• 365 And Doing Fine: An Artist Reflects #6

    During the last year, I’ve had to examine the harsh truths of being an Asian artist in this industry. At the beginning of my career… when I was the only IBPOC artist in the cast, when I played the supporting roles, when I was arguably the token minority, people seemed to accept me with open arms. What I quickly realized as time went on, was that roles meant for people who looked like me were very few and far between. There would be no competing with more established artists; the ones with more experience and connections than I would ever have. Competing for meagre acting roles this way would never be sustainable, and as the pandemic months went on I realized that this wasn’t the life I wanted for myself. More >

  • Welcome Kevin Ramberran to the Board of Directors



    Kevin Ramberran is joining our Board of Directors!

    “Kevin was one of TPM’s very first Student Reps during the 2012/2013 season. With great talent and energy, Kevin rehearsed, directed and performed several readings for our Salon Series and worked to create connections and opportunity between TPM and the University theatre student communities. He has remained an avid audience member and volunteer and we are thrilled he is sharing his time and talents with TPM once again.” – Ardith Boxall

    Kevin Ramberran is a graduate of the English masters program at the University of Manitoba with a focus on theatre, creative writing, and dark comedy. Kevin spent his university years as a particularly active member of the Black Hole Theatre Company both on the stage, behind the scenes, and in the board meetings. Kevin sat on the executive council for 4 years before later joining the Department of English, Theatre, and Film as a Teaching Assistant for the Theatre program. Kevin is a founding member & producer of the improvised comedy group Club Soda and the independent theatre company The 28th Minute. Come July, You can often find Kevin at the Winnipeg Fringe Festival producing, acting, directing, improvising, rapping, or DJing (and sometimes multi-tasking)! Kevin currently spends the majority of his time running the restaurant St. James Burger & Chip Co. & he recently launched a comedy D&D podcast called ‘What We Do in the Basement’. Kevin is very excited to join the board at Theatre Projects Manitoba!

  • 365 And Doing Fine: An Artist Reflects #5

    A whole year in quarantine and my blog comes full circle. 365 and Doing Fine. Honestly, I’m just as surprised as you are. To everyone reading this - friends, colleagues, theatre-goers, I hope that you’re staying safe and well. 
    This time last year, I was faced with the same situation as every artist around the world: the loss of work. Theatres and cinemas were shut down. Filming was non-existent. I was one of the lucky ones who could claim CERB, but with the pandemic affecting things indefinitely, I wondered what my future would be as an actor. I was sure it was over. I’m still pretty sure it’s over. So as I grieved a life that was lost to me, I started re-evaluating what else I could do for work in the arts industry. But once again, I was faced with the same barrier as before. I was barely trained as an actor. I crawled through each contract. Each show. Each shoot. If I shifted into something else, I’d be even less trained and prepared for it. 
    CERB would only last so long, and already I was itching to release a lot of pent up energy. I didn't want to flounder anymore and I began to wonder if maybe now was the time I could do the things I never had time for. Redecorating. Therapy. Arts workshops. I saw a post on Instagram for Citadel Theatre's Masterclass series, and I took my first leap of faith - I registered for all of them to see if I had any other talents or interests elsewhere, all in the hopes that something that pays would be waiting for me on the horizon. But I didn't stop with Citadel. Every single free class, workshop or panel that I could find, I registered, applied for, and went. "Went". Remember my Birthday Masterclass? I chased everything like an athlete in an extreme sport. March. April. May. And then in June... somehow, somewhere (it was on Facebook I'm just trying to be poetic), I saw a post announcing Gimli Film Festival had opened applications for their next Pitch Competition.
    A few months prior, I had written the first draft of a film script about an Asian family. The reception I got from colleagues was lukewarm at best and it didn't see the light of day ever again. But since, I was chasing after new experiences and I had gone to some writing classes. Was it time to dust off my script and take another leap of faith? 
    Three minutes is all it took to change my life. Let me tell you this story as I tell it to my friends. 
    In July 2020, I invited the Gimli Film Festival into a world where unconditional love from family wasn’t the reality. For three minutes, I offered a small glimpse into a reality where love was weaponized, unspoken rules guided every interaction, and help was synonymous with failure. Three minutes. 
    Wait, that's the story I tell my colleagues. Here's what happened before the three minutes. 
    I went into the application process with some very strong thoughts in mind: I am not going to make it to the live competition. I am a nobody. I have very niche things to say. But I feel like I should still take this opportunity, even though I don’t want to put a lot of effort into it. So I’ll half-ass this application just to get my name out there, and next year when I feel more established, I’ll actually prepare something good and hopefully, they’ll still remember me from this year. I hit send, and I promptly forgot all about it.
    The weeks went by and at some point, I found myself going to Garden City with my friend Benny in order to fulfill my cravings of a chocolate éclair from The Rolling Pin. I was in the middle of the food court and I checked my email and lo and behold, I read the words… “You have been selected as one of the finalists for the Gimli Film Festival Emerging Filmmakers Pitch Competition.” 
    Well, shit, Joanne. Looks like you've officially gone back to work. Time to celebrate with two chocolate éclairs.
    I want to hear from you. What would you do with three life-altering minutes of time? I'd love to share your musings as I share mine.
    This post is dedicated to my dear friend, Alphonse.
    You can share your three life-altering minutes ideas with Joanne at [email protected] with the subject line "To Joanne" 
  • 365 And Doing Fine: An Artist Reflects #4

    I went straight from the highs and lows of Goodnight Desdemona (Good Morning Juliet) to the set of Edgar, a Crave Super Écran series about “a formidable investigator, with an extraordinary sense of observation. With his unconventional methods, sharp instincts and unique logic, he will succeed in proving the guilt of the suspects every time!” Spoiler alert: his name is Edgar.
    This is a story I tell my friends. 
    My character was a new rap star who (likes drugs…) finds herself in the middle of her friend’s murder. My audition was at 9am sharp on a Friday morning. Being typical Joanne (aka not a “homework” kind of actress), I decided to wait until Thursday night to read through the email and double check that I didn’t receive anything to memorize. But what do you know - attached right at the bottom of the email was 4 pages of a script that I’ve had for a week. Whoops. To solve this conundrum I did what anyone would do; I freaked out, read the email over and over again to make sure I wasn’t missing anything else, and then memorized the crap out of those sides so I was ready for my audition.
    I walked in that morning feeling surprisingly confident. I was asked if the sides went well. “Yes, I got them right away!” (Ah, the perks of lying for a living.)
    “That’s great! How was learning the rap?”
    “…I’m sorry. What?”
    “The rap. We sent you a rap.”
    Right about now, I’m thinking a bad word. That starts with the letter F. What proceeded was my worst nightmare: being handed a piece of paper with English AND FRENCH WORDS that were divided into lines and told to “just freestyle it”. And I did. 8 times.
    I’m begging you, internet. Please don’t drum up these videos. They’re bad. So bad that they had to write me a new rap because I couldn’t do the one from the audition. (But apparently not so bad that I didn't get the role... I'm wondering if I was the only one that showed up for it, though.) Seriously, I have to give so much thanks to the entire Edgar team for making me look my best while speaking my third language and rapping. (Also for giving me unlimited breakfast options. You want to hear a diva problem: I texted my friend Chantal asking if the pancakes with maple syrup, sausages, a fruit cup and orange juice was asking for too much or too little, and then after freaking out that I was being unreasonable for ordering breakfast, I made her translate my order into French.)
    An interesting observation I took with me as I walked onto the Edgar set in February of 2020 was that I had been on Casting Workbook, a casting resource for all the English productions in Canada, for over a year. While I’d been on audition after audition, I didn’t book any roles. But on my very first audition for French media I managed to land a Crave series. The audition process was also vastly different. In English media I was reading for bit parts, aka the “ethnic roles” where I’d have one line as a nurse, or a server, or something similar. In the audition for Edgar, they wanted to see me read for a small guest role - one that placed me in a more powerful position than the typical one-liner, if that, that I was usually offered to read for. Was there something going on here?
    Can you name any famous Asian actors, other than Lucy Liu and the cast of Crazy Rich Asians? English mainstream media isn’t a landscape I have a good probability of succeeding in, just by the odds of being Asian alone. And I was frustrated in noticing that talent didn’t seem to have a big hand in it: movies and TV are all about how you look, and I don’t have what they're looking for. (Read: the ability to be tall, lean and Caucasian.)
    I ended my two-day stint on Edgar with a few things: a bloated paycheck, the memory of my first ever trailer, and fuel added to the fire. The Edgar set was a unique experience because we didn’t have time to slog over getting the perfect take, so everyone needed to be at their best at all times. We had to make quick decisions. A new, less backbreaking way to film was demonstrated for me. I was so excited to keep auditioning for French television and landing more roles, all while being aware that the English landscape wasn’t working for me for reasons beyond my control (this is speculation, but also not). I was also excited to keep exploring my Franco-Manitoban side at the National Theatre School in March.
    Can anyone guess how that went? The school shut down two days before I was supposed to be there. And now getting to what I promised Ardith and TPM: how I navigated through an industry built around people gathering, during a ducking pandemic. (And I don’t mean duck.)
    Learn More from Joanne in this CBC article " Is Beauty Skin Deep? Filipina-Canadian Filmmaker explores skin shadeism within her culture" 

  • 365 And Doing Fine: An Artist Reflects #3

    I turned thirty. Ahhhhhh, I'm thirty. And thriving.
    Everyone told me I should have taken the day off to celebrate. I disagreed. I have the best job in the world and I wanted to work. (Part of me feels like I should tell you that I needed to work to pay my bills, but give me this one. It was my birthday.) It was a long day, filled with so much inspiration. Mentoring with Ardith. Lunch with my Que faire d'Albert? co-star Alphonse. Meeting with the Manitoba Arts Council. And then, to top off the night, watching a reading of The Chinese Lady by Lloyd Suh for Studio180 Theatre Reads, together-but-separately with my friends. 
    Following my birthday, I was invited to join the fun for TPM's Chautauqua work week. Every morning we checked in and gave each other writing prompts. At the end of the week, we celebrated with cocktails and parlour games. It was truly inspirational to be in the same room with so many artists that I'd admired from afar. (Sup, Emily and Tanner.) I also had my first meeting with Donna-Michelle St. Bernard and discussed my festival piece, Unspoken for Decolonize Your Ears. She said she enjoyed reading it. Cue: tears of joy, and a lot of positive swearing. Thirty is pretty damn cool so far. 
    It's February now, and among many other things I'm continuing my Creative Manitoba Mentorship with our esteemed Artistic Director.  We had a moment today where we questioned whether or not we actually completed our mandatory five hours of mentoring last month, and I think a part of that confusion is because we're always working on things together-but-separately (as is the theme these days) and I'm always flitting off to do more personal development. Ardith likes to say, "Joanne is creating her own Personal Professional Development Masterclass." She's so kind. 
    So in celebration of my birthday, I have a gift for you: Joanne's Masterclass on Creating Your Own Masterclass.
    #1: Check the bank.
    Workshops and classes can cost a lot of money. Before you start looking for them, it’s a good idea to know what your financial situation is and what you’re able to spend on classes. But the good news? If your budget, like mine, is $0, there are still so many options for you! Thanks to Covid, many artists and organizations are offering workshops for free. There is SO MUCH being offered that is accessible, not only in your area but also all over the world. Right now, I’m working with colleagues from all over Canada. Which leads me to…
    #2: Follow everything.
    How do I find all of these workshops, classes and opportunities? Follow. Everything. I’m subscribed to every possible newsletter I can find. Creative Manitoba. Theatre Projects Manitoba. Prairie Theatre Exchange. Cercle Molière. Sick and Twisted. Manitoba Arts Council. Winnipeg Arts Council. Canada Council. CARFAC. I’m really active on Instagram, and I follow hundreds of theatre companies, film companies, and educational institutions. I’m going to be looking on Instagram anyway, so while I scroll through my feed I might as well make it productive as well as entertaining. Not into Instagram? Are you a Facebook person? That’s a great resource as well! There are many groups popping up specifically to share opportunities. For example, I’m part of a few IBPOC groups for film and theatre (such as BIPOC Theatre & Stage and Asian Arts Collective) and there are posts from people all over the world sharing workshops, grants, casting calls and more. Everyone is sharing resources these days, so connecting with these pages (and relevant artists) is a great way to stay in the know so you’re aware of all the opportunities being offered to you.
    #3: Fear Is Your Friend
    So what do you do with all these resources once they’re at your fingertips? Go for it! A year ago at this time, I wouldn’t have considered myself a playwright, but I was certainly interested in learning more about it. I found out that Citadel Theatre was offering a free Masterclass with Hannah Moscovitch. Although I did spend some time humming and hawing about whether or not I’d use this information, at some point I decided - screw it. I’m stuck at home, there’s nothing for me to do, and no acting jobs on the horizon. I’m going to go get this information whether I end up using it or not. What’s the harm in it? The only thing this class will do is improve myself. Nowadays, I’m a professional playwright. As I write, I’m constantly referring back to the notes I took in that session. It’s saved me quite a few times. Moral of the story? If you have the time, energy and interest - go for it. Don’t let fear stop you. In fact, fear is your friend. It lets you know what you really want, and once you make the leap, it will take you further than you could ever imagine.
    That’s all for now, newsletterees. Stay warm, stay safe, and stay tuned for more fun stories I only tell my friends.
  • A New Blog “365 And Doing Fine”

    Follow along in our Blog section as Joanne Roberts reflects on being an artist in all that was 2020.  
  • 365 And Doing Fine: An Artist Reflects #2

    Every so often during rehearsals for Good Night Desdemona, I would put on the Juliet dresses and look at myself in the mirror. Having this literally be my dream role since I saw a live performance in 2005, I thought I’d have a reaction that was very different to the one I was actually having. That is to say, the words, “I don’t belong here.” repeated over and over in my head. 
    Say it with me: Imposter Syndrome! Catastrophizing! But also... Maybe this was also a little on the nose. I was surrounded by seasoned artists who were thriving with their characters, each just as real and inspiring as the last. I however, was off on the side learning metrical pentameters and popping pills like they were candy in hopes that at least one of these things would help me feel more grounded in the work. (Spoiler alert: Tom Keenan's help with everything Shakespeare really, really helped, AND I was always following my doctor's medical advice. But, you know. Catastrophizing.)
    There were a lot of reasons I could have cut myself a break and excused my growing feelings of inadequacy. By then, I'd only been in a few professional shows, so it was beyond me to expect that I could stand toe to toe with my show mates who had years of experience backing them. Also, my body was in rough shape. Even though one couldn't tell by looking at me, at the time it felt like I had been hit by a truck. Simple things such as taking off my boots and changing into indoor shoes proved to be the most frustrating and unrewarding parts of my day. But the reassurances from friends and colleagues still struck a chord of dissonance in my chest. My feelings were still very real, and I didn't want to feel like this the next time I was on a job I should have been enjoying. Surely I could be doing more than stumbling my way through each project. So night after night, as audiences were laughing at our zany show, I began to wonder what I could do to go from "newcomer Joanne Roberts" to "local powerhouse Joanne Roberts". (Thanks, Tanner. You're the best.) 
    As I write this, I’m fresh off my first meeting with Red Betty Theatre. The first Decolonize Your Ears Festival is happening this year on June 22-26 in Hamilton, Ontario. It’s a festival meant to amplify voices of IBPOC womxn, and I’m so excited to announce that I’m one of three playwrights chosen for this new play development initiative. Waitasecond, Iwasjustanactorayearago… 
    As an emerging artist, I’d always been aware that we work with an unspoken hierarchy in each room, and I’m used to being at the very bottom of it. For fear of embarrassing myself in front of established artists, I stayed quiet even though I had burning questions. I didn’t contribute to artistic discussions, and I reasoned with myself that because I was still learning, I had nothing useful to say. But today, I was so engaged in the work that I didn’t take the time to size up each of the artists in our Zoom call. (Okay, okay. I admit that I was sending Ardith messages in all caps freaking out about the talent in the room. She had to remind me to breathe. But that’s totally different.) I was so present in the discussions that I raised my hand each time I had something to say, and I was okay with my words being taken or discarded as people saw fit. I spoke and I listened. I shared and I learned. I felt like I deserved to be there.
    Imposter? I think not.
    But seriously, how the hell did I get here? Faith, trust, and a little pixie dust? No. I had to take a hard and unpleasant look at myself. My mental health, my financial situation, and the realities of a female, Asian artist’s chance to thrive in this industry, regardless of drive and talent…
    Learn more about Joanne Roberts on her website
  • An Interview with End of the West Collective

     End of the West Collective, is a collaboration between three West End neighbours,  (Dave Thomas, Avinash Muralidharan Pillai Saralakumari and Jacquie Loewen). They have been safely gathering in a backyard and telling stories around a fire, which is how this collective was ignited! With support from TPM, End of the West is developing a Covid safe performance integrating puppets, masked dancers, and film, created expressly for a single audience member. Built to happen in communities starting this winter and popping up around the city throughout 2021.Here’s an interview with Jacquie!: 

    How would you describe this Theatre-for-1 Project?  What is the concept?

    We are going to install a built environment, an oval-shaped cave/Workshop of the Gods, which one person at a time can enter and experience the show.  In this space, puppets, masked dancers and film create the story of a God interrupted in their work by an unsuspecting human, and what magic might allow them to see each other.


    Tell us the short story of who your group is and why you are making a thing together:
    Dave,  Nash and I all met around a fire. We are neighbours who knew each other in passing for a wave or borrowing a ladder, but this summer with its Staying in Place mandate, at the end of days spent separately, we would occasionally find ourselves around the fire in my backyard.  It began as naturally and casually as any growing thing, where someone would talk about something they did or mention a personal interest, and the skills and stories of our separate lives started mixing with each other.  Nash would tell stories from the Indian pantheon he's lived and breathed since birth, and connect them to the Indian classical dance that he has studied most of his life.  When he would dance some of the story of Vishnu and the peacock, in the dance the story was as physically clear as storytelling through mime, which I love.  Dave mentioned in passing one day that his architectural designs were a part of Canada's presentation at the Venice Biennale, and I had to stop making marshmallows and find out who is this guy who lives across from me?  From Peguis First Nation, his ideas about structural storytelling through design and architecture jazzed up the parts of me that want to give an experiential environment to an audience as a show.
    I'd had an idea of a form for storytelling (this Theatre-For-1 immersive environment) that I wanted to try out, and so started having Art Dates with Nash and Dave to see how their skills and interests might fill that out.  And from there it's just taken on a life of its own!  
    I wrote a story that we could tell, from the archetypical view of gods and imagination, something larger than individuality, so that we could all dig into it from our own points of history.  It's the most creatively exciting to have a shared story to tell, from three different views.
    So now we are following the artistic path of taking story, space and movement to build a place for a person to enter, that is -thankfully- a little bigger than them.
    When you light a fire, you never know who will be drawn to it. 
  • 365 And Doing Fine: An Artist Reflects #1

    A year ago, I was an actor. Now, 365-ish days later and a whole other world apart, I think I’m something else. I used to believe that an artist’s life meant continuously hustling for that next job and staying laser-focused as we did so. While that isn’t totally incorrect, there’s also much more to it than that. For the first two years of my career, I was so focused on the “active” part of it; running to and from auditions and overworking myself to do more projects I could throw onto my resume. Now I’m focusing on the more “passive” parts of this industry. Personal development. Connecting with other artists. Learning. Listening. Funny enough, it took a global pandemic to make me slow down (to all my friends reading this - shut up) and actually think about what I was doing, my sustainability, and the future of it all.
    In January 2020, I was preparing to step onto the Colin Jackson stage playing my dream role - Juliet in Goodnight Desdemona (Good Morning Juliet). Artistically, it was a gruelling, exciting, and emotional experience. Physically, thanks to a flare up of my autoimmune disease, I can only describe the experience as painful, paired with a lovely cocktail of painkillers and energy drinks on the side. (I was thankful every day I did not have to partake in the epic sword fighting my castmates did. Those swords were heavier than they looked. Instead, I got to play with a cool knife; much easier on the wrist.) 
    Throughout the first month of the year as I learned how to delve into Shakespeare and adjust to the nuances of English-speaking theatre, I found myself asking some very pertinent questions I wanted to get answers to. In my opinion, my experience - or lack thereof, became very evident during the course of rehearsals. Was learning on the job and risking utter failure at the same time the only avenue of professional development for an artist like me? Was going back to university the only way to rectify that? Was I going to continue to feel like I was way out of my depth for the rest of my life?  
    It’s 2021 now. I’m about to turn thirty, and I find that reflecting back to where I was a year ago is just as important as looking forward to the year that lies ahead. I have a play in development, a movie I’m ready to shoot, and a short film getting ready for release with CBC. 365 days and a global pandemic made the difference between checking the box that says “emerging artist” to the one that says “mid-career artist”. There was no rulebook to navigate through such an unexpected turn of even
    ts, but I think that we’ve all proved twice over that artists are just as flexible as we are innovative. Thanks to Ardith and Theatre Projects Manitoba, I’m excited to share with you a simultaneous look backwards and forwards at what ended up being the turning point of my professional career, with the hopes of supporting emerging artists and the theatre community along the way. I’m thrilled to share the incredible, frightening and vulnerable journey from actor to… whatever it is I am now. Maybe you can help me decide.

    Dear Artists, Friends and Community,

    For thirty years, Theatre Projects Manitoba has gathered artists and audiences together in the heart of downtown Winnipeg on Treaty One Territory and the homeland of the Métis Nation. We gather here and strive to tell stories that help us know one another – to build connections and empathy. The theatre often sparks conversations around our culture, revealing uncomfortable truths which we experience together as a community. We are learning we have not always succeeded in our intent to advance equity and social justice through our work on the stage and behind the scenes.

    This summer we listened to the voices of Indigenous, Black and global majority artists* as they shared their experiences and we grappled with the difficult conversation concerning systemic racism in our society and sector. We are deeply grateful for their honesty and patience as we reflected on the changes needed to create a more equitable theatre community.

    Our mandate is to develop and promote the skills of Manitoba writers, directors, actors, designers, technicians and craftspeople by presenting theatrical works of local origin or local relevance- this must include artists of all age, ancestry, colour, caregiver status, access needs, gender identity, gender expression, ability, place of origin, race, religious beliefs, or sexual orientation.

    TPM acknowledges the deep roots of systemic racism that exist in our community and industry which is in conflict with our company’s own mandate. As a theatre with a history of white leadership, we acknowledge that TPM is complicit in these systems and has benefitted from the privilege it provides.

    As stewards of this fiercely local theatre company, it is our job to share stories that matter to the people who live here- all people who live here. We are committed to the work ahead so that we can collaborate with, celebrate and amplify IBPOC artists – indeed, the full diversity of voices in Manitoba’s artistic communities; and so that TPM is a place where all citizens see themselves reflected in the programming, leadership, board, staff, and audience. More >

  • Interlake Winter Warm-Up Workshops!

    Do you live in Manitoba’s Interlake and have a creative itch to scratch? Well then, Theatre Projects Manitoba has got you covered! Introducing our Winter Warm-Up Workshops - free weekly creative workshops (delivered digitally) for Interlake participants led by some of our amazing Chautauqua artists!    
     TPM will be hosting digital workshop - creative workshops to help warm up your soul and excite your creative senses as the snow melts away. These digital workshops are being held specifically for our friends in the Interlake, which is on Treaty 1 and Treaty 2 Land. From storytelling, to an introduction to online VR spaces, to sign painting, - these workshops, led by professional artists, will be sure to inspire participants of all ages. 
    Why Interlake participants? Theatre Projects Manitoba is gearing up for another Chautauqua in 2021. Our artists have been beautifully busy collaborating with Interlake community and we are inspired to strengthen and foster these connections as more art and stories are shared on the Interlake Trail. 
     More >
  • Micro-Digital Arts Exchange Program

    We’ve been on our toes! Nimbly dancing back and forth trying to catch fluff in the wind – making the most of an ever-changing reality and trying to imagine and invent our way through it.

    This spring we had been planning to begin our return to the Interlake, sending artists to research and interpret the Interlake in a collaborative spirit through film, music, performance and visual art. When this came to a halt due to the pandemic, we still wanted to continue our work in the Interlake and lay trail for a new iteration of our Chautauqua programming. We wanted to connect with our rural counterparts and friends, to do something meaningful for the communities for our artists in times of peril and need.

    Out of this was born the Micro-Digital Arts Exchange Program More >

  • Artist Meetings 

    TPM is holding meetings with artists on a monthly basis through the summer and fall. This is a time to share your artistic practice or to express your desire to work on TPM’s production and design teams. We are looking to meet artists from many communities, backgrounds and artistic practices.

    This call is open to artists across the disciplines – performers, visual artists, producers, writers, creators, and those whose work intersects with artists. Artists and colleagues who have worked with us before are also encouraged to book a time to meet with Ardith. We miss you. Let’s connect! 

    Artists are invited to pre-submit materials that will help us learn more about you and your artistic practice. This can be a resume or other written introduction. You are welcome to submit samples of your artistic work in any form – this is optional and not required.

    TPM is committed to creating a diverse, inclusive, and equitable working environment. TPM encourages submissions from those who self-identify as members of under-represented communities. 

    Meetings will be held in person and online by Artistic Director Ardith Boxall 

    Submission Deadline: Friday August 21st, 2020 

    Zoom Meetings: Tuesday August 25th, 2020 

    In Person Meetings: Wednesday August 26th, 2020

    Email submission to: [email protected]
    (Please put Meeting with Ardith in the subject line)

    For Performing Artists – Actors, Dancers, Writers, Musicians, Creators
    *(It is not required to have everything in the list below – these are just options of how you can you can introduce yourself)

    – Resume and headshot 

    And one or more of the following options that best showcase your skills 

    – Optional submission of video or images showcasing your talents 

    – Option to do a general audition (one monologue or song) – Submission of writing or music sample 

    *Submit a Maximum of 4 minutes for video and sound, 5 images, and/or 5 pages of written submission. 

    For Production, Design, and Graphic Artists 

    – Resume / Portfolio/ Website

    Theatre Projects Manitoba was founded in 1990 as an artist-driven organization and a theatre-at-large, using a variety of venues for performance locations. Committed to the cultivation of Canadian Theatre, in the past 30 years TPM has staged more than 50 new Manitoban works. 

    TPM’s objectives are twofold: To develop and produce theatre that illuminates the human condition as well as to provide challenging opportunities for the growth of the artists of this region 

  • A message from Theatre Projects Manitoba

    Our friends,

    A demand for change is being heard within our many and diverse communities throughout this land.

    Indigenous, Black, and people of colour, along with allies, demand and deserve a dismantling of the racist systems of power that have kept BIPOC artists from positions of leadership, and from contributing equitably to the richness of our communities.

    We have been watching the news and the calls for change through #BlackLivesMatter and directly from our community of artists. Theatres and arts organizations are not exempt from institutional racism. We recognize this racism exists.

    Theatre Projects Manitoba acknowledges that the majority of our company is white and carries the privilege this gives us as individuals and as an organization. We are in the process of grappling with our own issues of institutional racism, social justice and equity. We are humbled in this process and humbly ask for patience as we break down our system so that we can successfully change. This work will take time –it will be a priority in our upcoming strategic plan and cycle of artistic activities. It must be an ongoing continual process. It will involve all of our organization and must be done with the care and integrity it deserves.

    To help us achieve this goal we will begin by forming a community working group to ensure a myriad of voices in these conversations to help us change. We wish to be purposeful and intentional in our job of listening and learning and growing as individuals and as a company. We will be inviting the voices into this conversation who have been missing. The staff and Board are currently reaching out to find a facilitator to lead us all in these discussions. We anticipate naming that facilitator in the coming weeks and to then announce opportunities for greater community engagement and concrete actions in the weeks and months to follow.

    We need your voices. You are our voices. We undertake to share our plan and our planning with any of you who want to be part of this process as it unfolds.

    Our hope is for inclusion and equity in our practices, resulting in a more just and compassionate community. Theatre Projects Manitoba acknowledges that we work on Treaty One Territory and in the homeland of the Métis Nation. It is on this land that we strive to listen, learn and create in solidarity with our BIPOC artists, friends, colleagues and allies.


    Ardith Boxall, Rea Kavanagh, Andraea Sartison, Emily Solstice Tait, staff

    Bill Kerr, Justin Deeley, Carolyn Lussier, Ray Singer, Kyle Mason, Anne Bolton, Chris Werstiuk, Clay Purves, board of directors



  • Hañwakañ Blaikie Whitecloud

    Hañwakañ Blaikie Whitecloud with his wife, Tessa Blaikie Whitecloud, and musician Daniel Jordan at the cable Ferry to Matheson Island

    Filmmaker and skateboarder, Hañwakañ Blaikie Whitecloud, is one of the talented artists who is working with TPM to explore and connect with the Interlake region. Last week he and his wife Tessa travelled through the Interlake visiting Winnipeg Beach, Arborg, Matheson Island, Gimli, Selkirk, and various sites in between.

    Here’s what Hañwakañ had to say about his most recent travels…

    What was your main intention during this trip through the Interlake and where is the project leading?

    “Research, interviews and collecting stories while also exploring the land and being curious about the history of the space. Ultimately I wanted to know how people maintain their health through fun activities including skateboarding, hootenannies (an informal gathering with folk music and sometimes dancing) which we were invited to participate in at a local farm. What an amazing way to pass the time.”

    You are a documentary filmmaker. How does this play into the project? 

    “I have the equipment! But also am patient with interviewing and have experience with asking the right questions. I am excited to use my favourite filmmaking tools which are the drone and a newly acquired Osmo Pocket. The Osmo is the size of big lipstick and has its own gimbal so I don’t have to carry around my old heavy equipment, it has really changed the game.”


    Drone photo of Icelandic River

    “The drone shot is of Riverton, MB. A beached ship to the bottom right, to the bottom left is an old historic cemetery site which had been unmarked for some time. This is also just before the Icelandic river flows into Lake Winnipeg” – Hanwakan

    And you’re also a skateboarder and planning to skate the Interlake skate parks along the way. Can you tell us a bit about that? 

    Originally I was hoping to grab a number of talented skateboarders to provide skateboarding demonstrations across the Interlake, however the ‘rona has put the halt on that plan. So now it’s discovering what our wonderful interviewees have provided as information for a story to latch on to. I am hoping to head back up and skate the parks, we were too busy this time to make it happen but I want to. I am definitely going to be touching base with the Selkirk skatepark community and am itching to tell that story since I had a small hand in designing the skatepark and was there for the grand opening.

    “This is the Selkirk skatepark, located in Selkirk Park close to the Red River, this park features an artificial beach with pool, dog park, skate park, fair grounds, and a horse stable. The Selkirk skatepark is my favourite skatepark in Manitoba.”

    Anything you’d really like to touch on about the project? 

    I was interested in learning and that’s what the project is about to me, learning, appreciating, respecting, and having fun along the way. Our trip to Matheson Island was a highlight that was eye-opening because I cannot believe people still live up there, and are able to make a decent living, while also have a cable ferry that is free! We were joking as the ferry operator looked like he was about to hit us up for cash and we started guessing how much it would be but then he waved us on haha.

    “This is the Arnheiðarstaðir ‘Eagle Heath Stead’ historic site which was the original homestead of Icelandic settler Johann Magnus Bjarnason. On the back of the monument is a map showing the locations of other homesteads in the Geysir district.”

    Hañwakañ Blaikie Whitecloud 

    Hañwakañ (Hañwakañ = ‘Northern Lights’ in Dakhóta) Blaikie Whitecloud is a mixed media storyteller who has called Winnipeg home since the age of five. Active in the business and skateboarding community as a mentor and leader, Hanwakan even has some skate-sons, as he’s stepped in to be a father figure for youth in need. 

    As a filmmaker, his work focuses on building identity for urban Indigenous youth. His latest documentary series is about Pow Wows across Canada (Living by the Drum: Canadian Pow Wows), and his current project explores celestial creation stories of Indigenous nations. As a skateboarder Hanwakan supports Indigenous youth to strive for their best selves by shirking the stereotypes and prejudices attributed to Indigenous and skateboarding identities. His most recent creation is an instagram guide to all the skateboard parks in Winnipeg (@wpgskateparks), a resource for skaters he always wished he had access to and has now created for the next generation. Hañwakañ is also an active volunteer, especially with 1JustCity, at their overnight emergency warming center. Hañwakañ and his wife co-facilitate workshops on reconciliation, systems change, and generally just have tons of fun together trying to make the world a little bit better.

  • The Case of Juanita Sanchez

    Retiring in the midst of the pandemic lockdown , a man tries to come to terms with his life’s work, the death of his infant son, and the failure of his marriage. Is he seeking the truth or dodging it?

    Written by Steven Ratzlaff,
    adapted from his play Last Man in Puntarenas

    A film adaptation of the play Last Man in Puntarenas Ratzlaff wrote as part of our 2010 In the Chamber series.

    Length: 40 minutes

    Hugo: Steven Ratzlaff
    Alix: Sarah Constible

    Shot and Edited by Sarah Constible
    Dramaturgy: Bill Kerr

  • Artist Stories

    Steven Ratzlaff in TPM’s 2010 production of The Last Man in Puntarenas

    Playwright Steven Ratzlaff has adapted his short play Last Man in Puntarenas to video. Now titled The Case of Juanita Sanchez, this special screening will be available on Facebook Thursday June 4th at 7:00pm. (and on Vimeo after June 5th)

    Steven and dramaturg Bill Kerr sit down for a digital exchange to talk about adaptation, art, collaboration, and Nietzsche…
    The Case of Juanita Sanchez is based on your short play The Last Man in Puntarenas produced by TPM in 2010 for In the Chamber–a series showcasing writer/performers. What was the inspiration for the story then and why have you adapted it for digital viewing now?

    At the time my wife, Catheryn Martens, was training people in investigating critical incidents in hospitals. I tagged along a few times when she traveled and became interested in the approach she was teaching: Human Factors Analysis. This approach was first developed through looking at aircraft malfunctions and has wide application.  When Gord Tanner and I were commissioned to do one act plays for In the Chamber, we thought it would be good to use the same starting point. Gord has an engineering background, so I suggested investigating critical incidents. He ended up writing about pig barn fires. (An enduring theatrical image for me is Gord in a farrowing crate.) I wrote about the death of a child in the pediatric cardiac surgery program at Health Sciences Centre in 1994. Because of significant problems that year, the program became the subject of a major inquest, so the details of the 12 deaths that occurred then are in the public record. Hugo, the fictitious character in my play, had a child whose death was examined by the inquest.  Hugo was preoccupied with how experiencing life as risk assessment affected a person’s (his ex-wife’s) ability to suffer.

