All posts by Edward Staskus

Edward Staskus is a free-lance writer from Sudbury, Ontario, and lives in Lakewood, Ohio, on the northeastern edge of the Rocky River valley.

The Gals Are Back in Town

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August 23, 2019 11:00 pm – 11:30 pm
Charlottetown Burlesque is excited to be back for another steamy summer season at The Guild! Come soak in the sultriness, prepare to be playful, and expect something surreal… this summer is guaranteed to expose and explore more than ever before! Shake off those shackles of inhibition and release yourself with the exhilarating performances of Charlottetown Burlesque!

PEI Professional Theatre Network

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PEI Theatre is the Guild, Harbourfront Theatre,
Confederation Centre for the Arts,
Watermark Theatre, and the Victoria Playhouse
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What Else Could Go Wrong?

Novelist Joel Hopper has had a bad year. His wife left him for another man, he’s got writer’s block and a looming deadline for his next book and now he’s about to lose his house for unpaid taxes. What else could possibly go wrong? Well, Joel, meet your new real estate agent, Emma Bard!

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Directed by Charlotte Gowdy and starring Darryl Hopkins, Raquel Duffy, Ira Henderson, and Melanie Piatocha, Real Estate is a laugh out loud good time!

Previewing August 6 & 7, Opening August 8, and playing Tuesday through Sunday till September 1 at the Victoria Playhouse.

PEI Professional Theatre Network

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PEI Theatre is the Guild, Harbourfront Theatre,
Confederation Centre for the Arts,
Watermark Theatre, and the Victoria Playhouse

 

New Mama Steps Up

Artistic Director Adam Brazier has announced a casting change for the forthcoming production of Mamma Mia! at The Charlottetown Festival.

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Opening this Friday August 9, Mamma Mia! is sponsored by Tim Horton’s and plays until September 28 at Confederation Centre of the Arts. The high-spirited musical stars Rebecca Poff as single mother Donna and Katie Kerr as her only child, Sophie, who is also the bride-to-be in this sunny ABBA-driven tale. For Sophie’s wedding, Donna has invited her two lifelong best friends–practical and no-nonsense Rosie, and wealthy, multi-divorcée Tanya–from her one-time backing band, Donna and the Dynamos.

Rosie is played by Festival favourite Nicola-Dawn Brook and stepping into the role of Tanya is Sara-Jeanne Hosie. The pride of Victoria, B.C., Hosie made her Festival debut earlier this summer in the much-acclaimed remount ofKronborg-The Hamlet Rock Musical and also as Miss Stacey in Anne of Green Gables—The Musical™.

Hosie steps in for the Festival’s Susan Henley who had to withdraw due to injury. “This is my first time performing in Mamma Mia!” she offers, during a break in rehearsals. “I admire Susan Henley so much and am honoured to step into her sequins and stilettos.”

The actor has spent the last 25 years performing nationally in such roles as Mary in Mary Poppins; the Villain in the acclaimed Ross Petty Panto; to Alison Bechdel in the Canadian premiere of Fun Home. Also an accomplished director and choreographer, Hosie was nominated for a 2019 Dora Mavor Moore award for her choreography in Kiss of the Spider Woman (Eclipse).

Hosie comes by her Charlottetown Festival connection honestly, as both of her parents performed here, including appearances in the original Kronborg and as Matthew in Anne™ for her father, Bill Hosie.

“It was a childhood dream of mine to perform here,” Hosie recalls. “I remember being in the audience as a child, and now I get to smile at my parents in photos backstage every day.” 

Opening this Friday August 9, Mamma Mia! is sponsored by Tim Horton’s and plays until September 28 at Confederation Centre of the Arts. The high-spirited musical stars Rebecca Poff as single mother Donna and Katie Kerr as her only child, Sophie, who is also the bride-to-be in this sunny ABBA-driven tale. For Sophie’s wedding, Donna has invited her two lifelong best friends–practical and no-nonsense Rosie, and wealthy, multi-divorcée Tanya–from her one-time backing band, Donna and the Dynamos.

