Arnolda Dufour Bowes’ story of Métis displacement finds new life in its Saskatoon premiere

A new production in Saskatoon this spring brings Prairie history into focus through an original story shaped by Indigenous voices and based on Indigenous stories. Apples and Train Tracks premieres April 30 to May 10 at The Refinery, presented by Burnt Thicket Theatre in collaboration with Gordon Tootoosis Nīkānīwin Theatre. If you’re looking for a way to blow off steam after finals, this is the kind of production worth making time for.

Written by Cree-Métis playwright Arnolda Dufour Bowes, the play centres on a history that often gets pushed to the sidelines — the displacement of Road Allowance Métis communities in Saskatchewan. 

These were families forced off their land who ended up living in narrow strips along roads and railway lines, in conditions shaped by exclusion and constant movement. While their history is tied to policy and survival, it is shaped by their unwavering dedication to their community, memory and identity. Instead of presenting it as the distant past — as many stories tend to do — Bowes builds a narrative that shows just how those experiences continue to echo in the lives of Indigenous people today.

The play follows Charlie, a man navigating the immenseness of that narrative. Charlie is dealing with traumatic memories of his community being forced onto trains and sent away — moments that linger long after the event itself. But his journey isn’t just about looking back. It’s also about trying to understand what he’s been searching for, or has avoided confronting, throughout his life. 

Another key character is Rose, someone who becomes part of Charlie’s attempt to make sense of everything he’s dealing with. Their relationship unfolds alongside the larger story, shaped by history but not entirely defined by it. 

What stands out about this ensemble is how much of it is rooted in Saskatchewan’s performance community. Many of the artists involved with the project have worked across theatre, television and comedy, and that range shows up in the tone of the production. From what’s been shared so far, the play won’t stay in one emotional register — it moves between humour, tension and reflection in a way that feels closer to real life than to a straightforward historical retelling.

Director Roxanne Dicke has described the play as a journey through time, history and identity, which feels accurate based on the material. The structure embraces memory — not as a linear, easily understood timeline, but as something fragmented and unpredictable. That approach makes sense given the subject matter. When you’re dealing with generational trauma and displacement, the past doesn’t stay in the past.

For university students, especially those studying history, Indigenous studies, English or drama, this is the kind of work that connects directly to what you might be discussing in class — but in a way that’s much harder to ignore. Reading about Road Allowance communities is one thing. Watching a character grapple with that legacy in real time is something else entirely. It’s more immediate, more uncomfortable at times and ultimately more engaging.

Even if you’re not coming at it from an academic angle, there’s still a lot here to draw you in. This is a world premiere, which means you’re seeing a story at the very start of its life on stage. There’s something exciting about that — no established interpretations, no comparisons, just the work itself and the people bringing it to life. It also means you’re supporting local artists doing original work, which isn’t always easy to find space for.

Personally, this is one I’m genuinely looking forward to seeing. New Canadian plays — especially ones rooted in specific regional histories — don’t come around as often as they should. The combination of Bowes’ writing, Dicke’s direction and a cast and crew whose dedication to enhancing important stories like this makes it feel like something that could stick with you after you leave the theatre. Not in a heavy-handed way, but in the sense that it gives you something to think about, maybe even something to talk about with friends afterward.

There’s also the balance of tone to consider. From everything shared so far, Apples and Train Tracks doesn’t approach its subject with a single emotional lens. There’s humour in it, which matters. Stories about displacement and identity don’t have to be entirely sombre to be meaningful. In fact, that mix of light and heavy moments often makes them more honest.

If you’re someone who usually waits for big touring productions or familiar titles, this might be a good opportunity to try something different. Supporting a local premiere means being part of its first audience — the group that helps shape how the work is received and where it might go next. That’s not something you get with more established shows.

The run is limited, which adds a bit of urgency. With performances scheduled from April 30 to May 10, there isn’t a huge window to catch it. Tickets are available through Gordon Tootoosis Nīkānīwin Theatre, and given the scale of the venue, it’s probably worth booking in advance rather than leaving it to the last minute.

At its core, Apples and Train Tracks is about trying to understand where you come from and what that means for who you are now. That’s a theme that resonates beyond any specific community or history, even as the play remains grounded in Métis experience. It asks questions without rushing to answer them, and it invites the audience to sit with that uncertainty for a while.

As we approach the end of exam season, it’s easy to overlook events like this. But this is exactly the kind of production that can shift your perspective, even slightly. It’s local, it’s original and it’s telling a story that deserves attention.