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. It learning from them. Often we can learn more from what doesn’t enables us to appreciate each other, to learn from each other, to work than what does and that makes us better. And who’s to say expand our critical and analytical thinking skills, to live fuller, more that a negative reaction doesn’t mean you’ve hit a nerve? meaningful lives, to be human in every way. It is a magical universe.

summer 2016 Equity Quarterly 3 1979 Equity opens Letters and news western office EQUITY QUARTERLY WINTER 2016 in Vancouver. EQUITY’S HONOURS AWARDS REP IN CANADA – PAST AND PRESENT JOYS OF REPERTORY LETTERS on subjects of concern to Equity members will be EQ considered for publication. Letters must be signed, but names will be Repertory theatre hits home withheld on request for those letters that may affect members’ employ- ment. Letters that include artistic criticism of Equity members or letters that Congratulations to all involved in the Winter are antagonistic or accusatory, either implied or expressed, may be withheld or edited at the discretion of the editor. Opinions expressed in Letters to the Editor issue of EQ – it was engrossing and touching. are not necessarily those of the Association.

— Virginia Reh, former Equity Councillor PHOTO AND PRODUCTION CREDITS Getting a rep The Next 40 Years Cover: Photo by Sarah Constible with illustration by Doowah Design. Richard III (2016) by William Shakespeare produced by Shakespeare in the Ruins. Directed Equity News by Christopher Brauer. Cast: Andrew Cecon, Sarah Constible, Toby Hughes, Omar After 22 years of service to Equity and its members, Business Representative Alex Khan, Arne MacPherson, Tracey Nepinak, Deborah Patterson, Toni Reimer and Cherissa Richards. Stage managed by Jessica Freundl assisted by Michael Duggan. Miriam Newhouse retired in June 2016. Her wealth of Equity history and Inside Front Cover and page 6: Photo: Michael Cooper. Ultrasound (2016) by Adam Pottle co-produced by Cahoots Theatre and Theatre Passe Muraille. vast knowledge base of Canadian theatre will be missed. Directed by Marjorie Chan. Cast: Christopher Dodd and Elizabeth Morris. Stage Former stage manager Dustyn Wales has joined the Equity staff as managed by Sandi Becker assisted by Deborah Lim. Page 1 (both sections): Photo of Arden R. Ryshpan by Michael Cooper. Business Representative in the National Office. Junior Business Rep Page 2: Photo: Tim Matheson. Stickboy (2014) by Shane Koyczan with music by Sigrid Velis joins him in that department. Samantha Niaraki has moved Neil Weisensel produced by Vancouver Opera. Directed by Rachel Peake with fi ght direction by Nicholas Harrison and music direction by Leslie Dala. Cast: into the Administrative Assistant position and we welcomed Roxanne Peter Alexander, Scott Augustine, DJ Calhoun, Melody Courage, Vincent Forcier, Melanie Krueger, Megan Latham, Kwangmin Brian Lee, Alan Macdonald, Willy Joseph, the Association’s new Contract Administrator, in March. Miles-Grenzberg, Heather Molloy, Heather Pawsey, Frédérik Robert, Sunny Shams and Barbara Towell. Stage managed by Melissa Rood assisted by Beth Grieve and Melania Radelicki. Council Update Page 4: Photo: Tim Matheson. Go, Dog. Go! (2016) adapted by Allison Gregory and Steven Dietz from the book by P.D. Eastman with music by Michael Koerner Equity’s national Council elected Stephen Erickson, Councillor, produced by Carousel Theatre for Young People. Directed by Carole Higgins with choreography by Kayla Dunbar and music direction by Clare Wyatt. Cast: Steffanie Eastern Opera, as First Vice-President at its June 26th meeting. Davis, Dustin Freeland, Mike Gill, Alexandra Lainfi esta, Sereana