EQUITY QUARTERLY winter 2009

COC: A new era begins How cool is Canadian ? EQ War zone theatre Glorious Opera Blood and guts Love and betrayal Murder and marriage Opera has always reflected the absolute highs and lows of

our human existence. While the stories may remain the same,

today’s opera companies are exploring new ways to present

their art to a wider Canadian audience. President’s message

Thank you, Allan, and hello fellow Equity members.

If you are suffering from elec - I won’t take up tion withdrawal, have no fear… a lot of space, Equity elections are just around the because I have asked corner. In the fall of 2009, Equity First Vice-President members will elect our new Council Kerry Davidson to and Council Policy Advisory Groups host the column for (CPAGs) for the 2009-2012 term. this issue. I thought If you are passionate about pro - you might all appre- fessional theatre in , inter - ciate hearing a voice wanting to learn more aboutested the governancein taking on ofnew our challenges, Associa- other than mine for tion, and have a desire to serve all Equity members, then we a change. (I know want you! Why not consider running for Council in this elec- that I would!) tion? If local or grassroots activities are more your cup of tea, However, before putting Kerry on the phone, there then please consider running for election to the CPAG for your is an important change I would like to bring to your region. As a CPAG member, you will provide the critical link attention. I have assigned the newly-created posi- between the members, as owners of the Association, and the tion of Council-Member Liaison to Second Vice- National Council, to ensure that Council is kept informed of any President, Dawn Obokata. Dawn is an experienced regional issues concerning the membership. and dedicated Councillor, and she has expressed We have streamlined the nomination process in order to make strong interest in helping members connect with it easier for members to stand for election. Any member in good their governing body. Effective immediately, you standing can be nominated by petition, with the support of two can reach Dawn at [email protected]. She other members in good standing. Nomination forms will be posted will be glad to assist you with your questions, or on the website (www.caea.com) and sent to every member in early direct you to the person best able to assist you. May. We’ll also be keeping the membership updated along the Of course, I will continue to welcome contact way with information online, through Equiflash and email. from you, but this change will give members If you haven’t already done so, please make sure that the access to someone whose primary job is acting as National Office has your correct contact information and region liaison, which should improve response times and assignment so that we can make sure that every member has a more effective handling of inquiries. Please join chance to vote. Council in welcoming Dawn to this position. Watch the website for more information about what is involved with being an elected member of Council and the CPAGs. Better yet, contact a Councilor or CPAG member directly for a firsthand account. Our email addresses are available on the website, and we’d love to hear from you.

Allan Teichman President Kerry Davidson First Vice-President

winter 2009 Equity Quarterly 1 EQUITY QUARTERLY Winter 2009 EQ volume 2 number 4

1 President’s message 6 A work in progress 3 nOTES FROM ARDEN RYSHPAN as a war rages on 4 letterS to the editor 5 eq moves 10 Canadian opera 8 eq Backstage is riding high 9 eQ VOICES 17 EQ lives 18 fondly remembered 14 Alexander Neef is 20 eq classifieds ready for the COC 21 eq flashback

EQ Coming issue: spring 2009 Subscriptions are available at an annual rate of $35, including GST. Equity members are encouraged to submit articles, submissions and accompanying Publications Mail Agreement No. 40038615 winter 2009 – Volume 2, Number 4 photos, notices of births, marriages, memorial notices and letters to the editor via EQ is published four times a year by Canadian Actors’ Equity Association. Executive editor Lynn McQueen email ([email protected]) or on disk with accompanying hard copy. The copy deadline National Office for submissions is February 6, 2009. EQ reserves the right to edit for length, style 44 Victoria Street, 12th Floor, , ON M5C 3C4 editor Barb Farwell and content. Tel: 416-867-9165 | Fax: 416-867-9246 | Toll-free: 1-800-387-1856 (members only) design F resh Art & Design [email protected] | www.caea.com EQ Equity Quarterly (ISSN 1913-2190) is a forum to communicate to Equity members www.freshartdesign.com Western Office the activities of the Association and issues of concern to the Association. With the 736 Granville Street, Suite 510, Vancouver, BC V6Z 1G3 DEsign & Layout Chris Simeon, exception of the editorial staff, the views expressed in solicited or unsolicited articles Tel: 604-682-6173 | 604-682-6174 | Toll free: 1-877-682-6173 (members only) September Creative are not necessarily the views of the Association. [email protected]

Cover and inside front cover: From Opera Atelier’s 2008 production of Mozart’s – Measha Brueggergosman as Elettra and Curtis Sullivan as Neptune; Curtis Sullivan, Jeannette Zingg and Vasil Garvanliev Above: Brett Polegato as Eugene and Rhoslyn Jones as Tatyana in ’s Eugene Onegin by Tchaikovsky Notes from Arden Ryshpan

As part of my preparation for the interview for this job at Equity, I asked the headhunter if they could arrange for me to get copies of a selection of the agreements. I soon received a pack- age containing the Canadian Theatre Agreement, the Royal Ballet agreement, and the Canadian Opera Agreement. I spread them out on the table and started looking for key recurring concepts and language, as well as key differences. Slowly but surely, I worked my way through the agreements, reading through the usual clauses on jurisdiction, grievances and working conditions. And then I got to the back of the opera agreement. There were 23 (!!!) pages of print so small I had to fetch my reading glasses – listing the roles in 343 different . Here was a list of titles, many of which were completely unfamiliar to me. It is truly a humbling experience to be con- fronted with the extent of your ignorance on a subject. And I certainly was. I called my mother to talk to her and told her all this. “What?” she said. “Weren’t you listening all those years growing up when we had the opera on the radio?” Well, I was listening. Saturday afternoon opera on the radio was as much a part of the fabric of my life growing up as any other weekly ritual. While I neither understood the language nor the plots (for the most part) I couldn’t fail to be moved by the lovely music and emotion conveyed by the soaring voices. The Canadian public from coast to coast has indicated their love for opera as well, by patronizing the simulcasts from the Met in record numbers. Toronto now has a gleaming, shiny new opera house – the Four Seasons Centre for the Performing Arts – a building getting rave reviews for its sightlines and acoustics. Seats are not easy to come by for performances here. The Vancouver Opera Company recently announced that they were in surplus for the eighth season out of the last nine, proving that audiences all across the country are actively attending and enjoying the opera. Canadian regional opera companies are also regularly delighting audiences. In this issue, we are delighted to have an interview with the new General Director at the Cana- dian Opera Company, Alexander Neef, who shares some of his visions for the future with us in the article. The issue has also allowed us to share with you some absolutely fabulous photos, showing the splendor of the productions done in this country that showcase our members. The beautiful music and dramatic plots in opera make it surprisingly accessible, something that I hope we can find a way to communicate to a new generation of kids, who may or may not have a mother who cranks up the volume on the radio in order to make sure the whole house is filled with the sound of singing.

