April 24, 2026
Lighthouse Festival
By Don Kearney-Bourque
When acclaimed Canadian playwright Drew Hayden Taylor set out to write Crees in the Caribbean, he wasn’t chasing spectacle or high drama. Instead, he began with something quieter, and far more personal: the idea of an Elder love story.
“I wanted to do an Elder’s love story and comedy,” Taylor explains. “I know plenty of older people who have never been out of the country, and I thought this might be an interesting way to approach telling an old-fashioned love story.”
That initial spark leads to a story that unfolds far from home, as longtime couple Evie and Cecil navigate an unfamiliar world. But while the setting may be vibrant and new, the emotional core of the play is rooted in something universal: relationships, and the quiet tensions that live inside them.
A Mystery Beneath the Sunshine
At the heart of the play lies a deceptively simple dramatic question: why is Cecil so unhappy?
“He’s on an amazing adventure but seems unwilling to enjoy it,” Taylor says.
That tension fuels the story. While Evie embraces the excitement of travel and the opportunity to experience something new, Cecil remains guarded, even irritable. The contrast between them creates both humour and emotional depth, inviting audiences to look beyond the surface of their interactions.
Writing Love, Frustration, and Connection
For Taylor, Evie’s journey proved particularly challenging to write.
“How does she put up with such a cranky old man?” he asks. “It’s not until the end that you see the connection between the two.”
That slow reveal is central to the play’s impact. What may initially read as frustration or incompatibility gradually transforms into something more layered and meaningful.
Taylor also points to the character of Manuela as a challenge, noting that writing outside one’s own lived experience requires care and curiosity. “I don’t know a lot about the life of Mexican maids,” he admits, highlighting the responsibility that comes with portraying characters from different cultural contexts.
At its core, Crees in the Caribbean is driven by desire; simple, relatable, and deeply human.
Evie wants to enjoy the trip. More than that, she wants Cecil to enjoy it too. Cecil, however, is distracted by a lingering suspicion that there is another reason behind their journey – something unspoken that continues to weigh on him. That emotional push and pull creates a dynamic that is both funny and poignant. As Taylor puts it, “Evie wants to have a good time… but Cecil’s being a bit of an ass about it.”
The play’s origins are rooted in Taylor’s own experiences. “I’ve been to Mexico many times,” he says. “I would frequently wonder how my grandparents would react. To the best of my knowledge, they never left the country. That was the genesis.”
That “what if” became the foundation for a story that explores not just travel, but perspective and how stepping outside one’s comfort zone can reveal both new possibilities and long-buried truths.
Choosing Joy
While Taylor has long been known for exploring a wide range of themes in his work, he is intentional about balancing tone. “I like going back and forth between comedies and dramas,” he explains. “I’ve seen so many dark and bleak stories of Indigenous life. I frequently like to present a more positive and enjoyable peek at our lives.” That choice is reflected in Crees in the Caribbean, which blends humour with heart, offering audiences a story that is both entertaining and emotionally resonant.
Taylor’s work often returns to certain recurring ideas; chief among them, the “fish out of water” narrative. “Those stories are always fun,” he says. “Also, providing a window for other cultures to see how we live, and vice versa.” Though the play is set in Mexico, Taylor notes that its story could unfold almost anywhere. The physical setting shapes the characters’ behaviour, but the emotional journey remains universal.
When asked what he hopes audiences will take away after seeing the play, Taylor points to the central relationship between Evie and Cecil. “Definitely their relationship. What will happen next?” he says. “I want them to feel sad, but to remember some of the humour of their relationship.” It’s that balance – between laughter and reflection – that defines the play’s lasting impact.
Telling Stories Truthfully
As an Indigenous playwright, Taylor is often asked how he approaches storytelling to avoid stereotypes or external expectations. His answer is simple.
“Instinct. I am a storyteller,” he says. “I realize the world is the audience. I write stories that tell a truthful perspective. I can’t do anything else.”
In Crees in the Caribbean, that instinct yields a story that is honest, humorous, and deeply human; one that invites audiences not just to laugh but to recognize themselves in the journey.
Crees in the Caribbean hits the Lighthouse Theatre stage in Port Dover from June 17 to July 4 and at Roselawn Theatre in Port Colborne from July 8 to July 19. For tickets, visit lighthousetheatre.com or call the box office at 888-779-7703.
About Drew Hayden Taylor
An Ojibway from the Curve Lake First Nations in Ontario, Drew Hayden Taylor has worn many hats in his literary career, from performing stand-up comedy at the Kennedy Center in Washington D.C., to being Artistic Director of Canada’s premiere Native theatre company, Native Earth Performing Arts. He has been an award-winning playwright, a journalist/columnist (appearing regularly in several Canadian newspapers and magazines), short-story writer, novelist, television scriptwriter, and has worked on numerous documentaries exploring the Native experience. Most notably as a filmmaker, he wrote and directed REDSKINS, TRICKSTERS AND PUPPY STEW, a documentary on Native humour for the National Film Board of Canada, and for CBC, co-created SEARCHING FOR WINNITOU, an exploration of Germany’s fascination with North American Indigenous culture. 2 years later he followed it up with the documentary COTTAGERS AND INDIANS, about Indigenous/non-Indigenous conflicts over land and water issues. Most recently, THE PRETENDIANS aired, exploring the phenomenon of non-Native people claiming Indigenous heritage.
