Equity quartErly Fall 2011

PROGRAmmiNG cHAlleNGeS SUmmeRwORkS liVeS ON EQ ARTiSTic DiRecTORS SPeAk

A delicate balance the inside view

whEn an audiEncE sits down to watch

a pErFormancE, thEy arE unawarE oF

thE many choicEs, challEngEs and hard

rEalitiEs FacEd BEForE that production

EvEr rEachEs thE stagE. this issuE oF EQ

givEs you an insidE look at thE many

dEcisions that go into programming a

sEason – and thE dElicatE BalancE that

must BE madE BEtwEEn artistic vision and

thE rEalitiEs oF audiEncE ExpEctations,

casting, cost and Funding. Equity quartErly Fall 2011 EQ volumE 5 numBEr 3

6 summerWorks 2 PReSiDeNT’S meSSAGe survives & thrives 3 NOTeS fROm ARDeN R. RYSHPAN 4 leTTeRS TO THe eDiTOR 8 Creating a winning 5 eQ mOVeS season 17 eQ VOiceS 18 fONDlY RememBeReD 12 Artistic Director 20 eQ clASSifieDS balancing act 21 eQ flASHBAck

Equity members can submit letters to the editor via email at [email protected]. the deadline for coming issue: wintEr 2012 EQ submissions is Friday, november 4, 2011. EQ reserves the right to edit for length, style and content. subscriptions are available at an annual rate of $35, including gst. EQ Equity Quarterly (issn 1913-2190) is a forum to discuss issues of interest to members concerning their publications mail agreement no. 40038615 Fall 2011 – volume 5, number 3 craft, developments in the industry, Equity’s role in the workplace, and the important position live performance EQ is published four times a year by canadian actors’ Equity association. ExEcutivE Editor lynn mcQueen holds in the cultural and social fabric of canada. it is also used as an advocacy tool to educate others about National Offi ce the industry, promote live performance in canada, and celebrate the achievements of Equity members. 44 victoria street, 12th Floor, toronto, on m5c 3c4 Editor Barb farwell tel: 416-867-9165 | Fax: 416-867-9246 | toll-free: 1-800-387-1856 (members only) canadian Actors’ equity Association (equity) is the voice of professional artists working in live [email protected] | www.caea.com dEsign & layout chris Simeon, performance in English canada. we represent more than 6,000 performers, directors, choreographers, September creative western Offi ce fi ght directors and stage managers working in theatre, opera and dance, and support their creative efforts 736 granville street, suite 510, vancouver, Bc v6Z 1g3 by seeking to improve their working conditions and opportunities by negotiating and administering tel: 604-682-6173 | 604-682-6174 | toll free: 1-877-682-6173 (members only) collective agreements, providing benefi t plans, information and support and acting as an advocate. woffi [email protected]

fRONT cOVeR: (l to R) Gil Garratt, meegwun fairbrother, Sebastien David and mark crawford in Vimy by Vern Thiessen, produced by the Blyth festival, 2011 ABOVe: Raven Dauda and Alex Poch-Goldin in Intimate Apparel by lynn Nottage, produced by Obsidian Theatre, 2009 President’s message

I mentioned it in the last be hearing more about this in theeQ next, but short the dueswhile, referendum and the enclosed is well copyand truly of Council under Linkway hasnow. a greatYou’ll deal of information to get you started. Members who have participated in earlier referendums will notice some significant changes in how this one is being conducted. For starters, we will be using electronic balloting for the first time, via Internet and telephone. Electronic balloting means no more missing the voting deadline because of postal delays, easy access to your vote no matter where you may be working, higher security for your ballot, and considerable cost savings over having to pay for postage in both directions. We know that the majority of our membership is comfortable with electronic voting of this sort, but we will also offer a paper ballot option for those who may not be. We have also previously coupled each referendum with a road trip of Councillors and staff to every geographic region, and we will not be doing that this time. The cost of travel is very high (especially these days) and, if history is any guide, the turnout for the meetings will be very modest. Members have many other demands on their time, and if you can’t attend your local meeting, you are out of luck for the kind of information sharing we know this topic deserves. Instead, we will be conducting a series of online and teleconference forums. These will be scheduled for staggered times across the country, so that members may participate in the manner and at the time most convenient for them. Council has been working exceedingly hard over these past two terms, catching up on dormant issues, and reaching out to the membership for input on new ones. Work on new indie theatre initia- tives is coming to a head, and our insurance plan report will be out very shortly. Nobody likes to be asked to part with his or her hard-earned money, but we hope that we have proven to you over the last while that your dues are well spent, and that your elected representatives are responding actively to your needs. Council is asking you for the resources necessary for Equity to continue that work.

Allan Teichman President

Dues Referendum 2011 We know you’ll have questions about this, and we want to be able Through your regional CPAG member (contact info at EQUITYONLINE) to answer all of them. Here is where you can find the information Through Council’s Referendum 2011 Answer Line at you need, or connect with Council for answers to specific questions. 1-800-387-1856, ext. 239 Council Link – accompanying this EQ and available at Through the Referendum 2011 blog page at EQUITYONLINE (www.caea.com) www.councilconnection.blogspot.com By email, at [email protected] By attending an online or phone forum on November 14 or 21

2 Equity quartErly Fall 2011 Notes from Arden r. ryshpan

the subject of this issue came out of topics addressed in two earlier issues; our Spring 2010 issue on censorship, and the conversation about attracting an audience that I wrote about in the last issue. While we most often look at elements of our industry from the “on stage” perspective, these earlier issues have prompted us to take a look at what happens long before anyone begins rehearsal. So, we have gone to a number of artistic directors to ask them about how they make their decisions; what keeps them up at night these days; how are they managing to keep their theatres’ programming vital and attractive and how they keep their boards happy too. We’ve borrowed Edward Albee’s title, A Delicate Balance, to describe the challenges faced by three well-known artistic directors from different types of theatres, with very different mandates, and engaged them in a moderated conversation. The artistic directors in this country are struggling to deal with pressure from all sides – no increase in support at the federal level, cuts in many provinces and certainly here in Toronto, a municipal government that appears to think that our sector is not a valuable contributor to the economy. All this adds up to a require- ment for many of them to do more with less. There is the ongoing discussion about cultural diversity and whether or not the changes in our society are reflected either on stage or in the audience and, if not, how to best achieve the needed changes. Add to that an uncertain economy where people are very, very careful about where they spend their entertainment dollar and you have a recipe for sleepless nights or grey hairs or growing ulcers amongst the folks across this country who have to figure out what’s going to put bums in seats. And above all, there is the drive for artistic excellence – a desire to address all of these needs with artistic integrity. Not an easy gig by any means… While there is an element of the labour-management relationship that is inherently conflictual, the truth is that as things get tougher and tougher out there, it is in everyone’s best interest to search for cooperative ways to respond to the stresses each side identifies. The first thing is for us to understand what some of those stresses may be. I hope this issue of EQ offers a different perspective on how the creative choices are made in some of our country’s most interesting theatres. Lastly, I want to encourage you to read the special Council Link that comes with this issue of EQ. Equity too is under similar pressures – pressures to provide more and better service with decreasing resources. Your Council is asking you to approve a modest dues increase, the first one in over 15 years. I am confident that you, the members, believe in the value of your association and recognize the need to increase your support as the needs (and costs of meeting those needs) have increased significantly since the last time there was a dues referendum.

