Equity quartErly wintEr 2012
LET THE SUN SHINE IN THEATRE FOR THE TWO SOLITUDES EQ ACTING IN THE ELEMENTS Performing in the great outdoors A little bit of sun in the dark of winter
this might BE thE wintEr issuE oF eQ, But wE arE lEtting thE sun BrEaK through thE snow and icE to cElEBratE summEr thEatrE. no longEr thE Frothy, Frivolous FarE oF yEstEryEar, summEr thEatrEs across canada now showcasE a rich variEty oF plays – From shaKEspEarE and hard-hitting dramas to musicals, comEdiEs and nEw canadian worKs. Equity quartErly wintEr 2012 EQ volumE 5 numBEr 4
6 One play, 2 PRESIDENT’S MESSAGE two languages 3 NOTES FROM ARDEN R. RYSHPAN 4 LETTERS TO THE EDITOR 8 the allure of 5 EQ MOVES summer theatre 17 EQ BACKSTAGE 18 FONDLY REMEMBERED 13 Battling 20 EQ CLASSIFIEDS the elements 21 EQ FLASHBACK
Equity members can submit letters to the editor via email at [email protected]. the deadline for coming issue: spring 2012 EQ submissions is monday, February 13, 2012. 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 wintEr 2012 – volume 5, number 4 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) Lois Anderson, Kayvon Khoshkam, John Murphy, Lindsey Angell and Amber Lewis in the 2011 production of The Merchant of Venice at Vancouver’s Bard on the Beach Shakespeare Festival ABOVE: Caravan Farm Theatre’s 2011 production of William Shakespeare’s A Midsummer Night’s Dream President’s message
By this point, I hope that most people know how the recent dues referendum turned out. More than half of the membership supported both proposals, but bylaws require us to achieve a two-thirds majority, and that means that both ultimately failed. We take our instructions from the membership and respect what you have told us. Council and staff will move quickly to adjust to this new fiscal out- look, and you can expect to hear more regarding service and structural changes in the coming months. This referendum was full of learning opportunities for Council and staff. It was our first referen- dum conducted electronically, and also the first conducted through multiple channels. Although any stumbles were mercifully minor, we took copious notes for future improvement. Given the fact that our members are so plugged-in to the Internet, we were surprised to discover that almost half of all ballots came in by mail. Habit, perhaps, but this drove up the final cost of the referendum beyond what we expected. For next year’s Council elections, we will almost certainly shift to an all-electronic process to keep expenses down. Mail-in ballots would still be available by request, but not sent out as part of the voter package. It was also our first referendum conducted in the era of Facebook. Previously, members would get together and discuss the issue du jour they can do it with hundreds at once. Whilewith the that half-dozen is great for colleagues encouraging in a debate, green room it means or bar. that Now we have to practically camp online to keep up with the pace of discussion. Facebook gives me hives at the best of times, and I spent almost three whole weeks answering questions and posting different versions of “well, actually…” messages. I’ll be glad to see the back of that for a while…. A truly staggering number of members wrote or phoned in the final days to say that they didn’t know there was a referendum going on, and wanting to know how to cast their vote. The office phone rang with these inquiries right up to the very last minute. I personally find this level of incog- nizance far more dismaying than the referendum results. After two EQ columns, a special edition of the Council Link, EQUITYONLINE of five web forums, a dozen targeted postings, email special reminders, FAQ pages hundreds on the of Council Facebook Connection posts, an blog, automated a series phone campaign, and a mailed-out voter kit, all I have to say is, “Wake the
allan teichman President
2 Equity quartErly wintEr 2012 Notes from Arden r. ryshpan
It will be well into winter when you read this – past the pleasure of the holidays and the feasting – facing a long, cold stretch of time before there is any glimpse of a world without snow and cold. This is Canada, after all and we are a winter country. “Quelques arpents de neige” (“a few acres of snow”) was how Voltaire sneeringly referred to New France, back in 1758. Despite the many effects of climate change, it still seems an apt description of much of our land. It is this relationship to our geography and, by extension, our weather that so defines our country. There are few other places on the planet where the most important piece of information we need to structure our day is what the heck the temperature will be. This is probably one of the reasons why we embrace the warm months with such enthusiasm, bursting onto the sidewalk cafes and shedding our outer clothes at the first hint of spring. This is also one of the reasons why we enjoy summer theatre, particularly theatre that takes place outdoors. On those rare, perfect summer evenings, no one wants to be inside and so outdoor theatre offers us the dual pleasures of being entertained and not having to sit in an artificial environment. For our members, summer theatre often means lighter fare and the opportunity to work on some of the funnier, sillier, less emotionally taxing works. Note that I didn’t use the word “easier” in that list of adjectives, for comedy and farce are no less demanding than tragedy – only perhaps slightly more suited to the summer season. Working outside also presents a whole litany of issues that are not faced in a traditional theatre – bugs, birds and babies, to name only a few that happen to begin with “B.” You need to be pretty adaptable and unshakeable to do theatre in the great outdoors as the stories in this issue will tell you. So, as you read this winter issue of the magazine (with a cup of hot chocolate, perhaps?) we encourage you to look forward to the pleasures awaiting us all when the weather changes and com- munities all over Canada provide a delectable selection of works of all kinds for us to enjoy in our shirtsleeves.
“When lonely feelings chill the meadows of your mind, Just think, if winter comes, can spring be far behind?” — From “You Must Believe in Spring” written by Alan and Marilyn Bergman, Jacques Demy and Michel Legrand
arden r. ryshpan Executive Director
wintEr 2012 Equity quartErly 3 Letters to the editor
ADs speak out Equity quartErly Fall 2011 PROGRAmmiNG cHAlleNGeS Letters on subjects of concern to Equity members will be considered for publication. Letters must be signed, but names will be withheld on request for those letters We have been getting great SUmmeRwORkS liVeS ON ARTiSTic DiRecTORS SPeAk that may affect members’ employment. Letters that include artistic criticism of Equity feedback on the fall issue of EQ. members or letters that are antagonistic or accusatory, either implied or expressed, may EQ be withheld or edited at the discretion of the editor. Opinions expressed in Letters to the Thanks for providing a forum for Editor are not necessarily those of the Association. such a balanced discussion about PHOTO AND PRODUCTION CREDITS Cover: Photo: David Blue. The Merchant of Venice (2011) by W. Shakespeare produced Canadian theatre. The artistic by Bard on the Beach Shakespeare Festival. Directed by Rachel Ditor with fight direction by Nicholas Harrison. Cast: Lois Anderson, Lindsey Angell, Ryan Beil, Duncan Fraser, Charlie directors who participated in Gallant, Luisa Jojic, Kayvon Khoshkam, Sebastian Kroon, Amber Lewis, Shawn Macdonald, David Marr, John Murphy, Richard Newman, Luc Roderique and Todd