Capturing the Ephemeral: a Dancer’S Life Most Dancers Train For10years Beginning a Professional Career That Lasts, on Average, Only 14 Years

EQUITY QUARTERLY FALL 2007

A DANCER’S RESOURCE INTRODUCING ARDEN RYSHPAN EQ WORLD-CLASS OPERA HOUSE Capturing the ephemeral: a dancer’s life Most dancers train for10years beginning a professional career that lasts, on average, only 14 years. Dancers are the lowest paid of all the arts professionals – earning about $18,000 annually – and they face the highest risk of injury: ballet companies report a 67% - 95% annual injury rate among their dancers.

Statistics supplied by Dancer Transition Resource Centre. President’s message

The big news from Council this issue is that, after a comprehensive search process, we have hired a new Executive Director. Arden Ryshpan, formerly of the Directors’ Guild of Canada, will be joining us in early September. Please take a moment to welcome Arden as your paths cross over the next while. Since our Executive Director is responsible for so much of what Equity does, I thought it might be of interest to the membership to know how Council went about making the choice. Thanks to the Internet, it is now possible to cast a truly wide net for skilled candidates at a relatively modest cost. Also, thanks to the Internet, it is very easy for everyone and their pet parakeet to apply. Accordingly, Council hired the executive search firm, Ray and Berndtson, to assist us and we owe them a large debt of thanks for their expertise. To begin with, R&B (catchy, huh?) interviewed each Councillor to find out what he or she felt would be the ideal qualities and skills our new Executive Director should have. They also spoke to outgoing Executive Director Susan Wallace to get her unique perspective on the job. From all this input, R&B synthesised a job brief they could distribute to candidates within their own network of executives and a job description that could be posted on their website for general viewing. Within a few weeks, R&B had received around 100 applications and, from these, compiled a preliminary list of 12 prime candidates. Council’s search committee met to review the applications and whittled them down to five. All of the shortlist candidates were interviewed by the committee. In the end, the committee had the difficult task of choosing a single candidate whom they could recommend unanimously to Council. Although the committee felt that all the shortlist applicants had what it took to do the job, it was Arden’s breadth of experience and clear interest in connecting with a membership and working on their behalf that won the day. And briefly… In the wake of the member survey, let me say a heartfelt “thank you” on behalf of all of Council to everyone who contributed his or her thoughts and ideas and inspiration. The results will shape the future of Equity for years to come. Council leads Equity, but you lead us.

Allan Teichman President

FALL 2007 EQUITY QUARTERLY 1 EQUITY QUARTERLY FALL 2007 EQ VOLUME 1 NUMBER 3

1 PRESIDENT’S MESSAGE 6 A dancer’s 3 NOTES FROM ARDEN RYSHPAN life for me 4 LETTERS TO THE EDITOR 5 EQ MOVES 9 Keeping 12 EQ VOICES dancers aloft 13 EQ BACKSTAGE 14 FONDLY REMEMBERED 10 A theatre for 16 EQ LIVES all seasons 17 EQ CLASSIFIEDS EQ FALL 2007 – Volume 1, Number 3 Coming issue: WINTER 2008 Publications Mail Agreement No. 40038615 EQ is published four times a year by Canadian Actors’ Equity Association. EXECUTIVE EDITOR Lynn McQueen Equity members are encouraged to submit notices of births, marriages, memorial EDITOR Marianne Lepa EQ Equity Quarterly (ISSN 1913-2190) is a forum to communicate to Equity members notices and letters to the editor. Notices and accompanying photos MUST be sent via the activities of the Association and issues of concern to the Association. With the CONTRIBUTING EDITOR Mariellen Ward email ([email protected]) or on disk with accompanying hard copy. Article submissions exception of the editorial staff, the views expressed in solicited or unsolicited articles DESIGN Fresh Art & Design MUST be sent via email ([email protected]) or on disk with accompanying hard copy. are not necessarily the views of the Association. www.freshartdesign.com The copy deadline for submissions is November 9, 2007. EQ reserves the right to DESIGN & LAYOUT Shelly Rowen edit for length, style and content. Subscriptions are available at an annual rate of $35, including GST.

ABOVE: Student Liam Caines dancing in Jorden Morris' Peter Pan at the Royal Winnipeg Ballet COVER AND INSIDE FRONT COVER: For all its beauty, a dancer’s career is short and full of transitions Notes from Arden Ryshpan

Hello to all. This is my first opportunity as your new Executive Director to speak to you. By the time you read this, I will have been in the job for about a month and finally learning where to find things in the office… I am truly delighted to be here at Equity. While my professional experience has primarily been in recorded media, many people don’t know that my father was a theatre actor and director. There is more than one stage manager in this country whose job included keeping an eye on me as a small child at various theatres in Montreal. (Thank goodness, Equity’s agreements now prohibit this practice.) Coming along to rehearsal wasn’t simply day care – it was a place I was very happy to be. I continued the tradition of sitting through rehearsals up until the time my father retired some years ago. While not an Equity member myself, I have been a member in good standing of ACTRA since I was 14 years old, so issues affecting child performers are of particular interest to me. And despite my fondness for films, for me there is still nothing like the anticipation when the house lights go down. In those few moments as the darkness descends, anything – and everything – is possible. When asked why I was interested in this position, I answered (truthfully) that the upside of my position at the Directors’ Guild of Canada was that I was no longer arguing with engagers about the day-to-day working conditions of my members, but that the downside of my position there was that I was no longer arguing with engagers about the day-to-day working conditions of my members. I am looking forward to being much more hands-on again. To that end, I encourage you to call me, email me, or, if you are in the Toronto area, drop by and stick your head in my door and talk to me about, well…about whatever you want. I have all the time in the world to listen to what you have to say and I expect to hit the road pretty quickly, inviting myself to your upcoming meetings. Already on my agenda is our annual International Federation of Actors (FIA) Executive meeting in Quebec City this year. We have a Council meeting at the end of October in Halifax, which will be my chance to put faces to what, until now, have been just voices on the phone. And we have new federal ministers of Heritage and Industry – the two people who hold the purse strings that keep so many of us working. It is essential that we work with our colleagues in other organizations to ensure that the new ministers understand our needs and create policies that actively encourage the support and growth of live performance across the country. Again, I am delighted to be here at Equity and I will do my best to live up to the faith you have placed in me to look after your interests.

