Equity quartErly Fall 2010

HOW WE GOT TO HERE BLACK THEATRE WORKSHOP TURNS 40 EQ CANADIAN THEATRE TIMELINE

Cool Canadiana We’ve come a long way, baby!

IT STARTED AS A WAY TO BOLSTER

THE SPIRITS OF THE FIRST EUROPEAN

SETTLERS - AND SINCE THEN

CANADIAN LIVE PERFORMANCE HAS

EVOLVED TO TACKLE THE ISSUES

OF THE DAY AND PUT CANADIAN

PRODUCTIONS ON THE MAP. WE’VE

COME A LONG WAY FROM WHEN

FOREIGN TOURING COMPANIES

DOMINATED OUR STAGES, BUT WE

HAVE A WAY TO GO YET TO ENSURE

THE VOICES OF ABORIGINAL AND

OTHER DIVERSE COMMUNITIES ARE

HEARD ON OUR STAGES.

Early Colonial Period 1500-1700 Late Colonial Period 1700-1900 1583 1606-1607 1694 1780 Sir Humphrey Gilbert’s company of Under the direction of Samuel de Bishop Saint-Vallier bans a production Les Jeunes Messieurs Canadiens is mummers comes to the New World Champlain, Marc Lescarbot creates of Molière’s Tartuffe in New France and founded in Montreal Le Théâtre de Neptune en la Nouvelle- the lead actor is excommunicated for France blasphemy Equity quartErly Fall 2010 EQ volumE 4 numBEr 3

showcasing the 2 PRESIDENT’S MESSAGE 6 3 NOTES FROM ARDEN R. RYSHPAN African-Canadian 4 LETTERS TO THE EDITOR experience 5 EQ MOVES 16 EQ&A 8 A brief history of 17 EQ BACKSTAGE Canadian theatre 18 FONDLY REMEMBERED 20 EQ CLASSIFIEDS 12 Cool Canadiana 21 EQ FLASHBACK

Equity members are encouraged to submit ideas for articles, memorial notices and letters to the editor coming issue: wintEr 2011 via email ([email protected]) or on disk with accompanying hard copy. the copy deadline for submissions is subscriptions are available at an annual rate of $35, including gst. EQ Friday, october 29, 2010. EQ reserves the right to edit for length, style and content. Publications mail agreement no. 40038615 Fall 2010 – volume 4, number 3 EQ Equity Quarterly (issn 1913-2190) is a forum to communicate to Equity members the activities of EQ is published four times a year by canadian actors’ Equity association. EXEcutivE Editor Lynn McQueen the association and issues of concern to the association. with the exception of the editorial staff, the National Offi ce views expressed in solicited or unsolicited articles are not necessarily the views of the association. 44 victoria street, 12th Floor, toronto, on m5c 3c4 Editor Barb Farwell tel: 416-867-9165 | Fax: 416-867-9246 | toll-free: 1-800-387-1856 (members only) Canadian Actors’ Equity Association (Equity) is the voice of professional artists working in live [email protected] | www.caea.com dEsign & layout Chris Simeon, performance in English . we represent more than 5,500 performers, directors, choreographers, September Creative Western Offi ce fi ght directors and stage managers working in theatre, opera and dance, and support their creative efforts 736 granville street, suite 510, , Bc v6Z 1g3 by seeking to improve their working conditions and opportunities by negotiating and administering tel: 604-682-6173 | 604-682-6174 | toll free: 1-877-682-6173 (members only) collective agreements, providing benefi t plans, information and support and acting as an advocate. woffi [email protected]

COVER AND INSIDE FRONT COVER: Our take on two national stereotypes. Images of our theatre history throughout the magazine are from a special photography exhibit created in honour of Equity’s 25th Anniversary in 2001 ABOVE: (L to R) Joel Wirkkunen, Jonathan Sutton, Peter Anderson, Malcolm Scott and Peter Grier in the 1999 Vancouver Playhouse Theatre production of The Overcoat

Late Colonial Period 1700-1900 1788 1785 1825 1825 Officers in the military create The Garrison Allen’s Company of Comedians is the first Théâtre Royal is built in Montreal Royal Circus opens in Quebec Amateurs in Halifax professional English theatre company to settle in Quebec

Fall 2010 Equity quartErly 1 President’s message

One of the undercurrents this undeniable reality: The theatre of almost“pie” acrossevery discussionthis country about is not the large state enough of Canadian to sustain theatre all those is who wish to feed themselves from it. The situation gets better or worse in modest measure with shifts in the country’s economy, but it is a chronic condition. It was true when most of us joined and, regrettably, there is no sign that it is going to improve any time soon. Notable exceptions are mostly regional and short-lived (a municipal Centennial, Olympics, etc.), and largely driven by politi- cal motivation that flickers out along with the final celebratory firework. Not only is the theatre-pie problem a perpetual one, but it has been getting steadily worse. Accord- ing to a study* based on the 2006 census data (goodbye, compulsory long form) conducted by Hill Strategies Research: “The number of artists in Canada grew much more quickly than the overall labour force between 1971 and 2006. There were three-and-a-half times as many artists in 2006 as in 1971. This is a much higher increase than the doubling of the overall labour force.” In other words, for the 35 years prior ending in 2006, the growth in the artistic workforce was about 75% greater than that in the workforce as a whole. Has anyone noticed a parallel increase of 75% in artistic opportunity and income over that time? Hello? Anyone? If anything, the stats show the opposite. Over the last 15 years of the study period, artist income actually compared to an overall earnings increase of 9% in the same timeframe. Faced with the reality of not enough theatre pie to go around, many artists have begundeclined to bakeby 11%, their own – witness the growth of independent theatre. But as innovative and proactive as that approach may seem, it too is problematic. Theatre costs a lot to produce, and it doesn’t bring in a lot of money. For many artists, the principal benefit is a fleeting opportunity to do the work they love, but still not enough consistent income to be able to pay rent or a mortgage, buy groceries or raise children. Sometimes these small projects blossom into larger, more remunerative ones, but those occasions are unfortunately exceptional. And yet, it is important to continue doing that kind of work. As part of the review of independent theatre, members will be asked to make critical decisions about the future of their organization and about what we, as artists, expect of a career in Canadian theatre. We need to enable and nurture grassroots work and, at the same time, we need to secure the protec- tions and benefits that provide us with the rare opportunity to earn a livelihood in this all too tenuous profession. Without either, we risk losing a key part of the tapestry of artistic excellence of which we are so justifiably proud. What does the future of Canadian theatre look like? You decide.

