dallas goldtooth tour

Oasis announces 2025 tour after 15-year hiatus during Gallagher brothers’ feud

FILE - Group portrait of British rock band Oasis at Nomad Studios in Manchester, United Kingdom, on Nov. 29, 1993. L-R Paul Arthurs (aka Bonehead), Liam Gallagher, Noel Gallagher, Tony McCarroll, Paul McGuigan. (Photo by James Fry/Getty Images)

LONDON - Oasis, the English rock band known for hits like "Wonderwall" and "Don’t Look Back in Anger," is reuniting for a tour in 2025 – ending a 15-year hiatus and, presumably, a feud between brothers and bandmates Liam and Noel Gallagher.

The band, which formed in Manchester in 1991, will play 14 dates next summer. 

"This is it. This is happening,″ the band said on Tuesday.

Here’s what to know:

Oasis tour 2025 and tickets

Oasis said the band will play in Wales, England, Scotland and Ireland next July and August. 

Tickets go on sale at 9 a.m. on Saturday.

"The guns have fallen silent. The stars have aligned," the band wrote in a separate post on social media, presumably in reference to the brothers’ feud. "The great wait is over. Come see. It will not be televised."

Specifically, the tour will begin July 4 and 5 at Principality Stadium in Cardiff, Wales. Oasis will also perform at Heaton Park in Manchester, England, on July 11, 12, 19 and 20; Wembley Stadium in London on July 25 and 26 and Aug. 2 and 3; Scottish Gas Murrayfield Stadium in Edinburgh on Aug. 8 and 9; and Croke Park in Dublin on Aug. 16 and 17.

Oasis: A history of the Gallagher brothers’ feud

Oasis formed in Manchester in 1991 and reached the height of fame in the mid-1990s, going on to become one of the best-selling bands in British history.

But the band later split in 2009 after many years of infighting, with Noel Gallagher officially leaving the band just before a performance at a festival near Paris. 

Even before the dissolution, the brothers had long had an antagonistic relationship and reportedly did not speak to each other for years after the breakup.

"People will write and say what they like, but I simply could not go on working with Liam a day longer," Noel Gallagher, the band's guitarist and songwriter, wrote in a statement at the time.

While the Gallagher brothers haven’t performed together since, both regularly perform Oasis songs at their solo gigs. They've also each fired off criticisms of the other in the press.

Noel Gallagher accused his younger brother of having a hangover that forced them to cancel a 2009 concert. The frontman disputed the accusation and sued, later dropping the lawsuit.

In 2011, Noel Gallagher told The Associated Press in an interview that he left the band after an incident where Liam Gallagher started wielding a guitar "like an axe ... and he’s swinging this guitar around and he kind of you know, he took my face off with it, you know?"

In 2019, Liam Gallagher told the AP he was ready to reconcile.

"The most important thing is about me and him being brothers," he said. "He thinks I’m desperate to get the band back together for money. But I didn’t join the band to make money. I joined the band to have fun and to see the world."

"I don’t know what his problem is," he continued. "I think he just wanted to go away and do his solo career, get all the coin and be surrounded by all the yes men you can fire and hire whenever he wants. You can’t do that with me."

Taylor Swift, Ed Sheeran sing together for Eras tour

Ed Sheeran joined Taylor Swift on stage in London to perform two of their collaborations, followed by a surprise duet.

Oasis announcement follows speculation of reunion

With the announcement, the Britpop band ended a few days of fan speculation. A short video on the band’s social media accounts Sunday night had revealed the date "27.08.24," and time "8 a.m.," written in the same font as the well-known Oasis logo. The brothers shared the same to their individual accounts.

Of course, fans have long theorized a reunion might be on the horizon: In the wake of the 2017 bombing that killed 22 at an Ariana Grande concert in Oasis' hometown of Manchester, Liam Gallagher performed at a benefit concert that fueled speculation of a reunion. He criticized his brother's absence, but a spokesperson said Noel Gallagher couldn't attend because of a longstanding family trip. Benefit organizers said Noel Gallagher approved the use of Oasis' music and donated royalties from "Don’t Look Back In Anger" to the British Red Cross’ One Love Manchester fund.

Later that year, Liam Gallagher tweeted at his brother, leading some to believe they made up: "I wanna say Happy Xmas to team NG it’s been a great year thanks for everything looking forward to seeing you tomorrow AS YOU WERE LG x"

Prior to Tuesday's announcement, Oasis was already teed up to release a new collection, "Definitely Maybe - Deluxe 30th Anniversary Editions," celebrating the anniversary of their debut album.

Rumors of a potential reunion were amplified this past weekend when Liam Gallagher responded on social media to unconfirmed reports of the band playing London's Wembley Stadium and Manchester’s Heaton Park. When one social media user criticized Heaton Park, the Manchester native wrote, "See you down the front," calling the user a vulgarity. In another stand-alone post on X, he teased, "I never did like that word FORMER."

"You tell me man," Liam Gallagher replied. He also responded to several negative tweets about the potential reunion with "Your attitude sucks" and "SHUTUP." Noel Gallagher, on the other hand, remained silent other than posting the teasers.

How to watch the Tour Championship, the final event of 2024 FedExCup Playoffs

Thirty golfers will compete for the largest prize on the pga tour, published august 27, 2024 • updated on august 27, 2024 at 11:34 am.

It all comes down to this for the PGA Tour .

A season's worth of play will culminate with the Tour Championship. Not only does the tournament come with a prestigious Tour title, but also a record-breaking payday.

Streaming 24/7: Watch NBC 5 local news and weather for free wherever you are

Scottie Scheffler has been the man to beat all season, and he leads the pack entering the Tour Championship. The 2024 Masters and Olympics champion lapped the field in FedExCup points during the regular season, and he has held onto his lead through the first two events of the FedExCup Playoffs.

Xander Schauffele is hot on Scheffler's heels, though. Schauffele is second in FedExCup points heading into this year's championship event after winning the PGA Championship and the British Open .

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Hideki Matsuyama and Keegan Bradley are next in the standings after winning the first two FedExCup Playoff events, respectively. Matsuyama started the playoffs by winning the FedEx St. Jude Championship, and Bradley followed that up by winning the BMW Championship after being the last golfer to qualify for the event.

Who will take home the PGA Tour's top prize? Here's everything to know for the 2024 Tour Championship:

When is the Tour Championship?

The Tour Championship will go from Thursday, Aug. 29, to Sunday, Sept. 1.

Where is the Tour Championship?

The Tour Championship will be held at East Lake Golf Club in Atlanta.

The course hosted the tournament for the first time in 1998 and has been the annual home of the event since 2004.

Keegan Bradley goes from last man in to BMW Championship winner

Hideki Matsuyama avoids collapse and rallies to win St. Jude Championship

How to watch the 2024 tour championship.

Here is the full TV and streaming schedule for the Tour Championship:

Thursday, Aug. 29

• 1-6 p.m. ET, Golf Channel/ Peacock

Friday, Aug. 30

Saturday, Aug. 31

• 1-2:30 p.m. ET, Golf Channel/ Peacock
• 2:30-7 p.m. ET, NBC/ Peacock

Sunday, Sept. 1

• 12-1:30 p.m. ET, Golf Channel/ Peacock
• 1:30-6 p.m. ET, NBC/ Peacock

2024 Tour Championship field and starting strokes

Thirty golfers are left standing for the Tour Championship.

The tournament features starting strokes, which convert FedExCup points into handicaps for the start of the event. The players at the top of the FedExCup standings have a greater advantage, while those lower in the standings will start from behind.

Here is where all 30 golfers stand entering the Tour Championship:

• 1. Scottie Scheffler: 10-under
• 2. Xander Schauffele: 8-under
• 3. Hideki Matsuyama: 7-under
• 4. Keegan Bradley: 6-under
• 5. Ludvig Aberg: 5-under
• T-6. Rory McIlroy: 4-under
• T-6. Collin Morikawa: 4-under
• T-6. Wyndham Clark: 4-under
• T-6. Sam Burns: 4-under
• T-6. Patrick Cantlay: 4-under
• T-11. Sungjae Im: 3-under
• T-11. Sahith Theegala: 3-under
• T-11. Shane Lowry: 3-under
• T-11. Adam Scott: 3-under
• T-11. Tony Finau: 3-under
• T-16. Byeong Hun An: 2-under
• T-16. Viktor Hovland: 2-under
• T-16. Russell Henley: 2-under
• T-16. Akshay Bhatia: 2-under
• T-16. Robert MacIntyre: 2-under
• T-21. Billy Horschel: 1-under
• T-21. Tommy Fleetwood: 1-under
• T-21. Sepp Straka: 1-under
• T-21. Matthieu Pavon: 1-under
• T-21. Taylor Pendrith: 1-under
• T-26. Chris Kirk: Even
• T-26. Tom Hoge: Even
• T-26. Aaron Rai: Even
• T-26. Christiaan Bezuidenhout: Even
• T-26. Justin Thomas: Even

Tour Championship prize money

All 30 golfers are set to make at least $550,000 for the Tour Championship. Here is a look at the full tournament prize pool:

• $25 million
• $12.5 million
• $7.5 million
• $3.5 million
• $2.75 million
• $2.225 million
• $1.75 million
• $1.075 million
• $1.025 million

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• SI SWIMSUIT
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• Free Agency
• Trade Rumors

Jalen Brunson, Mark Cuban Share Sides of 2022 Contract Negotiations

Austin veazey | 12 hours ago.