Thomson. Production Geoff Pevere’s interview brought stage managed by Stephen Courtenay assisted by Kelly Barker and Susan Miyagishima. Page 1 & 9: Photos: Tim Matheson. A Midsummer Night’s Dream (2011) by W. Shakespeare a candid, yet thoughtful, energy produced by Caravan Farm Theatre. Directed by Jennifer Brewin with music by Courtenay Dobbie. Cast: Georgina Beaty, Manon Beaudoin, Kevin Corey, Josh Drebit, Haysam Kadri, to the table. As I continue to Daryl King, Jennifer Paterson, Dawn Petten, Michael Bruno Rinaldi, Juno Ruddell, Mikael develop in my own career, I Wasko, Kim White and Rylan Wilkie. Stage managed by Jan Hodgson. A delicate balance Page 5: Photo: Jeremy Mimnagh. Brothel # 9 (2011) by Anusree Roy produced by Factory am constantly reminded of the Theatre. Directed by Nigel Shawn Williams with fight direction by James Binkley. Cast: Ash Knight, Anusree Roy, Pamela Sinha and Sanjay Talwar. Stage managed by Joanna Barrotta frustrations that artists experience when they are trying to establish assisted by Neha Ross. Page 6: Photos: Jean-François Hamelin. Old Wicked Songs/Une musique inquiétante communication with artistic directors. But it is also important that (2009-10) by Jon Marans co-produced by the Segal Centre for Performing Arts and le Théâtre du Rideau Vert. Directed by Martin Faucher. Cast: Émile Proulx-Cloutier and Jean Equity’s membership has the opportunity to gain insight to the life Marchand. Production stage managed by Elaine Normandeau. of the artistic director. Thank you for providing that opportunity, and Page 8: Photo: Andrew Paul, courtesy of Freewill Shakespeare Festival. Page 10 & middle page 12: Photos: Antoine Yared. Macbeth (2011) by W. Shakespeare thank you to all of the ADs who took part. produced by Repercussion Theatre. Directed by Arianna Bardesono with choreography by Amy Shulman. Cast: Nathan Barrett, Attila Clemann, Dustin Kagan-Fleming, Karl Graboshas, — Eric Coates, Artistic Director, Blyth Festival Tim Hine, Paul Hopkins, Chala Hunter, Samantha Megarry, Anana Rydvald and Adrian Shepherd-Gawinski. Production stage managed by Chris Hidalgo. Stage managed by CAEA Member, President, PACT Michael Panich assisted by Eric Savory and Claire Holden Rothman. Page 11: Photo: Tim Matheson. Everyone (2010) by C. Dobbie, S. Drover, K. Fanconi, A. Ferguson, L. Haegert, R. Jenkins, J. Long, A. McNee, E. Mathews, M. Rinaldi, J. Ruddell, M. Scholar Jr., E. Shook, P. Ternes, A. Wong, M. B. Yamamoto, J. Young and M. Youssef, produced by Caravan Farm Theatre. Head director Estelle Shook with scene directors Courtenay Dobbie, Notice of National Annual General Meeting Stephen Drover, Kendra Fanconi, James Long, Michael Scholar, Jr., Marcus Youssef with choreography by C. Dobbie and music direction by David Rhymer. Cast: Paul Braunstein, Kyle Cameron, Evelyn Chew, C. Dobbie, Martin Julien, Truman Julien, David Petersen, Nicola Protetch Equity’s 2011-2012 National Annual General Meeting and Deborah Williams. Stage managed by Jan Hodgson assisted by Lysette Stevenson. will be held in Toronto, Ontario. Page 12: Left Photo: Ian Jackson/Epic Photography. Othello (2011) by William Shakespeare produced by Freewill Shakespeare Festival. Directed by Marianne Copithorne with fight direction by Kevin Corey. Cast: Chris Bullough, Nadien Chu, Belinda Cornish, Nathan Cuckow, Date: February 27, 2012 Stuart Fink, John Kirkpatrick, Annette Loiselle, Mark Meer, Troy O’Donnell, John Ullyatt and John Wright. Stage managed by Dawn Friesen assisted by Candice Charney, Tracey Byrne Time: 7:00-10:00 p.m. (doors open at 6:30 p.m.) and Lisa Dalmazzi (apprentice). Right photo: David Blue. The Taming of the Shrew (2007) by W. Shakespeare produced by Bard on the Beach Shakespeare Festival. Directed by Miles Venue: Gladstone Hotel (Ballroom) Potter with choreography by Valerie Easton and fight direction by Nicholas Harrison. Cast: Lois Anderson, Ian Butcher, Duncan Fraser, Bob Frazer, Christopher Gaze, Charlie Gallant, Daryl 1214 Queen Street West, Toronto, ON King, Ashley Liu, David Marr, Derek Metz, Kyle Rideout, Michael Scholar, Jr., Haig Sutherland, Location: Taylor Trowbridge, Christopher Weddell, Colleen Wheeler and Naomi Wright. Production stage managed by Stephen Courtenay assisted by Kelly Barker and Sarah Dawn Pearson. All Equity members in good 8 receipt of the audited Page 13: Photo: Tim Matheson. Anything Goes (2011) by P.G. Wodehouse, Guy Bolton, Howard Lindsay and Russel Crouse with music by Cole Porter produced by Theatre Under the standing are encouraged financial statements and Stars. Directed by Sarah Rodgers with choreography by Dayna Tekatch and music direction by to attend. Apprentice, pro- appointment of the audi- Christopher King. Cast: Lauren Bowler, Jacqueline Breakwell, Dave Campbell, Andrew Cownden, visional and probationary tor for the coming year Fred Galloway, Irene Karas, Todd Talbot and others. Stage managed by Shawn Sorensen. members are also welcome Page 14: Left photo: David Blue. Richard III (2011) by W. Shakespeare produced by Bard 8 member resolutions* on the Beach Shakespeare Festival. Directed by Kathryn Shaw with choreography by and encouraged to attend. Treena Stubel and fight direction by Nicholas Harrison. Cast: Scott Bellis, Hayden Davies, The second half of the Melissa Dionisio, Ben Elliott, Craig Erickson, Jillian Fargey, Bob Frazer, Dustin Freeland, Josue Please bring your current Laboucane, Nicola Lipman, Gerry MacKay, Allan Morgan, Kyle Rideout, Mike Stack, Linda membership/apprentice card evening will be an informal Quibell, Joel Wirkkunen and Dante Zago. Production stage managed by Joanne P.B Smith networking mixer, with assisted by Samara Van Nostrand and Rebecca Mulvihill. Right photo: Allen Fraser. The to show at the door. Taming of the Shrew (2008) by W. Shakespeare produced by Shakespeare in the Ruins. guests from Equity’s fraternal The NAGM will be divided Directed by Deborah Patterson. Cast: Eric Blais, Michelle Boulet, Andrew Cecon, David Gillis, associations, arts and culture A. Alicia Johnston, Christopher Brauer, Stephen Eric McIntyre, Robert McLaughlin and Harry into two segments. The first Nelken. Stage managed by Georgette Nairn assisted by Leslie Sidley. service organizations, funding portion will take care of Page 15: Photo: Nicholas Pynes. Let’s Be Frank (2011) by Rick Blue produced by Theatre Lac bodies and artistic directors Brome. Directed by Nicholas Pynes. Cast: Danielle Desormeaux, Shayne Devouges, Laura necessary business items and Teasdale and Brett Watson. Production stage managed by Seamus Ryan. from across the GTA. Details be kept as concise as we can Page 16: Photo: Unknown. Twelfth Night (1997) by W. Shakespeare produced by reasonably manage. It will will be announced early in Shakespeare in the Ruins. Directed by Ann Hodges with fight direction by Rick Skene. the new year. Cast: Derek Aasland, Michelle Boulet, Arne MacPherson, Matthew Moreau, Deborah include: Patterson, Csilla Przibislawsky, Gene Pyrz, Chris Sigurdson and Lora Schroeder. Stage managed by K.R. East assisted by Krista MacFarlane. * For information about 8 reports from the Page 17: Photo: Domenico Gelermo, iStockphoto. introducing a resolution, please President and Executive contact President Allan Teichman Page 18: Photo of C. Colvey: Chris Dilworth. Photo of B. Clout courtesy of Patricia Clout. Director, with updates at [email protected], or by Page 19: Photo of A. Grant: Ken Bell, courtesy of The National Ballet of Canada Archives. Photo of B. Garrick courtesy of Jason Knight. on current initiatives mail to Equity’s National Office. Page 21: Courtesy of Theatre Ontario.