Arden R. Ryshpan Executive Director

winter 2009 Equity Quarterly 3 Letters to the editor

A memorable evening EQUITY QUARTERLY FA LL 2008 It’s hard being green Green takes the staGe Letters on subjects of concern to Equity members will Issue-based theatre Gets sexy be considered for publication. Letters must be signed, but names I would like to sincerely thank the dance of vIolence I was very excited to see the EQ will be withheld on request for those letters that may affect Equity for the wonderful Hon- focus of this most recent edi- members’ employment. Letters that include artistic criticism of Equity members or letters that are antagonistic or accusatory, ours Celebration (Westcoast tion of EQ. The issue of green- either implied or expressed, may be withheld or edited at the discretion of the editor. Opinions expressed in Letters to the Elegance) on November 2, ing theatre has been one I have Editor are not necessarily those of the Association. 2008, at the Arts Club Theatre been interested in for some PHOTO AND PRODUCTION CREDITS Cover & inside front cover: Photo: Bruce Zinger. Idomeneo (2008) in Vancouver, B.C. time. So thank you for that. by Mozart produced by Opera Atelier. Directed by Marshall Pynkoski with choreography by Jeannette Zingg. Cast: Measha It was a great opportunity to In that vein, I would like to Brueggergosman, Vasil Garvanliev, Peggy Kriha Dye, Olivier Laquerre, Michael Maniaci, Kresimir Spicer, Curtis R. Sullivan, & meet many senior members that I knew request that EQ no longer be packaged in O/A dancers & chorus. Stage managed by Arwen MacDonnell assisted by Kelly Luft, Nan Shepherd & Monika Seiler (apprentice). very well. The beautiful boxes that were a plastic bag for environmental reasons. I Page 2: Photo: Tim Matheson. Eugene Onegin (2008) by P.I. Tchaikovsky produced by Vancouver Opera. Directed by Pamela given to the members that have been with imagine the decision was made to protect Berlin with choreography by Allison Grant. Cast: Oleg Balashov, Norine Burgess, Rhoslyn Jones, Chad Louwerse, Allyson McHardy, Equity for over 25 years were a wonderful the mailings from inclement weather, but James McLennan, Brett Polegato, Marcia Swanston, Peter Volpe & the VOA chorus. Stage managed by Sheila Munn assisted by gesture from the Association. As for my I don’t think it’s worth it. Theresa Tsang, Beth Grieve & Melania Radelicki (apprentice). Larry McCance Award, it is a beautiful tro- Best, Page 5: Photo: Trudy Lee. A Raisin in the Sun (2008) by Lorraine Hansberry produced by Soulpepper Theatre & Theatre Calgary. phy and I will take care of it all my life. Holly Lewis, Equity member Directed by Weyni Mengesha. Cast: Awaovieyi Agie, Barbara BarnesHopkins, Michael Blake, Matthew Kabwe, Abena Malika, I must also thank the Honours Com- Diego Matamoros (Toronto) Stephen Hair (Calgary), Charles Officer, Kofi Payton, Cara Ricketts & Alison Sealy-Smith. Stage mittee, the Councillors and the CPAG of Executive Editor note: At EQ we are always managed by Crystal Salverda assisted by Andrea Schurman. Pages 6 & 7: Photos: Christopher Morris. the region for making this memorable on the lookout for ways to be more envi- Page 8: Photos: Suzanne McLaren. evening possible. ronmentally conscious. We have chosen to Page 9: Lower photo by Jeremy Mimnagh. Page 10 & 11: Left photo: Robert Tinker. Transit of Venus (2007) Thank you, thank you, thank you, use the polybag as is it fully recyclable and by Victor Davies with libretto by Maureen Hunter produced by Opera. Directed by Larry W. Desrochers. Cast: Colin Louis-Marie Bournival allows us to include other important member Ainsworth, Mark Grimaldi Booden, Russell Braun, Judith Forst, Monica Huisman & Jean Stilwell. Stage managed by Paul A. Company Stage Manager mail. This saves on money and packaging we Skirzyk with assistance from Evan R. Klassen, Chris Pearce & Candace Maxwell. Right photo: Tim Matheson. Daphne (2007) Arts Club Theatre would need for a second mailing. by Richard Strauss produced by . Directed by Wim Trompert with choreography by Danette Bell. Cast: Peter Barrett, Emmanuelle Coutu, Rebecca Hass, Kurt Lehmann, Brian McIntosh, Eric J. Olsen, Sookhyung Park, Kimberly Paulley & Anthony Pulgram. Stage managed by Jackie Adamthwaite Notice of National Annual General Meeting assisted by Connie Hosie & Steve Barker. Page 12: Photo: Trudie Lee. Filumena (2003) by John Estacio with libretto by John Murrell co-produced by & The Banff Centre. Directed by Kelly Robinson. Cast: Krzysztof Equity’s 2008-2009 National Annual General We know that these two topics are of Biernacki, Torin Chiles, Gregory Dahl, Jacqui Lynn Fidlar, Gaetan Laperriere, Graham Paynter, David Pomeroy, Elisabeth M. Meeting will be held in Toronto, Ontario. broad interest to our membership, and Turnbull & Laura Whalen. Stage managed by Bonni Baynton Date: Monday, February 23, 2009 hope you are able to join us for what assisted by Lisa Roy Munro, Heather Moore & Karen Race. promises to be an informative evening. Page 13: Top: photo by Pink Monkey Studios. Regina (2008) Time: 6:00 p.m. by Mark Blitzstein produced by Pacific Opera Victoria. Directed by Glynis Leyshon with choreography by Anne Wootten. Cast: Location: Austin Gallery, The Suites at The business portion of the meeting will Kimberly Barber, Kathleen Brett, Gregory Dahl, Robyn Driedger- 1 King W., 12th floor (King subway station) include: Klassen, Dean Elzinga, Tracie Luck, Doug MacNaughton, J. Patrick Raftery, Louise Rose, DeAndre Simmons & Lawrence All Equity members are encouraged to 8 reports from the President and Execu- Wiliford. Stage managed by Jackie Adamthwaite with assistance by Connie Hosie, Steve Barker & Heather Rycraft (apprentice.) attend. Apprentice, provisional and pro- tive Director, including a review of bationary members are also welcome. Bottom: photo by Robert Millard. Association activities and updates Page 14: Photo by Michael Cooper courtesy of the COC. Based on member suggestions, this year’s on current initiatives Page 16: Photo: Gary Beechey. War and Peace (2008) by Sergei NAGM will be divided into two segments. Prokofiev co-produced by the English National Opera & the COC. 8 receipt of the Association’s audited Directed by Tim Albery assisted by Marilyn Gronsdal Powell with The first portion will take care of necessary choreography by Laila. Cast: Mikhail Agafonov, Laura Albino, business items and will be kept as brief financial statements Betty Wayne Allison, John Avey, Oleg Balashov, Ilya Bannik, Michael Barrett, Peter Barrett, Sasha Bataligin, Russell Braun, as we can reasonably manage. The second 8  appointment of Equity’s auditors for Norine Burgess, Sung Chung, Jesse Clark, Alain Coulombe, half of the evening will begin with a video the coming year Gregory Dahl, Vassily Gerello, Sonya Gosse, Alexander Hajek, presentation by Executive Director Arden Teiya Kasahara, Mikhail Kit, James Lévesque, Adam Luther, 8  R. Ryshpan, focussing on new media and an opportunity for the membership to Stephen McClare, Peter McGillivray, Lisa DiMaria, Michael Myers, Ileana Montalbetti, Robert Pomakov, Gabrielle Prata, Niculae how this impacts our membership. This introduce resolutions* Raiciu, Bruce Schaef, Lauren Segal, Elena Semenova, Stanislav Shvets, Michael Sproule, Jean Stilwell, Michael Uloth, Vadim will be followed by a seminar on verbal 8 a question-and-answer session Zapletchny, COC dancers and chorus. Stage managed by Jenifer contracts and letters of agreement, what Kowal assisted by Michael Lewandowski, Kristin McCollum & they are and what they aren’t. Refreshments will be available. Melissa Bergeron (apprentice). Page 18: Photo: Robert C. Ragsdale courtesy of the Stratford * For further information about introducing a resolution, please contact President Allan Teichman Shakespeare Festival Archives. at [email protected], or by mail to the National Office. Page 19: Lower photo by Michael Cooper courtesy of COC.