• Dallas Mavericks
• New York Knicks

Jalen Brunson broke the hearts of Dallas Mavericks fans when he decided to sign with the New York Knicks in the 2022 offseason. While he's discussed the negotiations at times in the past, he had Mavericks' minority owner Mark Cuban on his " Roommates " podcast and they each shared their sides of what happened that offseason.

Jalen Brunson & Mark Cuban discussed his move to the Knicks in 2022 and what really went down with the Mavs and more... Respect to both sides for giving the full story 💯 (via @Roommates__Show ) pic.twitter.com/NXViGU9YAY — MFFL NATION (@NationMffl) August 30, 2024

READ MORE: Former Mavericks Prospect Opens Up on Struggles in Dallas

Brunson started by saying "You start seeing all these moves that the Knicks are making and, obviously, my dad going to the Knicks as an assistant coach... How could I live with myself if I didn't at least explore that option? We go into free agency and I have a meeting with the Knicks and after the Knicks was scheduled a meeting with the Mavs." He then checks with Cuban who clears up the scheduled meeting with Dallas.

"They wanted us to come to New York [for the meeting] and we were like 'What are we going to discuss? We need to have some reference on what we're going to be talking about if we come to New York.' We want to keep him but we're not just going to show up in New York just for you to say 'no.' Like I told you, there was a time where it was 'What's the number? Give us a feel' [and they responded] '[Jalen] is going to a wedding' and that was pretty much the last we heard."

"From my point of view," Brunson retorted, "once we got the number from the Knicks... I didn't hear anything else from the Mavericks. It wasn't from the Mavericks, it was my agent telling me 'They're not giving us a number.'"

"We put up a number," Cuban corrected, "they said 'Too low.' We were hoping to have a homecourt advantage, [you'd] been here four years, at least give us that opportunity. And then when it came down to it, and it looked like you were going to go to the Knicks, really the only number that's going to make it work is a maxed-out contract. And that was the last of it."

Cuban says there are no hard feelings on either side and no grudges held. While it didn't work out retaining Brunson, the Mavericks rebounded to make the NBA Finals two years later after making the Western Conference Finals with Brunson on the team.

The Mavericks initially messed this up by not offering Brunson the 4-year, $55 million max he could've received before his last season in Dallas started. He was willing to sign it before the 2021-22 season but the Mavs decided he wasn't worth it. He averaged 12.6 PPG in the 2020-21 season and there were still questions about his fit alongside Luka Doncic .

Brunson played much better in 2021-22, averaging 16.3 PPG while starting most of the games. Because he was a second-round pick, he was an unrestricted free agent following the season and chose to sign with the Knicks on a 4-year, $104 million deal instead of returning to Dallas.

Since signing with the Knicks, Brunson has blossomed into an All-NBA talent, even finishing 5th in MVP voting last year while lifting the Knicks to the 2nd seed in the East. He jumped from 16.3 PPG in his last season with Dallas to 28.7 PPG last season, the 4th-highest in the NBA.

While not signing him to the $55 million deal before the 2021-22 season looks terrible in hindsight, reports have indicated that Dallas likely would've included him in the Kyrie Irving trade. Irving was going to be a Maverick and Brunson would be playing for a team in New York City either way.

READ MORE: Shrewd Move By Mavericks Led To Heavy Criticism For Rival Team

Stick with MavericksGameday for more FREE coverage of the Dallas Mavericks throughout the NBA Offseason

Follow MavericksGameday on Twitter and Austin Veazey on Twitter

More Dallas Mavericks News

• Klay Thompson's Return Game For Dallas Mavericks at Golden State Warriors Revealed
• NBA Reveals Entire 2024-25 Dallas Mavericks Schedule
• Mavericks' Luka Doncic, Dirk Nowitzki To Participate in Goran Dragic's Retirement Game
• NBA Champion Thinks Kyrie Irving is Better Than Steph Curry

AUSTIN VEAZEY

Austin Veazey joined NoleGameday as the Lead Basketball Writer in 2019, while contributing as a football writer, and started as editor for MavericksGameday in 2024. Veazey was a Florida State Men’s Basketball Manager from 2016-2019. Follow Austin on Twitter at @EasyVeazeyNG

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Joyful protests and funny rituals with Reservation Dogs' Dallas Goldtooth

Tracie Hunte

Andrea Gutierrez

Jessica Placzek

Dallas Goldtooth as Spirit in Reservation Dogs Shane Brown/FX hide caption

Dallas Goldtooth as Spirit in Reservation Dogs

'Reservation Dogs,' now in Season 2, remains one of the most original shows on TV

In FX's Reservation Dogs , Dallas Goldtooth plays the character "Spirit" — a Native American warrior in feathers and buckskin who curses and makes dirty jokes. Dallas also brings his irreverence to the frontlines of protests against oil pipelines. He talks to guest host Tracie Hunte about merging his passions for comedy and organizing, and how he's changing stereotypes with heaps of joy.

This episode was produced by Andrea Gutierrez. It was edited by Jessica Placzek, with support from Jessica Mendoza. Engineering support came from Kwesi Lee. Our executive producer is Veralyn Williams. You can follow us on Twitter @NPRItsBeenAMin and email us at [email protected].

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AN EVENING WITH NIKKI GIOVANNI & DALLAS GOLDTOOTH: INTERGENERATIONAL CONNECTION & RACIAL HEALING

At black academy of arts and letters jan 17, 2024.

Dallas Truth, Racial Healing & Transformation (Dallas TRHT) announces its 8th Annual National Day of Racial Healing celebration, featuring the literary legend Nikki Giovanni and acclaimed actor/writer Dallas Goldtooth of "Reservation Dogs." The event will take place on the evening of January 16th, 2024, and will be an invigorating exploration of intergenerational connections and racial healing

As part of Dallas TRHT's ongoing mission to increase racial equity, racial healing and racial justice within the Dallas Fort Worth Metroplex and beyond, this year's celebration brings together two influential figures who have dedicated their lives to activism and artistry.

Past Dallas TRHT National Day of Racial Healing celebrations have featured esteemed individuals such as Dr. Gail Christopher, Dr. Eve L. Ewing, Mehrsa Baradaran, Nikole Hannah Jones, Heather McGee, Mariame Kaba, and Dr. Angela Y. Davis, and this year promises to be no exception.

“Dallas TRHT is extremely excited to host Nikki Giovanni and Dallas Goldtooth to help us celebrate the National Day of Racial Healing,” said Jerry Hawkins, Executive Director of Dallas TRHT, “We invite our community members to join us and celebrate the 2024 National Day of Racial Healing in their own organization, school, institution and/or company.”

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Dallas Goldtooth

Dallas Goldtooth is a Dakota actor, comedian, stage performer and public speaker from the village of Cansayapi within the territory of the Oceti Sakowin people.

He has performed on FX’s Reservation Dogs , Comedy Central and the BBC. He is a film producer, playwright, and published poet. He is also a Dakota language activist, cultural teacher, dedicated father and loving husband.

Photo by Joey Montoya.

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National Day of Racial Healing 2024

January 16 @ 7:00 pm - 10:00 pm.

REGISTER TODAY! 

Dallas Truth, Racial Healing & Transformation (Dallas TRHT) announces its 8th Annual National Day of Racial Healing celebration, featuring the literary legend Nikki Giovanni and acclaimed actor/writer Dallas Goldtooth of “Reservation Dogs.” The event will take place on the evening of January 16th, 2024, and will be an invigorating exploration of intergenerational connections and racial healing. 

As part of Dallas TRHT’s ongoing mission to increase racial equity, racial healing, and racial justice within the Dallas Fort Worth Metroplex and beyond, this year’s celebration brings together two influential figures who have dedicated their lives to activism and artistry. 

*** This is a free community event, but registration is required

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Dallas Goldtooth as William Knife-Man in FX's  Reservation Dogs . (Photograph by Shane Brown / FX)

The Hidden Climate Messages in ‘Reservation Dogs’

WORDS BY Yessenia Funes

Dallas Goldtooth plays the spirit William Knife-Man on FX’s critically acclaimed Reservation Dogs. He’s also an Indigenous environmental activist. The Frontline talks to him about how these two backgrounds came together on screen.

It’s not every day I turn on my television and see someone I know. So imagine my surprise watching the season premiere of Reservation Dogs , the new comedy from FX that follows a group of four Indigenous teens that dream of leaving their Oklahoma home for a new life in California. 

Fifteen minutes in, a spirit named William Knife-Man shows up shouting a healthy (and hilarious), “Aho!” He’s played by Dallas Goldtooth , the Keep It in the Ground campaigner for the Indigenous Environmental Network , a leading organization in the climate justice space. I couldn’t believe it; I often call up Goldtooth when I’m covering pipeline battles or environmental policy, yet there he was on my screen—funny as hell and natural as can be. 

