EQ Goes Behind the Scenes at Equity Dear Readers, You Will Notice That This Issue of EQ Is a Departure in Both Content and Design from Previous Issues

EQUITY QUARTERLY Summer 2009

Equity Revealed! Council is caught in the act EQ Stratford hits the screen

Exclusive EQ goes behind the scenes at Equity Dear Readers, You will notice that this issue of EQ is a departure in both content and design from previous issues. Designed as an opportunity for-of Council-term review,”to give you an “end it also provides Equity with the chance to gently poke fun at ourselves and show you some of the inner workings of your Association. We hope you enjoy- Editor it. EQUITY QUARTERLY summer 2009 EQ volume 3 number 2 What secrets lurk behind the walls of Equity?

4 Equity Exposed! 2 EQ&A 12 letterS to the editor 9 Council 13 Eq moves bares all 16 EQ lives 17 Eq Backstage 14 The filming of 18 fondly remembered Caesar and 20 Eq classifieds Cleopatra 21 Eq flashback

EQ Coming issue: Fall 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 summer 2009 – Volume 3, Number 2 EQ is published four times a year by Canadian Actors’ Equity Association. photos, notices of births, marriages, memorial notices and letters to the editor via email Executive editor Lynn McQueen ([email protected]) or on disk with accompanying hard copy. The copy deadline for submis- National Office 44 Victoria Street, 12th Floor, Toronto, ON M5C 3C4 editor Barb Farwell sions is August 17, 2009. EQ reserves the right to edit for length, style and content. Tel: 416-867-9165 | Fax: 416-867-9246 | Toll-free: 1-800-387-1856 (members only) [email protected] | www.caea.com design F resh Art & Design EQ Equity Quarterly (ISSN 1913-2190) is a forum to communicate to Equity members www.freshartdesign.com the activities of the Association and issues of concern to the Association. The magazine Western Office 736 Granville Street, Suite 510, Vancouver, BC V6Z 1G3 DEsign & Layout Chris Simeon, strives to reflect the diversity of the community in which our members work, as well as Tel: 604-682-6173 | 604-682-6174 | Toll free: 1-877-682-6173 (members only) September Creative be representative and respectful of our evolving and diverse Canadian population. [email protected]

Cover: (L to R) Nadine Roden, Brian D. Paul and Jamie McKnight check out Equity Exposed at Jerry’s Supermarket on the Danforth in Toronto. A special thank you to Joe for letting us take over his store for the photo shoot. Thanks also to Stephanie Gorin Casting for their assistance. Inside cover: Equity Exposed is popular backstage reading across Canada. EQ&A Getting tough with the

Executive Director An EQ&A with. Equity Executive Director. Arden R. Ryshpan.

EQ : You have now been with the Association for 18 months. How are you doing?

AR: I’m doing good. The first year is always a challenge. Until you have gone through an entire cycle once, there is always something new and different pop- ping up. One of the things that struck me almost immediately is the volume of services that Equity puts out in relation- ship to its size and resources. We have substantially lower earnings (for both members and the organization) compared with other associations in the “entertainment industry” in Canada, even though we have more members than some. But we still deliver the same kinds of services despite our smaller staff and less money. Our members’ expectations are pretty high as a result, and it can be a real challenge to feel like we’re keeping up on some days. EQ : What has been the greatest challenge for you since taking over the helm of Equity?

2 Equity Quarterly summer 2009 AR: Coming from the film and television those objectives – “you must do this, don’t the Deputy to confirm that all per diems side, I had to scale back my frame of refer- do that” (“Executive Limitations.”) Then have been received. ence in many ways. “Low budget” has a dis- they leave me to figure out how best to do those things and monitor the activities EQ : Are concessions just tinctly different meaning in film than it does rubber-stamped? in theatre, for example. There was a learn- in a rigorous fashion on a regular basis (the “means.”) ing curve on the whole Policy Governance AR: Not even remotely. I read every single side too – an entirely new vocabulary and a EQ : Is Equity a union? one of them and often send them back for whole new way of working and relating to more information, or to see if there is some an elected Council, not to mention having to AR: No. Equity is a professional associa- other way to tackle the problem. It can be a learn to write all those Monitoring Reports. tion. It is only in the province of Alberta, for real challenge to balance the problems facing Add that to trying desperately to learn as the purposes of bargaining with the Alberta the engager with the need to ensure proper many of the details of the nearly 27 different Ballet, that Equity is a certified trade union rates and conditions for the members. agreements and policies that our members under labour law. Our other negotiated can be engaged under. The range that they agreements are all through what is known EQ : Why does it take so cover is so vast – from a waiver to do a show as “voluntary recognition,” which means long for Equity to get in a Fringe Festival right up to the Canadian just what it sounds like – both sides agree everything/anything done? Theatre Agreement (CTA) – and covering to voluntarily recognize each other as the With the volume of calls and three very distinct genres – well, it’s just a appropriate bargaining partner, regardless AR: emails that come in sometimes, we have huge amount of information to absorb. of anyone’s status under any law. to prioritize based on urgency and that EQ : The greatest reward? EQ : What is the difference inevitably means that we won’t get back between a scale to some people as fast as others. We work I’ve been pretty clear about what my AR: as fast as we can – making sure we don’t calling in life is for a while now. I do what I agreement and a collective cut corners or get sloppy. do so that the members can do what they agreement? do. So, to sit in the audience and watch Who do I call when I AR: A scale agreement is an agreement EQ : them do wonderful things, things that I that sets minimum terms and conditions. have a complaint? Or a have such a profound respect and appre- Individual members are free to negotiate compliment? ciation for, it is a huge reward for me to more favourable arrangements if they think that in some small way what I have AR: That’s an interesting question and one choose. In a collective agreement, the done has helped make it possible. that goes to the heart of one of the great terms and conditions are fixed for every- challenges of working here. People only call one and there is no individual negotiation EQ : Some of our members because they have a problem of one kind or of rates or conditions. do not have a clear another, whether they are a member or an understanding of what EQ : Does the Deputy engager. No one ever calls just to say, “So, Policy Governance means. Release actually mean how’s it going for you?” They generally Can you give us a three anything? only call if they have an issue. So those rare sentence summary? moments when someone calls or sends an AR: Yes! We rely on it to tell us if any- email to thank someone for helping out or AR: Policy Governance is a way in which thing went on during the production that fixing a problem are incredibly appreciated the members can decide the overall aims was of concern. (Obviously, if it was an by the staff. Click on “Contact Us” in the and objectives of the Association (“Ends.”) emergency or really serious we would hear upper right-hand corner of our web page Once those are decided, they also set out about it right away.) Also, we count on for the most common contact addresses and both the minimum requirements and limi- it in some circumstances to help us deter- a complete staff listing – but when in doubt tations that they want to ensure that the mine if a security bond can be released. For about who to talk to for either of those situ- Executive Director must observe achieving example, we rely on the information from ations, you can always call me. summer 2009 Equity Quarterly 3 Equity Exposed! Eq goes undercover to find out what really is going on behind the walls of Equity By Jason McBride