Allan Teichman, President *www.hillstrategies.com/docs/Artists_Canada2006.pdf

1860 1868-1900 1873-1892 1887 Black patrons sitting in the main section 116 plays by Quebec playwrights are 40 theatres with a capacity of over 1,000 First stock theatre company appears in of Victoria’s Colonial Theatre are attacked published, of which only 40 are ever seats are built across Canada, all linked Winnipeg and lasts one season by whites who want them restricted to performed by rail balcony seating

2 Equity quartErly Fall 2010 Notes from Arden r. ryshpan

Maintaining a space for Canadian content is one of the biggest challenges faced by the arts and culture sector. While we have embraced our fiction writers and musicians with enthusiasm (and to some degree our visual artists), there is still a hesitation among the general public to choose Canadian stories on the stage and screen. “Oh brother, here comes the moose…” you can hear your average Canadian thinking when they are asked to see a Canadian play or film. I don’t know why. We actually make a significant number of high quality productions in this country, both live and recorded. Lest anyone have any notions about say, the superiority of the British industry, I urge you to spend an evening in front of the telly the next time you are in London. Not everything deserves to be exported. And what makes a production “Canadian?” Surely, it means that it is made by Canadians who, regardless of the subject matter, are likely to explain it filtered through their life experience in this country. That sounds “Canadian” to me. I recognize the challenges that come with programming new works. The aver- age audience member has no idea if it is going to be good or not, especially if it comes from a new playwright. And when both their disposable income and available time are at a premium, they are likely to be selective about where they spend their dollars. Many seem to prefer to choose the tried and true rather than the new and different. Every artistic director ultimately needs to put a certain number of bums in seats if they wish to keep the doors open. Looking for the balance between “no risk – less risk – high risk” is not an enviable task. As funds become increasingly precious, the cash to develop new works gets meted out in smaller doses. There are theatres and companies all over this country doing yeoman’s work to bring new work to the stage and they should be commended for it. But a lack of a coherent government policy to create new works means that the financial burden has been downloaded to the creators themselves, who often work for little or no money to birth the project. Every statistic that has ever been run shows that artists subsidize their own industry in a way that no other does. When there is not enough money in the system for script development, the work still gets done, but unfortunately often on the backs of the members. But if we don’t write and produce new works, if we don’t make work about our society right now at this very moment in time, if we don’t try to look at contemporary conundrums, then we are noth- ing more than a branch plant operation for someone else’s cultural product. You will see Equity’s lobbying and advocacy goals reflected in the content of articles in this issue as well as “The Government Issue” from Fall 2009. We will continue to press all parties for compre- hensive, forward-looking arts and culture policies that not only provide the right kind of stimulus for growth but establish a prominent place for the arts in our country.

Arden R. Ryshpan Executive Director

Early 20th Century 1900-1950 1890s 1891 1919 1919 Gold Rush spawns theatrical, vaudeville Railroad reaches , joining that Canadian Actor Hart House Theatre is and burlesque productions in the Yukon city to the prairie theatre circuit Marie Dressler founded in Toronto and leads a 30-day leads the Canadian “Little strike on Broadway Theatre” movement

Fall 2010 Equity quartErly 3 Letters to the editor

Challenging subject matter Letters on subjects of concern to Equity members will be considered for publication. Letters must be signed, but names will be withheld on request I am writing in response to Matthew Hays’ wonderful article in the spring for those letters that may affect members’ employment. Letters that include artistic criticism of Equity members or letters that are antagonistic or accusatory, issue of EQ. The tone of the article suggests that there is not that much either implied or expressed, may be withheld or edited at the discretion of the editor. Opinions expressed in Letters to the Editor are not necessarily those of the challenging work being done these days. I am not so sure. Association. EQ reserves the right to edit for length, style and content.