I knew it was him when his character said : “Being a warrior isn’t always easy… It’s easy to be bad, but it’s hard to be a warrior with dignity… In my time, we gave everything. We died for our people. We died for our land.”

But the show isn’t about land rights or activism. Put simply, Reservation Dogs is a comedy about teenage drama—and yet it’s so much more. Reservation Dogs has launched a new era of Native representation in film and TV. More often than not, Native characters are played by non-Native actors. Their scripts are written by white dudes, and their plots fall flat. The gross stereotype of the uncivilized savage is so played out and hurtful, yet it shows up time and time again when writers decide to include any Native characters at all. Reservation Dogs is none of the above. It’s the real deal: the kind of show you watch with your bong at your side because the laughing is endless and the realness is deep. I found myself cackling and crying within a single 30-minute episode, and I’m not even into comedy.

Welcome to The Frontline , where you’ll get to meet the spirit himself. I’m Yessenia Funes, climate director of Atmos . The fight for climate and environmental justice is also a fight for freedom and representation. It’s about our voices being heard. One of the most ignored voices is that of our Indigenous communities—whose experiences vary from one tribal member to the next. Goldtooth breaks down the power of this new show and the intentional, subtle messaging it features around land back , Indigenous sovereignty , and mental health .

This interview has been lightly edited and condensed for clarity.

  View this post on Instagram   A post shared by Emily Assiran (@emery_is)

YESSENIA FUNES

First of all, how does someone go from Keep It in the Ground campaigner to acting on my TV screen? You’ve done such an incredible job! I know that you’ve done stand up, but this feels like a whole other level. Congratulations!

DALLAS GOLDTOOTH

Yeah. I appreciate that. Well, one of the show cocreators is a friend of mine: Sterlin Harjo. He and I cofounded our sketch comedy group, The 1491s , a group of five Indigenous comedians. When he created the show, he reached out to me and asked if there was any interest for me to act and asked me to audition for a part he thought was perfect for me. And I just took a chance, auditioned for it, and got the role. It’s pretty sweet because it is a direct result of our work as a sketch comedy group. My brother Migizi Pensoneau, who’s another member of The 1491s, was a writer and producer for the show. They know me, so they wrote the part leaning into my strengths.

Wow, amazing job. You are so freaking funny in the show. How was it playing the spirit and acting alongside other Indigenous fam?

I got to tell you: It’s amazing to be on a mainstream production of that level and to see all the Native folks who are not only in front of the camera but behind the camera: the production crew, the directors, the sound design team, some of the stuntmen. Sterlin and Taika Waititi as cocreators went above and beyond to ensure that Indigenous peoples were involved in the production of this from beginning to end. And that’s really empowering.

What made me a little nervous is that my character is visually a stereotypical Native American character you see on camera, but the part I like is that it’s a subversion of that stereotypical image of Native people on camera. The character’s whole intention is to play on our own perceived ideas of what a Native wisdom keeper is. And I feel like it landed really well.

The issue of mental health is directly connected to the issue of climate justice.

Yeah, it did. Your character was among my favorites. I really loved how prevalent “land back” was throughout the show even though it wasn’t something the characters really talked about. There was that one scene where there’s that old white couple asking about a sign and what “land back” means. It was hilarious but also a snippet into how folks from the outside don’t always understand. And I loved that final scene— spoiler alert —where we got to see that “land back” graffiti on the sign as Elora drives off with Jackie. Talk to me about that. Did you have anything to do with all this messaging going on in the show?

It was a collective effort across all folks involved to create these meta-narratives within the show itself. Sterlin as a cocreator is very intentional about not beating people over the head with these topics. It’s about subtlety and reading between the lines when it comes to his work. The writers really took that to heart. We didn’t want to make this an overt political statement, but inherently, as Native folks, our lives are political and our experiences are political and our fights for justice are political. Those narratives are woven into our lives very naturally, so why not do that with the show itself? Also, the arts team that created all that material, they were Native. They were given a lot of freedom to create art as they see it. You see that in all the signage of land back being sprinkled across the show.

Yeah, it was one of the first things I noticed, and I love that it was also one of the closing elements. The show also gets into ancestral knowledge and medicine. And not western medicine—I’m talking about that spiritual shit. As a Latina who grew up around beliefs of brujeria and the superstitious, I really appreciated that. It helped me connect even more to the show and characters. Y’all found a way to balance that in a way that was funny while still being grounded. Talk to me about how this worldview bleeds into your climate work and bleeds into the relationship that Native people have with the land.

There’s two aspects to it. One is that we can all agree that Indigenous lifeways and spirituality has been overtly romanticized to such a degree that is quasi-erotic and demeaning because it minimizes our identities down to singular identities. On the path for decolonization and the path for various forms of justice, including climate justice, what we are pushing back against are these attempts to minimize our identities down to singular aspects. We’re pushing back against these attempts to erase our histories or to overtly simplify our history so that they’re easier to consume for mainstream dominant society.

The other aspect is that we, as Native folks, oftentimes feel compelled to pander to the outsider’s gaze. The show really is trying to challenge and say, No, actually, let us express ourselves as we see. Because spirituality is ingrained in all aspects of many of our lives and in many diverse ways because Native folks are not a monolith. But how do we actually show that in our real life? Well, it’s just a commonly accepted truth. Owls have certain meanings. That’s a common truth held by many Native folks, so let’s just accept that at face value and move on and not pander to any romanticized ideas of spirituality there.

What I love about the show is it really makes us more real as Native folks—and our lives, our lived experiences in this contemporary world. It also validates our perspectives of the metaphysical.

100%. And the show is not about activism, right? I liked that because I think that that’s where a lot of folks are consuming information around Native people. However, the show is about the youth and their struggle. Some of the more emotional scenes are around suicide and trauma. I see these parallels between some of the characters on the screen and the young water protectors that I’ve interviewed who are now leading so much activism in Indian Country. What’s the impact and power of portraying such nuance and heavy topics in helping the wider public understand your people and culture?

Most folks don’t realize this—even in Indian Country—but the issue of suicide is very real within Native communities. It’s a struggle a lot of communities have gone through for generations now: having a lack of mental health services. But that merely speaks to the ongoing inequities within this country about how we are—or are not—providing resources for Native communities to thrive. We’re trying to thread the needle between making the conversation of mental health normal and the necessity for us to confront our dysfunction and imbalances. At the same time, while doing it in a way that holds society more accountable for contributing to those factors.

It’s all connected for those of us who are in the thick of it. The issue of mental health is directly connected to the issue of climate justice. The issue of housing and food security and economic security. These are all linked together for a lot of our experiences . It’s hard to separate all of that. If anything, we are trying to make those issues more palatable. The majority of people don’t know what Native folks look like today or what their lives are like. Even those who consume information about Native communities through activism, it’s a very specific lens through which they’re catching a glimpse into the lived experience of Indigenous peoples in the United States. 

I hope that this show will contribute to broadening that lens so that when society is confronted with environmental issues that pertain to Native communities, they have a better understanding of who they’re listening to and who they’re watching.

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Dallas Goldtooth

IMDbPro Starmeter See rank

• Contact info
• 3 nominations

"Reservation Dogs" Cast on the Red Carpet

• 2021–2023 • 10 eps

• Charles Whiteknife
• 2024 • 2 eps

• 2023–2024 • 3 eps

• Post-production
• 10 episodes

• Chunk Banks
• Additional Voices
• Chuck Banks (voice)

• Audience Member (voice)

• John Trudell
• story editor
• staff writer
• 20 episodes

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• Trivia He is a writer, actor, comedian and environmentalist of Mdewakanton Dakota and Dine heritage. He co-founded the Indigenous comedy group The 1491s, and is a Dakota culture and language teacher. He is also a poet, traditional artist, and powwow emcee.

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Dallas Goldtooth on the liberation of laughter and the power of joy in organizing

The "reservation dogs" actor, comedian, and organizer believes “if we can laugh at our oppressors, it takes away the power of our oppressors.”.

Joy can strengthen our resolve, help us unlock creativity, and bolster our resilience. In Fix’s Joy Issue , we explore the importance and power of finding joy in the face of grief, anger, and a changing climate.

Reading the news, it’s easy to feel grim about the future of our planet. Climate anxiety , frustration, and anger are common reactions. Dallas Goldtooth understands that. But he encourages another equally important reaction: joy. 

As a “Keep It in the Ground” organizer with the Indigenous Environmental Network and a member of the Dakota and Diné Nations, Goldtooth has been on the front lines, literally and figuratively, of the climate and environmental justice movements. He spent many years working on the successful effort to shut down Keystone XL , and he was fighting the Dakota Access pipeline long before the campaign received widespread attention. 

Goldtooth is intimately familiar with the science and statistics behind climate change — he’s written reports on the subject — so he recognizes why people might feel anxious, frustrated, and angry. But the 2017 Grist 50 honoree believes these emotions, though valid, aren’t enough to bring people into the movement, let alone solve our planet’s problems. To Goldtooth, who in addition to being a climate activist is an actor and entertainer, any solution must include a healthy measure of fun.

“It’s easy to fall into this cynicism and negativity, but humor and joy is a way for me to process all of that in a way that’s generative,” he says. “It’s really an outlet for me. My acting, my artistry, is an outlet for me to process my anxieties and frustrations with the world in a way that is generative. It’s building something rather than tearing something down.” 

