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Farewell Tour

Two Hours Traffic wraps it up with a final tour in December

by Bethany Koughan

Two Hours Traffic on the corner in 2005. (photo: Marianne Dowling)Over the past decade-plus, Charlottetown’s Two Hours Traffic have made a name for themselves as one of Canadaʼs best-loved indie rock outfits. From their startup as hometown darlings, their vibrant sound and unforgettable hooks have made them a favourite across the country. Their second full-length album, 2007ʼs Little Jabs, reached the top 10 in Chart Magazineʼs list of Canadian College Radio Top 50 and earned them a breakthrough in the form of a shortlist nomination for the Polaris Music Prize. Theyʼve since appeared at the Winter Olympics, been featured on a myriad of magazine covers, and can boast placements on some major American television series including Gossip Girl, The O.C., The Office, and One Tree Hill. Having performed on four continents and won many industry accolades, Two Hours Traffic is undeniably one of Prince Edward Islandʼs greatest musical exports.

After a fantastic 12-year career, the band announced last week that they will be wrapping it all up with a string of farewell shows scheduled next month. I sat down with founding members Liam Corcoran and Andrew MacDonald to discuss their decision, and find out what might be in store for the four gents in the near future:

Buzz: Letʼs talk about your decision to stop performing as Two Hours Traffic. Youʼve made it clear that it was an amicable decision, but can you tell us what sorts of things factored into the decision? How do you decide when to move on from a project which has been so successful for you in the past?

Andrew MacDonald: When we set out to record Foolish Blood we knew that there was a good chance that it would be our last recording. Derek [Ellis, drummer] was seriously considering returning to school and unless the record really took off, we knew it would be tough for him to continue on with the band. When he finally made the decision to go back to school, we discussed the possibility of getting another drummer but it just didnʼt feel right. We were really happy with how Foolish Blood turned out and we felt it was a good note for us to go out on.

Liam Corcoran: I also feel that we reached a certain creative limit with Foolish Blood. We are extremely proud of the record and I’m not sure where else we would have to go with our sound. I think we could get together tomorrow and create some cool music, but I don’t think it would fit into the THT world.

Buzz: As fans may have noticed, in 2012 you parted ways with guitarist Alec OʼHanley and also made a move from longtime producer Joel Plaskett to work with Darryl Neudorf. By most accounts this change was well received and provided a recharged sound for your most recent recording, but is it fair to speculate that this shuffle in some way influenced the decision to step away from the band?

LC: If anything, the making of Foolish Blood prolonged our career. We weren’t sure if we could continue after Alec left the band. It took some soul-searching but we decided that we’d never forgive ourselves if we quit at that moment. So we started the search for a new member…in the end, we got Nathan [Gill] to play bass and Andy became the lead guitarist. When it came time to record everyone was in agreement that we should step outside of our comfort zone, which was recording in Halifax with Joel. Without Joelʼs help and encouragement we may have never made it past our first EP. He was much more than a producer for us. We just felt that for Foolish Blood, we needed to try something new, if only to challenge ourselves.

AM: A friend of ours, Matt McQuaid from Holy F*ck, recommended Darryl and we hit it off right away. We spent two weeks at his studio in Mono, Ontario and it was fantastic. Writing and recording that album was a real pleasure.

Buzz: Youʼve had a pretty stellar career, especially for an East Coast band. Having had the chance to play internationally and work with some industry greats, what would you say are your biggest accomplishments?

LC: Getting shortlisted for the Polaris was cool because it put us on the radar across the country. I think our biggest accomplishment was simply touring as hard as we did and becoming a headliner in our own small way. When we started, it was all about getting to open for big bands: that was the dream. I credit our manager, Larry Wanagas, with showing us that that was perhaps not the best goal. He made us believe that we had to be the show, and in the end it's a lot more rewarding to headline a small club than open in a stadium, at least in my opinion.

Buzz: After more than a decade in the business, what would you say are your biggest criticisms of the industry, or the process of trying to make it as a band?

AM: In terms of industry, just how terrible mainstream radio has become. I donʼt understand what happened to make rock radio so unlistenable over the past 10 years, but Iʼm crossing my fingers that one day things will be set right and great Canadian bands like Zeus and Rah Rah can dominate the airwaves.

LC: Itʼs also very difficult to make a living in a band right now, and being in an indie band is basically like running a small business in an extremely saturated market; itʼs tough to succeed. There's not much point in complaining about it, but if you're willing to stick it out and sleep on some floors for a while, I guarantee you'll have some of the most amazing times of your life.

