In recent years many theater companies have made a point of introducing performances with land acknowledgements, thanking the Native peoples whose ancestral lands the theater occupies — lands that were generally taken from them by force.
In the case of “Manahatta” at Berkeley’s Aurora Theatre Company, the whole play serves as a land acknowledgement of sorts.
Mary Kathryn Nagle’s drama jumps back and forth between Wall Street in the early 2000s and the same land in the 1600s when it was known as Manahatta, the home of the Lenape people.
“Manahatta” premiered at the Oregon Shakespeare Festival in 2018 and played New York’s Public Theater (in Manahatta itself) last November. Also a lawyer and citizen of the Cherokee Nation, Nagle had the West Coast premiere of her play “Sovereignty” at Marin Theatre Company in 2019.
The play follows Jane Snake, a young Lenape woman who grew up in Oklahoma after many generations of displacement, as she rises through the ranks at a major Wall Street investment bank in the years leading up to the 2008 financial crisis.
As played by Livia Gomes Demarchi, Jane radiates confident professionalism mixed with workaholic deference to the unreasonable expectations heaped on her by her bosses, Max Forman-Mullin as brusque, demanding young department head Joe and Anthony Fusco as smoothly callous CEO Dick. They appreciate Jane in direct proportion to how much money she makes them, and if she falls short they have no use for her.
Back in Oklahoma, Jane’s mother is struggling financially and falling prey to the same kind of predatory lending that Jane’s company is profiting from. Portrayed with placid stoicism by Linda Amayo-Hassan, mother Bobbie is too proud to ask for advice or even let her family know what’s going on. As older sister Debra, Oogie Push is resentful of…