Press and Media 

Uncle Abram: A Reconstructed Uncle Vanya Review by Ran Xia 


BOTTOM LINE: The Eagle Project's Uncle Abram breathes new life into the Chekhov classic and offers a unique indigenous perspective on its environmentalist theme. [Read More]

Uncle Abram: A Reconstructed Uncle Vanya Review by Saima Huq


Uncle Abram: A Reconstructed Uncle Vanya could just as easily have been named "Uncle Vanya Gets Woke". Chekov would have liked it. [Read More]

The New York Times' Review of Lost Voices by Laura Collins-Hughes


Water is rising all around them, and it’s past time to flee. Two cousins are marooned on the rapidly diminishing patch of land where their families have lived for generations. They have no boat. They don’t even know how to swim. [Read More]

Lost Voices Review by Ran Xia


"In their very simple yet effective ways, both plays show the beauty of quiet resilience and the strength of human bonds. To deny the connections between various, seemingly different groups of people leads to hatred and pain. To recognize it, which the playwrights and the director of Lost Voices have made easier, brings strength to people who are willing to stand together even in the most difficult of times." [Read More]

The Village Voice's Review of Lost Voices by Nicole Serratore


"Launched in 2012, the Eagle Project looks to give Native American stories a place on the stage; the company develops works by Native American playwrights and produces pieces centering around other underrepresented voices. This month, they are presenting the premiere of two short plays under the banner "Lost Voices." These one-acts take a look at marginalized communities that have suffered as a result of Hurricane Katrina and climate change." [Read More]

Review: Lost Voices: “Wide Blossoms” & “Vanishing Point”


"All of the acting is stellar and both casts support each other's characters seamlessly, in a way that makes the audience feel like they have walked in to the bar or into the disappearing community. One easily forgets that they are attending theatre and that they are not, indeed, alongside these well-written characters as they face climate change, a situation that actually affects every last one of us.

Lost Voices demonstrates and educates the audience that we must not lose sight of the fact that it's not "save the planet", it's "save the people." The planet will be here. Whether or not people can survive on it depends on how much attention we all collectively pay." [Read the full review]

Visible Soul Interviews Actor
Kayla Jackmon of LOST VOICES


Kayla Jackmon plays Mari in "Wide Blossoms" by Elise Marenson


Q: Tell me about LOST VOICES. How do you feel the show is going? What do you love most about the play?


A: This show is cathartic and brilliant in so many ways. To give voice to so many who have died and suffered loss from Hurricane Katrina feels like I am able to do something, however small, in a world and tenor in our society at present in which the powerless are silenced. With that said, the play I am in, Wide Blossoms, is brilliantly written and I am having fun playing with two other talented actors. [Read the full interview]

Visible Soul Interviews Actor Kyle Leibovitch of LOST VOICES


Kyle Leibovitch plays Bartender in "Wide Blossoms" by Elise Marenson


Q: Tell me about LOST VOICES. How do you feel the show is going? What do you love most about the play?


A: I hate that question: "how's the show going?" I think as an actor it's very important to work for the process and try to let go of results. All you can do is connect to the the circumstances, know what it is you're trying to do onstage, and just shut up and listen to what's going on around you. That's it. Really listen. Really answer. Really respond. If you do that you never really know how it's going. And that's how I like it.


The thing I love most about Lost Voices is that I think these pieces are extremely relevant in today's political climate. Especially in wake of the upcoming election and issues pertaining to both the African American communities and the Native American communities.

[Read the full interview]

Visible Soul Interviews Actress Abbi Hawk of LOST VOICES


Abbi Hawk plays Female Cousin in "Vanishing Point" by Larissa FastHorse


Q: Tell me about LOST VOICES. How do you feel the show is going? What do you love most about the play?


