the Chester Playhouse under the direction of Christopher Heide of Mahone Bay. It was the first play in Nova Scotia to engage actors of Mi’kmaq, White, Black and Acadian heritage in the same production. It dealt with the politics of poverty and the system of provincial poor farms. Woolaver's collection of Christmas songs, The Noel Cantata, was recently produced in Norway. His young adult novel The Outlaw League (1991) was adapted for film, and he wrote the screenplay. Based in his hometown, it was shot in Restigouche, New Brunswick. It was produced in Montreal as La Gang des Hors la Loi; it won the Vancouver Reel to Real Film Festival in 2015. His play Portia White - First You Dream, about Portia White, a Nova Scotia native and Canada's first black singer to win international acclaim, has been produced by several theaters, including the Victoria Playhouse in Petrolia, Ontario. His newest novel, The Halflife of Evil, will be published by Spencer Books in June 2018. It is about Maud Lewis, the provincial Poor Farm, and the policies of imprisonment of the poor. Maud Lewis Woolaver is best known for his works on the life and art of Maud Lewis. He wrote a picture book of Maud’s life, The Illuminated Life of Maud Lewis (1996), with photographs of Maud and her works by Bob Brooks. It has been in continuous print since being published. The cover image of Maud Lewis in the sunny corner of her tiny house has been recognized as a classic portrait, said to rank with the work of Yousuf Karsh. Maud Lewis - World Without Shadows, his play about Maud Lewis and her husband Everett Lewis, has been produced across Canada and broadcast by CBC radio. It tells of Maud’s struggle against juvenile rheumatoid arthritis, and triumph as an artist, despite poverty. Canadian actor Nicola Lipman played Maud to great acclaim in the 1990s Ship’s Company Theatre and Neptune Theatre productions. His play The Return of Her Child deals with issues related to the adoption of Maud Lewis's daughter Catherine by Mamie Crosby. Woolaver's recent full biography, Maud Lewis The Heart on the Door (2016), features another Brooks' portrait of the artist, taken in 1965, in which Lewis appears frightened and fearful. This is appropriate to the darker tone of this work, as Woolaver explores many issues in her life. His account contrasts also with the portrayal