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The First 40 Years WHEN THEATRES RECEIVED THIS MEMO IT BECAME OFFICIAL – EFFECTIVE APRIL 1, 1976, CANADIAN PERFORMERS WERE NO LONGER UNDER the JURISDICTION of the U.S

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The First 40 Years WHEN THEATRES RECEIVED THIS MEMO IT BECAME OFFICIAL – EFFECTIVE APRIL 1, 1976, CANADIAN PERFORMERS WERE NO LONGER UNDER the JURISDICTION of the U.S EQUITY QUARTERLY SUMMER 2016 THE BIRTH OF EQUITY HOW WE MOVED FORWARD FOLLOW OUR TIMELINE The First 40 Years WHEN THEATRES RECEIVED THIS MEMO IT BECAME OFFICIAL – EFFECTIVE APRIL 1, 1976, CANADIAN PERFORMERS WERE NO LONGER UNDER THE JURISDICTION OF THE U.S. ACTORS’ EQUITY ASSOCIATION. WE NOW HAD OUR OWN ORGANIZATION – CANADIAN ACTORS’ EQUITY ASSOCIATION. A LOT HAS HAPPENED SINCE THEN. FOLLOW THE TIMELINE THAT FLOWS THROUGH THE MAGAZINE TO FIND OUT HOW EQUITY HAS IMPROVED CONDITIONS FOR CANADIAN PERFORMERS OVER THE LAST 40 YEARS. 1976 Canadian Actors’ Equity Association is formed with 2,000 EQ PAST members. Reciprocal Agreements are signed 1 NOTES FROM THE PAST with ACTRA, AEA, AGMA and UDA. 2 LETTERS AND NEWS 3 EQ HONOURS 4 THE BIRTH OF EQUITY – AN INSIDER’S VIEW 9 GROWING PAINS AND ACCOMPLISHMENTS 1977 Notes from the past The first CTA, negotiated between Equity and PACT, takes effect. The three-year Our President and Executive Director agreement introduces reflect on 40 years of Equity separate clauses for directors and Executive Director Arden R. Ryshpan: Did you know 40 years ago that this choreographers. was what you wanted to do for a living? President Allan Teichman: No. I’m one of those people who sort of fell into the business. I started doing more and more of it until I went “OK, this is a sign.” ARR: My dad was an actor and directed a lot. I grew up amusing myself backstage, in the days before daycare. AT: I think my dad’s comment at the time was “Good luck buddy! I hope you know what you’re doing.” ARR: It’s certainly a tough business to be in – but if people think the money isn’t great now, let’s go back 40 years. AT: True. It was not all that long ago really that theatre, as a whole industry in Canada, consisted largely of amateur and semi-semi-professional theatre. We had very little homegrown theatre. It was not eons ago, it was in my lifetime. The theatres that we now look at as the foundational theatres operated on the same basis indie theatre does today. ARR: When we started out, my friends and I had no illusion that we were ever going to be able to stay in this country and have a meaningful, fulfilling career. And that’s not true anymore. It is possible in this business, as tough as it is, for people to own houses and put their kids in decent schools out of the living that they’re making. AT: The only thing my gang knew was that, as people new in the business, we were going to have to struggle to find our place. When people say “your career is only as good as your last contract,” they aren’t kidding. But, you don’t really understand what that means until you’ve been out there for 10 years. 1977 ARR: Canadian theatre didn’t come of age until a certain point in the 1970s, where the country Equity holds first elections with began to reclaim itself. There were big debates about Canadian identity. Until we got into the ‘70s, Dan MacDonald I’m not sure that there was much of a – I’ll use the word “industry.” There were few role models becoming in a sense, to teach people beyond how to scramble. president. AT: I would even take it back just a little bit further. I would say that it probably started in 1967 when Canada turned 100 and suddenly came face-to-face with the fact that we’ve been around for a while – we better become something. And we have. I know that everybody feels like the wolf is at the door constantly – it is – but the truth is we now actually have support structures and funding in place, even if we wished it was more, or more consistent. That has enabled theatre companies to actually exist for a decade or more. For a theatre to last even a decade was almost unheard of, at one point in time. ARR: Forty years ago there was no stability – not that government support is a guar- antee of funding, but there is much greater constancy now. That stability is one of the reasons why Equity has been able to improve working conditions and the money for our members over the years. Allan Teichman, Council President Arden R. Ryshpan, Executive Director Front Cover: (L to R) Terry Haig and Michael Rudder in Centaur Theatre’s production of On the Job in 1976 Celebrating our outstanding members 1993 EQ Honours Equity