Goldtooth knows a thing or two about humor. Beyond his genuinely hilarious appearance in three episodes of the television series Reservation Dogs , he is a cofounding member of the 1491s , an Indigenous sketch comedy group that uses humor to explore contemporary Native American struggles with stereotypes, racism, tribal politics, and more. His expression of joy isn’t confined to performances, though. Goldtooth once made a point of livestreaming himself gleefully sliding down a hill at Standing Rock, which is just one of many examples of how he brings levity to his activism. He believes others should, too. 

“I think there’s nothing more human, nothing [that] speaks more to our ability to process the world around us than our ability to make light of situations no matter how hard or difficult or dark they may be,” he says.

Fix talked to Goldtooth about why he considers joy so essential to activism, why so many activists seem reluctant to embrace it, and how humor can be a liberating force. His comments have been edited for length and clarity.  

[Read more: How climate organizers are making joy part of their protest toolkit]

Q. Why is bringing a measure of joy and fun to this work so important to you? 

A . It’s so easy for us to get stuck in the pits and fully submerge ourselves with climate anxiety. In order for us to radically imagine a different future, we have to imagine and allow ourselves to experience the joys of this world and see ourselves being happy in the future. That can only manifest if you start now, if you find joy in the moment, and you use love for the land, love for our lives, and love for our people to drive us forward — as opposed to anxiety, anger, and frustration driving that. 

I say that, but I also [know that] nothing drives people more than anger. The [idea] that we are pushing ourselves over the edge on this planet is motivating people, but I don’t think we’re going to see lasting change until we find the joy in the future.

Q. That seems so simple, yet so powerful.

A. The key challenge for all of us on this planet, but especially for marginalized communities — whether Black, brown, Indigenous, other communities of color, or poor white communities — is that one of our biggest obstacles is that we have been disenfranchised and not allowed to imagine a future in which we thrive and exist and are satisfied. When we talk about a just transition toward a sustainable society in a new world, what we’re really talking about is allowing ourselves to radically imagine a future in which we exist on our terms. This means that we have to allow ourselves to imagine joy in the future, we have to allow ourselves to imagine that we are happy, that we are fulfilled, and that we are living in a space that is equitable and just. That’s what we work toward, and every aspect of our organizing and artistry should speak to that future that we want to build. That’s what drives me. That’s the core of my work. 

When we talk about a just transition toward a sustainable society in a new world, what we’re really talking about is allowing ourselves to radically imagine a future in which we exist on our terms. — Dallas Goldtooth

Q. How did you come to embrace this perspective?

A. The first time I really became aware of my perspective on things was at the protest at Standing Rock against the Dakota Access Pipeline. I often play the role of communicator in much of my work. I was communicating what was happening, why people were there. When people were broadcasting from the protest, the personas you often saw were angry activists and angry organizers. That’s justifiable anger and rage that you saw, but I noticed that I’m more lighthearted in how I communicate. I chose not to be the angry activist. I found that most appropriate for me.

Q. You talk a bit in Adrienne Maree Brown’s 2019 book Pleasure Activism about the “front” some activists feel they must present, and how they seem reluctant to be seen expressing joy or integrating it into their work. Why do you think that is? 

A . I think identities are entirely social constructs. We actively and subconsciously play in and amplify certain identities. Even within the “activist community” or “activist circles,” there is this persona that is assumed that we have to be, and that is the “passionate, angry organizer” who channels their rage to motivate people. That is true because anger and frustration are major motivators. But I think in this movement, there is a reluctance to show our joy because people think they’re not going to be taken seriously. There’s a reluctance to make light of the situation, to use humor in our organizing, to show that we’re also happy. There’s a fear that we will be delegitimized, our struggles will be delegitimized, in some way. But I think we’re changing that. 

There’s a growing movement for Black liberation, we’ve seen a great acceptance of Black joy and Black celebration and celebrating Black excellence. The same goes for Indigenous communities. We are claiming that space, saying, “We can still advocate for the protection of our communities and lands, but at the same time we can still express our joy and celebrate our lives.”

Q. Sometimes people are too serious as activists. Do you think there are risks in that?  

A . I always get turned off when people are too serious. The camera is on and they’re angry and their brows are furrowed. For me, as an individual, that doesn’t call me in. For some people it does; I can’t say everyone has to be happy. We don’t all have to organize with a smile. But we have to be mindful about what’s calling people in to build collective power, and we can’t ignore the inherent power of using joy and using laughter as a way to heal and build that power. I don’t want to play into, “We don’t like you guys because you’re scary and angry, these folks are more palatable.” Since I’m lighthearted and take this approach, I’m trying to be very cognizant of not undercutting the work of people who choose a different approach. 

Q. You’ve talked about using humor and joy as a liberating force for oppressed people, and as a tool for decolonization. Tell me more about that — how is joy a liberating force?

A . In my experience growing up, in the darkest moments, like a funeral, there has always been a key role that humor plays. You’d have individuals in the community, whether it’s the emcee or the spiritual leader, who always tried to make light of the situation, who would always take a moment to make folks laugh in those hard times. As cliché as it sounds, we, as oppressed Native Indigenous people, wouldn’t be here if it wasn’t for laughter and humor. I think it really has allowed us to understand the hardships and trauma and oppression that we’ve experienced and are continuing to experience, but it also allows us to respond to that trauma and oppression in a way that reclaims power. 

If we can laugh at our oppressors, it takes away the power of our oppressors. If we can laugh at the socioeconomic situation that has been caused by oppression and oppressors and white supremacy, it takes away a certain element of power from those hierarchies.

Q. How can activists and people in frontline communities embrace joy? And why should they?

A . A good example is a group called Gulf South for a Green New Deal and their event, Gulf Gathering for Climate Justice and Joy . That’s literally the name of the event. They [used] that as an organizing moment to educate their communities on false solutions like carbon capture and storage, carbon pipelines, and offshore leasing and drilling. Their angle is, “These are community folks and we want to bring people into this space, but we don’t want to yell at them. We don’t want to be throwing out buzzwords and acronyms. What we’re going to do is celebrate. We’re going to have a festival, we’re going to have music, we’re going to have a celebration, we’re going to express ourselves with smiles while educating folks on the issues, because that’s what really motivates people to build power.” We’re seeing communities claim that and utilize a different way to organize that’s really going in a good way.

Explore more from Fix’s  Joy Issue : 

• Laughter is the ultimate unifier. Can it work for climate action?
• Why musician Mali Obomsawin traded righteous anger for joyous action
• Your body on joy

How one Montana city is making the outdoors accessible for everyone

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6 Things To Know About Reservation Dogs Season 2

The comedy, the drama, the crispy frybread — co-creator sterlin harjo and the reservation dogs cast break down what to expect in season 2 of the acclaimed series..

TAGGED AS: Comedy , FX , Hulu , streaming , television , TV

Reservation Dogs moves fast. The FX series from co-creators Sterlin Harjo and Taika Waititi , which follows four Indigenous teenagers laser-focused on getting out of small town Oklahoma in order to pursue the California dream out west, premiered its first season in September 2021. Now, less than a year later, season 2 has arrived, dropping its first two episodes on Hulu.

Like we said: fast .

Between the streamlined production pacing and indie spirit, Reservation Dogs continues to be a win. And while Waititi’s name is attached to the program, this is Harjo’s project. Director, writer, executive producer, and showrunner, he continues his mission of delivering both laughs and heartfelt drama with his groundbreaking Indigenous-focused series.

On Monday, August 1, Harjo joined the show’s core cast — Devery Jacobs (who plays Elora Danan Postoak), D’Pharoah Woon-A-Tai (who plays Bear Smallhill), Lane Factor (who plays Cheese), and Paulina Alexis (who plays Willie Jack) — to participate in an insightful virtual panel for 2022’s Television Critics Association Summer Tour.

What can we expect in these new episodes? From keeping the series’ aesthetic fresh, to expanding the writers room in exciting ways, Harjo and company discusses how the story progresses in season 2.

Here are six things you should know about Reservation Dogs season 2:

1. It splits up the core group and plays with tone.

(Photo by Shane Brown/FX)

For Harjo, the biggest trap he did not want to fall into when mapping out the story for season 2, was repetition. In order to change things up, he decided to spit up the Reservation Dogs core characters and put them in peculiar situations where they can find their own separate identities in relation to each other and everything else going on in the story.

“I wanted it to feel disjointed,” he explained. “I felt like they needed to be in a different place, altogether — individually, mentally, and even physically. I needed something, stylistically, to feel different. Hopefully, the first two episodes feel that way. It was kind of like resetting this whole story again, and giving them a new journey to go on.”

2. It also explores the theme of moving away from a small-town home.

The first season found the crew doing whatever they could to finance their big escape to the far-off mythical land of California. But once those dreams started becoming an attainable reality, the concept of home took on a whole different meaning.

In season 2, Harjo explores that concept further — and it’s a topic that holds personal resonance for the show runner.

“It was really always hard for me,” he explained. “To this day, there’s a part of me that knows that I could have stayed and lived a certain life. And that would be OK. Some of that’s reflected in this show, that struggle of Do you leave? Or do you stay?”