Arden R. Ryshpan Executive Director

FALL 2007 EQUITY QUARTERLY 3 Letters to the editor

I have recently logged into Equity’s web- Members seeking to invoke individual LETTERS on subjects of concern to Equity members will site to check out the Association’s Personal limits on the personal information that be considered for publication. The editor reserves the right to limit letters and to select one or two representative letters Information Policy and the corresponding may be disclosed by the Association must when many similar letters are received. Letters must be signed, new privacy options. This is an excellent log on to the MEMBERS ONLY zone but names will be withheld on request for those letters that may affect members’ employment. solution to a complex problem. of EQUITYONLINE (www.caea.com). Signatures will not be withheld on letters that are antagonistic I am pleased that Members already logged or accusatory, either implied or expressed, against other members. Opinions expressed in Letters to the Editor are not nec- determining the level of on to EQUITYONLINE essarily those of Canadian Actors’ Equity Association. Letters that include artistic criticism of Equity members may be with- contact is in the hands of need simply to follow held or edited at the discretion of the editor. the members and I am the prompts to “Privacy PHOTO CREDITS: relieved that the Council Settings” and identify Cover and inside front cover: Mike Grandmaison, www.grandmaison.mb.ca Policy Advisory Groups which level of contact Contents page: Liam Caines in Peter Pan, Bruce Monk (CPAGs) will now will information distribution Page 6: Photo of Leigh Allardyce, Charles Hope Page 7: Photos of Tara Cheyenne Friedenberg as Juanita and now be able to access to authorize. Nick, Chris Morris. Photo of Tara as Rockout, Chris Randle membership tele-phone New EQUITYONLINE Page 8: Photo of Liam Caines with Katherine McDonald, Bruce Monk lists for their region. I am registrants must know Page 9: Photo courtesy of Diana Cartwright Page 10, 11: Photos of the Four Seasons Centre for the also glad that members their member number Performing Arts, Courtesy of the Canadian Opera Company have the right to ask not and must have a valid Page 13: Photo courtesy of the Artists’ Health Centre Foundation to be contacted. email address already Page 14: Photo of William Hutt, Courtesy of the Direct contact is the on file with Equity to Stratford Festival Page 15: Photo of Ed Mirvish, Courtesy of Mirvish Productions starting point for dia- activate access to the PRODUCTION CREDITS PAGE 5: logue and interaction between the Associ- site. Follow the link to the Members Photo credit: Cylla Von Tiedemann ation’s elected body and its membership. It Only zone. Log in using your member Production credit: We Will Rock You Produced by David and Ed Mirvish and The Kimsa Group, in can have an explosive effect on attendance number (listed on the front of our mem- association with Queen Theatrical Productions, Phil McIntyre Entertainment and Tribeca Theatrical Productions at regional meetings. bership cards, invoices and receipts) and With the music of Queen, written by Ben Elton The CPAGs must use their member lists click the TEMPORARY PASSWORD but- Director: Andrew Pole, Choreographer: Lisa O'Dea Production Stage Manager: The John Gray responsibly. The Equity membership doesn’t ton. A temporary password will be mailed Production Stage Manager: Darragh Jane Parsons need hourly updates on our efforts and to your email address on file. Stage Manager: Mike Deschambeault Assistant Stage Manager: Crystal Skinner they’d probably get upset if I start calling If you do not have an active email Apprentice Stage Manager: Kathleen Harrison Cast: Matthew Alfano, Breanne Arrigo, Danny Balkwill, about the little show I’m doing, or to vote address on file or require assistance, Jewelle Blackman, Adam Bolton, Nicole Bourgeois, Alana for me in the next election. However, infor- please call Equity’s National Office Bridgewater, Evan Buliung, Jordan Cable, Lindsay Croxall, Peter Deiwick, Kelly-Ann Evans, Kelly Fletcher, Tracey Flye, mation about the time, place and agenda Monday through Friday between 9 a.m. Brittany Gray, Deidrea Halley, Bryan Hindle, Sterling Jarvis, of the regional AGM or all-candidates and 5 p.m. EST at 1-800-387-1856 (or Jack Langedijk, Melanie McInenly, Suzie McNeil, Lindsay Owen Pierre, Erica Peck, Yvan Pedneault, A.N. Jesse Robb, meeting hardly constitutes an invasion of a 416-867-9165 in Toronto only). Talia Schlanger, Jason Sermonia, Sherisse Springer, Valerie Stanois, Sam Strasfeld, Darren Voros, Scott Walters, Jesse member’s privacy. Weafer, Gabe Wolensky – Executive Editor PRODUCTION CREDITS PAGE 10: Sincerely, Photo credit: Michael Cooper Geoff McBride Production credit: Elektra Conductor: Richard Bradshaw Atlantic CPAG member Director: Thomas de Mallet Burgess Choreographer: Sue Mythen Assistant Stage Director: Graham Cozzubbo An active letters section can offer a forum for discussion of performing arts issues. This is your page and EQ encourages our readers Stage Manager: Stephanie Marrs to make use of this space for comments on articles from the magazine or issues that affect you as an Equity member. Assistant Stage Managers: Michael Lewandowski and Kristin McCollum NATIONAL OFFICE Performing company: Betty Waynne Allison, Susan Bullock, 44 Victoria Street, 12th Floor, Toronto, ON, M5C 3C4 Alain Coulombe, Melinda Delorme, Virginia Hatfield, Joni Phone: 416-867-9165 | Fax: 416-867-9246 | Toll-free: 1-800-387-1856 (members only) Henson, Miriam Khalil, John Mac Master, Stephen McClare, [email protected] | www.caea.com Alwyn Mellor, Ewa Podle´s, Roxanne Rowedder, Lauren WESTERN OFFICE Segal, Andrew Stewart, Daniel Sutin, Alan Woodrow and 505 - 321 Water Street, Vancouver, BC, V6B 1B8 members of the Canadian Opera Company chorus Phone: 604-682-6173 | Fax: 604-682-6174 | Toll-free: 1-877-682-6173 (members only) [email protected]