Buzz: Youʼve managed to establish and grow your career over the past decade from PEI—which, as Canadaʼs smallest province, is arguably an isolated part of the country. How do you think this affected your direction? Did it make progress more difficult, or was it integral to your development?

LC: Staying on PEI definitely became a big part of our story, for better or worse. We resisted and ultimately never gave in to the industry standard of re-locating to the biggest centre possible. Sure, we might have missed out on some opportunities by not being in Toronto but we didn’t see that as a good enough reason to leave behind the pace of life we enjoy in Charlottetown. We did a lot of driving, but a band like Hey Rosetta! has done a whole lot more.

AM: We are so much happier at home and I think the music is better because of it.

Buzz: What lessons have you learned from this whole process that you will take with you going forward professionally?

AM: We have had the opportunity to meet and work with a lot of great people. Joel Plaskett in particular taught us a great deal. We have all learned so much about songwriting, production, and everything that goes into making a band work. More than anything, though, it is the friendships that we have made along the way with other bands that has made it all worth it.

Buzz: What has been your favourite/ most unforgettable experience as part of THT?

Both: Hard to pick just one.

LC: I never thought I’d be able to say this: after finishing up a 10-day tour of India where we performed in 3 different cities, we spent the final day watching the World Cup Finals in cricket where India was facing Sri Lanka. We sat drinking beer with our guide, Nihaal, and peppering him with questions until we more-or-less understood the game. India went on to win the match and the whole country went into celebration mode. It was an amazing way to cap off the trip.

AM: I feel really grateful that we have been able to travel as much as we have. We have been across Canada, throughout the US, we had our first European tour last year, and weʼve even been to India and Australia. I feel very lucky to have travelled so much doing what I love.

Buzz: Any plans for the future, musically? Is it time for a break, or are you envisioning new projects already?

AM: I haven’t envisioned a new project yet, but Liam and I will keep writing songs together. I’m not sure whether that will lead to a record any time soon, but in any case I’m looking forward to starting the writing process again.

Changing Environs

Experiencing Catherine Miller’s exhibition at the Confed Centre

by Judy Gaudet

Root people by Cahterine Miller (photo: Buzz)I stand and imagine I’m inside the glass case, among the green fronds as they fall in soft curtains, softer fragments, shot with silk threads, lit with glass beads. It’s a wall of seaweed, the colours and textures lovely. There are four glass cases. In the next, an opposite world—a wall of cement blocks covered in assorted fabrics. In the third there are a row of fabric sculptures of potato plants, some doing well, some with their leaves rather blighted. The reason is in the root, where some plants produce families, houses, and others taps running with polluted water, embroidered money, dead fish. In the last case there’s an abandoned house, knit from cotton thread, like an abandoned fish net lost at sea, or houses in the country where the families have joined the urban exodus. It’s a sensuous world Catherine Miller creates, colours and textures from cotton, wool, silk, organza, wire, threads and beads. But also a pointed one—where the viewer must consider both the beauty of the Island landscape and some of the dangerous effects people may have on it.

These experiences are part of the display of fabric art in Catherine Miller’s exhibit Changing Environs presently on at the Confederation Centre of the Arts in Charlottetown. If you come in through the Richmond Street entrance you will first see these four large display cases in the lobby, then continue into the downstairs gallery. Here my eye is drawn to the beautiful fabric art scenes on the right wall, that seem to offer sheer pleasure. I suppose you can go round the room in any order. But I save those for last. To the left there are more things to think about, the sun setting on a corner store and rural post office, a dried river bed, a house roof inundated in the ocean, a series of six lighthouses, three standing and three fallen. The message here is clear: change is loss, may be threat, an island is vulnerable to economic pressures, environmental degradation, to global warming. I’d heard about the maps of the Island in various stages of drowning, but found them more moving than I’d expected; there’s a loveliness in the rusted nails woven into the white fabric to make the shapes of the land in various levels of ocean rising, one material finding its various possible equilibriums within the other.

In the middle of the floor, a strange other map of blue lace doilies and embroidered money draws a further social conclusion, as does the rowboat carrying the Island’s symbolic oak tree with its roots wrapped for transplanting, rescued in a kind of ark in the flood.

Last is the wall of beautiful fabric scenes. The thread painting in which the planted field, the house and stream and the golf course share the upper section, all contributing to and relying on the water table and the well in the bottom part of the picture, reiterates the theme of warning. But I study the other two fabric paintings—the vivid trunks of a forest opening onto the shore, red cliffs holding their position against the calm and deep blue ocean. Sunlit, beautiful, rich. They remind me of what we still have, our Island, vulnerable, yes, and yet so full of wonder still, and worth our love and care.