4 Equity Quarterly winter 2009 EQ Moves Onward and upward with the arts

Jackie Maxwell, Artistic Director of the Shaw Festival in Ontario, was awarded the 2008 Herbert Whittaker/Drama Bench Award for Outstanding Contribution to Canadian Theatre. The recipient of this award is chosen annually by the members of the Canadian Theatre Critics Association.

Toronto playwright Daniel MacIvor was named the 2008 recipient of the Elinore & Lou Siminovitch Prize in Theatre. This is Canada’s largest annual theatre award, which includes a prize of $100,000 – $25,000 of which goes to a protégé selected by the winner. Daniel choose Vancouver playwrights Daniel Arnold and Medina Hahn as his protégés.

James Moore was appointed Minister of Canadian Heritage and Official Languages in October following the federal election. The member for Port Moody-Westwood- Port Coquitlam (British Columbia) was first elected to the House of Commons in 2000.

Colleen Smith has resigned as Managing Director of the Factory Theatre in Toronto after four years. A search process is under- Charles Officer and Abena Malika in Soulpepper Theatre’s A Raisin in the Sun, directed by Weyni Mengesha way to name Colleen’s successor.

The Neptune Theatre has announced that George S. Pothitos of the Sudbury Theatre Centre will be Linda Levesque has officially taken over as General Manager of the company’s next Artistic Director. He will take up full time Teesri Duniya Theatre in . residence in Halifax in June 2009. June Park is the new General Manager at Playwrights’ Workshop Sandra Lefrançois has assumed duties as General Manager of in Montreal. Cahoots Theatre Projects in Toronto. Interim General Manager Meaghan Preston, familiar to many as Equity’s National Office Christina Starr has returned to writing and production. Former receptionist, has been promoted to the position of Assistant Busi- Cahoots General Manager, Kendra Fry, has been named Gen- ness Representative, replacing David Zelden, who recently left eral Manager of the Harold Green Jewish Theatre in Toronto. the Association. Michel Roberts has taken over reception respon- Colleen Winton is the new Artistic Director of the Western sibilities in the National Office. Gold Theatre in Vancouver. Former Co-Artistic Directors Anna Theatre director Weyni Mengesha won the 2008 Toronto Hagan, Pamela Hawthorn and Don Mowatt have joined the Arts Council RBC Emerging Artist Award – a $5,000 cash theatre’s board to assist in the transition. prize presented to an emerging Toronto artist working Jessie van Rijn has been appointed General Manager of Vancou- in any medium or performing arts discipline. Weyni is ver’s Carousel Theatre for Young People. Jessie was the com- leader of the Playwrights Collective at Theatre Passe pany’s Audience Services and Outreach Coordination for the past Muraille, and directed A Raisin in the Sun for Toronto’s two seasons. Soulpepper Theatre in 2008. winter 2009 Equity Quarterly 5 A work in progress as a

Christopher Morris is bringing the stories of families affected by the war in Afghanistan to an

Clockwise from top left: An Afghan holy site Kawa Ada and Christopher Morris Afghan actor Parwin Mushtahel Herat-based actor Maryum Sadakhi, pictured here with her brother, Mostafa Welcome to Petawawa

6 Equity Quarterly winter 2009 war rages on international audience

So after spending two weeks in Petawawa last summer getting to know the families of soldiers, Morris travelled to Afghanistan with two missions – find an Afghan actor to be in his play, and find a rehearsal and performance space. But before leaving, a young actor convinced him to visit her home country of Pakistan while he was away. Morris took her advice, and travelled to the two countries in the fall of 2008. Kawa Ada – a Canadian actor who was born in Afghanistan, but fled the country with his parents when he was two years old – accompanied Morris to Afghanistan. “I knew that I wanted Kawa to work on this project with me in the future, so I thought it would be a good opportunity for both him and me if I brought him along,” says Morris. It didn’t take much to convince Ada to go. “It’s always been in the back of my mind to go back to Afghanistan,” says Ada. “There has been this intangible force – of the people, the culture and the country – that has had an indirect influence on me.” Ada had also worked with Morris in the past and liked how he pushed his actors to their full potential. While in Afghanistan, the two took advantage of every connec- tion to seek out stories of how the war had affected families. They also spoke with several actors, such as Maryum Sadakhi, to learn By Barb Farwell about the local theatre scene. Ada also had the chance to meet up with family members he had never met before – including a cousin who helped show them around. In Pakistan, Morris soon learned how involved that country is in popped into director One day an idea the history of the conflict in Afghanistan, and decided to add the Christopher Morris’ head. Wouldn’t it be fascinating to do a play Pakistani perspective to his play. about war from the perspective of the families of soldiers in both By the time he returned to Canada he had connected with the- Afghanistan and here in Canada? atre companies in both countries and found the two actors he was “I knew nothing about the war in Afghanistan,” says Morris. looking for – Pakistani actor Samiya Mumtaz, and Afghan actor “But I heard an interview with the wife of a Canadian soldier on Parwin Mushtahel. Both of these women will be involved in shap- CBC. She talked about how it affected her life and her children. ing the play as it moves forward. “That’s when I just knew I wanted to explore the repercussions Next year Morris plans to visit Petawawa, Afghanistan and Paki- of war as it goes through families, and how it plays out when stan again, but this time with playwright Jonathan Garfinkel, to soldiers come home.” start shaping the script. That set in motion a journey that started in Petawawa, Ontario, “I knew nothing when I started out,” says Morris. “But after and has taken Morris to war-torn Kabul and Herat in Afghanistan, visiting each culture and hearing their stories, I know this will affect and Islamabad and Lahore in Pakistan. audiences. But I don’t like setting things in stone. I don’t know Morris, who is Artistic Director of Human Cargo, a Toronto- how these stories are going to end up yet.” based theatre company that brings social and political issues to the stage, has a unique vision for the play. Not only will it explore Human Cargo’s premiere production will be Night, an international creation with artists from Nunavut, Iceland, Germany and Canada. To find out more visit the war’s affect on families in Canada, Afghanistan, and Pakistan www.humancargo.ca.

