The Born-Again Crow (also known as There is Violence and There is Righteous Violence and There is Death) by Caleigh Crow captures female rage, vengeance, and rebellion in its most magical form. 

In a suburban town similar to all suburban towns, we find Beth, a young grocery store clerk who recently moved back in with her mother after being let go from ‘The Real Canadian Superstore’. The stabbing of a stake into her boss’ desk, lighting a magazine rack on fire, and the potential assault of her supervisor Barrie might have something to do with it, but in this mystical, bold, and deeply physical performance piece — nothing is ever as it seems. 

When Beth’s mother sets her up with a backyard full of bird feeders, Beth begins to feel like herself again, tending to the feeders each day and eventually befriending a talking Crow who reconnects her with her true power. 

As Beth navigates her past, she makes discoveries about herself, her community, and her agency. Faced with subtle and not-so-subtle prejudice, misogyny, racism, and then some, Beth begins to see the ways in which she is treated similar to the birds she feeds each day. 

Caleigh Crow’s writing is honest, quick-witted, dramatic and exciting. The type of writing we hope to see depicted on many more Canadian stages. It’s intelligent, while also accessible, which makes it a fun watch for all and a thoughtful watch for those who like to think. Jessica Carmichael’s direction was smooth, clean, and profoundly embodied — with each character taking on a clear physical persona. The bodies on stage held weight when they weren’t talking, making them part of the suburban backyard set that offered so much play space. 

This Buddies in Bad Times and Native Earth Performing Arts collaboration allows audiences to percolate on modern-day colonization. The Born-Again Crow reminds us that in 2025 violence can exist without death, without threats, without physical harm. Violence exists in the cracks of our society, in our institutions, in our inter-cultural romantic relationships. What people say, think, and how they act can violently impact the marginalized. Beth and the Crow find solace in a vengeful attempt to decolonize, but it’s not in the way we might expect. The twists and turns kept us gripped and will offer audiences much to discuss on the way home. 

Through metaphor, movement, great humour, complex acting, and strong directorial choices that break the mould, The Born-Again Crow allows us to leave the black box of the stage and enter into a new world. One where through magic, bravery, rage, and hope — Indigenous women are winning. An unmissable, timely and important piece for the next generation of theatre-goers. 

‘The Born Again Crow’ is on at Buddies In Bad Times Theatre from March 9 – 29.