4 EQUITY QUARTERLY FALL 2007 EQ Moves Performing arts people are going places

The Performing Arts Lodge of Vancouver, a $20 million, 111-unit, mixed-income housing complex for seniors and disabled people in the professional performing arts, was officially opened in Vancouver’s Coal Harbour on July 9, 2007. The complex is already fully occupied.

Richard Monette will resign his position as Artistic Director of the Stratford Festival at the end of the 2007 season. General Director Antoni Cimolino will work alongside an artistic director team consisting of Marti Maraden, Des McAnuff and Don Shipley, starting with the 2008 Stratford season.

Life Member Gordon Pinsent and Catherine O’Hara were among the honourees inducted to Canada’s Walk of Fame in June.

Paula Danckert has accepted the newly created position of Company Dramaturg and Artistic Associate of the National Arts Centre English Theatre in Ottawa. Equity member Emma Tibaldo succeeds her as Artistic and Executive Director of Playwrights’ Workshop Montréal.

Centaur Theatre Company (Montreal) has announced the appointment of Equity member Roy Surette as the third Artistic and Exec- utive Director in the theatre’s 39-year history. He leaves his current position as Artistic Director of the Belfry Theatre (Victoria) and moves eastward to take up the post in November of 2007.

Jenny Munday, Artistic Director of the Playwrights’ Atlantic Resource Centre, was recently presented with the inaugural Suzie McNeil and Sterling Jarvis in We Will Rock You, a Dora Award Mallory Gilbert Leadership Award celebrating significant and winner for best musical valuable leadership within the Canadian Theatre community. She shares her award with playwright Natasha MacLellan. Alberta Theatre Projects has announced the appointment of Greg Richard Hardacre has been re-elected to a second term as Epton as Managing Director of Alberta Theatre Projects, succeeding national president of ACTRA, following a vote by the union’s gov- Gie Roberts. Mr. Epton assumes his new duties on November 1. erning council. He will serve another two-year term. Michele Frazer has joined the staff of Equity’s Western Office as Mary Pat Mombourquette was recently appointed as the Artis- Western Administrative Assistant. She comes to the Association tic Producer of Equity Showcase Theatre (Toronto), replacing with a background in production and stage management. Executive Director Sharon Poitras who has returned to her Equity members have celebrated the 2006-2007 per- native Manitoba. formance season with award ceremonies from coast to Playwright and director Judith Thompson was the winner of the coast. A complete list of Betty Mitchell Award (Calgary), $50,000 Walter Carsen Prize for Excellence in the Performing Dora Mavor Moore Award (Toronto), Elizabeth Sterling Arts. The prize, administered by the Canada Council, is named Haynes Award (Edmonton), Jessie Award (Vancouver) after Toronto businessman Walter Carsen, in recognition of and Les Masques (Montreal) nominees and winners is achievement by Canadian artists in theatre, music and dance. available online at www.caea.com.

FALL 2007 EQUITY QUARTERLY 5 ADANCER’S BY MARIELLEN WARD

A career in dance “ is passionate, exquisitely beautiful, physically brutal and ephemeral. – AMANDA HANCOX, ” DANCER TRANSITION RESOURCE CENTRE

Professional dancers in Canada train long, work hard, earn little and take physical risks on a daily basis – risks that could result in injuries that can sideline, or even end, a career. A dancer’s life re- quires a great deal of motivation, discipline and tenacity. They are tested at every stage – from a rigorous and competitive training period; through the grind of auditioning, rehearsing, touring and performing; to facing the inevitable transition from dancing professionally to finding a new career. And, sometimes, all of this occurs before the dancer turns 30. Right from the beginning of their careers, dancers face the inevitability of retirement – and the potential for finding post-dance career satis- faction. EQ talks to four who chose this passionate, but difficult, career path. Beginning with one who has found peace and success in retirement, through two who are challenging themselves to make the most of their years on stage, to a student just stepping into a professional career, we try to capture this most ephermeral life.