A framed poster of David Cronenberg’s through the long days when the phone never stops ringing. And brilliant Dead Ringers hangs above the desk in Miriam Newhouse’s the phone, as Executive Director Arden Ryshpan says, never rings 12th floor Equity office in Toronto. It’s a movie that the when somebody’s happy. effervescent Newhouse herself played a role in years ago, and a “We don’t always get it right,” she continues. “We make the vivid reminder of both her acting past and the live performance best decisions we can with the information we have at the time community that she continues to serve today. and sometimes – thankfully pretty infrequently – it just doesn’t Newhouse’s new role – well, not that new, she’s been at Equity work. Whatever it is – a contract, a dues payment, whatever. The for 15 years – is that of a Business Representative, and it’s one problem is, if you are the member for whom it didn’t work, you that she’s as committed to, and as good at, as the work she’s done don’t care that the other 13,898 contracts worked out just fine. on stage and screen. So we just keep trying to fix the problems.” “I’ve been there, done that, bought several T-shirts, all of which have shrunk in the theatre wash,” says Newhouse jok- Show me the money ingly. Like about a third of the 23 Equity staffers in both the Membership Administrator Shanon Button is usually the first National and Western offices, she is a member of the Associa- staff person that a prospective member will call. Button, who tion. This perspective permits both great insight into the needs studied theatre and then English and religious studies at the Uni- of members and a personal investment in the Association’s deci- versity of Ottawa, has been at Equity for five years. Much of her sions and policies. Indeed, the entire Equity staff – whether for- work takes place on the phone, where she deals entirely with mer stage managers or ex-drama students – still possess huge membership issues: the joining process, initiation fees and dues, admiration and enthusiasm for the live performing arts. And it’s invoices, cards and so on. “Most new members are pretty excited exactly that admiration and enthusiasm that propels the staff to join,” she says of those initial phone calls, and much of her

4 Equity Quarterly summer 2009

Believe it or not: Equity’s Wall of Knowledge houses 27 individual agreements and policies, along with a corresponding 83 unique contract forms and 30 supplementary documents. to find out what really is going on behind the walls of Equity

work consists of helping newbies navigate the Association’s policies and practices, its opportunities and responsibilities. In the current economic climate, however, Button’s also been dealing with a fair bit more anxiety on the part of new members. “People are worried about making a living,” she says, “and rightly so. The Association’s initiation fees come as a bit of a shock too. I try to be as calm as possible and ease them through the process as much as I can.” She points out that joining fees can be paid over the duration of a new member’s first contract, and explains how Equity members have better protec- tions than non-members, and how Equity’s insurance plan will benefit them. That insurance plan is managed by the Controller, Douglas Irons, the staffer with the longest tenure at the Association at

summer 2009 Equity Quarterly 5 Eq goes undercover

nearly 21 years. “He knows where the bodies are buried,” jokes Director of Communications Lynn McQueen. If he does, the soft-spoken Irons isn’t telling. Irons arrived at Equity thanks in part to a previous administra- tive stint at the Victoria Playhouse Petrolia. He then supervised the Association’s transition from manual to computerized book- keeping and to this day, his department, consisting of an additional six people, handles everything that has to do with finance – from the members’ RRSPs to the Association’s budget. In 2008, Equity administered almost 14,000 contracts and much of Irons’ day is spent troubleshooting as the work advances through his department. Explicit policies around insurance and dues are in place but the unorthodox world of the performing arts often poses unique challenges. “Actors work in different ways than the average office worker,” Irons says. As a service organization, the Association receives no federal or provincial funding. “We do this to mind our footprint in the arts community,” Irons says, “so we’re not drawing on money that otherwise might go to our members.” With a revenue stream entirely dependent on the amount of work its members generate, the Association is obviously dependent on the health of the business. That’s why Equity has established a stabilization fund that it can draw on to help get the organization through difficult times. Irons, who has seen Equity through both feast (the block- buster Phantom of the Opera) and famine (the abrupt demise of Livent), is highly cognizant of the turbulence of the industry. At the same time, he says, it’s become a bigger industry. “The bar has been raised,” he says. While there may not be more money,

and there’s less work in the commercial sector, there’s been a If we put all the marked increase in artist-driven work. “It’s fair to say there’s a pages from the nearly greater range of theatre than when I started 20 years ago.” 14,000 contracts that Equity administers each year end to end, it would equal 4.97 kilometres A sympathetic ear (or 3,187 Miriam Newhouses.) That Equity is extremely vigilant in tracking these shifting work pat- means the fastest man in the world terns. As I sit in Arden Ryshpan’s sunny office, she pulls out could run the length of a year’s worth of our contracts in 12 minutes 52 stacks of colour-coded day files and a pile of agreements thicker seconds. It would be 544.5 Sudbury than the collected works of Tom Stoppard. These documents Big Nickels, 8.9 CN Towers, outline the working conditions and terms for the roughly 5,500 15.3 Eiffel Towers, or 28.6 times around the ice at the Air members in good standing, working in about 2,100 different Canada Centre. productions under 27 distinct agreements and policies. “Each of those nearly 14,000 contracts is an individual person being hired for everything from a four-hour reading