4 Equity Quarterly winter 2012 EQ Moves Onward and upward with the arts
Peter Hinton, the National Arts Centre’s (NAC’s) artis- tic director of English theatre, will be stepping down after seven seasons in August 2012. Among his many initiatives, Peter spearheaded the reestab- lishment of NAC’s Resident English Theatre Company in 2009, which annually brings more than 30 actors from across the country together to work on several produc- tions.
The 2011 Stage West – Equity Emerging Theatre Artist Award winner was Judy Wensel from Saskatoon, Saskatchewan. The award and its $2,000 cash prize recognizes an Equity member of three years or less who has already made a significant contribu- tion and impression as an artist. Judy is a multitalented director, performer and the- atre creator.
After 15 years as managing director of Canadian Stage, David Abel joined the Art of Time Ensemble as executive director starting in January 2012. Anusree Roy and Pamela Sinha in the world premiere of Anusree Roy’s Brothel #9 at Toronto’s Factory Theatre, 2011 Charlie Rhindress has assumed the role of artistic producer at Eastern Front Theatre in Halifax, taking over from Victoria-based playwright Joan MacLeod is the recipient Scott Burke. of the 2011 Elinore & Lou Siminovitch Prize in Theatre, Dancer Blair Puente has retired after nine seasons with the the largest theatre award in the country. She won Alberta Ballet and assumed the responsibility of company man- $75,000, and selected Toronto-based playwright and ager as of mid-November 2011, taking over from Paul Chambers. actor Anusree Roy as her protégé, who received $25,000. winter 2012 Equity Quarterly 5 Bridging the two solitudes with one play
One production, two languages
6 Equity Quarterly winter 2012 Bridging the two solitudes with one play By Barb Farwell
We’re a bilingual country – so how of agreed upon weeks by the assistant metteur en scène. That hard can it be to have the same cast and crew present a play in allows the rehearsal hours to be spread out around the actors’ both of Canada’s official languages? previous commitments – which is important in Quebec as there is It turns out that language isn’t the only difference when pre- a smaller acting community and most actors are also working in senting a production in French and English. Everything from television and film and doing voice work and dubbing (all feature rehearsal times to the audience itself is different. films released in Quebec must have a French language version). Montreal stage manager Elaine Normandeau is a true rarity – Besides rehearsals, the actors also spent time with English lan- someone who works in both English and French theatre. In 2010, guage coach Julia Lenardon. Since one of the characters in Old Normandeau was part of a unique bilingual production of Old Wicked Games is American, actor Émile Proulx-Cloutier worked Wicked Songs by Jon Marans. It was performed in French first, with Lenardon not only on his English, but to nail down the as Une musique inquiétante, at the Théâtre du Rideau Vert, and American inflections. Normandeau also enjoyed helping the actors then performed in English at the Segal Centre for the Performing with their English pronunciation. “I was raised in both languages, Arts. The play had two actors – Jean Marchand, who had experi- so this is something I’m interested in. But I’m careful not to con- ence working in both languages, and Émile Proulx-Cloutier, who tradict any directions the actors have been given.” had never acted in English before. Normandeau noticed that some people came to see the production Normandeau’s role in each production was very different. The in both languages – but she says the audiences are usually quite dif- tasks and duties that are assigned to a stage manager in English ferent, with the French crowd being more demonstrative. “We have theatre are divided into two separate jobs in French theatre – the to warn the actors that the audiences won’t react in the same way.” assistant metteur en scène, who handles the rehearsals and is Normandeau is currently working on another bilingual produc- also much more involved in the creative process than in English tion for the same two theatre companies – a presentation of Vigil, theatre; and the régisseur, who handles the duties during tech by Morris Panych. The play will be performed in French in February week and performances. of 2012, and then in English in March. Actors Éric Bernier and Kim The assistant metteur en scène also does not usually do the same Yaroshevskaya perform in both versions. The turnaround is so tight volume of paperwork as their English counterpart. For example, that they “will be performing in French in the evening and rehears- the director verbally gives his or her notes directly to the design- ing during the day in English,” says Normandeau. ers, whereas, in English, the stage manager would relay the direc- Although a translation may not always be able to capture the tor’s comments through production notes to all departments. exact rhythm of the dialogue or reveal all the insights you get Nevertheless, Normandeau brought many of her English stage man- from the original language, Normandeau thinks it is valuable to ager’s talents to the French production. “They were astonished that bring these English plays to a French audience. “In the case of I was so organized – all I was doing was posting rehearsal schedules Vigil, this is the first time one of Morris Panych’s works has been and other information and making sure there was coffee and tea.” done in Quebec. There is talk of it going throughout the province, not just Montreal.” Two different rehearsal schedules Old Wicked Songs was also remounted again in French a few Since French and English productions operate under different months after the English version and toured the province. unions there are also differences regarding rehearsal times. Under “I love it. It’s the two solitudes coming together,” says Equity, actors work a certain number of weeks and are paid a Normandeau. “In production meetings we would ask ‘what weekly salary. Under UdA, actors are hired for a certain number language will we use today?’ And then it goes back and forth of hours of rehearsal, which are then scheduled over a number between English and French.” EQ
Top left photo: Jean Marchand played Joseph Mashkan and Émile Proulx-Cloutier played Stephen Hoffman in both the English and French versions of Une musique inquiétante/Old Wicked Songs by Jon Marans at the Théâtre du Rideau Vert and the Segal Centre for the Performing Arts Top right photo: Émile Proulx-Cloutier worked with English language coach Julia Lenardon to give his English an American accent Bottom photo: Some people came to see the production in both languages, but the French crowd was usually more demonstrative. Actors Jean Marchand and Émile Proulx-Cloutier were warned that the audiences wouldn’t react in the same way
winter 2012 Equity Quarterly 7 The special allure of Summer Theatre Let the sun shine in!
8 Equity Quarterly winter 2012 Let the sun shine in! By Cynthia Macdonald
Every Macbeth production has its own curse story, but Marianne Copithorne’s has a decidedly seasonal flair. The artistic director of Edmonton’s Free Will Players was work- ing as an actor with the company 12 years ago, playing Lady Macbeth in the company’s pretty, green park setting. As she and costar John Wright prepared to dunk their hands in a bowl full of King Duncan’s “blood” backstage, they saw that another would- be murderer had gotten there first. “There was this squirrel drinking from the bowl, because it was full of sugar,” she recalls. “And then he ran onstage ahead of us, complete with a dripping, bloody mouth! There was nothing we could do. I mean, you can’t stop a squirrel from being part of a scene.” Wildlife and bugs, spattering rain and endless light, picnics and Norm Foster. These are all things that come to mind when you think of summer theatre in Canada. And yet, it’s a genre that’s become almost impossible to sum up, since the variety of what’s on offer is now endless. While small towns still come alive with frothy comedies during the hot months, some of the country’s most serious and important productions take place while the sun burns hottest – at the Stratford and Shaw Festivals, of course, but in an increasing number of other venues too. Summer theatre can mean a Shakespearean tragedy, a puppet show or a groundbreaking Canadian drama. It can take place on a beach, in a field, on a sweltering little Fringe stage or in a sumptuously renovated 500-seat house. It can be the prod- uct of a three-month (or a three-day) rehearsal period. As Bob Metcalfe, who frequently directs plays at Nova Scotia’s Festival Antigonish explains, “Saying summer theatre is like saying sum- mer clothes, right? Depending on where you are, you’re wearing different things.”
