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.

Winnipeg photographer captures striking stills that market major motion pictures

Eric Zachanowich is the most famous photographer you’ve probably never heard of.

He’s worked with Tinseltown heavyweights such as the late Robert Redford, Ralph Fiennes, Laura Linney, Woody Harrelson and Anya Taylor-Joy, and even appeared in Dwayne (The Rock) Johnson’s wrestling biopic The Smashing Machine, disguised as, you guessed it, a photographer.

“It was for one of the opening scenes so I could shoot Dwayne Johnson walking to the ring. I made the final cut of the movie — although it’s hard to place me — and also got a spectacular photo that was used heavily during marketing,” says Zachanowich, 32.

More often than not, he operates as a silent observer on the sets of cinema blockbusters and prestige television dramas alike, his lens capturing the world’s biggest A-listers at their most vulnerable and intense moments.

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.

Stirring oratorio pays homage to Indigenous veterans

‘My war wasn’t in Europe. My war was when I came back to Canada and I couldn’t vote until 1962,” says composer Andrew Balfour. He’s paraphrasing a quote by an Indigenous veteran and the inspiration for his oratorio notinikew (i went to war).

Manitoba summit to explore solutions to chronic truancy

Winnipeg teachers are cutting class on Thursday to strategize how to improve student attendance and remove barriers so more children show up for lessons on a regular basis.

Most fashion mannequins are about a size 2. The Met Gala exhibit is making room for diverse bodies

NEW YORK (AP) — On a sultry summer day in Brooklyn last year, artist and couture designer Michaela Stark found herself in a studio surrounded by 175 cameras, for a photo shoot unlike any she’d done before.

Clad only in her signature corsetry that binds the flesh, Stark stood in the midst of a circle as the cameras captured all angles of her body, simultaneously — part of an intricate process known as photogrammetry. The goal: to scan her body and build a mannequin — three, actually — for display in one of the world’s top museums, the Metropolitan Museum of Art. And at the Met Gala, no less.

“It was definitely a bit nerve-wracking,” recalls Stark of the “intimate and vulnerable” experience. But, she quips, “something about being naked on a 40-degree (Celsius) day in a corset that isn’t hiding anything kind of takes the awkwardness away from the situation, actually.”

The mannequins, and others based on real-life models like Stark, will be featured in “Costume Art,” the upcoming spring exhibit at the museum’s Costume Institute that's launched by the starry May 4 gala. It’s part of an effort to add an element of body positivity to a show that examines the dressed body in art over the centuries, says curator Andrew Bolton.

North End vocational school opens ‘cultural learning lab’ creative design studio

A North End warehouse has been converted into a multi-purpose design studio where students can sew ribbon skirts, print 3D models and launch businesses.

The Winnipeg School Division celebrated the grand opening of its Waabishkaa-Makwa Lab last week.

The first-of-its-kind “cultural learning lab” embeds Indigenous teachings into project-based learning activities.

For more than a decade, the 4,500-square-foot space inside R.B. Russell Vocational School had been collecting dust and housing broken equipment.

Flora Luna: entre confidences musicales et rayonnement vers l’Est

Dans l’ordre, à la fin du mois de mars, Geneviève Freynet, connue sous le nom d’artiste de Flora Luna, avait annoncé sa signature avec Indica Records, un label indépendant basé à Montréal.

Fondé en 1997, Indica Records présente une variété de genres musicaux allant du rock/punk/alternative sur laquelle le label a été fondé, incluant le folk, mais aussi la pop, l’indie, la musique du monde et l’électro/rock.

Indica Records s’occupera spécifiquement du booking pour Flora Luna. Cela veut dire notamment la réservation et l’organisation des spectacles de l’artiste.

“L’idée, c’est qu’ils me réservent des spectacles et des tournées, surtout au Québec, et potentiellement en Europe, et un peu en Ontario aussi. Leur centre d’attention, c’est vraiment le Québec, alors oui, j’ai hâte,” précise Geneviève Freynet.

New dance work explores life’s tensions

The pressures of modern life have a way of piling up.

Piles of work. Piles of debt. Piles of laundry. Piles of information and memes and media to parse. Piles of expectations. Piles of physical stuff added to cart during late-night shopping binges because we think it’ll make the piles of stress and worry (about the cost of groceries, about war, about aging parents) easier to manage, lighter to carry.

We become surrounded by these metaphorical and literal piles until, one day, it all becomes too much.

