In the deep forests of Northern Manitoba, where the night can feel ancient and alive, three friends gather around a sacred fire. Their grief summons shadows, memories, and something much, much older than any of them, a presence pulled straight from Cree legend.
This is In the Shadow Beyond the Pines, Royal Manitoba Theatre Centre’s (MTC) new production by Indigenous playwright Rhonda Apetagon.
Apetagon, a proud member of Norway House Cree Nation, grew up surrounded by the northern stories that inspired the play. “I grew up hearing these stories pretty much my entire life, and also hearing contemporary versions of them. People’s experiences with the uncanny or unusual things that happen.” The script began as a loose collection of uncanny tales, eventually transforming into a theatrical narrative as Apetagon participated in the Pimootayowin Creators Circle, a creative space supporting Indigenous writers. Through workshops and mentorship, the scattered pieces “had a little bit more substance to it,” eventually becoming the version now on stage.
The play weaves traditional teachings into a modern horror story, a balance Apetagon approached with deep care. Apetagon says horror can provide audiences with a “safe scary”, a way to explore trauma, history, and resilience without being consumed by it. Instead, her goal is connection, understanding, and a spark of recognition for those who have lived through similar experiences.
Actor James Dallas Smith plays the character George and was drawn to the writing’s authenticity. Having first encountered the script through MTC’s development workshops and immediately sensed that it was special. “I got to see this script from pretty early on and thought, well, I’d like to be a part of that if I can,” he explains. It’s a really interesting story in the sense that it’s a lot of indigenous shows in the last decade, which has been a gift unto itself. But this one is sort of disguised as a horror thriller, and it sneaks in teachings and lessons. I’ve never seen anything like it on stage.”
For Smith, the role also opened doors to deeper personal reflection. George’s strained relationship with culture and family echoed stories familiar across Indigenous communities. “There’s a generation missing because they were damaged by residential school,” he explains. “This play is a very good example of showing three damaged men who are just trying to put it back together, but it goes a different way.” Through the character, he found himself understanding intergenerational trauma in new, more tangible ways.
That level of emotional weight required careful preparation. The team worked closely with Knowledge Keeper Jhaik Windy Hair, smudging together each morning and evening, even extending the smudge over Zoom when needed.
Royal MTC also embraced these cultural practices wholeheartedly, even incorporating a real sacred fire on stage. “They’re letting us put a real fire on stage, because the main part of the story is a sacred fire,” Smith says. “There were obviously lengthy discussions about it, but we have it. It’s a real working fire. It’s incredible. And I’ve never had that on stage before.” That fire becomes the heartbeat of the story, symbolizing grief, life, and the ancestral world flickering just beyond view.
Apetagon is thrilled to see her vision made real in such immersive ways. Originally imagining a simple screen above the actors, she’s amazed at how the production team expanded the concept. “I thought, oh, there’s no possible way they could do this on the stage. They’ve managed to. It’s immersive, which is beyond my expectations.”
Like the sacred fire at its centre, In the Shadow Beyond the Pines burns bright with memory, fear, and hope. And in its glow, the shadows begin to speak.
Grab your tickets for In the Shadow Beyond the Pines playing until March 28.
– Ryan Funk, U Multicultural