– it will include cast members from all three countries, and will be Kawa Ada was recently awarded the 2008 Stage West – Equity Emerging Theatre performed in each place. Artist Award.

winter 2009 Equity Quarterly 7 EQ Backstage Making the most of your head shot

Be yourself. It’s not something most actors are often told to do, but when it comes to head- shots it’s solid advice. “A headshot is not a piece of art,” says Toronto photographer Suzanne McLaren. “It should be an accurate picture of how you look right now.” So if yours is more than a few years old, you’ve gained or lost weight, or changed the colour of your hair – it is probably out of date. And you might want to have more than just one, says McLaren. A “general headshot” is good to have, but you might think about having several shots that reflect the kind of roles you are seeking. For example, if you’re going out for commercials, a smiling photo – with bright colourful tones – is appropriate. But if you’re auditioning for dramatic stage roles, you would likely want a headshot with a more thoughtful expression, perhaps darker clothes and a moodier tone. And don’t wear too much make-up. “Head shots aren’t supposed to look glamorous,” warns McLaren. “You should look natural.” And be careful of looking too posed. “It’s hard to get a read on your body language if you are posed or uncomfortable,” she says. McLaren says one of her most important – and toughest – tasks can be getting the person to meet the gaze of the camera by looking directly into the lens. “Your eyes tell your story, so you need to make a real connection with the camera by looking right into the lens where the image is being taken,” says McLaren. “I tell people to look away from the lens periodically, take time to gather their thoughts and then look back. It’s a way to keep their energy up so they bring that to the photograph.” Digital technology has helped make this a little easier, however. “I have the images right there on the monitor so the person can see what they look like. It’s easier to show them what they need to do instead of telling them,” she says. “It also gets them involved. I ask for their If you are a dancer, you would want feedback and they get the chance to take ownership of their photo. This, I find, helps build their to show more body confidence, which leads to better photos.”

Five tips for the perfect head shot 1. Your eyes tell your story. “When we look at someone, we look at their face, their eyes. The eyes tell you what kind of mood the person is in – if they are happy, or if a rage is coming on,” says McLaren. 2. Get to know your face. Take the time to practise expressions in the mirror. Also take a good look at your posture. 3. Be prepared. Make sure you have had enough sleep and have eaten. It’s also a good idea to bring a snack. “This is your livelihood on the line,” says McLaren. “It’s amazing how many people show up tired or hungry.” 4. Feel comfortable. McLaren meets with her clients first for a consultation so she can get to know them better, and learn what kind of roles they want. It’s also an opportunity to discuss the right clothing and back- ground, and help them feel comfortable in the studio. Try more thoughtful expression to get those dramatic roles 5. Expect to pay about $300 to $400. That should include a set of 25 8x10 prints. And go for colour. “Black and white is out of date,” says McLaren.

Suzanne McLaren is a Toronto-based headshot photographer with over 10 years experience working with actors. You can view her work at www.suzannemclaren.com

8 Equity Quarterly winter 2009 EQ Voices Keeping up the momentum By John Mac Master

I make my living as an somebody somewhere in this country is happily buying what opera singer. Although we have to sell. my career has taken me After an arts and culture election rally organized by Equity and around the world – I am others, I decided to explore what artists were doing to convince never happier than when I politicians and the public that the arts are important to Canadians. am performing in Canada. It turns out there is a lot of grassroots organizing going on. That’s why remarks made In addition to the activities undertaken by the Association, by Stephen Harper during there were many memorable and pointed critiques, including: the last election campaign Wrecking Ball parties, viral videos, the Department of Commu- stating that average Cana- nications website, and a group calling themselves “This is NOT dians have no sympathy for a Conservative Party” organized a rally with an impressive list of “rich” artists who gather at rock bands participating. I even donned my tails and went down galas to whine about their to the Phoenix Theatre in downtown Toronto and sang Puccini’s grants really got me angry. Nessun dorma between performances by a couple of bands. In my career, I have Dear colleagues, now that the election is over, it would be a attended a lot of galas – but I am usually there as the unpaid shame to lose the momentum in the arts community that rose entertainment. The purpose of these galas is to raise money. I am rather spontaneously at our collective outrage at the insults of the lucky if I get paid for my expenses at such events – and I usually Harper government. I hope that Equity and our many other union don’t even get fed! After I perform, I “work the room” to help partners will continue to lobby, educate, and rally the troops. the organizers explain to the guests why their donations are so At the time of publication of this magazine, the future of the important. Art does not exist by government subsidy alone. Harper government past the end of January is in question. But no Speaking of funding, Harper also asserted that arts and cul- matter who holds the reins of government, it’s important and effec- ture funding rose during his tenure. Arts funding actually eroded tive for artists to continue to do what we do best – use our creative under his government. And not just by the $45 million of last talents to criticize, analyze, poke fun, blow holes in arguments and year’s cuts. According to The Globe and Mail, those cuts are seek truth over spin. We must use our creative talents to keep arts symptomatic of a trend under the Conservatives of seeing dollars and culture high on the priority list for all political parties. shifted away from arts and culture and funneled toward amateur John Mac Master’s recent performances include Tristan in Tristan und Isolde and and sport activities. Canio in I Pagliacci at the , Fidelio with the London Symphony Orchestra, a debut at Dresden’s Semper Oper as Calaf in Turandot, Verdi’s Requiem Before last year’s election, the Conservatives cut programs at the National Arts Centre in Ottawa, and Aegisth in Elektra for the Canadian Opera designed to help us sell our work abroad, increase sales oppor- Company. Mac Master was also a long time Equity Councillor and Treasurer of the tunities for our movies and our CDs, and increase revenue for Association, as well as a Larry McCance Award winner. artists. International touring provides exposure to both audiences and critics and enhances Canada’s artistic reputation. Canadian artists need to see and be seen beyond our borders. And please note – I pay taxes in Canada on my worldwide income. The economic argument in support of arts and culture is irre- futable. A 2008 study by the Conference Board of Canada – called “Valuing Culture” – confirmed that the cultural sector is an integral part of the new economy, employing 1.1 million people across the country. (You can read the report at www.ccarts.ca/en/election2008/documents/ValuingCulture.pdf) This report also stated that the average Canadian household spent roughly $1,650 on cultural goods and services in 2007 – for a total estimated value of $21 billion. This fact alone should put to rest the assertion that “ordinary” Canadians don’t care about Mac Master lends his voice to the This is NOT a Conservative Party rally culture. Seems to me, despite what the government asserted, winter 2009 Equity Quarterly 9 From international stars to innovative Canadian opera

By Colin Eatock

There’s probably never been a better time to be an opera singer (or operagoer) in Canada than the present. Of course, Canadian opera artists aren’t a new phenomenon: soprano Emma Albani, from Chambly, , was astonish- ing European audiences with her talents back in the 1870s. Back then, Albani had to leave Canada to build a career – but today, Canada’s singers are increasingly choosing to stay at home. While it remains difficult to earn a living by working solely in Canada, many singers augment their Canadian incomes with work in the U.S. and overseas. Adrianne Pieczonka used to live in Europe – in Vienna and London – but in 2005 she returned to Toronto. She made the move for personal reasons, to be closer to her family in Burlington, Ontario. “I have a lot of work in Canada,” she says. “With the exception of one year, I’m singing in Canada every year to 2013.