6 Equity Quarterly summer 2009 Equity members finally get the chance to peer into the inner workings of their Association to a run of the play contract,” says Ryshpan. “Depending on to hear that from us. But we do try to find a way to make it whether the call comes in from an engager or a member, every work, whether it’s the theatre getting what they need without time someone wants to engage a member, someone on staff has unreasonably compromising the member’s working conditions or to say, ‘Okay, what’s the name of the production? How many fees, or addressing an individual member’s request. Finding that actors? Who are the stage manager and the director? Is the show balance is the hardest thing we do every day.” touring? Which category is the theatre? Have you sent in the pro- Equity’s newest business rep, Leigh Kerr, is a former assistant duction checklist? Anything out of the ordinary we should know production director at the Shaw Festival Theatre in Niagara-on- about?’ It’s a huge workload in any given year.” the-Lake, and is currently working in both Equity’s Western and Miriam Newhouse is one of the people checking the myriad of National offices. Kerr says that a lot of her time is spent assisting contracts that cross her desk for those answers. As one of eight Busi- members who are trying to get their own theatres and projects ness Representatives, she is responsible for administering and uphold- off the ground. “I help them navigate the agreements,” she says, ing the collective agreements, which includes “vetting contracts to “because they don’t have that engager perspective.” make sure that a theatre hasn’t put in something untoward.” Newhouse’s area of expertise is the Canadian Theatre Agree- Punching above our weight ment (CTA), the contract that generates the most work for Equity Equity renews the 27 agreements and policies every two or three members. Her job sometimes means telling members and engag- years, though some last about five years. Director of Commu- ers they can’t have what they want. “The hardest thing we have nications, Lynn McQueen, an Equity member and former stage to tell members is that they can’t do something because of their manager, acknowledges that while most trade unions outside obligations as an Equity member. But we also clarify, point people of the entertainment industry only have one or two collective in the right direction, and serve as a sympathetic ear.” agreements, Equity must handle so many because the Associa- Ryshpan chimes in. “I can see how it can look like we are being tion represents different disciplines. There are 11 different theatre deliberately obstructive or just plain old stubborn sometimes when agreements, four opera, four dance and three under Federal Sta- we try to enforce the rules. The rules aren’t always a comfort- tus of the Artist legislation. The scale varies dramatically as well, able fit for all types of productions and it can seem frustrating from the Canadian Opera Company to performers who want to n A third of the Equity staffers in both the National and Western offices are members of the Association. summer 2009 Equity Quarterly 7 Eq goes undercover

produce their own work, so the agreements Keith Davidson have been tailored to address those issues demonstrates the superhuman multi-tasking specific to the performing arts. ability required of Equity Business “I once took the Independent Theatre Reps. On average a rep spends Agreement home,” McQueen recalls, a daily 113 minutes – or one quar- ter of their day – on the phone. In “and my Dad was reading it one day addition, reps receive 32 emails per and he came to the sex and nudity sec- day and send 23. That makes an tion. His head almost popped off! You annual total of 27,007 minutes on the phone, 7,328 emails just don’t find clauses like that outside of received, and 5,497 the arts and entertainment field.” emails sent. “A lot of people would tell you,” Ryshpan says, “that they got into this business because they didn’t have an interest in working in a traditional environment. We’re not ‘workers’ in the same way, and so our agreements have to reflect those differences.” That fierce independence is something that Equity resolutely pro- tects, all the while aggressively pressing government to find ways to provide independent contractors with the same kinds of advantages “A lot of people would tell you that they got into- typically afforded full-time workers. Ryshpan cites maternity leave as this business because they didn’t have an - an example. “Look at the differ- interest in working in a traditional environment. - ence in circumstances. I could sit behind this desk literally until the We’re not ‘workers’ in the same way,- minute my water broke, rush off and so our agreements- to the hospital, and come back to have to reflect those differences.”- work at a time of my choosing. But for many of our members that simply isn’t going to work. There Ryshpan agrees. “For an organization of its size, Equity really just aren’t that many roles for pregnant women, and the hours punches above its weight.” and demands of the work are just too onerous at a certain point. The Association has made much of its limited resources. The If you’re a dancer, it’s out of the question pretty early on in your very magazine you’re holding has been used as a lobbying tool pregnancy. So, the decisions about how people live their lives to pressure provincial governments to restore arts education cuts; – normal decisions that everyone makes – are made differently Equity has sent recommendations to the Standing Committee by our members. Our challenge is to make government officials on Heritage; it’s argued vigorously for stable and sustainable understand our needs.” Canada Council funding in its annual federal pre-budget con- Equity’s lobbying and advocacy efforts have increased, mainly sultation submission; and was active in keeping the membership due to the growing politicization of the membership that’s come informed during the 2008 federal election. Ryshpan keeps mem- about as a reaction to recent economic hardships, and a federal bers abreast of all these activities on the Equity website through government that doesn’t seem to understand the importance of “Arden’s Notebook.” supporting arts and culture. Although Equity is constantly facing new challenges, and often With the Conservative government’s recent cuts (and Harper’s struggles to meet the needs of its members, McQueen puts it best: ill-advised comments last summer), a greater number of perform- “Making theatre happen is incredibly difficult. It’s intense and you’re ers and theatre professionals have become activist and vocal. They wrapped up in it. But at the same time, you can’t divorce yourself also made it clear, through the 2007 members’ survey – that they from society as a whole. So we fill that job for them in a way – we expect Equity to do the same. “The benefits of being part of an make room for artists to do all that they need to do as artists.” Association that’s one for all and all for one,” McQueen says, “is Jason McBride is a Toronto-based journalist. He writes on pop culture for Toronto becoming more prominent in our members’ thinking.” Life, The Globe and Mail, Cinema Scope, Canadian Screenwriter and others.

