Murder in the Making

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Get In On the Auction

Watermark Theatre’s 3rd Annual Online Auction – April 16th to 30th, 2018

Watermark Theatre is holding an online auction to help raise funds for our 2018 summer season. We’re auctioning off exciting items both local to PEI and further afield. Sports, theatre, travel, hotel and restaurant options are all available at incredible prices.

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Now to April 15th – Viewing Only
April 16th to 30th – Bidding

Go to:            https://www.biddingowl.com/Auction/home.cfm?auctionID=14509

– Sailboat Cruise from Souris to Bay Fortune
– Deep Sea Fishing for 4 People
– Theatre tickets to the Stratford Festival, Shaw Festival, Charlottetown Festival, Victoria Playhouse, Guild Theatre, Blyth Festival, The Four Tellers
– Toronto Theatre Tickets to Tarragon Theatre and Theatre Passe Muraille
– Tickets to the Toronto Maple Leafs, Island Storm, Charlottetown Islanders
– Dinner at Sims Corner Steakhouse, Rodney’s Oyster Bar, Blue Mussel Café
– Hotel stays at the Barachois Inn, Delta Hotel, Hampton Inn
– Golfing at Andersons Creek, Fox Meadow, Stanhope, Eagles Glenn, Dundarave, Clyde River

……And Much Much More!

Funds are supporting our 2018 Summer Season:

Great classical theatre!  Dial “M” for Murder by Frederick Knott & A Moon for the Misbegotten by Eugene O’Neill
The Play Reading Series is coming back to introduce new scripts written by Islanders to our audience.
The Classic Music Reignited music series celebrating the decades of music from the 1930’s to the 1980’s
Watermark Gallery celebrating Island artists
The Theatre Production Mentorship Project, training young theatre artists to become the leaders of tomorrow
The Acting Conservatory, a two week acting intensive for young students
Chinese sur-titles on a selected performance

Posting on all community events boards and broadcasting on all community service announcements would be much appreciated.

Watermark is a proud member of the PTN – Professional Theatre Network of PEI

For more information, please contact Andrea Surich at 902-963-3963 or generalmanager@watermarktheatre.com

Robert Tsonos Returns to the Stage

Watermark Theatre is delighted to announce that Artistic Director Robert Tsonos will play the lead part of Tony Wendice in Dial “M” For Murder by Frederick Knott in the company’s 2018 summer season.

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Originally hired as an actor by Watermark in 2014, Robert has not appeared on stage with the company since taking over the role as Artistic Director almost three years ago. Audiences will remember him as Lord Goring in “An Ideal Husband”, Bill Starbuck in “The Rainmaker”, and Richard The Lionheart in “The Lion In Winter”.

“I’m thrilled to be back on stage”, says Tsonos, “it just seemed like the right time and the right role for me to act again”. “It allows me to stay connected with our audiences and reminds me what it’s like to be an actor with this company, entertaining audiences every night”.

Robert’s other acting credits include theatres across the country and internationally. He played the lead role of Macbeth at the Hong Kong Arts Centre and Hamlet with the Tokyo International Players as well as appearing in “Problem Child”, “The Domino Heart”, and “For The Pleasure of Seeing Her Again” at the Canadian Embassy Theatre in Tokyo. Canadian credits include “Three Days of Rain” at Sudbury Theatre Centre and “Othello” at Persephone Theatre. Film and television credits include “Reign”, “Packed to the Rafters”, “Rake”, “Push”, and “Warehouse 13”.

Dial “M” For Murder by Frederick Knott, written in 1952, tells the frightening story of a husband planning the murder of his adulterous wife. He arranges the perfect crime by blackmailing a scoundrel he used to know into strangling her at a time when he has the perfect alibi. Of course, things do not turn out as planned. The play that inspired Alfred Hitchcock’s film classic weaves an ever-tightening web of danger and deception. Full of twists, turns, and suspense, this gripping thriller will keep you on the edge of your seat.

“The role of Tony Wendice is a challenging one”, says Tsonos, “he’s a sly, conniving scoundrel, but is extremely smart and charming at the same time.  I can’t wait to start rehearsals”.

Watermark’s 2018 summer season runs from June 26th to September 1st, 2018.

For more information, or to set up an interview with Mr. Tsonos please contact Andrea Surich at 902-963-3963 or generalmanager@watermarktheatre.com

Watermark is a proud member of the (PTN) Professional Theatre Network of PEI.

Over the Moon

Local actress to star in “A Moon for the Misbegotten” at Watermark Theatre

Watermark Theatre is delighted to announce that local PEI actress Brielle Ansems has won the coveted lead role of Josie Hogan in A Moon for the Misbegotten after a national audition search.

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Raised in Montague, and currently living in Charlottetown, Brielle is a student at the Holland College School of Performing Arts Theatre Program and is also immersed in a burgeoning career as a singer-songwriter here on the Island. Her theatre experience includes “The Island’s Super Duper Fantabulous Holiday Smorgasbord of Joy” at the Confederation Centre of the Arts, “The Princess and the Pea” with The Cat’s Pajamas Theatre Company, and Theatre St. Thomas’ “The Caucasian Chalk Circle”. You may also have seen her in a multitude of shows with White Rose Entertainment’s Feast Dinner Theatres.

