Thespian has lofty goals for province’s theatre scene

Daniela Smith-Fernandez has had an eventful summer.

Her debut play, the verbose sex comedy Jean-François: plus que parfait premièred at the Winnipeg Fringe Theatre Festival in July (earning 4/12 stars in the Free Press).

And just a week before, in early July, Smith-Fernandez joined the Manitoba Association of Playwrights as its new company manager.

“I don’t want inclusion to be tokenism anymore. I want people to be including Manitoba plays because they’re amazing, not because they feel like they should support local,” says the 41-year-old trilingual Chilean-Canadian artist. “(At MAP) I feel like I get to be myself in a way that definitely didn’t happen when I was working in insurance.”

Manitoba Book Awards

releases short list

The Manitoba Book Awards has unveiled the short lists for the literary prizes to be presented this year.

For the 2026 awards, jurors evaluated 42 submissions in both English and French, and will present six prizes in total for best first book as well as best fiction, non-fiction and poetry, plus the Carol Shields Winnipeg Book Award and a prize for French literature.

Cinematheque celebrates LGBTTQ+ director’s catalogue

As a distinct and important voice in queer cinema, director Gregg Araki’s sex-filled, nihilistic films about LGBTTQ+ life have left a lasting impact on indie films.

To end off the summer, Winnipeggers will have a rare one-week opportunity to experience the Los Angeles-born filmmaker’s work in theatres at Dave Barber Cinematheque from Aug. 28 to Sept. 6.

The series is to celebrate Araki’s newest movie, I Want Your Sex (which opens tonight and runs to Tuesday),and incorporates some of his more well-known works along with older films that aren’t usually screened, says Olivia Norquay, film programmer for Cinematheque.

One of the most important inclusions for Norquay is Araki’s Teen Apocalypse trilogy, which includes Totally F***ed Up (1993), The Doom Generation (1995) and Nowhere (1997).

Opera group hits pub to stage shows for sophisticated palates

Opera’s famous drinking songs — La Traviata’s Brindisi, Don Giovanni’s Fin ch’han dal vino, Carmen’s Votre Toast — tend to flow with references to women and wine, not beer.

But that hasn’t stopped Winnipeggers from sipping 1919s or Generics at local bar and brewery Little Brown Jug over the past few years to the strains of Verdi, Puccini and Mozart.

Currently in its eighth season, Opera by the Pint has its next LBJ event Wednesday at 7 p.m. (The artists also perform at the Public Brewhouse and Gallery in Steinbach at 7 p.m. on Thursday.)

This week’s program focuses on musical hits, while also featuring traditional Filipino ballads and Mexican art songs.

Creepy, poignant graphic novel a small-town coming-of-age horror story

If you’ve been to Sackville, N.B., you might have wondered what’s inside the huge, windowless, white steel cube on the edge of this small town of 6,000. The fact that “the Sackville Cube” is a huge cold storage facility for frozen fruit, and has the unremarkable name of the Atlantic AutoCold facility, does little to diminish the strangeness of this landmark that seems straight out of a science fiction movie.

So when Jon Claytor’s creepy and poignant new graphic novel, Nowhere, begins with the arrival overnight of a giant white cube on the edge of a small town called Beauséjour, it is natural to assume this is a thinly disguised version of his hometown, and that this coming-of-age horror story bears some resemblance to his own experiences of the weirdness of small town life.

Claytor is a U.S.-born, Sackville-based painter, illustrator, graphic novelist and writer and one of the founders of Sackville’s acclaimed SappyFest independent music and arts festival. His graphic memoir, Take the Long Way Home, depicted his eight-week road trip across Canada shortly after achieving sobriety. He has also published a number of non-fiction online comics, including a series about the effects of the opioid epidemic in the rural Maritimes (ruralharmreduction.com) and short comics for the CBC about interesting Maritimers.

Nowhere begins with the arrival of the white cube in Beauséjour, where it introduces an element of mystery to the lives of people who otherwise know everything about each other’s mundane business. Drawing on some classic horror tropes, Claytor then introduces the protagonist, 12-year old Joel, as he, his mother and his stepfather (along with the family cat, dog and two turtles) wind up in Beauséjour when their ancient Chevy Impala dies just outside town in the middle of the night.

Inman launching new album at WECC

Give Richard Inman a moment and a surface, and he’ll cover it with a story.

“I’ve scribbled down lyrics on paper plates, McDonald’s bags — whatever you got,” says Inman, who grew up in southern Manitoba but now lives in a three-bedroom ranch house near Twin Butte, Alta., so close to the American border that he says he can spit into Montana from his backyard.

“The other day I had a line in my head for seven hours before I wrote it down,” says the songwriter, who managed to remember the phrasing after driving home from a music festival in Idaho. “That certainly was lucky.”

Though Inman, 35, first starting sharing his Americana concoctions with crowds at Winnipeg’s Times Change(d) High & Lonesome Club in the late 2000s, learning how to play his compositions with his band, the Mad Trappers, he has spent the bulk of the past decade out west, splitting time between the stage and the sale barn.

Dazed and confused stoner comedy hard to get right

Stoner comedy has always been kind of a dude thing. Think of the Fabulous Furry Freak Brothers, Cheech & Chong, Ice Cube’s Friday franchise, Harold & Kumar, basically any movie with the young Seth Rogen.