Opposite page: A sunset creates a spectacular backdrop for the Freewill Shakespeare Festival in Edmonton Left: Kim White with Victor the horse in Caravan Farm Theatre’s A Midsummer Night’s Dream
winter 2012 Equity Quarterly 9 The special allure of Summer Theatre
So true, of course – though one rarely wears shorts to a you’re going to buy a ticket and sit down – whether in summer Christmas pantomime. That informal feel is the hallmark of so or not – you’re watching live people making an effort in front of many summer productions, particularly those that take place out- you, and that does require a commitment.” side. And when audiences are free to unwrap sandwiches and Still, some intrusions are overwhelming. Most Shakespeares- stretch out their sunburnt legs, it can be both a blessing and a in-the-park are based on one stage, but Bardesono’s Macbeth curse for artists. moved around Montreal multiple times; the company never knew what it would face in any given venue. Once, they ended up The nature of the gig performing in a locale perilously close to the Pierre Elliott Trudeau “What I’d like to do with Shakespeare calls for full attention, International Airport. and in a park you’ll never have that,” says Montreal’s Arianna “There were huge airplanes going overhead,” she sighs. “And the Bardesono, who also directed Macbeth last year for the city’s actors’ mikes were picking up signals from the air traffic control tow- Repercussion Theatre company. “But part of me loves it too, ers, which took them out of the play for short periods.” (Microphones, because the audience for these shows is very real. In Montreal, which enable actors to be heard over sirens and wind, are especially they’re drinking beer, they’re talking and commenting on what helpful outdoors. When they aren’t available, actors with extraor- they see; for me this is actually part of it. And you cannot fight it dinary vocal projection are usually favoured in the casting process.) too much, because if you do you’re taking something away from Bright light can be distracting too, in that a northern sun the nature of the gig.” doesn’t set until late in summer. “When you’re inside a dark the- Miles Potter has directed Shakespeare both indoors and out atre, drawing attention to the stage is more easily done,” says – at Stratford, as well as Vancouver’s Bard on the Beach and the Bardesono. In a park, it can be “like watching from a far distant Festival of Classics in Oakville, Ontario. He says theatre tends to screen.” draw people who are serious enough to ignore distractions such Copithorne, whose company contends with an extremely late- as barking dogs and inline skaters; in the end, these don’t matter setting Edmonton sun, says that’s crucial to craft a great begin- to him that much. “Even the simplest of theatre requires some- ning. “It’s really important to make our intentions clear in the thing from the audience that television does not,” Potter says. “If prologue, so we can grab people’s interest right away.”
(L to R) Adrian Shepherd-Gawinski, Nathan Barrett and Attila Clemann as the three witches in Repercussion Theatre’s Macbeth, 2011
10 Equity Quarterly winter 2012 Six Vancouver theatre companies converged on Caravan Farm Theatre’s 80 acres in the Okanagan in 2010 to create Everyone, a contemporary take on the Medieval morality play
A shared sense of humour costumes. Although language can be challenging, much of the Fortunately, artists and audience members alike tend to see the Bard’s canon is already familiar to theatre patrons. humour in distractions. If the ticket price is low, the night is sultry, But he hasn’t colonized the parks entirely. Bardesono, a native and the mosquitoes have retired early, all can generally be for- of Italy, says that commedia dell’arte is to her country what given. “The audience is amazing because in a sense they under- Shakespeare is to ours; it’s a tradition she thinks might work out- stand,” says Bardesono. “They just go with it.” doors here too. Recently, Repercussion Theatre successfully staged an outdoor Molière play, to appeal to French-speaking theatregoers. Marianne Copithorne, who’s inadvertently shared her al fresco And in the interior of British Columbia, Caravan Farm Theatre’s space with not only squirrels, but rabbits, ducks and geese, agrees. Courtenay Dobbie presides over outdoor theatre of an entirely dif- “When wildlife interacts with you onstage, the audience loves that.” ferent kind. Founded in 1978, Caravan productions all take place in Summer theatregoers even forgive rain checks, knowing that a the open air on an 80-acre farm, in winter and on Hallowe’en, as sudden downpour is part of the risk. As a director, “you live by the well as summer. They are most often original Canadian works, rooted Weather Channel,” says Miles Potter. strongly in local experience. Frequently, the plays tackle profound Lightning could be dangerous, though Copithorne says storms social and political issues. But they can be playful too – sleigh rides, sometimes help: she remembers thunder providing a magical back- bluegrass operas, or a “lumber yard Joan of Arc” are some examples. drop to Macbeth’s witches, and to Desdemona’s terror in Othello. “There is no existing stage that we perform on,” says artistic Chancy skies are “something the audience goes through with us,” director Dobbie. “The shows move around the property, and the she says. “There’s something about surviving, thriving and winning audience never knows where they’re going to be. You might be over the weather.” in a forest for one show, and in the middle of a field for another. There are other dangers too. “In Oakville, our set was inspired by It’s a hands-on, hard work, survival kind of theatre.” a beautiful weeping willow tree,” says Potter. “But one night – thank God it wasn’t when the audience was there – that tree gave up the Stretching the limits ghost.” The rest of the run took place around a less-dignified... er, Working outdoors in summer enables Dobbie to stretch the lim- stump. “Well, it had its own statement to make,” Potter says wryly. its of what’s possible theatrically. She usually employs resident With most major centres boasting a festival, Shakespeare easily Clydesdale and quarter-horses in her productions, whether as is the playwright of choice for outdoor productions. His plays are characters or prop conveyors. Okanagan heat can be a problem – free to produce and require little in the way of elaborate sets or “we can’t do matinees, because that would just melt everybody”
winter 2012 Equity Quarterly 11 The special allure of Summer Theatre
Left: John Ullyatt as Iago in Freewill Shakespeare Festival’s 2011 production of Othello, directed by Marianne Copithorne Middle: Paul Hopkins as Macbeth and Anana Rydvald as Lady Macbeth in Repercussion Theatre’s Macbeth, which toured around Montreal to multiple venues – even playing next to an airport Right: Michael Scholar Jr. and Christopher Gaze in The Taming of the Shrew, directed by Miles Potter for Bard on the Beach
– but the luxury of the landscape makes it all worthwhile. “As the plays is thinner than it seems. “I think that any kind of play that director, you’re thinking, how can I use that hill? How can I have works, even if it’s a comedy, works because it contains some essen- that tree light up with a million fireflies? And how can I capitalize tial truth about being human. That’s what makes people laugh, and on the land and the trees and the sky as much as possible?” what makes it popular. So we kind of get a little snobby about shows An excursion to Caravan isn’t an outing, but an event: you that are entertaining, and I don’t think we should.” have to drive there, and plan your day around it. The same can be Plus, the “hijinks and hilarity” shows all harken back to the good said for many other summer theatres, which are located in small old-fashioned summer stock idea – to days when North American towns. That big-event ethos also holds true for urban Fringe fes- barns were re-purposed for comic and musical revues, and town tivals, which invite patrons to sample not one but several plays in playhouses featured eager (if green) actors treading the boards in the course of a day. And it’s perhaps most applicable at Stratford pre-used costumes. The “straw hat” plays produced during this and Shaw, with their plethora of local fine restaurants and hotels. era are thought to have enjoyed a 20th-century heyday, which In the end, the add-ons that enrich summer theatregoing – the ended with the advent of blockbuster movies. But, as theatres from eating, walking, driving, exploring – give it an especially memo- Grand Bend to Grand Bank have proven, the innocent ideals and rable quality. During summer, says Bob Metcalfe, the sheer excite- enthusiastic fans of summer stock live on in Canada today. ment of planning leads to “a kind of emotional and sensory expe- Community may be the most important of these ideals. More rience that leads you there, long before you even see the show.” than at any other time of year, summer offers people the chance But after the planning comes... the relaxation. People are in to really bond as theatre-lovers, whether that be under a shared vacation mode during July and August, and often don’t want umbrella in a park, in line at a festival, or on an expanse of lawn, their theatrical experience to resemble work in any way. Hence laughing together at an errant squirrel. Ontario’s Blyth Festival the stunning popularity of playwright Norm Foster’s zippy situa- produces work that is specifically linked to its Huron County sur- tion comedies, such as The Melville Boys and The Affections of roundings, just as Caravan seeks to reflect local struggles and May, which are regularly produced throughout the country during triumphs in the plays it commissions. In a sense, summer theatre cottage season. Mysteries and musicals also rule a great deal of is comparable not only to summer clothes – but to summer food, small-town summer programming, with titles such as Groovin’ too. It’s organic, fresh, and closer to the land. Through the 60s and Sexy Laundry being fairly typical. “One of the great strengths of summer theatre,” says Miles It’s a good bet that the audience attending these plays won’t Potter, “is it can have a direct relationship with the place where necessarily turn up for Hedda Gabler come February. But Metcalfe it’s being done. So much entertainment isn’t local anymore. Our (who directed a very popular rendition of Sexy Laundry at Festival entertainment lives in the cloud! But theatre is one thing that’s Antigonish) notes that even festivals known for comedies will try never going to exist in the cloud. It’s on the ground, right where and factor at least a little bite into their programming. In any case, you live.” EQ he believes the line between light summer fare and heavier “winter” Cynthia Macdonald is a freelance journalist and arts critic in Toronto.