Brielle is thrilled to be making her full-season debut at the Watermark, particularly in a role with as much to offer as Josie Hogan. “Josie’s resilience and vulnerability are so real and compelling, and it’s an honour to be able to bring her to life this summer”.

“We held auditions for this role in Charlottetown, Halifax, and in Toronto. We also received video taped auditions submitted from across the country”, says Watermark Artistic Director Robert Tsonos, “Brielle had stiff competition from many very talented actresses from across the country but she did a superb audition and we are thrilled to have her join us this summer”.

A Moon for the Misbegotten by Eugene O’Neill is a unique blend of comedy, tragedy, autobiography, and imagination.  A love story set in 1923 between a Broadway actor, Jim Tyrone, and a Connecticut farm girl named Josie Hogan. Josie and her hard drinking Irish father Phil scheme to hold on to the farm they’ve worked for 20 years. When their neighbour, an oil magnate, stakes a claim on their property they do all they can to stop the sale. Under the light of one night’s magical moon A Moon for The Misbegotten plumbs the depth of the human spirit with tremendous redemptive power.
“The finest love story in American dramatic literature” – New York Daily News

Brielle can’t wait to start rehearsals and spend the summer in North Rustico, “I couldn’t be more excited to be cast in this production. O’Neill’s writing is an actor’s dream, and this show is no exception.”

A Moon for the Misbegotten runs from July 6th to August 31st, 2018.

For more information, or to set up an interview with Ms. Ansems please contact Andrea Surich at 902-963-3963 or generalmanager@watermarktheatre.com

Watermark Dials Up Director for Murder

Megan Watson to direct “Dial M For Murder” at Watermark Theatre

Watermark Theatre is delighted to announce that Megan Watson has been hired to direct Dial “M” For Murder by Frederick Knott in the company’s 2018 summer season.

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Originally from Ottawa, Ms. Watson is currently the Artistic Associate with The Grand Theatre in London, Ontario. She holds an MFA in directing from the University of Alberta and a BFA in acting from Ryerson University. Her recent directing credits include: “A Midsummer Night’s Dream” (Shakespeare in the Ruff), “Agency” (Yell Rebel), “Extremophiles” (Summerworks), “Julius Caesar” (Grand Theatre HSP), “Crookback – an adaptation of Richard III” (Beacon Theatre), “When the Rain Stops Falling”, “Much Ado About Nothing” (University of Alberta), and “Derailed” (AMY Project). As the Artistic Associate at The Grand, she leads the new play development program, COMPASS, and will be directing “The Glass Menagerie” April 3rd to 14th, 2018.

“We’re delighted to have Megan join us this season”, enthused Watermark Artistic Director Robert Tsonos, “She’s a very talented director and is going to bring a great energy, theatricality, and intelligence to our production”.

Dial “M” For Murder by Frederick Knott, written in 1952, tells the frightening story of a husband planning the murder of his adulterous wife. He arranges the perfect crime by blackmailing a scoundrel he used to know into strangling her at a time when he has the perfect alibi. Of course, things do not turn out as planned. The play that inspired Alfred Hitchcock’s film classic weaves an ever-tightening web of danger and deception. Full of twists, turns, and suspense, this gripping thriller will keep you on the edge of your seat.

Artistic Director Robert Tsonos will also be directing this summer. He will be tackling the classic American love story by Eugene O’Neill, A Moon For The Misbegotten. The designers hired for our summer productions will be familiar to PEI audiences as all have worked on previous seasons. Set designer William Layton is joining us for his 3rd season, lighting designer Renée Brode joins us for her 2nd season, and Julia Hodgson will serve as costume designer this year in her 2nd season with the company.

Our 2018 summer season runs from June 26th to September 1st, 2018.

For more information, or to set up an interview with Ms. Watson please contact Andrea Surich at 902-963-3963 or generalmanager@watermarktheatre.com

Gone Gros Morne

Leah Pritchard

“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 about joining the Mounties.

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

“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 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 said. “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 two-person spooky 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 was only two hours from her family in 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 lived and 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 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 laugh.

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 weird 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, 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 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 Theater Festival.”

She worked in a candy store.

“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 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.”

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 that 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 on 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 “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 as 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 book true story 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 skills, language, land, 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 the past 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 generation, a Myrna Loy or Angela Lansbury, who she bears a resemblance to. If she hasn’t laughed ten 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.”

Moving forward owning her career in the big city, she has several pokers in the fire, for the coming summer, as well, 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 will be touring again in the fall with Xara Choral Theatre’s production of “Fatty Legs”.

“I’m always working to better myself as an actor,” she said. “I’m an independent artist, so I’m not in Toronto desperate to be liked. I’m older, a little wiser, although maybe not very wise. I’m still only 27. How wise can a 27-year-old be?”

It’s the sharp-eyed 27-year-old 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

Originally posted on http://www.147stanleystreet.com