Arts & Entertainment
Afterlight shines again
3 minute read 6:00 AM CDTTwo years after it premièred inside the Salle Pauline-Boutal, a bloodsucking romantic musical written by and starring Sharon Bajer and Duncan Cox is alive again.
Presented by Rainbow Stage and the Keep Theatre Company, Afterlight, which earned a 4 1/2 star review from the Free Press in 2023, tells the story of a 500-year-old vampire (Cox) who finds unexpected and meaningful kinship with an insomniac 85-year-old woman (Bajer) who’s hungry for human connection.
A comedic two-hander with an all-original soundtrack, Afterlight is returning to the Salle Pauline Boutal — named for the longtime artistic director of Théâtre Cercle Molière — in refined form, says Bajer.
You might call it a revamp.
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True grit lacking in Canadian collection
4 minute read Preview 2:01 AM CDTKing’s love of architecture largely ignored
4 minute read Preview 2:01 AM CDTJune Lockhart, beloved mother figure from ‘Lassie’ and ‘Lost In Space,’ dies at 100
6 minute read Preview Updated: 3:27 PM CDTThéâtre Cercle Molière's hundredth season opens with nod to past artistic director
5 minute read Preview 6:00 AM CDTPoetry project shines light on Rooster Town
4 minute read 2:01 AM CDTA new little-free-library-sized literary installation featuring poetry is a personal reconciliation project of Winnipeg writer Bernie Kruchak.
The Rooster Town Poetry Shed is located at 939 Dudley Ave., not far from the final site of Rooster Town, where a number of Métis families lived until they were forced out to make way for Winnipeg’s expansion.
The poetry shed is currently featuring work by poet (and Free Press poetry columnist) melanie brannagan frederiksen, whose collection The Night, The Knife, The River will be published by At Bay Press in fall 2026.
For more on the project see roostertownpoetryshed.ca.
Couple’s emotional stakes put to the test
4 minute read Preview 2:00 AM CDTUnrau subverts Northland poet’s work
5 minute read 2:00 AM CDTThe hand-traced, layered poems in Melanie Dennis Unrau’s latest collection, Goose (Assembly Press, 132 pages, $23), stalk and dance across the page. The poems use Sidney Clarke Ells’ collection of poetry, Northland Trails, as well as his memoirs as source texts, in addition to archival accounts by Indigenous and Métis inhabitants of the North. These poems are an angry, funny, generous intervention into the national mythology.
In the first and third sections, Unrau takes different approaches toward a subversive reading of Northland Trails. Each of the poems in the first section, The Goose, represent a reading of the entire book Unrau traced with specific constraints; the poems in the third section, Contents, are tracings from individual poems.
The poems in the middle section, the tracking line(s), engage directly with archival material. Here Unrau traces the Athabaska River and the unnamed Indigenous and Métis labourers who were harnessed to tracking lines to pull the heavy boats of supplies upstream from the shore, troubling Ells’ frequently repeated account, which casts the trackers as fickle and Ells himself as heroic.
With humour, these poems show the Romantic and heroic aggrandizement with which Ells treated himself to be hollow puffery. “I began to suspect that Ells, who migrated each year between Ottawa and Fort McMurray and who wanted to be seen as a legitimate resident of the north, may have liked to think of himself as a goose.”
Candian actor’s autofiction an earnest ode to late art teacher
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7 minute read Preview 8:06 AM CDTShoalts digs into British explorer’s life and disappearance in Canada’s breathtaking north
5 minute read Preview 2:01 AM CDTNarrator trope done to death
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Sort of.
Ware’s 2016 work relied on the “unreliable female narrator” trope that was flooding the market around that time, in books like Paula Hawkins’ The Girl on the Train (2015) and A.J. Finn’s The Woman in the Window (2018). In this often woozy and wine-soaked genre, a traumatized and unhappy woman, given to blackout drinking or the overuse of prescription pills, witnesses some kind of terrible crime, but is unable to convince anyone of what she’s seen.
This plot once seemed inescapable, which is why it’s interesting that the new movie adaptation of Ware’s book pushes the unreliable-female-narrator cliché overboard right away. In fact, The Woman in Cabin 10’s protagonist, Laura “Lo” Blacklock (played by Pride & Prejudice’s Keira Knightley), is not only not unreliable, she’s super-reliable, being a hard-hitting investigative journalist who’s worked in the world’s most dangerous conflict zones.
Summer of 2020 saw left and right go head-to-head over COVID-19, George Floyd death
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