12 Equity Quarterly winter 2012 thE trials and triBulations oF worKing outsidE
Todd Talbot and Lauren Bowler dance on an outdoor stage in Anything Goes for Vancouver’s Theatre Under the Stars. Choreographer Dayna Tekatch always has a contingency plan to make sure performers are safe dancing in inclement weather
staying cool in a HOt PerFOrMANCe
By mary amBrosE
sitting outsidE on a summer’s evening Performing outdoors makes her conscious of details that never watching a play is romantic, ephemeral, magical and unexpected. arise indoors: How are the actors getting from the dressing rooms Ideas, words, costumes, even spare furnishings, are indoor experi- to the stage? When needed, where are the umbrellas for the ences and when we see them outdoors, their fragility – our fra- actors? Where is the umbrella for the person escorting the actor gility – is exposed. The line between the audience and the stage back and forth to the dressing rooms, and where are the dressing dissolves, reappears and dissolves again. But how magical is it for rooms anyway? the professionals creating the experience? Often the dressing rooms are “tents or draughty old audi- “It’s very pleasant to be outside, but the details are what make torium rooms” near the city’s public performance areas, says it uncomfortable,” admits Ingrid Turk, longtime stage manager Turk. Most were built in the 1960s or before, “so the amenities and current house manager for Vancouver’s Bard on the Beach. are few.” That means not designed to check the hem of your
wintEr 2012 Equity quartErly 13 thE trials oF worKing outsidE
16th-century dress, and full of nasty lighting and inadequate ies will change over the summer, rather than the winter. If they’re mirrors. They may also require propane heaters or generators in sword fighting in leather – a regular occurrence in Shakespeare early summer. In the full heat of the season, this might be where – the loss can be dramatic, says fight director Nicholas Harrison, Turk stashes the ice pops in coolers she keeps so the actors can even if they are very careful to stay hydrated. Conversely he re-hydrate between scenes. admits, others gain weight over the summer because “they find Staying cool(ish) is essential for actors to keep focused and do ways that they can celebrate and unwind” between shows and their best work. It’s also a health issue. Turk’s seen the stage man- often they have two performances a day. Either way, costumers ager and the Equity deputy onstage half an hour before curtain have to be prepared. taking the temperature to ensure the Equity standard that it is The demands on the actors with Shakespeare in the Ruins never more than 30 degrees Celsius, which would mean canceling (SIR) in Winnipeg go beyond costumes. After all, SIR has played the show. Happily Turk’s never had to cancel, but on hot nights Romeo and Juliet on the parkade roof of the Dreman Building
Bob Frazer in Bard on the Beach’s Richard III. Studio stage house (L to R) Robert McLaughlin, Stephen Eric McIntyre and Eric Blais in The Taming of the Shrew, 2008, at Winnipeg’s Shakespeare in the Ruins. manager Ingrid Turk kept ice pops on hand to help cool down “The Globe Theatre didn’t have a roof either,” says artistic co-chair, Michelle Boulet performers in heavy Shakespearian costumes
she’s conscious of trying to keep the actors as comfortable as pos- in the downtown core, As You Like It and King Lear in the sible. Not easy when Shakespeare’s the playwright. Gaboury-Lagemodiere Park in St. Boniface, and now their home is Assiniboine Park. SIR actors have had young boys driving by Dressing for the weather yelling obscenities out the window while they perform, and when In steamy weather women can wear fewer undergarments. Men’s the play moves around the park, people have wandered into costumes are less flexible. When Dean Paul Gibson played Falstaff scenes. at Bard on the Beach, his costume was padded to give him the Michelle Boulet, actor and SIR’s artistic co-chair, loves the chal- weight the character requires, but there were bags sewn into the lenge. “We used to call ourselves warriors of art,” she laughs. She arms of the costume to hold ice packs during hot weather. says that actors working outdoors are “fighting to be heard, to be Performing in many layers of clothes in 30-degree weather, more interesting than the soccer game that’s going on over their some lose a lot of weight. Overall it’s more likely that actors’ bod- shoulder. The stakes are huge and that’s what theatre is all about.”
14 Equity quartErly wintEr 2012 Competing for attention “noticed that trees were down everywhere and part of the roof Competition for the audience’s attention means that actors have to had been ripped off the theatre.” The storm had also taken out fully commit in their gestures, their actions. They have to work with the power. The lighting designer went home, but everyone else – rather than against – the elements. A shift in the wind can render went to a local park. People “drove up their cars and left their actors unheard unless they learn to “use the wind to throw it into headlights on and we did run throughs all night,” he recalls. the audience or adjust their bodies… and just carry on,” says Boulet. After all, “the Globe Theatre didn’t have a roof either.” Staying flexible Outdoors is such a dramatic switch from inside a quiet dark Performers have to be flexible and technical people must care- theatre where “you can hear a candy wrapper,” says Boulet. She fully anticipate potential problems. Lighting designers, “have to doesn’t know which actors it will throw off, “until you’re in the be aware that they are creating two different circumstances,” show.” Some blossom like summer flowers. Ingrid Turk explains. As the sun sets they have to know “where
(L to R) Robert McLaughlin, Stephen Eric McIntyre and Eric Blais in The Taming of the Shrew, 2008, at Winnipeg’s Shakespeare in the Ruins. Shayne Devouges and Brett Watson in “The Globe Theatre didn’t have a roof either,” says artistic co-chair, Michelle Boulet Let’s Be Frank at Theatre Lac Brome
Though she was quite young and had worked mostly in film, darkness falls in the production” and how to light that transi- Kelci Stephenson understood that she had to project without yell- tion – and of course how the position of the sun changes over ing when cast as Cordelia in SIR’s King Lear. Playing outside “you the season. Productions are rarely called because of rain – even need great breath support,” explains Boulet, and that summer in Vancouver – but one year Turk admits, they “had to pause” Stephenson “learnt that she has an amazing voice that can fill a when the actors couldn’t make themselves heard over the racket field.” Working outdoors “drew out a great performance from of a hailstorm crashing onto the tent. her,” Boulet notes. Fight director Harrison works with the director to realize his Even for an experienced actor like Brett Watson, playing an out- vision, but his first concern he says “is always safety.” He doesn’t door venue like Theatre Lac Brome in beautiful, quiet Knowlton, forget what could happen to Bard on the Beach actors “if the deck Quebec, means being ready to roll with whatever comes up. is wet. Or there’s a bird in the tent that swoops down and gets in Driving the main street for a dress rehearsal of Loot, in 1999, he their way while they are exiting.