    It was easy to imagine what Hugo would think of our present situation.  It was also easy to do a bare bones film adaptation.

    Gord Tanner in TPM’s 2010 In The Chamber production of Last Man in Krakendorf

    Aside from focusing on the image of Gord Tanner in a farrowing crate (or rather trying not to focus on that image), I am struck by what you say about Human Factors Analysis, risk assessment and the ability to suffer. Could you expand on your yoking of these seemingly very disparate ideas, or at least on what led you to yoke them together, and, perhaps say more about Hugo’s thoughts about such ideas in the present time and situation.

    In the original play Hugo had a place in Costa Rica, not far from our Premier’s place. He wanted to be thrust through the sky at tremendous speed, yet in complete safety. For such violent propulsion to become banal and commonplace, requires huge expenditures in resources, human and natural, intricately designed safety procedures, and an integrated global system that people mistake for normal life. Ditto for health care, food and power distribution and so on.

    Hugo is shaken out of his coddled existence when Nietzsche appears to him in a vision (Gord Tanner sounding like Colonel Klink). Look at you, you last man, Despicable because unable to despise yourself. You dislike chaos. You make the world small. You have left the places where life is hard. You proceed carefully and live long.  You take a little poison for sweet dreams and then finally a lot for an agreeable end. You still quarrel, but not too much for fear of causing indigestion. You have a high regard for health and happiness.

    Steven Ratzlaff in TPM’s 2010 In The Chamber production of The Last Man in Puntarenas

    Anyway, I feel more under Nietzsche’s judgment now than I did a decade ago when I wrote the play, but I care about it less. That’s called getting old and lazy.  But this pandemic has shown how completely we are part of a global system that is supposedly able to manage risk, how vulnerable it is, and how afraid we are.  So I thought it was a good time to revisit this play. As for suffering, we put down the family dog when he is incapacitated, but not the family member.  Why? Well, it doesn’t seem right to do so, even if we have consent.  We sit beside our loved one as she suffers, because we feel there is something being done by her. Maybe.

    By the way, there is no Nietzsche in the film.  Readers of this shouldn’t be alarmed.

    What? No Nietzsche? I hardly know how to react. Would you speak more about the move to film here.  What did working in this medium offer you? How did it hinder you? Speak to as well, if you would, about your long and fruitful collaboration with Sarah Constible and the move of that collaboration to this filming.

    It has been a long collaboration dating back to when Sarah was a teenager. It was your colleague, Margaret Groome, who brought us together. Sarah was a last-minute emergency addition to the cast of a play I was in at The Black Hole. The play was lifted up and saved by her in one rehearsal. At the end of the production I told Sarah that I wanted to work with her at any opportunity.  And that is what has happened. I was old enough to know that her large talent combined with her humour, grace and provocation in collaboration, is rare. So, working in this medium at this time offered me another chance to work with Sarah. (She directed the original play.)

    Steven Ratzlaff and Sarah Constible in TPM’s 2016 production of Reservations by Steven Ratzlaff

    I didn’t feel the medium hindered me because it was something I wanted to try, and some aspects of it felt like a relief. A theatre company has to put my play in their season (assuming they have one) for it to be produced. (I’m too old and lazy to consider independent production.) For this project, after a Zoom session and some emails, Sarah shows up with equipment that fits into the back of a car, and we can shoot for a few hours. She then does her editing thing and it’s ready to share with the public. I’ve written some unproduced plays, but I don’t know if I would continue to write without any prospect of sharing. So I think this experience is going to affect how I write in the future. I can imagine doing this kind of thing again. Obviously, to share the work, it’s critical to have a platform that has followers interested in this kind of thing. This is why TPM is so vital.

    Bill, I’d like to ask you a question or two.  They tell me that art, like religion, can flourish under suppression. Well, it looks like theatre is going to be suppressed for some time. I guess we’ll find out. But do you have any thoughts on this period of time that we have entered, particularly about political theatre?

    It does look a very difficult time for theatre of any kind, let alone political theatre which can be difficult to do well at the best of times. The irony, of course, is that there will be, at the same time, a more pressing need for it. We have to find some means to articulate a way forward that will not push beyond, will not exhaust all extremes, all resources. Theatre from its Greek origins has been about finding, exploring, and extolling a communal means of living. That need is more urgent than ever. 

    As my faithful dramaturg and friend, more than anyone, you have seen me trying to write. I sometimes feel like a boy pushing his toy soldiers into a battle that he is unable or unwilling to join.

    But that doesn’t seem right. Does it?

    Steven Ratzlaff in TPM’s 2016 production of Reservations by Steven Ratzlaff

    That doesn’t seem right, no. Nor does it seem accurate. What I have seen, what I have been excited to work with you on, is your insistent challenging of accepted norms. Your ideas, your plays are rightly dangerous, taking risks that put you on the edge of the accepted coming from either side of the political and social spectrum. It is at those points that you can, as the Greeks did, find, explore, and challenge what it is to live in a healthy polis. Having said that, the male characters in the plays do seem to be moving ever closer to, I’m not quite sure how to say it, ultimate ineffectiveness, perhaps, or at least a sort of willing obtuseness at times, a pushing of the envelope beyond accepted norms. Does that make any sense?

    Yes, it does. Almost everything you say makes sense, one of the reasons you’re a delight to work with. I’m not sure why my characters are like that because it comes unbidden, that’s for sure. If anything, I have to rein in the impulse to make my male characters disagreeable. Any psychologically astute person could surmise what in my early life accounts for that. I can’t or don’t.  Something like that could only come from the unconscious, and I have no trouble avoiding investigation because I assume the unconscious doesn’t exist.

    The only theatrical reason I can imagine, would be to distance the audience from the character, as if say, “Go ahead. Dismiss me. You’ve got your excuse.  I’m a jerk.”  That being said, I just want to say that Hugo is more of a jerk than I am.  He’s also more courageous.

    Also, thank you for answering my self-deprecating question with the assuring praise I was so hoping to elicit.

    The Case of Juanita Sanchez will stream on Facebook June 4th at 7:00pm.

    It will be available for viewing on Vimeo starting Friday June 5th.

    Featuring: Steven Ratzlaff as Hugo & Sarah Constible as Alix

    Shot and Edited by Sarah Constible

    Dramaturgy: Bill Kerr

    Steven Ratzlaff is a Winnipeg actor, playwright and house painter. Theatre Projects Manitoba has produced three of his plays; Last Man in PuntarenasDionysus in Stony Mountain and Reservations. He is currently, rather belatedly, going through that necessary rite of passage for any truly Canadian playwright, writing a play set in a small town.

    Bill Kerr is an Associate Professor in the Department of English, Theatre, Film and Media at the University of Manitoba. He has been working as a dramaturg and teaching dramaturgy in Winnipeg for the past twenty years which has included a long collaboration with Steven Ratzlaff, on such plays as Dionysus in Stony Mountain and Reservations for Theatre Projects, and on Banderas Bay, Gatley, and the much missed Mobile Vasectomy Unit.

  • TPM parcel from home 7th edition!

    Hi Friends!

    Wow that week flew by! We hope you are basking in some sunshine and fresh air. We miss you a lot. All of us at TPM are working hard to navigate this new and rapidly shifting world. We are zooming and grooming, dreaming and scheming, and hoping and playing. It’s not always easy. Like each of you, we are experiencing highs and lows. Often in the same day. It’s a wild ride and often simply exhausting. Nevertheless, we are here. Thank you to everyone who has sent a note of support or words of encouragement these past weeks. We share these on our staff calls. They connect us; reminding us of our common bond. They bring joy and hope.

    Even though we can’t meet up in person quite yet Manitoba’s arts community continues to find ways to bring us fantastic programming. There are lots of great performances, events, and projects coming up soon. Here are a few of our top picks!

    Davis Plett and Gislina Patterson present 805-4821 at the OFFTA festival

    Local artists Gislina Patterson and Davis Plett of the theatre company We Quit Theatre are showcasing their work at the OFFTA Festival, an online festival dedicated to avant-garde creation in live art.

    Davis Plett was the sound designer for Beautiful Man and Goodnight Desdemona (Good Morning Juliet), and Gislina Patterson is a playwright and theatre artist who received the Reg Skene Award for Emerging Theatre Artist for Directing in 2019.

    Their show 805-4821 is a trans coming out story made out of other stories: a dialogue from Shakespeare’s Hamlet, a half-remembered swim lesson, and an 80,000-word Facebook correspondence.

    The festival runs May 22-31. For more information click here to go to the OFFTA website.

    ‘Don’t Wanna Let U Go’ Virtual Release Party

    Musician Brittany Thiessen brings us the second installment of her instagram live parties featuring some of Winnipeg’s most dynamic artists. Join the party @funlifefunlifefunlife!

    ‘Bring Your Own Mic’ Concert Series

    The West Cultural Centre is offering a new concert series called ‘Bring Your Own Mic’.

    This is series of ticketed, live-streamed concerts by select Manitoba artists brought to audiences through an accessible $2 paywall and streamed on Vimeo, essentially turning the WECC into a television studio.

    First up in the series…Red Moon Road! Saturday, June 27th at 7pm
    Tickets are $2, available through Eventbrite and livestreamed on Vimeo.

    Artspace call for submissions for Manitoba Arts Community

    The Artspace is creating a fundraising initiative that will see the publication of a collection of visual and written pieces by Manitoba’s artistic community, capturing a unique time in our history and forging it into a keepsake momento book.

    Members and friends of the Artspace community are encouraged to submit the art they are making, the words they are writing, and the things they are seeing throughout this strange time.

    The submission deadline is prior to Friday June 19,2020. For more information the project and the type of artwork they are looking for visit their Facebook event page.

    RMTC’s Backstage in the Peg – Episode Two

    The Royal Manitoba Theatre Centre brings us another great episode of Backstage in the Peg!

    This episode feature more fantastic locals including a spotlight on philanthropist and arts enthusiast Gail Asper, multi-threat performer Kimberley Rampersad, and talented comedians Andrea del Campo and Gord Tanner!

    These are financially challenging times for us – we are doing all we can to batten down the hatches, but the drain is real. We are doing all we can to keep our small yet mighty staff employed. If you have the capacity to give, please consider a donation to Theatre Projects Manitoba. The very best way to do this right now is through Canada Helps, who will issue you a tax receipt online and nearly instantly.

  • Walk&Talk Theatre Company

    Photo taken during our residency with the International Institute for Sustainable Development – Experimental Lakes Area. From Left to Right: Tanner Manson, Duncan Cox, and Ben Townsley.

    Where to start?


    Over the past season, you may have seen us kicking it with TPM at The Good Will Social Club hosting the Salons, but if you haven’t, we’re Duncan Cox, Tanner Manson and Ben Townsley and we collaborate & create together as Walk&Talk Theatre Company. We create multidisciplinary work that engages the heart and the brain through music, movement and writing. We look for innovative ways of creating music & theatre and how they can be integrated into our storytelling.

    What an honour to be working and creating with Theatre Projects! Between our time hosting Salons, going on long walks and trying to grasp at our existential thoughts, we’ve been cooking up our newest piece of absurd-musical theatre, End of the Line – about a one-way dead-end in the middle of nowhere. It’s a story about the end of the road and the steps, internal and external, that take us from the road we see, to the road that could be. What started as a simple image of a road ending abruptly in the middle of nowhere has developed a mythology and an artistic gravity that we haven’t been able to escape.

    This show has been in our hearts for some time now. During one of our walking meetings (we’re bad at sitting still) in the summer of 2018 we were throwing around ideas and jokes about what characters would be on this road and we found a QuiltMaker, a LinePainter and an OrganDonor. Since then, we’ve kept coming back to this trio and we are excited by how these characters are stopped in their tracks reflecting on timeless issues: lost love, feeling lost in life and lost organs. Last year, we presented a selection of scenes and songs at Prairie Theatre Exchange’s Festival of New Works. For now, End of the Line is going to continue to grow in our hearts, minds, bodies and on pieces of paper & one day in the not-so-far-off-future-maybe, we’ll be hitting the end of the road by gracing the stage!

    Photo by David Guezen during an early workshop with the Manitoba Association of Playwrights

    This is our first project as a collective where we’ve had the opportunity to create over an extended period of time; to cultivate rich soil filled with the DNA of End of the Line. This “DNA” is our research: the exploration of movement, text and music that will inform and fuel the project as it develops. Time is such an amazing tool, it lets us breathe life into every aspect of our work, to let each discipline have its time to mature and for conversations between our disciplines to inform each other.

    Throughout our process, we’ve created & played in a lovely variety of spaces – from singing off a dock with the International Institute for Sustainable Development – Experimental Lakes Area (, to rolling down a hillside, to writing in a cozy cabin, to spending a lot of time working in our own isolated spaces, seen below. Space so greatly informs a creation process, and different spaces can inform you differently and allow you to work in new ways. To go from being able to throw ourselves at some sand by a lake to having to cautiously move around in our apartment to not disturb our neighbours; to go from hearing guitar echo across the water to listening to a recording on a bluetooth speaker – each space can bring a  beautiful discovery to our process, and that discovery may never be seen or heard by anyone, but it’s filled the world we’re creating with just a little more heart.

    And with that, we’ll sign off with a part of a little ditty from the show, recorded by Duncan, accompanied by some shadow puppets that were the result of Tanner drinking coffee too late at night…here is Mister Mixer Man.


    Duncan Cox, Tanner Manson, Ben Townsley
    Facebook   Twitter    Instagram



  • TPM parcel from home 5th edition!

    Justin Otto and Claire Thérèse Friesen in I Dream of Diesel.

    Call out for Interlake participants!

    Multidisciplinary artist Claire Thérèse Friesen, who you may remember from our Interlake Chautauqua Tour in 2018, is beginning a new art project inspired by her time in the Interlake. She is seeking Interlake residents to connect with via Canada Post snail mail. If you would like the chance to participate, please send us your name and full mailing address to [email protected]. That’s all we can say! The rest comes from Claire in the form of a letter to your doorstep or P.O. Box.

    Claire Thérèse Friesen is a multi-disciplinary artist from Winnipeg, Manitoba.  She loves performing and collaborating in new works of theatre, including I Dream of Diesel and Mission Potluck (One Trunk Theatre), Broken Wings (take me home productions), and Dionysus is Getting Impatient (Theatre Incarnate).  Claire is a singer-songwriter, performing solo and with her band The Lockdown.  She is also a member of the Fu Fu Chi Chi Choir.  When she is not on stage, Claire facilitates and designs arts programming for a number of organizations, including Shakespeare in Stony Mountain (through Shakespeare in the Ruins), a program that offers high school drama credits to incarcerated men.

    Chocolatier Constance Popp produces fresh premium artisan chocolates, pastries & frozen treats in Winnipeg (since 2007).

    They are also an extraordinary supporter of the arts in Winnipeg, regularly sponsoring, advertising and providing delicious chocolate to support our local performing arts scene. We think this is a great reason to sashay to their shop or order online…not to mention that chocolate!

    TPM/ CPOPP TRIVIA : for our 2015 production of Iceland by Nicolas Billion, the character Anna was required to nibble on a bar of soap during her audience address (photo below). We approached Constance, who graciously took on this special props mission, crafting several white chocolate “soap bars” for actor Heather Russell.

    Their shop is open to the public or you can shop online on their website. Courier service available within Winnipeg and delivery outside of the city.

    RMTC’s Back Stage in the Peg

    The Royal Manitoba Theatre Centre has created Backstage in the Peg, a new online arts magazine that celebrates the incredible artists, arts organizations and local heroes in Winnipeg. This digital series promises to be a great way for audiences to stay connected to theatre in our beautiful city.

    This pilot episode includes lots of wonderful locals like Robyn Slade, who played Constance Ledbelly in Goodnight Desdemona (Good Morning Juliet), and a lovely meditation by Debbie Patterson.

    For more information about this exciting new initiative click here!

    MB Live Sessions

    Every Thursday @ 7pm Manitoba Film and Music brings you livestream concerts from talented Manitoba musicians!

    Click here for more!

    Redtalk Series

    ​The RedTalks series  celebrates exceptional ideas and performances from Indigenous artists, innovators and leaders.

    On May 20 @ 2pm a special 90-minute online REDTalk, features Senator Murray Sinclair who served Co-Chair of the Aboriginal Justice Inquiry in Manitoba and as Chief Commissioner of the Truth and Reconciliation Commission. Also featuring author and activist Lee Maracle, and artistic director and moderator Sandra Laronde as they delve into the COVID-19 pandemic from an Indigenous perspective and context.

    Click here to register.

    Social Isolation Resources at Shakespeare in the Ruin

    SIR has created opportunities to Learn & Connect!

    They will be offering workshops and live-video coaching starting May 27th.

    Workshops include:

    Speaking the Text
    Introduction to Shakespeare’s Language & Tools

    Speaking the Text
    Online Interactive Shakespeare Intensive

    Click here for more info. and to register!

    Stay tuned next week for more programming updates! We look forward to sharing news from Lara Rae, Steven Ratzlaff, Andraea Sartison and Daniel Jordan.

    These are financially challenging times for us – we are doing all we can to batten down the hatches, but the drain is real. We are doing all we can to keep our small yet mighty staff employed. If you have the capacity to give, please consider a donation to Theatre Projects Manitoba. The very best way to do this right now is through Canada Helps, who will issue you a tax receipt online and nearly instantly.




  • A TPM Parcel From Home!

    We hope you are all keeping well and finding ways to stay calm and connected in your spaces. TPM staff continues to work remotely, connecting with each other and our Board; we are working to respond, regroup and re-calibrate our work as each new moment, day and week comes to pass. We continue to think of you and send you love.

    Our primary desire right now is to stay connected with our community and artists! One of the great gifts of being a company that develops new plays is that some work can continue even while we cannot gather in person. This spring we had planned to begin some new projects. These are plays in their very early development phase, which means they are not reliant on gathering in person just yet. So the good news today is these projects are moving ahead! These are new beginnings. Spring plantings, if you will.

    So let’s hear from Winnipeg Playwright, Actor, Dramaturg, and Teacher, Ellen Peterson. Ellen’s play The Eight Tiny Reindeer of the Apocalypse was produced here at Theatre Projects Manitoba in 2012, she recently served as a member of TPM’s board of directors, and is part of TPM’s artistic cohort for the coming cycle with her new play Daredevils.





    A few weeks before the End of Civilization as We Know It, there was a half-day workshop at Theatre Projects of a first draft I wrote a few years ago. It’s called Daredevils, and it’s about tightrope walkers in Niagara Falls in the 19thcentury. I was excited to get started on the development process and we were thinking if all goes well, the play will hit the stage in the next few seasons.
    It seems fitting that I am working on this play with Theatre Projects right now. One of the first people to take me seriously as a writer was Harry Rintoul, and I was in TPM’s very first season. One time I looked after his apartment while he was away. Watered the plants and fed the turtles. As a joke I wrote a short scene (on his typewriter, because it was Olden Times) and left it there. He took it to Prairie Fire Magazine(which I would never have dared to do) and they published it. I remember when he started Theatre Projects. One day he phoned all excited to tell me that his company now had a phone number. He was pumped. I miss him.

    When I wrote the first draft of Daredevils I knew the tightrope thing might pose what we call a “challenge.” But in discussions with Ardith in recent months a solution presented itself.

    “Panoramas” were a popular form of entertainment before moving pictures were invented. A series of scenes was painted on a long roll of canvas and mounted in a big cranking apparatus, and the scene scrolled past the audience. Victorian IMAX. In the present day the art form is experiencing a renaissance as “Crankies,” and there are whole festivals dedicated to these handmade wonders. Ardith and I attended the Winnipeg Crankie Festival in November and were immediately sucked into the Crankie-verse.


    When I wrote the first draft of Daredevils, I was staying in a haunted house in New Brunswick and I built a sort of model stage in my room. My intention was to create an aid to visualization, to help myself “see” the play as I wrote it. It wasn’t a set design, more of a three-dimensional map of the world of the play. It was fun to do, and as I worked on it and stared at it, it seemed to help the writing process. I had some colleagues in for wine and cheese and a discussion of the shape of the theatrical universe.


    Since then, a visual art component has become a necessary part of my writing life. I make things. They help me formulate what the play will be. For Sense and Sensibility, the process helped me wrap my head around a large cast on a large stage because I’d never done that before.


    A more recent work, Down Cant River, takes the process to the next level and will incorporate the artwork into the performance. Like a play set in a campground that is also a gallery installation.


























    The current plan for Daredevils is to re-imagine the staging of the story and present it using panoramas large and small, combined with shadows and other effects used on the Victorian stage. I saw Robert LePage’s 887 and this idea of shifting the theatrical scale is one that interests me a lot, and it opens up possibilities that don’t involve putting actors on a high wire. I feel a little foolish. I had this idea way back in the haunted house in New Brunswick.

    I left the Theatre Projects workshop of Daredevils thinking “well, okay, it’s a start.” And then I thought about it some over the next couple of weeks the way playwrights do, wondering how to approach the next draft and I built some crankies in the basement and then…

    The End of Civilization as We Know It.

    What now?

    The first order of business was to grieve and sympathize with my fellow artists, many of whom lost roles and jobs and opportunities and whole productions of their plays. Administrators are moving mountains on a daily basis, making contingency plans and trying to regroup. Nursing headaches. I was lucky, in a strange way, to have no immediate plans. But a person has lots of time to think while washing their hands and sewing masks, and I can’t help but wonder how this crisis will affect the arts in the long run. Can theatres die from a virus? I hope not. We can expect some serious reshaping of the landscape. It’s scary, but it’s exciting too. It is too soon to say what will happen to our industry, but we artists are nothing if not adaptable and there will be a way to continue. I know the art form will survive. Theatre is as old as God and has survived worse calamities.

    In the first days after it all went down I was thirsty for distraction. I knew I had to keep myself writing, but didn’t feel up to launching into a whole big complicated second draft. Instead, I started on a series of blog posts about anything other than the pandemic. Maybe other people need some distraction too, and it’s important to keep getting stuff out there to an audience somehow. Each post is exactly 300 words long and they begin with the one called “300.” The earlier posts on the website are longer stories about my ancestors and other things. So if you need stuff to read:

    I am what is known as “an artist in mid-to-late career.” Or a late mid-career artist. Or am I in my early late career? Whatever I am, “the current situation” has increased my sense of urgency. I might not have time to get too many more plays produced and resources will be even more limited than they already were, pre-COVID. I predict that theatre is going to matter more now. The things that get produced will be the things we feel an urgent need to carry out. Which is not to say they will have to be deadly serious. We could use a laugh for sure.

    I’m lucky to be a writer. I am never bored, and isolation comes naturally. I am also lucky that I met Harry Rintoul way back in Olden Times, and that he had the vision and the balls to start Theatre Projects. Even now, if you phone 989-2400 you will be talking to someone who knows that a play should be something that is needed, someone who can get seriously pumped.

    Whatever I write right now, it should be the thing I care the most about. I don’t have time to work on anything I’m not on fire for. When they pry the pen out of my cold dead hands, what will I be working on? What shouldI be working on?

    Daredevils? Maybe. But not the play as it is right now. It will take some doing to make Daredevils the play that I want more than anything. It’s going to go through some radical changes. But it will still have Niagara Falls in it, and tightrope walkers, and it will still be about art and courage. But that’s about all I know right now. Don’t tell Ardith, but I might need more actors. We’ll see.

    Art and courage.

    Good News from the Community

    The art of patience – Winnipeg’s creative community waits out the pandemic

    Manitoba artists feed creative hunger with pensive portraits

    Prairie Theatre Exchange’s 90 Seconds to Breathe is a collaboration of musical compositions Deanna H. Choi (Happy Place) and photography by Hazel Venzon (PTE’s artistic associate), featuring our isolated Winnipeg as the subject.

    National Arts Centre Canada Performs still going strong! Lots of great performance to see!

  • Welcome to our creative care package – a TPM parcel from home!

    Gosh, we miss you! But let’s stay the course, shall we?

    We can do this by supporting one another, being kind and being
    generous. All from a distance! For now, our newsletter and social media will serve to keep us as close as possible; sharing the stories of community members, artists, patrons and volunteers and providing a platform for us to
    virtually connect.

    This is a great opportunity to share stories of some of the remarkable artists in our community!

    We’d like to start with Emily Solstice Tait who will be working with TPM as our Indigenous Arts Leadership Fellow.  We are so pleased to have her creative spirit on the team! Here’s Emily’s story in her own words….


    Photo Credit:
    Erik Zennstrom
    Raven Spirit Dance

    I am excited to be starting my fellowship with Theatre Projects Manitoba. The arts is a place where connections are born, where lessons are passed on from one another, and where healing laughter lives. I feel encouraged in my work as an artist because of the Winnipeg Art Councils Indigenous Arts Leaders Fellowship.  TPM has held this space for decades and I am excited to connect further with the Winnipeg arts community through the stories they bring forward. Like last year’s production of Dragonfly by Lara Rae, which I loved!

    Production: Dragonfly by Lara Rae
    Photo Credit: Leif Norman
    Pictured: Eric Blais and Sarah Constible
    Production Design: Hugh Conacher Costume Design: Maureen Petkau

    This year my work as an independent artist has taken me on a few adventures. I was invited to a Stratford workshop of Pawâkan Macbeth at the Banff Centre working with Michael Greyeyes and Santee Smith. I love all forms of storytelling, but this experience was monumental as it was both very physically demanding and it was the first time I had the chance to learn and work with the Cree language. This year also brought me to the Talking Stick Festival where I got to dance in Raven Spirit Dance tech residency of Confluence. An intergenerational and ongoing exploration of the Indigenous voice in the arts. Attending this festival brought me a large view of the Indigenous art that is happening across Turtle Island and I am excited to bring these connections and inspirations to my work with TPM.

    Photo Credit: Erik Zennstrom
    Company: Raven Spirit Dance

    Theatre Projects Manitoba’s approach to story building is one I have admired for some time. First as an audience member and then as a student representative. Watching shows like Patrick Friesen’s A Short History of Crazy Bone inspired me by offering new ways that I can think about my contemporary dance practice to tell stories. TPM even caught me by surprise by bringing me closer to my own sister!  I was asked if I would perform alongside my singer-songwriter sister, Ila Barker, at a salon. This was a first for us sisters and it was so rewarding to do. I have a feeling that it was only the beginning of Ila and my creation journey together. Being innovative about the way we tell our own stories is necessary today more than ever and I am ready to dive into the learning of all the moving parts that make Theatre Projects Manitoba come to life.

    Here is the link to Ila’s music page on her website:

    Entertainment and Learning

    Toronto’s Nightwood Theatre will Live-Stream a performance of All the Little Animals I’ve Eaten by Karen Hines, this Friday, April 3rd at 6:30PM local time/7:30pm EST.

    Click here for details!

    Want more context and insight into the play before tuning in? Here is an interview from Intermission Magazine with Karen Hines from before everything went sideways and this premiere was cancelled.

    Sundance co//ab is offering free access to their entire library of Master Classes. Courses on screenwriting, documentary storytelling etc…..

    Good News From our Community

    Batman makes video visits to cheer up kids!

    Front yard self-isolation photo sessions.

    Also being done by Kristen Sawatzky of Light Shed Creative. Here’s a link to her Instagram page. She’s already raised $7000 for local charities as part of her #frontstepsproject

    The Main Street Project is opening 30 isolation suites for individuals experiencing homelessness. They currently have a call out for furnishings.


    Applause for our Season Pass Holders!

    Some of you have already reached out and donated the balance of your
    Season Pass to us. We thank you – this is so very generous of you. Some
    say “just keep it” others say – “hey – can you transfer that remainder to
    a donation and send me a tax receipt?”

    The answer is “We love you!”
    Let us know your preference and we will make it happen – it might take
    a bit longer than we would like, so we beg your continued patience. We
    will be contacting all of our pass holders, so no pressure to put “email
    TPM re Season pass” on your list – many of us are overwhelmed right

    Actor’s Fund of Canada (AFC)

    Resources for individuals from the Canadian Government

    The CBC did a great article on resources for artists and freelancers!

    CAEA has complied a great list of resources for theatre artists.

    These are financially challenging times for us – we are doing all we can to batten down the hatches, but the drain is real. We are doing all we can to keep our small yet mighty staff employed. If you have the capacity to give, please consider a donation to Theatre Projects Manitoba. The very best way to do this right now is through Canada Helps, who will issue you a tax receipt online and nearly instantly.



  • A COVID-19 Update for our Community


    We sincerely hope that you are well and maintaining an island of calm during this turbulent and unnerving time. As COVID -19 impacts our whole world, we are concerned for the well-being of you, our community – the audiences, artists, donors and stakeholders who give us purpose, focus and keep our hearts wide open. Please take good care of yourselves and follow all the excellent advice of our health authorities. We agree their advice to washing your hands frequently and thoroughly and to embrace social distancing is our best hope of containing the spread of the virus. For critical information, there are links below – you can also sign up to receive updates from the MB government to keep in the loop.

    We are saddened to announce that we will not be proceeding with the world premiere of Rick Chafe’s new play Five Moments in our 2019/20 season. The play was scheduled for April 23rd – May 3rd, 2020. We hope to reschedule in the coming months but do not have specific dates at this time.

    This is a hard one for TPM. New plays are special and this spring our community lost three shows that were poised to meet audiences for the first time; WJT’s production of Narrow Bridge by Daniel Thau-Eleff and PTE’s Gingerbread Girl by Sharon Bajer. The loss to Manitoba artists, technicians and administrators is unprecedented.  We stand in solidarity with all those in our industry – here in Manitoba – and the entire Canadian Theatre community who have shuttered their seasons to help keep everyone as safe and healthy as possible.

    We will be reaching out in the coming weeks. TPM has amazing community of partners and supporters. Some of you are season pass holders and some of you have purchased tickets to Five Moments – we appreciate your patience while we sort this out and be assured we are doing our utmost to look after our community; audience, artists, crew, staff and each other.

    We will also share some of the creative projects and initiatives happening online. We will provide information to support our community’s artists. We will keep thinking of you all, and keep sending the best thoughts your way.

    Our office is closed to the public but we are online and working from home.  Email is the fastest way to reach us: [email protected] but phone messages can be left at 204-989-2400. We are grateful that technology continues to connect us and keep us social.

    Till soon, take care.


    Helpful Tips

    This COVID 19 primer was sent to us by our fabulous tech sponsor, Seerx. All helpful and concise – we are passing it along:

    The COVID-19 coronavirus outbreak has touched us all. And we have a ways to go yet. But we will get through this. Mostly, by helping each other.

    By keeping that magical social distance of 2m between ourselves and other people until the pandemic is deemed over. Why its our best tool in this fight.
    By using proper hygiene when coughing and/or sneezing.
    By properly washing our hands and trying not to touch our faces. Here is the why.
    By going out only if necessary currently, to keep the possibility of being infected as low as possible.
    By following a general quarantine when the government tells us we all must stay home to try to eradicate the virus by separating infected patients from healthy individuals for a long enough time until the virus is no longer transmissible.
    By doing a COVID-19 self assessment to see if you qualify for getting yourself tested at one of the government COVID-19 testing sites in our province.
    By calling Health Links to get an appointment to be tested if you qualify after doing the COVID-19 self assessment.
    By keeping up to date with what our provincial government has to say.

  • Emily Solstice Tait joins the team as our new Arts Leadership Fellow!

    We are thrilled to share news that Emily Solstice Tait has joined Theatre Projects for 2020 as the newest Indigenous Arts Leader Fellow through a partnership with the Winnipeg Arts Council. Here is the media release and some information about the program and about Emily!

    We are excited to have her on the team and look forward to you all meeting her soon!

    Here’s a little more about Emily…

    Emily Solstice Tait is of mixed settler and Ojibway heritage, living in Treaty 1 Territory, Winnipeg, Manitoba whose works floats between fantasy and advocacy. She is a 2019 graduate of the Professional Program at the School of Contemporary Dancers and a multidisciplinary artist with her practice crossing into theatre, devising, choreography, and stage management. Past projects include performing with Odette Heyn-Projects/ Indian City & Winnipeg Symphony Orchestra, WCD’s Actualize (Ming Hon) and Calibrations of Flux (Jolene Bailie), Théâtre Cercle Molière Marathon De Crèation (Miguel Fortier), Stephanie Ballard and Dancers, Sarasvati Productions, Theatre New Brunswick/ Confederation Centre for the Arts (PEI), Raven Spirit Dance & Vines Art Festival (Vancouver), Rouge-gorge/ New Dance Horizons (Regina), New Blue Emerging Dance (Toronto), and in Creando Lazos a Través de la Danza (Léon & Guanajuato, México).


  • Goodnight Desdemona!


    It is bittersweet to say farewell to the cast and crew of Ann-Marie MacDonald’s Goodnight Desdemona (Good Morning Juliet). It was a delight to be back at PTE and to participate in RMTC’s  Master Playwrights Festival.

    Thank you to both theatres! We are grateful to live and create in a community that provides opportunities for theatre makers to collaborate and produce great theatre for Manitobans.

    The hard work and artistry of the stage managers,  the designers, cast and production crew really hit this show outta the park!

    The amazing team lead by director Michelle Boulet were a delight on and off the stage. Thank you Michelle!

    Abundant gratitude to Jane Buttner and Quinn Greene. Mad respect for designers  Brian Perchaluk, Maureen Petkau, Scott Henderson, Davis Plett and Heather Lee Brereton! Special kudos to choreographers Rob Borges and Catherine Wreford. Thank God for the production oversight from Steve Vande Vyvere and Evan Wohlgemut– and a tip of the hat to our technician Andrew Sanger. Truly lovely behind the scenes artistry from builders Khaeler  Bautista and Steph Porrier! And finally to the cast RobYn Slade, Tom Keenan, Ryan James Miller, Laura Olafson and Joanne Roberts – who not only brought joy and laugher to our dark winter nights – they also raised almost $700.00 for the AFC (Actors Fund of Canada); a charity that supports Canada’s cultural workers in times of crisis.

    What a team. Damn, we are sure proud of this community.

    Salon #4

    As the Master Playwrights Festival rolls up it’s magic carpet – such an extraordinary history of production – I invite you to focus on a series of magical events happening on stages around town.