Malani, Clare Wyatt (on keyboard) and Allan Zinyk. Stage managed by Kelly Barker assisted by The First Vice-President serves as coordinator for Council’s advisory Tessa Gunn (apprentice). committees, and as the chair of the Council Education and Renewal Page 5: Photo: David Cooper. For the Pleasure of Seeing Her Again (2015) by Michel Tremblay translated by Linda Gaboriau produced by Full Circle: First Committee. Katey Wright resigned from the role in April 2016 due Nations Performance with special acknowledgment to Western Canada Theatre. Directed by Margo Kane. Cast: Margo Kane and Kevin Loring. Stage managed by to unanticipated scheduling issues. Ingrid Turk assisted by Ruth Bruhn. Page 7: Photo: Dahlia Katz. My Mouth on Your Heart from Travelogue (2016) with music by August Murphy King and libretto by Colleen Murphy produced by Bicycle Opera co-presented with the Toy Piano Composers. Directed by the company with WELCOME NEW MEMBERS Liza Balkan (staging consultant) and music direction by Wesley Shen. Cast: Chris Scott Enns, Larissa Koniuk, Marjorie Maltais, Sonya Rainey (design), Wesley Shen (piano), Geoffrey Sirett, Anthony Thompson (clarinet) and Ilana Waniuk (violin). ATLANTIC N. ALBERTA / NWT Zachary Harris Martin Catherine Savoie Page 9: Photo courtesy of the Department of Canadian Heritage. Samantha Cade Hunter Cardinal Shannon T. McNally SASKATCHEWAN Ailsa Galbreath Danielle Larose Oscar Moreno Page 11: Photo: Canadian Press/Sean Kilpatrick. Rebecca Perry Jacqueline Block Taylor Olson Hal Wesley Rogers Joshua Ramsden Page 12: Photo: Art Babych, Shutterstock.com. Yemie Sonuga Samantha Piper The First 40 Years BC / YUKON Tennille Read S. ALBERTA On the Job Olivia Ann Hutt ONTARIO Kristian Reimer Kyle James Graae Cover: Photo: Sol Litman. (1976) by David Fennario, courtesy of Stefania Indelicato Michela Cannon Talonbooks, produced by Centaur Theatre. Directed by David Calderisi. Cast: Ronnie Rowe Jr Tara Jackson Griffi th Brewer, Alex Brunhanski, Edmond Grignon, Terry Haig, Jorma Lindqvist, Sarah Caraher Colin Simmons E. ONTARIO/ STAGE MANAGEMENT Denis Payne, R.D. Reid, and Michael Rudder. Stage managed by Tom Montvila. OUTAOUAIS Landon Doak Rosie Simon Jeff Soucy Michelle Galuszka Inside Front Cover: Memo image courtesy of Archival and Special Collections, Simon Derome Ephraim Ellis University of Guelph Library. Photo: wavebreakmedia, shutterstock. Matthew Finlan Johnathan Sousa Elizabeth Ann Goodman E. OPERA Katherine Fogler Eamon Stocks Katie Honek Page 3: Photo: Kuru Selvarajah. Christina Bell Cameron Parker Francis Shahi Teruko Jacynthe Lalonde Page 4: Left and top right photos and page 8 courtesy of Equity Archives. Bottom Liana Bellissimo Lee-Anne Galloway Kimberly-Ann Truong Jocelyn McDowell right photo courtesy of Walter Learning. William Ford JJ Gerber Anna Wheeler Lisa McKay Page 6: Left photo courtesy of Louise Nicol. Right photo: The Cherry Orchard Natalie Jade Moore MANITOBA / Charlie Gould QUEBEC (1974) by Anton Chekhov produced by the Royal Manitoba Theatre Centre. NUNAVUT Jenna Harris Ashley Noyes Directed by Edward Gilbert. Cast: Frank Adamson, Mia Anderson, Edward Rosie Callaghan Carissa Sams Atienza, Joseph R. Bahr, Christine Bennett, Christopher Benson, Mervyn Blake, Elena Anciro Ravi Jain Jonah Carson Diane D’Aquila, Tania Dolovich, Pat Galloway, James Hurdle, Fred Jansen, Joan Ava Darrach-Gagnon Morgan David Jones Daphné Férole WESTERN OPERA Lawrence, Hardee Lineham, George Morfogen, Jan Muszynski, William Needles Matthew Fletcher Alex Kelly Rebecca Gibian Allyson Hop and Fiona Reid. Stage managed by Dwight Griffi n assisted by Colin Barr. Rebekah Jones Daniel Kosub Marie-Ève Perron Makayla Moore Page 7: Photo courtesy of Vanessa Harwood.