Screenwriter Dylan Meyer (Moxie) provides a much-needed gender swap in her directorial debut, giving us Kristen Stewart and Alia Shawkat as ride-or-die roommates Frankie and Molly. Dipping in and out of the gig economy and perpetually broke, they share their Los Angeles bungalow with two cats, a life-size cardboard cutout of Celine Dion and an enormously complicated “bong-a-tron” that takes up most of the living room.

Finally, finally, it’s women who get to be messy, aimless and really high.

Unfortunately, stoner movies — no matter the gender — are surprisingly hard to get right. The Wrong Girls is sweet and shaggy and intermittently funny, but Meyer ends up struggling with the genre’s common buzzkills.

Survival guide offers a frightening perspective on life in U.S. prisons

Canadian criminal sentencing guidelines identify “three traditional utilitarian goals — deterrence … incapacitation and rehabilitation.”

In spite of lofty intentions, fiction and film have identified North American incarceration in general as largely negative, incapacitating most inmates only while they are actually behind bars. Prison often leads to more crime, teaching criminal behaviour.

Tom Nelson spent more than 17 years in medium and maximum security facilities in the U.S. for such pasttimes as auto theft, armed robbery and drug dealing. Then he turned that life of crime around and became a successful physical trainer and gym owner in Los Angeles.

Nelson met and formed a friendship with Taylor Sheridan, creator and writer of such series as Yellowstone, Landman and the prequels 1883 and 1923. When COVID devastated the gym business and Nelson’s health was failing, Sheridan suggested turning Nelson’s attempt at a screenplay about prison life into a book.

The view from here: Phyllis Green. Boob Tree, 1975

Staycation: The Art of Being Here feautres more than 100 Manitoba-related artworks from the Winnipeg Art Gallery-Qaumajuq collection, spanning the past 50 years. These pieces reveal how the places around us are layered with memory, story and lived experience. Over the coming weeks, the Free Press will spotlight works from this eclectic exhibition, each one offering a new way of seeing home. Experience it in person and enjoy some staycation time at the gallery, on view until December.

Phyllis Green. Boob Tree, 1975

(Yarn, wood. Collection of the Winnipeg Art Gallery; Acquired with funds from the Estate of Mr. and Mrs. Bernard Naylor, funds administered by The Winnipeg Foundation, 2014-128. Photo: Ernest Mayer.)

The year 1975 was designated International Women’s Year by the United Nations, and in celebration, the WAG staged the show Images of Women, which explored how women had historically been depicted, an impressive selection but by mostly male artists. Amid pushback from the community, Sharron Zenith Corne and Marian Yeo organized a second exhibition, Woman as Viewer, which challenged those portrayals by only featuring works by women. It was called the first Canadian exhibition of feminist art. American artist Phyllis Green’s Boob Tree, a four-foot-tall crochet sculpture of a cluster of breasts, adorned the exhibit posters, which were so popular they were snatched by passersby! The sculpture is playful and unsettling, re-appropriating the objectification of women’s bodies.

Rise of computer program Lean has changed the field of mathematics — and how we assess the truth

There are two age-old laments about mathematics which persist to this day. The first is that either ourselves or someone we know will express that they are not a math person — an admission that we are not good at math, or that somehow we are not hardwired for it. But we don’t tend to admit the same for reading, writing, child rearing, cooking or other skills that we deem inherent to the human experience.

The second lament is one that asks why we even learn math. “We’ll never use this in the real world,” goes the saying, particularly within the context of pre-calculus mathematics or calculus itself.

Both of these laments are regrettable, and most certainly need to be corrected by the public education system. Because, as author Kevin Hartnett argues in his latest work, The Proof in the Code: How a Truth Machine is Transforming Math and AI, mathematics is not only the language of the universe, but also a pathway to learning how to reason and seek truth.

Mathematics, ergo, is the language, both the physical and the metaphysical.

Sisters’ retreat to haunted island lighthouse comes with a catch — a deal with the devil

Would you be able survive a year tending a lighthouse on an uninhabited island, with only your younger sister for company? Even worse, what if you had made a deal with the devil in order to secure this “safe” arrangement?

This is the basic premise of Halifax author Sarah L. Hawthorn’s debut novel A Fate Worse Than Drowning, a gothic romantasy set in 1870s Nova Scotia.

At the novel’s opening, Elle (Eleanor) and her sister Liney (Caroline) have been hiding out on Devil’s Island — an isolated and uninhabited island, save for a lighthouse and its keeper — off the coast of Halifax.

But the sisters have more than just each other for company. Liney is joined by Chamomile, an imaginary woman only she can see or hear. And Elle is haunted by the ghost of James Douglas, the lighthouse keeper she murdered so she and Liney could hide on the island in secret ... though Elle has done much worse.

Struggling Sri Lankan refugees swindled

The inscription at the beginning of Hustle, Baby: “Common sense will not accomplish great things. Simply become insane and desperate. — Lord Naushige, the Samurai warlord.”

And what a fitting inscription it is for the story of a family of women who fled Sri Lanka’s civil war and are struggling to survive in the relative safety of Scarborough, Ont.

Hustle, Baby is the second novel by Priya Guns, the Sri Lankan-born, Canadian-raised writer now based in London, U.K., and the Middle East. Her debut novel, Your Driver is Waiting, was lauded by critics as a satirical, gender-flipped retelling of the 1970s film Taxi Driver.

Perhaps Naushige knew families wild with desperation in the face of eviction with the deck truly stacked against them. Maybe he witnessed the insanity with which such families responded. But it is doubtful his families rode out their crises with quite the aplomb this family does.