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THEATRE | SANTA FE

‘Bad Medicine’ brings Native American horror to Santa Fe Playhouse stage

‘Bad Medicine’ runs Thursday, Aug. 6, through Sunday, Aug. 30, in Santa Fe

Published

‘Bad Medicine’

WHEN: 7:30 p.m. Thursday, Aug. 6, Friday, Aug. 7, and Saturday, Aug. 8; 2 p.m. Sunday, Aug. 9; 7:30 p.m. Thursday, Aug. 13, and Friday, Aug. 14; 2 and 7:30 p.m. Saturday, Aug. 15; 2 p.m. Sunday, Aug. 16; repeats through Sunday, Aug. 30

WHERE: Santa Fe Playhouse, 142 E. De Vargas St., Santa Fe

HOW MUCH: $18-$80 at

Editor’s note: The Santa Fe Playhouse website warns “Bad Medicine” contains “strong language and depicts violence against Indigenous people, including Indigenous women. The play also portrays the appropriation of Indigenous cultural and spiritual practices, and has snake imagery throughout.”

The psychological and paranormal spiritual play “Bad Medicine” turns typical horror on its head as a Native American couple faces peril in Proctor, Massachusetts.

The play is making its world premiere at the Santa Fe Playhouse Thursday, Aug. 6, through Sunday, Aug. 30.

“It’s like ‘Get Out’ meets ‘Rosemary’s Baby,’” Tara Moses, who is playing Aislin Alvarez, said.

She said “Bad Medicine” is thrilling to be a part of because it feels authentic. Spirits are present to help and protect — the opposite of so many horror tropes.

“It feels like such an exciting opportunity to have Native spirituality be part of a horror telling,” Moses said. “But not in the way of, like, ‘Oh, it is the big bad scary.’”

Kholan Studi, playing Cesar Alvarez, said it’s fascinating to be in a show where Indigenous people are the focus rather than another stereotype or archetype.

“It’s awesome that we now get to be the victims, and that’s such a weird way to put it,” Studi said. “But we get to be the victims of these extremely terrifying realities that can come up.”

Moses is a citizen of the Seminole Nation of Oklahoma, playing a character who is Osage. She grew up with an Osage reservation right next to hers and has pulled from that familiarity as she plays Aislin. She said it gave her a place to start to approach the role respectfully.

“It also feels like a really lovely thing to do to uplift a fellow Oklahoma tribe,” she said.

Currently, she lives an hour from the place where the play is set, which has helped her bring the town in Massachusetts to the stage. One of the original 13 colonies, she said there is a feeling of hypervisibility and fetishization of Native people in Massachusetts still today.

“There is still this like antiquated, outdated view of Native people, and then also this like weird experience of Native people are such a rare commodity,” Moses said.

The writer of “Bad Medicine,” P.C. Verrone, spent time in Massachusetts and captures the eerie and fetishized view, she said.

Moses said the play covers many topics impacting Native communities, including cultural appropriation and missing and murdered Indigenous people, but it “feels very expansive in the ways that it intersects with people of all identities.”

Studi’s character is Laguna Pueblo, while Studi is a member of the Cherokee Nation. Studi said he and Cesar are both “Urban Indians,” a term for Native people raised in cities.

“(Cesar Alvarez) while he is Laguna Pueblo, he was born and raised in Oakland, California. So it’s also really exciting because I get to also represent an identity that is often a bit overlooked …,” Studi said. “Because while he is a Laguna Pueblo person and is very connected to his culture through his parents and things like that, he also had a very different lived experience of growing up in a city where he wasn’t close to his community, which is something that I, as an enrolled member of the Cherokee Nation who grew up in Santa Fe, very much understand.”

“There is an interesting relationship with those kinds of things, but it doesn’t make them any less Native or who they are, as long as they want to come into their identity respectfully,” Studi said.

“Bad Medicine” is about the power of “Native folks resisting, but within this like horror context,” Moses said. Her character Aislin has a huge theme of coming into her own power, which has been taken from her since birth.

“When it comes to this power in staying true to who we are as Native people in the midst of appropriation, theft, ongoing cultural genocide and literal genocide,” Moses said.

“The play ends very dramatically, so it’s like a reclaiming, a retaking of who we are and how we exist,” Moses said.

Elizabeth Secor is an arts fellow for the ϼ. You can reach her at esecor@abqjournal.com.