Sweetheart of a Film

Jenna MacMillan and Ann Thurlow film debuts at IMAF

by Laurie Brinklow

Norma Jean MacLean and Chris Francis and on the Sweethearts set at The Green Man, Vintage and Vinyl.For as long as I’ve known Ann Thurlow, she’s been writing stories in her head. While washing dishes or dropping off to sleep, the long-time CBC broadcaster, journalist, and editor creates quirky characters mired in unlikely situations—then shares them with her friends. Now—not content to publish a short story or a book—Ann has teamed up with Jenna MacMillan to make a film of one of those stories.

Called Sweethearts, the 12-minute film premiered at the Island Media Arts Festival May 8. Featuring total newbies Norma Jean MacLean and Chris Francis alongside actor Lennie MacPherson, the film tells the story of a vintage store shopkeeper who goes home every night to her deadbeat boyfriend. When customer Chris, who is sweet on Laura, finally gets up the nerve to ask her over for dinner, she agrees—with hilarious results.

Ann says, “The movie is about food: Jeff can cook, and Chris can’t. Everyone knows somebody like Jeff—the stoner who collects records and organizes them by sidemen. But they can’t all cook.”

Ann wrote the script just after Christmas, and they filmed it during a blizzard in February. Says Jenna, “Everyone came—even shoveled the sidewalk. They just wanted to make a film.”

“Everyone” included a team of visual and media artists who generously offered their time and considerable talents for free. Kelly Casely and Roger Carter offered their store, The Green Man, for the film’s primary location. “Even my mom (Mary Beth MacMillan) volunteered her incredible cupcake design skills,” laughs Jenna.

Ann says writing the script was easy. “At CBC I produced hundreds of pieces of video and audio. How to structure a story is ingrained in my heart. Once I got used to the idea that I could make people say what I wanted, rather than finding clips, it just kind of went.”

Jenna graduated from Toronto’s Ryerson film program in 2010. “I worked in Toronto for a year on various film projects but struggled to make my own films. When I came home to make Fine Tuning last summer, I fell in love with the community. I’ve already made more films here than I did in Toronto. And here you can get coffee shops and vintage clothing stores to open their doors without having to pay $1,000 a minute.”

Indeed, the film cost $400 to make—much of it to buy candy for the counter scenes.

Next up for the duo are two companion films to Sweetheart, and Jan Rudd’s Mrs. God, of Drill Queens fame, for which Ann and Jenna are planning a fundraiser this summer: a screening featuring three of Jenna’s films: Sweethearts, Fine Tuning, and the documentary Redheads on Redheads—plus a visit from Mrs. God herself.

Ann says making Sweethearts was a team effort. “I was just so impressed that nobody brought any ego into it. It’s the ethos of here that allows such projects to happen. Everyone just wants to help each other. Where else in the world can you say, I think I’ll make a movie and then just do it?”

Summer Residency

Island artist’s report from Ontario’s Spark Box Studio

by Monica Lacey

Monica LaceyFor the month of July this past summer, I was accepted to be an artist-in-residence at Spark Box Studio, a printmaking studio near Picton, Ontario in Prince Edward County. I had my own studio in the printmaking building, and a room in the owners’ house.

I graduated in June from the New Brunswick College of Craft and Design after three years of intensive study in the Textiles and Photography studios. In 2010 I was awarded a W. Garfield Weston Award, Canada’s largest scholarship for college study, which paid for my residency as a summer project.

A residency is basically a place where artists can go to have studio space and glorious, uninterrupted time to work on their art. Every residency is unique and has different facilities available. Some have a fee, whereas others pay a stipend, and sometimes living quarters are also provided. Some are discipline-specific, and others welcome artists in any discipline. They tend to range in length from one week to two years, and usually you select your residency based on the project you have in mind. Normally you’re asked to send your CV, project proposal, and a portfolio. A residency can be a nourishing retreat and facilitate the rapid growth of a project.

My focus at Spark Box was making photo-etchings using my photographs and Solar Plates. These plates were developed by Dan Welden and are non-toxic: they expose in sunlight and etch in water (as opposed to the traditional acid). I began printmaking at NBCCD and was inspired to follow non-toxic practices by the work of Debra Percival, Wendy Mcmillan, and the Sunbury Shores Printshop in New Brunswick. A great deal of my learning was through the generous international community of printmakers who share their skills and knowledge online.