10 Equity Quarterly winter 2009 productions at home is riding high

Left: Russell Braun as Le Gentil and Monica Huisman as Celeste in ’s Transit of Venus by Victor Davies Above: Sookhyung Park (centre) as the title character in Pacific Opera Victoria’s Daphne by Richard Strauss

But my career is still tilted in favour of Europe in a 60:40 ratio. I’d cities have an opera company, and in the largest urban areas there’s like it to be 50:50.” often more than one. In total, there are more than 40 opera-producing According to Pieczonka, Canada has gained a reputation in the companies across the country, from coast to coast. Compared with opera world as a country that produces excellent singers. “We the profusion of theatre companies in Canada, opera may look thin on train singers very well,” she observes. “I hear people all over the the ground. But considering that 50 years ago there was only one (the world say, ‘You Canadians are super!’” ), the growth has been remarkable. About $60 million is spent on opera production every year. Making a living in Canada Again, when compared with live theatre’s annual figures of almost “There are more opera singers working and living in Canada than ever $250 million, opera appears modest. But, for better or worse, before,” says John Mac Master. Like Pieczonka, he lived outside opera’s $60 million is not evenly distributed: The largest opera Canada – in New York and Vienna – before returning home. “Can- company in the country, Toronto’s Canadian Opera Company ada’s a really great country to live in,” he declares. “We have health (COC), produces seven mainstage productions and has a budget care here – which is not insignificant when you’re self-employed. of about $30 million, while a small company may have resources And… there’s more government support here than in the U.S.” in the neighbourhood of $500,000. A look at the “big picture” bears out what Canadian singers say By global standards, Canadian operating budgets are low. Ber- about the strength of opera in this country. Almost all major Canadian lin’s three major opera companies spend approximately $200 million

winter 2009 Equity Quarterly 11 Canadian opera is riding high

annually, and New York’s Metropolitan Opera singlehandedly spends Montreal’s Chants Libres. But new work is also being done by its way through about the same amount over the course of a season. our “mainstream” producers. In the last decade, Manitoba Opera As for the audience, Statistics Canada reports that just 3% of (Winnipeg) and Pacific Opera Victoria have each premiered new Canadians attend opera performances. However, Christina Loewen, operas (Transit of Venus by Victor Davies, and Erewhon by Louis director of operations for Opera.ca (Canada’s service organization Applebaum, respectively). Calgary Opera is unique in that its for the opera sector), notes that this number may be deceptively commitment to mount a contemporary opera every other year small. “That amount would be higher if you looked at who opera is actually written into the company’s mandate. (They’ve done reaches,” she explains. “Outreach is a big part of what Filumena and Frobisher, both by John Estacio.) And opera companies do in their communities. Companies new works are being planned for Vancouver and tour to smaller towns, and there are lots of pro- at the COC. grammes in schools. Opera reaches into all sectors Untraditional stagings also bring contemporary of Canadian society.” sensibilities to opera. The COC has made a name for itself in this regard, with its Ring Cycle two years ago Ticket sales are looking good (not to mention innovative presentations of operas by Even if the core audience for opera is relatively ranging from Mozart to Schoenberg). small, ticket sales, donations, and other factors Vancouver Opera’s visually stunning Magic Flute governing the overall financial well-being of 2007 was inspired by West Coast native art of most Canadian companies are look- and culture, and was performed in English and ing good these days. The COC recently the Halq’emeylem language. Opera Calgary announced a surplus for the 2007/08 recently updated Faust to World War I, and season, thanks to record subscription Hamilton’s last Bohème was set in Paris in sales, fundraising efforts, and nearly the 1940s. Even Toronto’s baroque com- 100% ticket sales. Calgary Opera pany, Opera Atelier, has been provocative has also posted a surplus, for and innovative with the historical aspect the 10th consecutive year. of its productions. And companies that have recently experienced An abundance of excellent difficulties are bounc- singers ing back to life: This One of the driving forces behind year, the Montreal opera’s dramatic growth in Can- Opera retired a ada has been the abundance debt that had of excellent singers that r e a c h e d this country produces. $2 mil- However, the down- lion, and side of this picture is Manitoba that with so many Opera has Canadian singers – whittled down a $600,000 debt to and with new ones coming just over $200,000. along all the time – competition As well, there are other indica- can be keen. tors of strength – one of which is new opera creation. Canada has a handful of adventurous companies Laura Whalen in the title role that specialize in contemporary of the Calgary Opera and The Banff Centre world premiere opera, such as Toronto’s Tapes- of Filumena (2003) by John try New Opera Works and Queen Estacio and John Murrell of Puddings Music Theatre, and

12 Equity Quarterly winter 2009 “There’s a lot of competition,” notes Mac Master, “but if you haven’t got the self-confidence, you shouldn’t be in this business. You have to be an optimist, and you have to be driven.” “It’s a very competitive business,” agrees Pieczonka – hasten- ing to add that she doesn’t personally feel threatened by younger singers because she sings roles that they generally can’t. But she is concerned about the opportunities available to emerging artists. “It’s hard for young singers to get a break,” she says. “They go to university and do their master’s degree, and still can’t get work.” As well, our bountiful abundance of opera singers may be hav- ing a depressing effect on the fees. Mac Master can’t help notic- ing that fees in Canada don’t compare very well with what he’s been paid outside the country. “I don’t feel that our fees are keeping pace with inflation,” he notes. “I’m concerned about how infrequently we get to see and hear our own international stars – and, in part, that’s because of fees.”

While it remains difficult to earn a living by working solely in Canada, many singers augment their Canadian “ incomes with work in the U.S. and overseas.

