“She was not alone,” says Tsianina Lomawaima, a professor at Arizona State University, who specializes in the history of Native American schooling and Indigenous performers in the 20th century. “There were quite literally hundreds of Native people in the U.S. who were very prominent in various realms of the entertainment world: dancers, speakers, singers, musicians, string bands, marching bands. Many of them, including Tsianina, used their platform to try and educate the broader public about the realities of Indian experience and Indian rights at that time.”

Jani Lauzon's I Call myself Princess took an idea that didn't seem on first blush very promising and created something deeply moving and though provoking. Opera Ramblings.

I Call myself Princess where two worlds 100 years apart not only exist side by side but intersect and influence each other. Excitingly ambitious in scope Lauzon's "play with opera" is rich in rediscovered historical fact and imaginative in how it combines history with present da-day reality. Esprit Orchestra

Jani Lauzon's I Call myself Princess contains a fascinating story about cultural appropriation that is still frustratingly relevant today. Glenn Sumi, NOW Magazine

I Call myself Princess: "a play with opera and a whole lot more". Drew Rowsome

Bravo to Jani Lauzon and her team for reviving Tsianina Redfeather in such a beautiful genuine manner and for opening our eyes to different versions of musical history. Catherine Jan, Mooney on Theatre