members vote In each issue of EQ we are highlighting outstanding Equity members from our Honours Awards Celebration. in favour of This year the celebration was held on February 22 in Toronto – but members from across the country can join in eliminating the on the festivities by going to http://bit.ly/21Ob6Hj to see photos and a video from the event. cap on working dues. Here is an excerpt – edited by EQ – from the acceptance speech given by Barbara Fingerote, who was presented with an Honorary Life Membership. You can read Barbara’s entire speech at http://bit.ly/1VXUY5s. Among the many things I have learned from I do like my live theatre live and find theatre, an important one has been that the body microphones anathema. I like to bad times help us to appreciate the good make a connection with the characters times. (If nothing else we can compare and often amplification creates a barrier them and feel grateful to have survived and to that. And poor diction amplified is are thus able to move forward.) You always just louder garble. I think you can make make the good times better and the bad theatre for the 21st century that is true times bearable. Your gifts are ours to theatre without it trying to be film or to keep and use whenever we television or Internet. They do what they 1981 need them. do well. Theatre does what it does well. Equity I can do my learning and Have confidence in yourselves and your purchases its first computer growing in relative privacy, abilities to find a way to make meaning- system for but in theatre you don’t ful theatre without losing its heart. Allow $40,000. have the same privacy. By definition everything us and future generations to experience it in all of its glory. you do is in public. That helped to put lots of things I challenge you to engage young people and to help them to into perspective for me. I appreciate you even more for recognize that theatre can be a vital part of their lives. Please make sharing so much of yourselves. You give of yourselves so com- it self-evident that theatre is the place they want to be, reflects their pletely. Understanding that has helped to give me more confi- lives, their hopes, their dreams. With initiatives which highlight dence to be me and to take calculated risks from time to time. our connections, our similarities, and our differences, use theatre’s I remember a production of Romeo and Juliet at Stratford in traditions, uniqueness, and your creativity to speak to the future so which Colm Feore and Seana McKenna played the title charac- that you may continue to keep the faithful and to attract new audi- ters. I was going through a particularly difficult time but I had ences. Be our conscience and our guide. Be adventurous. Keep ask- a ticket and something made me attend the show. It had a pro- ing questions. Make us think and question. Make us feel, hope, and found effect on me. (You never know who is in your audience understand each other better. Keep us honest. Inspire and how you will affect us at any given time.) I knew how the and provoke us. Bring us peace and harmony. play would end but as I wanted the characters to survive, I real- After all of these years I have kind of syn- 1995 ized that I wanted to live and to try to fulfill whatever purpose thesized my thoughts about what I believe PACT takes I might have. I thank them again for giving me that moment of are some of the basics from which all else Equity to the Ontario Labour Relations clarity, which continues to sustain me to this day. flows: you need talented, well-trained Board, alleging an unfair After all of these years of seeing shows, I have come to realize that individuals; a venue with appropriate labour practice after CTA I don’t have to “like” something to appreciate that it has been done size and acoustics; and an audience who negotiations breakdown. A one-year agreement well. In fact, I am not sure how to define “like”. I rather doubt you will listen actively; expect an audience to is eventually want everyone attending your shows to have the same reaction, or have two I’s: intelligence and imagination; negotiated. you’d need just one person to attend, and what’s the fun in that? you want everyone involved with a show to What I do expect is that you will do the best you can at that given give their all and be their best, and that includes moment, just as I expect of myself. I come open to the possibilities. those of us in the audience. I like to be challenged. I appreciate your taking calculated risks and Theatre is as important as breathing or eating or sleeping.
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