Rosie is played by Festival favourite Nicola-Dawn Brook and stepping into the role of Tanya is Sara-Jeanne Hosie. The pride of Victoria, B.C., Hosie made her Festival debut earlier this summer in the much-acclaimed remount ofKronborg-The Hamlet Rock Musical and also as Miss Stacey in Anne of Green Gables—The Musical™.

Hosie steps in for the Festival’s Susan Henley who had to withdraw due to injury. “This is my first time performing in Mamma Mia!” she offers, during a break in rehearsals. “I admire Susan Henley so much and am honoured to step into her sequins and stilettos.”

The actor has spent the last 25 years performing nationally in such roles as Mary in Mary Poppins; the Villain in the acclaimed Ross Petty Panto; to Alison Bechdel in the Canadian premiere of Fun Home. Also an accomplished director and choreographer, Hosie was nominated for a 2019 Dora Mavor Moore award for her choreography in Kiss of the Spider Woman (Eclipse).

Hosie comes by her Charlottetown Festival connection honestly, as both of her parents performed here, including appearances in the original Kronborg and as Matthew in Anne™ for her father, Bill Hosie.

“It was a childhood dream of mine to perform here,” Hosie recalls. “I remember being in the audience as a child, and now I get to smile at my parents in photos backstage every day.”

PEI Professional Theatre Network

28660348_162333201093170_735205771249634989_n

PEI Theatre is the Guild, Harbourfront Theatre,
Confederation Centre for the Arts,
Watermark Theatre, and the Victoria Playhouse

 

A Pat on the Back

Time to recognize some amazing people at Confederation Centre!

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Each year the Centre passes out awards to staff.

This year Lynn McCaughey was awarded the Chairman’s Spirit Award and Charlottetown Festival cast member Jamie Murray received the Peter Mews Memorial Award.

The Centre introduced the H. Wayne Hambly Volunteer Award last year and the 2019 recipients were the Showcase Gift Shop volunteers.

PEI Professional Theatre Network

28660348_162333201093170_735205771249634989_n

PEI Theatre is the Guild, Harbourfront Theatre,
Confederation Centre for the Arts,
Watermark Theatre, and the Victoria Playhouse

Shoot the Moon

August 4, 2019 2:00 pm – 4:00 pm at The Guild
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This August, The Guild celebrates one of Canada’s most celebrated pieces of theatre. Be transported to 1920’s Newfoundland with Salt-Water Moon by David French.
It’s a splendid, moon-filled night at Coley’s Point in August, 1926. Eighteen-year old Jacob Mercer has returned from Toronto to the tiny Newfoundland outport, hoping to win back his former sweetheart, Mary Snow. But Mary has become engaged to wealthy Jerome McKenzie, and she is still hurt and bewildered by Jacob’s abrupt departure a year earlier. She will not be easily wooed.
This production is being presented by Island theatre artists Helen Killorn and Justin Shaw. Island audiences may remember Killorn from her work in Melville Boys at Victoria Playhouse, and various Feast Dinner Theatre productions. Shaw may be recognized from his work with the Popalopalots Live Improv Comedy, Vagabond Productions, and his Island Fringe Festival solo show The Wrestling Play. Killorn and Shaw originally mounted Salt-Water Moon independently in August 2018 in Fort McMurray, Alberta, but their common passion for this project inspired them to continue their journey to bring the story to their hometown of Charlottetown, Prince Edward Island.
“What a privilege it is for Justin and I to come home and share such a beautiful piece of theatre with our community,” says Killorn. “A lot of heart and soul went into the original production last summer, and for us to remount it not only in our home town, but also at a space such as The Guild, truly is an honour.”
“Having the Guild supporting Helen and I on this project is a dream,” says Shaw. “Being able to share this story in the heart of downtown Charlottetown during the summer provides Helen and I the opportunity to present this production to a broad audience at a professional scale. To say we’re excited is an understatement.”
This classic East Coast love story guarantees to be an unforgettable theatre experience filled with laughter, drama, and a powerful reminder of the integrity of love.
This production is being presented as a Sunday matinee at The Guild (111 Queen St., Charlottetown) throughout the month of August. Tickets are available online at http://www.theguildpei.com and at The Guild Box Office. For more information, please call 902-620-3333.