    Spring in Manitoba this year sees the premiere of four new local plays – a veritable festival of Manitoba plays!

    TPM is producing Five Moments by Rick Chafe, premiering April 23rd.

    Frances Koncan and her play Women of the Fur Trade, now onstage at RMTC, Sharon Bajer’s fairy tale – The Gingerbread Girl at Prairie Theatre Exchange, and Daniel Thau-Eleff’ s new work Narrow Bridge at Winnipeg Jewish Theatre are all onstage in the next 8 weeks!

    This gives us reason to celebrate!

    Our fourth Salon on Tuesday March 17th will feature playwright Rick Chafe with special guests from the Winnipeg theatre community!

    Join us at the Good Will Social Club at 7:00pm for this spring fling/Chafe Fest, and a special nod (pre-game) to St. Paddy’s Day!

    It is sure to be a magical evening! And here are some highlights from our Shakespearean Salon….

  • Reviews are in for Goodnight Desdemona (Good Morning Juliet)!


    “MacDonald’s script impressively transposes Shakespearean iambic pentameter to contemporary ideas, but the play’s overall hilarity can’t be undersold. It helps that director Michelle Boulet employs formidable comic talent here, especially Slade, who is a consistent delight as Constance.”

    -Randall King, Winnipeg Free Press


    We couldn’t agree with King more! Read the entire article here. Make sure to get your tickets for Goodnight Desdemona (Good Morning Juliet) today! We run until Saturday, February 15. Happy theatregoing!

  • Preview article for Good Night Desdemona (Good Morning Juliet)

    “Really, really good theatre should make you laugh and at the same time, you should also be touched by it and this play does that.”

    Wise words from our director Michelle Boulet in the Winnipeg Free Press preview article for Good Night Desdemona (Good Morning Juliet). Check out the full article here. Still don’t have your tickets? Give us a call at (204)-989-2400, email us at [email protected], or purchase online! Our show runs from Friday, January 31st until Saturday, February 15.

  • Theatre Projects in rehearsal with Goodnight Desdemona (Good Morning Juliet) by Ann-Marie MacDonald

  • Holiday Fun!

    Join us for an evening of holiday delights!

    With a trio of musical guests from the Fu Fu Chi Chi Choir and hosts Lindsay Johnson, Ben Townsley, and Duncan Cox from Fill The (W)hole Theatre Company and Walk&Talk Theatre Company. The holiday program includes…

    Play Readings with Reba Terlson and Coby Friesen

    Drag Performances by Emerald Stardust and Jonathan Mourant

    Improv with Erin Meagan Schwartz, Kristina Guevarra, Jonathan Mourant, and Michael Barkman

    Poetry by Elsa Taylor

    ….and more holiday surprises and fun!

    Come celebrate with us on December 10
    @ The Good Will Social Club, 625 Portage Ave.

    FREE admission
    Doors @ 6pm and Program starts @ 7pm

    The Gift of Theatre

    Looking for holiday gift ideas?

    Theatre makes a great gift! You can purchase tickets online or pick them up at our Holiday Salon!

    Student Pass only 20!
    Senior Pass $35 and Adult Pass $45

    Click here to purchase season passes!


    In the Community….

    Tracey Nepinak, who you may remember from our 2018 production of A Short History of Crazy Bone, directs this piece, presented by Theatre by the River, about one family’s search for answers when one of them goes missing.

    November 28 – December 8
    The Colin Jackson Studio @ Prairie Theatre Exchange

    Michelle disappears. Denise dedicates her life to finding her. Daniel struggles to keep Denise from a similar fate.

    When a woman goes missing, the life of her family is thrown upside down and out of time.

    Click here for details and tickets.

    Word Power, with Cliff Cardinal and Waawaate Fobister


    What can words do?

    Cliff Cardinal, playwright, actor, and musician, stunned Winnipeg crowds a few years back with his one-person play Huff, and charmed us with songs and passages from a new novel at THIN AIR 2018. Joining him is Waawaate Fobister, Anishinaabe playwright, actor, and dancer from Grassy Narrows First Nation, now living in Winnipeg, who won two Dora Awards for his play Agokwe.

    Together, these two longtime friends will share dramatic monologues, poems, songs, drag (mature content).

    Saturday, December 7, 7:30 – 9:30
    2nd Floor Rachel Browne Theatre, 311 Bannatyne

    Part of the Thin Air Winnipeg International Writers Festival Voices in the Circle series.

    The event is FREE but registration is encouraged.
    Click here to register.

  • Projection Mapping Intensive

    Ready to take your video projection skills to the next level?  

    Want to include video in your next performance?

    Just curious about the large world of video projection?

    Join Axis Z Media Arts for the QLab 4 & Projection Mapping Intensive!


    Lead by Axis Z Media Arts members Laura Anzola and Matthew Waddell, the Projection Mapping with QLab Intensive is a hands-on introduction to the latest tools and techniques used to create stunning video projections for theatre, dance or multimedia exhibition.

    The intensive is intended for students, technicians, designers, artists, and educators with little to novice experience with multimedia design or digital tools.


    Dec 1 – 10am- 6pm (1-hour lunch)

    Dec 2: 5pm-9pm (15 min break)

    Dec 3: 5pm-9pm (15 min break)

    Total – 16 hrs

    LOCATION:  Video Pool Media Arts Centre’s 3rd floor studio in the Artspace Building

    COST: $200

    This 16-hour intensive will cover:

    – Working with digital content – how to manage your files and work efficiently

    – Basic concepts of video – how to get the best-looking content and prepare it for live projection

    – Qlab for video playback – building cues, layering video and effects

    – Projection mapping with Qlab – getting your content into the real world

    – Live camera integration – easily incorporate a live video feed into your projections

    – Basics of projector technology- what to consider when using a projector

    SIGNING UPemail a brief letter of interest stating why you want to take the workshop, and your professional CV to sign up or call 204.989.2400

    Axis-Z Media Arts (AZMA) is a Calgary-based artistic collective interested in creating genre-blurring digital art experiences that step outside the confines of the rectangular screen and into the real world. Their work combines elements of projection mapping, interactive installation, animation, and sound with a focus on artistic detail, technical execution and audience inclusion.

    They bring together media artists, musicians, designers, and technical specialists from their home countries of Canada and Colombia to work on engaging projects that are fun to create and even more fun to experience. Their work has been presented at Mutek Montreal, The Canadian Museum for Human Rights, Nuit Blanche Winnipeg, the Calgary GLOW Festival, Canada Day at the Forks Winnipeg, and on stage with Alberta Theatre Projects and Ghost River Theatre.

    Founding members Laura Anzola and Matthew Waddell have taught courses in audiovisual technology at the National Theatre School of Canada, as well as at numerous workshops in Calgary, Montreal, Winnipeg and Bogota, Colombia. Locally their work was recently featured in Ghost River Theatre’s Tomorrow’s Child, One Trunk Theatre’s Red Earth, and sound design for Theatre Projects Manitoba’s Mary’s Wedding. Matthew previously taught the Intro to Multi-Media Design Intensive here in 2017.


    • Basic Mac computer skills highly recommended. Experience using a computer for multi-media playback (audio, video) or creation is an asset.
    • Participants are encouraged to bring their own Mac OS laptop or desktop computers to follow along with the demonstrations. We will be using Qlab 4 extensively but Qlab 3 will also work if you are unable to install version 4. Please have the software installed and ready to use when you arrive. You may also benefit from an external mouse, extra monitor and projector.
    • This workshop is intended to explore video projection using Qlab and although we will cover the fundamentals of content creation, we will not have time to cover specific software such as iMovie, After Effects or Final Cut.


    Matthew Waddell


  • Season Launch at Times Change(d)

    2019 / 2020 Season Launch

    Everyone welcome – No cover – no tickets needed!

    Doors at 6:00pm for snacks and drinks.
    Short program hits the stage at 7:00pm.

    Meet the Season!

    Meet the Artists!

    Meet each other!

    Head on down to Times Changed High and Lonesome Club where you will be well meet by a roster of raucous art makers who are ready to rock your theatre season.

    Check out some saucy readings, hear some groovy music and be delighted by plans revealed before your very eyes! We might be simmering this fall, but we are ready to lift the lid and release a little steam.

    Join some hot tamales from the casts of Goodnight Desdemona (Good Morning Juliet) and Five Moments :

    Robyn Slade, Ryan Miller, Sarah Constible, Joanne Roberts, Evan Klassen, Michelle Boulet, Joanne Roberts and more!

    Playwright Rick Chafe will be in the House!

    Winnipeg darlings –  Fill the (W)hole  Theatre and Walk&Talk Theatre have got tricks up their sleeves (so many sleeves)!

    Theatre Projects Manitoba AGM

    Tuesday October 29th, 6:00 pm
    @ Creative Manitoba
    ​300 – 245 McDermot Ave

    Theatre Projects will hold our Annual General Meeting next Tuesday…and you’re invited!

    Join us to hear about the fabulous outcomes of our 18/19 Season!  It’s also a great opportunity to chat with the staff and the Board of Directors about your TPM experiences from this past year.

    Only members can vote, but the meeting is open to all.

    *Please note you MUST RSVP so we can arrange to let you in the building!

    In the Community:

    Sarasvàti Productions Fundraising Dinner

    Join Sarasvati Productions for The Art of Reconciliation – a fundraising evening and dinner featuring award winning multi-media artist KC Adams and a Special 1491 Menu.

    Wednesday, October 23, 2019
    6:00 PM – 9:00 PM

    Doors open at 5:30 PM

    Location: Crossways in Common, 222 Furby Street (corner of Broadway and Furby)

    Tickets $50, includes a tax receipt for $25. Cash wine bar.

  • Teulon, MB- Oct 30-Nov 4, 2018

    TLF - TEULON (1)

    In the late 19th and early 20th centuries Chautauquas travelled across the prairies, bringing diverse cultural programming to rural communities. Lectures, concerts, performances and demonstrations gathered the citizens together under one big tent for delightful artistic exchanges. Theatre Projects Manitoba brings to life a modern Chautauqua this fall. A merry band of multidisciplinary artists will go on the road together for one month, conducting week long residencies in four Interlake locations, including our final week in Teulon, Winnipeg Beach, Gunton and Stonewall!



    Brought to you by our Community Sponsor, TD Canada Trust.






    An exciting partnership with Theatre Projects Manitoba brings a workshop and celebrate/share event to the Beaches!

    Theatre Projects Manitoba presents

    Translate, Transform, Transcend with Claire Therese Friesen
    Workshop Tuesday, Oct 30 1-4 pm $25
    Celebrate & Share  Friday, Nov 2, 7-9 pm Free

    Translate visual art into the written word; transform writing into a narrative; transcend your creative limits with guided experiences! Bring a piece of visual art, an idea, a piece of your writing music–or something that inspires you, a notebook and pen/pencil–and watch the limits of your creativity expand as Theatre Projects Manitoba leads you through a process to think about those conceptual works in completely new and exciting ways. This small group workshop (limited enrolment) will ensure that you leave inspired. Then bring friends and relatives to celebrate and share with arts-friendly souls at an informal evening on First Friday.

    Workshop: Tuesday, October 30 1-4 pm (limited enrolment, $25 registration fee includes the First Friday event).

    First Friday event: Friday November 2, 7-9 pm, fee-free event, open to all (but please let us know if you plan to attend).

    To register for the workshop and/or the First Friday event, please respond by email to [email protected]. Fee payable on October 30 for the workshop; let us know by Thursday if you’d like to come to the free event on Friday, November 2.


    Chautauqua Super Jam

    7:00-9:00pm, Ship & Plough, Gimli

    Join the Chautauqua artists for an evening of stories and song in Gimli. Artists and community members who have been involved in events across the Interlake gather to share and celebrate the region, the end of the Chautauqua tour and put on display all that was created. Featuring special guest Little Miss Higgins (Fraserwood).



    Mary’s Wedding Performance

    7:00-8:30pm, Gunton Greenwood Community Hall

    A play with a heart as big as the prairie sky Mary’s Wedding is a beautiful production that honours the 100th Anniversary of Armistice (November 11, 1918) with a love story. Appropriate for ages 12 to 100. Join us! There will be a silver collection in lieu of tickets.


    First Fridays at the Beach

    7:00-9:00pm, Gayle Halliwell’s Studio 410, 410 Silverdale in Winnipeg Beach

    On the first Friday of each month, along the west shore of Lake Winnipeg, an hour or two of sharing, laughter, and creativity–hosted by Studio 410, the creative space of visual artist Gayle Halliwell, in Winnipeg Beach. In its second year, the event-based First Fridays at the Beach is celebrated as a year-round monthly opportunity to become inspired, share in a creative community, and enjoy the company of arts-friendly individuals.


    Mary’s Wedding Performance

    7:00-8:30pm, Heritage Arts Centre in Stonewall Quarry Park

    Hosted by the Stonewall Local of the Manitoba Metis Federation. There will be a silver collection in lieu of tickets.



    Salon and Tea

    2:00pm, Green Acres Art Centre, Teulon

    Throughout the week that Theatre Projects Manitoba is in residence they will be conducting interviews and research in order to create a series of short monologues and plays about the town to start preparing for Teulon’s Centenary in 2019. Join the artists, and the theatre students of the Green Acres Art Centre for an afternoon of story sharing.


    Tour presented by Theatre Projects Manitoba, in collaboration with the Green Acres Art Centre, the Stonewall Local Manitoba Metis Federation, the Gunton Hall, Gayle Halliwell & the WAVE Artists, and our community and school partners in Teulon. The Interlake Chautauqua Tour is funded by Theatre Projects Manitoba with their support from the Canada Council for the Arts, the Manitoba Arts Council, the Winnipeg Arts Council and all our seasonal sponsors and donors including TD Canada Trust, an essential tour partner.

  • Arborg, MB October 23-28, 2018


    In the late 19th and early 20th centuries Chautauquas travelled across the prairies, bringing diverse cultural programming to rural communities. Lectures, concerts, performances and demonstrations gathered the citizens together under one big tent for delightful artistic exchanges. Theatre Projects Manitoba brings to life a modern Chautauqua this fall. A merry band of multidisciplinary artists will go on the road together for one month, conducting week long residencies in four Interlake locations, our third week takes us to Arborg and Riverton.



    Youth Theatre Class

    6:30-8:30pm, Arborg Collegiate Institute Library

    Try out acting! Learn how to transform a story to a performance on stage using your body, voice and imagination. Ages 7-14. Email [email protected] to sign up



    Senior’s Fun Day

    1:30-3:30pm, Arborg Heritage Village Hall

    Seniors are welcome to enjoy refreshments and the arts in Arborg. Special guests include singer/songwriter Daniel Jordan (Red Moon Road) who will lead a singalong, as well as craft artist Claire Thérèse Friesen and theatre creator Andraea Sartison who will lead fun activities throughout the afternoon.


    Oral History Workshop part 1

    6:00-8:00pm, 4th Floor, Arborg Assisted Living Facility

    Adults and teens (ages 15 and up)- history lovers, actors and storytellers are all welcome. We will dig into Arborg history and then learn how to create a performance from this found material. Participants in this two part workshop will have the opportunity to debut their creations at the Community Salon (Friday). E-mail [email protected] to sign up. 


    The Rug Project- Braiding together stories from the Interlake

    6:30-8:30pm, House of Hope

    We invite you to participate in a collaborative storytelling project with Claire Thérèse Friesen:
    “Braiding rag rugs is a skill passed on to me by my grandmother and her mother before her.  They took fabric that was worn and torn and gave it a new life by braiding it into a rug that greeted visitors as they entered the home.  Each strip of fabric represented a piece of their daily life – an old bedsheet, a favourite shirt, a stained tablecloth. Using fabric as the spark, we will share experiences and memories. We’ll discover new things about each other, while also finding out how our stories are similar and connected.”
    When the project is complete, we will have created a beautiful rag rug embedded with stories of home and the land gathered from numerous communities in Manitoba’s Interlake.

    Please bring a piece of fabric to contribute to the rug!



    Community Old Time Dance

    1:30-3:30pm, Riverton Hall

    All are welcome to attend an old time dance featuring Country Pride in Riverton. Party co-hosted by the Riverton Friendship Centre. Refreshments provided.


    Oral History Workshop part 2

    6:00-8:00pm, 4th Floor, Arborg Assisted Living Facility


    Vinarterta Workshop

    6:00-9:00pm, Arborg Heritage Village Hall

    Learn the process of making vinarterta with a true Icelandic Ama. The cost covers the materials so you can take your vinarterta home at the end of the evening! $25.00 per person. Participants must bring own rolling pin. Limited space, contact Marlene at 204-376-5607 to sign up.


    A Song for John Ramsay Film Premiere and concert featuring William Prince, Scott Nolan and Duncan Mercredi

    7:00-9:00pm, Riverton Hall

    Gimli filmmaker Andy Blicq premieres his newest work- a “Song for John Ramsay” featuring Juno Award Winning songwriter William Prince (Peguis). Discover this rich local history of early Icelandic settlers and their friendship with local Indigenous man John Ramsay- right in Riverton near where it all began. The film will be followed by performances featuring special guests William Prince, Scott Nolan and Duncan Mercredi.

    A Song for John Ramsay was commissioned by the New Iceland Heritage Museum as part of their newest exhibit that focuses on the legend of John Ramsay, and was created in the spirit of Reconciliation to highlight early stories of partnership and friendship between Icelandic Settlers and the Indigenous people in the New Iceland area. We thank them for their integral part in making this story and artwork come to life.



    Kitchen Party

    8:00-10:00pm, Arborg Legion

    Bring your instruments down to the Arborg Legion and join multi-instrumentalist Daniel Jordan (Red Moon Road) in an evening of jamming, sharing and singalongs. All are welcome (teens-seniors).



    Historical Tour with Art

    10:30am-12:30pm, Meet at the Arborg Heritage Village

    Join a multi-disciplinary team of artists and local historian Joel Friðfinnsson on a free tour of New Iceland. Meet at the Arborg Heritage Village and then embark on a two hour journey stopping at key point to hear local stories through music, spoken word and performance. Co-hosted by the Riverton Friendship Centre, the Arborg Chautauqua Host Committee and Theatre Projects Manitoba. All ages welcome- e-mail [email protected] to sign up.  


    Perogy Making Workshop

    2:00-5:00pm, Arborg Heritage Village Hall

    Learn the process of making traditional perogies from a real Baba! The workshop cost covers the materials so you can take your perogies home with you. $25.00 per person. Participants must bring own rolling pin. Limited space, contact Marlene at 204-376-5607  to sign up.


    Community Salon

    7:00-9:00pm, Arborg Heritage Village Hall

    An evening of local stories & performances featuring community members and the artists of the Interlake Chautauqua tour. All ages are welcome!



    Mary’s Wedding by Stephen Massicotte

    2:00pm Arborg Bifrost Community Centre

    A play with a heart as big as the prairie sky Mary’s Wedding is a beautiful production that honours the 100th Anniversary of Armistice (November 11, 1918) with a love story. Appropriate for ages 12 to 100. Join us!


    During the week the artists will also be in residence in Peguis Central School, Riverton Collegiate, and Arborg Collegiate.


    Tour presented by Theatre Projects Manitoba, in collaboration with the Arborg Heritage Village, the Town of Arborg, the Riverton Friendship Centre, the Creative Cocoon and school partners in Arborg and Riverton. The Interlake Chautauqua Tour is funded by Theatre Projects Manitoba with their support from the Canada Council for the Arts, the Manitoba Arts Council, the Winnipeg Arts Council and all our seasonal sponsors and donors including TD Canada Trust, an essential tour partner.

  • Eriksdale, MB October 16-21, 2018


    In the late 19th and early 20th centuries Chautauquas traveled across the prairies, bringing diverse cultural programming to rural communities. Lectures, concerts, performances and demonstrations gathered the citizens together under one big tent for delightful artistic exchanges. Theatre Projects Manitoba brings to life a modern Chautauqua this fall. A merry band of multidisciplinary artists will go on the road together for one month, conducting week long residencies in four Interlake locations. Our second week will be in Eriksdale, Manitoba including forays into Lundar Manitoba.


    The Rug Project- Braiding together stories from the Interlake
    1:00-4:00pm, Eriksdale New Horizons Club

    We invite you to participate in a collaborative storytelling project with Claire Thérèse Friesen:
    “Braiding rag rugs is a skill passed on to me by my grandmother and her mother before her.  They took fabric that was worn and torn and gave it a new life by braiding it into a rug that greeted visitors as they entered the home.  Each strip of fabric represented a piece of their daily life – an old bedsheet, a favourite shirt, a stained tablecloth. Using fabric as the spark, we will share experiences and memories. We’ll discover new things about each other, while also finding out how our stories are similar and connected.”
    When the project is complete, we will have created a beautiful rag rug embedded with stories of home and the land gathered from numerous communities in Manitoba’s Interlake.

    Youth Theatre Class
    6:30-8:30pm, Eriksdale School
    Try out acting! Learn how to transform a story to a performance on stage using your body, voice and imagination. Ages 7-14.

    Community Choir Rehearsal part 1
    6:30-8:30pm, Eriksdale Recreation Centre
    Eriksdale native Heitha Forsyth is putting together a choir of community voices! The choir will practice twice during the week and then perform at the Community Salon (Friday) and before Mary’s Wedding (Saturday)

    Community Dance
    1:30-3:30pm, Lundar Community Hall
    All are welcome to attend an old time dance featuring Country Pride in Lundar.

    Community Choir Rehearsal part 2
    6:30-8:30pm, Eriksdale Recreation Centre

    Adult Theatre Class
    7:30-9:30pm, Eriksdale Recreation Centre
    Adults and teens (ages 15 and up) will put previously written scripts inspired by the Interlake stories on their feet together with professional Winnipeg actors and directors to perform at the Community Salon (Friday).

    Community Salon 
    7:00-9:00pm, Sabados’ Greenhouse
    An evening of local stories & performances featuring community members and the artists of the Interlake Chautauqua tour. All ages are welcome!

    Community Craft Show
    11:00am-2:00pm, Eriksdale Recreation Centre
    A community arts and craft show and sale featuring the talents of West Interlake artists.

    Lunch will be available starting at 11:30am

    Mary’s Wedding, by Stephen Massicotte
    2:00pm, Eriksdale Recreation Centre
    A play with a heart as big as the prairie sky Mary’s Wedding is a beautiful production that honours the 100th Anniversary of Armistice (November 11, 1918) with a love story. Appropriate for ages 12 to 100. Join us! A silver collection will be taken in lieu of tickets.

    During the week the artists will also be in residence at the Lundar and Eriksdale Care Homes, the Eriksdale School and the Lundar School.

    Tour presented by Theatre Projects Manitoba, in collaboration with the RM of West Interlake, the Lundar Community Resources Council, Sabados’ Greenhouse, and many individual community members. The Interlake Chautauqua Tour is funded by Theatre Projects Manitoba with their support from the Winnipeg Arts Council, the The Manitoba Arts Council/ Le conseil des arts du Manitoba and the Canada Council for the Arts | Conseil des Arts du Canada and all our seasonal sponsors and donors including TD Canada Trust, an essential tour partner.

  • Steep Rock, October 9-14, 2018



    In the late 19th and early 20th centuries Chautauquas travelled across the prairies, bringing diverse cultural programming to rural communities. Lectures, concerts, performances and demonstrations gathered the citizens together under one big tent for delightful artistic exchanges.

    Theatre Projects Manitoba brings to life a modern Chautauqua this fall. A merry band of multidisciplinary artists will go on the road together for one month, conducting week long residencies in four Interlake locations, starting with Steep Rock, Manitoba and surrounding region including Moosehorn, ManitobaASHERN, MANITOBAGypsumville, Manitoba and Pinaymootang First Nation.



    From Story to Stage Workshop part 1
    7:00-9:00pm, Ashern Legion, 3 Main St
    All are welcome (from teens to seniors) to gather and dig into local stories and learn how to animate them through theatre, music and craft. This two part workshop invites participants to collaboratively create a performance for the October 13 Community Salon.
    Contact Merle or Patsy Klyne at [email protected] to sign up.

    THURSDAY, OCTOBER 11, 2018

    Songwriting Workshop 
    7:00-9:00pm, Ashern Legion, 3 Main St
    Meet with multi-instrumentalist and singer/songwriter Daniel Péloquin-Hopfner of Red Moon Road to share and workshop your own songs at any stage in development. (Teens-Seniors)

    FRIDAY, OCTOBER 12, 2018

    From Story to Stage Workshop part 2
    7:00-9:00pm, Ashern Legion, 3 Main St

    SATURDAY, OCTOBER 13, 2018

    The Rug Project-Braiding Together Stories from the Interlake
    1:00-4:00pm, Steep Rock Community Club
    All are welcome to participate in a collaborative storytelling project with Claire Thérèse. “Braiding rag rugs is a skill passed on to me by my grandmother and her mother before her. They took fabric that was worn and torn and gave it a new life by braiding it into a rug that greeted visitors as they entered the home. Each strip of fabric represented a piece of their daily life – an old bedsheet, a favourite shirt, a stained tablecloth. Using fabric as the spark, we will share experiences and memories. We’ll discover new things about each other, while also finding out how our stories are similar and connected. When the project is complete, we will have created a beautiful rag rug embedded with stories of home and the land that we’ve gathered from numerous communities in Manitoba’s Interlake.Please bring a piece of fabric to contribute to the rug!”
    Yoga (formerly) on the Beach with Leila – PLEASE NOTE: Change of Venue!
    3:00-4:00pm, Steep Rock Beach
    Join yoga instructor Leila Alijani (Ashern) for some relaxing yoga on the beach accompanied by original music by Daniel Peloquin-Hopfner. It’s too chilly we are moving indoors! Yoga (formerly on the Beach) will now be held inside at Lot 5 North Drive W (private home, log cabin).
    Community Salon 
    7:00-9:00pm, Steep Rock Community Club
    An evening of local stories & performances featuring community members and the artists of the Interlake Chautauqua tour. All ages are welcome!

    SUNDAY, OCTOBER 14, 2018

    Community Craft Show
    12:00-2:00pm and 3:30-5:00pm, Moosehorn Community Hall
    Curated by Sharon Cote, a community arts and craft show and sale featuring the talents of Grahamdale artists.
    Mary’s Wedding
    by Stephen Massicotte
    2:00pm, Moosehorn Community Hall
    A play with a heart as big as the prairie sky Mary’s Wedding is a beautiful production that honours the 100th Anniversary of Armistice (November 11, 1918) with a love story. Appropriate for ages 12 to 100. Join us!
    Throughout the week the artists will also be in residency at the Ashern Collegiate, Gypsumville School and Pinaymootang High School.
    And it’s all for free!

    Come and join us on the road, see what we have been working on with the citizens of the Interlake- and get to know one of the most well-loved regions of our province.

    Tour presented by Theatre Projects Manitoba, in collaboration with the Steep Rock Community Club, the Moosehorn Community Club, and our community and school partners in Ashern, Gypsumville, Pinaymootang and Moosehorn. The Interlake Chautauqua Tour is funded by Theatre Projects Manitoba with their support from the Canada Council for the Arts | Conseil des Arts du Canada, the The Manitoba Arts Council/ Le conseil des arts du Manitoba, the Winnipeg Arts Council, and all our seasonal sponsors and donors including TD Canada Trust, an essential tour partner.
  • TPM 2019/20 Season Announcement!


    2019_2020 Season Announcement coming soon! (3)

    We are excited to share details for 2019/2020, our 29th season!

    This is a year for laughter and love; a time for magical journeys and difficult roads. This winter comes with two boldly theatrical plays; a beloved Canadian classic and a home-grown World Premiere.

    This season explores re-invention and transformation; the joys and struggles of embracing life in the face of great uncertainty. Abraham Heschel, one of the most influential scholarly rabbis of the 20th Century said:

    “As civilization advances, the sense of wonder declines…life without wonder is not worth living. What we lack is not a will to believe, but a will to wonder.”

    This season embraces story telling that aides us in this search for wonder, awe and mystery. There is power here.


    Good Night Desdemona
    (Good Morning Juliet)

    by Ann-Marie MacDonald – A saucy & wickedly smart Canadian classic!
    Part of RMTC’s Shakespeare Fest

    January 31st to February 15th, 2020
    Colin Jackson Theatre (at PTE)

    Goodnight Desdemona (Good Morning Juliet) is an exuberant comedy and feminist revisioning of Shakespeare’s Othello and Romeo and Juliet. It takes us from a dusty office in Canada’s Queen’s University, into the fraught and furious worlds of two of Shakespeare’s best-known tragedies, and turns them upside-down.

    Constance Ledbelly is the beleaguered “spinster” academic, and  unlikely heroine who embarks on a quest for Shakespearean origins and, ultimately, her own identity. When she deciphers an ancient and neglected manuscript, Constance is propelled through a very modern rabbit hole and lands smack in the middle of the tragic turning points of each play in turn. Her attempts to save first Desdemona, then Juliet, from their harrowing fates, result in a wild unpredictable ride through comedy and near-tragedy, as mild-mannered Constance learns to love, sword-fight, dance Renaissance-style, and master a series of disguises.

    Goodnight Desdemona (Good Morning Juliet) is a gender-bendy, big-hearted and crazily intelligent romp, where irony and anger sing in perfect harmony with innocence and poignancy.

    Michelle Boulet (Founding member of SIR, Timon of Athens, Henry V) directs a cast of five actors – playing 16 characters – Featuring RobYn Slade as Constance Ledbelly.  With Tom Keenan, Ryan Miller, Laura Olafson and Joanne Roberts rounding out ensemble.ann-marie_macdonald_3

    Ann-Marie MacDonald is one of Canada’s beloved literary figures –  dramatist, novelist, host and creator.  She is the author of Fall on Your Knees, The Way the Crow Flies, Belle Morale, The Attic, The Pearls and the Three Fine Girls, and more!

    quantum pic

    Five Moments

    By Rick Chafe – A Theatre Projects Manitoba Premiere!

    April 23rd to May 3rd, 2020 
    Théâtre Cercle Molière

    Directed by Ardith Boxall
    Production Dramaturg and Artistic Collaborator – Andraea Sartison

    A new play commissioned by Theatre Projects Manitoba, Five Moments is a thrilling hybrid of domestic fabulism, time travel, and story theatre.

    Phoebe and Jack are married. They have had a child. They have been very happy. They have had their sorrows. Phoebe and Jack have a time machine. And they are re-evaluating spending the rest of their lives together.

    Five Moments experiments with new forms in this playful, searing “what if” scenario of love and loss.

    Five Moments is a serious game for lovers in a dangerous time.Rick Chafe Head shot

    Rick Chafe – Five Moments is Rick’s third play for Theatre Projects after co-writing last season’s TPM/One Trunk Theatre presentation multi-media sci-fi graphic novel for stage, Red Earth,  as well as The Last Man and Woman on Earth.  Rick’s plays have been produced across the country, including Strike! co-written with Danny Schur (Rainbow Stage), Marriage: A Demolition in Two Acts and The Secret Mask (PTE), Shakespeare’s Dog (RMTC/NAC), The Odyssey (SIR) and Beowulf (Two Planks and a Passion).

    January salonSalon Series

    The popular cabaret nights are back!

    Salons will continue to be a place for the community to share ideas, showcase artists, explore art forms through performance, sing, dance and play.

    Watch for dates & times!


  • MAC 2019 Prizes in the Arts Reception recap and Season Announcement Teaser

    MAC Arts award postManitoba Arts Council’s very first Connecting Creative Communities Prize

    On Tuesday June 18th 2019, at a lovely reception at The Forks Market, Theatre Projects Manitoba was honoured with one of four new Manitoba Arts Council prizes celebrating excellence in the arts in Manitoba.

    A huge shout out to Merle and Patricia Klyne of Ashern, who nominated TPM for the Connecting Creative Communities Prize for last fall’s Interlake Chautauqua Tour.

    Many special guests came down from the Interlake to attend the party!

    In attendance with Merle and Patsy were Beverly Johnson and Bev Janke from Steep Rock. Our friends Marlene Taylor and Alice Bjornson from Arborg were joined by Christine Tronrud, Amy Dellebuur, Marge Johnson and Bert and Kathy Campbell from Teulon.

    TPM board members Bill Kerr and Dr. Ray Singer, General Manager Rea Kavanagh and Chautauqua outreach assistant Liam Zarrillo rounded out the awesome crew of TPM rufflers, along with artists Sarah Constible, Sarah Flynn, Daniel Jordan, Chris Sousa and Claire Terese Friesen.

    Accepting the prize on behalf of all was artistic director Ardith Boxall and associate artist Andraea Sartison!

    Thank you to all our collaborators and friends in the Interlake, the Manitoba Arts Council, and to our intrepid touring artists whose hearts and talents blazed a new trail under the big sky!

    We were sorry to miss Andy Blicq, Justin Fry, Heitha Forsyth, Sydney Hayduk, Duncan Mercredi, Scott Nolan, Daniel Peloquin – Hopfner, and William Prince!

    Read more about the MAC award and award winners here!

    2019-06-18 18.21

    L to R: Hon. Cathy Cox, Minister of Sport, Culture and Heritage, Award winners, Helga Jakobson, Ardith Boxall, Andraea Sartison, Crystal Kolt, Marie Josée Dandeneau and MAC Chair, Roberta Christianson

    2019-06-18 18.24Ardith with Burt and Kathy Campbell from Teulon, MB

    2019-06-18 18.25

    L to R: Ardith Boxall, Chris Sousa, Christine Tronrud, Marge Johnson, Sarah Flynn, Andraea Sartison and Daniel Jordan.

    2019-06-18 18.22 (1)

    TPM’s Artistic Director Ardith Boxall and Associate Artist Andraea Sartison

    Patsy and Merle Klyne

    Our community champions – Merle and Patricia Klyne – in action on the Chautauqua in Steep Rock, Manitoba! Thank you!

    “The Chautauqua Tour was a massive, visionary, and risky undertaking. TPM created something original and thoughtful, while building respectful community connections and relationships. Interlake artists and community members participated alongside Chautauquay tour facilitators to explore and celebrate a mutual interest in the development of the arts in rural Mb. This project truly embodied the heart and soul of community connections.”
    – Patricia & Merle Klyne (MAC 2019 Prizes in the Arts nominators)

    2019_2020 Season Announcement coming soon! (2)

    We are getting teasingly close to announcing our 2019/20 Season! Before you all get blissfully distracted by the Winnipeg Fringe Festival…. all will be revealed!