Arden R. Ryshpan Executive Director

Fall 2011 Equity quartErly 3 Letters to the editor

of using the net, and the ways in which Too trendy Letters on subjects of concern to Equity members will be considered for publication. Letters must be signed, but names will I was disappointed in the last EQ. Why is performer unions protect members. be withheld on request for those letters that may affect members’ employment. Letters that include artistic criticism of Equity it set on becoming the trendy amusement — Peter Messaline, members or letters that are antagonistic or accusatory, either implied or expressed, may be withheld or edited at the discretion its title suggests? Am I the only member Equity member of the editor. Opinions expressed in Letters to the Editor are not who is more interested in Ross Manson’s necessarily those of the Association. experiences on the road, or the problems PHOTO AND PRODUCTION CREDITS Executive Editor’s note: Live perfor- Cover: Photo: Terry Manzo. Vimy (2011) by Vern Thiessen of stage fright, than a Sunday supplement produced by Blyth Festival. Directed by Eric Coates. Cast: Mark mance is Equity’s jurisdiction, and Crawford, Sebastien David, Meegwun Fairbrother, Greg Gale, Gil Garratt and Tova Smith. Stage managed by Crystal MacDonell chat about Tweeting and FourSquare? regardless of ACTRA’s position on self- assisted by Dini Conte. Are members inspired to support Page 1: Photo: David Hou. Intimate Apparel (2009) by Lynn promotion, the promotion of a theatrical Nottage produced by Obsidian Theater. Directed by Philip Akin. Equity by an edition filled with food- Cast: Lisa Berry, Marium Carvell, Raven Dauda, Alex Poch-Goldin, production is governed by the applicable Kevin Hanchard and Carly Street. Stage managed by Michael E. related articles? Sinclair assisted by Andrea Schurman and Tonya Timmons. promotion clauses in our agreements Page 4: Photo: Bruce Zinger. Alice’s Adventures in Wonderland Does no one else miss news from (2011) based on the story by Lewis Carroll with music by Jody Talbot and policies. Unless specified otherwise, co-produced by The National Ballet of Canada and The Royal Ballet. across the country, dealing with familiar Choreographed by Christopher Wheeldon. Cast: Kevin D. Bowles, our agreements and policies prohibit Rex Harrington, Keiichi Hirano, Tanya Howard, Sonia Rodriguez, Piotr problems in unusual ways, or triumphing Stanczyk, Robert Stephen and Brett van Sickle. Stage managed by the posting of any rehearsal and perfor- Ernest Abugov and Jeff Morris assisted by Shelby-Jai Flick. over uniquely difficult problems? Page 5: Photo: David Cooper. The Shape of A Girl (2011) by Joan mance recordings on the Internet and MacLeod with music by Ian Tamblyn produced by Green Thumb At least this edition addressed sub- Theatre. Directed by Patrick McDonald. Cast: Georgina Beaty. stantive actor career issues, but collabo- social media websites. However, many Stage managed by Rachael King. Page 6 & 7: Promotional photos courtesy of SummerWorks rating with ACTRA Toronto would have other promotional activities such as Theatre Festival. Page 6 left photo: Natasha Mytnowych. Page 6 right photo: Fairen Berchard. Page 7 top photo: Aviva Armour- meant that the self-promotion articles interviews, photos, ticket offers, public- Ostroff. Page 7 bottom photo: Mark Jenkins. Page 8: Photo: Robert Popkin. Wild Dogs (2008) by Ann Hardcastle in both newsletters would have been ity recording, conversations with actors, from the book by Helen Humphreys with music by Jennifer Gillmor produced by Nightwood Theatre. Directed by Kelly Thornton. Cast: more powerful. [Editor’s note: The fol- Les Carlson, Steven Cumyn, Raven Dauda, Stephen David Joffe, directors and creative team members, Tony Nappo, Tamara Ceshia Podemski and Taylor Trowbridge. Stage lowing statement is the author’s opin- managed by Kristen Kitcher assisted by Sandi Becker. etc. are permitted. Page 9: Photo of Eric Coates by Ann Baggley. Photo of Jackie ion only. Please see the response from Maxwell by Shin Sugino. Photo of Mieko Ouchi by Kim Clegg. Social media was the theme of Photo of Kelly Thornton by Guntar Kravis. Photo of Max Reimer the Executive Editor.] It is very likely by David Cooper. Bottom photo: Epic Photography Inc. Routes Equity’s National Annual General (2009-10) by Collin Doyle produced by Concrete Theatre. that ACTRA members were also in Directed by Mieko Ouchi. Cast: Joshua Beaudry. Stage managed Meeting in February 2011. Members by Nicole Piotrkowski. breach of the ACTRA rules about self- Page 10: Photo: David Cooper. A Little Night Music (2008) reported that the topic was of great with music and lyrics by Stephen Sondheim and book by Hugh promotion material on the net. Wheeler produced by Shaw Festival. Directed by Morris Panych interest to the live performance com- with choreography by Valerie Moore and music direction by Paul The new modes of publicity are so Sportelli. Cast: Thom Allison, Michaela Bekenn, Donna Belleville, munity and there were many sugges- Patty Jamieson, Gabrielle Jones, Jeff Madden, Julie Martell, George simple, and the Internet is so lawless, Masswohl, Glynis Ranney, Goldie Semple, Justin Stadnyk, Mark tions from the attendees to include the Uhre, Robin Evan Willis and Jenny Wright. Stage managed by that members would be helped by a dis- Alison Peddie assisted by Evan R. Klassen and Marisa Vest. cussion of the advantages and dangers topic in one of EQ’s upcoming issues. Page 11: Photo: David Cooper. The Fantasticks (2010) with book and lyrics by Tom Jones and music by Harvey Schmidt produced by Vancouver Playhouse Theatre Company. Directed and choreographed by Max Reimer with fight direction by Nicholas Harrison and music direction by Bill Sample. Cast: Simon Bradbury, Mark Burgess, Christopher Gaze, Bree Greig, Jeff Hyslop, Steve Maddock, Colin Sheen and Andy Toth. Stage managed by Caryn Ellen Fehr assisted by Peter Jotkus and Shizuka Kai (apprentice). Page 12: Photo of Philip Akin by David Cooper. Photo of Matthew Jocelyn by V. Tony Hauser. Photo of Vanessa Porteous by Ben Laird Photography. Photo of Geoff Pevere by Chris Blanchenot. Page 14: Photo: Bruce Zinger. Fernando Krapp Wrote me this Letter: An Attempt at the Truth (2010) by Tankred Dorst produced by Canadian Stage. Directed by Matthew Jocelyn. Cast: Walter Borden, Ryan Hollyman, Ngozi Paul and Ashley Wright. Stage managed by Liliane Stilwell assisted by Kristen Kitcher. Page 15: Photo: Trudie Lee. The Penelopiad (2010) by Margaret Atwood produced by Alberta Theatre Projects. Directed by Vanessa Porteous. Cast: Denise Clarke, Janelle Cooper, Elinor Holt, Kathryn Kerbes, Jamie Konchak, Allison Lynch, Lindsay Mullan, Meg Roe, Vanessa Sabourin, Esther Purves-Smith and Adrienne Smook. Stage managed by Amy Lippold assisted by Heather Rycraft. Page 16: Photo: Chris Gallow. Ruined (2011) by Lynn Nottage produced by Obsidian Theatre in association with Nightwood Theatre. Directed by Philip Akin with choreography by Kim Rampersad. Cast: Richard Alan Campbell, Marci T. House, Sterling Jarvis, Yanna McIntosh, Muoi Nene, Thomas Olajide, Anthony Palmer, Sabryn Rock, Marc Senior, Andre Sills and Sophia Walker. Stage managed by Michael E. Sinclair assisted by Monika Seiler. Page 17: Photo: Tim Matheson. Three performers alternated the role of Alice in the National Ballet’s production of Alice’s Page 18: Photo: Eagle Feather News. Page 19: Photo of John Bayliss courtesy of James Swan. Photo of Adventures in Wonderland (EQ Summer 2011) – Sonia Rodriguez (above) and Heather Griffith Brewer: Raymond Poitras, courtesy of Centaur Theatre. Ogden and Jillian Vanstone. All three names were not known at press time Page 21: Photo: Greg Wanless.