Others will have their examples to add, but this was cast into relief PHOTO AND PRODUCTION CREDITS most clearly for me when we were home to a reading of Seven Jewish Cover: Photo: Soren Sielemann, iStockphoto. Inside front cover: Photo: Jill Chen, MentalArt, iStockphoto. Children, which was presented by Crow’s Theatre and the National Pages 1, 8-11, and in timeline: Photos (except where mentioned below) are from a special photography exhibit created in honour Theatre School. The B’nai B’rith wrote an open letter to the Mayor asking of Equity’s 25th Anniversary in 2001. For full credits please visit www.caea.com/EquityWeb/Extras/Gallery.aspx him to shut down the performances at Theatre Passe Muraille (TPM) – a Page 3: Timeline photos for 1919 (L to R): Photo of Marie Dressler courtesy of AEA and International Newsreel. Photo of Hart House courtesy of Hart House Theatre. municipally owned building. The Mayor steadfastly refused. He affirmed Page 5: Photo: David Cooper. Moulin Rouge – The Ballet (2009) with music by various composers, produced by Canada’s Royal Winnipeg Ballet. Artistic Direction our right to program this theatre independently and championed the idea by André Lewis with choreography by Jorden Morris. Cast: Gael Lambiotte, Vanessa Lawson and artists of the RWB. Stage managed by Ingrid Kottke. Timeline that we are meant to be a home for independent thought. photo for 1939: An American in Paris (1943) produced by the Canada’s Royal In the last two years we have produced work that has challenged our Winnipeg Ballet. Choreographed by Gweneth Lloyd. Dancers (L to R) Betty Farrally, Paddy Stone and Jean McKenzie. Photo courtesy of the RWB. audience with difficult issues and in some cases these are issues that certain Page 6: Poster for A Raisin in the Sun (2010-2011) produced by Black Theatre Workshop: Ellen Smallwood. sectors of our community would rather not see discussed in public. Pyaasa Page 7: Top photo: Isabelle Fleurelien. Le Code Noir (2008-09) by George Boyd produced by Black Theatre Workshop. Directed by Richard Donat. Cast: Tyrone explored the inhumane nature of the caste system, The Misfit looked at Benskin, Stefanie Buxton, Keir Cutler, Frank Fontaine, Adrienne Mei Irving, Ralph Prosper and Brett Watson. Production stage managed by Lori Allen with Stephen honour killings, Smoke Screen looked at marijuana use among young peo- Vincelli (apprentice stage manager.) Middle: Poster for Le Code Noir: Em Dash Design. Bottom left photo: Isabelle Fleurelien. Skin (2008-09) by Dennis Foon ple, Born Ready looked at gun violence among young black men. BASH’d produced by Black Theatre Workshop. Directed by Tamara Brown. Cast: Glenda Braganza, Neil Napier, Mike Payette and Julie Tamiko Manning. Staged managed was about the violence and intolerance directed at gay people. Future Folk by Johanne Pomrenski and Jonathan Rondeau. Bottom right photo: Cindy throws back the curtain to uncover the needlessly challenging daily lives Lopez. The Nutmeg Princess (2009-10) adapted by Amah Harris based on the original book by Richardo Keens-Douglas produced by Black Theatre Workshop. of our Filipino caregivers in Toronto who, on occasion, are unprotected Directed by Liz Valdez. Cast: Tamara Brown, Mike Payette and Warona Setshwaelo. Stage managed by Seamus Ryan. from mistreatment by their employers. Letters to My Grandma exposes Page 11: Timeline photo for 1971: Isabelle Fleurelien. Ranee Lee and Joel Miller in rehearsals for Swan Song of Maria (2009-10) by Carol Cece Anderson produced the inhumanity of religious intolerance. Such Creatures explores two dif- by Black Theatre Workshop. Directed by Tyrone Benskin. Cast: Ranee Lee, Joel Miller and Kiani del Valle (student). Production stage managed by Lori Allen. ferent scenarios of intolerance and violence, one in the inner city and one Page 12: Photo: Cylla von Tiedemann. Jitters (2010) by David French produced by Soulpepper Theatre Company. Directed by Ted Dykstra with fight direction by in a concentration camp. Yichud (Seclusion) was deemed by some to be Simon Fon. Cast: Kevin Bundy, Diane D’Aquila, Oliver Dennis, C. David Johnson, Abena Malika, Jordan Pettle, Noah Reid, M.J. Ross and Sarah Wilson. Stage offensive. Our co-producing partner backed out before rehearsal was to managed by Andrea Schurman assisted by Laura Baxter. begin but TPM believed in the message that Yichud delivers to its audience Page 13: Timeline photo for 1980: Graphic courtesy of Equity. Page 14: Left photo: Tim Matheson. Confessions of an Indian Cowboy (2001) and we were still committed to producing it. We mounted the production produced by Full Circle: Performance. Cast: . Middle photo: Ley Ward. The Food Show (2009), a collective creation by Dancing Sky with the able help of the creative artists themselves – Julie Tepperman and Theatre produced by Dancing Sky Theatre. Directed by Angus Ferguson with choreography by Louisa Ferguson and the company. Cast: Matthew Burgess, Aaron Willis of Convergence Theatre. Sheldon Corbett (musician), Louisa Ferguson, Jamie Lee Shebelski, Bob Wicks and Kevin Williamson. Stage managed by Ley Ward. Right: Leaving Home We have respect for our community and we do not want to cause harm poster designed by Lea Learning, courtesy of Walter Learning. Page 15: Photo: Nir Bareket. The Impromptu of Outremont (1980) by Michel to any, but we do want to take on challenging subjects in an atmosphere Tremblay translated by John Van Burek and Bill Glassco produced by the Tarragon Theatre. Directed by Bill Glassco. Cast: Clare Coulter, Nonnie Griffin, of respect for other opinions. Patricia Hamilton and Charmion King. Stage managed by Andrey Tarasiuk. — Andy McKim, Artistic Director, Theatre Passe Muraille Page 16: Photo of George F. Walker: Ken Woroner. Production photo courtesy of Factory Theatre. Problem Child (97-98) by George F. Walker produced by Factory Theatre. Directed by George F. Walker. Cast: Nola Augustson, Shawn Wayne Doyle, James Kidnie and Kristen Thomson. Stage managed by Kevin E. Bowers assisted by Karen O’Brien. Page 18: Photo of Maureen Forrester: BDS Studios. The article “Artistic Freedom in Canada” in the Spring issue of EQ Page 19: Photo of Wayne Nicklas courtesy of Judy Cook. Photo of Gerry Salsberg courtesy of Second City. should have cited Parts 1 and 2 of Section 167 of the Criminal Code Page 21: Photo courtesy of the Paul Hecht Private Collection. as an example of vague wording that can be used to shut down *With thanks to the Canadian Theatre Encyclopedia and other resources for the material to create the timeline running free expression. throughout the magazine

1921 1925 1932 1937 Canadian Copyright Act is given Royal Le Cercle Molière (now Canada’s oldest Dominion Drama Creation of La Fédération des artistes de Assent professional theatre company) is founded Festival is la radio (the name Union des artistes is in Winnipeg created adopted in 1952)

4 Equity Quarterly Fall 2010 EQ Moves Onward and upward with the arts

Vanessa Lawson and Gael Lambiotte in the Royal Winnipeg Ballet’s Moulin Rouge – The Ballet

Long-time Councillor Nick Wyman has been elected Martin Bragg has been appointed Execu- president of the U.S. Actors’ Equity Association, taking tive Director of Ballet. For the past over from Mark Zimmerman who vacated the position 17 years he was Chief Executive Officer/Artis- in December, 2009. First Vice President Paige Price had tic Producer of The Canadian Stage Company been temporarily filling in as president. in Toronto.

Anne Clark is stepping down as Geordie Productions’ Long-time staff member Keith Davidson has General Manager this fall. Anne worked with the theatre assumed the new role of Director of Business Rep- for five seasons and saw the company successfully pro- resentative Services at Equity. Keith will continue to duce the first national tour of one of its mainstage pro- provide supervision to the staff in the Business Rep ductions. department as well as assistance to engagers.

National Ballet of Canada Second Soloist Robert Stephen was This October, the Royal Winnipeg Ballet will awarded the Clifford E. Lee Choreography Award. This presti- commemorate its 70th anniversary with its gious award was established in 1978 to encourage the devel- first overseas tour in seven years. The tour will opment of Canadian choreographers. travel to Israel, Jordan and Eastern Europe.

