Fausses histoires, vrais liens

Ce vendredi 1er mai, la finale de la 35e saison de la Ligue d’improvisation du Manitoba (LIM) a fait salle comble une fois de plus au Centre culturel franco-manitobain.

Pour la troisième année consécutive, c’est l’équipe des Verts — Roger Durand, Eric Plamondon, Gilles Lessard, Alexandre McMurray, Avery Wolchuk, Léanne Marchildon, Zara Ramlal — menée par Mathieu Jubinville, qui a soulevé la Coupe Canot après l’avoir emporté sur les Jaunes — Alexandre Normandeau, Dominique Wyrchowny, Jacques de Moissac, Josée Roy, Lynne Connelly, Stéphane Grégoire, Stéphanie Morin-Robert — de Maryse Gagné au terme d’un match très serré.

Pour celles et ceux qui ignorent en quoi consiste un match de LIM, imaginez deux équipes qui partagent une même scène et qui s’affrontent ou collaborent parfois sur un thème donné pour raconter l’histoire la plus drôle possible.

Mathieu Jubinville, capitaine de l’équipe gagnante, donne l’exemple suivant: surveillance de voisinage.

Inclusive, integrated musical theatre company in Winnipeg first of its kind in Canada

With its first public performance — a revue of numbers from family favourites such as Toy Story and Frozen — a new performing arts organization in Winnipeg is aiming at a more accessible, accepting and diverse vision of musical theatre production.

Co-founded by theatre educators Brenda Gorlick, Lois Brothers and Laura Kolisnyk, AIM 4 All brings together performers with and without disabilities to train, practise and perform in full-scale musical productions: AIM stands for “all-inclusive musicals.”

This weekend, 28 Manitobans will take the stage in five stagings of Disney’s Dare to Dream Jr. at the University of Winnipeg’s Asper Centre for Theatre.

With plenty of supportive family and community members excited to see the result of months of preparation, the organizers are pleased to say each show is sold out.

RMTC's Rubaboo: A Métis Cabaret is a musical mélange of jazz, folk, roots

You’ve probably had sirop d’érable and pemmican, but have you tried rubaboo?

A scoop of peas or corn, a dash of flour and onions, bison meat if you have it, a maple syrup garnish — and suddenly you’re cooking with bear grease (which you shouldn’t forget to add, either).

In a pinch, you might substitute grouse for bison meat, and throw in some extra turnip and parsnip plus wild vegetables to thicken your rubaboo stew.

Cooking and fusion metaphors are never far from how we talk about cultural blending, but in Canada, we’ve tended to resist America’s more assimilationist image of the melting pot. Instead, we talk of mosaics, or sometimes salad bowls, to emphasize eclecticism.

Wordless puppet show explores father-daughter ties

Having a parent who travels for work is a challenge for any child, but whenever Shizuka Kai’s father left on a voyage to capture elusive footage of white wolves and kodiaks, there was an element of danger that didn’t exist for other children.

“I would say I kind of grew up with my dad telling us that he actually might not come home,” says Kai, a Vancouver-based puppet maker and theatre artist. “A moment I vaguely remember as a kid was when he sat us down and explained the life-insurance process because (he) might actually get attacked and eaten by a bear, and that’s the reality of this project (he was) doing.”

That reality is put through a puppeteer’s lens in Otosan, the closing production of the 2025-2026 season at the Manitoba Theatre for Young People.

Based on Kai’s experiences growing up as the child of a dogged wildlife videographer, combined with memories from a joint trip to Alaska in Kai’s early 20s, Otosan — on to May 17 — is told in a wordless tabletop puppet show featuring lifelike renderings of father, daughter, grizzly bear and snowy owl.

AI-rendered Val Kilmer debuts in ‘As Deep as the Grave’ trailer

LAS VEGAS (AP) — The filmmakers behind “As Deep as the Grave,” the indie film that is using an artificial intelligence-rendered version of Val Kilmer in a prominent role, debuted a first look at the recreated actor Wednesday at CinemaCon in Las Vegas.

“Don’t fear the dead and don’t fear me,” Kilmer’s character, Father Fintan, a Catholic priest and Native American spiritualist, says at the end of the trailer.

The actor died last year at 65, of pneumonia. The use of generative AI to recreate Kilmer for the historical drama based on archaeologists Ann and Earl Morris became a hot button topic when the filmmakers announced it last month. The trailer shows Kilmer’s character at various ages.

Writer-director Coerte Voorhees, along with his brother John, spoke on a panel Wednesday about the controversial decision to use technology to create a performance from a deceased actor and explained why they feel they've done it ethically by working with Kilmer's children and the actors union. Coerte Voorhees stopped short of calling it a Val Kilmer performance, however.