Equity members can submit letters to the editor via email at [email protected]. The deadline for Coming issue: FALL 2016 EQ submissions is Friday, September 16, 2016. 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 Publications Mail Agreement No. 40038615 SUMMER 2016 – Volume 10, Number 1 concerning their craft, developments in the industry, Equity’s role in the workplace, and the Each volume of EQ is published annually by Canadian Actors’ Equity Association. important position live performance holds in the cultural and social fabric of Canada. It is also EXECUTIVE EDITOR Lynn McQueen used as an advocacy tool to educate others about the industry, promote live performance in National Offi ce 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 [email protected] | www.caea.com DESIGN & LAYOUT Chris Simeon, in live performance in English Canada. We represent almost 6,000 performers, directors, September Creative choreographers, fi ght directors and stage managers working in theatre, opera and dance, Western Offi ce and support their creative efforts by seeking to improve their working conditions and 1316-750 West Broadway, Vancouver, BC V5Z 1J3 opportunities by negotiating and administering collective agreements, providing benefi t Tel: 604-682-6173 | 604-682-6174 | Toll free: 1-877-682-6173 (members only) plans, information and support and acting as an advocate. woffi [email protected]

2 EQUITY QUARTERLY SUMMER 2016 An insider’s view from the members who were there when Equity separated from AEA The birth of

Dan MacDonald, Life Member and Equity’s first president, reviews the L to R: Walter Massey, Barbara Hamilton and Graham Spicer terms for an amicable separation with AEA President Theodore Bikel

1995 The “Indie” is born in response Walter Learning, founder of Theatre New Brunswick, with Alden Nowland to members’ in 1976 at the opening of one of the four plays they wrote together demands.

Since 1954, Canadian performers had been represented by It was the 1970s – one of Actors’ Equity Association (AEA), which was based in New York. the most tumultuous and exciting times in the history of Canadian Lloyd Bochner, Douglas Campbell, Robert Christie, David Gardner, theatre. Eric House, William Hutt, Paul Kligman, Larry McCance, John Not only was Canadian Actors’ Equity Association born, but Maddison, Grania Mortimer and William Needles made up the new theatre venues were coming into existence, Canadian plays first Canadian Equity Advisory Committee (CEAC), were being written and performed, and audiences were proud to which consulted on Canadian activities. see their world interpreted on their stages. The CEAC eventually became the 1996 Equity is certified Canadian Advisory Committee (CEC), and “It was a heady period of growing cultural awareness and by The Canadian hunger,” says Dan MacDonald. “We were fueled by our rising in the 1970s, the CEC decided to travel Artists and Producers determination to express culture through our own sensibilities, in across Canada to meet face-to-face with Professional Relations Tribunal and grants Equity our own terms, and using the freshly minted, often rough writings members to find out their views on the certification under of our own voices.” future direction of their organization. the Status of the Artist Act.

4 Equity Quarterly summer 2016 An insider’s view from the members who were there when Equity separated from AEA

The birth of By Barb Farwell As Chair of the CEC, MacDonald made that It was apparent that Canada would have no independent 1997 journey. “I had the privilege of traveling the voice as part of AEA. So Bikel and MacDonald took the famous Artists at the length and breadth of the country for the “walk in the woods” where MacDonald presented the results of National Ballet of better part of a year, soliciting members’ Canada’s membership survey and its all-important rec- Canada are locked out ideas,” he says. “I came back with 20 ommendation to separate from the American union. after negotiations fail to reach a new agreement, recommendations regarding the future “Thus, officially began our march towards inde- 1998 but pressure tactics of Equity in Canada.” pendence,” he says. Livent seeks result in an improved Some of the recommendations were “The Americans didn’t understand why we bankruptcy agreement and a protection and the return to work. practical – such as creating a single, wanted to do so,” says MacDonald. “They RCMP launches universal theatre contract, the Canadian didn’t understand why we needed to have an investigation. Theatre Agreement (CTA), to “replace the plays about us – and they also thought no one in plethora of oft-conflicting rulebooks written and Canada could write good plays anyway.” designed for American needs.” During subsequent negotiations it became obvious Others involved ways to nurture and grow a strong Canadian that the Americans were most concerned about free access to culture, such as introducing a non-member/non-resident policy to the lucrative Canadian touring market, says MacDonald. “To stem the unnecessary hiring of foreign talent and a campaign for the Americans it was about money; to us it was about pride.” In the production of indigenous works in regional theatres. commenting on the inevitability of independence, Bikel quoted “For too long we had imported culture from our British over- to MacDonald that, “there is no gainsaying an idea whose time lords, and then from the Americans. Our culture was special and has come.” yet we didn’t have the chance to see ourselves on our stages,” After more discussions in Toronto and New York, on April 1, says MacDonald. 1976, an “amicable agreement” to separate was created – By far, the most significant recommendation was with both parties pledging solidarity and mutual a wish to separate from American AEA. Although 1998 support, as well as a reciprocal agreement for an the CEC enjoyed a good relationship with AEA The first Canadian open-border policy that would allow for touring and enjoyed considerable autonomy from the Theatre Conference productions in each other’s country. sponsored by Equity, New York Council – most of the Canadian PACT, Playwrights Two thousand Canadian members trans- performers MacDonald spoke to wanted full Union of Canada and ferred over from AEA to form Canadian independence. Associated Designers Actors’ Equity Association. Equity developed of Canada is held The situation came to a head at the 1972 its own Constitution and By-Laws, and signed in Saskatoon. Congress of the International Federation of Actors reciprocal agreements with ACTRA, AEA, AGMA (FIA) in Stockholm. Each country’s delegation sat and UDA. behind a sign with their country’s name on it. However, At the same time, Canadians across the country were instead of being seated with Canada’s ACTRA and Union des showing an appetite for homegrown theatre. “The few Canadian artistes (UDA), MacDonald was instructed to sit with the U.S. del- plays that were being produced were being shown on second egation. He refused to do so. A hastily written “Canada” sign stages, in old warehouses with rattling folding chairs – but appeared and he spent the time “geographically and politically Canadians were lining up to see them,” says MacDonald, who situated between the U.S., on the right, and the then U.S.S.R. was elected Equity’s first president in 1977. appropriately on our left.” The Americans were not amused. Eventually some of the plays appeared on mainstages, as That was not all. As president of AEA, Theodore Bikel rose to Canadian theatres in Toronto, Vancouver and other areas started speak on behalf of Canadian theatre artists since he was presi- showcasing work by Canadian playwrights. Venues such the dent of their union, although MacDonald tried to do so as the Factory Theatre, Tarragon and Theatre Passe Muraille in Toronto Canadian representative. and the Arts Club in Vancouver sought new works.