1939 1943 1948 1949 Royal Winnipeg ACTRA is created to protect and promote Straw Hat Players Théâtre du Rideau Vert is founded in Ballet (then the the rights of performers in film, television summer theatre is Montreal Winnipeg Ballet and radio founded Club) is established

Fall 2010 Equity Quarterly 5 Showcasing the African-Canadian experience

Montreal’s Black Theatre Workshop celebrates its 40th anniversary

By Barb Farwell

It started out as a way for members of Montreal’s Trinidad and Tobago com- munity to socialize, connect and tell their stories – now, after 40 years, Black Theatre Workshop (BTW) has evolved into a reflection of the African-Canadian experience in Canada. As the only English-speaking professional Black theatre company in Quebec, BTW has helped start the career of many Black artists in Canada. Although its mission is to encourage and promote the development of Black and Canadian theatre, “this is not a fist-pumping Black power thing,” says Artistic Director Tyrone Benskin. “We want to make people aware of our stories,” he says. “We are here, we have a presence. This is not just something to think about during Black His- tory Month.” Benskin started his acting career at BTW in the early 1980s with a small role in a production of Neil Simon’s The Gingerbread Lady. “It was a positive experience, and for the first few years I grew my career with BTW.” After moving on to perform at Stratford and the National Arts Centre, Benskin says he has now come full circle. “I want to maintain and position BTW as a place for up-and-coming artists.” When BTW was incorporated back in 1971, its focus was on developing new work by West Indian playwrights such as David Edgecombe. Over the years it shifted its focus to produce a variety of plays from around the world, such as an all-Black version of Harold Pinter’s The Caretaker. At the same time it continued to explore the Canadian-African experience through plays by writers like Andrew Moodie and Djanet Sears. “Now young people are writing about their Cana- dian experience – creating work steeped in their Canadian voice,” says Benskin. “There is a wonderful richness that is coming out of Canada.” The poster for BTW’s 40th anniversary production of A Raisin in the Sun

Late 20th Century 1950- 2000 1950 1950 1951 1951 Newfoundland and Labrador Provincial The Canadian Opera Massey-Lévesque Commission releases Théâtre du Nouveau Monde is founded Drama Festival is created Festival (now the Canadian its report on the National Development of in Montreal Opera Company) launches Canadian Arts, Letters, Humanities and its first production Social Sciences

6 Equity Quarterly Fall 2010 Showcasing the African-Canadian experience

Giving life to little-known stories A recent production that Benskin is particularly proud of is Le Code Noir by George Boyd and com- missioned by BTW. It is the little-known story of Joseph de Boulogne, who lived in Paris in the sec- ond half of the 18th century and was known as the “Black Mozart” for his compositions and virtuoso violin playing. “It’s a fascinating story,” says Ben- skin. “It’s important for me to get these stories out there and welcome everyone in to see them.” To celebrate its 40th anniversary, BTW will be pre- senting A Raisin in the Sun by Lorraine Hansberry, which it first produced back in its 1978-79 season. Ben- skin says the play, which recently celebrated its 50th anniversary, “got rid of a certain caricature. It showed the same struggles as any other working class. “But this is not just nostalgic. The play continues to be really relevant. It shows the struggles that people face today, just like any George F. Walker play.” Another important priority for BTW is introducing young people to the theatre through their touring productions to elementary and high schools. “We want students to know from an early age this is how powerful theatre can be,” says Benskin. The com- pany also offers the YouthWorks Training program, a year-round theatre training program with an Afri- centric focus for young people of all backgrounds. “For a little company we’ve done well,” says Benskin. “It’s no longer, ‘Are you guys still around?’ but, ‘When’s your next production?’” BTW’s 40th anniversary production of A Raisin in the Sun runs from November 24 to December 5, 2010, at the Centaur Theatre in Montreal. For more information visit www.blacktheatreworkshop.ca. EQ

Top left: Tyrone Benskin and Stephanie Buxton in Le Code Noir Top right: The story of Joseph de Boulogne, known as the “Black Mozart” is one of those fascinating but little-known stories that BTW actively seeks out Bottom left: (L to R) Julie Tamiko Manning and Neil Napier in Skin by Dennis Foon, a BTW production for young people that toured schools Bottom right: (L to R) Mike Payette and Tamara Brown in The Nutmeg Princess, which answers the question: Are there any Black princesses?

1951 1953 1953 1955 Celia Franca creates Stratford Holiday Theatre dedicated to theatre for First Canadian Advisory Committee is The National Ballet of Shakespeare young audiences opens in Vancouver elected as a branch of Actors’ Equity Canada in Toronto Festival opens Association (U.S.)

Fall 2010 Equity Quarterly 7 HOW WE GOT TO WHERE WE ARE TODAY A HIstOrY OF CANADIAN tHeAtre

By KEith KElly

thE dEvEloPmEnt of Royal (now Nova Scotia). Lescarbot rose to the challenge and the theatre in our country has been full of adventure, conflict and pas- production of his plays became a regular part of the offerings of sion – but it’s much more than just an interesting history lesson. the Order of Good Cheer. The joys of theatre were a welcome It’s critical to look back at where we’ve been to discover where distraction from the hardships of life in New France. we want to go in the future. When the first Europeans came to The development of theatre in Quebec City did not go as smoothly. the New World they were uncertain of what they would find. The The dominance of the Roman Catholic Church directed those who harsh climate, the lack of even the most rudimentary amenities, wrote plays to focus on biblical themes. When this was challenged, and the untamed wilderness challenged even the most adventur- there were serious consequences. Bishop Saint-Vallier asked Comte de ous of these new arrivals. To bolster their spirits it was clear that it Frontenac, the Governor General of New France, to ban a production would be necessary to find ways to introduce some of the familiar of Molière’s Tartuffe, a move he reputedly encouraged with a bribe. elements of their previous life in Europe. Samuel de Champlain In 1693-94, the same bishop went further and banned all theatrical established the Order of Good Cheer where through music, food productions in Quebec. The Church continued to exercise censorship and other diversions a sense of belonging could emerge. of theatre and all of the arts into the 20th century. In 1606, to aid in this mission, Champlain asked Marc Lescarbot The desire to replicate the Old World in the New World was to establish Le Théâtre de Neptune en la Nouvelle-France at Port manifest in the manner in which theatre and other art forms

1957 1958 1959 1960 The Canada Council is created by Birth of the Manitoba Toronto Workshop Productions opens in Vancouver Opera Parliament Theatre Centre in Toronto with an experimental mandate produces its first opera Winnipeg