4 Equity Quarterly Fall 2011 EQ Moves Onward and upward with the arts

Georgina Beaty won a Jessie Award for her work on the theatre for young audiences production of The Shape of a Girl, presented by Vancouver’s Green Thumb Theatre

Quincy Armorer is the new artistic director of Black Theatre Camilla Holland is the new general manager of the Royal Workshop in Montreal, replacing Tyrone Benskin, who was Manitoba Theatre Centre. Susan Moffat has taken on the job elected as an MP for the NDP in the May 2011 federal election. of interim general manager of the Tarragon Theatre.

Stage manager Kira Alexandra Campbell was presented Craig Hall will leave his position as artistic producer of Vancouver’s with the Dean Ott/Debbie Boult Award, which honours Rumble Productions to take on the position of incoming artistic Outstanding Achievement in Technical Production, at the 2011 director of Vertigo Theatre as of the 2012-13 season. Outgoing Betty Mitchell Awards. Canadian Actors’ Equity Association artistic director Mark Bellamy will remain with Calgary’s Vertigo has sponsored this annual award since its inauguration in 1998. Theatre for the current season.

Richard Rose, artistic director of Tarragon Theatre in Toronto, Equity members celebrated the 2010-11 performance won the $50,000 Walter Carsen Prize. The award is adminis- season with award ceremonies from coast to coast. A complete list of Dora Mavor Moore Award (Toronto), tered and presented by the Canada Council for the Arts, and Elizabeth Sterling Haynes Award (Edmonton), Jessie recognizes the highest level of artistic excellence and distin- Award (Vancouver), Robert Merritt Award (Nova Scotia), guished career achievement by Canadian artists who have Betty Mitchell Award (Calgary), Rideau Award (Ottawa), spent the major part of their career in Canada in dance, the- and SAT Award (Saskatoon) nominees and winners is atre or music. available online at www.caea.com. Nadine Carew has left the position of tour manager and taken over as the new general manager of Green Thumb Theatre in Vancouver.

Fall 2011 Equity Quarterly 5 Sun shines down on SummerWorks

Important grassroots festival continues despite lack of federal funding

clockwise from left: Michelle Monteith in Little One by Hannah Moscovitch, directed by Natasha Mytnowych, which premiered at SummerWorks this year After debuting at SummerWorks in 2010, Ride the Cyclone, by Jacob Richmond and Brooke Maxwell, went on to tour nationally and be optioned for Off-Broadway. (L to R) Elliott Loran, Rielle Braid, Sarah Jane Pelzer, Matthew Coulson, Kelly Hudson and Kholby Wardell (L to R) Antonio Cayonne, Akosua Amo Adem, Jessica Greenberg and Kevin Walker in The Middle Place by Andrew Kushnir, directed by Alan Dilworth, which went on to be performed at Theatre Passe Muraille, Canadian Stage, and a national tour Amber Borotsik and Cole Humeny in One by Jason Carnew, directed by Eric Rose, a re-imagining of the Orpheus and Eurydice myth where Ghost River Theatre and RedtoBlue Performance of Alberta used fantastical staging to transform the stage

It may have started out gloomy, a production of Homegrown, by Catherine Frid, which is about a but the sun did come out and shine over this year’s SummerWorks Toronto writer’s relationship with a convicted terrorist. Festival thanks to an outpouring of support from patrons and art- “I’m not going to speculate on whether that was a reason our ists from across the country. funding was denied,” says Rubenfeld. “The Heritage Minister was Just six weeks before the start of this year’s festival, artistic on [the CBC radio show] Q, and there he stated that it had noth- director Michael Rubenfeld was told that SummerWorks would ing to do with Homegrown. He did not explain, however, why not be receiving its $50,000 grant from the Department of it was removed, and rather spoke about a new $500,000 grant Canadian Heritage. The festival had applied for and received this being given to the Canada’s Walk of Fame Festival.” grant for the past five years, and a Canadian Heritage consultant Although the Heritage department never specifically explained had even told them to apply for a multi-year grant. why SummerWorks was left out, they did say the department “It was all very vague,” says Rubenfeld. “We were told in receives over 10,000 funding requests, so choices have to be an official letter that the festival did not represent ‘value for made. Nevertheless, this last-minute funding cut, and a subse- Canadians.’ But the letter didn’t explain what that meant. Upon quent statement from federal Finance Minister Jim Flaherty warn- further questioning, nobody at the Canadian Heritage could illu- ing arts institutions to “stay on their toes” and to not assume that minate any specific reason our funding was not approved.” grants to cultural institutions and festivals would be automatically There had been controversy last year when the Prime Minister’s continued, raised speculation of a potential ideological attack on Office questioned using public funds for SummerWorks to put on the arts in the arts-and-culture community across Canada.

6 Equity Quarterly Fall 2011 Sun shines down on SummerWorks By Barb Farwell

Faced with a huge shortfall, Rubenfeld reluc- tantly decided to raise ticket prices from $10 to $15, and SummerWorks embarked on a one-time emergency fundraising campaign. “This was very new to us. We don’t really have the capacity to fundraise. For the first three years I was the only employee. We now have two part- time staff, but everyone is so far stretched.” The emergency campaign ended up raising enough money so the 2011 season could pro- ceed. Rubenfeld says he thinks the campaign was a success because people could see the festival was in a dire situation. People know how impor- tant the festival is for developing new work and Canadian artists. “Some of Canada’s important cultural figures, like Michael Healey, Morwyn Brebner and Hannah Moscovitch, may not have had the opportunity to develop their work if it wasn’t for SummerWorks,” says Rubenfeld. “Small grassroots arts institutions are hugely important for our cultural ecology. Larger organizations depend on these smaller and mid-sized organizations. This is something that must be taken into consideration when determin- ing the value of any particular organization.” Michael Healey even wrote a letter to artistic directors across the country encouraging them to put on a reading of Homegrown to raise money for the festival. This year, SummerWorks presented 40 plays selected by a jury made up of Rubenfeld and three other theatre artists. Most of the plays were world premieres, and in the past about one-third have gone on to play at other theatres across the coun- try. A separate jury also gives out nine awards on the last day of the festival. Although the funding situation is precarious, SummerWorks is not going to change its man- date to take risks, ask complicated questions, and give artists the chance to push their boundaries. “We have enjoyed a distinct identity and success because of our mandate,” says Rubenfeld. “If we began censoring ourselves for any reason our man- date would be diminished and so too our value.” EQ

Fall 2011 Equity Quarterly 7 Artistic directors discuss the challenges of

The art of (L tose R) Raven Dauda, Les Carlson,a Steven son building Cumyn, Taylor Trowbridge and Tamara Podemski in Nightwood Theatre’s production of Wild Dogs (2008) by Ann Hardcastle. The theatre’s mandate is ‘by and for and about women’

By Matthew Hays

For Max Reimer, creating rity and intelligence, and hope that at least part – if not most – of a solid theatrical season for a theatre is akin to concocting a bal- their choices connect with audiences and critics. anced dinner menu. “You face many of the same questions anyone facing a dinner “You don’t want it all dessert, or it’ll be too sweet,” reasons party would,” adds Reimer. “What’s the music you’re going to the artistic managing director of the Vancouver Playhouse Theatre play like? Do you host inside or on the patio? Who’s coming? And Company. “You don’t want it to be all veggies either. It’s about still, you’re never really certain how the evening is going to go.” variety in human experience.” For Shaw Festival artistic director Jackie Maxwell, the idea of Reimer is touching on one of the basic dilemmas facing the being able to describe the nuts-and-bolts process of crafting a artistic directors (ADs) of theatres and theatre companies across season is extremely difficult. “The idea that you sit down and Canada: how do you choose the perfect season? As the ADs inter- begin thinking about how you’re going to come up with your viewed for this piece will tell, one can dream of a perfect season, next season is not the way it works. As an artistic director, ideas but such a phenomenon is truly rare. ADs, instead, opt for integ- are constantly in your head, all the time. If you’re in a bookstore,