8 Equity Quarterly summer 2009 Everything you always wanted to know about Equity Council but were afraid to ask

End of term highlights 2009

By Allan Teichman, President

We are Equity Council. Over We began the term with lofty goals, and a long list of objec- the past (almost) three years, a dedicated group of your peers, tives we hoped to achieve. I suppose I should begin by declaring elected from each region of the country, has worked tirelessly to that we have not achieved all of them, although not for lack guide Equity today, and to shape it for tomorrow. Well, perhaps of trying. The topics of most interest to the members are not tirelessly is not quite the right word – it is not a small task that exactly trivial ones, and few of them can be addressed by easy Council does and we have worked our way through an enormous answers. We work hard to approach all topics from a position of agenda. Unflaggingly is a better choice. educated debate, and to avoid making snap decisions based only With the start of a new term on the horizon, we wanted to on whatever personal knowledge happens to be in the room at bring you up-to-date on our accomplishments. Council answers the moment. We also put a lot of effort into ensuring that our to the membership, who own Equity, and you deserve to know decisions were not driven by personal need or preference, but how we have acted on your behalf. This report is a habit we hope by the needs and preferences of the 5,500 people who were not to perpetuate through future Councils as well. gathered around the boardroom table. summer 2009 Equity Quarterly 9 Ends review MeMembermber survey Survey Ends review Our first major project was the comple- Council’s job is to act as an informed tion of a detailed survey of the member- agent of the members in guiding the ship, an initiative conceived of in the prior organization at its highest level. A key term. I’ve reported on this in Council Link part of that is knowing, on an ongoing Robert Pel and the survey results are posted online, so basis, what the members expect from Virginia Reh I won’t repeat that material here. However, Equity in exchange for dues, and so that the data collected from the more than 1,000 was the first subject we tackled after the responses has been used on several topics, survey was complete. most notably our Ends review and develop- We discovered that Equity was, in ment of policy on diversity issues, and will large part, providing the benefits that the be of similar use in upcoming discussions members needed, but that we had priori- on insurance and member-initiated pro- ties and resource allocations set too low duction. Council anticipates that the survey in some areas. We also discovered that Dawn Obokata results will continue to inform our delibera- some items that we had long considered Allan Teichman tions for another four years or so, before it to be of great importance to the member- risks becoming outdated. In recognition of ship were being overvalued. As a result, this, we have already scheduled topic-based benefits in support of member pursuit of follow-up work through next term and major future contracts, and advocacy at all levels update work beginning in 2012. of public policy have seen a major boost in priority, and more peripheral services have moved to a lower level of resource allotment. A thorough exploration of this DivDiversityersity issues issues Annabel Kershaw appears in an earlier Council Link, and you Hal Kerbes As most members will be aware, diversity can always find current benefits informa- issues have been front and centre on our tion in the Ends section of the Policy Gov- agenda since completing the survey, and ernance Document, available online or by we have worked on the topic solidly for request from either office. the past 18 months. Again, this is a subject that I have covered at length in the Coun- For a complete report of Council’s-- cil Link, and a report on the final policy changes was published in early May. If 2006-2009 activities please-- you missed seeing this or are looking for EQUITYONLINE at caea.com.-- Alix Sideris visit David M. Adams more detail, please see the online version of this report. We have concluded all but the member feedback phase, which should be well under way by the time this EQ lands on your kitchen table. There is a lot to be proud of in our work on this topic, and I commend all of Council for pursuing the subject so thoroughly. Diversity is now perpetually on Council’s radar, alongside all items of similar importance to the membership, and progress will be monitored regularly. Improvement to diversity policy, or changes in direction or emphasis as warranted, will always have a place on our cyclical agenda.

Tania M. Sigurdson Barry Stilwell

David Rosser Sharon DiGenova Wade Nott Kerry Ann Doherty Sandy Winsby Bill Forbes

10 Equity Quarterly summer 2009 Matt Cassidy Kim McCaw Kerry Davidson Lara Goldenberg Laurel Smith Marianne Woods

IIdentitydentity data data RRSPRRSP funds funds We gleaned a key item of new data from our survey, and that was One of our chronic problems over the years has been the siz- the “identity” of a sizable portion of our membership. Over 90% able number of new members who fail to open a proper RRSP of respondents chose to declare an identity, within the confidential account into which we can deposit their retirement contributions and cautious use framework we set out, and that has allowed us to deducted at source. You’d think that, in this business, members move away from anecdotal consideration of diversity topics, and would be anxious to hold onto every penny owed to them. to draw it in to the realm of the concrete and measurable. Seeking And yet, as much as $60,000 per year goes unclaimed because identity information is always a touchy matter, and the fact that so members don’t take the very simple steps required to have their many responded so freely was fantastic. money deposited in their name. Makes you wonder, doesn’t it: Having this information affords us the ability to track who are these people? If you don’t need the money, I bet we changes into the future – there is no point in implementing could drum up some willing recipients with no effort at all. new policy if you don’t also implement the mechanism to see As nice as it is to direct some of that money each year to The if it produces results. In order for this data to stay current, as Actors’ Fund of Canada, Council thinks it would be a much bet- Equity’s membership changes over time, it will be necessary ter idea to put your money where it was meant to go. Accord- to ask the question on a periodic basis. We encourage all ingly, we created a detailed policy directing staff to minimize members to show the same generosity of spirit evidenced by these unallocated funds, and that project is now under way. the survey respondents in replying when asked. Council has also created far more stringent requirements for the handling of investment funds and the choice of RRSP funds, and now requires member participation in those decisions. InIn conclusion… conclusion... Council has accomplished a lot during this term, and the high- NewNew member memb joininger joining process process lights listed above don’t really do justice to the enormous range A good portion of the term was spent working on both the of topics we have addressed and completed, nor those on which mechanics of welcoming new members into the Association, and we are now poised to embark. If you are looking for more detail a review of the avenues through which members join. Policy on any of these items, please check out the online version of development on the first part of this is complete, and we plan to this report, where you can also find information on important start the second half of this work this summer. Equity is unusual internal changes, and discussion planning for upcoming topics in that third parties, such as insurance plan review, member-initiated production, theatre engagers, and a review of harassment policy and complaint procedures. create most of our As I write this (late April), there are still six more months new members. left in this term, and a whole pile of important topics still on Because of this, the agenda. Remember my “tirelessly/unflaggingly” com- Equity is really not ment above? Please consider this my commitment to continue in control of who aggressive progress on these topics through to our last meet- joins and how, ing. As much as we have accomplished, there is still much to except with the be done, and the current Council will hand off any unfinished negotiated agree- business to the incoming Council in a manner that will allow ment of outside them to hit the ground running on your behalf. organizations. This If you would like to be part of that work, please consider run- is a topic Council ning for election in the fall. Council needs excellent Councillors, intends to examine and the membership needs, and deserves, an excellent Council. in some detail. We’d like to think we have met that need. But shouldn’t I be signing an Equity contract?