3. Devery Jacobs adds staff writer to her list of responsibilities.

Jacobs doesn’t just want to be recognized for her acting work. She revealed during the panel that she’s a writer and director, as well, and has been making short films since 2016. For her, the next obvious step was to put her talents to good use in the Reservation Dogs writers room.

“Gearing up for the writers room of season 2, I was ready to assemble all my writing credits and get everything together,” she said. “And I was gonna really fight to get in the writers room. And then Sterlin was just like, Hey, you want to join? ”

It’s one thing to join an all Indigenous writers room, and to continue representing her culture and create truthful stories. But to be able to do so, while being credited with her native first name, adds a whole new layer of meaning for Jacobs.

“To have my first name be included as a writer was important to me,” she continued. “Mainly, as an actor, I’m somebody who takes on different personalities. And when I’m able to contribute my voice as a filmmaker, and writer (in this case), and use my name Kawennáhere, which is my first name, and the name that my family all calls me, that just meant that, for me, it is signifying that it’s leaving a piece of my my heart and who I am in in the work that I’m creating.”

4. A couple underserved characters make an unexpected return.

When Reservation Dogs was first greenlit by FX, the network gave Harjo eight episodes. He had a 10-episode first season planned out. Cuts had to be made, which meant that some storylines, specifically the ones at the crew’s favorite catfish restaurant, never got to see the light of day.

Two characters tied to that locale are owners Rob (Macon Blair) and Cleo (Darryl W. Handy) and, as Harjo explained, he’s thrilled to bring them back for more.

“I think people thought that the characters were done after the first season,” he said. “Having Rob and Cleo back … it’s funny because Rob and Cleo’s, the place that we shoot, is probably the furthest out from any location that we have, so it’s actually the hardest scene to shoot in our schedule. It’s always a little difficult trying to schedule a Rob and Cleo scene, but it was one of my favorite sets. Each season, I’m trying to figure out how to get back there. So we’ll definitely be back. We’ll definitely be back in that world.”

5. A Tom Petty inside joke became an important needle drop for the season.

An integral scene in the new season features an epic needle drop: Tom Petty’s iconic song, “Free Fallin’.” Instead of spilling the episode details (you’ll find those out, soon enough), let’s discuss how the classic rock track made it into the show to begin with.

As Harjo explained, it all began as a joke over Zoom during the season 2 writers room sessions.

“For some reason, I kept playing that song,” he said. “I was singing it whenever we were stuck. I would just be strumming this thing the whole time. We were in the writers room, and I would be singing Free Fallin’ and it just became a joke, and I ended up just writing it into that, as the song of the day.”

Reservation Dogs carries with it a low-key, indie film vibe, which bore the question: How does a show like this afford the rights to a song like that? It all comes down to who you know, really.

“Apparently our music supervisor is friends with Tom Petty’s daughter and the Estate.” Harjo continued. “They’re fans of the show and made it pretty easy. I mean, obviously, iconic. Tom Petty. It’s pretty rad to have a song by him in the show.”

6. The Indigenous Easter eggs will continue to appear.

One of the details that has made Reservation Dogs such a success is its attention to detail and the cultural specificity that rings through in every episode. The truth, as told in the story, has resonated with native and non-native audiences alike.

Harjo and the cast know this, and, by the sound of things, none of that will change in the new episodes.

“There’s so many Easter eggs for native audiences in the show,” he said. “There’s so much subtle humor that only native audiences, or people familiar with native audiences, would get. Sometimes that humor still translates over …  But the native audience is gonna laugh even more at certain little nuances.”

That said, the show isn’t here to explain those nuances to the wider audience.

“Some jokes are meant to be kept as inside jokes,” Jacobs added.

Thankfully, the spirit character, as played by Dallas Goldtooth (who also joins the writing staff in season 2), is there to act as a translator for the general audiences.

“He’s almost the spirit guide, if you will, for the humor of the show,” Harjo continued. “He takes it in for someone who’s not used to our humor and really makes it sort of digestible and familiar.”

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‘reservation dogs’ stars devery jacobs and dallas goldtooth on the universal appeal of their groundbreaking comedy series.

The actors, who have joined the show’s writers room for Season two, explain how the FX on Hulu show challenges Western ideas of Native identity.

By Tyler Coates

Tyler Coates

Awards Editor

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FX on Hulu’s Reservation Dogs might have the most exciting cast of breakout performers of the year. Premiering in August, the darkly comic tale follows four teenagers growing up on a reservation in Oklahoma as they scheme their way — through minor crime sprees including hijacking a snack delivery truck and stealing copper — off the rez to sunny California in honor of their late friend Daniel, who aspired to head west to start anew. Leading the pack is Elora Danan, played with a quiet intensity by Devery Jacobs, who tells THR that she “needed to be a part of the show” when she first heard of the project created by Oscar winner Taika Waititi and showrunner Sterlin Harjo.

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Told from a uniquely Native perspective, the series skewers cliches throughout its eight-episode first season — many of which originate from the ways in which white people have depicted Indigenous people in pop culture for a century. Jacobs and co-star Dallas Goldtooth, who plays a mischievous apparition named Spirit, spoke to THR about the underrecognized power of Indigenous storytelling, why humor can be such an effective healing mechanism and their excitement about joining the writers room for season two.

Sterlin Harjo has said he immediately bonded with Taika Waititi over their similar experiences despite being from very different parts of the world. Devery, you’re from Canada playing a character who lives on a reservation in Oklahoma. Is there a shorthand among Indigenous communities across the globe because of what you have in common?

DEVERY JACOBS One of the reasons [Watiti’s 2010 film] Boy is one of my favorite movies of all time is because [the characters] are all like family back home — except they all have Kiwi accents. There’s absolutely a commonality between us, which is something that ends up making Reservation Dogs so universal for Indigenous people across the globe. That said, we’re also comprised of many different languages and cultures and nations and territories. I grew up in Kahnawà:ke Mohawk Territory, which happened to be on the north side of this colonial border that split my nation in two. I also don’t necessarily consider myself to be Canadian or American — I consider myself to be Haudenosaunee. My nation is from both sides of this border.

The show also recontextualizes American pop culture in really interesting ways through a Native perspective.

DALLAS GOLDTOOTH We’re able to speak to a broader audience, but there’s a dual conversation happening here as we speak to folks within our own diaspora: “We see you, you’re a part of this, we’re building something together.” I love that the show is a conversation about culture — how communities, who are on the margins of society, take in culture, ingest it and make it a part of who they are. The name itself, Reservation Dogs , is obviously an homage to Reservoir Dogs . We didn’t grow up seeing Native content on TV. We saw pop culture on TV. And so we’re going to change that and make it our own.

JACOBS One of my favorite parts about being a part of the show is that it’s by Indigenous people for our communities, and everybody else also gets to be let in on the joke. That’s what ends up making it so specific and so funny. We’re not spoon-feeding white audiences, we’re not showing who we are in proximity to white people. [Many films] have shown us in Westerns or have shown us as people who only exist in contrast with white folks.

GOLDTOOTH We know how the outside world sees Native Americans. We are fully aware of that. And we’re going to take every opportunity to flip that on its head. There is an explicit aspiration to be a counter-narrative, but not to over-explain, as Devery said — not to explain it all, but to present something to make people think.

JACOBS One of the things with your character, Spirit, is that it’s holding a mirror up to Western audiences and challenging their ideas of what they think an Indian or Native American person looks like. There’s this ancient image of colonial contact with Native men, and then it’s flipping it on its head by Spirit being kind of … I don’t know, how would you want to describe him? He’s pretty goofy.

GOLDTOOTH He’s definitely very much a goofball. We’re dealing with dualities across the board here and also holding up a mirror to ourselves. We don’t have to keep jumping into the same mold of storytelling that has been dictated by white people. We can tell our own stories on our own terms, take control of these cliches and do with them as we wish.

Devery, your character also has some heavy moments — particularly when we learn she was the person to find Daniel after he died.

JACOBS One of the elements that rings most true to me throughout the series is the use of humor. [Before] shows like Reservation Dogs or [Peacock’s] Rutherford Falls , there were so few glimpses into Indigenous comedy and our biting gallows-type humor, the way we’re able to weave together heartbreaking and heartwarming moments. Growing up, my mom would always say, “If you don’t laugh, you’re going to cry.” And I think that’s so true to marginalized communities as a whole. I’m queer as well as Mohawk, and I think that’s also true of the queer community.

There’s serious shit that these kids are going through, and there’s real impact in context. Daniel’s story isn’t only a plot point on television, it’s the story from many of our families and communities. The issue of suicide affects Indigenous people at the highest rates [compared with] any other groups. It’s a fact of life for us. But it isn’t something that we’re sitting around feeling sorry for ourselves about. We’re incredibly resilient people. And one of the ways in which we are so resilient is through our humor.

Dallas, is that how you approach your comedy?

GOLDTOOTH I’m rife with insecurities, and comedy is a way for me to process that and really understand myself better. That is a form of healing. Maybe mainstream society overlooks the power of comedy as a healing mechanism, but for marginalized communities, comedy is a tremendous way to let go of trauma and move forward. We’re processing pain, we’re processing trauma of the past — we’re not hanging on to it. I think we wouldn’t be here as Native peoples if it weren’t for our ability to make light of a situation.

