A pleasingly anachronistic meeting of politics and puppetry, Tara Manuel’s For All the Premiers I’ve Loved Before is a playful yet thoughtful take on the premiers of Newfoundland and Labrador. In this one-woman show, Manuel sits down with a cadre of past premiers, portrayed by puppets, and confronts them about the recurring issue of disastrous mega projects. The puppet premiers turn out to be opinionated and chaotic, sending the show off into comedic vignettes and accessible political discussion. 

The first thing I noticed when I entered the basement theatre of St. John’s’ Arts and Culture Centre was the variety of little doll-like figures set out on a table. These turned out to be the puppets themselves, which came to life as Tara Manuel picked them up and gave them voice. I was initially taken aback—I had expected hand puppets or marionettes, but was instead reminded of the shows I put on with my stuffed animals as a little girl. This childlike playfulness is one of the strengths of the show, making the political subject matter more approachable. It also supports the theme of Manuel’s personal relationship to the premiers, extending back into her childhood. This is exemplified in her relationship to “Father Clyde.” The show’s manifestation of Clyde Wells, Father Clyde serves as Manuel’s advisor and father-figure. One of the only puppets not in a doll-like form (the other being Frank Moores’ lecherous floating head and hand), Father Clyde takes the form of a magnificent shadow puppet that looms paternally—or perhaps clerically—over Manuel. Among the puppets, Father Clyde stands out in both design and presence in the story.

While For All the Premiers I’ve Loved  is about Newfoundland and Labrador politics, it is approachable to anyone with even a loose interest in the topic. I myself am a newcomer to the province who is still learning about the history of premiers and their policies. Even so, I found myself comfortably following along. That being said, those who are familiar with the subject will get the most out of the show, and of Manuel’s characterizations of a range of premiers from Smallwood to Furey.

Tara Manuel’s political perspective is not partisan, nor does she make a statement on who should or should not lead the province. Although playful and at times affectionate towards the provinces leaders, the greater point of the show is to criticize their continued investment in mega projects that benefit a handful of individuals and out of province interests, without benefiting the taxpayers who fund these projects in the first place. 

For All the Premiers I’ve Loved Before is a political commentary that, while light and humorous in tone, is smart and focused. It interweaves Tara Manuel’s personal experience with political fact, finally leaving the viewer with a smile and call to action. It bids the viewer not to become too attached to premiers, or expect them to fix everything. Instead, Manuel encourages the audience to turn to themselves, to the land, and to each other to take care of our province.