Garin was two years old when his mother disappeared from a run-down East Vancouver neighbourhood. And now that the Robert Pickton trials are gaining national attention, Garin wonders if his mother, a First Nations woman, could be one of the unidentified victims. His ailing father isn't forthcoming with answers, and Garin's suspicions are at an all-time high. In the midst of all this, his roommate Yuko has taken in Kate, a young pregnant hitchhiker who unintentionally wreaks havoc on their friendship. But when Garin's father is hospitalized, nothing else matters but finally determining the truth about his mother. In this deftly written play, the characters grapple with the harsh Yukon winter within a world of racism, addiction, and loneliness.

Sarah Berthiaume is an actor and author. Her first play, The Flood Thereafter, won the Égregore prize in 2006. Some of her other works include Disparitions, Villes Mortes, and Les Orphelins de Madrid. She is the co-founder of Abat-Jour Théâtre, and a writer for Télé-Québec’s show, Tactik.

Sarah Berthiaume's profile page

Translations by Nadine Desrochers include four plays by Sarah Berthiaume, two of which, The Flood Thereafter (Talisman Theatre, 2010) and Yukonstyle (Playwrights Canada Press, 2014), were part of Canadian Stage’s 2013/2014 season; Marilyn Perreault's Rock, Paper, Jackknife… (Talisman Theatre, 2009; Playwrights Canada Press, 2010) and BUS STOPS (Théâtre I.N.K/Centaur Theatre, 2016); and Billy (The Days of Howling), by Fabien Cloutier (Talisman, 2014; A Play, A Pie and a Pint, Traverse Theatre/Òran Mór, Scotland). Her translation of The Medea Effect, by Suzie Bastien (hotINK festival, New York, and Talisman Theatre, 2012) won the 2013 META Award for Outstanding New Translation.

Nadine Desrochers' profile page

"As a fan of both Bethiaume and exquisite language, it’s hard not to recommend Yukonstyle." —Joel Fishbane, The Charlebois Post

"Using metaphor and magic realism, Berthiaume aims to get to the heart of her characters, their needs and the emotional realities they don’t want to face or utter." —Jon Kaplan, NOW Magazine