PEI Professional Theatre Network

28660348_162333201093170_735205771249634989_n

PEI Theatre is the Guild, Harbourfront Theatre,
Confederation Centre for the Arts,
Watermark Theatre, and the Victoria Playhouse

Gone Gros Morne

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“The secret to acting is don’t act. Be you, with add-ons.” Michael Sheen

“I’m going to take off now,” said Leah Pritchard. “I’m going to go. I’m going to do what I want. I’m going to leave. That’s what’s going to happen.”

It was the tail end of her last year at Gros Morne Academy in Rocky Harbour, Newfoundland. Closing in on the end of theater studies with Sarah McDonald, the teacher pulled Leah aside. “Of all the students here, the one we think would be feasible as a professional actor is the one who’s always saying they don’t want to do it. You would be the one strong enough and talented enough to actually make it.”

Leah Pritchard had other plans. She was geared up and buckled down about joining the Mounties. She meant business.

When the class mounted their year-end play, everybody’s parents coming to see the show, Sarah McDonald rustled up Ross and Marion Fraser-Pritchard. She meant business, too.

“We’re going to put her in theater school at university, so that’s the plan,” she told Leah’s parents.

“My dad did not want me leave Newfoundland and he did not want me to be in the RCMP,” said Leah.

“Fine, great, we’ll keep her here,” said her father, despite himself and his wife both being Royal Canadian Mounted Police.

“I was still very angry about being in Newfoundland, about being moved around, leaving Nova Scotia.” She was 17-years-old. “I was a surly teenager, a willful child. I didn’t want to be here anymore.”

She turned 18 her first day three months later at Memorial University of Newfoundland. “She can’t get into the theater program right away, but we’re going to make sure she gets into it,” Sarah McDonald told Leah’s father. “She was my mentor,” said Leah.

In the meantime, she snuck into theater classes.

“I was hanging with my friends one day when I got locked in the class by accident when the professor came in. After I didn’t get called out for it, after a few weeks I started answering questions,” she said.

“Who are you?” Todd Hennessey, the teacher and Head of the Division of Fine Arts, finally asked her. “Do you take this class?”

“Um, no,” she answered.

“Don’t worry,” her friends told the teacher.. “You’ll meet her officially next year.”

In her last year at Memorial University she headlined Hard Ticket Theatre’s production of “Venus in Fur.”.Todd Hennessey directed the spooky two-person sex comedy. “It takes one heck of an actress to convincingly play a character who is regarded as being a fantastic actress, and Leah Prichard nails it,” wrote Rachael Joffred in her review.

The campus she attended was the Sir Wilfred Grenfell College at Corner Brook, where the bulk of the theater program was, and which is two hours from  Rocky Harbour. Wilfred Grenfell was an English doctor who opened hospitals, orphanages, and cooperatives one hundred years ago to serve the coastal inhabitants of Labrador and Newfoundland. He was an able-bodied doughty man. Once marooned on a slab of floating ice slob, he killed some of his dogs to make himself a fur coat in order to survive.

“They wanted to keep track of me, since I was just 18.” Two years later her mother was reassigned to RCMP Headquarters in Halifax. Her father took a post in the capital city, as well. Leah Pritchard stayed lived studied and worked in Newfoundland for the next nearly seven years.

Rocky Harbour is on the far western edge of Newfoundland. The town is home to Gros Morne National Park. There is a fjord lined with cliffs and waterfalls, formed by long-gone glaciers. There are caribou and moose, rainy moody fog-bound mountains, and the tablelands, where you can walk on the earth’s mantle. The landscape is ancient.

“If you ever see tourism commercials for Newfoundland,” said Leah, “there’s always this big fjord where somebody is standing with their arms outstretched saying, “Look at the world!’ That’s where I lived. You can spend a long time by yourself there. I ended up loving it.”

A native of Nova Scotia, Leah Pritchard grew up in Lower Sackville, a fast-growing suburb of Halifax. In the 1950s it was known for its drive-in theater, harness racing track, and WW2 bomber plane ice cream stand. It is today a family-oriented commuter community.

Her parents, now both retired, were RCMP policeman and policewoman. The Force, as it is known, is both a federal and national police force. It enforces the law on a contract basis in the territories and most of the provinces. In many rural areas it is the only police force. Its French acronym, GRC, is sometimes repurposed as Gravel Road Cops.