Carrol Anne Curry of Dean Artists Management (Canada’s larg- est management agency for singers, as well” as conductors and pianists who work in opera) is aware of the problem of flatlined remuneration. “In the last decade, fees have risen somewhat,” she says, “but there’s never been a huge bump in artists’ fees. During the economic boom of recent years, I didn’t see the wealth of Canada translate into higher fees for opera artists.” During these troubling economic times, Canadian companies may be in a better position than their neighbours to the south. That’s because many of the larger American opera producers own substantial endowment funds (always the envy of Canadi- ans), which they manage as revenue-generating investments. But these days those funds aren’t worth what they once were – and companies depending on them are in a vulnerable situation. The COC was fortunate to build its new theatre, the Four Seasons Centre for the Performing Arts, at a time of economic prosperity and largesse – and today it stands as a visible symbol Top right: Doug MacNaughton and Kimberly Barber in a scene from of the vibrancy of opera in Canada. Unfortunately, many of our the April 2008 Pacific Opera Victoria production of Regina by Mark opera companies still perform in theatres that weren’t designed Blitzstein, based on The Little Foxes by Lillian Hellman for opera, sometimes with compromising results. But that doesn’t Above: Adrianne Pieczonka as with Juan Pons as Scarpia in the LA seem to be holding those companies back. Canadian opera has Opera production of Puccini’s Tosca, May 2008. Pieczonka was recently never been more exciting. made an Officer of the Order of Canada Colin Eatock is a Toronto-based writer and .

winter 2009 Equity Quarterly 13 The Canadian Opera Company enters a new era

Inspired by the COC’s War and Peace Alexander Neef is ready for his first shot running an opera company

By Wayne Gooding

Friday October 10, 2008. The experience was, as he would later characterize it, inspiring. When Alexander Neef went into work that morning, the sense of He was impressed by the focused commitment to the final artistic excitement and nervous tension in the air was almost palpable. product on everybody’s part – the musicians, singers, creative It was the day of the premiere of Prokofiev’s epic War and team, technical crew and administrative staff. He liked that the Peace, by every measure the biggest and most-ambitious single whole company seemed to be wholly engaged (doubtless, in part, production the Canadian Opera Company (COC) has attempted because the Prokofiev was one of Bradshaw’s final programming in its almost-60-year history. Only 10 days on the job as the legacies). COC’s new General Director, Neef had actually had little to do When he went into work after that October weekend, the with the staging, which realized a pet artistic project of his pre- sense of excitement was, if anything, even greater, fuelled by decessor, the late Richard Bradshaw. But Neef had arrived during reviews that proclaimed the staging as one of the company’s best the final rehearsal period, just in time for an intensive crash course in recent years. What he’d seen and heard over the previous two on his new company in full creative flight. weeks could only justify his decision to move to Toronto. “With

14 Equity Quarterly winter 2009 the opening of War and Peace, I knew I would like it very much Toronto and New York,” he says, “because Toronto turned out to here,” he says. “I was very proud of the way the company had be a very different chance and a very different challenge.” worked. I think that’s how we should do art, how we should do opera.” A world away from Paris This is Neef’s first shot at running a company, and the opera busi- The search for Bradshaw’s successor ness in which he’s taking that challenge on is very different from that If Neef was well pleased with the company, the feeling was prevailing in Paris. The COC may be one of the top half dozen com- mutual. panies in North America, but it’s nonetheless relatively small. Paris After Bradshaw’s sudden death returning from vacation in has an operating budget of about $240 million for its opera and August 2007, the COC launched an international search to ballet productions, and stages about 20 operas a year; the COC has replace him. At the end of the first phase of its work, the search seven mainstage productions and a budget of about $30 million. committee had a long list of 40 prime prospects, then a shortlist In some respects, Neef welcomes the disparity. Sometimes, he of about half a dozen. says, it felt as if they were producing opera in a factory in Paris, When the 34-year-old, German-born Neef was introduced last one staging coming off of the line after another without respite. June as the winning candidate, few outside the company knew his On the other hand, the big budget obviously allows for more name. He was, how- artistic flexibility and ever, the unanimous richer production values choice of the search than might be possible committee and of the I can bring experience and in North America – espe- COC staff who had cially since the norm in talked with the candi- Europe is for govern- dates as part of the hir- “insights into the European ments to subsidize 60% ing process. to 70% of budgets. Soft-spoken and way of doing opera and merge Last year, the COC’s somewhat reserved public funding amounted in his bearing, he had to 23% of the total bud- nonetheless impressed them with the efficient North get – with the rest of everyone – both in the money coming from face-to-face meetings American way of doing opera. ticket sales and fund- and through due dili- raising efforts, including gence – with his ideas individual, corporate, about running an opera ” and foundation support. company, his knowledge of the international opera business, the Fundraising is part of the job of a General Director in North Amer- depth of his connections and the stellar trajectory of his relatively ica, so Neef, like Bradshaw before him, also faces the challenge of short career in opera. playing a vocal and active role to keep the money coming. Ironically, Neef was already in a transitional stage between jobs when the COC first approached him. At the time, he was Director A different type of administrator of Casting and Artistic Production at Opéra de Paris and as such Neef’s background and approach signal a major cultural shift a close associate of the company’s director, Gérard Mortier. Neef within the company, too. The flamboyant Bradshaw was an artist- is, in fact, a protégée of Mortier, one of the most influential and entrepreneur who split his time between running the company controversial opera managers of the past few decades. and participating in productions as conductor. Mortier gave Neef his entrée to artistic administration in 2000 As General Director, his crowning achievement was to spear- at the Salzburg Festival, and the two have worked together since, head the drive that made the Four Seasons Centre for the Per- first at the Ruhr Triennale Festival, then Paris. When Mortier was forming Arts, the COC’s new purpose-built home, a reality; but he appointed head of (NYCO), Neef was set always regarded himself as an artist more than an entrepreneur. to cross the Atlantic with him, and was already spending about a Neef is from a different mould, a Blackberry-toting administra- week a month working at NYCO when Toronto called. tor quite in his element talking about budgets, efficient operations At that point, Neef knew little about Toronto or the COC, and the need to counterbalance everything the company does with but as he did his own research, he realized that he was facing a income. It’s telling that one of his first administrative changes at the rare opportunity. “I did not have to make a real choice between COC was to take responsibility for signing contracts, and that he winter 2009 Equity Quarterly 15 The Canadian Opera Company enters a new era casts one of his artistic tors and other creative priorities – extending staff to work with the the horizon on the company, too. company’s artistic- “It’s like a chain planning cycle – in reaction,” says Neef. quantitative terms. “Once we get a cer- “Getting access to tain group of people the best artists is a working here, things matter of mathemat- will feed from the ics,” he says. “If we casting.” want top-line artists Neef is optimistic who book three or that the COC is in a four years ahead, we healthy position to have to plan three or ride out the current four years ahead.” economic maelstrom, While these are still fuelled in part by the early days in Neef’s knowledge that cash- administration, he flow for this season is has started to articu- solidly in place and late an artistic vision. A scene from the Canadian Opera Company’s production of Sergei Prokofiev’s War and Peace statistics suggest that When he got the first people tend to turn to call about the job, he went home to research the company on rather than away from the arts when times get tough. the Internet, and the new, internationally acclaimed opera house Opera, though, is the most expensive of the performing arts, so immediately piqued his interest. In his view, the opening of the he takes “prudence” as a hallmark of planning. “We have to be new house marks the beginning of a new phase of growth for the conservative on the income side rather than overestimating,” he company, and his responsibility as General Director now is to fully says. “We can’t spend money we don’t have. And I like to have realize its promise as a world-class performing institution. a Plan B in mind, which is the worst-case scenario.” In some respects, he says, the COC already has the wherewithal In his first season, though, Neef is focusing on coming to terms to achieve this goal, with the new house, the orchestra and the with the Canadian opera scene. He’s been meeting with and audi- chorus providing key foundations. The company is still in its hon- tioning singers (he may be an administrator by profession, but eymoon period with the new house in the sense that, with only he does have firm views about such things as singing technique the company’s third season playing out on its stage, there’s still or good Mozart style), meeting with other General and Artistic much to learn about what can and can’t be done, and indeed how Directors and looking for possibilities of co-operation (not a strong best to present existing repertoire in a new space. point of the Canadian opera industry) and, of course, restoring “We need to analyze the possibilities, as performers and as the confidence and momentum in his own close-knit company programmers,” says Neef. “We need to define who we are in (Bradshaw’s death knocked it off kilter). programming and in performance.” At some point, Neef will appoint a successor to Bradshaw the conductor, though it may be a season or two before he makes World-class artists that decision, taking enough time for a series of guest-conductor In part, bringing the company up to world-class standards means prospects to work with the company and the orchestra. In the bringing world-class creative teams and artists to the company. meantime, he’s working on that world-class future for the com- Hence his early insistence on sketching out the seasons as far pany, confident that the spirit he experienced around the opening ahead as 2012/13. of Prokofiev’s War and Peace, will help get it there. He talks of casting a dozen or so major Canadian artists – “I’ve seen how this company has critical pride,” he says. “Peo- this would be artists like Ben Heppner, Gerald Finley, Measha ple know and talk about what’s good and what’s not good about Brueggergosman and Adrianne Pieczonka, already major figures what it’s doing. We have a phrase in German about running on the international opera circuit – and then bringing in major into open doors, meaning that we run into people who are like- names from outside Canada to up the star quotient. If the com- minded and sympathetic in outlook. That’s how I’ve felt about pany knows what it’s doing far enough ahead to book the big coming here. I don’t have to knock.” names in singing, it’s easier to attract the major conductors, direc- Wayne Gooding is editor of Opera Canada magazine.