summer 2016 Equity Quarterly 5 An insider’s view from the members who were there when Equity separated from AEA

Forty-year Equity member Louise Nicol in One Way Pendulum with The Red Barn repertory company at the newly renovated Central Library Theatre on St. George Street in Toronto in 1961. Nicol remembers being (L to R) Pat Galloway, Diane D’Aquila and Mia Anderson in The Cherry paid $20 a week for rehearsals and $40 a week for performances Orchard at the Royal Manitoba Theatre Centre in 1974

“We supported and encouraged these theatres and encouraged Along with the increase in regional theatres, Learning agrees funding bodies to help create stronger and stronger there also was a growing popularity for Canadian plays in the Canadian theatre,” he says, warning we need to early and late ’70s. He remembers a crowd of 700 people coming 1999 continue to be vigilant in our battle against the out to a high school in Sussex, New Brunswick, to see a produc- National overwhelming influence of America. tion of The Dollar Woman, which he wrote with Alden Nowlan. Harassment Task “Big American productions are entertain- It was also a time of growth for the Canada Council for the Force (Equity, PACT and the AFM) sign ing mechanical marvels, technological feats – Arts. In 1978, Learning took over as head of the Theatre Section, statement of but we don’t see ourselves. We need to tell and by the time he left, in 1982, it was in charge of more than principles for our own stories to help us know ourselves and $13 million in funding. model policy. to present ourselves to the world.” Only in her 20s when she served on the CEC and then Equity’s Actor and director Walter Learning also remem- first Council, dancer Vanessa Harwood says her strongest bers the early 1970s as time full of passion and promise. memories are of the long, passionate discussions they “There was great excitement in the ’70s as we cut loose from would have over the future of live performance in New York. We were establishing our own Equity association and Canada. 2000 Equity the Professional Association of Canadian Theatres (PACT). With the “After a meeting, we’d all go out and have a drink. launches birth of these two organizations we came of age,” he says. There were many, many discussions, and I remember e-drive. “We also had the string of pearls – one or two regional theatres Dan MacDonald being our cheerleader,” she says. in every province except Newfoundland,” he says. “We suddenly “It was an interesting bunch of people. I liked hang- had something of our own.” ing out with actors and musicians. The ballet world can be This included theatres such as the Vancouver Playhouse, Alberta insular, so I enjoyed being more involved in the community.” Theatre Projects, Saskatchewan’s Globe Theatre, the Manitoba Harwood had just bought a house when Equity threatened a Theatre Centre, Halifax’s Neptune Theatre and Theatre New strike during negotiations with the National Ballet of Canada in Brunswick, which Learning founded in 1969. the ’70s. As a result he was involved in the negotiations of the “We all felt very uncertain and didn’t know first CTA with MacDonald – but on the other side of 2000 what to expect, but we finally said we had to the table as part of the delegation from PACT. Equity is certified put our foot down,” she says. “We stood our by the Alberta Labour “It was fascinating to sit across the table with ground, and we even had the placards, when Board to represent the people you had spent hours with in rehearsal dancers of the Alberta at the 11th hour [associate artistic director] halls,” says Learning. “There was a lot of give and Ballet, becoming an Betty Oliphant intervened and accepted arbi- take. We wanted our own agreement and didn’t official trade union tration. We would work that year as is, and in the province. use the American one as a basis.” then what the arbitrator awarded would stand.”

