Take 5 with Director Tara Moses

March 13, 2025 by Stewart

Tara Moses is a citizen of Seminole Nation of Oklahoma, director, playwright, and co-Founder of Groundwater Arts. This season, Moses was tapped by The Umbrella Stage Company to direct the New England premiere of Where We Belong, featuring GiGi Buddie. It is the first production to feature a lead performer other than Moses' fellow theater-maker Madeline Sayet, who toured with her autobiographical play from 2022 to 2024.

1: You've performed in and directed your own shows before. What are some of the considerations in directing a show that has previously only been performed by the playwright herself? Does it change the show?

The most important thing about directing a show like this one with the history it has is to fully support the actor in creating a brand new character. We are not attempting to re-create the original production or portray a character that is Madeline. We are approaching the show completely fresh, which illuminates other themes, sparks new questions, and makes the process really exciting. It is the same story, however it has a different impact for this Concord audience.

2: You seem to have much in common with Madeline Sayet. You're both directors, playwrights, and performers with teaching backgrounds in dramaturgy and Indigenous performance, and an interest in Shakespeare. How does this help you connect to Madeline and the story of Achokayis?

I understand the journey that Madeline and Achokayis have been on. The shared knowledge and experience has created a strong foundation in the creation of this performance of Where We Belong. Furthermore, our drastic differences in experiences (for example, Shakespeare was used to force me to learn English when I was a young child rather than I coming to Shakespeare out of love or interest) hit me personally like many of the ancestors Achokayis speaks about in the show. So, the similarities built the foundation of Achokayis’ story and the differences shape how I approached this production.

3: As you may know, Concord, MA is site of the so-called "shot heard 'round the world" and approaching the 250th anniversary of that start of the American Revolution this year. How does that impact how you think of play's themes?

That shot was indeed heard around the world, however most folks don’t think about how Native people were also part of that world. For us, that was a clear indicator of yet another apocalypse that would change our lives for worse. Where We Belong forces audiences to confront the ways in which we think about the land and belonging, and I hope that during this anniversary, folks confront the legacy of that event by understanding more fully the impact.

4: What excites you about working with The Umbrella?

There are so many things! But the very tactile thing that comes to mind is that I rarely have ever had the opportunity to rehearse in the same space as the performance. It was such a game changer to be in the physical space and use the actual architecture in building the show throughout staging. When [Producing Artistic Director] Brian Boruta told me that was how they always did things, I immediately thought, “Wow. Umbrella loves directors.” And that is indeed true -- and I cannot say that about all my experiences. So thank you!

5: Can you share with us something about the goals of Groundwater Arts, which you co-founded?

We work at the intersection of climate justice, racial justice, and decolonization in efforts to move the greater theatrical field towards a more just future faster. Those interlocking justice lenses are how I see and approach all work I direct, and Where We Belong is right in the middle of those intersections in how the play talks about the land, water, repatriation, truth, reconciliation, and imagining a path forward, together.