8 Equity Quarterly Fall 2011 programming a winning season The art of season building

Joshua Beaudry in Routes by Collin Doyle (2009/10) produced by Concrete Theatre. Planning for young audiences is tricky, says artistic co-director Mieko Ouchi, as they begin developing works years in advance

TOP (L to R): Eric Coates, Artistic Director, Blyth Festival, Ontario; Jackie Maxwell, Artistic Director, Shaw Festival, Niagara-on-the-Lake; Mieko Ouchi, Artistic Co-Director, Concrete Theatre, Edmonton; Kelly Thornton, Artistic Director, Nightwood Theatre, Toronto; Max Reimer, Artistic Managing Director, Vancouver Playhouse Theatre Company

you may see a book that will inspire you. Then it sits there in directors, colleagues. Someone will say, ‘I saw this great play in some filing cabinet in my mind. I feel like I’m assembling material New York recently!’ Writers are in touch with their ideas for plays, into a large vocabulary of plays all the time.” while directors will suggest actors and writers they’d like to work When people comment on his seasons, Reimer says they often with. I’d say I must get over 2,000 suggestions every year.” “notice how many different theatres can share certain shows or With certain seasons, Reimer says that “themes might lead, like ideas within a few years. People are like, ‘Who programs these you’d have a season of romance or a season of drama. But with a seasons? Is it two guys in Texas?’ The reason for that is, ADs con- larger theatre, you are looking for a menu, one that has balance. It sult each other a lot at conferences and regional meetings. And requires convergent thinking: you have to select from this myriad of many times, we’re looking for possible copros.” ideas and themes. Ultimately, you’re hoping the show, plus the direc- tor and idea connect with the audience. We need to be received as The act of listening well as transmitted.” But Reimer notes that a crucial part of season building is the act of “I get pitches from directors too,” says Maxwell. “Director listening – carefully. “Suggestions come from everywhere – artists, Morris Panych pitched doing a chamber version of A Little Night

Fall 2011 Equity Quarterly 9 Artistic directors discuss the challenges of

Goldie Semple as Desirée Armfeldt with (background, L to R) Glynis Ranney, Jenny L. Wright, Gabrielle Jones, Mark Uhre and Jeff Madden as the Liebeslieders in A Little Music. I thought that Night Music, 2008, at the Shaw Festival tions. We learn as much was a really unique idea, looking from the dark so we went for it. But side as looking from the your season is never just light.” She’s quick to a group of plays, it’s got add, though, that a bit to be an interconnected of comedy in a season group of plays.” does help to bring in And as it is the Shaw crucial younger audi- Festival, Maxwell points ence members. out, “that means we As well, Thornton start with Shaw. That states that “diversity means rotating his is a huge factor for work. If I chose to do me. I want to make Major Barbara, for sure we’re bringing in example, I have to people of colour, both keep in mind that it’ll on the stage and in the be eight or nine years audience. How will our before I do it again. The plays reflect the society skeleton of the season begins with the Shaw plays I choose. And we’re living in? Some people speak of being colour blind. I think of I want to look at the possibility of creative adaptations of Shaw. myself as very colour conscious.” Thornton argues that diversify- How can Shaw still be relevant and fresh? Those are questions ing what’s on stage can also translate into diversifying audiences on my mind. – another paramount concern for Canadian theatres, which are “Then I end up with anywhere from 20 to 30 shows on my struggling with aging, predominantly white ticket-buying bases. long list. I have to think about budgets. How much will these Thornton is very proud of Nightwood’s track record on this shows cost to mount? I have to balance the money issues with front. They commissioned the first production of Djanet Sears’ the idea that we want, in the new shows as well, some Shavian Harlem Duet, in which the playwright artfully examined con- provocation. In the smaller spaces, that’s where I can take risks. temporary North American black experiences through classic Then there are other factors: we might not be able to secure the Shakespeare characters. The show, first mounted in 1997, has rights. Or someone might point out that if the cast is really big, gone on to be produced in a number of other venues. “That’s the cost would be driven up too high.” the fabric of the history of our company. We’ve worked to take a leadership role in diversifying Canadian stages.” Looking for meat on the bone But Thornton says her efforts extend beyond Nightwood’s own For Kelly Thornton, her seasons require very specific criteria. She’s seasons. “We do a lot of hardcore advocacy and lobbying for the AD for Nightwood Theatre, the acclaimed Toronto-based femi- more women directors and playwrights generally on Canadian nist theatre company. “We tend to do theatre that has meat on the stages. We’re a long ways off from gender equity. Right now bone,” she says. “Whether it’s politically motivated, it must have we’re at about 20%. Which is a great irony: the primary ticket social relevance, and question the status quo. Our shows always buyer for a Canadian theatre ticket is a woman.” have a female protagonist – the mandate is by and for and about women. For that reason, I won’t necessarily worry too much about Targeting young audiences a balance between comedy and tragedy – maybe subconsciously, Mieko Ouchi, artistic co-director of Edmonton’s Concrete Theatre, but it’s not an imperative.” is also aiming for a very specific demographic – her theatre is spe- Thornton does consider, however, “how the plays will comple- cifically targeting young audiences. “Planning is extremely tricky,” ment each other. Our plays cannot just be heroic stories about she notes, “as we commission and begin developing works three women. I’m interested in plays that provoke, and unsettle. It might to five years in advance.” be about women falling down, as well as rising up. What is a female To keep the schools engaged – where Concrete presents many mid-life crisis, for example? I want us to look at women in all direc- of their touring shows – Ouchi says they often explore social