Despite its name, the Mounties is not an actual mounted police force anymore, although it still was in the 1930s when they brought the Mad Trapper of Rat River to justice.

Her grandfather was a RCMP officer. “It’s just a family thing,” she said. “It also makes you very popular in high school, let me tell you,” she added with a booming guffaw.

She is the youngest of five children. Her sister and two older brothers were adopted by her father when he was 21-years-old. “Their dad was a motorcycle cop and died on duty. My dad fell super in love with his widow and made a bold choice. The kids were 3, 2, and 1-years-old. The RCMP has always been a part of our lives. There’s a sense of honor and tradition.”

Growing up, the family moved whenever and wherever her parents were assigned. It was how they moved to Newfoundland, when her mother was made a detachment commander there. Leah spent most of her teen years in Yarmouth, on the Bay of Fundy in southwestern Nova Scotia. The seaside town is proximate to the world’s largest lobster fishing grounds.

“You get real accustomed to small town life real fast. There’s a lot of space in and around Yarmouth to get weird.”

No matter what efforts you summon to make sense of it, the world can still be a strange place. Small towns impart a sense of place, but often feelings of self-consciousness, too. It can mean the opportunity to create your own options out of the weird mix of things.

It is where Leah caught the acting bug.

“I was at a production of “Arsenic and Old Lace” at our high school when two of the actors started laughing hysterically on stage about something and couldn’t control themselves. I thought that looks like fun.”

She took fine arts and acting classes in both French and English. In lieu of lunch the drama students staged short one-act plays at a nearby small theater, declaiming their dialogue and handing out sandwiches to show goers who needed a bite. “We were just harmless theater geeks, so the teachers let us go and do that. I started spending all my time in theaters.”

Once in the acting stream at Memorial University she discovered the program was the only one of its kind in Atlantic Canada. It combined practical and academic training with small class sizes and one-on-one attention to detail by actors directors production professionals doubling up as faculty and staff.

“It’s a fabulous program, especially learning to handle Shakespeare,” said Leah. “The Newfoundland accent is the least bastardized accent in North America, the closest to what it would be in Shakespeare’s time. It’s got that time’s rhythm and music to it.”

Many Newfoundlanders work in classic theater, especially at Canada’s Stratford Festival, the internationally known repertory theater festival that showcases William Shakespeare. “The music is in our DNA,” said St. John’s native Robin Hutton, who has performed at Stratford for close to a decade. ”We can’t have a party without a sing song.”

Natives of ‘The Rock,’ as the province is sometimes known, who have worked at Stratford include Brad Hotter, Jillian Keiley, and Deidre Gillard-Rowlings. “We’re storytellers in Newfoundland,” said Brad Hotter. “Theater is a craft handed down, where you learn from people who pass it down from generation to generation.”

Leah Pritchard’s last semester at Memorial University was spent in England, taking master classes with working professionals and seeing shows in the West End and Stratford-upon-Avon. “You see as many plays as you can, you write reviews, and you rehearse a play. When you come back you put it up. It’s the culmination of all the work you’ve done the past four years.”

One of the plays she saw in London was “The 39 Steps,” accompanied by her brother, Ian, a six-foot-six lanky young man with curly ginger hair who at the time was also in the theater program. The show is a comic treatment of the Alfred Hitchcock movie. It is played for laughs, so Leah and Ian laughed their heads off

“Most people would unanimously agree that I’m a very loud person,” said Leah. “If I’m being quiet, there’s something wrong. Ian has an even bigger laugh, a booming laugh, not subtle, at all. We were there laughing our heads off, Eastern Canadians watching a comedy. Everyone around us was quiet. Somebody said, ‘That’s not why we’re here.’ English audiences are reserved. Come on! I said. That’s exactly why we’re here. Join in the jokes, please.”

Sometimes being the loud enough voice for quiet thoughts is what works. Leah sang with the Xara Choral Theatre Ensemble on their debut CD “Here On These Branches” about northern cultures, communities, and landscapes. It was nominated for best classical recording of 2015 at the East Coast Music Awards.