Jury finds that Ticketmaster and Live Nation had an anticompetitive monopoly over big concert venues

NEW YORK (AP) — A jury found Wednesday that entertainment giant Live Nation, which hosts tens of thousands of concerts a year, and its Ticketmaster subsidiary had a harmful monopoly over big venues.

The ruling, in a lawsuit brought by dozens of states, won’t immediately bring relief for concertgoers who have long complained about high ticket prices. But it could cost Live Nation hundreds of millions of dollars and perhaps force the company to sell some of its concert venues when the judge hands out penalties later.

Among other things, the jury found Ticketmaster's anticompetitive practices led to people in 22 states paying an extra $1.72 per ticket, which the judge could order the companies to pay back.

A jury in New York deliberated for four days before reaching its decision. State attorneys general who sued Live Nation said the verdict could potentially lead to lower ticket prices for music fans.

C’est l’amitié qui a gagné

Lors de la finale de la 30e saison de la Ligue d’improvisation secondaire tellement époustouflante (LISTE), un moment historique s’est joué: les Grenouilles grotesques et les Extra-terrestres rocambolesques, deux équipes du Collège Louis-Riel, ont remporté ensemble la victoire, partageant le trophée.

La soirée du 17 mars, une quinzaine de jeunes joueurs d’improvisation de la Division scolaire franco-manitobaine (DSFM) se sont rencontrés pour la finale de la trentième saison de la LISTE. Accueillies par une foule passionnée d’environ cinquante personnes, les deux équipes finalistes se sont rencontrées dans la Salle Pauline-Boutal du Centre culturel franco-manitobain (CCFM).

D’une part, en chemises vertes et représentés par des cartes de vote vertes, on retrouvait les Grenouilles grotesques, du Collège Louis-Riel (CLR). L’équipe s’est ralliée sous la houlette de leur capitaine Gabrielle Pagé, élève de 12e année.

De l’autre, en chemises noires et représentés par des cartes de vote jaunes, il y avait les Extra-terrestres rocambolesques, également du CLR. Cette équipe était dirigée par Nathan Perkins, lui aussi en 12e année.

SiR’s upcoming season a case of all’s fair in love and war

A month before Christopher Nolan’s film adaptation of The Odyssey invades cinemas worldwide, Shakespeare in the Ruins’ 2026 season will feature a solo version of The Iliad, giving audiences a crash course in Homer’s epic prequel just in time for a blockbuster summer.

With global conflict and the threats of unmitigated re-armament on his — and everyone’s — mind, artistic director Rodrigo Beilfuss says it only made sense for the outdoor theatre company to return to the Trojan War as a window into the everlasting human cost of international conflict.

Beilfuss, who joined SiR as artistic director in 2019, made a concerted effort throughout the company’s return from pandemic-induced hiatus to program gentler fare. But with last year’s well-received production of Macbeth, the company indicated it was ready to return to tragic terrain.

During a season backdropped by wildfire, the artistic director was reminded of the potential for the classics to cut through the smoke and reveal eternal truths as the world burns.

Manitoba Opera season features reimagined Scott Joplin work and Puccini classic

Manitoba Opera’s 54th season will feature a once-forgotten masterpiece and a returning classic.

The 2026-27 season opens with the local première of Scott Joplin’s Treemonisha: A Musical Reimagining (Nov. 21, 25, 27) and closes with Madama Butterfly (April 17, 21, 23, 2027), both performed at the Centennial Concert Hall.

Treemonisha was published in 1911 by Scott Joplin, the celebrated African-American pianist and composer often referred to as the King of Ragtime. Set during the Reconstruction era in the United States, the three-act opera focuses on the story of its title character, a young freedwoman, and fuses Western classical music with blues, gospel and ragtime.

The work proved too groundbreaking for the Euro-centric opera establishment and was produced for the first time in 1970, more than 50 years after Joplin’s death. The composer was awarded a Pulitzer Prize posthumously for his contributions to American music.

An AI-rendered Val Kilmer will posthumously appear in a new film

NEW YORK (AP) — A year after the actor's death, a generative AI version of Val Kilmer will co-star in an independent film, in one of the boldest uses yet of artificial intelligence in moviemaking.

First Line Films announced Wednesday that Kilmer has posthumously joined the cast of a film titled “As Deep as the Grave.” The producers said that, before his death, Kilmer had signed on to perform in the movie but was unable to because of his health.

Kilmer's estate gave permission for his digital replication, and is being compensated for it. Mercedes Kilmer, the actor's daughter, said the role resonated with her father.

“He always looked at emerging technologies with optimism as a tool to expand the possibilities of storytelling,” she said in a statement. “This spirit is something that we are all honoring within this specific film, of which he was an integral part.”