8 Equity quartErly Fall 2010 A HIstOrY OF CANADIAN tHeAtre

would develop over the next 300 years. In 1788, the soldiers in Theatres form across Canada Halifax produced theatre within the garrison. The first production The next 100 years saw the building of theatres across Canada. was Sheridan’s School for Scandal. Satisfied with their foray in From 1873-1892, 40 theatres with capacities of over 1,000 seats theatre, the soldiers built the New Grand Theatre in Halifax. The appeared. While the wilds of the New World were somewhat first production was Shakespeare’s The Merchant of Venice. tamed by Canadians, the security of the Old World filled these From 1789-90 two theatre companies emerged. Allen’s Com- theatres with travelling troupes from England and France. Glim- pany of Comedians, which was founded by Edward Allen from mers of hope were appearing at residential stock theatre compa- the Theatre Royal in Edinburgh, and Les Jeunes Messieurs Cana- nies in Edmonton and Winnipeg. diens, a French-speaking theatre company whose founders were In Quebec, from 1868-1900, 116 Quebec-authored plays were politically involved with the society being created in Canada at published. During that time period, only 40 of these works were the time. Initially, Allen’s Company produced works from Shake- performed. The appetite for seeing our own work on our stages speare in English communities, while Les Jeunes Messieurs con- was in a nascent phase. centrated on the works of Molière for French audiences. Even- It was not until the beginning of the 20th century that the tually the two companies broadened their repertoire to include stirrings of national consciousness began to emerge in the arts. plays from both playwrights. Canadians had begun to reflect their own stories and perspectives.

1960 1962 1963 1963 The National Theatre School of Canada Shaw Festival is Vancouver Playhouse opens Neptune Theatre opens in Montreal founded in Niagara- is formed in on-the-Lake Halifax

Fall 2010 Equity quartErly 9 how wE got to whErE wE arE today

In the visual arts, the Group of Seven and Emily Carr renounced The effects of a growing self-awareness and the desire for change the disciplines of the Royal Academy in favour of their own style led to a burst of activity on the stages of that province. We see the which better represented the realities of the Canadian experience. advent of Le Theatre du Rideau Vert in 1949, lead by Mercedes In literature we also saw the emergence of a distinct Canadian Palomino. In 1951, Georges Groulx, Jean Gascon, Jean-Louis Roux voice through Margaret Laurence, Robertson Davies and Roch and Guy Hoffman established Le Théâtre du Nouveau Monde in Carrier who reflected upon Canadian themes and perspectives. Montreal. In 1952, the theatre and performing artists were united In 1919, Hart House Theatre opened in Toronto, committed under the umbrella of Union des Artistes. This organization began to the development of Canadian theatre. Hart House was seen to ensure that artists received a fair recompense for their work and as the leader of the “Little Theatre” movement in Canada, which that working conditions were safe and reasonable. further extended theatre life to communities across Canada. The growth spurt in Quebec continued with the opening of the The Dominion Drama Festival was established in 1932. This Comédie-Candienne in 1957 under the artistic leadership of Quebec national competition allowed theatres to compete with talent playwright and actor Gratien Gélinas. In 1960, the National Theatre from all over Canada. The competition culminated in a one-week School opened in Montreal, providing professional training to actors festival of winning plays. The festival was suspended in 1939 due and other theatre professionals in both French and English. the onset of the Second World War. It was revived in 1947 and A similar revolution was happening throughout the rest of continued until 1978. Canada. The late ’50s and ’60s saw the creation of the Stratford The dominance of foreign companies on Canadian stages evapo- Shakespeare Festival, the Shaw Festival Theatre and Theatre Passe rated following the war. It was from this fecund ground that the Cana- Muraille in Ontario, the Manitoba Theatre Centre, the Vancouver dian voice began to develop with remarkable strength and timbre. Playhouse, the Neptune Theatre in Halifax, Edmonton’s Citadel Theatre and Theatre . In 1969, the curtain was The Canadian voice raised at the National Arts Centre in , playing host to two Paul-Émile Borduas and the artists known as the Automatistes deto- repertoire theatres, one in French and one in English. nated the Quiet Revolution in Quebec with the release of Le Refus global in 1949. This was a fiery renunciation of the bounds of colonial- National pride ism and domination by the Church. It was an insistent affirmation that Perhaps it was the national exuberance and confidence from Expo the time for the real potential of Quebec become manifest. 67 and the Montreal Olympics, or the creation of the Canada Part of its manifesto was: “The magical harvest magically Council in 1957 and other provincial arts councils and funding reaped from the unknown lies ready in the field. It was gathered programs, but it was clear that reticence had become an endan- by all the true poets. Its powers of transformation are as great as gered species in Canadian theatre. the violence practiced against it... The confluence of the Centennial, the arrival on the political “Make way for magic! Make way for objective enigmas! Make scene of Pierre Trudeau as Prime Minister, and the era of the way for love! Make way for what is needed!” flower children and vehement anti-Vietnam War protests created a heady new environment for artistic expression and creation.

“As we prepare for our 150th birthday, much can be done to ensure the hard won gains of the Canadian artistic community...”

(L to R) Eric Peterson and John Gray in Billy Bishop Goes to War, which premiered in 1978 with Peterson playing 18 spoken parts and Gray as director, narrator and pianist

1965 1965 1966 1968 The Citadel Theatre is founded in The Charlottetown Festival opens The Alberta Ballet is founded Theatre Passe Muraille opens in Toronto Edmonton