6 Equity Quarterly summer 2016 An insider’s view from the members who were there when Equity separated from AEA

Vanessa Harwood in Rudolf Nureyev’s 1972 version of Looking back on 1976 Sleeping Beauty with the Canadian Equity was already very independent in its day-to- National Ballet of Canada day operations and didn’t have a lot of interaction with or interference from AEA. We were grown up and it was finally time to move out of our parents’ house. I don’t recall meet- ing any resistance from AEA. It was really more about sorting through numerous legal and administrative details in order to unravel ourselves from that association and set up CAEA. — Penny Ritco, Executive Director, Citadel Theatre and Academy

“Equity is not an empire” I seem to remember Theodore Bikel saying about the separation. I feel privileged to have been in the room (a barroom actually) on one occasion when Bikel and then president Dan MacDonald cemented their personal relationship assuring an amicable accord between the associations. (Flying in Dan’s plane to New York was a lot scarier than separating.) Politicians and countries could certainly learn something from the way artists “separate.” — Director Miles Potter 2001 Equity celebrates It was the first time I’d run as a candidate for anything. its 25th anniversary As a member having recently moved from the West Coast It turns out that the judge who with 14 parties I remember the feeling of engagement and welcome. It arbitrated was appalled at how little held from coast to coast. was a much less diverse Council back then (quite a few the dancers were making. “We were older males and British accents around the table), but hard- beyond poor,” Harwood says. “We working and committed. It was great to know that we were were asking for $10 a week more, and he now on our own. ended up giving $60 a week more to everyone across the board. — Larry McCance Award winner Barbara Gordon “We couldn’t have done that if we weren’t a union. Now Equity is bigger and stronger, but that laid the foundation for For many CAEA members today the act of “taking owner- the future. We were able to cut the umbilical cord and survive.” ship” of our own Equity Association in 1976 may not seem Harwood also remembers when apprentices didn’t get paid, or so earth shattering. But to those of us who were mem- paid very little. In 1998 she was asked to take in Guillaume Côté, bers of AEA then, and especially to those of us that had who is now Principal Dancer with the National Ballet, when he was been proponents/part of the hugely significant explosion an apprentice. “Most apprentices lived with a group of dancers, of Canadian nationalism in our theatre... and the equally but we took him in and he lived with us for a year. Apprentices just significant and co-related growth of the “Alt” theatre scene could not survive on their own. Now they have better contracts.” of the ’70s across Canada, taking possession of our own Another Equity member who remembers that time well is actor professional association and engaging in bargaining with Diane D’Aquila, who was First Vice-President when Equity sepa- Canadian Engagers to create agreements that truly reflected rated from AEA. our own theatre realities in Canada felt like a massive “I have to admit, when we went down to New York tectonic shift. It felt like a genuine maturation process. No for the official separation, the Americans were con- more country cousin/colonized mentality for us! We were 2001 descending,” she says. “Oh you little, sweet, gentle CANUCK and proud of it. Historic first Canadians. I was a bit annoyed. We wanted our agreement with — Actor/Director David Ferry Alberta Ballet own art, our own culture. We didn’t want to be is ratified.