L’impro’ manitobaine rencontre le monde

Du 18 au 21 mars, André Vrignon-Tessier, propriétaire des monuments Brunet et figure connue de la Ligue d’Improvisation du Manitoba (LIM), se rendra dans la ville de Québec pour y représenter le Manitoba.

À l’occasion de la journée internationale de la francophonie, ce 20 mars, le club d’improvisation de Québec, en partenariat avec le ministère des Relations internationales du Québec, organise la fête internationale de la francophonie.

Parmi les célébrations, une soirée d’improvisation à laquelle participeront plusieurs acteurs en provenance de plusieurs horizons francophones.

Ces derniers feront le déplacement depuis l’Acadie, la France, la Belgique, Haïti et finalement le Manitoba.

Ghosts of pasts faced in spirited Royal MTC production

Under the light of a lakeside moon and its brighter-than-the-city constellations, in the glow of a sacred fire, a portal to awakening opens for three men grieving the loss of their childhood friend in this spirit story, an absorbing, eerie and chill-inducing first play from Norway House’s Rhonda Apetagon.

Next Prairie Theatre Exchange season will capitalize on what works

Five Canadian productions are slated for next season at Prairie Theatre Exchange, a downtown institution that’s in the midst of a post-pandemic bounceback under the leadership of artistic director Ann Hodges and managing director Katie Inverarity.

Midway through their first full seasons at the venerable Portage Place company, Hodges and Inverarity have helped oversee a 59 per cent increase in subscriptions with a 27 per cent leap in single-ticket sales compared to 2024.

So when it came time to program PTE’s 54th season and her second at the helm, Hodges — who inherited the artistic mantle in 2024 from Thomas Morgan Jones — figured she wouldn’t try to fix what’s firing on all cylinders.

Announced Friday, the 2026-27 season will kick off with a trip to the rink for Tracey Power’s Glory, based on the story of the Preston Rivulettes, a women’s hockey team that won 95 per cent of its games over a dominant decade between 1931 and 1940. Set to be directed by Mariam Bernstein, the production (Oct. 13-25) will feature several hockey games choreographed by Victoria Exconde to era-specific swing music directed by Joseph Aragon.

First-time playwright’s social work training helps craft horror drama In the Shadow Beyond the Pines

The type of writing that thriller aficionado Rhonda Apetagon does on a day-to-day basis isn’t anyone’s idea of creative fun: as a trained social worker, the first-time playwright is accustomed to filing reports about “the real scary stuff” in life: loss, addiction, violence and the abuse and maltreatment of children.

“That’s way scarier for me than ghosts,” says the director of Kinosao Sipi Minisowin Agency, which provides child and family services to members of Apetagon’s community, Norway House Cree Nation.

Apetagon’s debut play, In the Shadow Beyond the Pines, premièring tonight at the Tom Hendry Warehouse, takes place at the intersection of those two strains of horror stories, sending three grieving men (Daniel Knight, Jeremy Proulx and James Dallas Smith) into the forest to light a sacred fire for their recently departed friend, Warren, who was the quartet’s “glue” since childhood, holding the group together even as the joys, pressures and traumas of adult life pulled them apart.

Apetagon wanted the play, set on the outskirts of an unnamed northern community, to highlight the double-edged nature of living in a remote environment, where the combination of intense togetherness and relative isolation presents both threat and opportunity.

Une 5e édition, et une incorporation pour Noir et Fier

Lors du gala de clôture de Noir et Fier, tenu le 26 février au Musée canadien pour les droits de la personne (MCDP), le festival conclut le mois de février avec l’annonce d’une incorporation. L’organisation franchit donc une étape structurante importante en devenant un organisme à but non lucratif à part entière.

“Le bilan que je fais de cette cinquième édition est très positif.”

En cinq ans, Noir et Fier est passé d’une exposition de portraits pour le mois de l’histoire des Noirs, à un festival qui occupe désormais tout au long de février et qui franchit aujourd’hui une nouvelle étape avec son incorporation.

“Chacune des activités a rassemblé beaucoup de personnes. Ça a été des moments de discussion très intenses, de très bons moments d’échange, de partage, de sensibilisation et d’éducation. Nos statistiques sont assez frappantes,” assure Wilgis Agossa, directeur artistique et fondateur de Noir et Fier.

VistaVision, a vintage format left for dead, is revived in ‘One Battle After Another’ and more

NEW YORK (AP) — When Paul Thomas Anderson told his cinematographer Michael Bauman that he wanted to shoot “One Battle After Another” on VistaVision — a large-scale film format born in the 1950s — he had some questions.

“Question one was: Is this even going to be reliable?” Bauman recalls.