You’re both now writers on season two. I’m curious if you feel any pressure about speaking for a global Indigenous population and if that’s a conversation you’ve had in the writers room.

GOLDTOOTH Sterlin always emphasizes that we’re not going to get stuck into explaining identities. We’ll just say it as it is and let folks interpret it. There’s a lot of power behind that. We’re not dumbing it down for the audience — we’re encouraging the audience to be very critical and engage their mind on these things. This is a historical first in many ways, and so obviously there’s going to be a lot of pressure to hit all the notes. Each of us in that room brought a different aspect of Indian Country into that space, whether it’s urban, whether it’s Canadian, whether it’s First Nations, whether it’s on the rez. You see a broad perspective, even though it’s specifically in this one community.

Are you excited to write for your own characters, or is it more fun to think of things for your co-stars?

JACOBS Writing for the other characters is probably easier than writing for my own, because I feel so close to Elora Danan. I am incredibly grateful to Sterlin for embracing all of the writers of varying levels of experience and all being Indigenous from different communities. The whole reason that Reservation Dogs exists is because Taika Waititi opened the door to his peers and said, “Hey, let’s create a project together.” It wasn’t because there was a huge demand in the industry to pluck an Indigenous creative and uplift them so that they create their projects. It was from Indigenous peers helping each other out. Like Dallas said, hopefully this is the first of many — a whole industry of Indigenous creatives.

Interview edited for length and clarity.

This story first appeared in a November stand-alone issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe .

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By the 1491s Directed by Eric Ting Presented with Oregon Shakespeare Festival

Between Two Knees is an outrageously funny and wickedly subversive intergenerational tale of familial love, loss, and connection. This first play by the acclaimed intertribal sketch comedy troupe the 1491s fractures traditional narratives of the United States through the lens of the Native American experience. Smashing through where most textbooks stop teaching Native history—the 1890 massacre at Wounded Knee— Between Two Knees  take us from the forced re-education at Indian boarding schools, through World War II, the Civil Rights Movement, Vietnam, the 1973 takeover at Wounded Knee, and maybe even breaks time itself. Did we mention it’s outrageously funny and wickedly subversive?

This production is made possible by a generous grant from The Roy Cockrum Foundation.

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Creative team.

Playwrights

The 1491s are an intertribal Indigenous sketch comedy troupe. Dallas Goldtooth (Mdewakanton Dakota-Diné), Sterlin Harjo (Seminole-Muscogee), Migizi Pensoneau (Ponca-Ojibwe), Ryan RedCorn (Osage Nation), and Bobby Wilson (Sisseton-Wahpeton Dakota) originally combined their talents to create comedic videos for YouTube. Their first video, a Twilight parody called “New Moon Wolf Pack Auditions,” went viral in 2009 as have many of their subsequent videos. The 1491s have traveled the country and the world sharing their satirical, stereotype-busting humor through live performances, panels, discussions, and appearances on major media outlets including The Daily Show on Comedy Central, Al Jazeera, and National Public Radio. They have also used their talents to address social and legislative issues, such as the full inclusion of Indigenous women in the Violence Against Women Act.

Eric Ting  directed the world premiere of Lloyd Suh’s  The Far Country   at Atlantic Theatre Company in 2022, the same year he staged  Between Two Knees   by the 1491s at Yale Rep. His Off-Broadway credits include work at Manhattan Theatre Club, Soho Rep, Public Theater, Signature Theatre, and Brooklyn Academy of Music. Regional: Oregon Shakespeare Festival, California Shakespeare Theater, Denver Center Theatre Company, Seattle Repertory Theatre, Berkeley Rep, Long Wharf Theatre, Cincinnati Playhouse, Mark Taper Forum, Goodman Theatre, Williamstown Theatre Festival, Alliance Theatre, American Repertory Theater, Round House Theatre. International: Singapore Repertory Theatre, Singapore International Festival of Arts, NYU Abu Dhabi Performing Arts Center, Holland Festival. Awards: OBIE Award, TBA Awards, Connecticut Critics Circle Awards.

Choreographer

Ty Defoe (Giizhig), indigiqueer/2S+ citizen of the Oneida/Ojibwe Nations. A director, writer, interdisciplinary artist, and Grammy Award winner. Ty aspires to an interweaving and glitterizing approach to artistic projects with social justice, indiqueering, and environmental-ism. Ty’s global cultural arts highlights: the Millennium celebration in Cairo, Egypt; International Music Festival, Ankara, Turkey; and Festival of World Cultures in Dubai. Awards: Global Indigenous Heritage Festival Award, Jonathan Larson Award, First Peoples Cultural Capital Fellow, Helen Merrill Playwriting Award 2021, and finalist at the Cordillera International Film Festival for We Will Always Be Here. Works created and authored: Trail and Tears (w/ Dawn Avery), River of Stone , Red Pine, The Way They Lived , Ajijaak on Turtle Island , Hear Me Say My Name , The Lesson (w/ Avi Amon and Nolan Doran), and Firebird Tattoo, among others. Current release of VR and digital media projects ANAKWAD (w/ Dov Heichemer and _alpha) , CIRCLE , and Strong Like Flower (w/ Katherine Freer). An artEquity facilitator, co-founder of Indigenous Direction (w/ Larissa FastHorse). Member of All My Relations Collective , whose GIZHIBAA GIIZHIG | Revolving Sky was presented at The Public Theater’s Under the Radar Festival. Publications: Casting a Movement, Pitkin Review, Thorny Locust Magazine, HowlRound, and Routledge Press, The Methuen Drama Book of Trans Plays for the Stage . Degrees from CalArts, Goddard College, and NYU Tisch. Director: The Winer Bear (Perseverance Theater), A Midsummer Night’s Dream (Arizona Shakespeare Company). Movement Direction: Mother Road, directed by Bill Rauch (Oregon Shakespeare Festival), Manahatta , directed by Laurie Woolery (OSF and Yale Rep); and choreographer for Tracy Letts’s The Minutes (Broadway). Ty appeared on the Netflix show Unbreakable Kimmy Schmidt and in Young Jean Lee’s Straight White Men , directed by Anna Shapiro (Broadway debut) . Lives in NYC + loves the color clear. He|We, allmyrelations.earth , tydefoe.com

Regina García

Scenic Designer

Regina García is a Chicago-based scenic designer from Puerto Rico. She has long standing relationships with the renowned Latinx teatros including Repertorio Español, Puerto Rican Traveling Theater, Teatro Vista, and Pregones Theater. She has also completed projects for the Oregon Shakespeare Festival, American Players Theatre, Goodman Theatre, and most recently Cincinnati Playhouse in the Park, among others; upcoming shows at American Players Theater and the Guthrie. Regina is a Fellow of the NEA/TCG Career Development Program for Designers and the Princess Grace Awards, USA; a regional associate member of the League of Professional Theatre Women; and company member with both Rivendell Theatre Ensemble, Chicago, and Boundless Theatre Company, San Juan/New York. She is the Head of the Scenic Design program at The Theatre School, DePaul University, and a founding organizational member of La Gente: The Latinx/é Theatre Production Network . garciaportfolio.com

Costume Designer

is a New York-based costume designer for theater, film, opera, and dance. Credits include Between Two Knees (Oregon Shakespeare Festival); Native Gardens (Syracuse Stage, Geva Theatre, Portland Center Stage); Ajijaack on Turtle Island (New Victory Theater); Well Intentioned White People (Barrington Stage Company); The Lover , The Collection (University of Rochester); The Review or How to Eat Your Opposition (WP Theater); ¡Figaro! (90210) (The Duke on 42nd Street/Ragman Ventures); Destiny of Desire (Garden Theatre); Nibbler (The Amoralists/Rattlestick Playwrights Theater); Crossing the Line (Amphibian Stage Productions); The Fairy Queen (Hofstra University); Fall River , Syncopation , Trayf (Penguin Rep Theatre); Hair , Echoes and Nibbles of the Sun , The Seagull (NYU); A Lesson from Aloes (The Juilliard School); The Road to Damascus (59E59); Leave Me Green (The Gym at Judson); The Winter’s Tale (The New School); The Erlkings (Theatre Row); Rock & Roll Refugee , Love/Sick (Royal Family); Powwow Highway (Amerinda/HERE); others. Film: #TEXIT ; Look Closer (Can’t You See the Signs) , Violation , Across the Sea , A Teacher’s Reward , Deluge . Education: M.F.A., design for stage and film, Tisch School of the Arts, NYU.

Elizabeth Harper

Lighting Designer

Credits include Ma Rainey’s Black Bottom , Blues for an Alabama Sky (Mark Taper Forum); Indecent , Rattlesnake Kate (Denver Center for the Performing Arts); Office Hour starring Sandra Oh (South Coast Repertory Theatre); The Cake (La Jolla Playhouse); Who’s Afraid of Virginia Woolf? , Sell/Buy/Date , Play Dead directed by Teller (The Geffen Playhouse); Rock of Ages (5th Avenue Theatre). World premieres include works by Academy Award winner Lucy Alibar, Kemp Powers, Julia Cho, and Michael Mitnick. Elizabeth is the assistant professor of lighting design at the University of Southern California.

