Interview by Carrington Dong

For the final Tom Hendry Warehouse play of its 2025-26 season, Royal Manitoba Theatre Centre (RMTC) presents the world premiere of In the Shadow Beyond the Pines.

Written by Indigenous playwright and artist Rhonda Apetagon and directed by Jimmy Blais, the play takes place in the wilderness of northern Manitoba. In RMTC’s words, it “explores the shadows of Indigenous life and lore with a hint of humour.” 

In the Shadow Beyond the Pines follows friends Shane, Dale and George who go into the northern Manitoba wilderness to light a sacred fire in honour of their friend who has recently passed away. 

“None of them are really well-versed in traditional ceremony, so they’re doing the best that they can to try and give their friend a good sendoff,” Apetagon explained. “But then, the place that they choose to have their sacred fire has some history, and there are legends that surface as they’re out there, about […] mysteries and terrifying experiences — both legend and more contemporary — that have occurred in that area.”

Apetagon, a member of Norway House Cree Nation, described her playwriting style as “[trying] to capture the Indigenous perspective.” She developed her playwriting, including In the Shadow Beyond the Pines, through the Pimootayowin Creators Circle, under the mentorship of Governor General Award-winning playwright Ian Ross. She said that the Creators Circle is unique as it provides an opportunity for Indigenous creators to explore ideas that reflect their culture, history and experiences.

“Ian taught us the technical side of writing, but really emphasized that the Indigenous perspective is really important and there’s an audience for that right now,” she recalled. “It’s something that’s in the public sphere a lot more, I think, than it had been, particularly in theatre, in the past.”

Initially, Apetagon joined the Creators Circle in 2022 virtually due to restrictions following the COVID-19 pandemic. She was based out of northern Manitoba at the time, and said that the remote aspect allowed her to participate in the program when she may not have been able to otherwise.  

When asked about the inspiration for the play, Apetagon said, “I had, in the first year [of taking part in Pimootayowin], shared with Ian that I had this idea of going into the theatre and having this experience where the light is dim and something has happened […] Theatre is perfect for that, for something that’s a little bit more creepy and edgy.”

With this being the first staging of In the Shadow Beyond the Pines, Apetagon has found it surreal seeing her vision come to life. 

“Having only imagined what it would look like […] seeing it actually come to life in this way has been amazing,” she reflected. “To see people that really have only existed within your imagination come out onto the stage has been pretty life-changing.”

Apetagon hopes that this play will inspire people to take an interest in Indigenous horror, noting that there are many Indigenous authors exploring the genre. She concluded by encouraging young aspiring Indigenous artists to tell their tales, echoing Ross.

“The world is ripe to hear our stories right now, and there’s room there, there’s a receptive audience and there’s support to get your art out there,” She stated.

Rhonda Apetagon’s In the Shadow Beyond the Pines will run from March 11 through 28 at RMTC’s Tom Hendry Warehouse. For tickets and further information, visit royalmtc.ca. Discounts for youths and those under 30 are available.

Review by Jordan Anglin

RMTC has accomplished an impressive production of In the Shadow Beyond the Pines. Upon entering the Tom Hendry Warehouse, audiences see the stage dressed with set pieces resembling a semicircle of large rocks and tree trunks bent inwards, giving the to-be campsite an insulated and uneasy feeling, like it is a space cut off from the world they know. In a sense, the rocks are reminiscent of a warped petroform. However, the true feat of the set design only becomes apparent after the performance begins, when the sacred fire is produced with actual flames and remains lit for the duration of the show.

The opening dialogue is written as comedic banter that keeps the audience roaring at every other line while successfully establishing the personalities and motivations for each of the three friends. This is a compliment not only to Apetagon, but also director Jimmy Blais and the entire cast for creating such entertaining and believable characters. The group’s de-facto leader, George (James Dallas Smith), is determined to follow his grandfather’s traditional knowledge. Shane (Daniel Knight) is agreeable out of his denialist grief, while Dale (Jeremy Proulx) is more argumentative and reluctant to be there instead of at the funeral for Warren, their deceased friend.

The more thrilling side of In the Shadow Beyond the Pines begins when Dale finally elaborates why he is so reluctant. He tells the fearful tale of his cousin’s encounter with a humanoid creature in the same woods. Afterwards, Shane and George share related testimonies to piece their collective knowledge together, depicting Indigenous storytelling traditions. The framing of the creature as an extension of the woods also highlights the real-life myths’ inherent connections to the land.

The suspense is especially driven by sound designer Jason Burnstick’s foley, making the audience feel like they are in the flashback. Blais’s decision to withhold any dramatizations to accompany their stories increases the suspense, as it leaves the audience hearing everything but seeing none of it. Lighting designer Brianna Kahentanó:ron Montour controls the actors’ shadows to give them dynamic movements, which also heighten the production’s eerie feeling.

In the final portion of the play, the unnamed creature takes George, and he returns to the campsite with a much more blissful and passive attitude than his previously established demeanor. Smith demonstrates his wide range of acting capabilities by essentially playing two different characters and fitting both roles perfectly. The uncanny 180-degree turn he performs makes the whole production. Moreover, there are similarities between the changes to George’s behaviour and real-life personality shifts caused by drug addiction, so the story is particularly impactful for audience members who have personally witnessed substance abuse.