10 Equity Quarterly Fall 2011 programming a winning season

issues. Last year’s season included a show about family violence plays are often about rural Canadians and their place in the universe. and another about the wearing of the hijab. “But the first thing I often refer to it as rural exotica.” we look at is, artistically, is this a well-written play? Yes, we’re Coates says his funding is split three ways, between govern- dealing with issues, but we want to avoid the didactic. It also has ment grants, ticket sales and corporate sponsors. He says the to be appropriate for this age group. Yes, we can make kids cry trickiest thing is the corporate sponsorships. “Some of the busi- quite easily, but should we be doing that? We need to have chal- nesspeople are profoundly conservative. I try to get them to see lenging material that can go beyond pat answers.” this as philanthropy. There’s no way I’m going to kowtow to a And the youth demographic means marketing Concrete’s sea- sponsor – that’s absolutely vital.” sons requires a dualistic approach. “We have to talk to parents Coates says patrons and sponsors who consider themselves too,” explains Ouchi. conservative will often say one thing, but buy tickets to some- “Schools are under much greater pressure now to justify arts thing entirely different. “I hear people saying, ‘We just want experiences. If our shows tie into the curriculum, that’s a big help. comedies! We just want musicals!’ But that’s actually not true, If we can build a strong study guide along with the show, all the when you look at what’s worked. The bestsellers are actually the better. And that’s where we use our board, made up of teachers, provocative plays.” Coates points to The Book of Esther, by play- parents and community members. We need their help to keep wright Leanna Brodie, as one example. Based in 1981, the play the finger on the pulse of what’s going on in schools, to get to had one 15-year-old girl run away from Christian fundamentalist plays that are wanted and needed. What issues in your school small-town parents and escape to Toronto’s gay neighbourhood, need theatrical intervention?” where she moved in with a gay man. The show got great reviews For Eric Coates, the artistic director of the Blyth Festival, his and packed houses, but some onlookers were not impressed. mandate is to mount only Canadian works. “We’re commis- “I’m really lucky. We have a board of directors who absolutely sioning a lot of new works, so that can be a very uncertain support substance over fluff. If I actually followed the letter of thing,” he says. “The confirmed date for a play can go side- every complaint, I would be left putting a puppy on stage.” ways or even backwards. A deadline doesn’t mean there aren’t All of the artistic directors agree on one thing: making a win- unexpected roadblocks ning season is not a sci- along the way.” (Top to bottom, L to R) Jeff Hyslop, Steve Maddock, Colin Sheen, Andy Toth, Bree ence, but an art. There’s As Blyth is a small com- Greig and Mark Burgess in The Fantasticks, 2010, at the Vancouver Playhouse no way of predicting munity, Coates is well what will work with cer- aware his audience is tainty. “When the audi- often a bit more conser- ence engages, and you vative in their tastes. “I have something really have to think a lot about strong, that’s when the- balance of content and atre really works,” says style for an audience Reimer. “But when you that’s pretty conservative try to repeat that the next and mainstream. But you year? It’s impossible. You know, I talk about our feel like a genius when conservative audience, a season works. When it while the Blyth Festival doesn’t, you feel like a is known for pushing pretender.”EQ boundaries.” A critic for the weekly Montreal Mirror, Matthew Hays has also Rural exotica written for The Globe and Mail, The New York Times, The Daily The Blyth Festival’s roots Beast, The Guardian and The are grass roots – a reaction Canadian Theatre Review. He teaches courses in film studies against companies that sim- and journalism at Concordia ply used stock scripts. “The University.

Fall 2011 Equity Quarterly 11 what goEs on BEhind thE scEnEs?

Philip Akin, artistic director of matthew Jocelyn, artistic and general director of Vanessa Porteous, artistic director of Obsidian Theatre company in Toronto Toronto’s canadian Stage company Alberta Theatre Projects in calgary

Up close and personal with three Canadian ArtIstIC DIreCtOrs

in august oF this yEar, EQ convened a forum of three of the country’s most innovative and energetic artistic directors: Philip Akin, artistic director of Obsidian Theatre Company in Toronto; Matthew Jocelyn, artistic and gen- eral director of Toronto’s Canadian Stage Company; and Vanessa Porteous, artistic director of Alberta Theatre Projects (ATP) in Calgary. Under discussion was not only the practical nature of the job, but how an AD reconciles those practicalities – money, numbers, administration, etc. – with artistic vision. Therein lies the tightrope act. The discussion was moderated by author and broadcaster geoff Pevere and held in the Canadian Actors’ Equity Association office in Toronto. geoff Pevere: If there’s anything about your job likely to keep you awake at night lately, what is it? Vanessa Porteous: It’s always the money, what we call in the business the ‘revenue generation’ aspect of things. As those revenues fluctuate it affects our ability to bring the shows to our audience that we want to bring and employ the artists that we want to employ. Philip Akin: It’s just a balancing act, the gambles that you have moderator Geoff Pevere to take. With Obsidian I have worked really hard to get a

12 Equity quartErly Fall 2011 what goEs on BEhind thE scEnEs?

substantial surplus because I want to do some homegrown tance. Not in the welfare kind of way but substantial public pieces, which are not going to generate big box office. support. We don’t have it here. They’re going to be expensive and then if all three levels of gP: Canada seems to lack a deep tradition of supporting the government cut back funding next year my surplus disap- arts and a common understanding of the function and need pears. It’s always, how do you stretch a dollar? for them. Discussions around funding are perennial in this Matthew Jocelyn: What keeps me awake at night is the strata, country because every time there’s a change in government the fact that there are so many things happening at the anywhere, everybody holds their breath and wonders what same time that have to be dealt with. There are the money the policy is going to be on arts funding. questions, there’s the personnel questions, the projects VP: Obviously our politics in Alberta tend to the right and yet – that are the short-term, the mid-term, the long-term – our community engagement in Calgary is really high. We there’s, you know, labour questions in our theatres, how we have a lot of very loyal financial supporters, both individuals are organizing the future of the company, there are organi- and corporations, who seem to get a great deal of plea- zational questions. It’s nonstop, the accumulated fireworks sure out of supporting what we do at ATP, and part of that of insecurity. pleasure comes from the fact that we sometimes speak an gP: To what extent have these been perennial problems? Was it uncomfortable truth from our stage. They like that and they ever thus with artistic directors or is this something new to think it’s important. Alberta is described as a right wing place what you folks do? but it also values provocateurs. VP: I’m guessing it was ever thus. I’m sure that at the Globe PA: You’re always working for support. You’re always trying to Theatre in London in the 16th century they were worried build an audience. We’re a black theatre company and if whether the Duke was going to come through with fund- you do exciting, relevant work you have a chance at least ing in time to mount the new play and whether the town to touch the black communities. We spend too much time crier was going to give a good or bad review. I’m one of talking about the money and the administration and not those people who take comfort in the fact that it feels like enough time talking about the art. The money is always our problems are so timely, sensitive and urgent, but it’s going to be a hassle. But to say at the end of the year, probably always been the case and that makes me feel like or the end of your career, “I did these shows and they I’m part of a long history of noble fighters who fought for touched people in a particular way” – that’s more impor- the cause. tant to me now. PA: On a good year there are three full-time employees at MJ: My artistic work has to do with conceiving a project as much Obsidian and I still do the bulk of the work artistically and as it does with directing a show, and I really, fundamentally, administratively. I’ve had to make some really conscious believe in the need for institutions, that we need emblem- choices about how much advocacy work I do, cutting back atic institutions because those are the places that ground a on panels and all of that primarily because I only get maybe culture. We need universities because they’re places where eight weeks of doing the work I started in all of this to do. intelligence is celebrated, provoked and pushed forward. Eight weeks. So you have to balance why we all got in to We need hospitals because those are the places where this. For small organizations like Obsidian it really is punch- health is not only looked after but where research is done. ing above our weight doing a whole lot of programming And we need institutions for culture because they’re meet- with very few people to do it. ing places as well as places where the work goes on and MJ: I think one of the definitions of ‘artist’ is to be dissatisfied moves forward. about one’s financial situation. I’m new to the Canadian gP: If you had to pick a production from your experience that theatrical scene. I’ve just been here for two years after best represents what you would ideally like to be doing, spending 28 years of my life in France, where the financial what would it be? situation is significantly different – a lot more public money MJ: One would be Studies in Motion, by Kim Collier and the where artists are working with a huge amount of liberty and Electric Company. Kim was one of those rare artists who time compared with what they’re working with here. The understands the collaborative act in such a way that she’s reality I encounter in Canada is a particularly difficult one. able to galvanize the forces of such renowned people to There’s an economy that has been constructed with so little create a narrative that is verbal, visual and physical while emphasis put on the role that culture plays in society build- exploring technology because the entire set and light- ing. Alongside health and roads and military and education, ing was done through video projection. Somebody who is culture is one of the fundamental building blocks of what really at work testing the conventions, pushing the conven- a society is made up of. It needs some kind of public assis- tions, while at the same time being really preoccupied with

Fall 2011 Equity quartErly 13 What goes on behind the scenes?