It’s what she does getting ready to go on stage every night, too. She sings to herself, pop jazz show tunes by Julie London, Ella Fitzgerald, and Julie Andrews.

Back in Newfoundland with a newly minted BFA in acting on her resume, she found work as a bartender, a nanny, and an usher. “I’d get up at 6 in the morning, nanny the three kids, drop them off at their family’s restaurant, jump into a shower, get into my uniform, and go usher at the Gros Morne Theatre Festival.”

She worked in a candy store to make ends meet.

“You eat a lot of candy,” she said.

She got a job at a dinner theater in Halifax.

“You gotta do it,” she said. “It’s like cutting your teeth.”

Madrigals in the Middle Ages were a kind of dinner theater. They made a comeback in the 1970s, featuring mysteries and musicals. Actors like Lana Turner and Van Johnson performed between appetizers and dessert. Burt Reynolds owned his own dinner theater.

“You’re a performer, but you’re a waiter, too,” said Leah. “You sing and dance and run off stage to pick up six plates on a tray, deliver them, and run back on stage. You get into wicked great shape doing it.”

The bane of dinner theaters is the hubbub. “You’re a waiter as well as a performer and you have to deal with eaters. But there isn’t a fourth wall. If someone starts talking on their phone, because they don’t really give a fuck about you, you can stop and say, do you mind?”

It’s best said with an upturned nose, mock haughtiness, and a snooty English accent. “It’s not like you’re in the middle of a soliloquy,” she said.

Breaking into the arts world is often a matter of catching a break.

”My first Equity gig was in the fall after I graduated, which is very lucky.”

In late 2013, another teacher from the university, Jerry Etienne, saw her in a remount of “Venus in Fur.” He has directed more than thirty productions as Artistic Director of Theatre Newfoundland Labrador and founded the Gros Morne Theatre Festival. When he signed on to direct “The Rainmaker” at the Watermark Theatre on Prince Edward Island the next summer he asked her if she would consider signing up at the same time.

“Yes, please,” she said.

She played the plain spinster in the drought-ridden story set in Depression-era America whose family worries center on her slim marriage prospects and their dying cattle. “Leah Pritchard tunes into the right emotional channel,” wrote The Buzz, Prince Edward Island’s arts and entertainment monthly tabloid.

Summer stock at the Watermark Theatre in North Rustico on the north central coast of the island means finding a place to live and a place to eat. “The stage manager and I roomed together for four years.” She ate at Amanda’s that became Fresh Catch that became Pedro’s Island Eatery when it was taken over by a Portuguese couple. “This village has been crying out for Pedro’s,” she said. “They give you so much food, delicious, and a beer. I get passionate about their haddock.”

Meanwhile, she worked up and down the east coast. “I’m very much an eastern girl,” she said. “I’d go insane without the ocean.”

In the spring of 2016 Leah appeared in “The Drowning Girls” at the Neptune Theatre in Halifax, a play about the real-life early 20th-century British wife killer George Joseph Smith, who married three women in succession and drowned all three in succession. “There was a lot of sitting in water for long periods of time. There was even a splash zone by the first row.“

Later that fall she played Balthazar in “The Spanish Tragedy” at The Villain’s Theatre in Halifax. All the actors were actresses in the new adaptation and the revenge story unfolded with a plentiful dose of black humor.

By the end of the summer season of 2017, after four seasons at the Watermark Theatre, she had appeared in productions of “Blithe Spirit” “The Rainmaker” “The Lion in Winter” “Romeo and Juliet” “An Ideal Husband” “The Glass Menagerie” and most recently “Mrs. Warren’s Profession” and the perky newlywed in “Barefoot in the Park.”

“The Watermark has been very kind to me,” she said. “I’ve gotten the opportunity to do Oscar Wilde and Bernard Shaw and Tennessee Williams.”

“Leah Pritchard and Jordan Campbell have genuine chemistry together, an innocent quality which is very watchable and perfectly suited to the play,” wrote Colm Magner in his review of “Barefoot in the Park” for The Guardian.

Some roles are more challenging than others.