A: Lost Voices is an important piece of poetry and a discussion of remembering and forgetting. We are examining how we often remember those who struggle when it's convenient, politically relevant, or unavoidable, but how we also forget those people with a disturbing amount of ease and perhaps even willingness. It's been going quite well so far and I've been relishing all of the little moments of connection we are finding night after night. It's hard to pick a favorite part, but I will say that I love diving into the very specific landscape we've created and watching the journey unfold between the two cousins. Also grandma's stories. They are something magical. [Read the full interview]

Interview: Playwright Larissa FastHorse on Climate Change and Her New Play “Vanishing Point”


Larissa FastHorse started out as "the only ballet dancer [she] knew in the middle of the prairie," but is now a playwright whose works are produced all over the United States and beyond. As an enrolled member of the Rosebud Sioux Tribe, and Sicangu Tribal Nation, FastHorse puts her own Native American experience to her works. She also, with Grammy-winning artist Ty Defoe, is co-owner of Indigenous Direction, a consulting firm for companies and artists who want to create accurate work about, for and with Indigenous Peoples.


We spoke about FastHorse's multifaceted journey in the arts and Vanishing Point, her play about a tribe losing their land due to rising waters, which opened in New York City just a day after 141 protesters at the Dakota Access Pipeline were arrested in North Dakota. The play is part of Lost Voices: An Evening of Two Short Plays, presented by the Eagle Project.

[Read the full interview]

LOST VOICES to Explore Hurricane Katrina at HERE, Opening This Friday


EAGLE PROJECT will present LOST VOICES, an evening of two World Premiere plays written by Larissa FastHorse and Elise Marenson both directed by Jessi D. Hill. LOST VOICES is an evening of two short plays that explore how Hurricane Katrina uncovered America's darkest secrets. [Read More]

Ryan "Little Eagle" Pierce interviewed on "Redding News Review Unrestricted" Hosted by Rob Redding


Ryan and Rob discuss LOST VOICES, Hurricane Katrina and much more. The interview is at 26:51 - 41:15.

Adam Szymkowicz: I Interview Playwrights Part 886: Elise Marenson


Q: Tell me about your upcoming show.


A: I wrote Wide Blossoms spontaneously, from anger and frustration having watched people left to die after Hurricane Katrina just because they were poor and black. [Read the full interview]



THE EAGLE PROJECT is pleased to announce its upcoming production of LOST VOICES an evening presenting two World Premiere plays written by Larissa FastHorse and Elise Marenson both directed by Jessi D. Hill. LOST VOICES is an evening of two short plays that explore how Hurricane Katrina uncovered America's darkest secrets. [Read More]



Some performance artists and writers consider the world around them, gauge popular trends, or adapt arcane books. Some have a fire in their bellies, a story they need to tell. Playwright Thomas J. Soto began “Trail of Tears” in 2013 as a series of one-night installations to honor cultures lost to genocide. Rajendra Ramoon Maharaj, the producing Artistic Director of Rebel Theatre, who created and developed the project for the stage, called this series “The Remembrance Project.” Now playing at the Nuyorican Café in Lower Manhattan, “Trail of Tears,” like “Hamilton,” takes a second look at American history but from the perspective of Native Americans. The satirical docudrama is told through story, dance, performance, movement, and testimony. It is an engrossing 90 minutes. Read More Here:

Trail of Tears - A Native American History - Woman Around Town


Rajendra and collaborator Ryan Victor “Little Eagle” Pierce of the Eagle Project gave a warm welcome to preface the show. They opened the space up by welcoming the audience to react to the actors, which is akin to call and response, a traditional Native American practice. Rajendra spoke a bit about why they chose to explore this subject with political satire – to make the ideas more digestible. They forewarned that the material could make the audience move to anger, which I found to be very true. Rajendra has been inspired by the docudrama work of theatre practitioners Anna Deavere Smith and Emily Mann, who are known for the mixing of personal stories and historical narrative. This type of docudrama theatre lends itself to activist theatre, or theatre for social change as it is more commonly called. It’s meant to be raw in its truthfulness, but ultimately empowering. - See more at: 


“This is a chance to look at the first genocide,” said director Rajendra Ramoon Maharaj as he opened last night’s performance of “Trail of Tears” at The Nuyorican Poets Café. The emotional storm of dance, song and soliloquy casts a satirical eye on the forced relocation of Native Americans in the 1830s.