    What we can tell you is that the fabulous outgoing artistic director of Shakespeare in the Ruins, Ms. Michelle Boulet, will be directing our first production opening on January 31st, 2020! The play is written by one of Canada’s beloved literary figures – she is both dramatist and novelist. This saucy and wickedly smart play will heat things up in the dark, cold winter. A Canadian Classic that founding artistic director Harry Rintoul would approve! Casting and creative team announcements with full press release!

    season teaser photos

    Our second offering of the season is a world premiere by one of Manitoba’s very own scribes! This gem has been in our secret development chamber just simmering, waiting to head into a final year of hands on creation! We are putting the finishing touches on the team right now – and then this new play hits warp speed development this fall and winter. Surrounding this Manitoba creator for the creative process will be the cast, designers, dramaturg and director Ardith Boxall.

    Next news is all the news! Can’t wait to share it with you!


  • Red Earth Opens on Wednesday May 8th!

    Red Earth Play Prod collage

    We’re so excited to show you pics of the Red Earth set!

    Photo credits: Kristian Jordan.

    Dream Team: Written by Rick Chafe and Kristian Jordan. Directed by Andraea Sartison. Assistant Directed by Ross McMillan. Illustration by GMB Chomichuk. Set/Costumes/Props by Daina Leitold. Projection by Matthew Waddell. Animation by Laura Anzola. Lights by Itai Erdal. Sound by jaymez. Featuring Gwendolyn Collins, Dutchess Cayetano, Toby Hughes and Alicia Johnson. Stage Managed by Jane Buttner. Technical Direction by James Thurmeier. Design Menotor: Brian Perchaluk.

    Presented by TPM with generous support by PTE. Plus many more beautiful contributors and mentors on both this iteration and the last 5 years.

    Red Earth Special Events!

    There are a number of special events associated with Red Earth:

    Opening Night – SOLD OUT!
    Wednesday, May 8th, 8:00pm, PTE

    The culmination of 5 years of hard work: A special evening with reception afterwards.

    Red Earth Book Launch
    Saturday, May 11th, 6:00pm, PTE Lobby

    Hosted by Alchemical Press in association with One Trunk Theatre and McNally Robinson, this book launch invites the comic/graphic novel and literary communities to come together at Prairie Theatre Exchange for the official launch of the Red Earth graphic novel, created as a companion pieces to the world premiere of the play Red Earth. Meet with the novels creators and learn about the process used to devise the companion pieces. The launch features signing opportunities and a private party with the artists prior to seeing the show.

    Industry Night
    Thursday, May 9th 8:00pm at PTE

    A mix and mingle for artists and theatre lovers alike! An opportunity for the creative communities behind Red Earth to come together. The show will be followed by a talk back about the creative process featuring co-artistic-leads Gmb Chomichuk and Andraea Sartison.

    The evening will also include a gallery display from local comic artists, to show the depth and breadth of this industry in Winnipeg. The gallery can be enjoyed post show and at intermission, and the participating artists will be available to meet and greet.

    Tickets available at, each ticket includes entry to the show and a copy its companion piece – a new graphic novel.

    Mother’s Day Special
    Sunday, May 12th 2:00pm at PTE

    Bring your Mom, 2 for 1 tickets for Mother’s Day!

    Spend some quality time with your mom – take her to Red Earth!

    Tickets available at, each ticket includes entry to the show and a copy its companion piece – a new graphic novel.

    Stay tuned for more special events next week including Student Night and a “Pay what you decide” performance!


  • Writer to Writer – Red Earth writers interview each other

    Kristian Jordan Questions, as answered by Rick ChafeRick Chafe Head shot

    1.  I should probably preface this with ‘for better or for worse’ but… what has occurred in the voice of your writing as a result of the many collaborative sources contributing to this project?

    I collaborate a lot, so I’m used to modifying my writing voice in playing with other voices – a bit more like playing in a jazz band than a choir, I guess. There’s room for soloing but lots of the playing time is supporting the other players. In Red Earth, I’ve never been so aware while we were writing just how equally present the other artist’s voices were all going to be in the process and the final product – all the artists would be playing forward into the space normally taken up by the the writers, actors, and director.

    As a graphic novel on stage, Gregory’s projected drawings are going to speak at least as loudly as the scripted words and actions, probably louder. Daina’s voice as the set designer creating a physical platform that allows the actors to perform within a graphic novel page speaks at least as loudly as the actors or the words. The role of Jamez’s music and soundscape and Itai’s lighting are going to be enormous in creating this world – I’m certain I’ve never worked on a project where the sound and light will be consistently demanded to play a starring role in the storytelling. Which for our writing I think has meant we don’t have to carry the storytelling ball all the time – halfway through rehearsals now we’ve we’ve probably cut 30% of the words out of the script that have been better handled by other ways of telling the story.

    I joined this project a year ago because it looked like the most fun I could ever have and still be writing. This far in, it’s never disappointed.

    2.  So Rick Chafe is walking on Mars, and his foot catches some object, and he trips and falls.  He digs the object out, dusts the martian dust off of it and, no… it can’t be… it’s not possible…it’s:

    For better and worse, it’s a memory. Always a memory.

    Rick Chafe: Bio

    Rick has been collaborating to make plays since grade two – most recently with best friends Yvette Nolan on Both Alike in Dignity for PTE, Danny Schur on the soon-to-be-released movie Stand! and the completely re-invented musical Strike! (opening in June at Rainbow Stage), Kristian Jordan and a dozen other artists on Red Earth, and Andraea Sartison on Five Moments (commissioned by Theatre Projects Manitoba) and on co-facilitating the Creators Unit at MTYP. Other plays include GG Finalist The Secret Mask (PTE), Marriage: A Demolition in Two Acts (PTE, and published by Playwrights Canada Press this summer), Shakespeare’s Dog (RMTC/NAC), Beowulf (Two Planks and a Passion), The Last Man and Woman on Earth (TPM), and The Odyssey (Shakespeare in the Ruins).

    Rick Chafe Questions, as answered by Kristian Jordanheadshotplaywright

    1.Okay. What’s your history with comics, novels, graphic novels, or movies in the sci-fi genre and did any of it influence your approach to the story? Is there more sci fi writing in your future?

    In the final year of my degree I realized I still needed a class worth of credit hours that couldn’t be theatre-based, but could be anything else.  So, naturally, I found a class on science fiction. It was in that time that I began to look at sci-fi as a tool in writing, rather than a vehicle for lightsaber duels. What I love about sci-fi is how it immediately alienates us, but in the struggle to place ourselves in its strange new circumstances, we find some sort of recognition. I loved bringing that to theatre. There will for sure be more in my future. A long dead pianist wakes up in the future?!?

    2. What would it take to get to you to Mars? Besides a spaceship. Would you be ready volunteer or the last to leave Earth kicking and screaming?

    This is a tough one, because whether it’s by choice or necessity, everything you might gain would ultimately be defined by what you lost. I like watching our characters grapple with that. But as for me, it definitely wouldn’t be kicking and screaming. Honestly, I think the bike paths would just have to be better than they are here.

    Kristian Jordan Bio

    Kristian Jordan is a Winnipeg-based performer/playwright/creator, and a graduate of the University of Winnipeg honours program for performance.  As an actor he has worked for a number of professional stages across the city, including the Royal Manitoba Theatre Centre, Prairie Theatre Exchange, and Manitoba Theatre for Young People, Winnipeg Jewish Theatre, Shakespeare in the Ruins, and has had the opportunity to perform in schools and communities across Northern Manitoba and Ontario on five regional tours.  He recently appeared as Romeo in Romeo and Juliet (SIR), Peter in The Lion, The Witch, and the Wardrobe (MTYP) and Wilf in Prairie Nurse (PTE). He is a member of the Emerging Playwrights Unit with Prairie Theatre Exchange and the Manitoba Association of Playwrights. As a founding member of the company Make/Shift Theatre, he has collaborated on a variety of projects including a production of his original script, Lantern Town (2016) and the forthcoming The Party: A Scientific Romance.  He is a frequent collaborator with One Trunk Theatre, most recently as co-playwright on Red Earth with playwright Rick Chafe. He also makes coffee.


  • Final Salon & Volunteer Appreciation

    Final Salon picOur Final Salon is a Chautauqua Show and Tell 
    & Volunteer Appreciation!

    Tuesday April 30th, 7:00 – 10:00pm
    The Good Will – Social Club

    Tales from the Chautauqua Tour! Join these fabulous artists for music and stories from the Interlake. With Sol James, Claire Therese Friesen, Justin Fry, Sara Jane Flynn, Sarah Constible, Andraea Sartison, Chris Sousa and more!

    – An evening of song, sketches and more! –

    We’re also taking this opportunity to thank our wonderful Volunteers! Without them, we would not be able to present any of the events we do – come out and thank them personally!

    Facebook event page here.

  • Comics Come Alive Workshop

    Red Earth Comics Come Alive WSDate TBD
    7th Floor 70 Albert St

    One Trunk Theatre‘s Andraea Sartison and Gmb Chomichuk unite to teach a comics-meets-theatre workshop inspired by the process used to create Red Earth– a graphic novel and theatre collaboration inspired by humans migration to Mars.

    Calling writers, comic creators, playwrights, screenwriters, theatre artists and more! This workshop will coach the participants through creating text for comic books and then translating it to the stage. Using a hands on approach, and devised theatre techniques, participants will generate scripts will then be read by professional actors to receive immediate feedback.

    At the end of the class everyone will have created a short script which will be performed that evening (April 5th) at Chasing Artwork’s First Fridays Gallery Party (7:00-9:00pm).

    The workshops is from 2:00-6:00pm, date TBD in the Chasing Artwork/Alchemical Press Studio on the 7th Floor of 70 Albert St

    Workshop fee is $80 and includes a ticket to Red Earth, the play’s companion piece- a comic book by Gmb Chomichuk and Andraea Sartison, and the score for the show!
    Participants can e-mail [email protected]om to register today.

  • Design for Non-Designers Coffee Date #2

    10:30am-12:30pm, April 27th
    Forth Cafe

    Diving into design with Red Earth lighting designer, the Siminovitch Prize nominated Itai Erdal (Vancouver).

    Hosted by Rea Kavanagh, General Manager of Theatre Projects Manitoba, this is a conversational-style workshop open to all; but, especially geared towards theatre artists who aren’t primarily designers: directors, actors, playwrights and administrators.

    What is the purpose of lighting in the theatre beyond making actors visible? What is the language of lighting, how can it be manipulated and integrated at any stage of creation or production? What is the process of creating a design for a show? What is best practice in collaborating with a lighting designer?

    Discuss these questions and more (and probably a whole lot of great stories), with visiting lighting designer Itai Erdal.

    The goal of the workshop is to unpack the theatrical process from a design perspective in order to highlight the importance of a designer’s role in production and inspire non-designers with new ways and best practice to collaborate with a design team.
    Another coffee date will be held the week prior to demystifying projection design, live video and digital art for the stage with AZMA Digital: Matthew Waddell & Laura Anzola (Calgary), Projection & Animation Designers of Red Earth.

    $30 workshop fee

    $40 workshop + ticket to the show

    $50 to attend both Coffee Dates

    $60 to attend both Coffee Dates + a ticket to the show


    10:30am-12:30pm, April 20th
    Forth Cafe

    Demystifying projection design, live video and digital art for the stage with AZMA Digital: Matthew Waddell & Laura Anzola (Calgary), Projection & Animation Designers of Red Earth.

    Hosted by jaymez, local Winnipeg multimedia designer, and sound designer of Red Earth, this is a conversational-style workshop open to all; but, especially geared towards theatre artists who aren’t primarily designers: directors, actors, playwrights and administrators. Matt & Laura will discuss their design and principles, the techniques and technologies they use and their perspective of what role their art form plays in Red Earth, and in contemporary theatre in general. Discussion on best practice for collaboration between designers and directors/designers and theatre creators; and integrating new media will ensue. The goal of the workshop is to unpack the theatrical process from a design perspective in order to highlight the importance of a designer’s role in production and inspire non-designers with new ways and best practice to collaborate with a design team.

    A second coffee date will be held the following week to dive into lighting design with Siminovitch prize nominated Itai Erdal.

    $30 workshop fee

    $40 workshop + ticket to the show

    $50 to attend both Coffee Dates

    $60 to attend both Coffee Dates + a ticket to the show

    Facebook event here

  • Red Earth Book Launch

    Red Earth Book Launch

    Red Earth Book Launch

    Saturday, May 11th, 6:00pm
    PTE Lobby

    Hosted by Alchemical Press in association with One Trunk Theatre and McNally Robinson, this book launch invites the comic/graphic novel and literary communities to come together at Prairie Theatre Exchange for the official launch of the Red Earth graphic novel, created as a companion pieces to the world premiere of the play Red Earth. Meet with the novels creators and learn about the process used to devise the companion pieces. The launch features signing opportunities and a private party with the artists prior to seeing the show.

  • An Interview with Playwright Lara Rae

    Lara Headshot WEB

    As the Opening Night of Dragonfly approaches (March 14-24, 2019), we took a moment to ask Lara some questions based on her play and on her past experiences:

    Why it is important to share stories written by trans writers?

    To show where fundamentally we are the same as cis people. And to show where we are different, unique, special, valid, deep and valuable. In my case, I want people to know how important it was that I was doing something valid. Scientifically and spiritually. That hormones and surgery would quell my lifelong gender dysphoria and that surgery would make me feel complete and for want of a better word, normal. I think many people have very little knowledge of trans people and seem bizarrely incurious, but also permit themselves to wax for hours about our lives and our rights and our needs. I think the science is growing more firm every day that trans brains have a variant that can be seen with instruments, a variant that makes our brains appear closer on some mappings to the gender we know we are. And yet most people still frame it as a “choice’. This is something I did that I needed to do, that I did years too late and that is very serious and life-saving. Also, people should know many of us are very happy but we are so often treated like garbage and it wears you down and kills your trust. I am one of the very very lucky ones. I have loving friends, a loving family, a job, a home, and my health. All these things are taken for granted by many. Many trans people have none of the above. People are trying to erase us from public life and I often feel like they are succeeding.

    Why did you choose to have to two performers tell the story of a trans person?

    There are two answers.  First, that pre-transition in 2010, I wrote a show for TPM for the Carol Shields Festival of New Works called One Man’s Show with Sarah Constible, a gender autobiography that dealt with my gender dysphoria in a subtle way. In early transition, I considered a second act for TPM called One Woman’s Show, this act starring a male actor. Then, I, and the world changed and the limitless potential of stripping binary and gender from art suddenly freed the whole enterprise. I had always wanted this play to be the inside voice of a trans child and adult since so many stories of trans lives are about bodies changing and bodies colliding with others. (If I see one more news story of a trans woman that starts with her or them putting on makeup, I will hurl). So now, we have a show for two actors of any gender, age or ability who I call THEY and THEM and who both embody a trans identity from the inside. In assigning lines to this cast, I ignored gender leanings and you soon find they are so pervasive and yet so easily dispensed of with patience and imagination. I focused entirely on their individual strengths and since this work is basically blank verse, on how I could hear them (or they) saying a particular line. It was tough because Sarah’s performance in the first show was so fresh in my mind and I moved a few lines to Eric which was strange to my ears at first but confirmed that this experiment in non-gendered theatre esp in a play that deals so much with gender could work. And I hope you all agree.

    How are you able to be so vulnerable and forthcoming about your life experience. What motivates your vulnerability?

    I think more properly I write about times when I was vulnerable and part of maybe why the play ends at the start of my transition process is that I am still vulnerable in being a trans woman who only passes as a woman some of the time and I need more time to look back on this vulnerable time. I think you need to be not angry to be funny, and not angry to write about the hurt you have endured and the hurt you have caused, so you need some growth and distance. As for forthcoming, I think it’s the same. To use an alimentary metaphor I think we can only regurgitate what we have fully digested. Otherwise, your work is gas or puke.

    What do you hope people will take away from this play? 

    That this was a spiritual journey for me: from innocence, through a wilderness of puberty and pain, to purgatory and bardo and finally to redemption rebirth and happiness

    You have a broad range of activities in your life that people may not know about – What are your passions in life?

    Friends, cooking, reading, rats, opera, theatre, classical music; feeling happy and alive most of the time now.  Also, since my transition, I am more interested in looking at things in a different way. As Poe wrote: The more I see, the more it seems it’s all a dream within a dream. I love ghosts and the enneagram and take the horoscope serious enough I will avoid stuff if it tells me to. I also attend Quaker Meetings, St. Ben’s Table, and Young United on occasion. I love the quiet of the Quakers and the music and sermons at Young and St. Ben’s. I strive to break what Blake calls our “mind-forg’d manacles”,

    In every cry of every Man,
    In every Infant’s cry of fear,
    In every voice, in every ban,
    The mind-forg’d manacles I hear.

    ~ Wm. Blake, London

    You are a huge fan of opera – what are your top three opera picks that everyone should see in their lifetime?

    Even if you can’t see them, listen: Verdi’s Rigoletto, The Ring Cycle by Richard Wagner, All the mature Mozart operas, Lucia Di Lammermoor, by Donizetti Janacek’s Janufa, Lady Macbeth of Mtsensk by Shostakovich, is that three?

    You grew up in Glasgow in the 1960s – what did Winnipeggers miss out on?

    Not much. It was coming to the end of a dirty, sluggish, impoverished, depressed time and a better one would not begin until years after we left. Moving to Toronto in 1972 (mullets excepted) was the best thing my parents ever did for themselves or my sister and me.

    You talk about your experience in Toronto during the AIDS crisis in Dragonfly, what can tell us about the Toronto AIDS crisis that people might not know?

    Cynically: that there was an AIDS crisis and many many many young people died and no-one seemed to care, not really. That as crap as it is for trans people now it was ten times worse for any gay or in any way non-cisnormative non-heterosexual person when I grew up. Also, it was a true death sentence so the idea of thinking you were infected and being terrified to get tested made people antsy and grumpy and tired but at the same time most people walked around like nothing was happening.

    Do you have future project plans you wish to share?

    I am getting married! I just have to meet someone. I am leaving the Winnipeg Comedy Festival after 18 years. I am teaching, I love it. I want to read even more and write poetry.

  • Theatre Project Manitoba: January Salon Takeover

    salon takeover FB banner

    Tuesday, January 29, 2019

    The Good Will – Social Club
    625 Portage, Winnipeg, Manitoba R3B 2G4

    A New Year! New Beginnings! New Art!
    Join some of Winnipeg’s coolest Indie Theatre artists as they TAKEOVER the TPM SALON and set out on wild new artistic journeys.
    Start your year off with inspiring new ideas!
    Curated by Tanner Manson!

    The Fresh & Fearless Line up:

    Naked Theatre Productions preview of “Little Dead Lady” – Created and performed by: Rebekah Anne Marie, Jenn Davis, and Sarah Flynn; premiering at IbsenFest.

    New Work by Fill The (W)hole Theatre Company – Lindsay Johnson, Brigitte Plouffe and Rayna Masterton.

    Hera Nalam will be sharing some original theatrical tunes!

    Music new and beloved (and maybe more?) by Walk&Talk Theatre Company – Duncan Cox, Tanner Manson and Ben Townsley.

    Darla Contois will share an excerpt of a new piece.

    A reading of a new work by Wren Brian – “A Fine Line”.

    About the Artists:

    Inspired by their love of storytelling, Fill The Whole Theatre Company aims to collaborate with a range of artists and community members to create multidisciplinary theatrical experiences.

    Walk&Talk Theatre Company is a Winnipeg-based, award-winning company that aims to find innovative ways of creating original music and original theatre that engages the heart and the brain.

    Hera Nalam is a 23 year old up and coming singer-songwriter and actor originally from Cebu, Philippines but is now locally based in Winnipeg.

    Naked Theatre Productions – Naked /’nāked/ (adj.) without the usual covering or protection; exposed to harm; vulnerable.

    Darla Contois is an award winning Cree/Salteaux theatre artist based out of Winnipeg, MB. She graduated from the Centre for Indigenous Theatre in Toronto of 2014. Her work has taken her all across Canada and most recently overseas to Germany’s Theatreformen Theatre Festival.

    Wren Brian started her career in Whitehorse, Yukon (territory of the Kwanlin Dün & Ta’an Kwäch’än) where she was born and raised. Currently based in Winnipeg on Treaty 1 territory, she is dedicated to creating characters that can be played by actors of any gender, ancestry, ability, and/or age.


    Facebook event

  • Happy Holidays from TPM

    Happy Holidays from TPM


    We would like to wish everyone the happiest of Holidays and the very best for a New Year filled with peace and joy, happiness and good health and every other good wish for YOU, our fantastic friends!

    2018 was an amazing year with the World Premiere of  Patrick Friesen’s A Short History of Crazy Bone, the first ever Interlake Chautauqua Tour and Stephen Massicotte’s beautiful drama, Mary’s Wedding!

    2018 Collaged


    A few special nods to our community:

    We congratulate Patrick Friesen on his Evie Award for Best New Work and celebrate the entire team led by director Andraea Sartison, choreographer Tanja Woloshen and  the incomparable Tracey Nepinak, as Crazy Bone.

    The Interlake Chautauqua Fundraiser on May 3rd launched us up Highways 6, 7 and 8 with The Interlake Chautauqua Tour! Thank you to all our community partners for opening their hearts and homes to our merry band of artists! We look forward to sharing more from our adventures at our April  30th Salon -Save the Date!

    The culmination of 18 months of work, the Chautauqua tour included everything from perogy and vinarterta workshops, a Historical Art Tour through New Iceland, over 150 hours of theatre workshops for children and youth, and three screenings of Andy Blicq’s documentary, A Song for John Ramsay with special guests Scott Nolan and William Prince were held in Riverton and Peguis. Mary’s Wedding was performed in high schools and community halls across the region and Salons were held in greenhouses, bars, halls, and a big boisterous kitchen party rocked the Arborg Legion! Dances for teens and seniors were hosted with the Country Pride band. (PLUS Andraea was 7 months pregnant when she started the tour… we’re happy to have now welcomed the newest member of TPM!)

    As the year drew to a close, Grant Guy conducted a sold out Object Theatre Workshop which included visiting artists from Théâtre de la Pire Espèce and a special performance of their show Ubu on the Table. Thanks to our partners at Théâtre Cercle Moliere for making this cultural exchange possible.

    Finally, our hearty thanks to the Goodwill Social Club for hosting our Salons. Good cheer and warm hugs to our volunteers for all their enthusiastic help. And a special shout out to Debbie Patterson, Grant Guy, Gislina Patterson, Zorya Arrow and Prairie Fire for partnering on the salon programming in 2018.  Salons in the New Year to be held on January 29th, February 26th and April 30th!

    We want to thank you for all of your support and love – we really appreciate each and every one of you! Not to mention, a huge heartfelt thanks to this year’s partners & generous sponsors!

    With love,

    TPM Staff – Ardith, Andraea, Rea, Ian and Corinne

    TPM Board – Clay, Janet, Bill, Carolyn, Ray, Lisa, Justin and Chris!

    Photo credit – Dylan Hewlett –  A Short History of Crazy Bone

    Linda Beech – Set Design, Itai Erdal – Lighting Design, jaymez – Sound Design, Claire Thérèse Friesen – Costume Design
    Ensemble – David Arial, Zorya Arrow, Arne MacPherson, Tracy Penner, Tracey Nepinak

    Photo credit – Duncan McNairnay – Mary’s Wedding

    Featuring Justin Fry and Sarah Flynn
    Set Design by Rebekah A.M. Enns, Costume Design by Joseph Abetria, Lighting Design by Adam Parboosingh, Sound Design by Matthew Waddell, Composition by Scott Nolan

    Photo credit –  Chris Sousa – Interlake Chautauqua – Featuring Claire Friesen







  • The Final Letter from the Road: The Chautauqua Tour Wrap Up

    Chautauqua pics variousNovember. 5, 2018

    4 weeks. 8 communities. A whole new expanded family. This sums up the last month for a group of rag-tag artists in the Interlake. Little did we know how when we set out about how rewarding this experience would be. As our tour wrapped up yesterday in Teulon, we can’t help but feel full: full of love, and full of inspiration.

    In previous letters from the road I’ve repeatedly mentioned the theme of family, and though that theme may seem over used here, I feel it sums up the Chautauqua tour perfectly. Whether it was a bright high-school student not wanting us to leave, or an elderly community member asking one of us to dance, or a billet introducing us as “my girl” or “my son” we felt truly at home everywhere we went. The way each community welcomed us in with open minds and open hearts, showed us that art can live anywhere.

    Reflecting back on the tour as a whole, the only regret was not being able to do more. At the end of each week we felt we had just begun to crack the shell that was the artistic potential of each community and begin to find our place within it.

    When we entered our last week and I could feel tour coming to an end. I had an odd mixture of feelings. As the week progressed, it felt like each day was getting shorter and shorter, and it wasn’t because of daylight savings time.

    We clung to each night as we were able to- not ready for the tour to end. Our last night was spent together at the Teulon Hotel playing pool, and dancing with what the bartender called the “special lights” on. You could say we lit up the town, or at least the bar! A local asked us who we were, and never did we feel more like heroes than when we responded, “we’re artists!” and explained to them our mission in their community- make connections, learn local stories, bring theatre and art to the rural and remote locations. We were very proud.

    In each community we would learn about local history, and also engage in conversations about the struggles of the present and hopes for the future. This came to life in a new way as we prepared for our final presentation in Teulon- where we hosted an afternoon of performances and activities to help the town brainstorm ideas for its Centennial Celebration next year. We shared stories we dug up from research at the museum and demonstrated ways we thought they could teach this history, while engaging the whole community in making plans and dreams for the next 100 years.

    On the drive home I felt a peaceful accomplishment- we had done good.

    Today as I sit at home reflecting on the weeks that have recently passed, a few names still ring in my head: Patsy, Joel, Adeline, Merle, Emily, Ray, among many others. These people are what made our time so special. So in the closing moments of the Chautauqua tour I personally want to say thank you to each and every one of those people- and all the community members who supported us.

    Each week I’ve ended these letters saying “Until next time, it’s been nice Winnipeg. Talk soon.”, but now that we’re back in Winnipeg for good it feels only right that I should address our other homes. So, it’s been nice staying with you Steep Rock, Eriksdale, Arborg, and Teulon. We will see you soon.


    Chris Sousa and the rest of the TPM team.


    Many thanks to our community partners and hosts and our generous sponsors!

    Community Sponsor: Teulon

    Advertising Sponsors
    Graymont Logo

    Blue Raven

    Artist Sponsors



    Mb WW1 Museum TrenchesPhotos at the WW1 Museum in Pilot Mound. Owner and operator, Bruce Tascona gave our cast a tour.

    Our merry band of artists are enjoying their last week in the Interlake! While they are out on the road we have our Chautauqua documentarian, Chris Sousa, bringing you letters from the road!

    The past week in Arborg was a trip to say the least – the word trip used in both a metaphorical and literal way. Our week centred on community workshops; a kitchen party, vinarterta and pierogi making, rug braiding, and theatre workshops. The meat of our time however, came from two historical tours. Our guide, Jóel Friðfinnsson, took us to many significant sites in New Iceland. At the beginning of the week, we (the artists) were instructed to listen, watch, and create something of artistic significance to perform for the public tour at the end of the week. This opportunity was unique as it allowed each of us to interpret the legendary stories in our own eclectic way. From spoken word poetry, story telling, performance art, to song, we had it all. But there was one piece performed that held a collective significance. Theatre Projects Manitoba’s artistic director Ardith Boxall, performed a piece that she called “The Naming”. In this piece, we were to write names of significance within our personal heritage on a card. If we felt willing, we were to say the names of those we represented, releasing them to the lake and sky. Then we placed the cards into a fire on the shoreline of Lake Winnipeg. After each person read their set of names there was a breath of silence creating an odd mixture of feelings. At first, it felt mournful, but soon transformed to a reverent celebration of heritage. This event summed up my experience in every community thus far. At the beginning of each week, we enter as outsiders, but by the end, we leave as family. This act of letting go, but not forgetting, helped as we left yet another family in Arborg and Riverton.

    As we enter the final week of tour, I am torn. The experience from start to finish has been one big grand experiment, forming relationships that will stick in our memories and hearts until the day we come back to make more memories. As we begin this final week, we find our self in Teulon, the gateway to the Inter-lake. Once again, we enter as outsiders but are certain to leave this fourth and final community as family.

    As always, it was nice to talk to you Winnipeg.

    Until next time.

    Chris Sousa

    pumpkins - credit teulonpumpkinfest.comRIGHT BETWEEN THE LAKES

    Interesting fact about Teulon: Every September Teulon celebrates pumpkin fest. Among the many attractions the famous pumpkin growing contest leads the charge!

    For more info follow here:

    Photo cred:

    Don’t Miss Event!

    Mary’s Wedding: Nov. 7-18 in Winnipeg

    Mary_s Wedding (1)Hot off the heels of this Chautauqua (and to rave reviews from audiences!), Mary’s Wedding opens in Winnipeg on Wednesday, November 7th at 8:00 pm. Tickets still available for Opening Night – get tickets on our website or by calling 204-989-2400!

  • Letter from the road: Week 3 – October 25th

    Week3Each week as I write these entries I find myself looking forward to the week to come. I don’t often find myself reflecting on what was; but, today as I write this letter from the road, I can’t shake the previous week spent in Eriksdale and Lundar.

    During our time in these communities there were two events that were defining moments. The first was the Lundar community dance. This dance had people of varying ages: the elders, the youth, even the school principal was there! This inter-generational connection summed up much of our touring so far- being able to collaborate with, and bring together all ages.

    The dance was also a ceremony of dares. More >

  • Letter from the road: Week Two (October. 18th, 2018)

    SteepRock collage BWOur merry band of artists have left Winnipeg to explore another fabulous area in the Interlake! While they are out on the road we have our Chautauqua documentarian, Chris Sousa, bringing you letters from ‘up the 6’!

    Dear Winnipeg:

    Leaving the Moosehorn area late Sunday evening, we all felt a sense of belonging and accomplishment. The first week of tour did so many things for our group, as well as the community we inhabited. After a week filled with eclectic programming, we discovered that we had a second family in Ashen and Steep Rock.  As we left on that snowy evening we all had love in our hearts from the small dedicated towns, and ambition in our minds for the weeks to come. A day off came and passed on Monday and Tuesday we gathered again and set sail back up the Six; a happy new routine.

    Heading into Lundar we could tell that this town had its own unique personality. Our first stop was Lundar School. This was the setting for the second school performance of Mary’s Wedding. After our time there, we left for Eriksdale. There we meet with our crew for a group lunch at the best restaurant in town known simply as the “The New Horizons Club”. This was clearly the it place to be in town. After our group meal, I took the opportunity to explore the town of Eriksdale. I walked through the streets and bushiness’ and discovered this town had a persona all its own. The trees, roads, and homes seemed peaceful and untouched, like it had always been there. Every community member we have met has welcomed us like we were close friends & family.

    These two towns are proving to be unique and prosperous in their own way, and this tour is proving to be an experience worth remembering. With week # One in the books and week # Two moving steadily along, we look forward to the adventures and discoveries we will uncover in the coming days.  I hope you are enjoying these stories as much as we are living them. Well, as always Winnipeg, its been nice. See you in a week!

    -Chris Sousa

    Right Between the Lakes_20170822_121621

    Interesting fact about Eriksdale:

    They have the only creamery museum in Manitoba!for more information on this historical landmark follow the link (below) for more info!

    Check out the Eriksdale Museum HERE! 


    Don’t Miss – FREE Events!

    Eriksdale roadFRIDAY, OCTOBER 19
    Community Salon 

    7:00-9:00pm, Sabados’ Greenhouse

    An evening of local stories & performances featuring community members and the artists of the Interlake Chautauqua tour. All ages are welcome!

    With a Film screening by Erika MacPherson and performances by the newly formed Eriksdale Chautauqua Community Choir!


    WilliamPrince 2 by Jacob Blickenstaff Jan 2018A Song for John Ramsay

    Film Premiere and concert
    featuring William Prince, Scott Nolan
    and Duncan Mercredi

    Riverton, MB
    7:00-9:00pm, Riverton Hall

    Gimli filmmaker Andy Blicq premieres his newest work- a “Song for John Ramsay” featuring Juno Award Winning songwriter William Prince (Peguis). Discover this rich local history of early Icelandic settlers and their friendship with local Indigenous man John Ramsay- right in Riverton near where it all began. The film will be followed by performances featuring special guests William Prince, Scott Nolan and Duncan Mercredi.

    A Song for John Ramsay was commissioned by the New Iceland Heritage Museum as part of their newest exhibit that focuses on the legend of John Ramsay, and was created in the spirit of Reconciliation to highlight early stories of partnership and friendship between Icelandic Settlers and the Indigenous people in the New Iceland area. We thank them for their integral part in making this story and artwork come to life.

    Many thanks to our community partners and hosts and our generous sponsors!

    Community Sponsor: Teulon





    Advertising Sponsors
    Graymont Logo

    Blue Raven


    Artist Sponsors


  • Letter from the road: Week One (October. 10th, 2018)

    IT’S BEGUN! The Chautauqua / tour of the in Interlake successfully hit the road on Tuesday! While our merry band of artists are out on the road we have our Chautauqua documentarian, Chris Sousa, bringing you letters from ‘up the 6’!

    Dear Winnipeg:

    It was noon in Winnipeg when we all met up, packed, and set sail for the 6 (the highway that is). The prairie roads held many a cow and plenty of flat land. After many 80’s songs, laughs, roadkill, and  a few pit stops later and we had arrived in Moosehorn. This was the spot of our first group meal. We met up at a small diner before heading into town. Our server seemed delighted to seat us as she exclaimed “I was only vacuuming chairs before you arrived”. It was a humbling experience having a table of talented artists sitting together about to embark on a journey the likes of which we had never seen before.

    Our next stop was the Steep Rock Community Hall. There we met with locals and listened to their stories over coffee, tea, and great cupcakes, possibly the best cupcakes. From there we all went our separate ways ready to embark on tomorrow.

    The following day it became official- the first full day of tour and the opening of Mary’s Wedding. Our tour started with setting up the stage, lights, and equipment, all in Ashern Central School: “home of the cobras”.  Watching from the outside looking in it became a surreal experience for me. As I watched the world of Mary’s Wedding come to life in a small high school gym, it became clear why this tour was important. As a team we’re bringing a story and a team together that could breathe life into a community that has faced many challenges over the years. For example the flooding in 2011 caused many a heart ache and many a tragedy that to this day have not fully been resolved. This tour represented more than just a show, it represents the Interlake and the resilience that it holds. Our Interlake Chautauqua is helping to rejuvenate a Manitoba wide arts scene. But this show isn’t all we’re doing on this tour!