“The Glass Menagerie was hard,” she said. “It was physically challenging, limping around, and I couldn’t figure Laura out, at first. She’s someone who lives inside herself, although as an actor on stage you can’t be too inside yourself. She’s a character who withdraws from the world, is quiet and reserved, and doesn’t want to be in confrontation. But on stage you need to be present, need to be seen, and need to be physically heard.

“It was weird.”

In the fall of 2017 Leah went on tour with Xara Choral Theatre’s adaptation of “Fatty Legs,” a children’s true story book about a plucky eight-year-old Inuit girl gone off to a residential school. “They called me Fatty Legs because a wicked nun forced me to wear a pair of red stockings that made my legs look enormous,” says the heroine. The larger theme is the cultural genocide of Canada’s defunct Indian boarding school system, which separated children from their traditional land, skills, language, and family.

Working with youngsters isn’t new for her. She has been a teaching assistant for Neptune Theatre’s youth theater workshops and led PEI Watermark Theatre’s youth theater acting conservatory for three summers.

Still a self-professed east coast girl, Leah Pritchard has recently moved to Toronto. The city boasts one of the liveliest theater scenes in the world, from major musicals at the Mirvish Theatres to Soulpepper, North America’s only year-round repertory company, to Buddies in Bad Times, the world’s largest and longest running queer theater.

“I want to be on the coast, but I understand the opportunities are in Ontario. I know what stages I want to be on and I’m going to keep working as hard as I can to get on those stages, by hook or by crook.”

Getting in the front door is easy to do if you’ve got a ticket. Getting in the stage door is hard to do if you’re an aspiring actor. Trying to make it in Toronto is a long uphill row to hoe.

“In Toronto no one needs to see you, no one needs to let you into the audition room, because there are thousands of you out there,” said Leah. “The way I approach my career is, there are thousands of good actors, but there aren’t thousands of me. There’s only one of me and they should be so lucky.”

Sometimes she tosses her head back when she laughs, like an actress from another time, a Myrna Loy or Angela Lansbury, who she bears a resemblance to. If she hasn’t laughed ten fifteen twenty times a day it hasn’t been a good day. “I get that I’m a young Angela Lansbury, a lot. I should be as lucky as that. I tell them I’m like a young old lady, not like how people are trying to be beautiful today.”

Looking ahead moving forward owning her career in the big city, she has several pokers in the fire, including Prince Edward Island. “It depends if there are roles for me in the plays they choose,” she said. “Five years in that theatre would be amazing. Even if they don’t, if I can manage a visit, the ocean, Pedro’s, it would be fabulous.”

She toured in the fall of 2018 with Xara Choral Theatre’s production of “Fatty Legs” reprising her work with the troupe.

This year she has found her way back to the Atlantic Ocean and Pedro’s Island Eatery and the Watermark Theatre for her fifth season, appearing in both summer shows, “Boeing Boeing” and “Crimes of the Heart.”

“She is very. very funny in ‘Boeing Boeing,'” said Robert Tsonos, Artistic Director at the Watermark.

“I’m always working to better myself as an actor,” she said. “I’m an independent artist, so I’m not desperate to be liked. I’m older, a little wiser, although maybe not very wise. I’m still only 28. How wise can a 28-year-old be?”

It”s not about to be or not to be.

It’s about the sharp-eyed actor on the way to doing what she wants who understands the first word line page in the manuscript of horse sense keenness awareness is about being unfailing about being you, adding-on but no second-handing and no pretending about what you’re doing to make yourself happen.

Photograph by Matthew Downey

PEI Professional Theatre Network

28660348_162333201093170_735205771249634989_n

PEI Theatre is the Guild, Harbourfront Theatre,
Confederation Centre for the Arts,
Watermark Theatre, and the Victoria Playhouse

Free Night Free Show

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Join us to celebrate CN’s 100th anniversary with a free outdoor concert.

Featuring Patrick Ledwell’s Island Summer Review and Montreal’s spectacular 1945 The Band.

Saturday, August 10 on Victoria Row in Charlttetown from 8:30 p.m. to 10:30 p.m.

PEI Professional Theatre Network

28660348_162333201093170_735205771249634989_n

PEI Theatre is the Guild, Harbourfront Theatre,
Confederation Centre for the Arts,
Watermark Theatre, and the Victoria Playhouse