summer 2009 Equity Quarterly 11 Letters to the editor

A call to arms A very good read indeed Letters on subjects of concern to Equity As an agent representing Canadian perform- For a very ancient actor (90+), still con- members will be considered for publication. Letters must ing arts companies touring both in Canada scious and active (not as a performer of be signed, but names will be withheld on request for those letters that may affect members’ employment. and abroad, I find the focus of your last issue course) the EQ is manna from heaven, or Letters that include artistic criticism of Equity members or on cuts to touring most timely. I work from corn in Egypt… whichever you prefer. letters that are antagonistic or accusatory, either implied or expressed, may be withheld or edited at the discretion Montreal where the arts community has Thank you, of the editor. Opinions expressed in Letters to the Editor been making life difficult for the Conserva- Margaret Barton, Equity member are not necessarily those of the Association. tives since they cut the PromArt and Trade Afghan actor is refugee in Pakistan PHOTO AND PRODUCTION CREDITS Routes programmes. It might even have In the Spring issue of EQ, Human Cargo Cover & inside front cover & pages 1, 2, 9, 10, 11, 12 & cost them their majority, say some. 21 Photos: Chris Blanchenot, courtesy of Canadian Actors’ Artistic Director Christopher Morris sent in a Equity Association. National Inquisitor graphic design: As Vice-President of CINARS, letter describing the horrific experiences that September Creative. www.cinars.org, I accompanied the Presi- Afghan actor Parwin Mushtahel has been Page 7: Jamie McKnight, Photo: Chris Blanchenot, courtesy of Canadian Actors’ Equity Association. dent, Alain Paré, to meet the Minister for through since he met her last fall and cast Heritage Canada, James Moore, to inform Page 9: Photo: David Cooper. her in his upcoming project Petawawa. Pages 11 & 17: Cartoons drawn by Mathew den Boer. him of the crippling effects of these cuts on Christopher now reports that he and his Page 13: Left photo: Steve Boyton for Paul Toogood the international dissemination of Canadian associates have gotten Parwin and her chil- Photography. 5 O’Clock Bells (2008 and touring) by Pierre productions. At the end of the meeting I gave Brault produced by Great Canadian Theatre Company/ dren to Islamabad, Pakistan, but they are Sleeping Dog Theatre. Directed by Brian Quirt with him a copy of EQ so that he could clearly see now in limbo, waiting to be processed as guitarist and musical consultant Paul Bourdeau. Cast: that the backlash was not just coming from Pierre Brault. Stage managed by Judi Pearl. Right photo: refugees by the UN High Commissioner for Cara Hill. Courtesy of Manitoba Theatre Centre. the “separatists” of Quebec, but from the Refugees (UNHCR). Pakistan is currently in Pages 14 & 15: Photos: David Hou. Caesar and Cleopatra arts community across the nation. great turmoil, and Parwin and her children (2008) by George Bernard Shaw produced by the Stratford Shakespeare Festival. Directed by Des McAnuff with music We explained that the funding simply may be lost in the shuffle. This could be the composed by Rick Fox and fight direction by Steve Rankin. must be restored and could easily be redi- most difficult part of their journey because Cast: Wayne Best, David Collins, Diane D’Aquila, Aidan deSalaiz, Peter Donaldson, Paul Dunn, Jesse Aaron Dwyre, rected to and administered by the Canada it could take weeks, months or years before Nikki M. James, Ian Lake, Roy Lewis, Gordon S. Miller, Council, but we had absolutely no indica- they arrive in a safe, third country. Michelle Monteith, Christopher Plummer, Gareth Potter, André Sills, Timothy D. Stickney, Steven Sutcliffe, Brian tion that our message got through. Christopher has opened a bank account Tree, John Vickery and Sophia Walker with members of The Conservatives’ decision to withdraw to raise funds for Parwin and her children the company. Stage managed by Dianne Woodrow with assistance by Marie Fewer and Brian Scott. funding from the export of Canadian per- while they’re in Pakistan. If you’d like to forming arts companies has destabilized learn more about their situation, or how to our thriving export industry. Canadian help, please contact Christopher Morris at companies are invited to the major stages [email protected]. of the world as a result of years of invest- EQ ment by the Canada Council in the development of work that speaks eloquently in polybag is now voices that are singularly Canadian. With We want the development of festivals such as PuSh biodegradable and Magnetic North, they find a spring- EQ is now delivered in an board into the international market. But if oxo-biodegradable (OBD) polybag. there is no funding to support travel and to hear OBD plastic speeds the natural deg- cargo shipment, they cannot go far. from you! radation process when subject to Perhaps it will take those of us living in environmental conditions – produc- the ridings of Conservative members of Let us know what you think about this Parliament, who will be soon up for re- issue of EQ. Please send letters to the ing water, carbon dioxide and bio- election, to make known our shock and editor to [email protected]. mass – shortening the process from utter dissatisfaction by protesting in our Submissions to EQ Lives and EQ hundreds of years to months. Please communities, in the local media, and even Moves for the EQ Fall issue can be note that OBD plastic is not com- in front of our local riding offices. sent to [email protected] by Monday, postable – the polybag should still be August 17, 2009. John Lambert disposed with regular trash waste. International Touring Agent

12 Equity Quarterly summer 2009 A sculpture of Manitoba Theatre Centre founders John EQ MoVES Hirsch and Tom Hendry by Ruth Abernethy called Onward and upward with the arts- “Imagine, MTC,” was unveiled in front of the Dawn Brennan, General Manager of SHAPE (Safety and box office doors in Health in Arts Production and Entertainment) and Roberta November 2008. Smith, Associate Director of Artistic Administration and Edu- cation at the Toronto Symphony Orchestra, are the 2009 win- ners of the John Hobday Awards. These awards, which are administered by the Canada Council, celebrate outstanding achievement in the field of arts management.

Thom Currie is the new Artistic Director of Showboat Festival Theatre in Port Colborne, Ontario. Thom takes over from David Savoy, who is now the Artistic Director of the Sudbury Theatre Centre.

Paul Gross has won the 2009 National Arts Centre Award, a special award that is given out at the Governor General’s Performing Arts Awards to recognize the work of an extraordinary nature by an individual artist or company in the past performance year.

Both the Vancouver Arts Club’s Artistic Managing Director William Millerd and Honorary Equity member Dr. Irving Guttman received honorary Doctor of Letters degrees from the University of British Columbia in May, 2009.

This August, Victoria Steele will be resigning from her position as Managing Director, English Theatre, at the National Arts Centre (NAC) in Ottawa to pursue other interests. Victoria was with the NAC for 19 years.

Winnipeg’s Shakespeare in the Ruins has hired former Winnipeg- A statue of Manitoba Theatre Centre founders John Hirsch and Tom ger Russell Martin as its new General Manager. Hendry now stands guard at the box office doors in Winnipeg

Pierre Brault won the award for outstanding performance – male at the 2nd Annual Les Prix Rideau Awards, which celebrates achievement in English and French theatre in Ottawa. Pierre won for his performance in 5 O’Clock Bells, produced by the Great Canadian Theatre Company and Sleeping Dog Theatre. The play, which Pierre wrote, also won Best New Creation.

Pierre Brault in the Great Canadian Theatre Company/Sleeping Dog Theatre production of 5 O’Clock Bells summer 2009 Equity Quarterly 13 Recording a great production for a new audience by Barb Farwell

If you didn’t have the chance to see Christopher Plummer and Nikki M. James in the Stratford Shakespeare Festival’s production of Caesar and Cleopatra – you may still be in luck. The George Bernard Shaw play was filmed last fall and shown to sold out audiences in movie theatres this January. It played on the Bravo! television station in April, and will air again this year on CTV. “It’s so important to capture these great performances,” says Antoni Cimolino, Stratford’s General Director. “Such fine works are being done by Canadian theatres and going unrecorded. This is not only a waste, but a terrific crime.” Access to art and entertainment is even more important in these tough economic times when the need to escape is great. “Not everyone can afford to attend live theatre, but the interest is there,” says Pat Marshall, Vice President Communications for Cineplex Entertainment. “The success of the Metropolitan Stratford’s Caesar Opera series from New York shows how far a stage production can extend its reach.” In fact, Cineplex Entertainment, which presented Caesar and Cleopatra on the screen, was originally only going to show the film once, but demand was so great an encore performance was added. Stratford has filmed two productions before, 1996’s Long Day’s Journey Into Night, with William Hutt, and 1957’s Oedipus Rex, with Douglas Campbell. Cimolino approached the CBC to tape Hutt in his last performance at Stratford as Prospero in The Tempest, but they were unable to make arrangements at the time. When Stratford decided to stage Caesar and Cleopatra with Plummer, the CBC was unavailable again, but CTV was able to jump in and film the production.