    Later we began our workshop series. Tonight’s workshop focused on storytelling with more than a dozen community members participating. Tomorrow’s will be songwriting and Fridays’s will branch into theatre.

    This entry is one of many. I plan to write to you with updates and gentle facts about the areas we will explore. I will send you weekly “letters from the road”, if you will. Each entry will be filled with stories, heart, and updates on what the Chautauqua team is up to in the Interlake. Well Winnipeg, it’s been nice. See you in a week!

    -Chris Sousa

    Our merry band of artists

  • Object Theatre Workshop – November 26-29, 2018

    Object Theatre Workshop

    November 26 to November 29
    1 pm to 5 pm
    Location: Manitoba Association of Playwrights (MAP)
    503-100 Arthur St, Winnipeg, MB R3B 1H3

    Theatre Projects Manitoba is presenting a four-day workshop on object theatre from November 26 to November 29, 1 pm to 5 pm. The Workshop will be led by Grant Guy along with contributions by Olivier Ducas and Francis Monty of Théâtre de la Pire Espèce, who are in Winnipeg performing Villes at Théâtre Cercle Moliere.

    The workshop will introduce students to the art of object theatre. The participants will learn about different object theatre styles, its current history and development, characterization, manipulation techniques and body/object language (the biomechanics of the actor and object and their correspondence), and the actor and the object. Grant Guy will illustrate the methodology he used in the sixteen years at the helm of Adhere + Deny. This will be his methodology and will act as a launching point for the participants to begin the process to find their own. Greater effort will be placed on practical performance aspects. To do so the participants will select a scene from Alfred Jarry’s play Ubu Roi offering the participants opportunities to design, construct and manipulate their own puppets.

    Ducas and Monty will join on November 26th to discuss their process, how they explore and determine what objects they use, and demonstrate the movement and characterization of the object. They will provide a brief overview and history of Théâtre de la Pire Espèce.

    Introductory Topics to be discussed:

    • History, Theory and Exploration of the Object as a Performer
    • Text and Puppet Correspondence
    • Puppet as Rebel, as Symbol, as Character
    • Directing Manipulation of the Object
    • Biomechanics of the Object and Manipulator

    On the last day the participants will showcase their discoveries. Constructive feedback will be exchanged.

    Space is limited. Participants will work in pairs. When enrolling participants can enroll as a duo, otherwise Grant Guy and Theatre Projects Manitoba will pair up participants.

    The early bird cost of the workshop is $175 for participants who book by: November 1st. The cost increases to $225 after November 1st.

    Ubu on the Table

    On November 27 at the Theatre Projects Manitoba’s Salon, co-presented by Théâtre Cercle Moliere, Olivier Ducas and Francis Monty will mount their Ubu on the Table!

  • This Land Floods, The Interlake Chautauqua Tour – Steep Rock, MB


    In the late 19th and early 20th centuries Chautauquas travelled across the prairies, bringing diverse cultural programming to rural communities. Lectures, concerts, performances and demonstrations gathered the citizens together under one big tent for delightful artistic exchanges. Theatre Projects Manitoba brings to life a modern Chautauqua this fall. A merry band of multidisciplinary artists will go on the road together for one month, conducting week long residencies in four Interlake locations.

    We are excited to be treading new waters in the Interlake of Manitoba this season. For two years we have been scheming dozens of events, workshops and performances with hundreds of Manitobans who live beyond our perimeter. We are looking forward to learning from and creating with them. We invite you to join us on tour. Whether you are returning to your roots, or exploring a new frontier the Interlake will delight, and we know that this new kind of work will also be refreshing for our steadfast Winnipeg audiences. Our Chautauqua tour is open to all- urban and rural, old and young. We hope to see you on the road!

    Click below for a full schedule of activities in each location:

    Steep Rock, MB: October 9-14

    Eriksdale/Lundar, MB: October 16-21

    Arborg, MB: October 23-28

    Teulon, MB: October 30-November 4


  • Welcome to our 2018- 2019 Season!

    Season Posters for Website

    Join us for our 28th season! We’ll be celebrating Manitoban talent and stories, and are launching our most enormous project to date: This Land Floods, the Interlake Chautauqua.

    In the late 19th and early 20th centuries Chautauquas traveled across the prairies, bringing diverse cultural programming to rural communities. Lectures, concerts, performances and demonstrations gathered the citizens together under one big tent for delightful artistic exchanges.

    This fall we bring to life a modern- day Chautauqua. A merry band of multidisciplinary artists will go on the road together for one month, conducting one week long residencies in four Interlake locations: Steep Rock, Arborg, Eriksdale and Teulon. While the artists reside in the community they will collaborate with local citizens through workshops, art projects, and performances. From striking up a choir to hosting old time dances with seniors and high school students, and from performing the exceptional play Mary’s Wedding by Canadian playwright Stephen Massicotte to co-hosting vinarterta workshops, the programming in each week is built with the community, for the community.

    And it’s all for free!

    Come and join us on the road, see what we have been working on with the citizens of the Interlake- and get to know one of the most well-loved regions of our province.

    For more information like dates and locations visit: This Land Floods: The Interlake Chautauqua Tour
    More >


    This Land Floods InstagramWe’ve moved our Fundraiser to June 20th, 2018 – JOIN US!

    The Interlake Chautauqua Fundraiser will take place on Wednesday, June 20th, at the West End Cultural Centre, and, fittingly, it’s Interlake themed! We’ll be bringing you music from the region by way of our musical guests: Daniel Peloquin-Hopfner (Red Moon Road), Sol James and fiddling sensation Brad Moggie. We will also share poetry, and theatrical readings devised around our Interlake research. Plus we’ll share the stage with some real-life Interlakers!

    Between acts you can enjoy the camaraderie and silent auction for your chance to win art OR artistic experiences from the WAVE Artists (who wouldn’t love an art class on a boat!), plus specially-curated packages that could only come from the Interlake. And bring your appetite! There will be delicious food from our friends at Feast Cafe!

    It will be a beautiful night to launch our ambitious and inspiring new project: This Land Floods, an Interlake Chautauqua Tour, a time for TPM’s Winnipeg and rural supporters to mingle, and an evening to celebrate one of the most well loved regions of our province.

    The culmination of two years of investigation, planning and roadtripping- This Land Floods, an Interlake Chautauqua Tour is the new arm of Theatre Projects, refocusing some of our activities and creative processes outside of Winnipeg’s perimeter.

    Starting in October, 2018 TPM will embark on a one month tour of Manitoba’s beloved Interlake region, stopping for a one week residency in each of the following towns (and surrounding municipalities): Steep Rock, Eriksdale, Arborg and Teulon. We will bring with us a beautiful production, and a caravan of artists- musicians, writers, performers who will collaborate with the Interlake citizens on workshops, cabarets, creative projects, performances and more!

    Join us to hear about our plans, and help us raise the funds required to take theatre to the highways and waterways of the Interlake!

    Tickets are available right here, right now or by calling our office at 204-989-2400

    We look forward to seeing you there!

    Wednesday, June 20th, 2018

    At the West End Cultural Centre

    386 Ellice Avenue

    Doors 7:00, Show 8:00

    Tickets $40 General Admission, or $25 for Artists

  • Reviews are in!

    After a whirlwind opening week and weekend of A Short History of Crazy Bone, we are just tickled by the lovely audiences and reviews we have received!

    The Winnipeg Free Press’ Randall King comments on Nepinak’s performance:

    “…thanks to a terrific performance by Tracey Nepinak, Crazy Bone emerges as a singular creation, an outlaw without an outlet, a poet without a publication, a painter without a canvas, a shaman without a tribe.”

    Joff Schmidt at CBC praises the butoh-inspired movement woven into the piece:

    It’s a slow, measured and often unsettling style, which fits perfectly here as the restless spirits that surround Crazy Bone force her to confront her past.”

    Read King’s entire review in the Winnipeg Free Press here: Crazy Bone – Winnipeg Free Press. Schmidt’s review can be found here.

    If you are still looking for tickets for, you can buy them online or by calling us at 204-989-2400. A reminder that our Students Night is coming up this Tuesday, April 3rd at 7pm. Students can see the show for only $10 and there is a talkback and reception after the performance. See you at the theatre!

  • A Short History of Crazy Bone – March 28 until April 8, 2018

    crazy bone poster thumbnail

    It is a beautiful and difficult tale.  It is a Manitoba story.

    Theatre Projects Manitoba is delighted and honoured to invite you to the world premiere of A Short History of Crazy Bone, a performance that treads the line between poetry, dance and theatre.

    Canadian poet Patrick Friesen’s new play awakens Crazy Bone who walks on the outskirts of time, imagination and place –  shunned for her individuality, sexuality, and for the non-conventional choices she has made.  Crazy Bone is traveling to the river, trying to find a way back to herself.  The play, inspired by the playwright’s great grandmother, is an exploration of the nature of the outsider, crowded by others and acutely alone.  Crazy is a trickster, a wild woman laughing, a campesino, the artist.  The ghosts she lives – and sometimes dances with – are not past loved ones but present companions.

    The questions inherent in the piece are of an artist’s place in society.  At the heart of the play is the movement, the process, of Crazy finding where she belongs, a spiritual odyssey in deeply human form.  It is also a poetic exploration of the prairie landscape, rooted in our province’s identity and history. The lead role of Crazy Bone will be played by actress Tracey Nepinak; one of Manitoba’s finest theatre artists, who will be supported by performers David Arial, Zorya Arrow, Arne MacPherson and Tracy Penner.

    Tickets are available on this website, by calling us at 204-989-2400, and at the door.


  • Salon #4

    Salon 4 InstagramOur final salon of the year will take place on Tuesday, March 6th, 7pm at The Good Will (625 Portage Ave).

    Exploring the bounty of bringing generations together in art and life. Our youth are agitating for radical reform, rebellion and revolution in art and in the world. Do we only rewrite the story that came before us? How do we embrace Elders and our faltering but necessary relationships.

    The program will feature collaborations with artists of different generations.

    Join us for a pint and some great theatre.

  • TPM SALON #2

    Salon 2 Instagram final


    It’s the second salon of the year at The Good Will – Social Club!

    THE SHAPE OF THINGS –This Salon is about exploring artistic practice from other communities. Seeing, hearing, differently abled, our imaginations are as powerful as each one of our senses. We are keeping our conversation going- the one that began at Tomorrow’s Child– about how we experinece the world in many different ways. Act 1 will be curated by Debbie Patterson through Sick + Twisted Theatre featuring performances by Debbie, as well as Dan Augusta, Angela Chalmers and Dianna Rasing.

    In Act 2 we will return to our exploration of This Land Floods- workshop style, together with our student reps Evan Martin, Reena Jolly, Alistair Wright, Chris Sousa, Emily Solstice, Sarah Jane Flynn and Tanner Manson, accompanied by our guest artist Ila Barker.

    This is a free event, open to the public taking place from 7-9:30pm on November 28th! Please, join us.

  • Intro to Multi-Media Design Intensive

    Intro to Multimedia design intensive-Final

    Led by longtime Ghost River Theatre (Tomorrow’s Child) audiovisual designer and programmer Matthew Waddell, the Intro to Multimedia Design Intensive is a hands-on introduction to the latest tools and techniques used in sound and video design for theatre and multimedia performance. This four-day, 18 hour, workshop will combine lectures, live demos and in-class excercises that will guide participants through the process of digital audiovisual design and show control from conception to delivery. The intensive is intended for students, technicians, designers, artists and educators with little to novice experience with mutlimedia design or digital tools.



    QLab as a multimedia playback and control system. Qlab will be the backbone of this intensive and we will learn it from the ground up, starting with the very basics and slowly moving through its many features. We will look at how build basic and complex audio and video cues, how to apply live effects, video mapping onto custom surfaces and non-conventional shapes, working with multiple projectors and show control using MIDI and OSC.

    Audio techniques and tools including: effects, surround-sound and live performance systems. We will look at proper audio workflow techniques and software tools for making your audio sound better in any environment.

    Video techniques and tools including: efficient workflow, content creation, live camera manipulation, codecs, resolutions and how to deal with large video formats while using a slow or older computer.

    • *No previous knowledge of Qlab required.



    October 19: 6pm-9pm

    October 20: 6pm-9pm

    October 21: 10am-5pm

    October 22: 10am-5pm



    Early bird/Equity rate: $325

    After September 15th, 2017: $350



    E-mail a brief letter of interest stating why you want to take the workshop, and your professional CV to [email protected] to sign up or call 204.989.2400



    Although not mandatory, participants are encouraged to bring their own Mac OS laptop computers to follow along with the demonstrations. We will be using Qlab extensively. Please have it installed and ready to use when you arrive. You will also have access to a projector so please bring a VGA adapter for your computer.

    Download Qlab here:


  • TPM invites you to our…

    AGM 2017_18-1

    Please let us know if you plan on attending by emailing [email protected] or calling 204.989.2400. This will allow us to send you documents, including our new bylaws to prepare for the meeting.

  • 2017/18 Season Announcement

    We’re embarking on new territory next season. Our theatrical adventures take us to new venues and towns, and launch us towards new horizons!


    Tomorrow's Child poster Ghost River Theatre’s Tomorrow’s Child will play October 24-November 5, 2017 at the West End Cultural Centre. Ghost River Theatre, with special permission from the Ray Bradbury estate, has created a new audio only adaptation of Bradbury’s sci-fi short story Tomorrow’s Child as a one-of-kind, audio-only theatre experience presented to a blindfolded audience. This ain’t no radio play–the quirks of 50s sci-fi are reimagined for a highly immersive sonic environment, created with the latest in sound technology. An unforgettable sonic journey that has to be heard to be believed.



    A Short History of Crazy Bone, a TPM production written by Patrick Friesen will premiere March 29th and run until April 8th, 2018 at Le Cercle Molière. This long poem-turned-monologue awakens Crazy Bone (Tracey Nepinak), a middle aged Woman living on the edge of the world, at the edge of time, wandering the mid-path of her life, on the outskirts of a small town. She skirts between dream, memory and imagination, listening to herself and to the river, Crazy Bone is a trickster, a fool, a wild woman laughing, a campesino who through loss is finding her way back to herself.


    In addition, Artistic Director Ardith Boxall and Associate Artistic Director Andraea Sartison hit the road with This Land Floods, a rural outreach project in the Interlake that includes interdisciplinary workshops, theatre education and collaboration between rural and urban artists. We began laying groundwork for this project during the 2016/17 season with our host community Arborg,  conducting multiple visits for research, performance and meetings. Our exchange will continue throughout the coming season with the ultimate goal of creating a new play for Manitoban audiences in collaboration with the community that will debut in the coming years. We look forward to sharing our work in progress with you at a Chatuaqua style event featuring performance, ideas and art from the Interlake in Winnipeg next spring!

    danish royalty


    Salons– yes, you can expect those too! We will return to the Good Will Social Club- they’ve been so good to us! Expect four cabaret evenings throughout the year. We look forward to raising a glass to science fiction, sound, poetry, dance and Manitoba history- in the spirit of our season- with you at these free community events.


  • Science Affairs


    Theatre Projects Manitoba presents Science Affairs at Prairie Theatre Exchange‘s Carol Shields Festival.

    Walk through an exhibition of scientific discoveries and displays inspired by truth, legends, and dreams about the citizens of our one great city. Interact with your generous hosts and museum curators as you venture into the bowels of Science Affairs– where the collections come to life.

    A performance installation directed by TPM associate artistic director Andraea Sartison, and devised using the scientific process by TPM’s 2016/17 student reps:Davis Plett, Evan Martin, Liam Naughten, Kerensa Peters, Rebekah Enns, and Sarah Flynn.

    This FREE exhibition will be open from 6:30-8:30 p.m. on May 12th at Prairie Theatre Exchange, drop in during these hours at your leisure.

    Science Affairs is the culmination of a season long partnership between our student reps and TPM’s associate artistic director Andraea Sartison. Beginning in September 2016, the reps were engaged in devised theatre workshops to generate artistic content using the scientific process. Work in progress was shared throughout the 2016/17 season at salons. Recently the ensemble spent time experimenting with how to unite all content created through installation and performance- resulting in the Carol Shields Festival exhibition.

  • Spring into our POETRY Salon

    Salon #5-Friesen and Friends

    Join us at The Good Will for our 5th salon of the season featuring Patrick Friesen & Friends in an evening of music and poetry.

    Patrick Friesen is the playwright of “A Short History of Crazy Bone” which will premiere as part of TPM’s 2017/18 season.

    Patrick will read from his own impressive catalogue of work, and will be joined by some of Winnipeg’s foremost poets and writers including Di Brandt, Per Brask and Scott Nolan. Join us at this free event!

    The Good Will Social Club is located at 625 Portage Avenue.

  • Salon # 4- January 30

    Salon #4


    The first salon of 2017 is taking place on January 30th at the Good Will!

    Inspired by Cliff Cardinal writer/performer of TPM’s next show Huff (a Native Earth Performing Arts production) AND a young, fierce Canadian playwright- we are featuring the work of local dynamo writers with baby faces.

    Join us for an evening of new work read by our University of Winnipeg and Manitoba reps and special guests including Frances Koncan, Molly Cross- Blanchard, Hannah Foulger, Gislina Patterson, Rebekah Enns and more!

    Plus we’ll have some great music to boot featuring Micah Erenberg!

  • Happy Holidays + Secret Recipe!

    Happy Holidays one and all from all of us at Theatre Projects Manitoba. Our gift to you: a seasonal delight from the Boxall clan.


  • High School Matinees for Huff

    High school educators! We’re offering an exceptional experience for your students to get up close and personal with Cliff Cardinal, one of Canada’s most exciting young playwrights, this February. Book your students into one of our 1:00 p.m. matinees on February 15, 16, 21 or 23 and they will be invited to attend a talk back with Cliff post show. Tickets are only $5 for these performances. Huff is a challenging show that provides a launching pad for further conversation on suicide, solvent abuse, and Canadian stories.


  • Up Next: TPM’s Holiday Salon

    Join us for Theatre Projects Manitoba’s 3rd salon of the year: on December 12th at 625 Portage Avenue.

    Look forward to music by the Fu Fu Chi Chi trio, readings by local playwrights, and the next installment of Science Affairs- a devised theatre census by TPM’s University reps. Cozy up with us and get ready to ring in the new year.


  • Theatre with a twist!

    We have some special nights coming up for Beautiful Man by Erin Shields.



    Wednesday, November 16th at 7:00 p.m. at the Rachel Browne Theatre is PAY WHAT YOU CAN PREVIEW.



    Friday, November 18th at 8:00 p.m. sip on a cocktail by Roost on Corydon while watching the show.



    Tuesday, November 22nd at 7:00 p.m. is Student Night. Tickets for students are $10, and the show will be followed by a reception and talk back. All are welcome!

  • Special Guest Playwright Erin Shields at our Next Salon


    Join us on November 7th at 7:00 p.m. for a night at Prairie Theatre Exchange (our co-host for TPM ‘s 2nd Salon of the 2016-17 season) featuring the work of tenacious Canadian writer Erin Shields, delivered by local artists and the playwright herself.

    Erin will be in Winnipeg for this evening of readings from her plays If We Were Birds, The Millennial Malcontent, and Montparnasse as we prepare for the launch of her play Beautiful Man.

    Erin is a Montreal based playwright and actor. She won the 2011 Governor General’s Award for her play If We Were Birds, which premiered at Tarragon Theatre where she is currently a playwright-in-residence. Her adaptation of Ibsen’s The Lady from the Sea was part of The Shaw Festival’s 2015 season.

    The evening also boasts some delicious side dishes: performances by TPM’s Student Reps from their new work Science Affairs, and music to boot. Doors open at 6:00pm. Program begins at 7:00pm.

    Come for a glass of wine and some camaraderie, and whet your appetite for Beautiful Man running November 17-27 at the Rachel Browne Theatre.

    This event is free of charge. Generously sponsored by the Canada Council For the Arts and the Playwrights Guild of Canada.

  • Sargent & Victor & Me Tickets

    Please note that we are no longer selling tickets for Sargent & Victor & Me online. We are starting a waiting list for tonight’s final performance and may offer spots to a lucky few.  Call us at 204-989-2400 for details or to join the waiting list.

  • Let’s launch the season together!


    Join us at The Good Will (625 Portage Avenue) for readings from this season’s playwrights, musical treats and a sneak peek into Science Affairs, an all new theatre experiment by our UWinnipeg student reps!

    Oh ya, and you can chow down on some pizza at the same time.



  • Welcome to our 2016/17 Season


    We’re delighted to share with you three bold works by intrepid Canadian voices. Join us to experience unflinching stories that are artistically stunning and NOW.

    This fall TPM’s heads out on to the road, stretching our Manitoba routes with a rural presentation of Sick + Twisted’s Sargent & Victor & Me by Debbie Patterson, including a limited Winnipeg run.

    When the nights get longer and the snow begins to fly we will light a fire with Beautiful Man, Erin Shield’s sexy, no-holds-barred response to binge-worthy series like Game of Thrones and True Detective.

    And in the dead of winter TPM presents one of the most arresting contemporary Canadian solo shows– Huff by Cliff Cardinal, a Native Earth Performing Arts production.

    The season will be sprinkled with salons as well. This year, the University representatives from both University of Winnipeg and University of Manitoba come together to create a new production, through a highly scientific, laboratory-inspired creative process. Join us to see this show unfold and to experience performances and readings inspired by collaborating artists and our 2016/17 productions.

    It’s a season of exciting partnerships, and we look forward to welcoming new companies and communities into the TPM fold. TPM continues its commitment to Make/Shift Theatre, the company in residence, who will transport audiences through time….as they continue to tinker away at their time machine.

    We’re writing our own map down highways less traveled and we look forward to sharing the roadtrip with you.



    Season passes are ON SALE now and you can purchase a Super pass (for all three shows) or a Slim pass (for Beautiful Man and Huff only) today. Click here to start shopping or call 204.989.2400 for more information or to purchase over the phone.

  • You’re invited to the TPM AGM


  • Thank you

    “probably the most vital social conversation happening in our city, if not the entire country.”

    – The Uniter’s Thomas Pashko on Reservations

    Thank YouIt was a three-year journey to bringing Reservations to the stage and along with our gratitude for such a passionate artistic team, we have many people to thank for this amazing experience.

    We could not have done it without the incredible support of our sponsors, Assiniboine Credit Union, Investors Group, Pitblado Law, Relish Design, Winnipeg Free Press, The Gail Asper Family Foundation, Richardson Foundation, W.H. & S.E. Loewen Foundation, Thomas Sill Foundation and Winnipeg Foundations. Hugs and hearts also to our season funders and our amazing individual donors, as well as Playwright’s Workshop Montreal and the Manitoba Association of Playwrights, who both supported the development.

    We send a special shout-out to our high school audiences and those fantastic students who experienced Reservations with attentiveness and consideration – you blew us away! And finally, the biggest thank you goes to YOU, our dear audience! Your consistent hunger for exciting and intelligent theatre is the proverbial wind beneath our wings. Our endless gratitude goes out to you!

    TPM’s regular season of plays may be over, but stay tuned – we’ll be announcing our upcoming season in the coming weeks!

  • introducing emma tibaldo

    Emma_headshot_retouchWe are so pleased to welcome the very talented and accomplished Emma Tibaldo. We’re feeling pretty lucky to have snagged her from her busy schedule of theatre-making in Montreal! She co-directs Reservations alongside Winnipeg-based artist and educator, Ian Ross. Read on to learn more about Emma’s work, passion for new plays, and punk music.

    Your work in Montreal with Talisman Theatre and Playwrights’ Workshop Montreal is primarily with new Canadian plays, and Reservations is no exception. What draws you to new scripts?

    Ideas. Ideas on what it means to be human, including our ability to be inhuman. An ability to see the world differently. That is what attracts me to new work.

    What challenges you about working on Reservations? What excites you?

    The fact that we are creating two plays. Inhabiting two separate worlds with the same actors playing different characters in each play. Finding the ways in which the plays speak to each other and exploring prevailing attitudes towards First Nation issues of Land claims and Child and Family Services without underplaying the bonds of family, love and our human need for making connections.

    Working with plays in development excites me. Grappling with ideas in space for the first time.

    What do you do when you’re not creating art?

    I am Artistic Director of a New Play Development Centre, Playwrights’ Workshop Montreal…so always in the process of creating art.

    Any interesting projects coming up for you?

    I am collaborating on a new project called Skin with Leslie Baker and the company The Bakery. Created using Viewpoints over a two year process.

    Rumour has it you are part of a family band, The Tibaldos. What kind of music do you perform?

    So, the family band is made up of my husband and two friends. We have been playing in our basement and playing shows locally for about 10 years. We call it lounge punk but it really is punk. We are all lovers of noise. And we are happiest when we get together to make that noise.

  • Reservations on CBC

    Check out this sweet sound byte from an interview CBC’s Terry MacLeod did with Reservations playwright Steven Ratzlaff, co-Director Ian Ross, and Music and Sound Designer Andrew Balfour. The interview aired on CBC Radio the morning of Saturday, March 5- but you can listen to it right now!

    Reservations runs March 10 to 20 at the Rachel Browne Theatre.

  • introducing andrew balfour

    Andrew_Balfour1_shadow_bwWe are delighted to introduce the TPM audience to Andrew Balfour, the Music and Sound Designer for Reservations. His accomplishments are numerous. Of Cree descent, Balfour has written a body of more than 40 choral, instrumental and orchestral works. He is also the founder and Artistic Director of Camerata Nova ,where he specializes in creating “concept concerts” exploring a theme through an eclectic choice of music, including new works and innovative inter-genre and interdisciplinary collaborations. Andrew took a few minutes out of his busy schedule to answer some question for us about his life, work and inspiration.How did you begin your life as a musician?
    I was adopted at 6 months of age,  by blood family is from Fisher River First Nation.  My adoptive family was loving and supportive,  and recognized at an early age that I had musical potential.  I learned music through an intensive music program through our family church (father was an Anglican Priest),  and through this program was able to learn and love music,  including traveling to England several times in the summer to sing in English Cathedrals.  gaining instrumental scholarships,  and gaining lifelong friends.What are some main inspirations for your work? 
    The main inspiration of my work is the sound of the human voice,  along with the soundscapes of of environment.
    You recently created a piece for the Winnipeg New Music Festival based on testimonies from the Truth and Reconciliation Commission. How do you think art can help heal the painful legacy of racism and abuse suffered by Canada’s First Nations?
    Art and music is so important for aboriginal voices, especially in this time,  Canada has a long and rich history of aboriginal artisans,  but I’ve always felt the general population of Canada only see’s ‘Beads and Feathers’ when they think of Aboriginal artists.  The new ideas with aboriginal artists are so widespread and far reaching that we are finding a new voice to express important issues,  as well as expressing our inner pain,  joy, sadness,  life and death.

    More >

  • Introducing Reservations!

    Preparations for Reservations are in full swing now that the creative team has entered the rehearsal hall. The show runs March 10 to 20th at the Rachel Browne Theatre. Tickets are available right here (or look in the sidebar to your left!) or by calling 204-989-2400.

    An outstanding team of Canadian artists will bring Reservations to the stage, starting with playwright and actor, Steven Ratzlaff. We are thrilled to bring Steven’s work back to the stage, having been lucky enough to present premieres of his plays Dionysus in Stony Mountain and Last Man In Puntarenas during past seasons. We have worked with him as the play has been workshopped and developed over the past three years with generous support from Playwrights Workshop Montreal and the Manitoba Association of Playwrights (joyous thanks to those organizations!)

    Emma Tibaldo directs Reservations – she is the Artistic and Executive Director of Playwrights’ Workshop Montréal and a founding member of Quebec’s Talisman Theatre. Emma has a deep understanding of new play development and production.  Ian Ross co-directs, bringing his own extensive background as a Manitoban First Nations theatre artist. Ross is also an experienced drama educator, radio personality and recipient of the 1997 Governor General’s Award for his play, fareWel.

    We are excited to introduce our audiences to Andrew Balfour, a highly accomplished Manitoba Cree composer, and the founder and Artistic Director of experimental vocal ensemble Camerata Nova. Andrew is creating the original music and sound design!  Filling out the Reservations design team are two of TPM’s frequent collaborators: Grant Guy (Sets), and Hugh Conacher (Lighting & Projections Design). Grant created the spectacular set for The Miser of Middlegate (with zone41), as well as sets for TPM’s Stretching Hide and Dionysus in Stony Mountain.  Hugh has designed many shows for TPM, including  I Dream of Diesel (with One Trunk Theatre), Sargent and Victor and Me, Bashir Lazar and John and Beatrice. Costume Design is by Angela Vaags, last with TPM to design for the political players in Proud

    Playwright and actor Steven Ratzlaff is joined onstage by Tracy Nepinak and Sarah Constible. Nepinak is a Winnipeg-based Cree actor who recently appeared in Anthony and Cleopatra at SIR and The Rez Sisters at the Belfry Theatre in Victoria. Constible is a mainstay in Winnipeg’s professional theatre community, and with TPM in Dionysus in Stony Mountain and Monster Trilogy.



  • Interview with Playwright Steven Ratzlaff

    ratzlaff croppedFor patrons who have been with TPM for a long time, Steven Ratlaff’s work will be familiar to you. For those of you who are new to TPM, you may not know that Reservations is the third of Ratzlaff’s plays we have had the pleasure of presenting. In 2010 we presented the premier of Ratlaff’s Last Man In Puntarenas, a piece that confronted issues in health care, and in 2012 we presented the premier of Dionysus in Stony Mountain, a play that tackled the criminal justice system. If it is not already apparent, Ratlaff has a talent for writing politically-minded plays! We convinced him to take some time off from his busy schedule of being both Reservations‘ playwright AND performer, and here is what he told us.

    How do you get your ideas for plays?

    When I’m on the hunt for a story that could be an idea for a play, I’m paying attention in a certain kind of way.  When I’m reading, when I’m listening to a conversation, whatever –  I’m waiting for something to click. When it does, I might start writing a scene. If I start to hear the characters talking in my head I know that there might be a play.

    In the case of Standing Reserve what clicked was a story I read about foster parents in conflict with their agency. Listening to a conversation about family inheritance got me thinking about what eventually became Pete’s Reserve.

    Can you say a little more about why certain stories “click” for you.

    I’m not drawn to stories about good people struggling against bad people. Situations that interest me are ones where well-meaning people are in conflict with each other or even themselves. This conflict might be about different priorities, different beliefs, none of which are bad.

    I understand why politicians feel it is necessary to speak about Canadian values, but I do think it’s misleading. Canadians value all kinds of ideals and things differently. The resulting tensions are felt even within individuals. Take one question that is asked in several different ways in both plays: What is owed to whom? The answers are not obvious. I guess I’m not interested in obvious answers. Obviously.

    More >

  • January Salon!

    127fb83d6ece4c392621daf6c1cfc85dOn the heels of closing Encounters, we’re chomping at the bit for more new work! In the spirit of budding theatre-makers, such as Sydney Hayduk and Fraz Wiest of Encounters, we’re presenting two exciting projects at this Salon. First, we have a fascinating improv format called 50/50 from Montreal Improv brought to us by RobYn Slade of Outside Joke , Dungeons and Dragons Improv and Common Crow Improv Co.. The format pairs actors and improvisers in two-person scenes. The actor is given only their lines from the scene, and must stick to the script; the improviser is given nothing! Our brave improvisers are George Hudson, Andrea del Campo, Lauren Cochrane, Dan Berzenji and Ashley Burdett. Some of the playwrights featured will be Angie StMars and Sharon Bajer, and we can expect the theatrical stylings of Victoria Hill, Christina Heather and Johanna Burdon. Our second treat is more new work from our company-in-residence, Make/Shift Theatre, fresh off of a writing retreat! Musical guests are Roger Roger, recent West End Cultural Centre sell-outs with their album release.

    Join us at 7pm at the Times Changed. Doors open at 6pm, so come early for warmth, drinks and delicious tex-mex treats. Admission is free for Season Passholders and by donation for civilians.

  • interview with syd + fraz

    Processed with MOLDIV

    We heart our intrepid Encounters performers in a serious way. Syd Hayduk of Village Ax and Fraz Wiest of FRAZ Vs. The Future have captured our hearts and imaginations with their intelligent, quirky and touching forms of expression- we can’t get enough! We picked their brains this weekend about their artistic experiences, social media and insects. Here is what they told us.





    TPM: How old were you when you started performing?

    SH: I went onstage the first time when I was 6.

    FW: I’ve kind of always been performing. I think the first words out of my mouth may have been an impression of someone else. 

    TPM: Your first time on stage? 

    SH: It was a dress rehearsal for my ballet performance. I was supposed to take off my pink house coat to reveal my cute tutu and pink sparkly vest. But my pink sparkly vest came off with the house coat. Let’s just say, it was a complete and utter disaster. 
    FW: I do believe my first time on stage was in the role of ‘Santa Claus’ for my 1st grade Christmas concert. Also, if memory serves, it was adorable. 

    TPM: First piece you ever wrote?

    SH: I had a cat named Popsicle. I wrote a story about Popsicle’s greatest adventure. 
    FW: I’ve written lots of monologues and sketches and bits, but I think the first think I’d consider a ‘piece’ would be my first solo show, FRAZ: Lonely At Last. That was less than four years ago, but feels like way longer. 
    TPM: Favourite way of expressing yourself? 
    SH: Dancing. Hugging. Eye contact. 
    FW: My favourite way of expressing myself is through conversation. Improv and comedy in general are great artistic expressions, to be sure, but I’ve found that in an age where the majority of communication is done electronically, I’m constantly craving and seeking out more people to interact with on a personal level, which FRAZ vs The Future touches on. 

    TPM: Greatest inspiration?

    SH: Metaphysics and the power of love. And Ellen Degeneres. 
    FW: My greatest inspiration is humans, which has a lot to do with my last answer. The cynical side of me looks at how humans behave, makes me shake my head, and then hopefully finds the humour in it somehow. On a more personal level, I’m constantly amazed at how a conversation with a close friend or fellow artist can inspire a creative endeavour. I’m blessed to say this happens all the time! 
    TPM: Biggest artistic roadblock?