Though too often forgotten, Maharaj said, the tragedy served as a precursor to the enslavement of Africans – bruises on the face of this country that have yet to heal. He quoted a long-gone English chief: “When you acknowledge the dead, the dead stand taller.” 

Read More Here:


BY SCOTT STIFFLER | History thrown at you like a hard left hook is the signature move of Rebel Theater Company — and they’ve scored another jarring knockout with “Trail of Tears,” currently on the boards at Nuyorican Poets Cafe, an East Village venue as steeped in art and activism as its young resident troupe.

Every show from Rebel’s ethnically, sexually and generationally diverse ensemble, assures Indo-Caribbean American director Rajendra Ramoon Maharaj, is like a church service — but don’t interpret that as an obligation to place their work in a realm where the sacred is witnessed from a respectful distance.

Read The Full Article Here:

How the West Was Bought: Aurin Squire on Broken Heart Land

Passionate life and love is at the heart of Broken Heart Land, a new play by Vicki Lynn Mooney being produced by Eagle Project. The subject matter is a family pursuing land wealth at the turn of the 20th century through marrying off their half-Native American daughters to other respectable white families. By doing so, the families hope to consolidate the government land grants allotted to Native tribes in order to create mini-empire. [Read More]

Jody Christopherson interviews playwright Vicki Lynn Mooney on Broken Heart Land

New York Theatre Review

Q: Tell us about the process of writing Broken Heart Land and your inspiration for the play? 

A: The inspiration for Broken Heart Land began as I started researching my Cherokee ancestry in preparation to join the tribe. After nearly a decade of digging, I was saturated with Cherokee history and lore, had applied for tribal membership and begun Cherokee language classes. My great-Grandmother (Alma) received a Dawes Act allotment in Tulsa, Indian Territory, and loved to tell stories of her Cherokee relations and their life in Territorial days. My cousins and I would beg her to tell us the story of her wedding night. I made Alma thirteen in the play, but she was only twelve when she was married. The process of this play was simple. I went to bed each night thinking of the story and I woke up every morning knowing what to write. It was almost as if the characters channeled me; I wrote it in four or five weeks in 2011. The ancestors had my back on this one. Alma wanted her story told! [Read More]

WBAI, Arts Express, Prairie Miller

Matt Cross' interview for WBAI (radio) on Prairie Miller's show, Arts Express. Matt Cross plays Tsimi in Broken Heart Land.


[LISTEN to Matt's interview here]

[Listen to the entire program here]

The Rivertowns Enterprise 

Interview with Vicki Lynn Mooney, the writer of Broken Heart Land

Native American Talk Back

Eagle Project is proud to announce that, in collaboration with the Densford Fund of Riverside Church, we are dedicating two of our performances to Native youth. Meaning, that for two performances of Broken Heart Land, Native youth that are affiliated with a Native association or organization get to see the show for FREE.

These two performances will be Tuesday, November 11th and Wednesday, November 12th.

A talk back with the playwright, director, producer, and a couple of the actors will follow the performance.

Native youth must be between the ages of 13 and 25, basically high school and college age. The play is not appropriate for children under 12.

For more information, please e-mail Ryan Victor "Little Eagle" Pierce at

WBAI, Arts Express, Prairie Miller

Vicki Lynn Mooney and Matt Cross gave interviews for WBAI (radio) last week which aired today on Prairie Miller's show, Arts Express.


[LISTEN to the interview here]

Adam Szymkowicz interviews Vicki Lynn Mooney

Q: Tell me about Broken Heart Land.

A: Broken Heart Land (in Cherokee: Uyotsohi Adanvdo Gadohi) is set in Tulsa, Indian Territory, 1903. It is the story of Alma Wimsey, the 13-year-old daughter of a Cherokee father and white mother who rebels against an arranged marriage and reclaims her Cherokee heritage.