6 EQUITY QUARTERLY FALL 2007 LIFE FOR ME

Left: At mid-career, Leigh Allardyce is most concerned with the artistry of her work

Above: Tara Cheyenne Friedenberg creates her own characters as an independent dancer

The last dance: Diana Cartwright She knew she was on the right track when she realized she was “You don’t choose a career in dance, you do it because you have to,” more interested in her course homework than in performing. “I was says former dancer Diana Cartwright. Diana danced professionally lucky,” she reflects. “I danced enough. I got it out of my system. for 10 years before going back to school, at age 27, to get a BA in I didn’t have to leave because of an injury.” Environmental Resource Studies from University of Waterloo. She And though she loved dancing, in her second career she has dis- is now a senior policy advisor with Environment Canada in Ottawa. covered that she loves exploring new ideas, feeling that she is helping She trained as a dancer with several schools and teachers, including make the world a better place and having more control over her career. the Royal Winnipeg Ballet School. She spent most of her professional “In dance, there is some arbitrariness about whether you work – you life as a freelancer, performing across Canada as a dancer, actor and singer. might simply not be the right height.” Diana performed in musical theatre productions, at Stratford Festival Now, she takes a dance class once a week and simply enjoys the move- and in children’s theatre before hanging up her shoes to go back to school. ment. “The hardest thing about my job is having to sit at the computer.” Diana found it challenging to transition from having a “glam- orous” career as a dancer to being a “mere student,” one of thousands. The sweet spot: Leigh Allardyce “It was a weird identity issue,” she recalls. But, she loves her work as Leigh Allardyce, 27, is a ballet dancer in her fourth season with the Alberta a policy advisor as much as she loved dancing – and feels that is the Ballet, and in her ninth year as a professional dancer. “I’m just coming to key to her successful transition. terms with being in mid-career,” she says. “I know the ins and outs, “The similarity between my careers is that I have a passion for I know how to approach rehearsals and, most of all, I know my body.” both,” she says, so Diana began planning her career change with the Leigh says her experience and years in the profession have also help of the Dancers Resource Transition Centre and by taking given her the chance to understand and develop artistry. “The creation courses. A correspondence course in environmental studies grabbed process has become more enjoyable for me, I feel more freedom. It’s her interest and the slow process of shifting careers began. now less about pleasing others and more about pleasing me.”

FALL 2007 EQUITY QUARTERLY 7 In 2006, Tara was invited to become the new artistic director of DanStaBat Performance Society, which she renamed Tara Cheyenne Performance. After years of being an unaffiliated, independent dancer – “doing my weird little solos”– transitioning to company director was a big move. “A dancer’s life is almost all a series of transitions,” she says. This one has catapulted Tara into a bigger league. She has a manager, access to more funding, performances at bigger festivals and more visibility. What’s it like? “Scary,” she says. “Oh, crap, every- body’s looking!” Jokes aside, Tara’s ready. “The acknowledgement from the community has given me confidence,” she says. “I feel like I just got a bit more wind in my sails. I’ve paid my dues, and now I’m getting the support I need.” Despite her age and years of performance experience, Tara has managed to maintain a beginner’s mindset. “I never want to feel I’ve figured it out. Art-making is responding to changes in life. “I know my strengths, I don’t worry anymore about making a fool of myself. I feel I’m just starting to get it, and I’m so excited. There’s so much to do!”

The first step: Liam Caines Liam Caines, 20, joined the Royal Winnipeg Ballet (RWB) as an apprentice for the 2007/2008 season just about a week before EQ spoke to him in early August. “When I was offered the contract, I was a bit surprised, but mostly I felt joy,” he says. Liam Caines left his family in Saint John to pursue a ballet career Originally from New Brunswick, Liam began dancing at the age of eight and, as far as he knows, was the only young man in the Leigh says it was only in the last couple of years that she realized greater Saint John area interested in classical ballet. what dancing is ultimately all about: “Dancing is not so much about “It was difficult,” Liam concedes. “Very few had walked the road technical proficiency, being able to do a pirouette; it’s about what before me. There was no one to look up to.” Liam’s love of perform- you bring to the stage, how you tell a story through movement. ing, and the strength of his community, including his family, kept “I also gauge my performances differently. It’s not about how well him going. In 2003, he was accepted into the RWB School Profes- I performed my technical maneuvers; it’s whether I felt moments of sional Division and in December 2006, made his professional dance connectivity with the audience.” debut as a pirate in the RWB’s Peter Pan. When interviewed for EQ, Leigh had just ended an eight-month Though moving far from his family at 16 and moving from student hiatus from dancing, due to an injury which offered her some time to professional wasn’t easy, Liam loves being part of a company. “Every to reflect on her career and realize how much being a dancer means day I’m surrounded by a group of people who, together, have accumu- to her. “I’m really enjoying the place I’m in,” she says. “Dancing just lated this huge amount of knowledge and are willing to share it with keeps getting better and it just keeps getting sweeter.” me,” he marvels. “I’m excited to have the chance to learn, and nervous I won’t be able to live up to expectations. I worry I’ll let the team down.” Creative Control: Tara Cheyenne Friedenberg As he takes his first professional steps, Liam is concerned with Tara Cheyenne Friedenberg, 35, started dancing at age three, was absorbing all the information he can, remembering all the moves choreographing by age 11 and studied dance and theatre at the univer- and performing well. “I think I’ll have a lot of opportunities to prove sity level. Over the past 15 years, she has created highly physical, myself to both the audience and the company – and hopefully, I’ll character-driven, dance-theatre solo works that blend movement and make the most of it.” text, and performed in festivals and theatres across Canada, as well as Casting for the upcoming season was still tentative at the time of in the U.S. and Europe. But it’s only in the past year that the Vancouver- our interview, but “my Mom already has her plane ticket to come based dancer has begun to feel “official.” out and see me perform.”