10 Equity quartErly Fall 2010 It became manifest in the creation of new theatres across Can- a turning point and an extended celebration of Canadian artists ada producing new plays that gave voice to the new Canadian and our 100 years of life as a nation. spirit. This provided opportunities for talent like Tom Hendry, June As we prepare for our 150th birthday, much can be done to Faulkner, Bill Glassco, Walter Learning and Jim Garrard to provide ensure the hard won gains of the Canadian artistic community can stages for the likes of actors Martha Henry, , Shirley be further advanced and celebrated. Douglas, Christopher Plummer and playwrights George F. Walker, First, we need to review our federal cultural policies. Each time Norm Foster, , and many others, who would form the this has happened we have seen a burgeoning of creativity in bulwark of Canadian theatre. all the art forms. The Canada Council was created as a result of Canadian theatre had arrived with a bang! The challenge then the Massey-Lévesque Commission, and the Applebaum-Hébert became maintaining the momentum. As anyone familiar with the Committee stimulated growth in all artistic disciplines for over a arts knows, economic realities have a habit of shaping the for- decade. tunes of all art forms. With the economic recessions of the ’70s We also need to ensure that our resources and strategies are and early ’80s, and new pressures such as increasing competition consistent with a world that technology has so changed and dom- for audiences and a growing array of home-based entertainment inated. A serious review would have the chance to do this. options – theatres looked for ways to economize. Second, now is the time we must begin working to develop a Smaller productions and plays with a broad audience appeal fund to support the creation of new works for the 150th anniversary began to displace Canadian original works. These factors per- of Canada. Such funds were created for the Centennial and the sist through to the present day. In 1993-94 the Canada Council Millennium and were largely responsible for the generation of new reported 519 productions of Canadian plays. By 2005-06 we saw works, which were the centrepieces of those landmark occasions. a modest increase to 918 plays by Canadians. Large theatres were The fund must allow our artists and creators free rein to draw responsible for 12% of Canadian plays in 1993-94, but by 2005- a portrait of Canada at the beginning of the 21st century. Such 06 this had declined to 9%. productions have lasting benefits for all Canadians and provide a Development of foreign audiences and markets has always reflection of where we have been, where we are now, and where been seen as a way to diversify revenue and promote Canadian we are heading as a society. artistic expression. Unfortunately, the two main federal govern- In the ’70s the federal government sponsored projects through ment programs that assist in the promotion of Canadian culture the Opportunities for Youth and Local Initiatives job creation pro- internationally were axed by the current government. Not fine- grams. The emphasis was on job creation – not accounting for every tuned, not retargeted – but cancelled in 2008. penny or burying recipients in red tape. The arts community took full advantage by creating theatres, artist-run centres, dance companies A new turning point? and museums – many of which are still operating today. Today we stand some seven years from the 150th anniversary of Third, we must find a way to engage the aboriginal and cultur- Confederation. Fifty years ago, the Centennial celebrations were ally diverse communities on their terms and with respect. These groups are creating their own stories of the Canadian experience but often feel marginalized from the larger artistic community. If we can achieve these goals – not only will we have much to celebrate in 2017, but once again we will have fashioned a brave new world on Canadian soil. EQ Keith Kelly has been involved in arts and cultural policy for over 30 years and is an honorary member of Equity. He is a founding board member of the Governor General’s Performing Arts Award Foundation and the Hnatyshyn Foundation and was National Director of the Canadian Conference of the Arts from 1989-98.

(L to R) Marc Gelinas, Jean Archambault and Peter MacNeill in David Fennario’s bilingual play, Balconville, at Montreal’s Centaur Theatre in 1981

1968 1969 1970 1971 Theatre New Brunswick National Arts Centre Creation of Toronto’s Tarragon Theatre Black Theatre is founded in opens in Ottawa with Workshop is George Ryga’s play The founded in Ecstasy of Rita Joe Montreal

Fall 2010 Equity quartErly 11 thEatrE artists rEFlEct on thE Evolution oF our national thEatrical canon

(L-R) Noah Reid, M.J. Ross, Kevin Bundy, C. David Johnson and Oliver Dennis from Soulpepper Theatre Company’s 2010 production of Jitters by David French

COOL CANADIANA By matthEw hays

George F. Walker. Judith Thompson. Daniel MacIvor. Tomson Highway. Michel Tremblay.

it’s not so diFFicult to cite ter Learning, the playwright, actor and director who founded The- the names of famous Canadian playwrights. As anyone in the atre New Brunswick in 1968. “At that point, the overriding vision international theatre milieu will tell you, there is a considerable wasn’t to do Canadian work, it was just to get something going Canadian canon, with solid national name recognition around our on and get an audience in.” cultural exports. Then, Learning recalls speaking his mind. In 1969, a journalist But some remember a time when there wasn’t such an expan- asked him why, as artistic director of Theatre New Brunswick, he sive body of work to draw inspiration from. “When I first started wasn’t putting on any Canadian plays. “I responded that I wasn’t in the 1960s, I wasn’t aware of many Canadian plays,” says Wal- doing so because 90% of Canadian plays are garbage. Canadian

1972 1974 1974 1974 Alberta Theatre Projects established in Persephone Theatre opens in Saskatoon Native Theatre School (renamed the Canadian Theatre Review begins Calgary Centre for Indigenous Theatre in 1994) publication opens in Toronto dedicated to promotion of aboriginal theatre

12 Equity quartErly Fall 2010 Theatre artists reflect on the evolution of our national theatrical canon

Press picked up the quote and ran with it in papers coast to coast. typewriter away from the writer. Paul taught us to say things with Then wrote a column in which he pointed out that confidence. The actors were the voices. We weren’t interpreting 90% of plays from anywhere were garbage. Alden and I became someone else’s character.” great friends and ended up collaborating, writing several plays Thompson’s choices in topics varied, but they invariably together.” involved communities in some kind of crisis – often giving voice Learning, who also served as artistic director of the Vancouver to marginalized people who were getting shafted. Coulter says Playhouse from 1982-87, recalls that the 1970s proved a decade the process itself, the form of collective creation, was hugely sig- of exponential growth for Canadian theatre. “The Factory and nificant in shaping a national Canadian theatre. Theatre Passe Muraille were really getting into collective creations, “I had spent part of my childhood in Britain, and spent some which are a fascinating way to work. Our people weren’t trained time at Stratford. I had no idea you could speak in a Canadian in the process. But the content of their shows was different too. voice telling Canadian stories. I didn’t know that could come I wasn’t going to try to bring something as racy as Baby Blue to under the category of theatre. The work that Paul was doing Sussex, New Brunswick!” was hugely important.”

Canadian literature and cinema, Expo 67, and Canada’s Centennial celebrations put a new emphasis on exploring Canada’s national identity. “There was a flowering of pride.”