Chrissy Poitras and Kyle Topping, the owners of Spark Box, are both artists themselves. In addition to running their studio and residency, they publish Square 2, a quarterly art magazine, teach at Loyalist College, and maintain an extensive database of resources for artists at—and their residency attracts artists from all over the world.  My fellow residents were Cynthia from Shanghai, who does precise pencil crayon drawings that reference pop culture and advertising; Jessica from Atlanta, who was preserving found objects in vegetable oil; and Alison from Toronto, who did large-scale watercolour paintings of quilt patterns. The diversity of people and artistic styles contributed to an already inspiring and engaging environment.

Doing a residency was, for me, both a wonderful transition from student life into professional studio practice, and an opportunity to work deeply with a single process and to explore the possibilities within a medium. Thanks to the concrete floor in my studio, I survived the Ontario heat wave, and thanks to the heat wave, I managed to be prolific and still justify a few trips to the beach.

For more info on creative residencies around the world, visit and for more about me and my work please visit and my blog at

Art in the Open

Interactive, creative, and those bloody crows

by Henk van Leeuwen

A crow in the openThe bloody crows were everywhere. Sinister, glorious and cawing awfully, they emerged from the belly of the Confederation Centre of the Arts to provoke and preen for the people of Charlottetown. Some had splendid beaks; others trundled over sidewalks on large, rubbery toes. They threaded through the crowd on Richmond Street, owned the boardwalk towards Government House, and perched triumphantly atop the battery at Victoria Park. The crows’ performance surfaced our city’s conflicted relationship with the dark, scavenging, raucous birds, just as the Art in the Open extravaganza surfaced the dynamic, multi-disciplinary artistic and creative force at work in Charlottetown’s capital.

Art in the Open was hands down the most fun we had in Charlottetown in 2011. My 11-year-old son and seven-year-old daughter nervously kept their distance from the crows, yet by evening’s end were excitedly whispering about how desperately they wanted to join the crow procession next year. We were the Art in the Open audience, yet we were invited to help be its literal vehicle of storytelling: Artist BJ McCarville took me for a spin on her two-seater bicycle, a bike which, when pedalled, barked audio about Charlottetown. In Rochford Square, we joined in the Jane Ledwell and Stephen MacInnis orchestration of the poetic Rumour Mill, billed as a “gossip powered human machine.” Our group contributed this line for the final poem: “the unpredictable monkeys are heroes.” Faux-official municipal signs dotted city squares and streets, the clever creation of Sandi Hartling. One sign declared “It is prohibited by law to move in a slow and idle manner.” Another warned against making “purposeless stops.” We witnessed Gail Hodder in a welder’s mask, forging monkeys from hot metal. Connaught Square’s exhibits positioned the environment prominently within art, as art. We marvelled dicters at and touched the grass, clover and coleus flowers sprouting from the exterior of an Atlantic Living Walls home, and contemplated two tractors, parked benignly on the lawn, with their intricate plough of hoops and stretched-cloth hides.

As the sun disappeared, the place to be was Victoria Park. Charlottetown’s prime recreational acreage was transformed into a bewitching and flickering cauldron of sculpture, fire, light and television signals, the latter provided by video and performance artist Amanda Dawn Christie. She had nested and hung video monitors in a tree, all spookily broadcasting live, flickering channels, the symbolic last hurrah to Canada’s waning analog signal. In the middle of a field, Gerald Beaulieu tended to his hypnotic, colourful phosphorescent tree sculpture, answering questions about its installation while photographing its changes in light. We warmed to all of the exhibits in Victoria Park, cozily encircled by a constellation of small fires—the literal Field of Fire from Scott Saunders. The park glowed, and on the walk back to our car, so did we, imaginations and excitement sparked. We hope for Art in the Open’s return. Even the crows.

Something in the Water

A group portrait and video of Prince Edward Island musicians

by Anna Karpinski

Anna Karpinski lines up her subjects for Something in the WaterThe idea to photograph a group portrait of Island musicians was conceived, as many things are, at the kitchen table over a couple of beers. We were talking about music and I was commenting on how I wanted to do a photography project on the music scene here on the Island. It seemed to me that good things were happening, people were writing songs, making CDs and touring noticeably more than when we first moved here 8 years ago. My husband suggested a photograph like “A Great Day in Harlem.”

“What’s that?” I asked. He proceeded to educate me on this iconic image.