8 EQUITY QUARTERLY FALL 2007 Keeping dancers

aloft Dancer Transition Resource Centre provides graceful support

Amanda Hancox, executive director of the Dancer Transition Resource Centre (DTRC), remembers graduating from dance school in 1971: “The doors opened and out we went.” Back then, there was little preparation for dancers as they entered the professional phase of their careers; and just as little support when they left. But in Canada, at least, all that changed in 1985 when Joysanne Sidimus, former principal dancer with the National Ballet of Canada, founded the DTRC. For the past 22 years, the DTRC has been helping dancers make transitions throughout all stages of their careers. The DTRC is a membership-based, national organization, with offices in Toronto, Montreal and Vancouver and regional representatives throughout the country. It provides Canadian dancers with retraining and subsistence grants; awards and bursaries; professional development workshops, clinics and seminars; and a full range of academic, career, financial, legal and personal counselling referral services. One of the organization’s mainstay programs is the annual on the MOVE/danse TRANSIT conference, which helps graduating students prepare for the realities of life as a professional dancer. Amanda knows first-hand the challenges dancers face – she worked as a dancer and actor for 25 years before joining the DTRC as director of administration in 2002. In 2005, she was appointed executive director, succeeding Joysanne. Amanda is genuinely inspired by the many dancers she has seen move gracefully into other fields when they come to the end of their professional dance careers – such as medicine, law, teaching, nursing and television production. “A lot of the work we do is to plant career transition seeds,” Amanada says. “We help dancers realize their transferable skills. Dancers know how to work hard and set goals. They are dedi- cated, creative and energetic people, who excel at anything they set their minds to. Amanda’s advice to dancers is to stay open to life’s experi- ences outside of the field and to keep learning. “We want dancers to know that you can finish a dance career and, with With the help of DTRC, Diana Cartwright has found personal peace and support, the world is your oyster.” career success after retiring from the stage

FALL 2007 EQUITY QUARTERLY 9 A theatre for all The Four Seasons Centre for the Performing Arts opened a year ago in Toronto to glorious

Above: Susan Bullock as the title character in the Canadian Opera Company's inaugural season production of Elektra

Top right: The elegant exterior design lights up downtown Toronto. Lower left: The longest free-spanning glass staircase in the world passes by an aerial ampitheatre. Lower right: The 2,043-seat European-style auditorium is considered one of the finest in the world

On June 14, 2006, the Four Seasons Centre for the Performing Arts season was marred by the sudden death of the man who had devoted opened in downtown Toronto with a gala concert featuring the much of his career to seeing it come into being. Canadian Opera Company (COC) Orchestra and Chorus, lead by “The new opera house has been universally acclaimed as one of COC General Director Richard Bradshaw, and starring tenor Ben the finest theatres anywhere in which to listen to opera,” Richard Heppner, among many other special guest performers. More than Bradshaw said in a press release at the time of its opening. “And our 2,000 people attended the concert, while another 3,000 watched it orchestra and chorus continue to astound as they explore the extraor- on a large screen as it was simulcast live outside Toronto City Hall. dinary acoustics of the new house.” Over 30 years in the planning, the Four Seasons Centre – Canada’s Bradshaw, who died suddenly August 15, 2007, is credited with only purpose-built opera house – opened to a glorious reception, and being the driving force behind the magnificent venue. Described as critical acclaim, from performers and audiences alike. The inaugural a “visionary leader”, Bradshaw spent three decades cajoling bureau- concert was a roaring success and so was the Four Seasons Centre’s crats, funders and donors to build a world-class opera house in first year of operation. Sadly, the beginning of the Centre’s second downtown Toronto.

10 EQUITY QUARTERLY FALL 2007 seasons acclaim – and welcome relief from audiences who have waited 30 years

Award-winning Toronto-based firm Diamond and Schmitt Architects Inc. designed the building with acoustics and sightlines to showcase the full glory and range of opera. The Four Seasons Centre is the permanent home of the COC and the National Ballet of Canada. “The National Ballet of Canada’s first full season at the beautiful new Four Seasons Centre for the Performing Arts was truly a tri- umph,” says Kevin Garland, Executive Director of the NBC. “Dancers, musicians and stage management all found the new theatre a joy to work in, with the intimacy that makes performance emotionally satisfying for audience and artists, the glorious acoustic quality, and the efficiency and spaciousness of the back of house. The company’s repertoire, whether classic or contemporary, has never looked so beautiful.”

THE FOUR SEASONS CENTRE FEATURES MANY ARCHITECTURAL AND PERFORMANCE HIGHLIGHTS: • TO ISOLATE THE CONCERT HALL FROM EXTERNAL NOISE, IT IS BUILT AS AN ENTIRELY SEPARATE STRUCTURE WITHIN THE BUILDING • FULL REAR AND SIDE STAGES ALLOW THREE FULL PRODUCTIONS TO BE SIMULTANEOUSLY PLAYING IN REPERTORY • AN ORCHESTRA PIT ACCOMMODATES 75 MUSICIANS AND CAN BE EXTENDED TO ACCOMMODATE UP TO 110 MUSICIANS • AN AERIAL AMPHITHEATRE WITH ABOUT 150 SEATS, FOR LUNCHTIME AND EARLY-EVENING CONCERTS • A GLASS FAÇADE CUSTOM-DESIGNED IN GERMANY, AND THE LONGEST FREE-SPANNING GLASS STAIRCASE IN THE WORLD.