Although I wrote Broken Heart Land first, it is the second play chronologically in the Broken Heart Land Trilogy. The first play of the Trilogy is Hoop Jumper (1900), the second is Broken Heart Land (1903), and the third will be Thicker Than Oil (1920). The Trilogy explores the period beginning in the late 1880’s with the enactment of The Dawes Act* the largest land grab of Native territory in US history. [Read More]

Eagle Project Presents BROKEN HEART LAND

Broken Heart Land, a Finalist in the 2012 Native American New Play Festival is a full-length play by Cherokee Nation playwright Vicki Lynn Mooney and directed by Tony White. Broken Heart Land is the heart wrenching story of Alma Wimsey, the mixed-blood daughter of a Cherokee father and white mother. At thirteen she is manipulated into an arranged marriage so that her white grandfather can gain control over her tribal land including the valuable railroad through Tulsa. The story is one of love and power within the Native community during the devastating land grab by white interlopers in Oklahoma when it was still Indian Territory.

Dobbs Ferry playwright Vicki Lynn Mooney has written a trilogy of plays Broken Heart Land, Hoop Jumper and Thicker Than Oil that explore what it means to be a mixed-blood, with a foot in two worlds but truly being part of neither. Mooney takes us to the core of what the real American story is revealing a history unknown to most Americans. [Read More]

Theater Review (NYC): Wood Bones by William S. Yellow Robe, Jr.
By Deborah Atherton
Wednesday, May 29, 2013

I was not quite sure what to expect when I showed up at the Abingdon Theater recently for the Eagle Project’s inaugural production of Wood Bones by William S. Yellow Robe, Jr. I had attended an event introducing The Eagle Project, a new theater company dedicated to exploring the American identity through performing arts and their own Native heritage, earlier this year, and had been intrigued by the single scene I saw then. The complete production of Wood Bones more than lived up to the promise of that scene, and was in fact one of the most beautiful and spiritual plays I have ever seen. [Read More]

Adam Szymkowicz interviews William S. Yellow Robe, Jr.

Q:  Tell me about Wood Bones. 

A:  “Wood Bones” is not your typical haunted house story. In fact, it isn’t about a haunted house. It is about a form of energy that humans have created over the years inhabiting this one space. It is sort of what is left behind. This energy starts to manifest and becomes conscience. Sort of similar to like a  computer become self-aware of itself, a form of artificial intelligence but in this instance an organic intelligence is created. The problem in writing the play was to present a collection of characters that didn’t judge themselves, or the audience would be able to be quick to judge. It is a multi-cultural cast because like America, we are diverse. It is the Native American Tribal communities that bear the weight of these various communities, as does the house energy/spirit character, 121, does in the play. [Read More] Q&A Preview by Ryan Victor Pierce (Little Eagle)
April 9, 2013

What is your job on this show?
Founder/Artistic Director of Eagle Project and Actor in "Wood Bones".

What is your show about?
What you create in this world is sometimes left behind for other generations.

What type of theater do you like most to work on?
Theater that challenges the status quo and uncovers some harsh truths is the type of theater I most like to work on. [Read More]

There are a lot of structures we don't see because we are not trained to see them," commented American Indian playwright, William Yellow Robe, Jr., Assiniboine/Sioux of the Fort Peck Indian Reservation, as he spoke about his new play, "Wood Bones," that opens in New York on Thursday evening. [Read More]

The Eagle Project presents its inaugural production the World Premiere of Wood Bones by William S. Yellow Robe Jr., directed by Bob Jaffe, Thursday, May 9th through Saturday, May 18th, 2013, at the June Havoc Theatre Abingdon Theatre Arts Complex, 312 West 36th Street New York, NY. [Read More]

Eagle Project celebrates our second open mic forum with Your Art/Your Country, bringing together cultural activists from around the city. Keep in touch to learn when the next forum will take place.

W'anishi is a hit! On January 25th, 2013 we celebrated our first birthday with a special party honoring Wood Bones playwright William S. Yellow Robe, Jr. at Space on White. Our Steering Committe member Vicki Lynn Mooney cooked up a delicious Native American feast complete with venison chilie, corn bread and blueberry cobbler.  Read all about it.

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