Live-to-tape recording has become easier Caesar and Cleopatra is not only a beautiful production with vir- n Top: Nikki M. James (seated, clockwise from left) Gordon S. Miller, tuoso performances, its staging lent itself well to the recording pro- Christopher Plummer and Peter Donaldson were filmed during a perfor- cess, with additional camera angles and close-ups added in later. mance to capture the audience’s reaction n Above left: Gordon S. Miller as Apollodorus (foreground) with Ian Lake (background, centre) as “We talked with Christopher and he felt strongly that it should Roman Sentinel n Above right: Steven Sutcliffe as Britannus n Opposite be filmed on stage,” says Cimolino. “It’s a sparkling comedy page: Christopher Plummer as Caesar and Nikki M. James as Cleopatra where the reaction of the audience is so important.”

14 Equity Quarterly summer 2009 and Cleopatra hits the silver screen Changes in technology have made the “We couldn’t have done it without those coming to a live production. “In Stratford’s capture of a live performance much easier, private donations,” says Cimolino. case, there are some people who just can’t requiring fewer accommodations in lighting Stratford also took advantage of other come to the theatre. This enables us to or staging, which means less disruption to ways to raise funds, such as applying for reach out to those audiences and capture the actual performance – a benefit to both The Canadian Film or Video Tax Credit, and record those performances.” the on-stage performers and the audience. and arranging sales to airlines and secur- These productions may also help encour- Images in high definition are so crisp and ing foreign distribution. age the next generation of Canadians to clear that the audience gets to experience Right now Stratford is looking at three get involved in the arts. the sets and costumes in all their lush detail. possible productions to film this year – “Not every parent is going to bring their Even though performances may have Macbeth with Colm Feore, Cyrano de children to the theatre. These films can reach become easier to film, it is still an expensive Bergerac, also starring Feore, and The out and break through – finding future venture for most Canadian theatre compa- Importance of Being Ernest, with Brian actors, playwrights and audiences.” nies. Caesar and Cleopatra cost $1.3 million Bedford taking on the role of Lady Brack- Caesar and Cleopatra was filmed in 2008 before a live to make, with $160,000 coming from private nell. The theatre will gauge audience inter- audience in Stratford, Ontario. It was produced by donations. About half of the budget was est when deciding which play to record. Barry Avrich and executive produced by Christopher Plummer, Barry Avrich and Michael Levine. The stage allocated to the cast and creative team, with Cimolino says he’s not worried that these production was directed by Des McAnuff and directed the other half to the technical operation. screen productions will stop people from for the screen by Shelagh O’Brien.

summer 2009 Equity Quarterly 15 Celebrating our off-stage- EQ LIVES moments-

Births Adoptions Engagements Equity member Ray Hogg and fiancé Gérald Michaud are thrilled to announce the arrival of Noah Kaheem Michaud-Hogg! Ray and Gérald were matched with seven-month-old Noah 1 11 /2 months after beginning the adop- tion application process.

Equity member Juliet Dunn and her fiancé Peter Shea would like to announce their Equity member Nicolle Nattrass and engagement. Peter proposed on one knee ACTRA member Paul Tedeschini are in front of both of their parents on their absolutely thrilled to announce the arrival second year anniversary. They were lucky of their baby boy, Isidoro (“Izzy”) Mario enough to celebrate their engagement in Tedeschini, born on April 17, 2009. Izzy both Morocco and Paris, France, and the was a month early and a whole lot of wedding will take place next February in beautiful! the Mayan Riviera.

Weddings

On March 9, 2009, Phi Bulani and Anne Coughlan Bulani were married on the beach at On a blustery winter’s day in Equity members Jeremy Smith sunset in Puerto Aventuras – February 2009, Equity members and Tabitha Keast were mar- which they had visited 12 years Adrienne Merrell and Kevin ried by a stormy Pacific coast- ago when they began dating. Dennis tied the knot in Toronto. line on November 2, 2008. The Thank you to guests who The ceremony was held at the groom looked elegant and the Equity member Paolo Mancini travelled from Canada, and a Timothy Eaton Memorial Church, bride took the flowers out of and Tarah Consoli are thrilled special thank you to the very then they danced the night away her face long enough to say “I to announce they were mar- best “ring-burier” in the world, at the Palais Royale Ballroom. do.” Sweet good times. ried on July 19, 2008. much loved son Theo.