FALL 2007 EQUITY QUARTERLY 11 EQ Voices A column about diversity and our membership

BRENDA KAMINO Member-at-large

I’m thinking of an Aboriginal once they have passed 35? Are the 65-year-olds still as active actress between 50 and 60 as those who haven’t reached 40? And why do older male with long hair (dark with grey actors get matched with women 10 or more years younger streaks) a moon-shaped face instead of women their own age? and a voice like whiskey. I’m Why is it that the perception of women as they age is so thinking about another actress different from the perception of men and why is this attitude between 55 and 65 who is tall, perpetuated on our stages? fair and willowy with a temper- There are many women approaching the age of this disen- ment that could calm you at franchisement, as the first of the theatre artists from the baby 100 feet; a third actress be- boom generation reaches retirement age. And, while roles for tween 55 and 65 with a large women are lately becoming more plentiful – due to some personality and physique and wonderful Canadian playwrights – it is plain to see that we fantastic brown skin who can- imminently face a large number of unemployed and under- not sneak into a room. And a fourth actress, 80, feisty, white- employed older female actors. haired, opinionated and funny as all get out. Which brings me to this: actors of colour; my first disenfran- What springs to mind? chised group; women of colour, my disenfranchised sub-group; Do you think accomplished actresses, great role models, women of colour in their middle age years to seniors years, my fabulous talent, terrific experience? Or, do you wonder when disenfranchised sub-sub group – the final indignity. Look at the was the last time you saw these women on stage and if these publicly funded stages, the Canadian casts, and note the fabulous women are working to their capacity after coming into what is euphemistically known as the “interesting age” for female actors? Why is it that the perception It seems for a female actor, a career changes more drastically than for her male counterpart. of women as they age is so different There is no correlation between her ability and her age, and yet a male actor will more likely from“ the perception of men and continue to experience a fulfilling career well into late middle age and even in his senior years. why is this attitude perpetuated on Think, now, about two actresses you know who are approximately the same age – let’s say our stages? somewhere between 50 and 65. One has striven mightily and succeeded in keeping her appearance so she can pass for 40. The other, not so tenacious, number of ”women over 40 and then look for women of colour looks fully her years, sometimes proud of the wrinkles, some- over 40. times not. So how do we fix it? Non-traditional casting was created to Do you notice a significant difference in the nature of their help correct the inequities in casting on stage. But how do we careers? Does the younger-looking one portray more vital roles address such a societal perception of age in women and prevent – more youthful or challenging? Is the older-looking actress its perpetuation on our stages? relegated to “crones”, grannies, great-aunts or strictly non- We, as a theatre community, should be leaders in pro-active romantic roles? Is she working at all? thinking. We need to raise the bar on participation. As I have Now look at the male actors. Does it matter how old they are said many times, I trust the membership to take up the gauntlet.

12 EQUITY QUARTERLY FALL 2007 EQ Backstage No pain, big gain: preventing injuries

BY CHRISTINE ARDAGH

In 1975, a study published in The Journal of Sports Medicine assessed 61 different activities and determined that ballet was the most physically demanding of them all (no surprise to any professional dancer!), followed by bullfighting and football. What this means to dancers is that preventing and reducing injury is a primary and constant concern. Current research tells us that between 23% and 84% of dancers report having been injured each year, and up to 90% of professional dancers experience recurrent musculoskeletal pain. What can you do to help prevent injuries from happening in the first place? Physiotherapist Ginette Hamel recommends a comprehensive approach and suggests not only working with strictly physical issues by warming up and cooling down properly, stretching and strengthening muscles and connective tissues, but also learning to deal with stress through relaxation and meditation techniques, and educating yourself about your anatomy and how the different parts of your body are used in dance movement. A healthy, balanced diet, and plenty of sleep and fresh air will create a stronger, more flexible physique less likely to be injured and more likely to heal quickly when injuries do occur. See a trained healthcare professional regularly to assess areas of risk or weakness and set up some preventative strategies for self-care. Find out about the environment you are working in (for example, raked stages, outdoor sites, warm or cool temperatures) and educate yourself about any accommodations needed in order to work safely in those places. What should you do if you are injured? There are two kinds of injury: Acute injuries happen suddenly and are the result of an impact collision or twist. Overuse injuries are those that happen over time and are the result of repetitive movements or overuse of the wrong muscles. Ginette recommends standard R.I.C.E. protocol. This stands for Rest (which can be simply resting the injured body part rather than complete rest), apply Ice (wrapped in a towel), Compress the injury site using a bandage, and Elevate. After 48 hours, moist heat (hot water bottles) can be used, and contrast baths. For a contrast bath, immerse the injured area first for three minutes in hot water, then for one minute in ice water. Go back and forth between the hot and the cold for 16 minutes, finishing with the hot. While you are in the hot water you can do gentle range- of-motion exercises. The inflammation response that occurs after injury is a normal part of the healing process, but it is important to be seen by a healthcare professional to ensure that there is no serious injury or permanent damage and set up exercises and strategies that enhance and speed up the healing process. These are just a few of the many resources and ideas available to help you become healthy and injury free. Work in partnership with your healthcare professional to educate yourself about the best strategies and techniques to ensure a long and rewarding career.

