Madeline Sayet in “Where We Belong”/Photo: Liz Lauren
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Many local cultural events in Chicago now begin with an acknowledgement, often prerecorded, that the land where the event takes place—the land where the audience is sitting—is the usurped homeland of indigenous peoples. It reminds us, too, that Native Americans are not gone from the city and a large local population still engages with their traditions and urban life. A busy culture-vulture will hear the pronouncement often and may become inured to it. That is, until it is spoken live, on stage, by Madeline Sayet, the Mohegan writer-performer whose autobiographical one-woman show, “Where We Belong,” is at the Goodman’s intimate Owen Theatre.
The Mohegan people (not to be confused with the Mohicans) are still centered around their homeland in Connecticut. Sayet’s great-aunt founded the Tantaquidgeon Museum in that state in 1931. Her mother pushed the U.S. government to recognize the Mohegan as a tribe, an effort that required compiling exhaustive genealogies. Historic connections and continuity mean a lot to Sayet and her people. So when Sayet emerges onto her set, a serpentine mound of earth onstage and a celestial array of lamps above, and walks upstage to acknowledge the legacy of local tribes, “Where We Belong” is already a tour de force. The performance grows even better as she delves into the travels she made, presumably in her twenties, which connected her personal history to her people’s past among the vanquishers and to their vital present, in part by digging deeply into the work of Shakespeare.
Sayet is an engaging storyteller who crosses several worlds. In the spirit world, her physical grace conveys the bird that is her inner spirit. Indeed, she declares that the play isn’t about Shakespeare, and isn’t a traditional Mohegan…