summer 2016 Equity Quarterly 7 An insiders view from the members who were there

2002 “We need to believe in ourselves, that PACT and Gala celebration of Canadian Equity’s amicable separation from AEA held we are the best, and we can hold ourselves Equity negotiate on April 5, 1976, at the St. Lawrence Hall in Toronto a resolution to high,” she says. address large D’Aquila points to a production of insurance plan Shakespeare in Love that is being produced deficit. by Disney and the Stratford Festival. “I would like to believe Disney will bring those actors to Broadway – or is it only going to be sets and costumes? I’ve seen it happen before. Gone are the days when immigration was the problem. I would hope that Disney and Stratford would transfer the whole show – and that includes actors.” D’Aquila is also worried that she sees the same audiences show- ing up for theatre. “The majority of them are 55 and up. What happens when they all die out?” locked in with the Americans, we wanted to be accepted on par For a younger generation enthralled with their iPhones and with the Americans.” YouTube, the theatre requires some effort. “It demands your full D’Aquila says there was a real buzz in the ’70s as small theatres attention to be there – you have to participate with your heart came into their own and many new theatres got their start with a and soul,” says D’Aquila. Local Initiatives Program (LIP) grant. “We used to say The pay off is great however. “You get to go somewhere and if a goat could sign its name they could receive a feel, laugh, contemplate and be illuminated. Sounds pretty good LIP grant. It may only be for $1,000, but that was 2001 to me.” EQ Equity and AEA a lot of money in those days.” sign pension For a while it was actually free to see exciting reciprocity new Canadian plays at the Toronto Free Theatre. agreement. D’Aquila remembers acting in a production of What a party it was! Red Emma by Carol Bolt when the company finally To celebrate Canadian Equity’s amicable separation from had to make the decision to start charging for tickets. AEA, a gala was held on April 5, 1976, at the St. Lawrence Despite the growing cultural awareness of those times, 40 Hall in Toronto. Equity staff member Frank R. Hogg orga- years later D’Aquila feels Canadians still don’t think they are as nized the event, which began at 1:30 p.m. with opening good as Americans. “We are not recognized or celebrated by our remarks by the Chair of the CEC, Dan MacDonald. Other own country. You could count on maybe 10 fingers the names of speakers included Jane Mallett, Equity’s first Life Member, true Canadian stars.” and AEA President Theodore Bikel. D’Aquila has a unique perspective, as she has dual U.S./ According to reports from the event, once the speeches Canadian citizenship – but has made Canada her home. Although were over, the fun began. There were several performances she occasionally works in the U.S., she is always glad to be back by members, stage managed by Ron Francis. This included in Canada. “I do love this country, the community, the theatres. excerpts from a play by the Stratford Festival, the ballet Kisses It is more than special, it’s the best. by the National Ballet, toasts sung from the operas La Traviata “Our actors are better actors. We have more classical training. and Die Meistersinger, and a mime performance by Adrian We can do a lot of the big gun stuff. Because we Pecknold and Harro Maskow. In between these performances are more well-rounded, when we go down to there were selections from the feminist revue Sweet Reason 2002 work in theatre in the States we are success- performed by Barbara Hamilton and Sandra O’Neill. Equity receives ful – and the Americans are starting to get After the entertainment, the bar opened, with liquor at a $157,200 annoyed.” $1.00 a shot, and 50¢ for beer and wine, followed by dinner settlement from Livent for outstanding So why do Canadian audiences still think at the King Edward Hotel. Congratulatory messages from a production a second or third cast touring a Broadway variety of elected officials were read and CTV covered the disputes. play from the States is better than a play event. Records show that the entire gala cost $5,000.00. originating in Canada, she asks.