Ashley Wright and Ngozi Paul in Fernando Krapp Wrote Me This Letter, directed by Matthew Jocelyn for the Canadian Stage Company

a narrative form that’s easily accessible. That’s the kind of GP: Tell me about this idea of audience. When you talk about work we’re trying to do at Canadian Stage. the ‘audience’ for theatre in this day and age, what kind of VP: The show that sounds most right to me was The Penelopiad, presumptions can you safely make? by Margaret Atwood, which I directed last fall. We were in VP: Interesting question. When you said the word ‘presumption’ the Martha Cohen Theatre, a beautiful little 400-foot court- you just clarified something that’s been rolling around my yard theatre and we did the show in thrust. There’s a great head for a while. I think we’re in an environment where it’s intimacy in the Martha Cohen and you can breathe with the impossible to make presumptions. Because we’ve all had performers, you’re really close to them. It’s a show with 11 those experiences where a very unexpected group of people women all cast locally, except Penelope, who is played by responded strongly to material that we didn’t think was right Meg Roe, who used to live here but lives in Vancouver. So it for them or we didn’t invite them to it and they came and was also a local celebration of the women in the local acting suddenly they were the audience for it. I just think there’s community. Basically, it’s a very bare bones retelling of the a lot of judging going on and a lot of false information that Odyssey’s story from the point of view of the women that comes from a commercial way of looking at the world. I just stayed at home by a contemporary Canadian writer, and it hate putting people in boxes out there because I hate being just felt like we kind of filled the Martha Cohen and shook put in a box myself. hands with the audience. It felt like going back to the roots MJ: Phil said earlier: “What attracts an audience? Good work.” of theatre but in a very contemporary way. What defines good work? That’s a very, very open question, PA: I think I have to go to Joseph Jomo Pierre’s play Born but good work is also defined by the belief in it being good Ready, one of the first plays I directed at Obsidian. There’s work and the desire to support that belief. So the stronger not huge reams of black theatre being created around the the artistic vision the stronger the clarity with which one is country, and 99.9% of black theatre that’s being done is able to communicate that vision, I think the more appetizing created by women. There’s very few men who are writing. it is for the multiple audiences out there. I was just really pleased that we could make that kind of PA: We spend anywhere between $40,000-$50,000 to market theatre. an Obsidian show. I don’t know of any independent theatre

14 Equity Quarterly Fall 2011 What goes on behind the scenes?

company in the city spending that kind of money, but we MJ: It depends on what you’re learning. You can learn how to feel we need to just to break a ripple in the pond. There’s so direct actors or you can learn how to build a great show, or much stuff going on. So I look at things in a kind of a differ- you can learn about how to deal with technicians in a techno- ent way. I know there’s some shows that need to be done logically complex thing or you could learn how to work within but may not be a huge box office success. So you plan for an institution where you’re commissioned to do a piece. that, for those seasons where you can carry certain shows From an institutional point of view, a very extreme because it’s important that that work be done. So you’re example was something that happened in a national theatre planning it two-three years down the road to balance it off. that I was directing in France called the Atelier du Rhin. It I just know that there’s work that needs to be done and used marginal populations of people living in extremely dif- it’s my job to find a way to get it to be done. But it’s not a ficult conditions. One of the years one of these projects was simple thing. I don’t know who the audience is going to be, a piece produced by non-professional actors, most of whom I don’t know what’s going to speak to people. came from really perilous situations. About three weeks GP: Which productions would you say have put you on the before the opening of this show all of our sophisticated tech- steepest learning curve? nical material disappeared. It was a couple of computers and PA: It’s like a series of firsts. When I was doing a lot of acting and a couple of sound things, but it disappeared and we were in the 1970s and ’80s there was a very different relationship pretty sure that it was one of the peripheral participants of between directors and artists. There was a kind of a strange this project that was involved. It became a huge subject of S/M kind of relationship going on. A lot of cases became battle debate between the director and the actors, and all the con- zones – winners and losers, who’s right, who’s wrong. So that fidence that they had been building up over two years was at experience has given me an idea about how to make a rehearsal the point of crumbling. That’s where I stepped in as an insti- room not a place of winning and losing. How to make that tutional director to say: I’m bringing the police into this case. space to be about working together to fit a vision, how I work The police are going to deal with the legal issues. I want to on the rehearsal hall and how I pull the strands together. protect the artistic issues and I want to protect what’s going

The Penelopiad by Margaret Atwood, Alberta Theatre Projects, 2011. (L to R) Lindsay Mullan, Adrienne Smook, Meg Roe, Janelle Cooper and Allison Lynch

Fall 2011 Equity Quarterly 15 What goes on behind the scenes?

Sterling Jarvis and Yanna McIntosh in Ruined, by Lynn Nottage, produced by Obsidian Theatre in association with Nightwood Theatre, 2011

on on the stage and what’s going on in the relationship. It produce it.” Or you sit down and you spend two-three years was a huge learning experience in terms of the responsibility working on a piece with an artist, there’s something hugely of an institutional director. gratifying about that. It’s also the same thing that makes me GP: What is, in the end, the thing that is most inspiring about crazy because you kind of go: “Gosh, with resources, I could what you do? What motivates you up those curves? do this every day.” But you can’t. Maybe it’s a little bit like VP: Today we had our first reading for our first show for the back in those glory days when asparagus had a season. So True Love Lies season, by Brad Fraser, and it’s always a great it’s just those times you do the best you can and you can just day in the year when you finally get going on creating a give somebody a boost over the wall. And I look at some of show. After a year of theoretically running a theatre com- the artists that we’ve had the privilege of working with when pany, suddenly it all starts making sense again. I’d say there’s they just got out of theatre school, and I see them today at something every day that’s very inspiring but starting the Stratford and at Shaw. And when I look around at most of rehearsal process on a new production is right up there. the black designers and directors working today I know that PA: You know when you’re a kid and you put your fingers together and somebody steps on your hand and you give Obsidian had a hand in that, and that to me is huge. them a boost? I love that. I love the fact that I’m in a position MJ: I would absolutely go along with what both Vanessa and where I can help people realize an artistic dream in no mat- Phil have said. The fundamental core of our humanity is ter which way it is, whether it’s a production manager to get our capacity for love, our capacity for imagination, and our a chance to be an apprentice to one of the top PMs in the capacity for intelligence. And we are all lucky enough to country. That’s the big up for me, that moment when you can work in a realm that combines those three things. I mean, say to somebody: “You know what, I like this work. I want to what more do you want? EQ

16 Equity Quarterly Fall 2011 Just what do those development people do? EQ Voices And what does fundraising have to do with artists? By Jeff Sodowsky