And Learning says a switch was hit when he read David French’s A Canadian voice telling Canadian stories play Leaving Home. “He’s from Newfoundland, as am I. We did But Coulter is quick to add that exciting new strains of theatre the second production of that play. We found a voice that really did not exist within a vacuum. Much of the development of new spoke to our audience. There was an organic feel to his work.” approaches by such Toronto theatres as Theatre Passe Muraille, The Factory and Tarragon, were helped along by advocates in A true Canadian body of work the press. “The Toronto Star critic in the early ’70s, Urjo Kareda, The main difference Learning sees now is that “we really do have raved about what we were doing. His muscle really helped to a canon. What’s glorious is that after 40 years, we have a body of get audiences out to see it. He could see that we were trying work we can go back to. My hat went off to Soulpepper Theatre, something different, an alternative to the theatre as opposed as they recently did a production of David French’s Jitters, and to the established theatre. He always came to our shows and they did such a great job of it. We have to keep rediscovering that engaged with them, thoughtfully and passionately. That support canon – that in turn will inspire new playwrights.” was invaluable.” Veteran actor Clare Coulter remembers the exciting theatre The blossoming of so much experimentation by grass-roots experiments she was part of at Theatre Passe Muraille in the theatre start-ups was also due to government subsidy. Coulter ’70s. She says that Paul Thompson had been to France where recalls that under Trudeau, the Local Initiative Program grants he’d seen various theatrical collective creations take shape, and were launched, helping creative types push ahead with new brought some of those techniques back to Toronto with him. “It visions for the theatre. And she says that subsidies like that one, was very exciting making those shows,” she says. “The idea was along with the support of critics like Kareda, helped to foster audi- that you would take the script away from the actor, and take the ence growth and enthusiasm for Canadian works.

1976 1979 1980 1982 Canadian Actors’ Equity Association Toronto’s Buddies in Bad Times theatre Federal Cultural Policy Review Edmonton International Fringe Festival is is established as independent from opens, dedicated to the promotion of Committee (Applebaum-Hébert) established, the first in North America American Actors’ Equity lesbian and gay writers and creators publishes its recommendations to the federal government

Fall 2010 Equity Quarterly 13 Theatre artists reflect on the evolution of our national theatrical canon

Left: Opening up the theatre to Aboriginal voices and other diverse communities. Margo Kane in Confessions of an Indian Cowboy (2001) by Vancouver’s Full Circle: First Nations Performance Middle: Louisa Ferguson in The Food Show, a collective creation by Dancing Sky Theatre that included dinner for the audience prior to the performance Right: Poster from Theatre New Brunswick’s 1973 production of David French’s Leaving Home. “We found a voice that really spoke to our audience,” said Walter Learning

“Audiences in Canada became much more aware of what we New creative processes were doing, and what could be done,” she says. Canadian literature Like the upstart theatres in the ’70s, Ferguson says new and edgy and cinema, Expo 67, and Canada’s Centennial celebrations put methods of the creative process are what drives his theatre. “Actors a new emphasis on exploring Canada’s national identity. “There are really very creative people. And they’re often not given the was a flowering of pride.” And that audience enthusiasm helped to chance to create. We have writers in residence, and we do collective create an eagerness for the artists to continue to experiment, push writing, bringing actors and musicians together to collaborate.” the boundaries, and create entirely home-grown works. Last season, Ferguson brought several actors together to Angus Ferguson says that when he and his wife Louisa founded explore society’s changing attitudes towards what we eat. Called the Dancing Sky Theatre in Meacham, Saskatchewan, in 1992, The Food Show, Ferguson says “the actors jumped at it,” and they didn’t set out to mount only home-grown shows. But that’s the show proved successful. The theatre’s setting helps: While he the way it turned out. “After our fourth season, we realized that stresses that the Dancing Sky Theatre is “not dinner theatre,” he all the plays we’d done had been Canadian, though that wasn’t says that because people often have to travel quite far to see a something we set out to do. But connecting with the audience show, they serve dinner prior to the performance. was something we had set out to do, and Canadian plays speak to Creating brand new work, Ferguson points out, is incredibly Canadian audiences. So it became an unwritten mandate.” rewarding – but also more expensive. “We’ve learned how to pull The trouble with a great deal of new theatre work, Ferguson main- together a show in two and a half weeks. That can be tough – there tains, is that it’s very urban. “We are a small theatre and the village of isn’t always time for more in-depth exploration of a topic. Gener- Meacham is small. Finding plays that actually speak to rural audiences ally, when people think of research and development investment, is hard. Often, new work can be pretty bleak too – like with four char- they think of medicine and engineering. They don’t think about it acters, every one of them you hate. We already know life’s tricky, I’d so much in the arts. But artists need to try and fail too. It’s harder like to see how people got through life’s difficulties.” to sell. People have heard of Hamlet, but a new show, no.

1983-1988 1984 1986 1988 Maureen Forrester, noted Canadian Globe Theatre of the Northern Arts opens Siren-Gélinas Task Force on the Status of Canadian Advisory Committee on the Status contralto, becomes the first female Chair in Yellowknife the Artist releases its findings of the Artist, comprised of artists and officials of the Canada Council from associations and guilds, recommends adoption of a Canadian Artists Code

14 Equity Quarterly Fall 2010 Theatre artists reflect on the evolution of our national theatrical canon

“And the institutions that are in place try to make you do things is that there hasn’t been a strong interest in developing Aboriginal the same way, because that’s easier and more efficient. We’re work. I think that would be a very good direction Canadian theatre supposed to be a creative art form, so I think we should try to do could go in – there is a great deal of international interest in these it another way. But that takes effort and time. Luckily, some atti- stories, and I think that would open up a lot of possibilities for us. tudes have changed. In the 50s and 60s, nearly all of the theatre It’s a rich history that hasn’t been tapped into.” produced in Canada was English or American.” Twenty years ago, Kane developed a one-woman show, While there’s now a rich canon to revisit, theatre vets say that Moonlodge, about the abuse a native girl suffers while in foster care. “I basic economic realities have changed for Canadian theatre. “It did that show because there was so little on stage for aboriginal people. used to be that when you were talking about putting on a play, There were no roles for me, nothing that spoke to my experience. the number of the cast never came up,” says Learning. “But now “But 20 years later, I don’t get the sense that things have the size of cast is one of the first questions, as well as the number changed all that much. It’s been glacial, at best. I feel like I’m of sets. The economics have changed so much. It’s very rare to constantly dealing with the fact that we’re silenced and ignored. see a big show put on. And that breeds a self-fulfilling prophecy I’m reacting constantly against the inertia of society. – people will only write shows for small casts.” “I know it’s a challenge for people to hear, but it needs to be said.