16 Equity Quarterly summer 2009

Take advantage of your-- EQ Backstage Equity insurance plan--

The Equity members’ health insurance plan can look with the flu. When you are off-contract, you are only covered pretty daunting to read, but it could make a huge difference to for accidents.” your life. The coverage is greater while you are on-contract because If you haven’t read the plan, you’re not alone, says Colleen insurance premiums are being deducted from your pay. While Didur, Equity’s RRSP & Insurance Administrator. you are off-contract, you aren’t paying any premiums. “It’s pretty boring, and a lot of our members are young and Another nuance of the plan is the type of contract you are on. not worried about health issues,” she says. “But if you take the If you are currently working on a show that involves a rigorous time to read the plan, you can take advantage of some important schedule – such as a Stratford, Shaw or Mirvish production – your health benefits you may not even know you are entitled to.” premiums are higher and you are entitled to enhanced benefits. Most significantly, the plan can help get you through some For example, the basic plan covers $600 worth of massages a rough financial times when you can’t work due to illness or an year, and the enhanced plan can cover up to $1,200. accident. Didur recalls a phone call she received from a member You also need to have your Equity membership dues fully who fell ill while he was performing and had to terminate his paid up to access the health plan. Even if you are currently off- contract. “He contacted Equity on the off-chance there was any contract you need to pay your dues to be covered. And if you way we could help him out, and it turns out he was entitled to belong to another insurance plan such as ACTRA, you may be complete disability income replacement payments.” able to combine benefits. From income replacement to coverage for medication, orthot- A new miscellaneous health and wellness benefit has recently ics, chiropractic therapy and acupuncture, the plan can help been added to the Equity plan that pays $100 a year for some members remain both physically and financially healthy. areas not previously covered in the plan – such as dental, eye- For example, the plan glasses, naturopathy, fertility covers $600 of registered treatments and alcohol and massage therapy a year, but addiction treatment. Mem- you need to start the mas- bers can take advantage of sages while you are on-con- this $100 a year whether tract. As long as you estab- they are on-contract or not. lish the need while you are Besides knowing the ben- on-contract, you may con- efits of your Equity plan, tinue to take massages for Didur says it’s important to a three month period after always put your health first. your contract has ended. “Many of our members On-contract and off- think the show must go on, contract benefits are one of even if they are suffering. the nuances of the plan that You need to think of your- can seem difficult to under- self first and the long-term stand at first, but are critical health of your career. If you for members to wrap their need to go on income dis- head around, says Didur. ability you can recover faster “When you are off- and go on to do another contract, the plan is not show.” as comprehensive,” says Colleen Didur is the RRSP & Insurance Didur. “When you are on- Administrator at Equity’s National Office. If you have a question contract, you are covered about your health benefits you can for both accidents and ill- contact Colleen at 1-800-387-1856 ness, such as getting sick (416-867-9165 in Toronto).

summer 2009 Equity Quarterly 17 Remembered

Cook, to create a new theatre company: The Giant’s Theatre Co. We wasted no time in putting together a program entitled “East of Fondly Ryga, West of Cook.” Michael contributed a new one man tour de force titled Quiller – which he impishly referred to, when into his cups, as his “one-man Godot.” George, not to be out done (they were forever competing with each other) gave David and I permission to adapt his novel Night Desk – which we fervently set to work doing – unleashing a character named “Romeo Kuchmir” upon the Canadian stage. At a time when one-man shows were not part of theatre tradi- tion, we put two larger-than-life Canadian characters, mytholo- gizing their own experience, back to back on the same bill. On a nightly basis, David would face the Herculean task of portraying them both. He did so with an ease that was in accord with some innate aspect of his own character. All at a time when there was literally no performance infrastructure in the region. The work of The Giant’s Head Theatre Co. was performed, pre- dominantly, in makeshift settings. A performance space was created, where one had not previously existed, some chairs were set out for the handful of people that turned out, and the show went on. Long before the house-concert was popularized, David was performing in peoples’ living rooms and kitchens. Amazingly, David Ross 1945-2009 through all of this bare-bones experience, David never flinched. He continuously met the spirit of the work with a spirit that rel- By Ken Smedley ished the challenge. His commitment and dedication were unwav- ering, pure and true. His time and energy were unconditionally I first met David Ross over 35 years ago in Penticton, B.C., where he devoted to the creation of theatre. Regardless of the state of was working as a high school English/drama teacher. He was produc- things (no matter how humble the setting) David always showed ing a student production of Lawrence and Lee’s The Night Thoreau up and produced an event of larger-than-life proportions. Spent in Jail – which intrigued me enough to offer to help him out. As I knew him, David Ross couldn’t get enough of the theatre. He One thing lead to another and that summer I was putting was willing to create it anywhere, and he was willing to create it out of together an Opportunities For Youth Theatre project (to employ nothing. No matter the time involved and regardless of the pay. some of the young people involved in the Thoreau production) Ultimately, over the years, his essential attitude never changed and I hired David as a mature member of the company. We were and he invested his commitment and energies into Canadian the- in the south Okanagan so it made sense to produce a play by atre from coast to coast and we are all the beneficiaries of his George Ryga. Captives of the Faceless Drummer was the choice. unlimited contribution. (David played the kidnapped Diplomat, Harry.) Five years ear- The words of Romeo Kuchmir still befittingly describe, and pay lier the play had been censored from The Vancouver Playhouse tribute to, the David Ross I remember (and had the privilege of season and Ryga was being effectively “black-listed” (for his working with so intensely): “A great fighter is like a great cultural reaction) from the emerging professional theatre network (that figure – the last of the gladiators! Trained to fight…to tear the The Ecstasy of Rita Joe had essentially legitimized.) heart out of a livin’ bull! And willin’ to walk across this world, if Out of this Captives production came an invite, from Ryga, to necessary, performin’ for peanuts an’ sandwich money! May the join him, and recently relocated Newfoundland playwright Michael angels give’em wings that never wear out.”

18 Equity Quarterly summer 2009 Barbara Franklin 1929 - 2009 By Corinne Langston

We have lost our songbird from Saskatchewan. No one enjoyed music more than Barbara, who came to study at the Royal Conservatory in Toronto in the 1950s and remained – calling the city home while never forgetting her beloved prairies. She received her Licentiate, Royal Conservatory of Music of Toronto (LRCT) and many awards, sang classics, and worked with Elisabeth Schwarzkopf, Glenn Gould and Niki Goldschmidt, but also loved jazz, had her own TV show on CBC, performed at Stratford, starred in Salad Days in Toronto and New York, and toured Canada, acting and singing in regional theatres. Plagued with ill health for many years, Barbara never lost her sunny disposition or her faith – she loved life, appreciating every moment, the skies, the trees, even her aged car, and embracing all her co-workers with enthusiasm and generosity. We will miss that wonderful voice and wild laughter.

(Joseph) Norris Domingue 1925 - 2009

to studying with the legendary Herbert Berghof in New York City; from performing a solo clown act for his fellow veterans at VA hospitals across the U.S. after the Second World War to portraying famous historical characters with a string quartet to the delight and appreciation of thousands of school kids in Indiana and Michigan; from working in Montreal’s theatre scene in plays by Sam Sheppard and Edward Albee to a recurring role on the TV series My Hometown. The quintessential journeyman actor, Norris appeared in dozens of feature films, made-for-TV movies and shows, and commer- cials. He played everything: cigar-chomping villains, hapless vic- tims, kindly grandfathers, and a host of security guards, reporters, ministers, doctors and barkeeps. One of his most visible roles was in a recent commercial for the Royal Canadian Mint as a clown who visits a hospital to cheer up children – how appropriate. His clown was the basis of almost By Claudine Domingue every part he played. On set or on stage, he was much admired by his fellow cast Actor, singer, storyteller, clown, filmmaker, Norris’s varied career and crew members – young and veteran performers alike – for his spanned over 60 years. professionalism and sheer joy he had of working as part of a team. A peripatetic childhood in Louisiana and east Texas taught Norris Age and infirmities may have slowed him down in later years, but the value of laughter in making friends. Performing became his he was an actor to the very end, joking and teasing with the doc- way of life and although there were many detours (travels, military tors and nurses in his final days. He may never have achieved the service, family, career twists), his primarily objective was to illustrate fame he had sought all his life, but he charmed everyone he met and demonstrate his love of theatre in its broadest sense. and maintained friendships that lasted decades. Making people As an actor, Norris’s career covered all forms of performance laugh was his cherished goal in life, and one by which he will from his college days in Texas singing and dancing in glee clubs always be remembered. summer 2009 Equity Quarterly 19 EQ Classifieds