    SH: Anxiety and fear.

    FW: Myself. To me, art is inherently collaborative. It probably has something to do with my improv background, but it’s hard for me to fathom creating any project without at least one other person involved. It’s sometimes quite hard to motivate myself without the ability to riff and bounce ideas of another person or group of people. 

    TPM: Do you prefer collaborating or working alone? Why?

    SH: Man, I love collaborating. Cause that’s life. Connecting. You know? But alone time is important too. My answer is both.
    FW: See previous answer! Some of the best moments I’ve had on stage were because of who I was sharing it with. Solo work is a different animal entirely, but I also consider the audience to be collaborators in sense, so I guess what I’m trying to say is please no one leave me to my own devices ever. I will get quite bored. 

    TPM: In honour of Village Ax – your favourite insect? Why?

    SH: Bees. Because they actually do shit. All other bugs are buggers.

    FW: Spiders. Most animals people are terrified of fascinate me to no end. They build their houses out of their butts! That is BONKERS.

    TPM: In honour of FRAZ Vs. The Future – your least favourite form of social media? Why?

    SH: I don’t think I have a least favourite ‘form’ of social media. But I can tell you what I dislike about it. I really dislike that I know stuff about my friends that they haven’t told me personally. It makes us all closer, but it also tears us further apart at the same time.

    FW: All of them. They all have a purpose, and it’s not that I don’t see the appeal, because I certainly do. My problem is that there’s no social limitation to their use. Using these sites and apps as often as you can, in any given social context, is not only accepted, it’s more or less encouraged. There was a time when everyone smoked cigarettes. Everyone. Without a thought as to what it was doing to our health, both personally and as a culture. I’m clamouring for the day to come when people say, “Remember when everyone stared at their phones all day, every day? How did we get anything done?! How could we have possibly gone all that time without eye contact or actual conversation using our mouths and ears?! So weird!!”

  • Post-Show ENCOUNTERS!

    Processed with MOLDIV

    Why ‘Encounters’? After some of the performances we will have what more traditional theatre calls “talk backs”. Our intrepid writer/performers are interested in doing something “with” the audience. “Talk Withs” may be a better way of describing it. Sydney, Elsa and Fraz would like to talk, laugh and share ideas with our patrons. There will be painting, dancing, cocktails and time travel. There will be a sharing of space, ideas and energy. We will meet each other.

    Below is a schedule of our five post-show Encounters. Each will offer something difference, each promises to entertain and inspire!

    Saturday January 9th

    Q&A Three Way – Getting to Know You with Syd, Elsa and Fraz

    Sunday January 10th (licensed)

    Cocktails in the Hive – Story Time and Mixer- How Sydney and Elsa created Village Ax

    Tuesday January 12

    Vision Quest 2016 – Making Art & Life- When Fraz Met Sydney

    Friday January 15 (licensed)

    Dance Dance RevolutionA Licensed Artistic Exchange

    Sunday January 17th

    Clear Eyes, Full Hearts, Can’t Lose


  • TPM Encounters: an interview with Ardith!

     “These plays have big beating hearts. Fear. Hope. Courage. Anger. But ultimately, there is love in them. And so much laughter.”

    fraz_vs_futureWe’re gearing up around here and it has nothing to do with trees, candles or wrapping paper!  TPM ENCOUNTERS: Fraz Vs. The Future and Village Ax opens January 7th and we’re starting to feel like kids hopped up on peppermints and shortbread!

    In eager anticipation, we interviewed TPM’s Artistic Director, Ardith Boxall to discover a little more about these plays, young artists at TPM and what exactly we might ENCOUNTER at the theatre!

    TPM: Both Village Ax and Fraz Vs the Future are Fringe Festival productions.  What was it about these 2 shows that compelled you to program them for TPM’s regular audiences?

    ArdithAB: The TPM audience is every bit as adventurous as the Fringe audience. We are sharing these shows not because they were in the Fringe but because the show’s creators are brave young artists who have so much to say about the world. They are rule breakers who are not afraid to strip their show down. No sets, no bells or whistles. As a result, pure performance, adrenalin, passion and more personality than should be legal. What better way to encounter a cold January night than to meet two young artists who burn with the heat of a thousand suns.

    TPM: Is there anything in common between these two shows? Are they related thematically?

    AB: There is adventure. And misadventure. These are stories about how we move forward even when the path seems like a nasty and ill-fated mission. Sometimes getting up in the morning, and sometimes saving the universe. It can take the same intrepid spirit to move about in our world.

    These plays have big beating hearts. Fear. Hope. Courage. Anger. But ultimately, there is love in them. And so much laughter.

    TPM: Do you feel there is a specific role that TPM plays for young artists in the community? More >

  • Theatre Projects Manitoba Holiday Salon!


    Salon photo - gord with a bag on his headDate: Monday November 3oth

    Doors open for eats and drinks at 6:00pm
    Program begins at 7:00pm

    Musical guests Omar Khan and Claire Thérèse, Michelle Boulet and Sarah Constible, and Raine Hamilton!

    New work by TPM’s Company in Residence Make/Shift Theatre featuring Liam Zarrillo, Kristian Jordan and Brittany Thiessen!

    Sneak peak of new work from Village Ax Co-creator Elsa Reesor-Taylor!

    Holiday wisdom/shenanigans from Ian Ross and Ellen Peterson!
    And more!!!!!

    Season pass holders get in free – general public by donation at the door.

    Location: TIMES CHANGED HIGH & LONESOME CLUB – 234 MAIN STREET.  Check out their website and menu here!

  • Spotlight on Heather Russell

    Heather Russell HeadshotThis week we are shining the spotlight on Heather Russell, playing Anna in Iceland. When we spoke with Heather, she shared her passion for Bouffon, fossils and the Settlers of Catan, and her thoughts on ICELAND’s monologue form.

    TPM:  You are also part of local buffoon/clown troupe, the Talentless Lumps? What draws you to buffoon/clown work? 

    HR:  The father of bouffon, Philippe Gaulier, says: “Bouffons are everything humanity has rejected, but they come to tell us that all aspects of humanity belong to everyone. In the grotesqueness of the bouffon is a truth about humanity.” The Talentless Lumps are six women who strive to celebrate the so called “ugly” parts of ourselves and our world. As members of a society obsessed with perfection, it’s a terrifying and exhilarating experience.

    TPM:  How did you become a theatre artist?

    HR: I was originally going to be a teacher. I was at Brandon University in my 3rd year of a B.A. in French, when I acted in a play for the first time. I’d been in musicals before, but never a straight up play. It made me want to pursue theatre as a career. So I finished that degree, moved to Winnipeg, and got an Honours Acting B.A. at the University of Winnipeg.

    TPM: Any passions or hobbies outside of theatre? 

    HR: I play a mean game of Settlers of Catan.

    TPM: Iceland is a trio of intersecting monologues. Are there any particular challenges or advantages to working on a show where the characters don’t directly engage with each other? 

    HR: Although we don’t directly engage with each other, we are still affected by each other’s energy. I don’t feel alone up there. The audience becomes our acting partner, so we never know what to expect!

    If you were not a theatre artist, do you have a fantasy, alternate dream job?

    HR: Astronaut. Or paleontologist.

  • spotlight on iceland performer laura olafson

    LauraThis week we are shining the spotlight on Laura Olafson, playing Kassandra in Iceland. This is Laura’s first appearance with TPM, and we are sure you will agree that she is a fantastic addition to our family of artists. Laura chatted with us about her time in (the country) Iceland and why she considers herself a drama queen.

    You travelled to Iceland in 2009. What was that experience like? What made you want to visit the country?

    I traveled to Iceland in 2009 with The Snorri Program. My father is a full blooded Viking and I applied for the Snorri Program because it’s aim is to strengthen the bond between Icelanders and people of Icelandic descent living in North America. I can’t really put into words how deeply the experience of being in Iceland for six weeks affected me but as soon I stepped off the plane, I felt as though I had come home. Meeting family, making new friends, being immersed in the language and the culture, taking in the breathtaking sights, sounds and magic of that country left a huge impact on me. I did not grow up with any grandparents and so I never felt connected to the stories of my families past in any way. Seeing the farmsteads where my great grandparents were born was a truly remarkable gift. Now I just have to get to Newfoundland and Ireland to see where my mother’s people came from!
    How did the 2008/2009 market crash affect you, if at all?
    The crash did not really affect me in any way, however, travelling to Iceland in 2009 was very beneficial for me. Before the collapse, I would never have been able to afford to travel there but luckily, the year I was there my money went a long way. I was able to purchase some beautiful gifts for my family, enjoy some yummy meals, buy a ton of music, and party all night long in the unique clubs and discotheques.
    How did you become a theatre artist?
    I think it’s safe to say that I was born a drama queen. I have always loved to play pretend. I was mentored and encouraged by my elementary school music teacher, Mrs. Judy Steele and by Mr. George Budoloski and Ms. Robin Dow while I was immersed in Grant Park High School’s Performing Arts Program. I flourished in the program and so after I graduated I decided to pursue my passion at Grant MacEwan University in Edmonton, AB. I worked as an apprentice in many shows out West before I came home to work as a professional. I truly believe that you don’t choose this life as a theatre artist, that it chooses you.
    Any passions or hobbies outside of theatre?
    Outside of my work in theatre, I work in the school system. I support children and teenagers with special needs. I worked in group homes in my early twenties and have always felt a strong connection to helping others. I obtained my EA (Education Assistant) diploma at the University of Winnipeg five years ago and have worked in many schools over the years. This work is very sacred to me. Each child I get to work with teaches me valuable lessons about life and helps mold me into a better human being.
    If you were not a theatre artist, do you have a fantasy, alternate dream job?
    I have a couple of dream jobs. I would love to be a doctor, helping people in poverty stricken countries. I would love to be an honest and forthright politician. I should have gone to law school because, aside from high marks in Performing Arts and Peer Tutoring in High School, Law was another subject that I did very well in. All that being said, playing pretend is my dream job.
  • Spotlight on Iceland Performer Omar Khan

    Omar Alex Khan headshot tieOur next featured artist is Omar Alex Khan, playing the role of Halim in Iceland. Omar has appeared with TPM in the zone41 co-production of Three Sisters, presented in 2011. We had a chance to ask Omar about his career, his passions and his experience with full frontal nudity (!).

    You did a show with Toronto’s Cahoots Theatre, The Wanderers, which incidentally had you working alongside Kawa Ada, the actor who premiered the role of Halim in Iceland. Can you tell us more about your experience with Cahoots and The Wanderers?

    Cahoots is a small company whose mandate is to produce new works that examine the complexities of cultural and sexual diversity. The Wanderers is a powerful play about an Afghan man’s experience of moving to Canada with his wife and young son. Director Nina Lee­Aquino, who is also the co­artistic director at Toronto’s Factory Theatre, is what people like to call “an actor’s director”, and I’d work with her anytime. Kawa was also very collaborative as a playwright, and was open to making changes right up until opening night. Sometimes the actors would walk into rehearsal and have a page of new lines thrust at them, or have a page of lines cut, so keeping up with the script changes was challenging. It will always be memorable to me for several reasons: it was my first theatre gig in Toronto; it was only the second time that I was involved with the creation of a new play; I got a chance to workshop the play a couple of times and follow its development; and last, but not least, it was my first (and so far, only) time I’ve appeared nude onstage (full frontal, baby!).

    How did the 2008/2009 market crash affect you, if at all?

    The financial crisis didn’t affect me directly. But in doing research for the show it was fascinating and disgusting to see how the lives of so many were affected by the greed and power of so few. One of many galling facts is that after the US banks were bailed out by their government, many of the bank heads and higher ups gave themselves big fat raises.

    How did you become a theatre artist?

    When I was setting up my grade 11 timetable my best friend decided he was going to take a theatre course, so, being a follower, I signed up too, just because I thought it would be fun. Little did I know it would be life changing.

    Any passions or hobbies outside of theatre?

    I’m a big hockey fan. I’m also an early childhood educator so when I’m not acting I’m working in a daycare with 2 to ­12 year olds. If I couldn’t spend time with them, there would definitely be a hole in my life.

    Iceland is a trio of intersecting monologues. Are there any particular challenges or advantages to working on a show where the characters don’t directly engage with eachother?

    We don’t look at each other directly in the show. Sometimes we can see another actor in our peripheral vision but we never get a good look at their face. We don’t get to see the facial expressions and gestures and body language that the other actors are making when they’re speaking. So we’re at a disadvantage because those expressions and movements directly influence how the words are interpreted and perceived. It means that we have to be listening carefully and be fully engaged with what’s happening on the stage.

    If you were not a theatre artist, do you have a fantasy, alternate dream job?

    My dream job has always been to be an NHL hockey player. I guess we know how that turned out.

  • Spotlight on Iceland Designers

    Meet Linda Beech and Joseph Abetria! As we approach opening night of Iceland (November 5!), we would like to introduce our audience to the talented artists handpicked to bring this production to life.

    Linda, our set designer, is an artist celebrated for her large scale sculpture and installations. Two of her most well-known projects are “Big Crow” and “Borderline”. “Big Big crowCrow”, pictured below right, was shown at Access Gallery in Vancouver in 2002 with the help of a British Columbia Arts Council Grant. The piece was also shown at the University Of Western Washington in 2003. In 2004, Linda unveiled an installation piece at the main branch of the Vancouver Public Library, “Borderline” (pictured below left). On “Borderline” Linda says:

    “We made the city. What does the city make us? Like the majority of people I have spent most of my life in an urban environment. Although I have idyllic dreams of the “country” or “nature” I will probably spend the rest of my life in cities. I’m interested in how an urban environment comes together with nature and the blurring of those boundaries. “Wild” animals are my starting point. The crows, raccoons and coyotes that inhabit the city are signposts, marking an uneasy border between civilization and Borderlinewhat lies beyond. My work explores this juncture and raises questions about co-habitation, ownership and territory.”

    Joseph is designing costumes for Iceland. We were curious about this exciting young artist’s budding career, so we asked him a few questions about where he is going and where he has been.

    You have recently graduated from the University of Winnipeg’s Theatre and Film Department. Any big dreams or goals on the horizon now that you are finished school?

    Joseph: One of my goals after I finish school is going back to school. I am interested in acquiring my master’s degree in theatre design in the future. I believe that there is always something new to learn and refining my craft is something important to me. One of my big dreams is to design for dance; maybe a new ballet or contemporary piece. Costume designing for dance pose different challenges to the designer and it has always been fascinating to watch the movement of a dancer breathe new life to a piece of costume.

    How did you become a theatre artist?

    Joseph: Theatre was something that I fell into in university. I never took drama in high school. In fact, I took all the science classes thinking that I might do something with that in university. But the call to do something creative, visual, and artistic was just too strong. I took the Intro Theatre Design class along with a production class in my second year and the rest was history.

    If you were not a theatre artist, do you have a fantasy, alternate dream job?

    Joseph: As a kid, I enjoyed reading comics and watching animation, so much so that I’ve dreamt of becoming a cartoonist. Those early days of sketching and painting were the first sparks of my interest in the visual arts. I think if I weren’t a theatre artist, I’d be a painter or an illustrator.

    Stay tuned for our Spotlight on Iceland Actors!

  • TPM Salons!

    New to TPM? Welcome to our monthly cabaret night, the TPM Salon! These events are popular with artists and audiences alike.  Every month, emerging and established artists come together with audiences in a cabaret setting to explore the playwrights and themes of our season.  Music, song, dance and theatre!


    September 28th, 7pm at Le Garage (166 Provencher)

    Join TPM as we celebrate the start of our season in collaboration with the Wrecking Ball. Established in 2004, this innovative, cross-Canada theatre institution was created to prove that Canadian political theatre is viable. Invited playwrights are instructed to create a 5-7 minute piece based on current political headlines, and that it must only be rehearsed the week prior to performance. Occurring simultaneously in venues across the country, the current edition of Wrecking Ball will explore the upcoming federal election. The Winnipeg edition is being curated by TPM collaborator, Deb Patterson, who has invited Trish Cooper, Frances Koncan and Fraz Wiest to pen scripts, and Tom Penner to lead us in a rousing chorus of “Harperman”. The Talentless Lumps will also make a grotesque and delightful appearance.

    Salons are on Monday nights and will be held at various venues this season. Check back here regularly, call us, like us , follow us or subscribe to our Newsletter – all great sources for Salon details and all the TPM alerts you might need!

    Doors will open by 6PM and refreshments will be available!  Show starts at 7PM. Admission is free for Season Pass holders and by donation for the general public.

    The 2015/ 2016 Salon Schedule:

    • 7PM Sept 28: at Le Garage (166 Provencher)
    • 7PM Oct 26
    • 7PM Nov 30
    • 7PM Jan 25
    • 7PM Feb 29
    • 7PM March 28





    Artistic Director Ardith Boxall and General Manager Rea Kavanagh are pleased to announce Theatre Projects Manitoba’s 2015/16 season. Buoyed by the success of last year’s three show season, TPM proudly returns with fall, winter and spring offerings! Featuring the world premiere of a timely drama about children and land, an award winning play about greed, sex and despair, and a double bill with two of Winnipeg’s most promising solo theatre talents, the 2015/16 season of Theatre Projects Manitoba will bring you to the edge and push you off!

    The season opens with Iceland by Governor General Award winning playwright Nicolas Billon. Set against the backdrop of the financial crisis, Iceland explores how a far off event affects the lives of three strangers in Canada’s biggest city.

    In January audiences will be treated to two unique emerging writer/performers. Fraz vs. the Future written and performed by DnD Improv legend Fraz Wiest and Village Ax written by Sydney Hayduk and Elsa Reesor Taylor – performed by Sydney Hayduk.

    In March we offer the world premiere of Reservations by Steven Ratzlaff (Dionysus in Stony Mountain). Reservations explores the often contentious relations in Canada between Indigenous peoples and the rest through our common children, land and the quest for acts of restitution.

    2015-2016 SEASON DETAILS



    By Nicolas Billon

    Directed by Ardith Boxall

    November 5th-15th

    The Rachel Browne Theatre

    Iceland is part of the trilogy Fault Lines which was awarded the Governor General award for drama in 2013. Set against the backdrop of the banking crisis, a confrontation between a real estate agent and a tenant takes an unexpected turn. A snapshot in time of the effects of capitalism; how we all benefit from it, how we are all part of the system, and how we can all be greatly hurt by its effects. Iceland uses wit and dark humour to tackle the consequences of greed and our yearning to belong to something larger than ourselves.

    “Iceland is a beautifully structured and extremely powerful play that haunts the mind.  Billon is an original and exciting voice.”                – Atom Egoyan


    Fraz vs the Future (randombandname productions) &

    Village Ax (Peachy Keen Productions)

    The Rachel Browne Theatre

    January 7 – 17, 2016

    Fraz vs The Future is a show about time travel, technology, fear of change and social media. Ever since humans invented the idea of “the future”, they have pondered, wondered and been deathly afraid of it. Fraz has the courage to make the future hilarious, while at the same time admitting he’s terrified of it.

    Writer and Improviser Fraz Wiest is a founding member of Toronto’s Ghost Jail Theatre, and a cast member of Winnipeg’s DnD Improv. Fraz performed White Rabbit Red Rabbit for TPM last season and is well known on the Fringe and comedy circuits across Canada.

    Village Ax – Standing tall is a bedroom wall. Inside exists a Village of 200 inhabitants struggling for their lives. Inside them is a small, vulnerable creature. When Charlie (a 20 something social media consultant) spots a sign posted on a telephone pole which reads “Do you wanna disappear?” she is transported into the depths of a hive shaped village.

    Written by Elsa Reesor-Taylor and Sydney Hayduk – AKA Peachy Keen Productions. The show is performed by Winnipeg writer/dancer/company founder Sydney Hayduk. Peachy Keen debuted on the Fringe scene in 2014 with the delightful hit Bizarro Obscure. (Sydney Hayduk/Christy Taronno). The company crafts each show around messages of human vulnerability and love. Village Ax is dedicated to those who lock themselves in.



    By Steven Ratzlaff

    The Rachel Browne Theatre

    March 10 – 20, 2016

    Steven Ratzlaff is known as one of Manitoba’s most political playwrights, exploring contemporary social and political issues through a local lens. His play Dionysus in Stony Mountain dealt with criminal justice. Last Man in Puntarenas was about health care. With this next work he continues to attack issues of immediate concern, potentially making a very real change in the audience’s understanding of at –risk children and restitution for First Nations.


    Reservations inserts us into two stories; a dispute between foster parents and the Aboriginal CFS agency responsible for their children and the philosophical and spiritual decision of a Mennonite farmer who gifts his land to the Siksika First Nation. Artful, entertaining and provocative, Reservations asks tough questions about our home and native land.



    Our vision of theatre is intimate, provocative, and artistically driven: shaped by a strong belief that playwrights and plays are the heart of Canadian theatre.

    Our goal is to build a cultural narrative that speaks to our community and reflects our shared experiences.

    Committed to the cultivation of Canadian Theatre, in the past 25 years TPM has staged more than 50 new Manitoban works.

  • Introducing Arne MacPherson and Justin Otto

    Processed with MoldivAs we continue our profiles of I Dream of Diesel artists, we are delighted to present Arne Macpherson and Justin Otto. Arne plays Frank and Justin plays his son, Joe.


    -How did you first get involved in theatre?

    My life in the theatre really started in earnest when I moved to Winnipeg in the early ’90s.  I bought a house with Deb Patterson (his partner, writer and performer of TPM’s production of Sargent & Victor & Me last season), we started a family and felt embraced by the community.

    – What is your favourite thing about being a theatre artist?

    Doing theatre puts you in the moment with the other people in the room like no other experience I have had.

    – What is your experience with devised theatre?

    I have been involved in one other devised piece, which I co created with dancers,theatre artists and visual artists from Canada and Iceland.  We showed it in Reykjavik and Winnipeg.  It was super fun and really challenging.

    – What strikes you most about the experience of working on I Dream of Diesel?

    Working on I Dream of Diesel has been a utopia of creativity, collaboration, good vibes and games of Foursquare.



    -How did you first get involved in theatre?

    I first got involved with theatre in high school. I went to high school in Lac du Bonnet, a small rural town North East of Winnipeg. I was lucky enough to go to a school with a great theatre program that allowed me to be in productions of The Odd Couple and Twelve Angry Men.

    – What is your favourite thing about being a theatre artist?

    Being a theatre artist allows me to Play for a living…what can I ask for beyond that really.

    – What is your experience with devised theatre?

    I had devised a few small pieces with classmates in university but nothing to the scale of a full production such as Diesel. My impressions of devising this project has been the sheer magnitude of all the little pieces we have to create this story. Rehearsing while devising allowed the characters and the story to come through in ways I’m not always accustomed to, be it a shadow or an object being placed on stage, instead of your standard search in the text itself for who these characters are.

    – What strikes you most about the experience of working on I Dream of Diesel?

    Working on I Dream of Diesel I am struck by the sheer array of talents of my crew and fellow cast mates. Everyone either brings to the table a craftiness, another directorial eye, a script change here or there or a mean back hand in a game of Foursquare. This project asks a lot of everyone involved, in terms of being multidisciplinary, and those challenges have been met full on.

    – Any exciting projects coming up?

    As far as exciting upcoming projects I have two! As I Dream of Diesel winds down it’s run at the Rachel Brown I head into rehearsals for WJT’s Canadian Premiere of Bad Jews, following that I am touring my Fringe show The Manic Pixie Dream Girl, with my multi-talented co-creator Sydney Hayduk; to London, Montreal, Winnipeg and Calgary Fringe.

    – Care to tell us more about any other job(s) you may have when you’re not creating theatre?

    When not creating theatre I can be found behind the grill at Nuburger, the best burgers in Winnipeg, 472 Sherbrook.

    – When you were a kid, what did you want to be when you grew up?

    The funny – perhaps even sad – thing is, even as a kid I wanted to be an actor when I grew up. Particularly watching the way Jim Carrey made me and well EVERYONE laugh growing up inspired me to be a class clown – to the unappreciated grumbles of my teachers.

    – What type of family do you have?

    My family, still living in rural Manitoba, share a lot of similarities with the family in Diesel. With that in mind they are also a loving bunch of folks who motivate me to dream – much like my character Joe, the dreamer of the play.



  • Preview of I Dream of Diesel

    Claire Thérèse Friesen and Andraea Sartison“The way I work is that I always say yes and then figure out how to do it. I’m never afraid to say yes and problem-solve.”

    The curtain rises tonight on I Dream of Diesel! The Winnipeg Free Press printed a lovely preview article about the show that gives a great profile of Diesel director/co-creator- and One Trunk Theatre’s artistic director- Andraea Sartison (quoted above). She is a force to be reckoned with. We’re sure you will agree after seeing the show!

    Click here to read the article. Tickets are sold out for opening, but there are seats available for all other nights of the run. Buy on this website or call us at 204-989-2400.


  • Introducing Claire Thérèse: Diesel Co-creator and Performer

    Claire FriesenHow did you first get involved in theatre?

    I was failing pre-calculus math (for the second time) and my father said, “If you can get into something else, like theatre, you can drop math class.” So I randomly auditioned for PTE’s Young Company and they took a chance on me.  I’ve avoided math ever since!

    What is your favourite thing about being a theatre artist?

    I love the impermanent nature of live theatre.  It is so real and all-consuming when you’re in the middle of it, and then it’s done.  I love that I’ve watched a good play and carried memories from it for years, without ever getting the chance to physically revisit it.  The theatre was the first place I really felt a strong sense of belonging, and guess that’s my favourite thing about being a theatre artist – the extended families that are created in during the process.  More >

  • Introducing Karl Thordarson

    Karl Thordarson- HeadshotWe are so tickled to present One Trunk Theatre’s I Dream of Diesel, we just have to gush more about the artists! Today we introduce you to the lovely Karl Thordarson, who plays Diesel’s Danny.

    How did you first become involved in theatre?

    I’m not the only one who I’ve heard say this, but it was actually Arne’s (co-performer in Diesel) performance in Richard III that I saw as a teen that made me wanna be an actor. I’d later done some film work and studied camera and lighting a bit out in Vancouver but ultimately wasn’t inspired by the work, it wasn’t until I moved back here, to pursue an education in horticulture actually, that I recalled that guy from the show at the ruins and decided to re-explore that dream. I’ve since found the theatre community here to be very inspiring and was extremely proud to have the opportunity to perform in SIR’s return to the Ruins in Henry V.    More >

  • IT ALL BEGAN WITH YES: A conversation with Andraea Sartison of One Trunk Theatre

    Sartison headshotWe asked local theatre artist and educator extraodinaire, Pauline Broderick, to have a chat with I Dream of Diesel director and co-creator, Andraea Sartison (pictured left). Pauline is a veteran drama educator who is delighted to get to ask questions of a new generation of experimental theatre artists. She is part of the design team working on the development of the new provincial arts curriculum. Currently she is privileged to be teaching a class at the University of Manitoba called Arts Infusion in the Digital Age where students collaboratively create performance.

    PB: What was the catalyst for this theatrical experiment?

    AS: I was really interested in collaborating with a musician. That is a lot of what One Trunk does. We try to make theatre with artists from other disciplines. We decided to work with music this time because it is such a big thing in Winnipeg and it’s a big thing for me. We sought out a musician who would be a collaborator. That is more difficult than you would think. A lot of people are busy or uninterested or didn’t quite get it but when I called Scott Nolan he said “YES! I’m in!” At the time I didn’t even know a lot about Scott but he came highly recommended as an awesome storyteller and a great musician. It was an unplanned match made in heaven.

    PB: So it all started with the impulse to work with a musician?

    AS: Yes. The reason that I’m after interdisciplinary collaboration is that theatre itself is interdisciplinary. In my own life and my own practise I have always done choir and music and painting and theatre. I think the draw to theatre was that I could combine all of those various interests into a living, story based art form. It feels like a very natural thing to do. In the past we have collaborated with hip hop artists and with dancers but we haven’t done music and we hadn’t done folk music which is such a Winnipeg thing. We started listening to Scott’s music and we got to know it really well then responded to it in a range of different ways. It was the feeling of the music that inspired us. His music is very poetic. We pulled characters and themes from the music and developed their stories. Even now, after the show has taken on its own life, you can find the connections to his music.

    PB: Tell me about the beginning steps on the journey from YES to the refinements of a staged production.

    AS: We started working on idea development in 2013, so we’ve been at it for a couple of years. We did a whole bunch of workshops. Our first workshop was an image based exploration. We listened to the music then went looking for artifacts that might fit the story. We built scenes with these objects. We identified characters and created sequences using the objects that illustrated the characters hopes and dreams. We performed them for each other and talked about what they made us think and feel.

    PB: That was phase one. What did phase two look like?

    AS: After that, we worked on physical based explorations of character and stories. We were mostly developing images and characters at that time. The Carol Shields Festival gave us a deadline to work toward. We had to tie a lot of loose ends together to perform. That’s when Claire Therese came on board. She was a really important part of the writing process. She started pushing us in the direction of a story that has A-Z. Our first attempt at A-Z was very visual. It had maybe 35 words. It was very physical. We had a full set and projections and music so it was very sensual and very evocative. From that Theatre Projects Manitoba invited us to be part of their season so this whole last year has been focused on the written script.

    PB: What does that process involve?

    That’s been Claire, Gwen and myself. The intention was to have a full script to work with. We did some good writing. It took the full year. It finally feels like we have a script. Everyone has had a hand in everyone else’s work. I know there is not one single scene that has not been altered by someone else.

    PB: How has that sense of collective creation played out in this phase of production?

    AS: Over the last few months we have started to take on more focused roles. Claire did the last draft and edits. Gwen has taken care of design elements and I have taken on the role of producer/director. We trust each other in those roles because no matter how great collective creation is, it doesn’t work to have three directors.

    PB: What role does projection technology play in I Dream of Diesel?

    AS: In our show the technology helps us paint a picture of “place”. We made a collective choice to make the set pieces very simple and nostalgic. When they are projected upon, another layer of experience is illuminated. We’re interested in using projection to tell the story; to be a character in the story; to transport an audience to a place. Technology is successful when it is fully integrated into the story. It’s the same with music. It has to be fully integrated.

    PB: Tell me about the story?

    AS: A lot of this piece for me has to do with where the dream intersects with reality. It has to do with the character’s dreams and when they have to let go and face reality or when the dream becomes reality. This play is a conversation between what is real and what is not. Dream and Reality is a big thing. There is also a bit of a haunting in the show; not as in a ghost story but more about a haunting of prairie lore and ancestry; an awareness of the soul of the prairie. It’s also about coffee. The opening invitation to the audience is about sharing a coffee with them. In a lot of ways it’s a prairie symbol of sharing stories. It’s a love story about our relationship to the land. I think the story really speaks to women our age. It about having a dream or an ideal of what your life is going to be and then arriving at the moment when you realize what your life is and being OK with that.












  • TPM Salon brings Radio Plays to Maw’s Bar and Eatery! Monday!

    RadioJoin us at the TPM Salon on Monday February 23rd Doors open for drinks and food at 6:00pm. We go live at 7:00pm.

    A sampling of Ross McMillan’s Winnipeg plays rescued from the CBC radio vault! Never before heard by a live audience…..or seen!

    You will hear them first! These short plays require nimble performances and live Foley effects to create the world of Winnipeg at the turn of the century. You will learn about your City, you will be entertained, you will bear witness! The Tree Lady, Birth of the Arts, Broadway and Court Trials …….. Winnipeg like you have never heard it before.

    What in tarnation are we doing? Come and find out. TPM pass holders get in free OR admission by donation at the door.

    Directed by Michelle Boulet with Sarah Constible, Ryan Bjornson, Ross McMillan, and more!

  • SCOTT NOLAN: the I Dream of Diesel muse

    SCOTT_NOLAN_CD_ENVELOPE_TEMPLATE-1“Some have called him noteworthy, even acclaimed – but the smart money cites Nolan as a voice rarely heard this side of the century, a musician who shrugs away any five-dollar-cover singer-songwriter motifs before he unsnaps his guitar case. His are the songs sung for people with a past, sturdily backlit with unswerving musicianship and a disposition rooted in the best of rock n’ roll, roots and Americana.”

    Acclaimed Winnipegger, Scott Nolan, is a musical force to be reckoned with. His work serves as muse for our upcoming presentation of One Trunk Theatre’s collective creation, I Dream of Diesel. We encourage you all to fall in love with Scott’s work as much as we have- it shouldn’t be hard! Check out Folk Fest Thursdays at the Good Will Social Club hosted by Mr. Nolan himself . Every second and fourth Thursday of the month, Scott will host an evening of eclectic and ever changing folk music from home and beyond. At Folk Fest Thursdays, Scott seeks to nurture a community that gave him his life’s work:

    “My songwriting career began in earnest, after hours at the Blue Note Café and it depended greatly on the generosity of many Winnipeg musicians young and old. At Folk Fest Thursdays, we’ll see that tradition continue.

    Next show is February 12. Click here for more info on Folk Fest Thursdays, and here for more info on Scott.


  • January Salon!

    vintage_typewriter_weriter_desk_organizers-rc24a87270f244f44a2bf345a9970fad7_zhiqp_512Come celebrate 2015 and the power of the solo playwright! Having closed the fascinating and powerful White Rabbit Red Rabbit, many of the artists and audience members feel compelled to continue discussing this bold theatrical experiment. We have invited a number of the actors who performed White Rabbit to engage a panel discussion with the audience about the communal experience of this piece. 

    We will also have some searing and entertaining pieces in the solo voice genre to celebrate the power of the playwright to incite us with his/her words! Amazeballs!

    To top it all off, we will have musical guests BUNNY. Because musicians are rabbits too! R’n’B and the ukulele: it’s an unlikely pairing, but BUNNY pulls it off with humour and style. B-Rabbit and HunnyBunny will put a smile on your face and take you back to a kinder, simpler time… So snap on your slap bands, dig out your favourite scrunchie, and get ready to travel back to the 90s!

    Look forward to appearances by Gord Tanner, Kevin Ramberran, Liam Zarillo, Ryan Bjornson, Justin Fry, and many more! Join us Monday, January 26th at Maw’s Eatery, 111 Princess St. Doors are at 6pm, show is 7pm, and the kitchen and bar are open! Admission is free for Season Passholders and by donation for civilians. See you Monday!

  • 13 Rabbits in a room: the video evidence!

    Rabbit Promo imageWe gathered as many rabbits as we could into a room with videographer Leif Norman and asked them two questions about White Rabbit Red Rabbit. He compiled the interviews into a short video for the show- the results are adorable and hilarious.