Accumulation, a new work choreographed by artistic director Jolene Bailie that will close Winnipeg’s Contemporary Dancers’ 2025/26 season, lives in the tension before the breaking point.

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.

From chants on trams to a parliament rave, young Hungarians provided a soundtrack for Orbán’s defeat

BUDAPEST, Hungary (AP) — Many of the young Hungarians who came of age during Prime Minister Viktor Orbán’s 16 years in power have never known life outside his political system. Yet it was they that were at the forefront of Sunday's earthquake election that ejected him from office.

As hundreds of thousands of people took to the streets to celebrate the historic win by pro-European candidate Péter Magyar, music from some of Hungary's most popular — and most Orbán-critical — performers filled the air. Teenagers scaled Budapest’s iconic Chain Bridge and blasted revolutionary anthems by artists whose songs captured young people’s frustrations with the regime.

On the city’s trams, buses and subway cars, young people led chants and played AI-generated fan music dedicated to Magyar.

In front of Hungary's neo-Gothic parliament building, a group called “More Techno to Parliament!” celebrated Orbán's defeat with a rave.

Hand-drawn 1884 map captures Winnipeg at moment when frontier hadn’t fully given way to a metropolis

At first glance, the map is still. Ink on paper, streets drawn neatly in place, buildings rendered by a careful hand. Look more closely and it begins to loosen. Step into the image, between the lines, and immerse yourself in a city of movement.

In pictures: Artemis II crew captures eclipse, Earthrise, far side of moon during lunar flyby

NASA released new photos Tuesday captured by the Artemis II astronauts.

Artemis II’s lunar fly-around and intense observation period lasted seven hours.

A total solar eclipse greeted the three Americans and one Canadian as the moon temporarily blocked the sun from their perspective.

Venturing as close as 4,067 miles (6,545 kilometers) to the gray dusty surface, the astronauts zipped through a list of more than two dozen photo targets, using powerful Nikon cameras as well as their iPhones to zoom in on impact craters and other intriguing lunar features.

Pallister portrait shows more of the man

Salvador Dali once said, “The reason some portraits don’t look true to life is that some people make no effort to resemble their pictures.” This cannot be said of Manitoba’s 22nd premier, Brian Pallister. His official portrait by artist Andrew Valko doesn’t just resemble Pallister, it reveals him.

It reveals not just who he is but more, someone far different than the public portrait many Manitobans had of him.

Begin with the setting. Manitoba’s most outdoors premier has the first outdoors portrait of a premier.

Significantly, he chose not where he worked — the formal pediments and stone of the province’s legislative building which form the preferred backdrop of all his predecessors — but where he lived and loved, the landscape of Manitoba itself. High Bluff, part of his hometown municipality of Portage la Prairie, with the Assiniboine River gently wending its way in the background, fills the canvas. It cries out roots and belonging, not position or status.

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.”

How Canadian box-office hit ‘Undertone’ got to the screen without public funding

TORONTO - Personal grief, a potentially haunted house and a sound-driven sense of dread helped turn “Undertone” into one of the year’s most unexpected horror hits.

But the biggest twist? The director says he made the film with no government money after his previous work was rejected by Canada’s public film funders.

The Toronto-shot film opened to $9.3 million at the North American box office over the weekend — a scary good debut for a movie made on a $500,000 budget.

For director Ian Tuason, his debut feature’s unlikely path to the big screen is also a quiet critique of how Canadian films get financed.

RWB turns classic 'Sleeping Beauty' fairy tale into waking dream

The Royal Winnipeg Ballet unveiled its dreamy new production The Sleeping Beauty Thursday, with the beloved ballet throwing more sparks than a spray of pixie dust.

Considered one of the pillars of the classical ballet canon, the lushly romantic story ballet features Tchaikovsky’s masterful score. American guest conductor Ming Luke crisply leads the Winnipeg Symphony Orchestra throughout the production, with the maestro officially stepping onto the podium as RWB music director this fall, taking over the baton from outgoing conductor Julian Pellicano.

The Sleeping Beauty, composed of a prologue and three acts, is essentially an archetypal tale of goodness triumphing over evil. Its protagonist, Princess Aurora, is doomed by evil fairy Carabosse to die on her 16th birthday, until the benevolent Lilac Fairy of Wisdom saves the day by switching the curse to a 100-year slumber.

Only a tender kiss by Aurora’s true love, Prince Desire/Florimund, can awaken her, as they all live happily ever after.

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.

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.

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.