4 Collective and the Globe Theatre hit the stage this month.

The performers promise it is a show worth seeing.

Mandy Goforth in dress leads other female performers during rehearsals at the Globe Theatre production of Making of Treaty 4.

The original Making of Treaty 4 was a conceptual performance that explores the making of treaty past, present and future, explained Erin Goodpipe, a member of the Treaty 4 Collective.

“It not only looks at the effects of Treaty, but gives us the space to tell treaty from our point of view, through an Indigenous lens,” she said.

It originated from a FNUniv class in 2017 and was first performed in April of that year. However, it was the group’s second performance in August 2017 that caught the eye of Ruth Smillie, artistic director and CEO of the Globe Theatre.

A meeting was held between the collective and Smillie about bringing the performance to the Globe’s mainstage.

Since that time, work has been taking place to create something unique that will involve both Indigenous and non-Indigenous performers. Unlike the original version, the updated version will include more movement and choreography.

Goodpipe said what makes this performance different from other Globe performances is that the Making of Treaty 4 is fluid, meaning every show is different.

The performers incorporate improvisation into their performances and often feed off each others energy.

“We don’t have a script, but rather an idea or a sketch of an idea,” said Goodpipe. “A lot of it is our lived experience or we have friends or family who have lived through these things, so we have devised our stories like that.”

Skyler Anderson, plays Weetigo, said only his character and Teddy Bison’s Trickster figure remain the same throughout the entirety of the performance.

“Everyone else are several different characters and the story takes place from creation up until now,” said Anderson.

The show is completely different from the original for a couple reasons. One was that with the Globe the performers had access to more resources and trained professionals.

Benjamin Ironstand said what has remained constant throughout all the versions have been the themes.

Some of those themes include inter-generational trauma, missing and murdered Indigenous women and girls, lateral violence, toxic masculinity, and resiliency.

The collective invites everyone to come with an open mind.

The show ran from April 11 to April 28 and each performance had 100 pay what you can tickets set aside, so anyone who wanted to see the show was able.