    Check out the video here, be delighted, and feel free to share the link!




    Processed with MoldivWhite Rabbit Red Rabbit is a  unique show for many reasons, not the least of which is that a different performer takes the stage every night- for one night only! What if you want to see more than one of your favourite local performers take the stage? Recognizing that different performers at each show means greater potential for multiple bookings by an individual, TPM offers CARROTS FOR THE RABBITS!

    For individuals wishing to attend a second or even a third performance, we are offering special pricing, but only with advance payments and proof of purchase in the form of a ticket stub or a pre-paid reservation.

    If people want to attend multiple shows, we recommend booking them all in advance (this way they do not need to provide proof of purchase in the form of a ticket stub at the door)

     Here are the special prices for those attending a second, third or even fourth performance! These are only available if you are attending multiple performances!


    Adult                                $20                         ( Regular Price: $25)

    Seniors                            $15                         ( Regular Price: $20)

    Student                            $12                         ( Regular Price: $15)


    The fabulous exception to this is for students. With proof of purchase for two shows in hand (don’t throw away your ticket stubs!), they can secure a third, fourth or even fifth performance as walk ups at the door…for free!

    *At curtain, after all paying customers have been admitted, tickets will be released for walk up freebies for super keen students only. Adults and seniors are only eligible for the discounted rates listed above.

    **this is only available by calling the box office at 204-989-2400– not available on the TPM website.

  • White Rabbit Red Rabbit- Interview with Artistic Director, Ardith Boxall

    White Rabbit, Red Rabbit Trailer from Aurora Nova on Vimeo.

    Winnipeg Foundation communications officer and TPM board member, Stacy Cardigan-Smith, conducted an interview with Ardith about our upcoming production of White Rabbit Red Rabbit for the Community News Commons. Here is what they chatted about!

    Why did you decide to bring the White Rabbit Red Rabbit here? How did you learn about the show?

    It caught my attention because of the involvement of two Canadian companies; Volcano Theatre and Necessary Angel. They developed the play with Nassim Soleimanpour (the playwright) who lives in Iran, and premiered the show simultaneously at the Edinburgh Festival in Scotland and the Summerworks Festival in Toronto.

    The play was written to travel the world and be performed because the playwright was unable to leave his country. I loved the idea that an international play existed with the goal of connecting to performers and audience members in communities around the world. TPM makes intimate theatre and White Rabbit Red Rabbit is at its heart, a very intimate experience for everyone.

    Since 2011 White Rabbit Red Rabbit has been translated into 15 different languages!

    Why does the play require a new actor and a cold read each night? What does that bring to the show?

    White Rabbit Red Rabbit engages everyone in the act of theatre; actor, audience and playwright are all present simultaneously. The actor has no previous knowledge of the script and must be a conduit for the playwright’s messages, word, stories and instructions to the audience. No actor is allowed to perform this play if they have seen it, or if they have already performed it. It is one night only and the audience gets a real, live experience, rife with possibilities, mistakes and spontaneity.

    What kind of play can audiences expect? Is it a comedy? Drama?  

    Some have written that White Rabbit Red Rabbit defies description. It has been called an audacious theatrical experiment. The playwright uses allegory and theatrical experiment to explain his situation, using art as a socio-political metaphor.

    Soleimanpour’s script has laughter and sadness, movement and stillness, despair and hope. It has metaphors, it has symbols, and it has secrets. I can guarantee that Winnipeggers will have an undeniably unique experience.

    The play isn’t about Iran, but rather about the social phenomenon of obedience. What does that mean?

    The play works on a beautiful metaphorical level. It is about theatre as much as it can be seen as being about the constructions of our societies. It encourages us to question our conventions of authority, our own willingness to be obedient, to be passive and to do what is expected of us.

    How and why is the play “a potent reminder of the transgressive and transformative power of theatre?”

    Theatre can unsettle as it entertains; it can disturb and delight at the same time. This provides an opportunity to bring new light to the issues at the foundation of our society. White Rabbit, Red Rabbit invites us to think about oppression, freedom and words.

    Anything you want to add? 

    I encourage people to see more than one performance! Each actor will be very different in tone, emphasis and impact. It will be a different show every night. I have heard repeatedly about productions around the globe having audience members attend multiple performances! And TPM has a super deal so you can see as many Rabbits as you like!



  • December Salon!

    The Fu Fu Chi Chi Choir Come warm your icy toes and hearts with hot blasts from the past and sassy tunes! Music will be provided by the FuFu ChiChi Choir, pictured left, who brought you such hits as “Seven Ducklings and a Toad”, “Miracle (The Nun Massacre)”, “Little George” and “Hooker on My Corner”. How festive!

    There will be readings from old TPM classics Noble Savage Savage Noble, The Invalids and Albertine in Five Times, and new classics Georama and Washing Spider Out.

    Our jolly crew of artists will include Michelle Boulet, Christina Heathers, George Toles, Liz Whitbread, Sarah Constible, Jacqueline Loewen, Justin Fry, Talia Pura, Cait Belton, Jeff Homer, Gordon Tanner, Patricia Hunter, Brooke Pluta, Ryan Bjornson and more!

    Join us for 7pm on Monday, December 1st at Maw’s Eatery & Bar at 111 Princess Street. Doors will be open at 6pm, so come early for the delicious food and bountiful beer! Admission, as always, is free for Season Passholders and by donation for civilians.

  • PROUD Teaser Video

    We love inviting local photographer extraordinaire Leif Norman into the theatre before our shows open! He uses his camera wizardry to take snazzy footage and snip it all together into a sassy promo video. Check out his latest for Proud! Don’t forget to get your tickets if you haven’t already. Buy online or call us at 204-989-2400 to reserve.

    PROUD Promo Video by Leif Norman from Theatre Projects Manitoba on Vimeo.

  • October Salon- The Healey Edition

    michael-healey.tKZJoin us for the second Theatre Salon of the season! This month we are exploring the Michael Healey canon as we approach the opening of Proud on November 6th.

    Monday October 27th @ 7pm – Maw’s Eatery & Bar – 111 Princess Street (not to be confused with the Beer Hall

    One of Canada’s most celebrated theatre artists, Healey has earned a Governer General’s Award for his play The Drawer Boy and Dora Mavor Moore Award for Generous.

    This month we will be treated to readings from The Drawer Boy as well as two plays in Healey’s trilogy exploring Canadian values: Generous and CourageousProud is the third in this series. Also on the docket are readings from Jackie Torrens’ Georama and musical performances by Claire Friesen.
    Doors open at 6pm- kitchen and bar will be open! Admission is free for Season Pass holders and by donation for everyone else. See you Monday!

  • Season Launch Party!

    flags_redMonday, September 29th, 7pm

    Maw’s Eatery & Bar, 111 Princess Street

    Happy birthday to us! Our Season Launch is also the first of our 2014/2015 Salon Series. This year, we’ll be riffing on subjects in our regular programmed shows and tripping back as we celebrate 25 years of Theatre Projects Manitoba. We are excited about our new Salon location this year. MAW’S Eatery & Bar is a funky eatery and watering hole in the Exchange district with great food, a large beer selection and shuffleboard! Doors open at 6pm- arrive early, because these Salons fill up fast! Come and help us usher in our 25th year!

  • Welcome to our 25th Anniversary Season!

    Welcome to the 25th season at Theatre Projects Manitoba! It feels fantastic to reach a quarter of a century. We think that we have improved with age, like a fine wine, a sharp cheese or personal wisdom.

    Founded in 1990 by playwright Harry Rintoul, TPM has diligently grown a generation of theatre makers who are now practicing at home and across the land. Harry and the founding members were keenly aware of the need for a strong local professional company to provide opportunities for our artists and stories for our stage. For 25 years we have been a hot house for new talent, home grown projects and challenging plays.

    To celebrate our silver season, we have 3 fantastic plays to encourage you to inspire, nurture and challenge this community’s artists and you, our audience. Each play invites us to check our preconceived notions (of politics and prairie life, of theatre and TPM) at the door and embrace that which is in front of us, on the stage, in the moment.

    We are also delighted to continue our popular Salon series for the third season running, bringing together emerging and established artists with audiences to explore the themes of our season in a cabaret setting. This season, not only will we be riffing on our current shows, but we’ll revisit some highlights from the past 25 years. Check our website, Facebook page or give us a call to get dates and times for these monthly cabaret nights. You don’t want to miss them!

    For all you social media hounds out there, we have some fun stuff in store!

    • Every Thursday, we’ll be #tbt-ing images of local artists from the TPM vault. The hairstyles, the photo quality, the youth!
    • If you have old programs, season brochures, ticket stubs or photos of TPM events, scan or photograph it and send it in! Email us at [email protected] or post the image to our Facebook wall, and we’ll enter you in a draw to win TPM swag! Images must be more than three seasons old.
    • We will be posting trivia questions throughout the season through Facebook and Twitter. Correct answers will be entered into a draw to win more TPM swag!

    Thanks for believing in our work over the years, and, if you’re new to TPM, thanks for joining! Cheers to this season and the next twenty-five!

  • TPM Presents One Trunk Theatre at The Carol Shields Festival of New Works

    PrintPrairie Theatre Exchange’s Carol Shields Festival of New Works begins tonight! The annual festival happens at PTE from May 15-17, and presents new local works in development. We have been part of this important festival many times over the years and this year, we are excited to present a reading of I Dream of Diesel by our resident company, One Trunk Theatre.

    Perhaps you have seen an earlier version of this collectively created, devised project at one of our Monday night Salons? Here’s your chance to see their next leap forward! For months, One Trunk has been developing this fascinating piece, based on the work of internationally renowned Winnipeg singer/songwriter, Scott Nolan. I Dream of Diesel will be presented at 7pm on Friday, May 16. Click here for a full schedule and play synopsis.

  • Call for Donations

    giving1On behalf of everyone at Theatre Projects Manitoba, we would like to thank you for your commitment to our creativity, development and dedication to Canadian theatre. As a patron of Theatre Projects Manitoba, you have already experienced the groundbreaking work we bring to our community by Manitoba playwrights such as Debbie Patterson and Carolyn Gray.  Perhaps you have even seen the recent success of our Monday evening Salons or been present at one of our Students Nights. Thank you!

    Those Salons and Students Nights are helping us to connect with Winnipeg’s youth – our city’s future leaders.  If you haven’t seen these initiatives in action, here is just one excerpt from a Red River College student blog, to give you a sense of the impact our plays can have:

    (the musical) Wicked …was spectacular, and over the top. Yet Sargent & Victor & Me affected me on a personal level. The set wasn’t extravagant, and that worked for it. It was believably minimal, it looked like it could be a food bank. Wicked had a huge budget, and catchy songs… but the personal, intimate nature of S &V & M made me think critically. I’ll be thinking about the key messages of Sargent & Victor & Me a lot longer than ‘Defying Gravity’ will be stuck in my head.

    Jade’s Guide to Winnipeg

    We are reaching out to all of our patrons and invite you to consider making a charitable gift to Theatre Projects Manitoba. Our ticket sales often cover less than 30% of what it costs to produce the work, and make up less than 20% of our overall operating budget. But we are determined to keep our ticket prices affordable to everyone, including students, while providing the best resources to create the art.  To do this, we need your support!

    It is easy to donate: just follow this link or give us a call at the office – 204-989-2400 – we love to speak with you!  And stay tuned – we will soon be announcing our 25th anniversary season of Theatre Projects Manitoba.  We encourage you to purchase a subscription, invite your friends to our theatre, and be an active member of our theatre – you are our lifeblood!

    Thank you for your support of Theatre Projects Manitoba.  See you at the theatre!


    lsat_discussion_forumTheatre Projects Manitoba will hold our Annual General Meeting on Saturday April 26th at 1PM at the Manitoba Association of Playwrights Rory Runnells Studio – 504-100 Arthur (Artspace).

    Our meeting is (of course!) open to the public and you are welcome to attend.  We do request that you RSVP if you plan on attending – give us a call or email us!

  • World Theatre Day

    logoWorld Theatre Day was initiated in 1961 by the International Theatre Institute (ITI), and is celebrated annually on March 27th by ITI Centres and the international theatre community. Various national and international theatre events are organized to mark this occasion, one of the most important being the circulation of the World Theatre Day International Message. Each year, the ITI invites a figure outstanding in theatre, or a person outstanding in heart and spirit from another field, to share his or her reflections on theatre and international harmony. The International Message is translated into more than 20 languages, read for tens of thousands of spectators before performances in theatres throughout the world and printed in hundreds of daily newspapers. Click here to read this year’s message by Brett Bailey, and don’t forget to celebrate World Theatre Day on Thursday, March 27!

  • Opening Thursday…that’s tomorrow!

    Sargent and Victor & Me is just hours away now.  For anyone who would like a taste of this show, check out our teaser video below, courtesy Leif Norman.

    And please don’t hesitate a moment longer for tickets – Opening Night and Students Night are sold out!  Enjoy!


  • Limitations yield creativity in Sargent & Victor & Me

    Debbie Patterson’s one-woman show examines a community on the brink

    By Stacy Cardigan Smith

    Debbie PattersonIt started as a way to involve everyone in the arts, but what resulted is a play about limitations – and hopeful possibilities.

    Debbie Patterson’s one woman show Sargent & Victor & Me, set in and around the West End intersection that is its namesake, was gleaned from a series of interviews Patterson conducted with individuals connected to the area. Each account – be it from a resident, business owner, food bank user, delivery boy, waitress, gangster, or incarcerated teen – brings a unique perspective on the strengths and challenges of this troubled area.

    The result is a play that attempts to unlock the mysteries of how neighbourhoods evolve and how we cope with unstoppable processes of destruction.

    Patterson began the project when she was Theatre Ambassador during Winnipeg’s Cultural Capital of Canada celebrations in 2010.

    “My original goal was to just use the text I developed through interviews with people who have ever lived or worked near the corner of Sargent and Victor,” Patterson explains. “The theme of the Cultural Capital year was ‘Arts for All’ so I wanted to find a way of involving people who don’t generally have a connection with the arts in the creation of a new piece. That’s primarily why I chose to use verbatim text and why I chose that area.”

    Since then, the work has seen many incarnations and has been read and performed in Winnipeg, Brandon and Iceland. In one version, four actors performed and Patterson directed – but that staging left her feeling disconnected.

    “I missed having a direct connection with the people I had interviewed,” Patterson says. “I wanted to say their words myself because I had, in fact, come to love them all and wanted to honour their voices.”

    A few solo versions – mostly consisting of monologues – were also staged.

    “I didn’t write anything: my own contribution was as an editor and performer. I wanted their voices to be heard, not mine. I wanted to keep myself out of it.”

    But as Debbie worked with the piece, she began to understand keeping herself out was impossible – partly because as an actor with MS, her disease undoubtedly affects the performance.

    “That’s when I started writing about MS, using the process of living with an incurable degenerative condition as a metaphor for living in a neighbourhood that’s being overtaken by crime,” she explains.

    The current one-woman staging is directed by Patterson’s husband Arne MacPherson.

    The team behind the music and sound design is multi-disciplinary artists John K. Samson and Christine Fellows.

    “The musical approach we’ve taken is in response to the limitations Deb gives herself in the play, that of one person playing multiple roles. More >


    How can you take a masterpiece and make it your own? What are the foundations of collective collaboration? What can devised theatre look like?

    One Trunk LogoUsing excerpts of Chekhov short stories as a launching point, participants will be led through a variety of content generating exercises based on the work of One Trunk Theatre, Ghost River Theatre, Cowgirl Opera and Wyrd Productions.

    The three day workshop will introduce participants to new methods of creating theatre, including non traditional and collaborative text-generation, visual approaches to storytelling and physical theatre.

    Ideal for performers interested in creating their own work, including students, emerging artists or industry professionals. Participants should have a thorough understanding of theatre, and interest in expanding their practice.

    When is it?

    • Friday, Feb 7: 6-9 PM
    • Saturday, Feb 8: 10 AM-6 PM
    • Sunday, Feb 9: 1:30-10PM

    Where is it?

    STUDIO 320: 70 Albert Street

    What’s the cost?

    $60 for professionals, $40 students & participants in Master Playwright Festival

    How do I register?

    Email us or call 204-989-2400 – we’ll make it happen!

  • Chekhovfest!


    SO much drama is coming our way, friends! Pull yourselves from the post-holiday slump of frozen driveways and tight waistbands, and join us at the theatre! While TPM is busy preparing Sargent & Victor & Me for its February debut, many local theatre companies have been hard at work preparing for Chekhovfest, running January 22 to February 9. With over 20 shows to see, you’ll have your evenings spoken for, but we want to share the gossip on three shows that we are especially excited about.

    This Reality Theatre Company, directed by TPM student rep, Lia Zarillo, will present The Samovar. “Hatched from the subtle and dark words of one of the greatest short story writers of all time comes The Samovar, a series of vignettes depicting the brevity and wit of Anton Chekhov. “ Fun, non?

    We’re also very excited to see Andraea Sartist0n, artistic director of our resident theatre company, One Trunk Theatre, perform in Three Sisters: A Black Opera. “Embodying a surreal prairie landscape and a prairie Gothic aesthetic, Three Sisters is a dark comedy that subverts the great prairie narrative, uncovering a clown-like world that is sinister, gauche and suffocating.” Yes, please!

    Finally, we cannot help waxing nostalgic over Chekhov and Me, the very first show TPM produced in its In the Chamber series. Written by Winnipegger Mike Bell and produced for Chekhovfest by the Manitoba Association of Playwrights, this piece explores a man’s madness with writer’s block.

    There you have it, folks! Of course, we encourage you to see as many Chekhovfest productions as possible. Enjoy!

  • January Theatre Salon: TONIGHT!

    indexWhat better way to kick off the New Year than to spend it with your pals at TPM?!

    Join us tonight- Monday, January 6 as we continue to investigate and celebrate the work of fabulous Manitoban lady playwrights.

    We will be treated to readings of plays by Muriel Hogue, Sharon Bajer, Ellen Peterson, Lora Schroeder, Talia Pura, Veralyn Warkentin, Hope McIntyre and Maureen Hunter. Holy moly! What an embarrassment of playwriting riches!

    Hosted by Ellen Peterson, we’ll also be graced with brand new musical stylings from TPM favourite, the Fu Fu Chi Chi Choir – 4 FuFus and a Banjo!

    The venue is the Folk Exchange at 211 Bannatyne Ave., admission is free for season passholders and by donation for everyone else. Doors open at 6:30, show starts at 7pm and the cash bar is cheap. Happy New Year, indeed!!


  • December Salon is Monday!

    snotsicleA line up so hot it will melt your snotsicles!

    Dear ones – the snow is falling, the tinsel is flying and the time it takes to get out your door has increased exponentially due to bundling time!  Yep…December is just around the corner.  But you can stay warm with TPM for our final Salon of 2013 – Monday December 2nd at The Folk Exchange!

    We will be treated to readings by local playwrights including a new piece by Angie St. Mars (from the University of Winnipeg) which is sure to become a holiday classic:  Christmas at the Gym. Alix Sobler, whose Secret Annex will be premiering this season at RMTC, will give us a hit of her new play, She’s Not There, featured alongside another emerging playwrights’ work, Megan Andres’ Only Just. Expect to see the talents of directors Heidi Malazdrewich and Meg Fergusson, as well as TPM student rep, Lia Zarillo.  Top it up with the acting superpowers of Heather Thomas, Samantha Walters, Ray Strachan, Liz Whitbread, Naomi Cronk, Lindsay Johnson, Ferron Guerreiro, Brittany Thiessen and TPM’s own student rep, Christina Heather.

    Join us at 7pm on Monday, December 2nd. Admission is free for season passholders and by donation for civilians – but come early – there’s limited seating. Bring your coins for the (cheap) cash bar!

  • A Big Thanks and Looking Ahead. . .

    20130917-IMG_0224We, along with Zone41 Theatre, want to send a huge hug, handshake and a thank you to the cast, crew and everyone who came out to see The Miser of Middlegate. What a hilarious way to start our season! We were tickled by the audience’s- as well as our own- response to the show, and we were even more delighted to present an entirely new, completely homegrown piece of theatre. Although there are artists we love working with from other parts of the country, we are humbled by the wealth of artistic talent right here in Manitoba. Lucky us! Lucky you!

    Iris 2 B and W

    Speaking of artists we love from elsewhere, we are about to welcome Iris Turcott into our midst. Where do we begin explaining how amazing Ms. Turcott is? She is a dramaturg extraordinaire (a person who works with a playwright to develop a new script), having worked with some of Canada’s leading playwrights, including Judith Thompson, Daniel MacIvor, Brad Fraser and, very soon, Deb Patterson! Next week, Iris and Deb will plunge headfirst into workshopping Deb’s new piece, Sargent & Victor & Me, set to premiere at TPM in February. We cannot wait to see what they come up with!

  • “Witty, energetic, racy!”

    The Miser reviews are coming in! We just love this thoughtful and delightful piece by Chandra Mayor for The Winnipeg Review. She writes:

    “Inspired by Moliere’s L’Avare and structured as an homage to the stylish screwball movie comedies of the ’30s, Gray’s script is a comedy of manners with no manners at all. It’s witty, energetic, mildly racy, and well-paced, including jokes about the Fort Garry Hotel, vibrators, lobster-throwing… and money. Director Krista Jackson keeps the show zipping from line to smart-aleck line, maintaining that taut divide between farce and comedy. This production allows the actors to fully exploit their proficiencies with physical comedy, including a dinner party during which the well-dressed guests are seated on giant rolling pilates balls.”

     For the whole piece, please visit The Winnipeg Review’s website. Thanks, Chandra!
  • Miser Teaser by Leif Norman!

    We invited TPM photographer favourite, Leif Norman, into the theatre last Friday to shoot some enticing footage of our upcoming production, The Miser of Middlegate by Carolyn Gray. This sexy, naughty, hilarious, mischievous show opens Thursday and previews Wednesday. JOIN US!!!

  • Smells like brilliant – an interview with Carolyn Gray’s dog

    Portrait of the Artist as a Dog Lover

    Carolyn GrayRecently, Ellen Peterson and Carolyn Gray took their respective dogs (Sunny Monday and Minnie Gray) for a walk in St. John’s Park. Afterward Sunny had to be shut in the house for being too neurotic, which gave Ellen a chance to hang out in the back garden and get this exclusive interview with Minnie.

    So, Minnie, how long have you lived with Carolyn?

    Forgive me, but like most dogs I have a keen understanding of time but fail to understand calendars. So I’m not sure. A while. It was after the Cold Part, but before the Hot Part.


    Yes, that’s right. I was a birthday present from Carolyn’s best friend besides me, whose name is Melanie. An organization called Manitoba Mutts rescued me.

    Any special challenges in being a playwright’s dog?

    Well, sometimes she’s super busy. Like a while ago there was a week when she left the house I don’t know how early to go to her job, and then she would go and have a workshop of her play for… hours, is that what you call them? I didn’t see her much, and when we went for walks she bagged my leavings with a distracted air. I helped out all I could, you know, lots of tail-wagging and face-licking at the end of the day.

    I bet that helped a lot. You mentioned her job. I thought she was a playwright.

    Most playwrights have to have jobs. It’s the only way they can afford to buy kibble. Carolyn is the Executive Director of the Manitoba Writer’s Guild. She helps people write. Which is extremely important.

    Her upcoming play is The Miser of Middlegate. What’s it about? More >


    One Trunk LogoTPM’s Company in Residence, One Trunk Theatre presents the first annual One Trunk Festival

    West End Cultural Centre on Sunday September 8th, 2013 at 2:00pm.

    The One Trunk Festival features performances by three local companies Winnipeg Contemporary Dancers, Grant Guy (Adhere & Deny) & Jaymez (projectionist) and a collective of independent artists including Ardith Boxall (Artistic Director- Theatre Projects Manitoba), Tanja Woloshen (Young Loungs), and Gwendolyn Collins. The inspiration for each of these performances is the work of other artists.

    On August 23rd trios of artists (including one musician, one writer and one visual artist) were sent to a specific Winnipeg location to capture the essence of that place through their art form. The chosen locations were the Louis Riel statue at the Legislature, the Elmwood graveyard and Central Park. On Thursday, August 29th their creations will be passed on to a performance company who will have one week to devise a new performance based on the material they receive. More >

  • Maintaining Her Edge

    In the spirit of supporting art and community, Theatre Projects Manitoba Board of Directors is pleased to announce that Ardith Boxall, Artistic Director, has embarked on a short leave to pursue professional, personal and artistic development.

    Interim artistic director duties will be shared by local theatre professionals Chris Johnson and Ellen Peterson. Chris Johnson, professor of theatre at the University of Manitoba and Ellen Peterson, writer in residence for Prairie Theatre Exchange, will serve as artistic consultants for half of the upcoming season until Ardith returns December 31st 2013.

    The opportunity afforded Ardith is made possible because of the continuing performance excellence of our General Manager Rea Kavanagh and her commitment to Theatre Projects Manitoba.




    Winnipeg June 11th, 2013 – Artistic Director Ardith Boxall and General Manager Rea Kavanagh are thrilled to announce Theatre Projects Manitoba’s 2013-14 season. Two premieres of two new plays written by two local playwrights. Our 24th season features new work from Carolyn Gray (The Elmwood Visitation, North Main Gothic) and Debbie Patterson (Head, 40 Below Munsch).

    Our 2013-14 programming highlights our commitment to make theatre that is unabashedly original and profoundly relevant to our community. These are fresh contemporary stories deeply rooted in history yet uncompromisingly modern; one with roots in 17th century satire, the other charting the last century of a Winnipeg neighborhood. Both look backward for inspiration yet propel us to imagine a future; right here, right now, at the crossroads.

    The season opens with The Miser of Middlegate, a zone41 theatre/Theatre Projects Manitoba production! Directed by Krista Jackson (winner of the 2013 Gina Wilkinson Emerging Director Prize) the production features an amazing ensemble of local performers led by Nicholas Rice (Angels in America Part 1&2), and Marina Stephenson Kerr (Angels in America, The December Man). The Miser of Middlegate is a signature production that illuminates TPM’s strength in the community as a development company and one that mentors and collaborates on projects. zone41 theatre and TPM have an excellent record of working together to bring audiences a unique, fresh and high quality production; one you simply can’t find anywhere else in the region. (2011/12 season’s Three Sisters by Bruce McManus) More >

  • Our Season Comes to a Close

    What a wonderful way to wrap up our season! The closing weekend of Bashir Lazhar brought sold-out houses to a poignant piece put on by fantastic artists.

    Bravo to our team, and thankyou to our patrons and sponsors.


    We would like to extend a special thanks to our season sponsors: The Winnipeg Foundation, Assiniboine Credit UnionTaylor McCaffrey LLPPeerless Garments, The Winnipeg Free Press, Relish Branding, Amphora Imports, New Bothwell Cheese, and Half Pints Brewing.

  • Moderated Discussion: Bashir Lazhar: A Portrait of the Immigrant Experience

    Theatre Projects Manitoba (TPM) is pleased to host a forum to discuss the refugee experience in Manitoba as part of its current production, Bashir Lazhar by Evelyne de la Chenelière.

    Bashir Lazhar: David Adams
    Photo: Leif Norman

    Wednesday, March 20, 2013 at 6:30 pm

    Winnipeg Free Press News Café – 237 McDermot Avenue

    Moderated by Sean Kavanagh, CBC Manitoba


    Abdikheir Ahmed– Interim Executive Director at the Immigrant and Refugee Community Organization of Manitoba (IRCOM) Inc.

    Damarys Ramirez– Manager of Inland Protection at Manitoba Interfaith Immigration Council

    Bashir Khan, an Immigration and Refugee lawyer in Winnipeg and a member of the Human Rights Commission of Pakistan

     Admission is Free

    Light Refreshments will be provided

    Bashir Lazhar is an extraordinary play which gives us the story of a political refugee seeking asylum in Canada.  The subject matter is both topical and compelling. So we decided to take the pulse of this community – to hear about the concerns, triumphs and unique challenges that refugees face in Manitoba and Winnipeg.

    Why?    Because good theatre builds strong communities – a play can provide a unique, humanistic perspective on a topic and a fantastic springboard for discussion.

    Because in recent years, the federal government has made changes to immigration policies that are impacting many immigrants, refugees and their families. More >

  • CBC Review: “Bashir Lazhar” offers rewarding lessons in life, loss, and hope

    Joff Schmidt, CBC Manitoba

    David Adams as Bashir Lazhar
    Photo: Leif Norman

    There’s something sadly, terrifyingly beautiful in the set the greets the audience entering Theatre Projects Manitoba’s production of Bashir Lazhar.

    A twisted wreck of school desks, bright orange plastic chairs, and the remnants of window frames, it’s a scene that implies something unthinkable has happened – and yet also suggests the innocence and possibility of childhood.

    And this is an apt metaphor for Quebecoise playwright Evelyne de la Chenelière’s one-man play (which inspired the Oscar-nominated film Monsieur Lazhar). It is full of sadness, humour, and hope, in a mixture that flows from horrifying to hopeful. And here, it makes for a rich, emotionally rewarding theatrical experience. More >

  • “This play stays with you like that special teacher you never forget”

    The Winnipeg Free Press review is in:

    Four & a half stars! 

    “Deceptively simple but deeply affecting”

    “David Adam’s delivers an exceptional understated performance!”

    At first glance at the spectacular set of the stage drama Bashir Lazhar, it looks like a bomb has gone off in the classroom of a French-langauge school in Montreal.

    For its Grade 6 students, their safe haven of learning has been blown sky-high by the suicide of their beloved female teacher, found hanging in their classroom. The deceased is not the title character but it’s her substitute, a man who reads about the school tragedy and appears unannounced in the principal’s office offering to take over the traumatized class.

    That sets the scene for Evelyne de la Chenelière’s deceptively simple but deeply affecting Bashir Lazhar…Read the whole review!

  • Refugee Panel Discussion

    Do you wonder what the experience of Refugees in our province is like?  We do!  Bashir Lazhar gives us the story of a political refugee seeking asylum in Canada – in his case, Montreal, Quebec.  We see it isn’t easy going, but it’s somewhat familiar to the audience – we are, after all, a nation of newcomers.  But there are differences to the experience of immigrants over generations, and chasms between one experience and another – choosing to immigrate is a far cry from arriving as a political refugee.  And doing outreach for Bashir Lazhar has given us an opportunity to connect with many of the individuals and organizations who serve our newcomers.  So, we decided to take the pulse of this community – to hear about the concerns, triumphs and unique challenges that refugees face in Manitoba and Winnipeg.

    We will convene a panel discussion at the Free Press Café at 6:30 PM on Wednesday March 20th.  The discussion will be moderated by CBC’s Sean Kavanagh and the panel will consist of Abdikheir Ahmed-  Interim Executive Director at the Immigrant and Refugee Community Organization of Manitoba (IRCOM) Inc.; Damarys Ramirez- Manager of Inland Protection at Manitoba Interfaith Immigration Council and Bashir Khan, an Immigration and Refugee lawyer in Winnipeg and a member of the Human Rights Commission of Pakistan. Bios soon to come.

  • Bashir Lazhar Preview by Leif Norman

    We are so pleased with our preview video for Bashir Lazhar, you’d think it was everyone’s birthday around here! Leif Norman put together the following cinescape of scenes from Bashir Lazhar along with a short interview with director, Ann Hodges. Check it out!


  • Introducing. . .David Adams!

    We are delighted to have imported David Adams all the way from Vancouver, BC to take the starring role of Bashir Lazhar. David is a jolly, gregarious, kind and talented fellow, and we are so lucky to be working with him! We managed to grab David for quick e-chat earlier this winter, while he was busy out west playing Tevye in a production of Fiddler on the Roof.

    TPM: What drew you to work on Bashir Lazhar?

    DAVID: The play has many wonderful elements – its humanity, the themes of loss and rebirth, its inherent theatricality and its exploration of the wonderful relationship between teacher and student. Also, as an immigrant myself (from South Africa), I was fascinated by Bashir’s struggle to fit into his new surroundings and understand his new country. The transition was a fairly easy one for me, but the struggle to find one’s place in an adopted country has always interested me.

    TPM: You act for film, television, theatre and as a voice over artist. What do you enjoy particularly about working in theatre?

    DAVID: Film, TV and voice over work, while interesting, lucrative and sometimes exciting and seen and heard by sometimes millions of people, has its own reward. But the special relationship theatre actors have with their audience is a very profound one. Theatre doesn’t exist without an audience-they are a key component of the whole experience. The live reaction, the power to affect and move the audience is what makes a live performance so unique.

    TPMHow will you prepare to work on this play?

    DAVID: As a one-person show, there are a lot of words! So to make the whole process easier, I will try to be as familiar with all those words as I can before we start rehearsal. For me this usually means reading the play every day for weeks ahead, so that the ideas, the words, the flow of the piece, are firmly in my brain. I will also do a bit of research on Algeria, to find out as much as I can about the country that Bashir comes from. This is an important part of crawling into the skin of the character, so that by the time I hit the stage, I will know a lot about his background, his culture and I can portray him truthfully.




  • Bashir Lazhar opens March 14th!

    This week we kicked off rehearsal’s for Bashir Lazhar at the Crescent Fort Rouge United Church!  On Monday, February 18th, the full Artistic Team gathered in the warm & sunny 2nd floor space that will be witness to the delicate process of building this new production of Evelyne de la Chenelière’s acclaimed play.  Our intrepid team includes director Ann Hodges, actor David Adams and stage manager Ivory Seol.  Our Design team brings together Joan Murphy Kakoske (sets & costumes), Hugh Conacher (lights) and Chris Coyne (sound).

    We huddle around the table with our coffees and notebooks and feel the crackle of excitement through introductions.   The design models and drawings are passed around the table so that we can all peer excitedly into the mini stage spaces.  When the first read finally begins, David’s resonant voice and physical bearing makes our hearts skip.  The conversation is focussed, and Ann speaks about the power of the poetic aspects in de la Chenaliere’s  beautiful play. We see that this crack team of artists will create stage magic!

    We’ll bring you a few photos from the rehearsal hall in the coming days.  We also want to remind you that March 14th is coming very soon!  Do not delay purchasing your tickets – we want to accomodate your first  choice of dates.  Besides, it’s easy – you can purchase right here on the website, or by calling us:  204-989-2400.  Talk soon!  Love, TPM

  • A little bit more about Greg Kramer, whom we adore. . .