The image was organized and taken by Art Kane for the cover of Esquire magazine in 1958. He invited jazz musicians, representing three generations of jazz history, to gather on 126th street in Harlem at 10 am for a group portrait. His biggest fear was that many would not show up at such an early hour since most musicians played until  3 or 4 in the morning. To his surprise 57 musicians came out: Dizzy Gillespie, Thelonious Monk and Sonny Rollins, to name just a few. The second challenge was to get the musicians to stop talking long enough to organize into a group because most were friends who had played together at one time or another and were too busy catching up to pay attention to the photographer.

Not much has changed since 1958... My biggest fear was that many musicians would not show up to stand outside on a freezing February afternoon. To my great surprise 76 musicians gathered for the photograph. And just as Art Kane warned, they were all too busy talking to pay attention to the photographer. Everyone was gathered in Memorial Hall at the Confederation Centre, drinking coffee and catching up. I was trying to get them to move in front of Province House but could not be heard over the conversations bouncing off the walls. After many failed attempts, a group of people next to me voted Mike Dixon as loudest voice in the room and his holler got everyone outside just in time to catch the good sunlight.

Mille Clarkes shot film footage as everyone naturally assembled into a group pose. When I looked through my camera lens the scene was incredible. Everyone stood looking straight ahead smiling and joking amongst themselves. There were musicians from younger bands like Boxer the Horse and Racoon Bandit standing together with long-time players like Chris Corrigan, Chas Guay and Scott Parsons. Katie McGarry, new to the scene, stood with Meaghan Blanchard, Colette Cheverie and Cynthia McLeod. Tim Chaisson stood behind Allan Dowling who was beside Ian Toms and Glen Strickey and so on and so on.  It was a magical moment; a crowd of passers-by started to form to watch the proceedings.

The photograph and documentary film, both entitled Something in the Water are being exhibited at the Confederation Centre Art Gallery as part of the Warming Up exhibition curated by Pan Wendt. The exhibition runs from April 2 until June 19. An opening reception will be held at the gallery on April 2 at 7 pm.

A great thanks to all the musicians who came out for the shoot and to our sponsors, The City of Charlottetown, The Buzz, The Island Media Arts Co-op and Music PEI. A special thanks as well to Ryan Wilson for assisting on the photo and Adam Perry for assisting on the filming.


Interview with Jim O’Leary

by Heather Doran

Jim O'LearyOn April 3 the PEI Symphony Orchestra will introduce their first Composer-in-Residence with the world premiere of his work Softly at Night the Stars are Shining. Jim O’Leary, an award-winning composer, will be joining the PEISO in the fall. Originally from Windsor, Newfoundland, O’Leary has studied at the University of Prince Edward Island, the School of Music in Pitea, and at Cambridge University. I asked Mr. O’Leary about the upcoming concert and his position as Composer-in-Residence.

The work you have done with the PEISO previously featured instrumentalists. Why did you decided to write something for voice?

I have written several works for soprano Helen Pridmore over the last 10 years, but mostly for her in a chamber setting. Discovering the vocal music of Polish composer Karol Szymanowski a couple of years ago provided the impetus to want to compose something for voice and large orchestra. It felt like a logical progress to write something on a large scale for Helen. Compared to writing purely instrumental music, the main deference obviously is that I had to consider Helen’s voice and how I would set the poems to music. Otherwise the process wasn’t any different than my normal way of composing.

Does our audience need to know anything about specific about your new work?  How do you want audiences to approach your work?

Audiences can approach my music in any way they want; what is important to me is that there is an audience. There is no right or wrong way to listen to music, just different musical experiences which every audience member brings into the concert hall. As a composer I am trying, within my own artistic vocabulary, to offer an audience something new and exciting while maintaining a drama that is accessible. I use a spatial set up in my new piece, dividing the orchestra into 3 distinct groups spread around the stage, which provides for very thrilling sonic possibilities; something I have tried to exploit. Helen Pridmore’s fantastic voice and the profound Polish poetry I employ also provide common ground for the audience. I think Softly at Night the Stars are Shining is the most engaging work I have composed to date and I hope to see a large audience to hear its premiere.

What will a position like composer-in-residence add to your development as a composer?

Working with one ensemble over several years is a fantastic way, through collaboration, to develop musical ideas on a large scale.  Conductor Jamie Mark is very supportive and provides me with artistic freedom, something I value. This is very liberating creatively, especially in combination with the tremendously positive attitude the PEISO musicians have shown towards my music when they previously performed my Concerto for Trombone and Orchestra and 3 Studies for Orchestra. I am looking forward to developing my musical language and embarking on new musical adventures in tandem with this dedicated group of musicians.

