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In “The Boy in the Treehouse,” Simon, the son of an Ojibway mother and a British father, climbs into his half-finished tree house on the vision-quest his books say is necessary for him to reclaim his mother’s culture. “It’s a Native thing,” he informs his incredulous father. “Only boys do it. It’s part of becoming a man.” Of course, with the threats of the police, the temptation of the barbeque next door, and the distractions of a persistent neighbourhood girl, Simon probably wouldn’t recognize a vision if he fell over it. “Girl Who Loved Her Horses” is the Native name for the strange and quiet Danielle from the non-status community across the tracks, imbued with the mysterious power to draw the horse “every human being on the planet wanted but could never have.” These two plays are about the process of children becoming adults.
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