    Award-winning Actor, Director, Playwright, Magician, Author and Illustrator, Greg’s credits cover more than 30 years and well over 140 productions across the country, from a warehouse in Vancouver to the Festival Stage at Stratford. He is currently adapting the sixty Sherlock Holmes stories by Sir Arthur Conan Doyle for the Segal Theatre in Montreal. Previous works include Lies of the VampyreIsadora Fabulist and Skateboard Tango. There are three novels and a collection of short stories to his credit, all published by Riverbank, an imprint of Cormorant Books. He also plays a mean jazz piano and can knit. He lives in Montreal.

    We will be presenting staged readings of scenes from Greg’s Isadora Fabulist at our February Salon on Monday, February 4 at 7pm at the Folk Exchange.

  • February Salon

    Feeling disappointed after the inevitable near-life sentence of snow post Groundhog Day? Warm the cockles of your heart and soul by joining us for a night of fantastic theatre! This month, we will be exploring what Anglo writers are up to in Quebec. Krista Jackson and Daina Leitold will direct scenes from Greg Kramer’s ISADORA Fabulist! and Michael MacKenzie’s The Baroness and the Pig, respectively. Other participating artists include Arne MacPherson, Spenser Payne, Suzie Martin, Heidi Malazdrewich, Kevin Ramberran, Thomas Toles, Ava Darrach-Gagnon, and more to come!

    As always, admission is free for Season Passholders, $5 for the general public. Doors will open at 7pm with our two-act program beginning at 7:30pm. Cash bar. See you there!



  • January Salon: And Slowly Beauty. . .

    We continue our collaboration with our friends at zone41 theatre after presenting Bruce McManus’ adaptation of Three Sisters together last season. This year, TPM is exploring French Canadian works in translation and zone41 will be at our January Salon with a reading of…
    And Slowly Beauty…
    by Michel Nadeau
    translated by Maureen Labonté 

    When Mr. Mann wins tickets to Russian playwright Anton Chekhov’s The Three Sisters, he knows he must go – even though he rarely goes to the theatre. In those few precious hours, something unexpected stirs inside of him and his quiet yearning for happiness blossoms.

    A love letter to art.

    Ava Darrach-Gagnon
    Paul Essiembre
    Ellen Peterson
    Kevin Ramberran
    Heather Russell
    and Gordon Tanner

    Directed by Krista Jackson

    Please join us!
    Monday, January 7, 2013
    7PM – The Folk Exchange
    203-211 Bannatyne Ave.
    $5 / Free for TPM Subscribers

  • Join us at our Holiday Salon – Monday December 3rd

    Our monthly theatre mash ups continue this Monday, December 3rd with a special Holiday Salon featuring the Fu Fu Chi Chi Choir!

    Join us at The Folk Exchange – 211 Bannatyne for an evening of music and theatre as well as the return of the TPM Photo Booth!

    As you enter the lobby, you can sing along with your old holiday favorites and later on, learn a few new classics from our favorite choir, such as TPM’s current earworm – Ivan The Backwards Mule!

    What else? Our Curtain Raisers will be a series of scenes from Carole Frechette’s Helen’s Necklace and Elisa’s Skin, translated by John Murrell and directed by TPM’s Artistic Director, Ardith Boxall.  The players are a mash of up- and -comers from the University of Winnipeg and some of Winnipeg’s finest professional thespians.  On stage you’ll see Alicia Johnson, Kevin Gabel, Justin Otto, Jessina Cheffins and Rob McLaughlin!

    There will also be a scene from our U of M student reps Thomas Toles & Kevin Ramberran…that’s all we’ll reveal…it’s a mystery made just for you!

    And about that Photo Booth…it is going to be so much better than any mall can offer this season.  Why?  Because your photo will be an improv featuring you along with several of the evening’s performers…wowza!  We’ll provide holiday props and bring the creative spark, and you will receive the digital file, so you can send it as a card, print it for your album, or post it on Facebook…or all of the above!

    Doors open at 6:30PM – see you there! 


  • CBC Review: Heiress looking for a man to seduce her…and you can watch

    It’s the audience who is ultimately rewarded with this sparkling, fantastical romantic comedy.

    —Joff Schmidt, CBC Scene theatre reviewer

    Photo: Leif Norman
    Kevin Klassen & Tracy Penner as John & Beatrice

    A wealthy heiress offers a “substantial reward” to the man who can successfully seduce her – this is the premise that kicks off Quebecois playwright Carole Fréchette’s John and Beatrice, which opens Theatre Projects Manitoba’s season.

    But it’s the audience who is ultimately rewarded with this sparkling, fantastical romantic comedy.

    A modern fairy tale for grown-ups, the play begins with John (Kevin Klassen) climbing to the 33rd floor of the otherwise-abandoned building where Beatrice (Tracy Penner) has sequestered herself.

    Through posters plastered around the city, Beatrice – the veritable princess in a tower – has promised a reward to the man who can pass the challenges she has devised to win her heart, and end her romantic drought. John, a pragmatic bounty hunter whose true love is $20 bills, decides to take on the task.

    Read the full review

  • Winnipeg Free Press Review: “unpredictable and irresistible” John & Beatrice – Four Stars!!!

    photo: Leif Norman
    Kevin Klassen & Tracy Penner as John & Beatrice

    Locked-in romance leaves a lot to talk about

    by Kevin Prokosh

    November 3rd, 2012

    (transcribed from Winnipeg Free Press print edition)

    Once upon a time there was a beautiful princess with waist length blonde hair, inhabiting a tower where handsome suitors came to win her heart & kingdom.

    That’s the story John understands when he arrives breathless, after climbing 33 flights of stairs, to the lofty lair of beatrice, a bored young woman determined to find her Prince Charming.  In her version of speed dating, she throws down three challenges to her candidates but none so far have been able to “interest, move and seduce her”, and so win a substantial reward.

    In Carole Fréchette’s loopy comic romance, John & Beatrice, which opened the Theatre Projects Manitoba season on Thursday night, it quickly becomes clear that this is no fairy tale where love conquers all and everyone lives happily ever after.

    Read the full and spectacular review!


  • Seriously fun preview scene of John & Beatrice on CBC SCENE!

    Photo: Leif Norman
    Kevin Klassen & Tracy Penner as John & Beatrice

    The talented Kevin Klassen & Tracy Penner dish it up as John & Beatrice in the first home grown production of Carole Fréchette’s incredible, international play. The CBC came by the theatre today to bring you a sneak peek at a scene and a preview of our Season Opener – John & Beatrice!

  • An Interview with Ardith Boxall on directing John & Beatrice

    John & Beatrice Director & TPM’s Artistic Director, Ardith Boxall

    Last week, one of our young and talented student reps, Thomas Toles from the University of Manitoba, talked to John & Beatrice Director & TPM’s Artistic Director, Ardith Boxall about her experience directing a Fréchette piece, directing a work in translation, and what it’s like to be under a pile of rocks.

    Thomas Toles: What opportunities and challenges does Fréchette offer?

    Ardith Boxall:  I’ve not encountered her work on the page as play text before, and I’ve never seen her work performed, and I’ve never directed it, and I’ve never acted in it! So it is a huge discovery. This play exists on an almost mythological, fairy tale plane that the challenges are about moving out of the world of naturalism or realism. Sometimes we forget how buried underneath the giant boulders of the well-made play we are. I feel like I’m digging myself out from under a pile of rocks.

    TT: How does it feel to direct a play in translation?

    AB: This play is the only translation I’ve directed, but I think John Murrell’s translation is spot on. While I don’t speak French, the muscularity and purity to the rhythm of the exchanges between the two characters is so clear and precise in English; the text is confident. It is smooth and precise like a musical composition.

    TT: Do you feel closer to the French language at all by handling a text that’s been translated from French to English?

    AB: No, but it could be partly due to the play itself. Being more like a fable or allegory, this piece has its own language. It’s more about the archetype than the language itself. The world of the play is a fairy tale. It is a pastiche of allegorical symbols that are used as tools to create a love story. This language is larger than French or English. I feel, acutely however, how unfamiliar I am with French Canadian theatre, where it lives and the style of it. It’s wonderful to explore my theatre practice in unfamiliar territory, but challenging to explore theatre in a language you don’t speak. One has to use the language of the art form as translator. And also, put learning French on one’s priority list! I’m on it……as soon as we get this play open!

    TT: John & Beatrice takes place entirely in one unbroken scene. How does the sense of time interact with the characters in the play and also with the audience?

    AB: At the end of our first stumble through last week, Kevin [Klassen] said, something like “I’ve never encountered a piece with so many distinctive units of pace, tone and rhythm.” Each section of the play has it’s own demands. There’s an accumulative effect to that. The play happens in real time, but the characters have a whole lifetime of relationship together. After around 45 minutes, they’re already ready to call the divorce lawyer. The accumulation of those different rhythms and how time is condensed and left over and dragged behind and smacked on the side of the head is, I hope, very moving. The characters themselves go through this journey in an unbroken scene and the effect on them is absolutely what is affecting to us.

    Literally, the debris and detritus of everything they’ve gone through in those 75 minutes is in the room. The play is a great challenge and I know it’s demanding for the actors too because it is wonderfully strenuous. It’s exhausting to give anyone your attention for 75 minutes, let alone someone you don’t want to be locked in a room with.

    Still curious?  Get your tickets!


    I’ve been obsessed with the art of performance ever since I, at the impressionable age of six, watched Jim Carrey tear out a chef’s heart in Dumb and Dumber. Since then, I have managed to appear in such productions as Departures and Arrivals (2009), A Dream Play (2011), Mary Rose (2011), A Marriage Proposal (2011), Hey Shorty: Vol. 2 (2011), and The House of Blue Leaves (2012). I have also co-directed two productions: The Bald Soprano (2010) and Orphans (2012). I do not exaggerate when I say that I have received high accolades from my mother and father alike. I am in the final year of my undergraduate degree at the University of Manitoba and recently finished my term as the stony-hearted president of the Black Hole Theatre Company.  I’m truly excited and honoured to be working with Theatre Projects Manitoba for this upcoming season.


  • TPM presents the Manitoba première of Carole Fréchette’s John & Beatrice

    For Immediate Release: Winnipeg, October 16, 2012

    Theatre Projects Manitoba presents the Manitoba première of Carole Fréchette’s

    John and Beatrice

    “Well-to-do young heiress, intelligent and perceptive, who has never loved anyone, is seeking a man who will interest, move and seduce her. Substantial reward offered.”

    John & Beatrice is written by Carole Fréchette, one of Canada’s leading playwrights.  Recently, there has been an explosion of Fréchette’s work across the country. She is well known internationally and she is one of the most produced Canadian playwrights in France and Europe. Her work, translated into 18 languages, has been staged all over the world, from Montréal to Reykjavik, and Paris to Tokyo.

    The English translation is by noted Canadian dramatist John Murrell.John and Beatrice opens November 1st and closes November 11th in the Rachel Browne Theatre. Tickets range from $15-25 (inclusive of GST) and are available by calling the box office at 204-989-2400 or by ordering through this website.

    Directed by Theatre Projects Manitoba’s Artistic Director, Ardith Boxall (Monster Trilogy, Age of Arousal, North Main Gothic) the play features Kevin Klassen: Henry V (SIR), Till It Hurts (PTE),  Romeo & Juliet (RMTC) and Tracy Penner: Moonlight Sonata of Beethoven Blatz(TPM),Top Girls (RMTC), Village Wooing (zone 41).

    High above the city, Beatrice sits on the 33rd floor of an office tower waiting for the right man to respond to her ad. When John appears, the games begin. This bounty hunter is up to the challenge but his reward is in question.  John and Beatrice is a masterful play about the delusions and truths of modern day romance. Fréchette’s characters lean firmly to the archetypal; John is a lonely hunter and Beatrice the arrogant princess. With a blend of myth and humor these two lonely people demand and need only one thing – to be able to love.

    John and Beatrice blends comedy, melodrama, absurdist theatre and naturalism. Like a lovers’ version of Waiting for Godot, it plays out at times as a duel, at other times, a deceit. With a nod to film noir and a fairy tale heart, the chronicle of John and Beatrice’s romance finally reveals itself as a deep and painful drama.  At all times, it is a duet.

    Carole Fréchette was born in Montréal and is a graduate of the National Theatre School. Still based in Montréal, she has been a force in Québec theatre for over 25 years. She is the author of 15 plays, which have been translated into 18 languages and staged all over the world. Fréchette won the 1995 Governor General’s Award for her play Les Quatre Morts de Marie and the Chalmers Award for John Murrell’s English version of that play. She is the 2002 winner of the Siminovitch Prize. John Murrell’s English versions of her plays are published by Playwrights Canada Press. Her new play Je pense à Yu, had three different productions this year, in Paris, in Montreal, and in Calgary, at Alberta Theatre Projects in John Murrell’s English version.

  • Theatre Projects brings vision of Quebec to Manitoba

    CBC Manitoba Scene

    Posted by Andrea Ratuski, SCENE Producer | Tuesday August 28, 2012

    CBC Scene’s preview of TPM’s season includes new show information and an interview with Artistic Director Ardith Boxall!  Bonus:  a sneak peek at our groovy new posters from Relish New Brand Experience

    Read the preview article

  • Theatre Projects announces lineup for 23rd season

    Winnipeg Free Press – PRINT EDITION

    Theatre Projects announces lineup for 23rd season

    By: Staff Writer

    Posted: 08/29/2012 1:00 AM

    BASHIR Lazhar, the Quebec play that was adapted into the film Monsieur Lazhar and was nominated for a 2012 Academy Award, will be staged by Theatre Projects Manitoba in March as part of its 23rd season,.

    Written by Evelyne de la Chenelière, Bashir Lazhar (March 14-24) explores living with the effects of violence. The title character in the English translation by Morwyn Brebner is an Algerian refugee and eager substitute teacher helping a traumatized middle-school class.

    Read the full Winnipeg Free Press preview of our season!

  • Theatre Projects Announces 12/13 Season!

    John & Beatrice by Carole Fréchette, translated by John Murrell

    Bashir Lazhar by Evelyne de la Chenelière, translated by Morwyn Brebner

    TPM’s Theatre Salon!

    Playing in Translation: Intimate storytelling that will provoke and entertain.


    Theatre Projects Manitoba (TPM) is thrilled to announce the Prairie premieres of two incredible plays from Quebec and to launch our Theatre Salon, where Manitoba artists and audiences can explore Quebec theatre in both official languages! Our 23rd season features the work of Carole Fréchette and Evelyne de la Chenelière; two acclaimed Canadian playwrights whose work has been translated and performed around the world!

    “The experience of presenting Quebec theatre in translation brings TPM a new vista; a fresh theatrical landscape for our community to explore. With TPM’s Theatre Salon, we are proposing an intimate forum for the exchange of ideas, a base camp from which students, artists and audiences will help us explore this defining facet of our Canadian culture and community.”- Artistic Director Ardith Boxall More >

  • Thanks for another great season of Manitoba Theatre!

    Theatre Projects Manitoba has wrapped up our 22nd Season of Made in Manitoba theatre.  We would like to thank our brilliant community – the artists, the generous sponsors and donors and our vibrant audience – all of you contributed to an incredible season of activity.

    Our season had many highlights, from our partnership with zone 41 theatre for their inaugural production of Three Sisters by Bruce McManus, to a festive holiday themed In the Chamber to our much anticipated premiere of Steven Ratzlaff’s first full length play – the dramatic and thought provoking Dionysus in Stony Mountain.  We even took it to the streets this year when during Dionysus we hosted a community forum exploring Restorative Justice at the Winnipeg Free Press Cafe.

    We are looking forward to another season of exciting and intimate theatre and we hope you will join us!  Please check back in the coming weeks to hear what we have planned for 2012/2013 – we are certain you’ll want to get your Season Passes this year!

    With our great affection,

    The Staff & Board of Directors of Theatre Projects Manitoba

  • Uptown Review: Intelligent, funny and especially gripping…Ratzlaff’s play is as pleasing as it is provocative.

    Dionysus In Stony Mountain

    Sarah Constible & Ross McMillan Photo: Leif Norman

    A winning look at a failing system

    Dionysus in Stony Mountain offers an intelligent, provocative and often funny look at crime and punishment in Canada

    Idea man. Steven Raztlaff’s Dionysus in Stony Mountain is an intellectually stimulating examination of corrections, crime and punishment.  Read the full reiew

  • Please note Venue and Times for Dionysus in Stony Mountain below – there are incorrect listings in your local papers!

    It has come to our attention that the listings in both Uptown and the Winnipeg Free Press are incorrect.

    So please – come to the Rachel Browne Theatre at 8PM tonight through Saturday.  Or come to a matinee at 2PM on Saturday or Sunday…at the Rachel Browne Theatre.

    You can view the full performance schedule by clicking here

  • CBC Review:

    Theatre Projects’ “Dionysus In Stony Mountain” a thoughtful meditation on justice

  • TPM hosts Restorative Justice Panel tonight!

    No spoilers-  tonight’s discussion will deal with the subject matter of the play, not the play itself!


    Our current production, Dionysus In Stony Mountain by Steven Ratzlaff asks a raft of questions about our Justice System and what obligation we owe to others. It also asks the audience to question many of their own moral assumptions about criminalization and incarceration.

    It’s a political play and a provocative subject that the community can engage with both inside the theatre and on the street. So we’re hosting a discussion, Salon style, down the street from the theatre at the Free Press Café, with the guidance of an expert panel and an outstanding moderator.

    Restorative Justice Panel

    Tuesday, April 3, 2012 at 6:30 pm

    Winnipeg Free Press Café – 237 McDermot Avenue

    Moderated by Naomi Levine

    The Panel:

    • John Hutton, Executive Director, John Howard Society
    • Glenn Morison, Chaplain, Winnipeg Remand Centre
    • Joan Carolyn, Program Director, CoSA (Circles of Support & Accountability)
    • Adam Klassen, Journey to Justice (Mennonite Central Committee)
    • Steven Ratzlaff, Playwright
    • Wilma Derksen, Founder of MCC’s Victim’s Voice, Victim’s advocate
    • Kent Somers, Psychologist, Stony Mountain Institution

    Join the discussion!

    Dionysus in Stony Mountain runs from March 29 to April 8, 2012 at the Rachel Browne Theatre. For tickets, please visit or call 989-2400.

  • CBC Preview: Dionysus sheds light on both sides of prison bars

    CBC’s Scene brings you an interview with Steven Ratzlaff and a sneak peek of the play!

  • Canada’s Message for 2012 World Theatre Day

    Commissioned by Playwrights Guild of Canada, The Professional Association of Canadian Theatres and Association des théâtres francophones du Canada

    March 27

    By Daniel David Moses

    Consider how useful a wristwatch that lights up and glows is, if your work takes you, as mine does occasionally, into the darkened auditorium of a theatre. Settled under the blanket of the theatre’s artificial night and focused on the dream world rising on the stage, I can check unobtrusively on time’s passage. If I’m watching the rehearsal of one of my own plays, I want to be certain it’s playing out with as much alacrity as my conceit allows. If I’m attending some other play’s performance, checking the time is a measure of how the play is working for me, fairer to those works, as I age, than the question of when the next bathroom break will come. More >

  • Theatre Projects Manitoba hosts Restorative Justice Panel as part of upcoming production

    “They’re too embarrassed to call it a penitentiary anymore. The absurdity of compulsory penance. This institution is an abomination, a scandal, because the debilitating, humiliating treatment is actually the result of good intentions.”

    – James Hiebert, Dionysus in Stony Mountain



    WINNIPEG, MB – Theatre Projects Manitoba (TPM) is pleased to present a panel on restorative justice as part of our upcoming production, the première of Dionysus in Stony Mountain by Winnipeg playwright Steven Ratzlaff.

    Restorative Justice Panel

    Tuesday, April 3, 2012 at 6:30 pm

    Winnipeg Free Press Café – 237 McDermot Avenue

    Moderated by Naomi Levine

    As unabashedly intellectual as it is dramatically compelling, Dionysus in Stony Mountain explores the binding and loosening of family ties, the warehousing of the mentally ill in Canada’s prisons, mania, and the boundaries of the patient /psychiatrist’s relationship, finally asking “what does it really mean to care?”

    “The play asks a raft of questions about our Justice System and what obligation we owe to others.  It also asks the audience to question many of their own moral assumptions about criminalization and incarceration and we believe this provocative subject deserves independent examination by our community.” said TPM General Manager Rea Kavanagh.We are therefore hosting a restorative justice panel comprised of individuals who can speak to restorative justice experience, principles and practice.”

    The panelists are:

    • John Hutton, Executive Director, John Howard Society
    • Glenn Morison, Chaplain, Winnipeg Remand Centre
    • Joan Carolyn, Program Director, COSA (Circles of Support & Accountability)
    • Adam Klassen, Journey to Justice (Mennonite Central Committee)
    • Steven Ratzlaff, Playwright
    • Wilma Derksen, Founder of MCC’s Victim’s Voice, Victim’s advocate

    Dionysus in Stony Mountain runs from March 29 to April 8, 2012 at the Rachel Browne Theatre.  Tickets are available on this website or by calling 989-2400.


  • An interview with Steven Ratzlaff

    On March 29th, TPM will present the world premiere of Dionysus in Stony Mountain by Steven Ratzlaff.

    As unabashedly intellectual as it is dramatically compelling, the play erupts with Friedrich Nietzsche, exploring the binding and loosening of family ties, the warehousing of the mentally ill in Canada’s prisons, mania, and the boundaries of the patient /psychiatrist’s relationship, finally asking “what does it really mean to care?”

    We sat down with Steven to chat about the evolution of his  play, his choice of Nietzsche, his thoughts on society’s vast systems & his compulsion to write about them. More >

  • Dionysus In Stony Mountain opens March 29th!

    Today is the first day of rehearsals for TPM’s final show this season, Dionysus in Stony Mountain by Steven Ratzlaff.

    We’ve been excited about this play for some time – we saw it’s first incarnation as a one act play at the Winnipeg Fringe Festival in 2008 and were captivated.

    Three years, several workshops and script drafts later, Ratzlaff’s play will make it’s premiere on Thursday March 29th at 8PM at the Rachel Browne Theatre.

    As unabashedly intellectual as it is dramatically compelling, the play erupts with Friedrich Nietzsche, exploring the binding and loosening of family ties, the warehousing of the mentally ill in Canada’s prisons, mania, and the boundaries of the patient /psychiatrist’s relationship, finally asking what does it really mean to care?”

    You can get your tickets here on the website or by calling us at 989-2400.

  • TPM AGM this weekend!

    Join us this Sunday to hear the fabulous news from last year’s10/11 Season.  It’s also a great opportunity to chat with the staff and the Board of Directors about your TPM experiences over coffee and cookies.

    Theatre Projects Manitoba’s 22nd Annual General Meeting
    3PM Sunday January 22nd, 2012
    504 – 100 Arthur:  Manitoba Association of Playwright’s Rory Runnels Studio
    Beverages & nibbles will be served

    Hmmm…cookies and good conversation about theatre…very hard to go wrong with that plan.

  • Happy Holidays from TPM!

    We wish you and all your loved ones peace and joy during the festive season and the happiest of new years!

  • An Interview with Ellen Peterson & The Fu Fu Chi Chi Choir!

    On the eve of In the Chamber: Holiday Special, Playwright Rick Chafe catches up with this year's artists for a glimpse of their new creations.

    Every year, Theatre Projects commissions two or more theatre artists to create a new piece for straight-from-the-oven-to-the-audience performance.   December 8-10, In the Chamber: Holiday Special premieres a music/theatre mashup of the artistry of Ellen Peterson and the Fu Fu Chi Chi Choir (aka creative cyclones Sarah Constible and Michelle Boulet plus ten or so best friends) for two plays wrapped in one glittery package.  Rick Chafe stopped the panting artists long enough to get a preview.

    Rick: Overview please, what are the two shows in one about?

    Sarah: The Fu Fu Chi Chi part takes place in hour 36 of a 12-day Christmas TV marathon. The host, Bobbie Lager, was supposed to be relieved 8 hours ago, and she’s very sick. She shows a selection of musical numbers, each one, coincidentally enough, performed by the choir.

    Michelle: And then Sarah and I are sort of the accent in Ellen’s piece, because she’s doing monologues and we’re the ones who give her the chance to change costumes.   We wrote all new songs for the choir for our show, and songs that resonate a lot with Ellen’s themes for hers.

    Ellen: Mine is The Eight Tiny Reindeer of the Apocalypse.  It’s about how the end of civilization as we know it is brought to collapse by Christmas.  I play 3 characters over the span of 20 years.  The first is an economics professor who’s seen the signs everywhere and is trying in vain to get people to stop the madness.  Her students wouldn’t listen and she becomes a doomsday prophet, standing out on the corner of Portage and Vaughn.  The next character is a woman who is married and has children, but she had a breakdown the previous year.  She’s trying to get her Christmas mojo together, trying to make the magic happen, but it’s not going very well.  The third is a preacher of a so-called church—but there’s no 2-sentence version of this, so you have to come see.

    Rick: Where did the Christmas theme come from? More >

  • It’s a Handmade Holiday Special!

    The "Knit the Bridge" Giant Ball of Yarn courtesy Jennifer Smith & Kristen Nelson (and over 117 other local knitters)will be installed in the theatre lobby!

    TPM is getting crafty with our Holiday Special themed In the Chamber!

    To compliment the performance on stage, we’ve invited local artists to display and sell their handmade creations in the lobby.

    There will be a variety of items, from original gift cards & writing journals to hand printed t-shirts, beautiful felted creatures & hand sewn monsters! Expect a little cheekiness and a lot of talent!

    Here’s the Handmade line up:

    • Heather Bays
    • Tamara Rae Biebrich:  lady.t tees
    • Maurice & Jeanette Dzama
    • Kami Goertz: Marathon 1981
    • Andee Penner: Sew Dandy
    • Alix Sobler: Summertime Crafts

    So arrive early and bring cash!  We’ll even have hand stamped wrapping paper and an elf or two to tie up your packages.  Oh…did we mention the photo booth?!

  • Theatre Projects’ Holiday Special is coming soon!

    The Fu Fu Chi Chi Choir  Photo:  Leif Norman l to r:  Michelle Boulet, Jacqueline Loewen, Sarah Constible, Janice Skene, Elizabeth Quesnel & Marina Stephenson Kerr

    In the Chamber 2011:  Holiday Special

    Featuring Ellen Peterson & The Fu Fu Chi Chi Choir

    Directed by Ardith Boxall

    8PM December 8th, 9th & 10th

    The Asper Centre for Theatre & Film – University of Winnipeg Campus – 400 Colony (Entrance from Balmoral)

    TPM is preparing for the holidays – constructing a darkly comic theatrical tonic for the madness of the season.  Ellen Peterson and the Fu Fu Chi Chi Choir are the elves In the Chamber workshop, building us two new plays.

    This year our writer/performer series that begs for the personal explores our society’s relationship to the holidays, our economy and the individual pursuit for meaning in the current economic climate.

    Ellen Peterson brings us The Eight Tiny Reindeer of The Apocalypse and the Fu Fu Chi Chi will give us a playlet in four part harmony, so fa la la promises to be ha ha ha – we hope you can join us!

    With just three performances, seating is limited – get your tickets now!

    Read more about the artists and the show…

  • An interview with Bruce McManus

    Two Chekhov enthusiasts, Mike Bell and Bruce McManus, met for coffee to discuss the impending world premiere, 11 years in the making, of Bruce’s adaptation of Chekhov’s Three Sisters.


    Mike enters Bruce’s home.  Bruce offers coffee.  Mike can’t say no because he loves “the java”.  During the interview, sometimes Bruce stands up to get coffee.  But, for the most part, Mike and Bruce are sitting at the kitchen table.

    MIKE:  Why is the story of Three Sisters important to you?

    BRUCE: It resonated with me because the theme of happiness has dropped out of literature to some extent.  Except for children’s literature. The characters in the play need to find some kind of place in the world, but also find happiness.  Find happiness whatever that is…whatever that means.  It’s intriguing to me.

    MIKE:  What do you find more challenging?  Writing an original play or adapting a pre-existing one?

    BRUCE:  With my own plays I’ve lived through that period.  Adaptations you have to research time, place, and who the characters represented in their own time.  And when you’ve got the story and structure most of your work is done. Yet you still feel this obligation to enlighten and enhance what is there.  That poses its own challenges.  But there’s no easy writing. Everything’s hard about writing.

    MIKE:  How would you describe Chekhov as a writer? More >

  • A warning from Chekhov – get out and vote Manitoba!

    “Wherever there is degeneration and apathy, there also is sexual perversion, cold depravity, miscarriage, premature old age, grumbling youth, there is a decline in the arts, indifference to science, and injustice in all its forms.”

    -Anton Chekhov in a letter to A.S. Suvorin, Dec. 27, 1889

  • New adaptation of Three Sisters by Bruce McManus – running October 6th – 16th.

    Three Sisters

    By Anton Chekhov

    Adapted by Bruce McManus

    October 6th – 16th, 2011

    Canwest Centre for Theatre and Film

    University of Winnipeg Campus – 400 Colony (entrance from Balmoral)

    Directed by Christopher Brauer

    Featuring an ensemble cast of 11!

    a zone41 theatre production

    110 years since the original opened at the Moscow Arts Centre. McManus has moved the action from turn of the century Russia and centered it instead on The Royal Canadian Air Force Base at Moose Jaw, Saskatchewan in the late 1950’s. In doing so he weaves a prairie story from the essential threads of the original remaining faithful to the tragic comedy of Chekhov’s characters in an environment often hostile to dreams.

    Three Sisters explores our obsessive desire to look elsewhere, to ignore our reality in pursuit of an imagined salvation, and confronts us with the impossibly perfect designs we hang on both our past and future.

    Three Sisters has an artistic team of 20!  Learn more about the artists and the show on the Three Sisters Page on this site.

  • Launching a season and introducing a new theatre company to Winnipeg audiences

    On October 6th, 2011,  Theatre Projects Manitoba is launching our 22nd season with zone41 theatre’s production of  Bruce McManus’ Three Sisters.  We are excited to partner with them for their inaugural production and  introduce our audiences to this new theatre company committed to reimagining classics.

    We asked Matthew Handscombe – one half of zone41 to describe the genesis of  their new company .

    Matthew Handscombe:

    “Two years ago this fall, our lives changed.  It began with a show, Tom-Tom’s co-op production of The Winter’s Tale that was a revelation to me as an audience member and just had the magic for Krista as a veteran actor.  If you were lucky enough to have seen it, you too may fondly recall how Christopher Brauer and his team of actors were able to transform two trestles, a door and a piano into the richest of sets.  The quality of the work being done on stage was staggering and moments of obvious, unbridled joy were received by the audience with vocal thanks.  I wasn’t the only one in tears. More >

  • The Book of Vaudeville premieres with TPM Doc in support of PAL Winnipeg

    On the occasion of TPM’s 20th anniversary, interviews abounded and video was shot… Theatre Projects was made a movie star. Produced and directed by Gordon Tanner, the footage became a 16 minute documentary called Between Then and Now: 20 Years of Theatre Projects Manitoba for MTS On Demand.

    Now you have a chance to see Between Then and Now: 20 Years of Theatre Projects Manitoba on a double bill from MTS on Demand with the premiere of The Book of Vaudeville in support of Winnipeg’s Performing Arts Lodge.

    MTS Winnipeg on Demand Presents a Farpoint Films Production

    The Book of Vaudeville Premiere

    A Fundraiser for the Performing Arts Lodge of Winnipeg

    Friday, September 23

    Two Screenings: 1:30pm & 7:00pm

    Aqua Books

    274 Garry Street

    Winnipeg, Manitoba

    This is a fundraiser for the Performing Arts Lodge of Winnipeg (PAL). Tickets are $20 (cash sales only please) and are available in advance at Aqua Books, Theatre Projects Manitoba (204-245 McDermot Ave) and the Farpoint Films office at 202-1335 Erin St.

    Click here to watch the trailer for The Book of Vaudville on YouTube

    Click here to read more details in the press release

  • Welcome to Our 22nd Season!

    Welcome to our 22nd Season of playing on the plains & making extraordinary Manitoban theatre!

    We are thrilled to bring you three world premieres from the Province, created by fabulous local artists (beloved and emerging) and staged in intimate city venues. Join us at the theatre where you’ll find daring, intelligent and sometimes hilarious stories that will grab hold of your senses and elevate your prairie spirit!

    Download our season brochure and mark the dates!

    In October, we’ll premiere zone41 theatre’s Three Sisters, by Anton Chekhov adapted by Bruce McManus and set in 1959 in the wilds of Saskatchewan!  Come out and be bowled over by the ensemble cast of 11 actors and the intimate alley staging that will immerse you in a living room on the Royal Canadian Air Force Base in Moose Jaw.

    In the Chamber:  Holiday Special marks the return of our (popular, personal and oft political) writer performer series . Ellen Peterson’s new solo performance is a modern holiday fable sure to get you through the season with a brave smile on your face. Joining her is the Fu Fu Chi Chi Choir led by Michelle Boulet and Sarah Constible in a brand new musical playlet for nine women!

    In April Dionysus in Stony Mountain by Steven Ratzlaff brings you thought provoking drama; a challenging, intellectually demanding play – steeped in Nietzsche and set in Stony – to haul you out of the dark winter months and propel you to spring.

    It’s going to be an amazing year. Get your season passes now!

  • | Manitoba Scene | Theatre Projects Manitoba announces all-new, all-Manitoba season | Manitoba Scene | Theatre Projects Manitoba announces all-new, all-Manitoba season.

  • Theatre Projects season will kick off with Chekhov

    Winnipeg Free Press:  republished from May 14th, 2011 print edition

    A NEW adaptation of Anton Chekhov’s Three Sisters will have its première at Theatre Projects Manitoba this fall, 110 years after the original play opened in Moscow.

    Winnipeg playwright Bruce McManus has updated the tragicomedy to the late 1950s and set it at the air force base in Moose Jaw, Sask.

    Christopher Brauer will direct a large cast including Ardith Boxall, Andrew Cecon, Carolyn Gray, Rob McLaughlin, Harry Nelken and Gord Tanner. The show will run Oct. 6-16 at the Canwest Centre for Theatre and Film.

    The 21-year-old Theatre Projects is committed to developing and producing Manitoba plays. Its 2011-12 season includes two other productions.  Read more of the preview

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