Above: Ginette Hamel demonstrating safe movement at the Artists’ Health Centre Foundation

Christine Ardagh is Executive Director of the Artists’ Health Centre Foundation (www.ahcf.ca), which helps fund programs and services at the Al & Malka Green Artists’ Health Centre, Toronto Western Hospital.

FALL 2007 EQUITY QUARTERLY 13 Fondly Remembered

Remembering William Hutt 1920 - 2007 By Richard Monette

He was a titan of the arts in Canada, my dear friend and mentor for many years, and arguably one of the greatest Shake- spearean actors of our time. William Hutt, whose career spanned nearly 60 years, including 39 seasons at the Strat- ford Festival, where he was a member of the inaugural company in 1953, left us peacefully in the early morning of June 27. I still cannot quite believe that such a towering presence could have melted into air, into thin air. In his last days, Bill told me that he intended his tombstone to read “William Hutt: Soldier – Actor.” It may seem a curious epitaph, but Bill had been a soldier, serving with a medical unit dur- ing the Second World War, and had been decorated for his bravery under fire. Decades later, he recalled that the wartime experience of seeing the ground “strewn with young blood” had taught him “the inestimable value of the human soul.” It was that value that he sought to affirm in his work as an artist. Nature had given him a voice as beautiful as it was effortlessly powerful – “When I was 13, my voice changed, and it settled perfectly,” and his remarkable ability to find humour in even the most he told me when I asked him how he had acquired such a won- tragic of roles. derful instrument – and to that he added the keen intelligence Those of us who were fortunate enough to be touched by and flawless technique that enabled him to penetrate to the Bill’s art, his personality and his mentorship have been truly heart of a character and to illuminate with stunning clarity the blessed. He was a national treasure. To borrow Hamlet’s words, meaning of a line. When I asked him what he considered the we shall not look upon his like again. most important element of the art of acting, he replied: “Truth. The Stratford Festival will be holding a tribute for William Hutt And the sooner you learn to fake that, the better.” Whether on Sunday, October 28, 10:30 a.m. in the Festival auditorium. he was playing kings or clowns, that achievement of truth by Richard Monette is the Artistic Director of the Stratford Festival means of meticulous artistry was always Bill’s hallmark – that, of Canada.

14 EQUITY QUARTERLY FALL 2007 The Art Heart of Ed Mirvish 1914 - 2007 By Gale Zoë Garnett

Ed Mirvish. Honest Ed. Sir Edwin Mirvish. Which- ever name you use, you are speaking of a one-off. An original. A remarkable man whose passing on July 11, 2007 left his city, his country and the world theatre community without the merchant- magician who was one of our best and most generous advocates and allies. One of Ed Mirvish’s great works of art is Honest Ed’s, Toronto’s enormous “everything store” where one can find…well, everything, for prices most everyone can afford. I continue to rely on Honest Ed’s (or “Chez Edwin”, as a designer friend calls it) for everything from tea towels to teakettles. H.E’s is also a resource for our diverse popula- tion. The immigrant boy within the adult Ed Mirvish endeavoured to provide all who emi- grated to Canada with the staple foods of their roots-culture in his emporium. And on the stages of his theatres. He brought First Nations and African-Canadian plays to subscribers at The Royal Alex. And when Quebec composer Luc Plamondon’s musical version of The Hunchback of Notre Dame opened in The Princess of Wales theatre, franco- Ontarians filled the house with joy at being, finally, represented on a mainstream Toronto stage. Hard work and a talent for innovation made Ed Mirvish a rich man. His artist-wife Anne opened his eyes, heart Honest Ed’s in front of the word “art”, you get heart. And that’s and mind to art and artists. Theatres, galleries and bookshops what we got, for years, from Ed Mirvish. And continue to thrive because Ed Mirvish chose to fuse real estate with culture. receive in legacy. A great art heart. Between them they passed this combined passion to son David, There are those who can only advocate by pushing a labour who continues the tradition. versus management approach. But Ed Mirvish consistently In 1994, as an officer of Equity, I presented an Honorary sought mutually beneficial solutions. He knew that we did our Membership in Equity to “The Mirvi” (father Ed and son David). best when we did something together. The mortal Ed Mirvish is I had no written speech. I knew then why I loved and respected gone, but he lives always through what he has given us. Long these two men. And I know now. If you put the initials for Live Honest Ed Mirvish.

FALL 2007 EQUITY QUARTERLY 15 EQ Lives First comes love, then comes marriage...

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1. Equity Member Connie Hosie and her husband Grayson Hosie are pleased to announce the birth of their son Logan Jonathan Alistair Hosie. The smiling baby boy was born on Monday, May 21, 2007 at 2:48 am in Burnaby, British Columbia, weighing 7 lbs 2 oz and measuring 21.5 inches long. Mother and baby are happy at home together awaiting their next opera with Pacific Opera Victoria in September.

2. Stage Manager Carolina Avaria recently married french chef Masayuki Tamaru and gave birth to a very smoochable Josephine Shinobu Tamaru on May 17, 2007.

3. Equity members Kelly Straughan and Christian Bellsmith are pleased to announce the arrival of their son Lucas William Bellsmith on June 19, 2007 weighing 7lbs 4oz.

4. Equity members Leslie Kay and Christopher Alan Gray were married on a perfect day in Burlington, Ontario, June 10, 2006. And recently on May 4 17, 2007, they were blessed with a beautiful baby boy named Cameron weighing 8 lbs 12oz.