Jake Rodriguez

Sound Designer

is a sound designer and composer based in the San Francisco Bay Area. Work at theaters: Woman Laughing Alone with Salad , The Events (Shotgun Players); Sweat , Vietgone (American Conservatory Theater); A Thousand Splendid Suns (American Conservatory Theater, Theatre Calgary, Grand Theater, The Old Globe); Mr. Burns, a post-electric play (American Conservatory Theater, Guthrie Theater); Everybody (California Shakespeare Theatre); Angels in America , An Octoroon (Berkeley Repertory Theatre); we, the invisibles (Actors Theatre of Louisville); The Christians (Playwrights Horizons, Mark Taper Forum); Girlfriend (Kirk Douglas Theatre), others. Awards: recipient of the 2004 Princess Grace Award for Sound Design. Other: Creator of Cricket, a mobile theatre sound design and playback software program; acoustic adviser. Education: sound design internship, American Conservatory Theater; San Francisco State University School of Theatre and Dance.

Ryan RedCorn

Original Songs

Original Songs in Between Two Knees

Projection Designer

In five seasons at OSF: Between Two Knees, The Book of Will, The Way the Mountain Moved, Shakespeare in Love, Twelfth Night, Vietgone, The Comedy of Errors. Broadway: Chinglish (Longacre Theatre). Off-Broadway/New York: Knickerbocker, Before Your Very Eyes (The Public Theater); The Who’s Tommy (Abrons Art Center). Regional: Snow Child (premiere, Arena Stage); The Great Leap (premiere, Denver Center for the Performing Arts/Seattle Repertory Theatre); Refugia (Guthrie Theater); Gem of the Ocean, Chinglish (South Coast Repertory); The Mountaintop (Trinity Repertory Company); Buyer and Cellar (Pittsburgh Public Theater); Chasing Rainbows (premiere), Miss Saigon, FLY (Flat Rock Playhouse); Chinglish (Berkeley Repertory Theatre); Tarzan (North Shore Music Theatre); The Other Place, Great Gatsby, Sing the Rising Sea (premiere) (Virginia Stage Company). Opera: Prima Donna (New York City Opera) and The Curious Case of Benjamin Button (Symphony Space). Tours: An Evening with Pacino (U.S., international); P.J Masks , Alvin and the Chipmunks Live!, Super Why! Live!, Yo Gabba Gabba! Live! (U.S.); Chinglish (Hong Kong Arts Festival); Las Vegas: Frankie Moreno: Under the Influence; Paul Zerdin: Mouthing Off; Puppet Up: Uncensored.

Younghawk Bautista

Wig and Hair Designer

Younghawk’s unique approach to hair and beauty is a hybrid of classic shapes combined with modern styling techniques to produce work that evokes a timeless, chic appeal—an approach fueled by iconic images from film and fashion and the arts. His impressive resume of experience is rooted in specific training with Goldwell Color, L’Oréal, Wella, Bumble and Bumble, and Vidal Sassoon. His level of education has formed his well-rounded approach to hairdressing, pleasing many clients and creative collaborators alike throughout his career. His most recent work has included a role as an Educator of Barbering and Cosmetology at the renowned Arrojo Cosmetology School in NYC. He was also a hair team member for Motown: The Musical on tour and Wicked on Broadway.

Julie Felise Dubiner

Production Dramaturg

Julie Felise Dubiner is the Artistic Initiatives Consultant at McCarter Theatre and is a dramaturg, producer, and mentor. She has freelanced around the country and was on staff at American Revolutions/Oregon Shakespeare Festival, Actors Theatre of Louisville, and the Prince Music Theater. Among her dramaturgy credits are The Copper Children by Karen Zacarías, Between Two Knees by the 1491s, Sweat by Lynn Nottage, Indecent by Paula Vogel, and The Liquid Plain by Naomi Wallace. She is the co-creator of Rock & Roll: The Reunion Tour , co-author of The Process of Dramaturgy , and a contributor to Diversity, Inclusion, and Representation in Contemporary Dramaturgy , The Routledge Companion to Dramaturgy , Innovation in Five Acts , and other publications and podcasts.

Cameron Camden

Technical Director

Cameron Camden is a fourth-year M.F.A. candidate in the Technical Design and Production Program at David Geffen School of Drama. He is excited to bring a show to the stage for Yale Rep after previously serving as the technical director for Testmatch which was canceled in 2020 due to the COVID pandemic. Credits at the Geffen School include Bodas de Sangre and Manning (Production Manager), Seven Spots on the Sun (Assistant Technical Direction), and the 2019 Carlotta Festival of New Plays (Assistant Technical Direction). He has previously worked at several theatres including The Juilliard School, Ohio Light Opera, and Potsdam Music Theatre. Cam is originally from Michigan and holds a B.A. in theater arts-technical direction from the University of Miami.

Grace Zandarski

Vocal and Dialect Coach

Grace Zandarski is Associate Chair of the Acting program and Head of Voice and Text at David Geffen School of Drama, where she has taught Voice since 2002. She has coached numerous productions at Yale Rep and the Geffen School including The Brightest Thing in the World , An Enemy of the People , Hamlet , The Caucasian Chalk Circle , and Between Two Knees . New York coaching credits include Mike Nichols’s productions of Death of a Salesman and Betrayal (Broadway), The Intelligent Homosexual’s Guide… (The Public Theater), and Homebody/Kabul (BAM). She was named Associate Teacher of Fitzmaurice Voicework in 1998. Grace is Co-Artistic Director of The Actors Center Workshop Company, a company member of Pantheatre (Paris), SAG-AFTRA, AEA, and VASTA. Acting credits include McCarter Theatre, OSF Ashland, Wilma Theatre, and ACT. Directing credits include the Peer Gynt Project and Chekhov Shorts . M.F.A., American Conservatory Theater; B.A., Princeton University.

Fight Director

Rod Kinter is honored to be continuing this journey with these incredible artists. A NYC-based fight director, Rod’s credits include the Broadway and first national tour of The Lightning Thief: the Percy Jackson Musical ; Live from Lincoln Center: Porgy and Bess (New York City Opera); nine seasons as the Resident Fight Director at the Pearl Theatre; and shows at The Lucille Lortell, Lynn Redgrave, The Mint, The Minetta Lane, Signature, and the East 13th Street Playhouse. Rod was the Resident Fight Director for New York City Opera from 1995 to 2010. Regional credits: ART, The Cleveland Playhouse, Oregon Shakespeare Festival, Utah Shakespeare Festival, Hudson Valley Shakespeare Festival, The McCarter, The Barter Theatre, Glimmerglass Opera, Chautauqua Opera, and Shakespeare on the Sound. Rod is on faculty at AMDA teaching Stage Combat. rodkinter.com

Kelsey Rainwater

Intimacy Director

Kelsey Rainwater is an intimacy coach, fight director, and actress based out of the ancestral lands of the Quinnipiac people. Kelsey’s work has been seen in the premiere of Sally and Tom at The Guthrie. Some of her other credits include In the Southern Breeze at Rattlestick, The Public Theater’s Measure for Measure and White Noise by Suzan-Lori Parks, directed by Oskar Eustis; the ripple, the wave that carried me home , A Raisin in the Sun (canceled due to COVID-19), Edward Albee’s Who’s Afraid of Virginia Woolf? , Mojada: A Medea in Los Angeles at Yale Rep; Blues for An Alabama Sky with the Keen Company; and Bess Wohl’s film, Baby Ruby . She is a Lecturer in Acting at David Geffen School of Drama, co-teaching stage combat and intimacy, and is a Resident Fight and Intimacy Director for Yale Rep.

Tara Rubin, C.S.A.

Casting Director

Tara Rubin, C.S.A. has been casting at Yale Rep since 2004. Selected Broadway/National Tours: KPOP , Mr. Saturday Night , Six , Ain’t Too Proud , King Kong , The Band’s Visit , Prince of Broadway , Indecent , Bandstand , Sunset Boulevard , Miss Saigon , Dear Evan Hansen , A Bronx Tale , Cats , Falsettos , School of Rock , Les Misérables , The Heiress , The Phantom of the Opera , Billy Elliot , Shrek, Spamalot , The 25th Annual Putnam County Spelling Bee , The Producers , Mamma Mia! , Jersey Boys . Off-Broadway: Gloria: A Life , Smokey Joe’s Café , Jersey Boys , Here Lies Love . Regional: Paper Mill Playhouse, La Jolla Playhouse, The Old Globe, Bucks County Playhouse, Westport Country Playhouse. Film: Billy Crystal’s Here Today .  tararubincasting.com