16 Equity Quarterly winter 2009 EQ Lives Celebrating our off-stage moments

Births

Beaming big brother Sébastien is proud to Equity stage manager Suzanne Williams and announce the birth of his little sister Zoé husband Michael Bluestone of IATSE Local 58 Solange, born (in their car!) to Equity mem- are tickled to announce the arrival of their twins bers Galia Goodwin and Terence van – Jackson der Woude on April 6, 2008. Michael and Piper Syd- ney – born 2 November 5 , 2 0 0 8 . Everyone is doing well and looking forward to many sleep- less nights.

Weddings

3 1. Equity member Tammy Roberts and automotive service technician Chris Durksen are thrilled to announce that their nup- tials went off without a hitch on July 26, 2008, in Calgary. Not once did anyone cry out, “An actor and a mechanic?! That’ll never fly!” Chris and Tammy wish to thank all those near and dear to them who helped to celebrate this life event (many of whom are likely reading this issue of EQ). 1

2. Equity members Jennifer Stewart and Sam Strasfeld were married in Stratford, Ontario, on June 30, 2008. Family and friends were in attendance to celebrate the day with the ceremony at Shake- spearean Gardens followed by a reception at The Church Restaurant. 4 3. Equity members Melissa Good and Randy Hughson were happily married on February 9, 2008, in Heidelberg, Ontario.

4. Equity actor Ramona Gilmour-Darling and Sandy Thorburn, musical director, were married on May 24, 2008 (a date that would forever give them free fireworks on their anniversary!). The fantastic wedding took place in the Thousand Islands Playhouse’s Firehall Theatre in Gananoque, Ontario.

5. On July 21, 2007, Equity member Dale R. Miller and Timothy Stain were married in a private but spectacular Buddhist, inspired wedding, surrounded by family and close friends. Complete with a harp 5 and a Celtic band, it was a magical day and they could not be happier! winter 2009 Equity Quarterly 17 Fondly Remembered

Richard Monette 1944 - 2008

By Ann Stuart with Martha Henry, Stratford Shakespeare Festival

Richard Monette was endowed with many gifts – intelligence, talent, ambition – which would take him to the pinnacle of his profession as the longest-serving Artistic Director of the . However, his childhood was bleak, without the secure and unconditional love found in a happy and stable home. He would use his gifts to find a family of friends (including his beloved brother Mark) and another home – in the theatre. Perhaps because they had been missing from his own life, he always retained a love of the delights associated with a happy childhood. If it lit up, made a funny noise, wore mouse ears, exploded, or by any other means created a moment of magic or mystery, Richard adored it. If it soared up (balloons, champagne corks, fireworks, the stage curtain) or floated down (snow, chan- deliers, a dead duck, the stage curtain) Richard adored it. Every possible occasion was celebrated – anything that meant an Richard Monette as Dr. Caius in the 1982 production of The Merry Wives opportunity to dress up, eat, drink, give gifts and have a good time. of Windsor at the Stratford Shakespeare Festival And preferably to capture the celebration in photographs. Richard was a master at finding the perfect gift – not necessarily expensive, their problems. He gave people opportunities to do things they but fun and right for the occasion. Never generic, each gift was an had never done before and he gave them his faith that they would irreplaceable treasure – souvenirs from his travels or a dried rose succeed. His care extended beyond those who worked with him from the bouquet presented at his retirement gala. Books and post- to include the audiences who came to his theatres. He wanted ers were inscribed; cards carried personal notes and his name with them to have a wonderful time so they would love the theatre the omnipresent drawing of a heart. Probably the highlight of a life and return. He cared for the citizens of Stratford, even those who of celebrations was the Stratford Festival’s Golden 50th Season with never attended a play, because he knew that the town’s economy the opening of the new Studio Theatre, the re-opening of the reno- was linked closely to the success of the Festival. vated Avon Theatre and visits from the Governor General, the Prime Richard’s theatrical achievements were many but it is worth Minister and festival founder, Tom Patterson. And golden gifts. For noting that every one developed from his sense of caring. He was months before, Richard’s home overflowed with an ever-expanding concerned about classical training opportunities so he started the collection of gold just-about-everything. And during opening week Birmingham Conservatory. He was passionately committed to the he proudly drove around town in a shiny gold car. work of Shakespeare so he programmed the entire Shakespearean But the gifts and good times were only a symptom of some- canon during his tenure. He wanted Stratford’s theatres to be beau- thing much deeper and more important: Richard’s need to care tiful, comfortable and inviting so he renovated the Festival and Avon for those around him and to give them a sense of being loved Theatres and built the Studio. He worried that the Festival would not and special. These were his most important gifts: his kindness, his survive hard times so he created the For All Time Endowment Fund. compassion, his wit. A born entertainer, he could always find the These were his gifts to the future and they will endure. perfect anecdote to amuse or teach. But he listened, too, when Dear Richard. You were so special, so precious, so gifted. Thank young and old, friends and strangers, told him their dreams or you for everything.