Years ago Vancouver While many fundraising departments are small, perhaps as small Opera received a dona- as one person, some companies employ as many people in this tion in honour of mezzo- revenue-generating department as they do on the production side. soprano Judith Forst and Typically, a significant focus is on individual donors who are divided created a program to aid into giving levels or size of contributions. The staff will have specific aspiring artists on their pro- individuals assigned to their “portfolio” and it is the staff members’ fessional journey. In 2008, responsibility to get to know these individuals and their areas of soprano Rhoslyn Jones interest so that an “ask” can be tailored to be more attractive. Other made her principal debut fundraising personnel focus on the corporate sector and work with and spoke to donors about counterparts in the marketing division of the donating company. the impact of that program The person on the corporate end is focused on exposure for their on her career. As a result, brand to the arts organization’s constituents along with providing donations to the program their personnel or clients with great seats or unique experiences. increased. In this example, the link between the artist and fundraising is More than just great parties obvious – yet many artists do not understand the critical role they Fundraising departments may also be renowned for parties or galas. can play in fundraising. In my own performance career, the indi- These soirées excite a great number of people at a single event, viduals who raised money for the ballet, theatre and opera com- including many who may be new to supporting the organization. panies on whose stages I appeared seemed completely divorced Fundraiser evenings also require a large number of volunteers – from the work that I did. When I transitioned across the footlights, who are the backbone of any successful event. Many development this all became clearer, and I realized how closely linked are the departments employ a volunteer coordinator to organize these activities that take place both on stage and off. “donors” of time and expertise. But besides being able to put on a good party, skilled fundraisers Why is fundraising so important? need to be creative – capable of imagining and delivering unique Latest studies show the average income for performing arts experiences for people who can buy themselves most anything. institutions split as 51% earned revenue (box office sales), 24% Most donors don’t need another tote bag, umbrella or key chain. public support (government grants) and 25% private support Instead, they find great appeal in the experiences they cannot cre- (donations). With roughly 50% of performing arts’ income ate for themselves. For some it is access to artists. For others, their coming from fundraising, companies have development depart- attention is grabbed by getting a glimpse behind the scenes or into the creative process. I have seen sophisticated adults turn into wide- ments to create an overall fundraising strategy and to generate eyed children when they get to speak with their onstage heroes. the “case for support.” That is, crafting the statements for why Development personnel spend their days telling stories and people should separate themselves from their money to benefit exciting donors about what their gift has made possible. Onstage the company. artists or backstage personnel enhance what a development pro- To help make this case, one of the greatest skills any fundrais- fessional may offer to his or her donors by coming forth with ing professional can possess is the ability to “translate.” By that, a willingness to provide a glimpse into their craft or inviting a I mean they serve as a go-between for telling the stories of arts personal meeting. Private lunches, backstage introductions or professionals that excite donors or prospective donors, and share onstage handshakes after the curtain has fallen all make for an these stories in a language that funders understand. Whether it unforgettable experience to a donor. By communicating a willing- is literally translating jargon or professional terminology between ness to help, artists are not only allowing the fundraiser to thank the expert and the layman, or by eliciting the exchange of a story someone for a gift already received, but are most likely paving the that touches what is of greatest interest between an arts profes- way for a subsequent donation. Who knows? It could be the gift sional and a donor – a good fundraising professional strives to that helps to fund your next gig with that company. facilitate a conversation between parties that is natural, under- Before becoming an arts administrator, Jeff Sodowsky worked as a professional standable and exciting. The donor wants to know how his or her ballet dancer and musical theatre performer. He currently serves as the Chief investment can make a difference. Development Officer for Vancouver Opera.

Fall 2011 Equity Quarterly 17 Fondly Remembered

Gordon Tootoosis Life Member, 1941 – 2011

By Curtis Peeteetuce

“Curtis. Good to see you.”

“Hey, Gordon. Good to see you too.”

“Hey, did I ever tell you how I got into acting?”

“No.”

“Well, I originally wanted to be in adult film. When that didn’t work I went into acting.”

It was often that casual whenever we ran into each other. Among the many gifts and tal- ents possessed by a wonderful human being, humour and humility were at the top of the list. Gordon Tootoosis had a knack for always remembering your name and addressing you as he would his own family. A crazy joke or story often accompanied the discussion. This is what made you feel good to be around him. Gordon is a founding member of Tina Keeper, Gordon Tootoosis and Tantoo Cardinal Saskatchewan Native Theatre Company (SNTC). Whenever he had the opportunity to speak of its origins, Tantoo said, “He saw you from the start in the Circle of Voices and Gordon enjoyed telling the story of how he, Tantoo Cardinal, then come full circle as artistic director. Curtis, it did his heart good.” Kennetch Charlette and Dave Pratt sat on the set of the film SNTC will continue the tradition of cultural arts presentation, Big Bear, talking about the need to provide arts opportunities to theatre and youth programming to honour his memory. Thank Aboriginal youth in Saskatchewan. Three years later that vision you for everything Gordon. Rest well. Nanaskimon. would become reality in SNTC and the Circle of Voices program, two arts entities dear to my heart. “It is with a heavy heart that I and the rest of our wonderful I am inspired by the commitment and dedication Gordon gave team on Gordon Winter mourn the loss and celebrate the life of to the company and the Aboriginal community. It was no surprise Gordon Tootoosis. I remember how excited I was to have lured to see him at every production and special event. One day as Gordon back to the stage after a long absence with a new script we were talking during intermission at a show, he said, “Do you remember when we brought all our Aboriginal artists to Saskatoon that I knew he would find important, meaningful, and perhaps for a gathering?” I said yes and he concluded, “we have to do seminal. His easy smile and sense of humour kept his consider- that again.” He always expressed a love and support for the arts able presence in the rehearsal hall in a fun and humble vein. And and it was evident in the way he spoke and presented himself. as his performance rose to the power of the script, he delivered I consider Gordon a theatre mosom (grandfather), as I’m sure what I know he considered to be his finest work on the stage. I many other artists do as well. His pioneer work in the arts and in can think of no greater honour that all of us shared than to be a the community is known internationally. I am proud and thankful part of that personal pinnacle – the last in his life. Upon reflection to have known him, as I know many others are as well. there is no finer finish to a career – doing honest, controversial, It was a sad day when Gordon passed. I shared with Tantoo meaningful art at the top of one’s game, surrounded by friends. Cardinal that my heart was broken because I wanted him to see Thank you Gordon, you will be missed by many.” what I could do as artistic director. As one of his closest friends, — Del Surjik, artistic director, Persephone Theatre

18 Equity Quarterly Fall 2011 John Bayliss 1942 – 2011 Griffith Brewer 1922 – 2011 by Jim Swan by Howard Ryshpan

Griffith Brewer with Dana Ivey in Blood Relations at Centaur Theatre, 1982

At approximately 2:30 p.m. on July 4, 2011, we lost Johnnie Griff was a man of many great talents. I learned my first stage Blazer. I called him that because he was always so bloody dapper. craft from Griff and it is thanks to Griff’s superb direction in a long No matter how you tried it was impossible to scruff him up. running production that I became a senior member of Equity. John moved from Alberta to Toronto the same year I arrived in Griff did everything. He took part in the 4½ hour O’Neill com- Canada, 1968. We first met that same year working for Theatre memorative broadcast that sparked the Eugene O’Neill revival in New Brunswick. We became friends and our professional paths American theatre. crossed regularly. He was an absolute joy to work with and like He starred in a stage production of Kafka’s Trial that was so me he was a “giggler,” always a bonus during rehearsals. On successful, in a large part to Griff’s performance, that it went to several occasions, after a few libations, we would read from the television in a live 2½ hour telecast and set the standard for the telephone directory with the full gamut of emotions and in the way television drama would forever be done. most declamatory styles of bad Shakespearean performances. Of all the stage productions that we did together, the one Well, you had to be there. In some musty motel in the wilds of moment that stands out for me is one of those memorable hap- New Brunswick. You have to come down somehow. penings. It didn’t happen on stage, it happened in radio. We were John walked (who could forget his walk) tall in his craft, but doing 26 episodes of The Iliad and The Odyssey. It was carried never succumbed to vanity or pretentiousness, it was just what on the CBC, PBS radio and by hundreds of American university he did for a living. Once he was in the profession that is all he stations. It had a large orchestra, lots of brass, two timpanists, two ever did. He was a master farceur and, in the bums on the seats sound men and a huge cast, which starred Griff in the leading role. business, was among the greats at knowing how to ride the laugh. The Battle for Troy was incredible, clashing swords and shields, I shall miss his crazy black wit, his regular phone calls just to tell me timpanists thundering, bugles blaring, and then as the battle was a joke, his hysterically funny sense of outrage and of course, the voice. coming to a close, the script slipped out of Griff’s hands. The writer, Mac Shoub, quickly thrust his script into Griff’s hands. Griff A lithesome young damsel from Crewe Didst fill up her knickers with glue launched into the text except… it was the beginning of the battle. She quothed with a grin Cast, crew, orchestra, and sound men whipped back to the begin- They pay to get in ning of the battle in their scripts and music sheets and Griff, as They’ll pay to get out of them too. cool as a cucumber and as if nothing had happened, led us all into — Bill the Bard that glorious battle once more. John once said, “In another life I would like to have ridden shot- That night, all of North America was treated to the Battle of Troy, gun on a stagecoach.” I can see him now, Winchester, 10-gallon not once, but twice. Oh, I dearly wish for that script to fall once again hat and perhaps wearing a blazer. so that we could play again in all the productions that we worked in John, my friend, until the next declaim. together. They were fun, they were great, and they were glorious.

