Ojibway Playwright Explores Indigenous Art Forgery in New Investigative Drama
Acclaimed Ojibway playwright and author Drew Hayden Taylor has built a career on tackling challenging subjects, from the legacy of colonialism in works like Only Drunks and Children Tell the Truth to contemporary Indigenous issues. His latest theatrical production continues this tradition with a deep dive into the controversial world of Indigenous art forgery and its profound implications for creators and communities.
The Undeniable Accusations of Red Cadmium Light
Taylor's new play, The Undeniable Accusations of Red Cadmium Light, runs from April 18 through May 3 at Vancouver's Firehall Arts Centre. The work takes its title from Norval Morrisseau's famed 1982 painting Red Cadmium Light, using the artwork as both a title and central plot device in an investigative drama that questions who can truly be trusted in the art world.
The playwright draws inspiration from well-documented cases of counterfeit works by acclaimed Anishinaabe artist Norval Morrisseau, whose art has been the subject of extensive forgery rings. Director Jamie Kastner's 2019 documentary There Are No Fakes exposed a massive Morrisseau art fraud operation that some estimates suggest flooded the market with nearly ten times as many forgeries as authentic pieces.
Real-World Inspiration and Cultural Theft
Taylor's interest in the subject was sparked during a conversation at a Kleinberg Museum cocktail party with an individual who worked for Morrisseau Consulting, one of two firms responsible for authenticating Morrisseau paintings. "The more he talked about it, the more interesting it became," Taylor explained. "As I bounced it around in my head, it became more about people stealing the Native voice and counterfeiting or authenticating it to their benefit."
The play follows gallery owner Nazhi and her daughter Beverly as their world unravels when a Morrisseau work dated before 1982—but containing the cadmium pigment that gives the play its name—arrives at their respected gallery specializing in renowned Indigenous artists. The discovery leads to secrets that demand resolution and a larger exploration of cultural appropriation and economic exploitation.
Balancing Serious Themes with Humor
While dealing with weighty subjects like cultural theft and identity, Taylor maintains his signature approach of blending serious themes with humor. "On a broader scale, this is just a fun thing to explore, both as a revelation and as a comedy," he noted. "As I age, my work is getting a lot darker, as dealing with theft of culture and identity isn't a light topic. But humour is always there and how I present the Indigenous perspective to the dominant culture."
This balance has become a hallmark of Taylor's work, allowing him to address difficult issues while still delivering productions that leave audiences laughing. His ability to navigate these complex territories without becoming preachy sets his work apart in contemporary theater.
Collaboration with Indigenous Artists
The Vancouver production benefits from the direction of award-winning Coast Salish actor, artist, and playwright Columpa Bobb, who won a 1997 Jessie theatre award for her work in the Firehall Theatre's production of Taylor's Only Drunks and Children Tell The Truth. This collaboration between two prominent Indigenous artists adds depth and authenticity to the production's exploration of cultural themes.
Taylor remains deliberately vague about specific plot details, revealing only that the play contains "a big reveal that blows everything wide open" within a larger rumination on identity and lived experience. The work promises to challenge audiences while entertaining them, continuing Taylor's tradition of using theater as a vehicle for both social commentary and engaging storytelling.
