2025 Editorials | ||||||||||||||||||
Pick Your Target | ||||||||||||||||||
Hanging In There | ||||||||||||||||||
Dragon My Ass | ||||||||||||||||||
Let's Get Things In Order | ||||||||||||||||||
FAQ | ||||||||||||||||||
Jenny Awards | ||||||||||||||||||
Jenny Awards 2024 | ||||||||||||||||||
Jenny Awards 2023 | ||||||||||||||||||
Jenny Awards 2022 | ||||||||||||||||||
30th Year Special Features | ||||||||||||||||||
Jenny Awards Gallery | ||||||||||||||||||
Making Contact Write your comments/reviews. Sign your written submission and include a phone number or e-mail address where you can be reached in case we need clarification (phone numbers etc., will not be printed or given out); and get it to us by one of these methods:
Social Media Please Follow us on Social Media to get updates on Reviews, News and other content about the Winnipeg Fringe.
| ||||||||||||||||||
The Jenny Revue is a publication of The Jenny Revue Inc., a not-for-profit corporation, funded solely by advertising and donations. It is not affiliated with The Winnipeg Fringe Festival, MTC, or any other organization. Privacy Policy The Jenny Revue is published on Treaty 1 territory, the lands and traditional territory of the Anishinaabeg, Cree, Anisininew, Dakota, and Dene Peoples, and on the Homeland of the Red River Métis. |
red dirt / red storm
Second Star on the Right—WECC- Ventura Hall
This alt-history/near-future speculative drama, reminiscent of Apple TV’s For All Mankind, benefits from strong pacing and a rich atmosphere, aided by evocative lighting and audio clips that lend the piece a textured, immersive tone. Yet however intriguing the vague references to the titular red dirt/red storm, overall the show withholds too much context.
While withholding details can provoke curiosity, here it feels more confusing than compelling. The obscurity of what’s truly at stake for the characters weakens the emotional weight of their climactic revelations.
The story’s alternating timelines between the past and a future of Mars’ human colonization can be tricky to navigate, as the performers do little to differentiate the characters’ present and future selves. Rapid-fire, low-volume dialogue further complicates things, witty or poignant though it may be, much of it is difficult to catch or absorb.
Both actors deliver emotionally resonant performances, and there are moments of genuine connection that hint at a deeper theme about legacy and aspiration, but the show buries its big ideas too deep. The audience is left grasping for meaning in a world we haven’t been fully invited into, and the logistics of what exactly the characters are trying to achieve.
With clearer exposition and more distinct temporal markers, this piece could become the kind of moving, genre-blending sci-fi theatre unique to the festival. As it stands, the piece sparks interest but doesn’t quite deliver on its potential.
Ashley Frantik