For much of the past 60 years, the few remaining VistaVision cameras have been mostly collecting dust on shelves. Though the format was widely used in the 1950s, when Alfred Hitchcock shot “Vertigo” on it and Cecil B. DeMille used it for “The Ten Commandments,” VistaVision went dormant by the early 1960s.

Yet at the March 15 Academy Awards, a movie made largely with decades-old antique cameras is poised to win best picture. Even in 2026, when most films are shot digitally and AI has begun filtering into moviemaking, “One Battle After Another” has — with film equipment borrowed from collectors and museums — showed that a vintage, analog film system can still astonish moviegoers.

Imaginative production delivers excellent encore performances

When Brush Theatre first brought its flagship production, Doodle POP, to Winnipeg in 2022, the South Korean company was an unknown entity locally.

Not anymore: with its third visit to the Manitoba Theatre for Young People in five years underway, the highly imaginative troupe has scribbled its way into the memories of a generation of theatregoers.

While adult audiences might not appreciate a professional theatre company programming similar shows with such frequency, MTYP hasn’t hesitated to extend return invitations to Brush, which blends miming, clowning, drawing and dazzling projections into unique and approachable stage concoctions, driven by participation from a rapt, ever-changing audience.

A kid only gets one chance to see their first theatre performance, and Doodle POP is just about as fun and engaging an introductory experience one can dream up.

PTE play shines a light on cultural harms caused by forgeries

Drew Hayden Taylor explores art authentication with his signature wit in The Undeniable Accusations of Red Cadmium Light, a play inspired by the ongoing challenges to the artistic legacy of Anishinaabe painter Norval Morrisseau.

Belated Lunar New Year party a feast of Korean culture

For the last month, Andrea Kitano has been spending her weekends hosting hanbok fashion shows at shopping centres across Winnipeg.

Actor connects multiple storylines in RMTC’s telecommunications drama Rogers v. Rogers

Inviting audiences into the inner sanctum of a dysfunctional dynasty, playwright Michael Healey’s Rogers v. Rogers does for the Canadian telecommunications industry what Adam McKay’s The Big Short did for subprime loans: surveying a national economic ecosystem that feels destined to take advantage of consumer’s best interests while lining the coffers of a controlling billionaire class.

Harlequin Costume seeks to sell building, ‘staggering’ collection; dancewear store to continue under same name

Looking to buy a building in downtown Winnipeg? Get in touch with the owners of Harlequin Costume.

If you’re interested in purchasing thousands upon thousands of costumes, you’ll want to talk to them, too.

Scott and Jan Malabar are selling their building at 375 Hargrave St., where the husband and wife have operated their costume, dance and formal wear business since the 1980s.

The asking price for the building, which sits a few blocks south of the Exchange District and a short walk from Central Park, is $995,000.

Stage-fighting the system in touching madcap comedy 'Holland'

One of Winnipeg’s funniest playwrights and an ensemble of five of the city’s strongest comic actors spin gold from parental rage in Holland, a guns-blazing production full of righteously madcap decision-making at the Tom Hendry Warehouse.

Teen newcomers hope powerful poem opens minds

Escaping Syria as a child, Fawwaz (Ali) Al Hassan knows a thing or two about global conflict.

“I’ve gone through war, genocide, poverty, myself firsthand, and I know how bad and terrible it is for anyone, not just for people of my kind, but anyone across the world,” the 17 year old who immigrated to Canada 10 years ago said.

The Daniel McIntyre Collegiate Institute student co-wrote the spoken-word poem What We’re Meant to Be, along with Sami Suliman, 16, and Tobilola (Tobi) Olorunsola, 17. The trio recited it Monday at the Manitoba legislature as part of the Manitoba Council for International Cooperation’s international development week.

The teens, all newcomers to Canada, brought their own personal experiences to the poem, a journey across the globe.

Tad et Birdy: quand le jeu devient un langage commun

La nouvelle production jeunesse du Manitoba Theatre for Young People (MTYP), Tad and Birdy, mise sur la créativité pour aborder la peur, la curiosité et le courage. Présentée au 7 février à Winnipeg, la pièce partira ensuite en tournée dans plusieurs communautés manitobaines.

Dans les coulisses, Sarah Lamoureux, responsable de la régie, décrit un processus de création fondé sur la collaboration et l’expérimentation. Travailler avec une petite équipe lui permet de dépasser le rôle traditionnel de coordination pour participer activement à la mise en scène.

“Je peux suggérer des choses à essayer, et on a la chance de vraiment les explorer ensemble. Les comédiens nes aussi proposent leurs idées, parce que ce sont eux et elles qui sont sur scène.”

Cette liberté créative se reflète dans les choix scéniques. Lorsque le texte ne précise pas les accessoires, l’équipe invente. Des crayons géants, des cartes Pokémon et des objets du quotidien deviennent les moteurs d’un imaginaire partagé.