5. Equity member Kiara Leigh wed Byron Middleton in a beautiful ceremony in Surrey, British Columbia on September 2, 2006. They are excitedly awaiting the arrival of their baby girl due August 2007... just shy of their one year anniversary!

6. Equity members Jessica Greenberg and Mark McGrinder were married on June 3, 2007 at Toronto’s historic Palais Royale, in the presence of family and friends. 5 6

16 EQUITY QUARTERLY FALL 2007 EQ Classifieds

TAMBRI TAX JOY OF DANCE STUDIO What actor doesn’t FRIENDLY COACHING WITH BARBARA Ooops! Miss the income tax deadline? need a flexible second job? Why not become GORDON will help you choose a monologue Missed a few? We know how that kind of a Ballroom Dance Teacher? The Joy of Dance or gear up for an audition. With 30 years of thing can weigh on your mind, drag you Studio at Broadview and Danforth is now experience in theatres across Canada, film down, and drain your creative energy. We’ve offering the first professional teachers training and television. Barbara can lend an impartial served the arts and entertainment community, program in Canada. No previous dance exper- eye and ear to help you clarify your thinking freelancers and entrepreneurs for over 20 years ience is required. Classes are either Mondays and boost your confidence. (416) 535-0058 so we truly understand your situation. We’re and Thursdays 6 - 8 pm, or Saturdays and not here to nag or judge... we’re here to help. Sundays, noon - 2 pm. www.joyofdance.ca Tambri Tax Services Arts & Entertainment Specialists. Toronto (416) 588-4474 Canada & U.S.A. 1-877-282-6274 tambritaxservices.com

THE TAXXMAN: PETER MESSALINE I’ve already helped someone you know. Been blindsided by Canada Revenue? Work with me and shrug it off. No attitude, just experience and sympathy. Children, foreign work, GST, incorporation advice, back taxes. Tax for artists Professional Development Program by an artist. Call (416) 960-9272 for free advice. [email protected] Autumn 2007 www.petermessaline.com Masterclass with The Royal Shakespeare Company and STUDY DIRECTING FOR THE THEATRE IN The National Arts Center THE HEART OF THE NATION'S CAPITAL Voice with David Smukler The University of Ottawa’s Department of Winter Tune-Up with Rosemary Dunsmore Theatre is now offering an MFA in Directing Advanced Scene Study and Advanced On-Camera Scene Study for the Theatre. New September 2008 – MA with Brenda Bazinet in Theatre Theory and Dramaturgy. Information: (613) 562-5761 Character vs. Actor: Finding the Emotional Power of a Scene www.theatre.uOttawa.ca with Rod Ceballos Shakespeare Study with Peter Van Wart Scene Study and On-Camera classes with Kevin McCormick Original Creation: Text, Character and Physical Staging with Mark Christmann Voice-Over Part I & II with Elva Mai Hoover 2007 marks the 50th Character and Voice-over Animation with Roland Parliament anniversary of the Canada On-Camera Classes with Janet Laine Green Connect and Be Present: The Fundamentals of Acting with Beth Laing Council for the Arts. Quick Fixes for Your Shakespeare Monologue The Council is asking with David Ferry and Tedde Moore Classical Lab – Sunday and Monday Night Canadians to help celebrate New! Playwright’s Jam coming in December their 50th anniversary by experiencing the arts in For application and class information: 50 different ways in 2007. www.equityshowcase.ca or call Denis at (416) 533-6100 ext. 21

Visit their 50th Coming in November: The Autumn Showcase anniversary website at Space Rental (studios and auditorium) available at EST www.50.canadacouncil.ca Equity Member discounts for more information. For more information call Lin at (416) 533-6100 ext. 26

FALL 2007 EQUITY QUARTERLY 17 EQUITY QUARTERLY EQ WHAT’S NEW ONLINE What to find at www.caea.com Equity introduces individual privacy options • NEW e-search for the National Ballet and Alberta Ballet Members may now invoke individual limits on the personal information agreements that may be disclosed by the Association. If you have already accessed • Councillor, CPAG and Committee contact information the Members Only zone on the website, simply log in, follow the • RRSP quarterly performance report prompts under Privacy Settings and identify which contact information • Online events calendar you authorize for distribution. New EQUITYONLINE registrants must • Members Only zone (update contact information online) know their member number and have a valid email address on file • UPDATED Personal Information Policy with Equity to activate access to the website. Follow the link to log on to the Members Only zone. Log in using your member number (listed on the front of your membership card or on any Equity invoice or receipt) and click the TEMPORARY PASSWORD button. A temporary password will be mailed to your email address on file.

WELCOME NEW MEMBERS Sarah Gay British Columbia Tricia Brioux Ontario Asaka Homma Western Dance Neil Maffin British Columbia Katherine Bintner Ontario Jung-Min Hong Western Dance Shannon Colcher British Columbia Sarah Harries Ontario Nadezhda Vostrikov Western Dance Daniel Mantei Eastern Dance Carly Jones Ontario Bernard Courtot Western Dance Klara Houdet Eastern Dance Dini Conte Ontario Alpha Ng Western Dance Selene Guerrero-Trujillo Eastern Dance Patrick Costello Quebec Patrick Michael Doe Western Dance Christopher Stalzer Eastern Dance Gael Lambiotte Quebec Victoria Lane Green Western Dance Dena Chiarcossi Ontario Thomas Bieszka Western Dance Jonathan Ollivier Western Dance Mona Meng Western Dance Lahna Vanderbush Western Dance

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