Fall 2011 Equity Quarterly 19 EQ Classifieds

Friendly Coaching with Barbara Go ahead. Break the fourth wall. Always Gordon will help you choose a monologue wanted to try acting with only your voice? or gear up for an audition. With 30 years of Want to approach every audition like a book- ing? Need a new voice reel or to refresh experience in theatres across Canada, film and your current one? Equity member and top television, Barbara can lend an impartial eye voice actor Tracey Hoyt is here to help. Learn and ear to help you clarify your thinking and more. Go to www.piratevoice.com or call Fall 2011 boost your confidence. (416) 535-0058 (416) 594-4357 today. pirate voice News THE 12th ANNUAL CONFERENCE FOR THE BC THEATRE COMMUNITY A variety of Technique Workshops, National and International Guest Artists, MAKING a SCENE Partnerships, Master Classes, Forums, Labs, Unique 2011 New Projects and Special Events can all be found at www.equityshowcase.ca 20% discount for all Equity members. Guest Facilitator: THE WYLDE PROJECT... a studio for actors... CHRIS CORRIGAN After 30 years of teaching in Canada’s lead- ing theatre schools, Peter C. Wylde now offers the famous Zone of Silence course Engaged & Empowered for beginning and experienced stage ac- tors, and classical text analysis and language Harvesting our collective creativity courses conducing to a more efficient re- hearsal technique. Private coaching available. NOVEMBER 4th & 5th Reduced rates for Equity members. The studio VANCOUVER, BC space is occasionally available for rehearsal. www.wyldeproject.com, (647) 343-8312 or Conference info and registration: [email protected] www.gvpta.ca 604.608.6799 www.gvpta.ca/conference KUDLOW & McCANN Chartered Accountants • Innovative solutions to your tax problems • Providing comprehensive tax and account- ing services to the entertainment industry for over 20 years 21 St. Clair Avenue East, Suite 401 welcome NEW MEMBERS Toronto, ON, M4T 1L9 Atlantic Dance Ontario Luiza Cocora Tel: (416) 924-4780 • Fax: (416) 924-5332 Mark Cameron Fraser Danyla Bezerra Trek Buccino Rebecca Croll Gary Kudlow, Ext. 23 Patrick Ledwell Elier Bourzac Amanda Cleghorn Southern Alberta Warren McCann, Ext. 27 Kat McCormack Natalie Chui Austin Dilulio Terry Gunvordahl Sarah Davey Miles Faber [email protected] Scott Yetman Sherry Kennedy Jaciel Gomez Parris Greaves [email protected] B.C. & Yukon Rui Huang Suzy Jane Hunt Stage Management www.kudlowmccann.com Nadia Ashley Akiko Ishii Ruby Joy Angela Frye Julian Cervello Yang Jiao Matthew Nethersole Bonnie J. More STUDY THEATRE Ian Harmon Nurzhan Kulyeaev David Silvestre Keely Welsh UNIVERSITY OF OTTAWA Meg Tilly David Neal Andrew Taylor Western Opera MFA IN DIRECTING Jim Yi Yairelys Sosa Mike Wiebe Caroline Jang Yun Wang Nathan Barrett Sylvia Szadovszki MA IN THEATRE, in English 2012-2014 Lori Zondag Info: www.theatre.uottawa.ca

20 Equity Quarterly Fall 2011 Thousand Islands Playhouse EQ flashback celebrates 30th anniversary season

The founding members of the Thousand islands Playhouse. front Row (l to R): mo Bock, cathy Ball, Steve flett, kathryn mackay, Timm Hughes, kate Hurman and Greg wanless. Back Row (l to R): Paul Bigby, Darcy Gordon, John Graham, Darren foster, fred euringer, Jill Thomson, Joan Gardner and kathrine christensen

In 1981, after a number of successful seasons as an actor in Stratford, Greg Wanless returned home to Brockville in eastern Ontario with the dream of starting a theatre nearby. Gananoque, located on the banks of the St. Lawrence River and about halfway between Toronto and Montreal, had been home to a popular summer theatre in the 1960s, but it had since moved to Kingston. So with the help of the community and a close group of artists and actors, Wanless launched the Thousand Islands Playhouse in Gananoque and presented its first show on June 25, 1982. Running from May to October, this summer festival presents seven productions each year. By the end of the 2011 season, under “I take great pride in the fact that we have from the earli- Wanless’ tenure as artistic director, it will have presented more than est days committed ourselves to producing plays by Canadian 185 productions – including 100 Canadian scripts or adaptations. authors, to helping to foster new playwrights and to encouraging But after the 2012 season – and 30 years – Wanless has decided emerging artists to do their very best work,” says Wanless. “But to move on. Associate artistic director Kathryn MacKay, also an people and perspectives change, and it is time to step down. I original company founder, will leave her position with the com- refuse to use the term ‘retire’ as it makes me think of my age – but pany at the same time. ‘moving on’ makes it a little easier to accept. Besides spending 27 of his 29 years as both artistic director and “And to Mo and Kathryn who were there at the beginning, in general manager, Wanless appeared in or directed more than 40 the immortal words of Billy Bishop (a.k.a. John Gray), ‘And all in productions at the Playhouse. all, I would have to say… it was a hell of a time!’”

Fall 2011 Equity quartErly 21 Equity quartErly

Equity members are urged to update their contact information and email address online at www.caea.com. Referendum ballots will be mailed to members if we can't find you on November 1. **New** The 2011 Dues Referendum will use electronic balloting via the Internet and telephone. Paper ballots will also be provided. Internet and telephone voting EQ opens November 7. What to find at Dues Referendum EQUITYONLINE WWW.CAEA.COM 2011 Looking for more information on the 2011 Dues Referendum? Check out • Defaulting Engagers list these resources, or get in touch with Council and ask us a question. Council Link – accompanying this EQ and available at EQUITYONLINE • CTA & ITA fee calculators (www.caea.com) • RRSP funds on hold By email, at [email protected] • Councillor and CPAG contact Through your regional CPAG member (contact info at EQUITYONLINE) information Through Council’s Referendum 2011 Answer Line at 1-800-387-1856, ext. 239 Through the Referendum 2011 blog page at www.councilconnection.blogspot.com • Personalized privacy settings By attending an online or phone forum on November 14 or 21 • Member Only zone (update contact information online) • Tangerine Project information service standards • 2012 Honours Nomination form Equity’s service standards ensure delivery of a high level of customer service to members and others who have interaction with Equity. Want to receive an electronic version of EQ? The Association’s Service Standards policy is available on Equity offers electronic access to Equity Quarterly. EQUITYONLINE at www.caea.com. Hard copies are avail- If you would rather read an online version of EQ – able by contacting Equity’s National Office at 1-800- login to the Member Only zone of EQUITYONLINE 387-1856 (416-867-9165 in Toronto). (www.caea.com) and update your EQ delivery options.

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22 Equity quartErly Fall 2011 EQ is shipped in a biodegradable polybag