Your position with the PEISO obviously involves composing, but what else will you be doing?

I will advise the programming committee on contemporary works suitable for performance by the orchestra with an emphasis on Atlantic Canadian composers. I will also potentially be involved in pre-concert talks, workshops and other like-wise projects. I am looking forward to being part of the vibrant musical community on PEI.

The upcoming concert, A Fresh Turn, will also feature Bach Figural Chorales, Rimsky-Korsakov’s Russian Easter Overture and Schubert’s Symphony #9.  The concert, which begins at 2:30 pm, will be preceded at 1:15 pm by a pre-concert talk in the Studio Theatre.

Was It Made on PEI?

A quick investigation into the question of buying Island fine crafts

by Emily Jewell

Northern Watters display window is decorated for the season with Island-made itemsOver the mid-November weekend, Islanders crowded into the Confederation Centre of the Arts to attend the PEI Crafts Council’s 46th Annual Christmas Craft Fair for the chance to examine the wares of close to fifty vendors, the vast majority of which were Island-based. Those hoping to do some Christmas shopping weren’t disappointed. Craftmakers had an abundance of wooden crafts, pottery, ornaments, decorative plates, teddy bears, and a wide variety of jewellery on display and ready for purchase. Candy Gallant, who is associated with the Council, estimated that by the Fair’s end, thousands of Islanders would have attended the Fair. Clearly, there is no shortage of demand for Island crafts this Christmas season.

Although many of the vendors at craft fairs have studios that potential customers are welcome to visit and purchase from, there are relatively few places for customers to shop for crafts made by a variety of Island artisans on a year-round basis. However, options are available. Northern Watters Knitware, for example, specializes in sweaters but also carries crafts made by over one hundred other Island artisans.

I went to Northern Watters Knitware to talk to Wanda Watters, the President of the company, and Bill Watters, the Vice President. The husband and wife team, both originally from Nova Scotia, are obviously passionate about supporting Island crafts as part of their business. “We’re trying to promote to Island people that we have other Island crafts,” explains Wanda. “And it’s working quite well where people are coming in and buying the crafts for Christmas.”

Bill and Wanda see buying and selling Island crafts as being beneficial to both retailers and consumers. Selling Island crafts is a way for them to support the local economy and local artisans. “I know how hard it is to struggle as an artisan, especially for some people who are just working out of their home and they don’t have a store,” Wanda notes, “They can’t afford a store because they’re not making enough product to have a store to sell their product. I just want to help them.” The couple tries to garner exposure for Island artisans by encouraging them to label their products. “I tell artisans ‘Put your name on it.’ A lot of stores don’t want that, but for us it’s a selling point,” notes Bill.

Wanda acknowledges that local products may be more expensive but adds that customers are “buying quality. We stand behind our products. If something goes wrong, I’m sure the artisans would help to fix their product, the same as us with our sweaters.”

Island crafts are a hit with more than just Islanders. According to Bill, “People who come from all over the world want PEI products because they’re in PEI. They don’t want offshore products. That’s why we’ve been somewhat successful because of what we have within this store, it’s either PEI or Canadian-made products.” These products definitely travel. When asked how far away some of the customers interested in Island products live, Bill answers without hesitation: “Anywhere. You name it.” Bill and Wanda recall customers from Israel, Argentina, the United Kingdom, Egypt, Spain and China, all of whom have bought Island crafts at the Watters’ award-winning shop.

Events Calendar

November 2018
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Some Upcoming Events

Yr. Obedient Servant

An evening with Samuel Johnson  November 22 | November 24
Watermark Theatre | Haviland Club Th [ ... ]

One-act comedies

Rob MacDonald presents four of his plays in November The Guild Island audiences are familiar with  [ ... ]

The Sisters Brothers

November 21–25
City Cinema 14A, graphic violence, disturbing content, coarse language.
Dir: Ja [ ... ]

Recent News & Articles

Acadian showman

Profile: Christian Gallant by Jane Ledwell Forty-six musicians and step dancers took the stage at  [ ... ]

Young Company headed to National Child W...

The TD Confederation Centre Young Company is hitting the road again. After a busy 2017 season that s [ ... ]

9th UPEI Chancellor

Honourable Catherine Callbeck installed The Honourable Catherine Callbeck has been installed as the [ ... ]