wintEr 2012 Equity quartErly 15 thE trials oF worKing outsidE
“I have to minimize the a person with memories of risks,” he says, “that’s all I any war seeing actors hold- can do.” ing machine guns in director Dayna Tekatch agrees. As Kathryn Shaw’s All’s Well a choreographer she always That Ends Well, which she has a Plan B. It rained on the set in Nazi Germany for Bard opening night of Anything on the Beach. Or director Goes in Vancouver at Theatre Miles Potter’s version of The Under the Stars last summer. Taming of the Shrew for the While the audience wore pon- same theatre, envisioned as chos provided by the house, a western with shotguns and Tekatch saw 27 performers live gunfire. Harrison warns “in tap shoes on a wet stage” the actors that even if it’s a for the big title number she wooden prop, “treat it like designed which runs six to it’s a real firearm” and never seven minutes. This “defi- nitely present[ed] enormous brandish it outdoors. amounts of risk” she says, but Sometimes the commu- she had a contingency plan. If nity can enjoy summer the- necessary the dancers knew atre without even seeing the they could take the number play. Last summer when Brett farther upstage – where it was Watson appeared in Let’s Be drier – cut certain sections and Frank at Theatre Lac Brome, a if was too slippery, use alter- play about an aspiring singer native lifts. Winnipeg’s Shakespeare in the Ruins performs Twelfth Night at the of Frank Sinatra songs, every- Trappist Monastery Provincial Heritage Park. (L to R) Deborah Patterson, Because of the public nature one in the cast was a musi- Lora Schroeder, Matthew Moreau, Gene Pyrz, Arne MacPherson, Derek of outdoor theatre, fight cho- Aasland, Chris Sigurdson, Michelle Boulet and Csilla Przibislawsky cian. Rather than eating after reography can sometimes be a the show, Watson, who plays safety issue as much for the audience as the cast. A production congas, says they “would just hang out in the field next to the of George F. Walker’s play Zastrozzi, by Victoria’s Theatre SKAM, theatre, get a case of beer, pull out our instruments and start “was set in an alley,” says Harrison, and the production included playing.” Local musicians heard about it and appeared “out of the “a whip fight, crowbar fight, and switchblades.” Harrison knew woods with a fiddle or a guitar,” until some evenings there’d be that he had to visit the police before the show even began. “If 20-25 people in these impromptu jam sessions. “That was pretty you’re in a site-specific play where someone is mugged in the alley, cool,” admits Watson. all it takes is a passerby who is not involved in the show to call While it’s a risk for experienced actors like Watson to tie up 911.” The police in many communities are “stretched to the limit,” the TV production season working in theatre, he commutes from he says, so if an officer has worked back-to-back shifts and arrives Montreal to Lac Brome on the weekends to perform, making it tired and is confused by the scene he walks into, “depending on the actor’s reaction to what happens, it could be really dangerous.” the best of both worlds. He even prefers the summer audiences. They can be more relaxed and attentive. As he says, they’re not Please don’t call the cops “rushing from their jobs, fighting traffic to get to the theatre Harrison says advance notice creates a good relationship with by 8 p.m.,” they’re mostly people who have spent “the day at the police. He says he’ll go in and say, “Tonight there’s going the lake and they’re going to the theatre at night.” They arrive to be a show and there will be a lot of screaming going on and relaxed, wearing their summer finery. “The older guys in white two women are going to fight and one is going to be stabbed.” suits or their long shorts and their long socks… I enjoy it,” he says. (Unspoken: Please don’t send the squad car.) Even with notice, As Ingrid Turk says, “It’s fantastic to be in an outdoor venue sometimes the police call to check. “Just to confirm that I’m telling as evening is falling on a beautiful night, the sun setting. There’s the truth,” he says. nothing like it.” EQ
It makes sense to recheck, since according to Harrison even Mary Ambrose has written about the arts for newspapers and magazines across when people know it’s a play, some still alert the police. Imagine North America and Europe. She lives in Toronto.
16 Equity quartErly wintEr 2012 EQ Backstage Performing while pregnant
You may feel like eating for two when you are preg- nant – but how do you safely exercise for two? There are specific guidelines for the amount of physi- cal activity you can do while protecting the safety and health of your baby, says Dr. Julia Alleyne of Sport CARE, a multidisciplinary clinic that specializes in the area of women and physical activity at the Women’s College Hospital in Toronto. If you are a dancer, your level of activity will fall out- side of those guidelines, so you need to work with your doctor to safely modify the amount of activity you do while pregnant. Even if you are not a dancer, any performer who uses full-body motion on stage – enough to break a sweat – should talk to their doctor about any modifications needed. But generally, for most low-risk pregnancies you shouldn’t take on any new activities in your first tri- mester, and you should exercise no more than 30 to 40 minutes, four to five times per week. The exercise should also be low impact and of moderate intensity. In the second trimester you can increase your amount of exercise and the intensity by about 15%, and in the third trimester you will need to significantly drop down the amount and intensity. Besides physical activity, there are also guidelines for how long you should be sitting or standing on stage. For example, women in their third trimester should limit standing to an hour at a time. Wearing support stockings, sitting more often, and rehearsing on a stool are some suggestions your doctor might give you to modify your performing and rehearsal activities. As for food, you should speak to your doctor to make sure you are getting the appropriate nutrients for your activity level, as well as the appropriate amount of sleep. Sleep is especially important to help ease aches and pains related to performing.
