Welcome to ELAN’s Spotlight Series, a new initiative highlighting exceptional emerging artists from underrepresented backgrounds. As part of our ongoing commitment to arts decolonization, the first round of spotlights will focus on platforming Indigenous artists from throughout Quebec. Each artist is nominated by an Indigenous-led organization; be sure to check them out and support the important work they do in the community!

Below you’ll find why Kirk Elsmore nominated Gage Karahkwi:io Diabo and an interview with Gage about their work in the local theatre scene.

Organization Nominator:

“Seeing Gage return to the stage and reconnect with the Starcatcher community was something we never expected, making this reunion all the more special. We were beyond excited to work with them again and witness their return in such a remarkable role.”

Starcatcher Productions is proud to nominate Gage K. Diabo in recognition of their incredible return to the stage after a seven-year hiatus! Gage was one of Starcatcher’s original members, joining us at the very beginning in 2018. After performing in our 2019 production of Little Shop of Horrors, they stepped away from the performing arts for several years. This summer, we were thrilled to welcome them back to the Starcatcher family in our 2026 production of Sweeney Todd, where they took on the titular role of Sweeney himself. 

Seeing Gage return to the stage and reconnect with the Starcatcher community was something we never expected, making this reunion all the more special. We were beyond excited to work with them again and witness their return in such a remarkable role. We are incredibly proud to have been part of this chapter in their journey and cannot wait to see what the future holds for Gage, both with Starcatcher and beyond! 

Artist Interview:

Gage Karahkwi:io Diabo‘s next project is… 

Keep a lookout in the next year or two for my first book, Making Peace with Stories, a study of Mohawk literature that’s due to come out via Wilfrid Laurier University Press. January 26-29th, I’ll be part of the ensemble cast of Turtle Island Theatre’s production of Rogue’s Gallery, an anthology of short comedy plays set in an art exhibit. 

What is an overarching goal of your artistic practice thus far? 

Being a rez kid taught me how to have as much fun as possible with as little money as possible, and that ethos has carried over to my artistic practice. Whether it’s directing a show, leading a rock band, or writing a book, my goal has always been to prove that you don’t need a massive budget (or any budget, for that matter) or special training to make great art, to meet awesome collaborators, and overall to entertain people. 

What was a formative artistic experience for you? 

I had the privilege to see a number of the early Turtle Island Theatre shows in Kahnawà:ke as a kid. Under Kevin John Saylor’s direction, they performed a lot of classics like Peter Pan, Romeo & Juliet, Grease, and The Sound of Music. I would see those shows and think that the actors were simply the coolest people in the world. It felt at the time like the actors were doing things I could never dream of: getting up onstage, singing and dancing and making people laugh. It was The Sound of Music in particular that finally made me decide: next time they hold auditions, I’m going to try out. 

Which mentor figure(s) made the greatest impact on you?  

I studied under the great Cherokee Nation scholar Daniel Heath Justice when I was doing my doctoral studies out west. He has such a brilliant mind and a gentle soul that fundamentally reshaped how I engage with art. I used to be something of a hater; I thought it was cool to be aggressively hypercritical and snarky towards everything from movies to music and even video games. Daniel taught me about the importance of being kind and generous to the art that manages to make its way into our lives—generous in our interpretations, as audience members, and as co-creators too. 

If you could tell your younger self something, what would it be? 

I would reassure my younger self that, although it never gets easier, it does get better over time. Again, to be kind and generous has been the most vital lesson I’ve learned. It takes hard work, compassion, and self-awareness to stay kind and generous to your audience and your fellow artists, but in the end it’s ultimately the more generative and rewarding way to operate. I wish I had known that a lot sooner!