18 Equity Quarterly winter 2009 Lloy Coutts 1941 - 2008

Excerpted from a speech by Dawn Obokata for Lloy Coutts’ Equity Life Membership Award

Lloy Coutts had a It is indeed a testament to Lloy’s influence that many of the career spanning over young artists she worked with became lifelong friends who con- 30 years, in which she tinued to seek her advice as their careers matured. was a coach, mentor Whenever anyone describes working with Lloy, there are three and director. Theatres, things that are mentioned: her sharp focus on the crux of the actors and audiences matter at hand; the way she demanded excellence and usually from the Citadel to the got it; and her keen sense of humour. Vancouver Playhouse, I was directed by Lloy in a production of Tale of a Mask, one the Tarragon Theatre, CanStage and Workman Theatre Projects of the shows she did at Workman Theatre Projects in the Queen all benefited from her work. Street Mental Health Centre in Toronto. These were always excit- She brought her enormous talent and skill – and her keen intel- ing collaborations between professional theatre artists and out- ligence and wit – to students and actors at the universities of patients of the centre. Guelph, Waterloo and York, Vancouver’s Studio 58, Tarragon’s The situation could sometimes be quite intense, but Lloy had a way Maggie Bassett Studio, and Equity Showcase Theatre. of unifying the group so we all felt like peers, and maintaining focus She was a voice coach at the Stratford Festival during Robin Phil- on the theatrical process. She knew when to push, and when to relieve lips’ tenure, and directed and taught Richard Monette’s Conserva- the tension. I have fond memories of sitting in the cafeteria after a tory programme. In 2005, the festival honoured Lloy’s contribution grueling morning rehearsal, talking about Kevins with Lloy. We both as a coach by giving her the prestigious Tyrone Guthrie award. agreed that it was Kevin Kline over Kevin Costner any day….

interaction with Gary Rideout 1952 - 2007 my character, and every time By Benoit Boutet he would come close to me to sing, he would I knew Gary since our school days at the University of Toronto’s have so much Opera school. His voice was already very powerful and brilliant saliva that he was at a young age. He was also a fine actor, which led him into the always spitting character tenor field in his early roles. He was such a good actor in my face. This that at times, on stage with him, I could not see Gary anymore was not on pur- but just the role he was playing. It was almost scary, but terribly pose of course, convincing. but I can tell you In recent years he had moved on to Wagnerian roles with great that it added to success; he actually was the first “American” to sing the role of my relationship Siegfried at the Kirov Opera. He had engagements in Monte with his charac- Carlo, Tel Aviv, Toulon and Washington D.C. He was also very ter on stage. We well praised as Loge in the Arizona Ring Cycle. laughed about it He had quite a good sense of humour and was always ready after the perfor- Gary Rideout as the Witch in the Canadian Opera for a laugh. Funny, caring, and kind, I cannot think of anyone mances. Company’s 1998 production of Hansel and Gretel else who was so genuine. He always travelled with his little white Gary sang with dog, and I remember seeing him walking his dog in the worst the San Francisco Opera, The Met and the Canadian Opera snow storms. Company, among other places. It did not matter where he was I remember fondly doing Britten’s Prodigal Son with Gary, and performing, he would always give the best he had with the most he was playing the “scary” role of the Devil. He had a lot of professional attitude a singer could have. winter 2009 Equity Quarterly 19 EQ Classifieds

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20 Equity Quarterly winter 2009 The Manitoba Theatre Centre EQ Flashback celebrates 50 years

When John Hirsch and Tom Hendry founded the Manitoba Theatre Centre (MTC) in 1958, their goal was to create great professional theatre with mass appeal. As Hendry said, “One can endlessly cite statistics to prove employment, economic impact and tourist magnetism. What the arts – given a chance – bring to a city is something in addition to all those material rewards. They give a great city an image of its soul.” Since its founding, MTC has produced more than 500 plays, and hundreds of Equity members have appeared on its stages, including Len Cariou, Graham Greene, Martha Henry, Judd Hirsch, Thomas Hulce, William Hurt, Tom Jackson, Seana McKenna, Eric Peterson, Gordon Pinsent, Above: The first program cover from 1958 Keanu Reeves, Fiona Reid, R.H. Thomson, Above right: Gordon Pinsent and Doreen Brownstone in A Hatful of Rain Kathleen Turner and Al Waxman. The first play produced at MTC was Michael V. Gazzo’s A Hatful of Rain, star- The great EQ “Flashback” photo mystery ring Equity Life Members Gordon Pinsent The general consensus is that Larry Cherniak is our mystery man in last issue’s and Doreen Brownstone. A half-century “Flashback” photo. But who was the bearded man sitting last in the front row? It later, Brownstone was back on stage play- turns out it’s not Stephen Heatley – but Stephen Katz. ing Yente in MTC’s 50th anniversary pro- duction of Fiddler on the Roof.

winter 2009 Equity Quarterly 21 EQUITY QUARTERLY EQ Equityonline Update your contact www.caea.com information online

• Councillor, CPAG and Committee contact We can’t mail you a ballot, information • Comprehensive document library if we can’t find you • 2009 Theatre award ceremony links The 2009-2012 Council elections are coming soon. Equity • Online events calendar members are asked to verify their contact information and • Members Only zone (personalized electoral region online at www.caea.com. privacy settings) • “e-search,” our online digital search tool for the opera, ballet and theatre agreements Equity has gone green New EQUITYONLINE registrants must know News concerning the administration and governance of the Association their member number and must have a valid (e.g. notice of upcoming meetings and information on membership email address already on file with Equity to benefits) is now only electronically distributed to the membership. activate access to the site. Follow the link to log on to the Members Only zone. Log Members who do not have access to the internet must call the in using your member number (listed on the National Office at 1-800-387-1856 (416-867-9165 in Toronto front of your membership card, our invoices only) to make alternative arrangements. and receipts) and click the TEMPORARY EQ will continue to be delivered by post unless a member has speci- PASSWORD button. A temporary password fied a preference for online delivery in the Members Only zone of will be mailed to your email address on file. EQUITYONLINE at www.caea.com.

Publications Mail Agreement #40038615 Return undeliverable Canadian addresses to: EQ Canadian Actors’ Equity Association 44 Victoria Street, 12th Floor Toronto, ON M5C 3C4 [email protected]

22 Equity Quarterly winter 2009 EQ is shipped in a recyclable polybag