When to stop performing There are no guidelines for how far along you can be in your pregnancy when you should stop performing as it depends on what type of activity you are doing. Some actors perform until their third trimester, while dancers will stop performing by the middle of the second trimester as their centre of gravity changes. “They can still train, but performing becomes more difficult,” says Dr. Alleyne. As for when you can return to performing, it all depends on your level of fitness. “The higher the level of fitness, the easier to recover. But it also depends on the type of delivery and if there were any complications,” Alleyne says. “For a low-risk pregnancy with no complications you could regain your level of fitness in four to five months and return to performing in six to nine months. But that is under ideal conditions, including a healthy baby, ideal baby sleeping habits – and no complications in delivery.” For information on exercising after your baby is born check out the Mothers In Motion website at www.caaws.ca/mothersinmotion. WebMD also has information on exercising before and after giving birth at www.webmd.com/baby.
wintEr 2012 Equity quartErly 17 Fondly Remembered Catherine Colvey 1951 - 2011
By Emma Tibaldo Catherine Colvey in The Flood I met Catherine through Playwrights’ Workshop Montréal and Thereafter by playwright Greg MacArthur. Greg loved having her in the room Sarah Berthiaume, translated by when workshopping his plays. She was the right combination of Nadine Desrochers quirky, generous, and breathtakingly imaginative in her interpre- tations of his work. It was easy to fall in love with her enormous talent, expressive face, and deep intellect. Catherine Colvey’s passion for telling meaningful and difficult stories is why, as director, I approached Catherine to play Grace in Talisman Theatre’s production of The Flood Thereafter by Sarah Berthiaume. The role demanded an actor with breadth, passion, and imagi- nation. Catherine was the actor for the role. Catherine was truly magical on stage. Regal even. She held all the pain of the world in her hands and you could see the traces of sadness on her face. wanted to take on with her in the coming years. That will never I died with her at every performance. happen now, and that leaves me feeling sad and angry. There was We were all shocked when Catherine passed away. Those of so much more of her to see, so many more worlds to explore. I us who got to work with her will always remember her. I still believe she helped move the world forward, towards a clearer feel a great amount of anger when I think of all the other plays I understanding of what it means to be human. She is missed.
Robert (Bob) Clout 1934-2011
By Ron Payne
I first met Bob in 1970 when parts that were and are the bread and butter of the working actor. we both became involved in Nothing ever huge, but enough to satisfy the urge to keep going community theatre in North in the “business.” We even wound up on the same set a few Bay. The following years saw times and even had to audition for the same roles. Along the way, us on stage together with me Bob made many friends in the industry and always had praise and having the pleasure of direct- genuine admiration for his fellow actors. ing him on several occasions. Off the set, Bob was a great sports fan as he had excelled Somewhere in this period, in baseball and basketball in his youth. He was also a constant we both got the idea to traveller of the world. I had the greatest pleasure to accompany throw off the safe and mun- him on one of his many journeys to Thailand, Malaysia, and Bali. dane jobs we were doing Two aging actors in search of adventure! We also enjoyed hunting and take the plunge to act full-time and become “professional.” and fishing with a retinue of friends for all those years. Some of Two older guys, willing to compete with school-trained actors. those trips would have made a great movie… X-rated of course. And what a time we have had! Bob continued to be involved in I lost my friend and the industry lost a comrade on September Equity plays across the province and beyond, both as an actor 4, 2011, after a courageous battle with cancer. He lives on in cel- and director. luloid, through his wife and children, and in our hearts. “Good His many roles in movies, television and commercials saw him night sweet Prince”… and remember, “There are no small actors. play many characters, cameos, and bits – all the standard smaller Only small parts.”
18 Equity Quarterly winter 2012 Alexander Grant 1925 – 2011 by Michael Crabb
Who’d have thought that someone as august as the artistic director of the National Ballet of Canada (from 1976 to 1983) would have a magic way of transforming brussel sprouts into a gourmet dish? But then New Zealand-born Alexander Grant, who passed to that eternally lit dance studio in the sky on September 30, was a master of transformations. He’d already proved that during 30 years as a star of Britain’s Royal Ballet. So why not sprouts, too? (His secret Frank Augustyn, Karen Kain and Alexander Grant in front of the was to steam them briefly and finish them in a sauté pan with a few Bolshoi Theatre (1977) chopped strips of bacon.) And that’s only half the story. On the occasion I was privileged to experience this culinary He must have asked: “Why are you out of breath?” Alexander, trick and while the sprouts were steaming, the radio was tuned to then 52 and with a bad hip, proudly replied: “I just finished a per- CBC Radio – in the days it privileged “serious” music: Stravinsky’s formance of Petrouchka and the music was slower than I’m used Petrouchka, a ballet in which Alexander had been justly acclaimed. to, so I had to sustain the movement longer.” The next question Suddenly he moved a kitchen stool to the centre of the living from a puzzled David must have been something like: “Who saw room and slumped onto it in a rag-doll posture. “Here comes my it?” Casting a glance in my direction, Alexander responded: “A music,” he murmured; and then he was off! rather small audience, I’m afraid. But I think an appreciative one.” I, then a young dance critic who’d asked for an interview and Looking back, the combination of sprouts and Petrouchka been invited to lunch, sat transfixed as Alexander launched into make total sense. Whatever the performance, it is nothing if not the title character’s first solo. Just as he finished an exemplary per- perfectly seasoned. And it takes a great artist to find the ingredi- formance, the phone rang. It was his ballet master, David Scott. ent that transforms routine into something unforgettable.
Bradley Garrick 1969 – 2011
By Michelle Giroux and Graham Abbey
Bradley Paul Boyle Garrick was a dear friend to so many of us in pulpit offer- the Canadian acting community. ing pearls of Our lives first intersected with Bradley (a.k.a. Heapie) nearly a wisdom and decade ago in Stratford. It was love at first laugh and in the years life advice that followed we spent almost every weekend in his company. whether it was It aches not having him here. We miss his height, those giant solicited or green eyes, his rapier wit, his slip-on shoes, his Canadian theatre not. His great- casting updates, his avoidance of the kitchen, his passion for show est achieve- tunes, his 576 phone calls in a row without leaving a message… ment in that time was his marriage to the love of his life, Philip and his humour. Ohhhh, his humour! Being with Bradley was Pace, on a beautiful August afternoon in our living room, remind- heaven. He was the tallest, funniest, smartest, handsomest, kind- ing us all why we are here. Love. Love. Love. est, most generous friend anyone could have. Bradley did not go gently into the night. His star blazed with a His remarkable capacity for love throughout his life gave birth ferocious ember. He was in those last days, hours and moments to a wonderful family of friends and colleagues who circled as he had been through his life – the petulant child, the pas- round him as he moved with such unbelievable dignity and grace sionate lover, the fierce soldier, the wise justice and the lovable through the final weeks of his illness. He accomplished so much in Pantaloon. And then with one final deep inhale he leapt into that time – a pilgrimage to British Columbia, another to Muskoka oblivion. Confident. Fearless. Peaceful. and numerous sessions with loved ones perched atop his bedroom We will miss you, Heapie. Everyday. winter 2012 Equity Quarterly 19 EQ Classifieds
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welcome Agreement negotiations and policies NEW MEMBERS under review in 2012 Atlantic Ian Ronningen The following agreements will be negotiated or policies will be renewed in 2012. Jamie Mac David Ross B.C. / Yukon Morag “Morrie” Negotiations: Pending renewals: Andrew Cownden Sinkins 8 The Canadian Theatre Agreement – 8 The Independent Theatre Sean Cummings Lana Sugarman Jeremy Holmes expires June 24, 2012 – negotiations Agreement – minimum fees expire Hani Zakaria Alexander McMorran commence in February 2012 – June 24, 2012 – policy suggestions Rowan O’Hagan Quebec negotiation suggestions must be must be must be received by Eastern Opera Ben Hatcher received by January 27, 2012. April 1, 2012. Frederic Beaudoin Lydia Zadel 8 Stratford Shakespeare Festival 8 Industrial Shows Policy – expires Clarence Frazer Saskatchewan Addendum to the CTA – expires November 1, 2012 – policy Mark Gough Michael Marino Ireland Cockwill November 30, 2012 – negotiations suggestions must be received by Jessica Strong Thomas J Korinek commence early fall 2012 – September 15, 2012. Christian McQueen negotiation suggestions must be Manitoba / Nunavut 8 Independent Artists Projects Policy Gwendolyn Collins Stephanie Robinson received by July 30, 2012. (Indie) – while this policy expires in Lukas Stahl-Cardinal Derek W. Leenhouts 8 National Arts Centre Special Events November 2012, it will be in effect N Alberta / NWT Southern Alberta Agreement – expires August 31, until such time as a new policy to Robert Markus Tara Blue 2012 – negotiations commence address small scale productions is Ontario Nicola Elson early summer 2012 – negotiation introduced. Emma Burke-Kleinman Melanee Murray suggestions must be received by Caitlin Driscoll Jesse Wheeler May 1, 2012. Cara Gee Riley Gilchrist Stage Management All Equity members are encouraged to contribute to the review and negotiation Vienna Hehir Jessica Stinson Helen Juvonen of these agreements or the revision of these engagement policies. Suggested Western Opera Alessia Lupiano proposals for change or amendment should be sent to [email protected]. Alan Norman Megan Brown Questions regarding the review and negotiation of any agreement or revision Caleb Olivieri Natalie Fagnan of any engagement policy may be forwarded to agreements@ caea.com by email, RJ Parrish Alison Roberts or by phone to 1-800-387-1856 (416-867-9165 in Toronto).
