How does one reclaim the unwritten tales of women that are lost to history’s obsession with masculine exploits? Playwright Frances Končan seems to have chosen the path of whimsy and millennial banter, with pop-culture references and just a dash of snarky feminist commentary.
“Women of the Fur Trade” captures a slice of 19th century colonialism in Treaty One territory (somewhere by a reddish river) by foregrounding the fictional lives of three sassy women–Métis spinster Marie Angelique; a very pregnant white settler Cecilia; and an Ojibwekwe fur trapper named Eugenia. The play de-emphasizes its male characters–Métis resistance leader Louis Riel and Irish Protestant settler Thomas Scott–by playfully reimagining them as bumbling camping buddies turned poetic foes. Their stature is designated to that of eye-candy, crafted almost entirely for the female gaze. A few metaphorical fires are lit in the course of the drama, most of which ignite the audience into splits of laughter.
After a successful stint across eastern Canadian theatres, Končan’s masterpiece has arrived for a west coast run. Directed by Renae Morriseau and presented by Touchstone Theatre, “Women of Fur Trade” is playing at Frederic Wood Theatre from September 24 to October 4, 2025. Book your tickets here.
With a run time of just under two hours, the riotous plot is driven by effusive banter, puppetry and absurd anachronisms. While there are a handful mentions of historic events and documented legends, the script is irreverent to the notion of fact-based storytelling, instead paying homage to the resilience and subjectivities of women who lived under the iron fist of patriarchy and settler colonial impositions. The girl gang spends their days within the confines of a certain fort (that’s neither upper nor lower Fort Garry), while musing on the impending annexation of their lands by Canadian troops and what that might hold for their collective futures.
Marie Angelique (played by Kelsey Kanatan Wavey) guides most of the narrative exploits. Be it her fierce urge to step out of the fort and fight alongside her hero Riel, or her fealty towards her BFFs, or her unresolved mommy issues, Marie Angelique is a lass who feels big feels. Meanwhile, Ojibwe trapper Eugenia (played by Colmpa Bobb) is a woman of few words, more actions. Her dialogues and physical antics are delivered with comedic finesse. Settler, mother and house-wife Cecelia (played by Cherie Maracle) provides the perspective of an early female settler whose movement and aspirations are shackled under the expectations of demure housekeeping and child-rearing. While expected to bear a son for her colonial officer (absentee) husband, Cecelia secretly crushes on another political figure–a certain Irish Protestant Orangeman. The plot is enhanced by the bumbling, yet weighted appearances of Louis Riel (played by Jonathan Fisher) and Thomas Scott (played by Victor Hunter). Their love-hate equation transcends the mundane limits of historical realism, prompting many giggles and groans.
The stage design is as unique as the script itself. Instead of velvet curtains, the backdrop is adorned by colorful ribbons that flow from ceiling to floor, blowing ephemeral breeze and the occasional entryway for Riel and Scott. There are a set of framed portraits of men from history, including Riel, Scott and resistance fighter Gabriel Dumont. These figures look on, their eerie and lifelike eyes brightened by clever projection design. The whimsical plot does not fall flat, thanks largely, due to a viscerally spiritual aura created by the projection and sound design. The stage props are an eclectic mix of arcane and modern items, bolstering a sense of immersive timelessness to the story being depicted.
As we head into yet another Day of Truth and Reconciliation, it feels apt to support a production of this nature. “Women of the Fur Trade” represents a generation of Indigenous artistry that isn’t content with being tokenized and placed on a pedestal built on white settler guilt. The play subverts colonial historiography even while embracing campy love for pinks and pastel girly pop iconography with Machiavellian panache. This is not a history lesson for uninformed settlers, but a thought-provoking depiction of female spiritual resilience. The lovely production crew at UBC’s Frederic Wood Theatre have compiled a list of educational supplements related to relevant history in the lobby that can be perused during the 15 minute intermission.
-Shruthi Budnar