KUDLOW & McCANN Chartered Accountants innovative solutions to your tax problems, providing comprehensive tax and accounting services to the entertainment industry A STEP BEYOND THE ORDINARY! 21 St. Clair Avenue East, Suite 401 2009 Stage Toronto, ON M4T 1L9 tel: 416.924.4780 West-Equity fax: 416.924.5332 [email protected] Emerging Theatre [email protected] www.kudlowmccann.com Artist Award TRACEY HOYT You’ve played a mad King, but have you played an angry tomato? Commercial voice-over work The Stage West-Equity Emerging Theatre Artist Award is is a lot harder than it sounds. Why not get the adjudicated annually by Equity’s Honours Committee. The professional instruction and one-on-one vocal Award and its $2,000 cash prize is bestowed to a theatre training you need to turn auditions into gigs. performer who demonstrates professionalism, artistic Sign up for a Pirate Voice class or private coach- excellence and innovation within their craft. ing with top voice actor and Equity member Tracey Hoyt. Go to piratevoice@piratetoronto. Applicants must be members of Equity for com or call 416-594-3784 today. less than three years and be full members

Carte-Blanche photo – Headshots in good standing. For 2009, In need of a new headshot? applicants must have joined the Professional headshots in Toronto Association after July 1st, • In studio or on location. 2006. Applications must Complete application • Professional make-up artist. be post-marked by • Final images prepared for both traditional August 31st, 2009. details are available and electronic submission packages. online at Contact: [email protected], www.caea.com. 647-284-9925, or visit www.carte-blanchephoto.com.

Friendly Coaching with Barbara Gordon will help you choose a monologue welcome NEW MEMBERS or gear up for an audition. With 30 years of experience in theatres across Canada, film and Atlantic E. Ontario/Outauais Joanna Keats television, Barbara can lend an impartial eye Jason Daley Donnie LaFlamme Billy Lake Emma Slipp Monika Seiler Cody Scott Lancaster and ear to help you clarify your thinking and British Columbia / Lisa Zanyk Stephanie Martin boost your confidence. 416-535-0058 Yukon Manitoba/Nunavut Bridget Ogundipe Nicole Lee Quesnel Marie-Eve Boudreau Rachelle Fordyce COACHING FOR YOUR AUDITION WITH Michael Sutherland-Young Andrew Buckley Ontario BRENDA KAMINO Kristy Gislason Jane Watson Thomas Alderson Stephanie West Tired of being stereotyped? Building your Ashley Green Tiana Malone Luisa Appolloni Quebec monologue repertoire? With over 20 years as Megan Morrison Ricardo Betancourt Eloi Archambaudoin Sascha Cole a teacher and coach, I will guide you through Meghan Morton Nemanja Jevtovic Marcie Nestman Stuart Constable your piece, help you perfect your approach Sarah Dawn Pearson David Cotton Jason Gray to your work or just add some polish. Email: Jeffrey Victor [email protected] or call 416-538-7198.

20 Equity Quarterly summer 2009 Equity looks to the past- EQ Flashback and the future- Flashforward

This spring Equity took advantage of a rare- occasion when all the staff members from both the- National and Western Office were together in one- place. The result is our 2009 class photo.-

Back row, L to R: Douglas Irons, Chris Blanchenot, Robert Scott, Alexandrine Kelley, Keith Davidson, Meaghan Preston, Jennifer Riedle, Darlene Harold-Teskey, Millie Kwan. Middle row, L to R: Gwen Bartleman, Leigh Kerr, Joanne Doucette, Ken Burns, Colleen Didur, Arden R. Ryshpan. Front row L to R: Shanon Button, Karen Kilian, Dennis Lepsi, Lynn McQueen, Michel Roberts, Mario Montera, Elona Naqo, Miriam Newhouse

Keith Davidson, Business Rep Manager – 20 years with Equity “Twenty years ago as a young artist in Vancouver, not unlike so many artists, it became necessary for me to Flashback find a “day job.” My search for temporary employment Douglas Irons, Controller – 20 years with Equity brought me to Equity where I discovered that working “In my tenure I have seen 10 CTA negotiations, 21 annual audits, four in an office setting can be a rewarding experience when Executive Directors, six Presidents, 3.5 databases and over a half year the work that you do is something you believe in.” of time spent attending Council meetings.”

summer 2009 Equity Quarterly 21 EQUITY QUARTERLY

Are you ready to take on a rewarding challenge?

If you are an active representative of Equity within your regional community, providing inspiration, enthusiasm and leadership, Council encourages you to run for office. The governance of Equity is vested in a national Council of 22 representatives from across Canada, assisted by 13 regional Council Policy Advisory Groups (CPAGs). In October 2009, Equity members from across Canada will be elected to serve on Council and as regional Council Policy Advisory Group (CPAG) members EQ for the 2009-2012 term. Equityonline Additional election resources are available online at www.caea.com. www.caea.com Verify your region and discipline online at www.caea.com In anticipation of the upcoming elections Equity members are asked to verify their contact information and electoral region Announcing the return of the online at www.caea.com. If you do not have access to the Inter- net, please call Equity’s National Office at 1-800-387-1856 (416-867-9165 in Toronto) for assistance. Presented by Canadian Actors’ Equity Association Election dates to remember in association with the upcoming July 30 Nominations close Magnetic North Theatre Festival in Kitchener-Waterloo, Ontario. August 20 Candidate election statement JUNE 9 - 19, 2010 and photos posted on www.caea.com September 14 Election ballots mailed The 10-day workshop is open to both mid-career directors and established theatre artists making a transition to directing. This is Week of September 21 All-candidates a rare opportunity to study with some of the most distinguished meetings held in each region theatre practitioners working in Canadian and international October 29 Last day for election ballots to theatre. To download the application form visit EQUITYONLINE at be received in the National Office www.caea.com or email [email protected]. October 30 Ballot count and election The deadline to apply is November 15, 2009. Applicants must be results announced Equity members in good standing.

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]

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