20 Equity Quarterly Winter 2012 EQ Flashback Bringing the community together
The idea for Theatre Ontario actually came from a puppe- teer and educator – George Merton – who was Director of Community Programming for the Ontario Department for theatre practitioners across the province. Some of the many of Education in the late highlights over the past 40 years include the Professional Theatre 1960s. He thought an orga- Training Program (established 1972), the Neil Munro Intern nization was needed to bring together community, educational Directors Project at the Shaw Festival (est. 1988) and the Showcase and professional theatre in the province. of graduating post-secondary theatre students (est. 1995). In 1971, with funding from the Ontario Department of “Our amazing programs have helped to launch successful careers Education, 130 theatre leaders attended a conference at Lake in acting, directing and administration, with a number of our alumni Couchiching and made Merton’s vision a reality with the creation forming the who’s who of the Canadian theatre scene,” says of Theatre Ontario. Executive Director Carol Beauchamp. “As we move into the next Theatre Ontario immediately filled the gap created by the phase of our exciting history, we are engaging with our wonderful demise of the Dominion Drama Festival, and its first employee, members as we co-create meaningful leadership and resources that the late Maggie Bassett, started developing dynamic training pro- are relevant in a rapidly changing theatre scene.” grams for theatre artists. Since then, this not-for-profit association Visit www.theatreontario.org and enter your email in the ‘Stay in Touch with Theatre Ontario’ section to receive the monthly e-newsletter and find out how you has been providing resources, networking, training and advocacy can share your memories as part of the organization’s 40th anniversary retrospective. wintEr 2012 Equity quartErly 21 EQUITY QUARTERLY
RRSP FUNDS ON HOLD LIST FINAL NOTICE ARE YOU ON THIS LIST? Please take a minute to review the names on the list below. Are you on the list or do you know someone on it? The following members have not opened an RRSP and risk losing their money. In accordance with bylaw 66(c), failing to have a valid RRSP account will result in the assignment of the money to the Actors’ Fund of Canada. Members must act quickly to avoid losing unallocated RRSP funds collected in 2010. To open an account contact Colleen Didur, RRSP Administrator, by email to [email protected] or by phone at 1-800-387-1856 (416-867-9165 in Toronto) before February 17, 2012.
Laura Adamo Christina E. Collins Sarah Kitz Margo Regan Evan Tlesla Adams Lauren Collins Mark Lawes Reyneris Reyes Matt Alden Wesley Connor Lester Lee Derek Rice Kate Aldrich Tricia Cooper Kiara Leigh Mike Rigler Chris Alexander Charlotte Corwin David Light Adamo Ruggiero EQ Ryan Allen Abby Creek Clarence Logan Kat Sandler Voluntary Jason Allin Eric Cutler Kayla Lorette Alex R Scott RRSP Contribution Jose Arias Marc-Antoine d’Aragon George Trey Lyford Julia Sedwick Erin Armstrong Lucinda Davis Lorna MacDonald Marc Senior Nina Arsenault Denise DePass Michael MacLean Jeff Seymour Deadline Kaela Aryn Tyler Duncan Ron MacLean Rinat Shaham James Baldwin Rick Duthie Tom Macleay David Shelley Joseph Bascetta Joyce El-Khoury Katie Malloch Tetsuro Shigematsu It is not too late for an Equity member Jeffrey Bate Boerop Eric Fennell Brian Markinson Jimi Shlag to make an RRSP contribution for Pierre Angelo Bayuga Matt Fentiman William Matthews Kris Siddiqi Isaiah Bell Erik Fjeldsted Ken McClure Andre Simoneau deductions from their 2011 income tax. Katie Bennison Waawaate Fobister Jane McLean Kevin Sinclair Elizabeth Bishop Robin Follman Michael McLeod E.B. Smith Michelle Boback Naomi Forman Alexander McMorran Quelemia Sparrow Voluntary RRSP contributions must be Wes Borg Andrew Funk Kent McQuaid Bernard Starlight postmarked on or before Dominique Bourassa Darrel Gamotin Wendy Gail Merk Vera Stephenson Brownes Vasil Garvanliev Chimwemwe Miller Daniel Sutin February 29, 2012. Cheques must Cory Bowles John Gaston John Minagro Leslie Swackhamer be payable to London Life Insurance Barry Bowman William George Gina Morel Dione Taylor Conrad Boyce Jennifer Gibson Jorden Morris Kelsey Ter Kuile Company and mailed to: Heather Braaten Tyler Gledhill Patience Mpumlwana Keith Thomas Group Retirement Services Emma Brager Alan Gordon Annie Murphy Gerald Thompson Christina Broccolini Ian Morris Grant Ron Nash Tazewell Thompson 330 University Avenue James Cade William Greenblatt Jamie Northan David Tomlinson Toronto, ON M5G 1R8 Tony Calabretta Donna Greenidge Blair Northwood Liesl Tommy Esteban Cambre Paul Groves Drew O’Hara Constance Towers Aura Carcueva Fei Guo Brian Ogilvie Kyle Toy Please ensure that your name and Nicholas Carella Thomas Hammons Curtis Olds Thien-Linh Truong certificate number are clearly marked Catharin Carew Kristen Harris Simone Osborne Frank C. Turner Charlie Carrick Kimberly Harvey Christina Parker James Valenti on the front of the cheque. Questions Stephen Cassell Dustin Hiles Dillon Parmer Taz Van Rassel regarding voluntary RRSP contributions Jesse Catibog Diane Hill Michael Paterson Mary Walsh Shannon Chan-Kent Adrian Holmes Donna Peerless David Moses may be directed to Colleen Didur, Yogesh Chotalia Paul Brian Imperial Monice Peter Warburton RRSP Administrator, by email to Ariana Chris Sharon James Gregory Peterson Richard Whittall Andrew Church Paul Jeffrey Rodrigo Pino-Hellman Edward Wiens [email protected] or by phone at Susan Clark Alexander Jozefacki Frank Porretta III Tyrell Witherspoon 1-800-387-1856 Cherise Clarke Zain Kassam Ralph Prosper Bill Wood Guido Cocomello Margot Kidder Sondra Radvanovsky H John Wright (416-867-9165 in Toronto). Steven Cole Nicholas Kilbertus Matthew Raudsepp Antoine Yared
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22 Equity Quarterly winter 2012 EQ is shipped in a biodegradable polybag