Joy Dickson

Original Casting

(she/her) 15 seasons at OSF. Other theatres: Chicago Shakespeare Theater, Seattle Repertory Theatre, Berkeley Repertory Theatre, Mark Taper Forum (including Taper Too, Taper New Works, Juneteenth, P.L.A.Y.), Ojai Playwrights Conference, Geffen Playhouse, Huntington Theatre Company, La Jolla Playhouse, Goodman Theatre, Missouri Repertory Theatre, Portland Center Stage, Cleveland Play House, Ahmanson Theatre, Dallas Theater Center, Pasadena Playhouse, Intiman Theatre, A.S.K. Theatre Projects. Film/TV: Terri  (Sundance Film Festival),  Easier with Practice  (Cinevegas, Edinburgh Film Festivals),  Stephanie Daley  (Sundance, Deauville Film Festival),  The Business of Strangers  (Sundance, Deauville),  Interview with the Assassin  (Tribeca Film Festival),  The Tao of Steve  (Sundance),  Lush  (Sundance),  The Independent  (HBO/U.S Comedy Arts Festival),  Perdita Durango  (Toronto Film Festival),  Quarterlife  (Bedford Falls Productions/ NBC),  The Men’s Room  (NBC),  Off Centre  (The WB),  The Mullets  (UPN). Teaching: Adjunct professor, California Institute of the Arts. Education:   BA, Smith College

R. Réal Vargas Alanis

Associate Director

R. Réal Vargas Alanis they/them, inde/ima, elle/elles (P’urhépecha) (Associate Director) is an indigenous, queer, entrepreneur from the barrio of Winton, California (Yokut) creating art, doing magic, and officiating weddings. Réal is the current Artistic Director of In The Margin, leading an ensemble of intersectional QT,BIPOC artists focusing on new works centering social justice uplifting marginalized stories. Réal upholds taking action as opposed to “listening” while incorporating artistic skill sets to aid in front line activism. Réal was among the inaugural cohort of the National New Play Network’s Bridge Program and was an Executive Producer for The New American Theatre Festival developing ten new works. On their off time, they run their family business Sexii Tacos: “Where the Tacos are Sexii and so are you!” Director: Exhaustion by Fran A. (Latinx Theatre Commons). Solo Performance: A Little Bit of Gay (Latinx Theatre Commons). Playwright/Associate Director: Braided (Theatre of Yugen, Theatreworks, Cal Shakes, ITM). Playwright: La Demanda: A Call to Action (ITM, B St., NNPN). Associate Director: Missing by Marie Clements and Brian Current, directed by Shannon Davis (Anchorage Opera). Actor: La Comedia of Errors adapted by Bill Rauch and Lydia G. Garcia (Oregon Shakespeare Festival). IG: @realvalanis @ sexiitacos @ inthemargin_itm

Amanda Nita Luke

Stage Manager

Amanda Nita Luke (Choctaw/Cherokee) (Stage Manager) has worked on the Stage Management teams of Kamloopa (WAM Theatre), Manahatta (Yale Repertory Theatre), Soledad (AICH), Ady (AICH), Arbeka (Native Voices), We Will Always Be Here (Cooper Union), Radio Island (Powerhouse Theater), The Metromaniacs (Redbull Theater), Sense and Sensibility (The Old Globe), Peter Pan (Syracuse Stage), Baskerville (Syracuse Stage), The Underpants (Syracuse Stage), and The Bomb-itty of Errors (Redhouse Arts Center). This summer Amanda is a part of the producing team for Live in America, producing a 2Spirit/Indigiqueer Pop-Up Powwow in Bentonville, Arkansas. Member, Actors’ Equity Association.

Edward Astor Chin

Edward Astor Chin has appeared in The Headlands (Lincoln Center Theater), Vietgone (Alley Theatre), Small Mouth Sounds (national tour), Veil Widow Conspiracy (New York Theatre Workshop/National Asian American Theatre Company), True West (Curious Frog) , The Brig (Living Theatre). Other credits include productions at Roundabout, Ars Nova, Ma-Yi, Woodshed, ACT, Long Wharf, Barrington, Philadelphia Company, Northern Stage. Film and television: Lincoln Rhyme, Manifest , Elementary , Jessica Jones , Person of Interest , Limitless , Feed the Beast , Mysteries of Laura , Set it Up (Netflix). Upcoming: City on a Hill season 3 and Maria Schrader’s She Said this fall.

Rachel Crowl

Rachel Crowl is an actor, musician, and photographer based wherever the next gig takes her. In two seasons at Oregon Shakespeare Festival: Duke Senior and Ensemble in As You Like It ; Ensemble in Between Two Knees ; Music Captain for As You Like It and Between Two Knees ; Pistol, Sir Thomas Grey, Governor of Harfleur, Chorus, and Ensemble in Henry V (mid-May to October 2018); Marcade, Musician, and Ensemble in Love’s Labor’s Lost . Other theater: Fool 1 in The Swindlers (Baltimore Center Stage); Witch/Murderer/Gentlewoman in Macbeth (Stars in the House). Film: And Then There Was Eve and The Smiley Face Killers . In another life she did a whole lot of theater Off-Broadway.

Derek Garza

Young Isaiah, Eddie, Ensemble

Derek Garza is a First Nations/Latino (Tribal affiliation: Wichita/Comanche) DC-based actor with his M.F.A. in acting from Penn State University. He recently finished two seasons at the Oregon Shakespeare Festival where he was seen in Othello , Romeo and Juliet , As You Like It , and the world premiere of Between Two Knees . Other theaters include North Carolina Stage Company, Theatre for a New Audience, Native Earth, American Repertory Theater, TimeLine Theatre, Victory Gardens, Chicago Dramatist, Video Cabaret, and Steppenwolf to name a few. Derek can also be seen in television and films such as ABC’s Betrayal ; NBC’s Chicago Fire , PowerBook II: Ghost , and Canal Street . derekgarza.com

Justin Gauthier

Justin Gauthier – A proud citizen of the Menominee (Omāēqnomenēw) Nation of Wisconsin, writer/actor Justin “Jud” Eagle Gauthier studied at the Institute of American Indian Arts in Santa Fe, New Mexico, where he earned an M.F.A. in screenwriting. Jud provides audiences across the nation a wholly unique worldview as an indigenous cultural ambassador with undeniable pop culture acuity. Jud would like to say wāēwāēnan (thank you) to all his family, friends, cast mates, crew, and audiences for helping him to become a better storyteller.

Shyla Lefner

Young Irma, Irene, Ensemble

Shyla Lefner (of Choctaw, Pamunkey descent) returns to Yale Rep, where she was seen in Manahatta . Recent credits include The Cymbeline Project , Alice in Wonderland , Henry V , Between Two Knees , and The Way the Mountain Moved (Oregon Shakespeare Festival); The Door You Never Saw Before (Geffen Playhouse); Fairly Traceable , Off the Rails , The Frybread Queen (Native Voices at the Autry); 50 Years On (Will & Company); The Last Days of Judas Iscariot (Urban Theatre Movement). Readings and workshops: Sovereignty (Theatre for a New Audience); Wonderland (Dramatists Guild); (w)holeness (Oregon Shakespeare Festival); Ackia: The Complete Epic (Idyllwild Native Arts Festival); Ungipamsuuka: My Story, Our Voices Will Be Heard (La Jolla Playhouse). Stand-up: Hollywood Improv, The Comedy Store, Ice House, and LA Skins Fest Native Sketch Comedy Showcase. Some film credits include Lies and Alibis , Whatever It Takes , Grace , Woo . Affiliations: Native Voices Artists Ensemble.

Older Isaiah, Ensemble

Wotko Long is recognized as a song keeper of the Muskoke language. He has also appeared in the documentary This May Be the Last Time directed by Sterlin Harjo. He played a homeless native man in the film called Mekko , who with a friend tried to find their way back to the traditional ways. He was recognized as a living legend from the Muskoke nation and is now in the series Reservation Dog directed by Sterlin Harjo and Taika Waititi, with the help of The 1491s’ comedy team.

Shaun Taylor-Corbett

William, Ensemble/Original Choreography

Shaun Taylor-Corbett was in the original production of In the Heights on Broadway and closed the show in the role of Sonny. He played Frankie Valli in the Second National Tour of Jersey Boys , Juan in Altar Boyz Off-Broadway, and Usnavi and Sonny in In the Heights on the First National Tour as well as in the Broadway company. He is a Bedlam Theatre Company member ( The Crucible , Hedda Gabler , The Winter’s Tale , Bedlam: the Series ). His original Indigenous musical, Distant Thunder , received its first production in March 2022 with Lyric Theatre of Oklahoma at First Americans Museum. The show is based on Shaun’s deep connection with the Blackfeet community in Browning, Montana. Other credits include three seasons at Oregon Shakespeare Festival. Shaun co-narrated There There by Tommy Orange, which was nominated for an Audie Award in 2019, and recently narrated The Only Good Indians by Stephen Graham Jones, also nominated for an Audie. Television/film: Hi-5 , Discovery Kids , Supremacy , Gamer’s Guide , All My Children .

Sheila Tousey

Older Irma, Ensemble

(Stockbridge-Munsee/Menominee) is a writer, director, and actress with many film, television and theater credits to her name including appearances in Signature Theater and Magic Theater’s The Late Henry Moss by Sam Shepard; Marie in Joanne Akalaitis’s Woyzcek at The Public Theater, and in the Guthrie Theater in Marsha Norman’s adaptation of Louise Erdrich’s The Master Butchers Singing Club . She was a Drama Desk Nominee for acting and is also a company member at the Oregon Shakespeare Festival.

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