Curtains Up Winnipeg

The fire is real. So is the fear. Three men go into the woods away from their reserve to light a sacred fire for a friend who has recently died. None are overly outdoorsy, and despite growing up together their experiences have varied widely. Dale is your doubter who never left, Shane stayed, and George left but remembers the teachings of the grandfather who raised him. All are united in the belief that this ceremony matters enough to justify their increasing discomfort. The script captures the blend of trivial and meaningful conversations that go on between old friends. In a masterful set designed by Adam Parboosingh, the woods lean in to you, creating a world of shadow and menace that may just let in things beyond the pale. Kudos to whoever fought for the fire. It makes a definite difference.

The premise is not that unusual: old friends in the woods tell scary stories. We all know these tropes all too well. The mind does strange things in the dark. Nothing is as it seems. Got it. What makes this production different is the high stakes that are at play with the characters. As we are reminded from the beginning, these stories of the supernatural often come from a context where humans were facing starvation. These come from the experiences of people facing terrors far more frightening and primal than what a Hollywood visual effects studio could produce. Likewise, Dale, Shane and George are there because of the death of someone who faced their own demons. The impending sense of danger is potent because it comes from a real place.

I saw this show opening night in which casts are often still finding their groove. That said, there were a number of moments in which it was hard to forget that we were seeing a play and fully suspend disbelief. As soon as the characters told a story, I was immersed, but sometimes in the interactions between them I was aware I was watching an actor say lines. The script was strong, and it did give you the authentic feel of old friendship. I would have liked a little more tension between the three, but that is absolutely nitpicking. I think it was a good choice to keep the play short since it allowed the momentum to build quickly without getting dragged on in minutiae.

After yesterday’s show they had a talk back. Honestly, I enjoyed it as much if not more than the show. If you can catch a performance with on, it’s well worth your time. The ensemble talked about the taboos around certain beings in indigenous cultures, and how these cultural understandings informed the show. Historically, the theatre has often been seen as a spiritually tricky place where people call in deep emotions and sometimes beings and therefore need to protect themselves – this piece is a prime example of why. The show’s knowledge keeper Jhaik Windy Hair talked at length about how they integrated protection into the very process of making the play. The whole thing gave the piece roots and depths, going into the area I find more interesting than horror. Still, horror informs the play and it won’t disappoint those who love the genre.

This is the right time of year to catch this show. The moment in the year when you could just be convinced to sit outside in the cold. When it doesn’t yet feel like you’re out of the danger of winter. And when you need to light of the fire to carry you back into the brightness.