8 Equity Quarterly summer 2016 Former Executive Directors discuss How Equity has Moved Forward

Graham Spicer 1981 to 1991 “Negotiations [with PACT] Graham Spicer was Assistant were acrimonious at times, but Executive Secretary before taking over from Equity’s first the result was greatly improved Executive Director, Burnard Chadwick, in 1981. conditions for professional Originally from England, performers and stage managers Spicer came to Canada in 1957 and became a member in Canada.” of Actors’ Equity Association — Graham Spicer (AEA) that same year as a stage manager. After retiring in 1991 after almost 25 years with Equity, Spicer His career started at Toronto’s Crest Theatre and the Stratford says he was pleased the association was in good fiscal shape. “We Festival, and he went on to work for a variety of theatres, including ran a tight ship,” says Spicer. “Over the years we built up a large the Charlottetown Festival and Manitoba Theatre Centre, as well reserve fund.” as the Wayne & Shuster Show and as tour director for the Royal Winnipeg Ballet. Spicer also toured extensively with the Canadian Christopher Marston Opera Company and with the topical revue, Spring Thaw. 1991 to 1995 “I worked with many of the leading actors and foremost the- There were plenty of difficult and atres in Canada,” Spicer says. This first-hand theatre testing situations during his time experience would prove invaluable as he joined the as executive director, but Chris 2002 Canadian branch of AEA in 1969, which would Marston says the experience of Equity begins ultimately become Canadian Actors’ Equity navigating its way successfully representing Association. through some pretty choppy waters fight directors. As Assistant Executive Secretary, Spicer was helped in the evolution of Equity there for the amicable separation from AEA in and the building of a strong foun- 1976. He also helped write and and take part in the dation for the future. negotiations for the first Canadian Theatre Agreement “I saw an impressive level of (CTA) with the Professional Association of Canadian Theates thoughtfulness in terms of the way (PACT). that the National Council and its executive handled their respon- “Negotiations were acrimonious at times,” he said, “but the sibilities. I felt I had a good working relationship with them and, result was greatly improved conditions for professional performers as anyone who has this kind of job will tell you, that really helps,” and stage managers in Canada.” he said. “I guess I kind of lucked out because I also had a talented Working with a small staff, Equity administered the CTA and and effective team to work with on the Equity staff.” negotiated agreements for opera and ballet as well as contracts During Marston’s tenure there was an explosion of commercial for guest artists. An office in Vancouver was opened in 1979 to theatre production in Canada, while at the same time the commit- look after members’ interests there. ment by governments to arts funding was eroding. There were four Council meetings a year and Spicer says he and “The increase in large-scale commercial his staff had a good relationship with Equity’s elected representa- production came upon us quite quickly,” he 2003 The American said. “And it created a significant difficulty tives as well as managements across the country. “On the whole Guild of Musical it worked pretty smoothly, although dealing with problems from because the collective agreements at that Artists rescinds members, managements and staff made it a stressful job for me, point were not really designed for commer- reciprocal cial productions of that nature.” agreement with to say the least.” Equity.

summer 2016 Equity Quarterly 9 Former Executive Directors discuss how Equity has moved forward

As a result, there were a protracted series of negotiations with respect. They demonstrated that they were not to be pushed producers as Equity attempted to deal with this new reality. around,” says Marston. “When it was finally settled – what they “What we had found in the ’70s and ’80s with the largely not- lost on the year paid back in spades in the future.” for-profit producers with whom we generally negotiated – such as ballet companies, opera companies and regional theatre – was Susan Wallace a desire to get to ‘yes’ no matter how tough they were. We were 1995 to 2007 now entering into negotiations where the initial position of the The challenges with large- producers involved significant rollbacks and concessions. This scale commercial productions resulted in the threat of work stoppages, legal action and that turned out not to be over yet, kind of thing.” and continued under Susan In fairness to the not-for profit sector, Marston said the political Wallace’s tenure as executive and economic landscape had a role to play in this new reality and director. cited Ontario as a classic example of this. “During CTA negotiations “When the NDP formed the provincial government they found in 1995 we almost had a themselves in a financial squeeze, mainly as a result of the economic strike. PACT wanted a 10% disruption caused by the newly signed trade agreement with the rollback as a first proposal,” U.S. – and the first thing to go down the drain was any increase in says Wallace. “We ended up arts funding. Then the Conservative ‘Common Sense Revolutionaries’ with a one-year extension on the CTA. At the same time we cre- formed the Ontario government with Mike Harris as Premier. It was ated the first set of terms for commercial musicals within the CTA philosophically uncomfortable with the whole idea of arts funding to accommodate the Mirvishes, who were at the time the only and questioned whether there should be any at all. And really this sort for-profit member of PACT.” of thing was a country-wide pattern in one form or another as the Then, Livent suddenly declared bankruptcy in 1998. Equity Chretien Liberals went about slaying the deficit dragon.” held a bond for performers to be paid for two weeks, but many members were now out of work on long-running, big commercial But Marston says the staff and Council handled this adverse productions, and Equity lost 25% of its annual revenue overnight. environment admirably. “The Mirvishes stepped in by taking over the (then) Canon “In an increasingly difficult landscape, we were able to hold and Panasonic Theatres, but it took a long time the line and keep our heads above water. I particularly applaud to recover from the loss of Livent,” she says. the willingness of our members, who were often in a vulnerable Fortunately, through prudent handling of situation regarding their livelihood, to go to the wall at times for 2004 Equity’s finances, the association was Canada Revenue what they felt was right.” able to thrive despite the big loss in Agency rules that An example of this is when negotiations with the Royal actors, designers regular income. Winnipeg Ballet had not resulted in an agreement. The dancers and other independent Ballet also presented another chal- contractors are employees agreed not to rehearse for the next season until one they felt they lenge – but this time it was at the of Magnus Theatre, but could accept was in place. Two weeks later it was. reverses the decision National Ballet of Canada. At the time, “The country was not going to be brought to its knees by a the following ballet companies hired dancers year to year. withdrawal of service by artists and they knew that – but the col- year, with no seniority and no job security, so lective spirit of wanting to achieve a fair agreement gave them Equity was attempting to negotiate a 52-week contract for year-round company dancers. “I particularly applaud the “We went to the wall to protect the dancers, calling a strike that included principal dancers,” says Wallace. “As a result, the willingness of our members, National Ballet became the only North American ballet company with full-time contracts for senior dancers.” who were often in a vulnerable Equity also supported principal dancer Kimberly Glasco when situation regarding their she launched a lawsuit against the National Ballet for wrongful dismissal based on her age (she was 38). “She won a landslide – a livelihood, to go to the wall at substantial settlement,” says Wallace. Despite the strife, Wallace says it all ended up in major improve- times for what they felt was right.” ments for dancers and a better, more honest and open relation- — Chris Marston ship with the National Ballet. Equity subsequently expanded its

