attitude towards love, Billie Cloud-Harjo. In 2005, Billie Cloud-Harjo and best friend Vanessa Lowe have some realizations - they've been in love with each other for years and both been too chicken to do something about it. Being a young queer couple in Oklahoma during 2005 comes with its fair share of challenges, but ultimately those challenges aren't the biggest problems they have. By 2008, granddaughter Billie is no longer talking to Vanessa - and there's nothing her loving grandparents can do to change her mind. But is everything exactly as it seems? A multi-generational story about unconditional love and trusting spirit spanning 58 years, Billie is the third play in the Oklahoma Cycle.

Brooke is just trying to make ends meet. As a young woman of color attempting to navigate the world without a family, support system, or access to opportunity, she finds herself working over 90 hours a week at three jobs to pay rent, bill collectors, student loans, and manage one meal a day – and she still comes up short every single week. That is, until she is presented with an opportunity that she cannot say no to. Taking agency over her life is the only reason Brooke needs to enter the Sugar Bowl.

In the aftermath of the 2176 War of Restoration that has finally achieved Tribal Sovereignty and Black Liberation, the beginning of a liberated future is threatened by the same oppression it sought to destroy when Chief Ven appoints Othello as Councilman of Peace, only to watch as Iago—a mixed Black and Native warrior consumed by internalized anti-Blackness and fury over being passed over for non-Black, non-Native Cassio—destroys every unifying bond throughout the Black and Native community. This Indigenous Futurist adaptation asks if a colonial past must be a threat to an Indigenous future.

It was the summer of love...well about 11 years too late. In the summer of 1978 in Wewoka, OK, Loretta Cloud is working on finishing her nursing degree, and Pancake is joining national movements for Native rights (and robbing the occasional gas station on the side). They have an undeniable spark - a spark Loretta's brother Joe is determined will not ignite. However, the biggest threat to their budding relationship isn't Joe. Narrated by their eldest son, Jimmy Lee Cloud-Harjo, SNAG is the second play in the Oklahoma Cycle and the world's first NDN rom-com (we think).

Loretta Cloud, the family’s matriarch invites the audience in for a story about her family during one weekend at Arbeka. Her screenwriter niece, Hokte Tiger has been away for over a decade, and she is finally coming back home. After a tragedy last summer and a professional mistake made by Hokte, there's healing to be done. Told through stories, humor, food, music, and dance Hokte remembers what it means to be a Tiger. ARBEKA is the first play of the Oklahoma Cycle.

After reuniting with her niece last summer, the family's matriarch Loretta Cloud surprises Hokte with a Seminole patchwork dress with Mvskoke ribbon work. This 10-minute play takes place nearly a year after ARBEKA in the Oklahoma Cycle Universe.

The UN Declaration on the Rights of Indigenous Peoples hangs in the balance. In just a few, short hours decades of work will either be realized or destroyed. Famed Onondaga lawyer, Tonya Gonnella Frichner is determined to secure safety and human rights for millions of Indigenous peoples globally - that is if she can connect with Representative and Ambassador of China Wang Guangya before it's too late. Oñgwehoñwe’ (The Real People) is a 10-minute play commissioned by Geva Theatre Center.

Set in modern day and inspired by the Spanish romantic-phantasmagoric-religious drama DON JUAN TENORIO by Jose Zorrilla, DON JUAN changes the narrative to reflect agency, accountability, and the dangers of machismo culture. Don Juan is a notorious playboy whose only interest in life is seducing women - with or without their consent. He learns that his best friend (and former partner in crime) Don Luis is getting married to news anchor Doña Ana who has been covering an upcoming event led by activists to honor women and girls who have been killed by machismo men during Dia de Los Muertos. Don Juan convinces Don Luis to engage in one last bet - seduce Doña Inés who recently joined the Convento de la Dama de Guadalupe...and Doña Ana for the pot of money he's saved for his wedding. Classic sword-fighting, Spanish ballroom dance, and social commentary on consent, abuse, and toxic masculinity are sprinkled throughout the play as machismo culture leaves a trail of victims in its wake.

The bilingual production takes place during the Indigenous Mexican holiday of Dia de los Muertos in the midst of a colonization battle. However, unlike the thousands of celebrations before, a ghost returns to seek revenge for his unnatural death by the hands of his brother. Hamlet must fulfill his late father's wishes while protecting his culture as the new regime attempts to erase it for greed, land, and power shown to them by England and Spain.

Weaving through time from the 1850s to modern day, the intersection of sacred, ancestral land and tribal sovereignty as innate rights are explored in BOUND, but do these rights end where the boundary of Mexico begins? Marigold Page is a Tohono O'odham woman working to resist the construction of a wall along the southern border of the United States as it would split her Nation in half. She meets John, a land surveyor, and as a romance blossoms an oil company representative attempts to build a pipeline through their land following the decision at Standing Rock. Rouge border patrol agents, oil tycoons, and a hesitant tribal council are what Marigold must face in order to assure that her ancestral lands remain intact for future generations. Paralleling this fight are the events surrounding the Gadsden Purchase of 1853, the building of a transcontinental railroad through Indigenous lands, Manifest Destiny, and the redrawing of the Mexican-American border in the name of southern imperialism. Marigold is determined that history does not repeat itself.

Ivy Johnson was adopted in the fall of 1998 to a Mexican American mother and an African American father. Although it's obvious that she's of color, she has never known where she comes from or her racial background - that is until she sorts through her mail at Thanksgiving. The following weeks come with major discoveries, but they only leave her with more questions. What makes someone Native? A blood quantum mandate demanded by the Federal Government? Culture, language, and pride? What does it mean when your identity is stripped away from you? Rediscovering culture, reclaiming Indigenous identity, and learning what it means to be a Native woman in contemporary America is the road Ivy must travel. Inspired by my maternal grandfather's story.

Gun smoke, burning embers, and the cries of women and children is the new reality for a sleepy Cheyenne village that asked the United States Government for peace seven days prior. Following the early morning attack by the 7th U.S. Calvary lead by Lt. Col. George Armstrong Custer, the surviving women are broken, beaten, and bleeding while they await their impending doom. Fueled by her desire to lead her people, avenge her father’s death, and the spiritual support of the Great Spirit Maheo’o, Walking Woman remains resilient. Inspired by TROJAN WOMEN by Euripides, HE'EO'O (eh-yo) asks the question: when white men, when Americans write the history books how will we know the truth?

Emile is a racially ambiguous young woman new to an urban city, an office job, and her coworker/new roommate’s friend group. Sera, Marion, Mack, Marc, and Luca have known one another since childhood and/or their time throughout undergraduate studies. All are white and liberal feminists that have proudly separated themselves from the people they believe spew hate and oppress marginalized groups. However, Emile finds herself isolated and the recipient of “well-intended” commentary. All while Emile is navigating her place in this group and Mack’s seemingly genuine affections, she is taking care of her younger sister, Yamin who lives in her hometown, 19 hours away. When things start to spin out of control over the course of a weekend, Emile quickly realizes that keeping quiet is no longer a viable option. Her “friends” mean well; that has to count for something, right? Celebrating intersectionality and living prove to be two different things.