10 Equity Quarterly summer 2016 Former Executive Directors discuss how Equity has moved forward “We showed them if you want Evolution of a logo to come to Toronto you have to respect the unions.” This was our first logo, as members of the Actors’ Equity Association. — Susan Wallace

jurisdiction in dance, certifying as an Alberta trade union in order to bargain a first agreement with Alberta Ballet. In 1977, Laurence Cherniak’s Another battle fought and won was in 2005 when Equity joined design for the first Canadian forces with the Toronto Musicians’ Association, IATSE Local 58 Actors’ Equity Association logo was chosen from 27 entries by and others when Blue Man Group came to Toronto and refused a special selection committee to work with any of the live performance unions. made up of Dan MacDonald, Anne “We started a work stoppage campaign and remain Butler, Jennifer Phipps and Claude Bede. Cherniak the only place anywhere in the world who stopped was also an elected member of Equity’s first Council. 2005 Blue Man Group from performing,” says Wallace. Equity leads “The Ontario elementary and secondary teach- coalition to Equity’s second logo, affectionately known boycott Blue ers’ unions played a big part – they refused to as the ‘wingding’, was designed by Winsome Man Group in send kids to matinees. If you couldn’t get student Case, a 21-year-old student from Toronto’s Toronto. groups in you couldn’t sustain a show. Central Technical School who won a contest “We showed them if you want to come to Toronto set up by members Desmond Scott, Robin Craig and Sean Mulcahy. The wingding debuted in the you have to respect the unions.” masthead of the March 1984 Equity newsletter. With the collapse of public funding at the time, Equity members more and more began creating work for themselves outside of traditional producing relationships, says Wallace. “Participation In 1997 a new rectangular logo in Fringe Festivals, co-ops and Indie production skyrocketed and was created, which included the wingding, or angel, and a two- necessitated thinking outside of the ‘CTA box’. With members tone, mauve-tinted background. assuming the financial risk of producing, things like a security It began making its way onto agreements that were bond, once a bedrock Equity obligation, became financial impedi- ratified in 1997, as well as the newsletter. ments to getting a show up and running. Equity Council led the way to creating many more flexible agree- ments and contracts available to mem- Special logo to celebrate Equity’s Silver bers self-producing.” 2005 Council votes Anniversary in 2001. Ongoing work to pass Status of to implement the Artist legislation also continued Policy Governance through Wallace’s tenure. Although as Equity’s new The logo was finessed again in the legislation had been passed at the governance 2009, opting for a stronger, dark structure. blue colour and eliminating the federal level in 1992, labour relations are faded bars at the top and bot- mainly a provincial jurisdiction. Equity also tom. This design was decidedly joined ACTRA to lobby for legislation to protect more stately and solid than the previous mauve version. child performers – the first time (!) – in the late 1990s – which was finally passed in Ontario in 2015. Wallace was also at Equity during a time of technological advancement for the association. This included the development of the website, the ability to pay dues through tele-banking and the creation of e-drive – the electronic subscription mailing list for auditions, job opportunities and workshops. “I’d also like to think one of my legacies was the evolution of Our new logo, designed by Christine Simeon, art director of the Equity newsletter to EQ magazine. It’s a great membership EQ magazine, was created in celebration of Equity’s 40 years. service with an in-depth exploration of issues.” EQ

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