“We really do have a canon. What’s glorious is that after 40 years, we have a body of work we can go back to.”

Economic realities We need to be much more open “I think corporate sponsor- in our models. We might not ship has changed the theatre, develop a show within Euro- and not for the better,” adds centric creative models. We’re Coulter. “They need to pro- not always using the same mote the idea that life is good. models. I’d like to see more And it used to be that even if theatre companies develop a play didn’t attract a huge partnerships with Aboriginal audience, there might still be companies where the power is something artistically valuable equal. Artists shouldn’t feel like about it. Twenty years ago, I second-class citizens. applied for a grant from the “I think the next 25 years Canada Council. They got could be crucial for the Cana- back to me and said, ‘This (L to R) Clare Coulter, Charmion King, Patricia Hamilton and Nonnie Griffin dian theatre. We need to hear show won’t be popular, you in Tarragon Theatre’s 1980 production of Michel Tremblay’s The Impromptu from new and different per- of Outremont – one of the Canadian voices telling Canadian stories need our help,’ and gave me spectives. It should be about the grant. Recently I applied for one, and the response was the shared learning – we need to open up the theatre to Aboriginal opposite: ‘Sorry, no popular appeal. Declined.’” voices and other diverse communities.” EQ For all the talk of change, Margo Kane says she sees few signs of Matthew Hays is a Montreal-based journalist whose work has appeared in The progress for Native theatre artists. The artistic director of Vancouver- Globe and Mail, The Guardian, CBC Arts Online, The New York Times and the Canadian Theatre Review. He teaches courses in journalism and film studies at based Full Circle: First Nations Performance says “my biggest concern Concordia University.

1988 1989 1992 1994 First significant reform of Canadian Phantom of the Parliament passes the Status of the Artist Vancouver’s Western Gold, Canada’s first Copyright Act since 1921 extending Opera opens in Act recognizing artists’ contributions to professional theatre for senior artists, is copyright protection to choreographers Toronto and plays the cultural, social, economic and political founded and Ex Machina is created in for the next 10 years enrichment of Canada Quebec

Fall 2010 Equity Quarterly 15 EQ&A The world is waiting for more Canada An Eq&A with playwright George F. Walker

Playwright, screenwriter and director George F. Walker had his first play, The Prince of Naples, performed by Toronto’s Factory Theatre in 1972. His many plays since then include Criminals in Love, Problem Child, Theatre of the Film Noir, Love and Anger and Escape from Happiness. This year he directed his latest play, And So It Goes, for the Factory Theatre.

He has won the Governor General’s Award three times, the Dora Mavor Moore Award five times, the Chalmers Award nine times, and is a member of the Order of Canada. His plays have been performed across Canada as well as in the United States, Germany, , and New Zealand.

EQ : Have changes in government funding – especially towards touring – affected you?

GFW: I appreciate how the lack of funding affects artists, but it hasn’t really affected me. My play gets published and I’m off it. They go on – hopefully without me. But I’m sympathetic to the touring companies. Touring extends the life of a work.

EQ : What do you think the future holds for Canadian theatre?

(L to R) Shawn Wayne Doyle, Kristen Thomson and James Kidnie in George F. Walker’s Problem GFW: When I started there was no the- Child, presented in the Mainspace as part of the Factory Theatre’s 1997-98 season atre scene in Canada – so it looks better now than it did then! New playwrights EQ : Are there some uniquely Canadian EQ : Are people around the world eager to need theatres like (Toronto’s) Factory, themes that drive your work? see works by Canadian artists on stage? Passe Muraille and Tarragon. These kinds of theatres are now across Canada. You George F. Walker: I’m Canadian, so GFW: To some, Canada is an undiscov- don’t need to leave home anymore. It’s a they must have Canadian themes. I don’t ered country. American and British theatre better scene with more choices. really analyze it. Sometimes my work is is imported around the world. Canadian set specifically in Toronto or in a specific and Australian theatre is new. It’s some- If we had a government that really, really neighbourhood. thing different. It’s another voice. cared instead of giving token support – we could elevate Canadian theatre to a whole EQ : Your work has been performed quite We’ve been sitting for so long on the banks new level. They could lead the way. The extensively around the world. Is that partly of the river from London to New York. bigger (theatre) gets, the better. I don’t because you deal with universal themes? Other countries may not feel it as acutely as care what the ideological leanings of the us because we are so close to (the U.S.). We GFW: I try to write about real life – with government are – they just have to believe are bringing a new kind of English theatre to an eye on everything bigger. It has to reso- in how important culture is to the fabric other countries – along with Australia and nate with me. I have to feel it to write it. I of society. It could be a bigger part of our New Zealand. The world is becoming bigger don’t aim for an international audience. I lives and we could invite more people in. and smaller at the same time. don’t aim for anyone. I’m waiting for that.

21st Century 2000 - Present 1996 1998 2001 2005 Canadian Artists and Producers Second phase of Canadian Copyright Equity celebrates its silver anniversary Equity, the Toronto Professional Relations Tribunal comes Act, reforms are passed by Parliament with parties held coast-to coast Musicians’ Association into operation granting performers neighbouring rights and IATSE launch a in sound recording boycott of the Blue Man Group in Toronto

16 Equity quartErly Fall 2010 EQ Backstage Real agents don’t advertise

If you are looking for an agent the last thing you should do is answer an ad in the newspaper or on the Internet. No legitimate agent advertises, says the Acting and Modeling Informa- tion Service (AMIS) – an organization set up by Toronto casting agents in 1995 who were tired of people being ripped off by unscrupulous agents. AMIS was instrumental in helping establish the Entertainment Industry Coalition Agency Association (EICAA), which, along with the Talent Agents & Managers Association of Canada (TAMAC), self-governs the agent community. Members of these two organizations have to adhere to a strict code of ethics. If an agent doesn’t belong to either of these groups – beware. It doesn’t cost anything to join EICAA, so there is no reason for a legitimate agent not to be a member. Unfortunately, there are some people out there calling themselves agents who run “photo mills.” These people charge you a fee to audi- tion, and then require you to purchase services such as photos for two to three times the cost. After that, the photos just end up gathering dust in a file cabinet somewhere. The truth is, an agent should never charge a fee and there should never be an exchange of money before you have had any work. Once you are working the agent receives a commission – normally 15% for film and television work and 10% for theatre. A good reference for anyone starting out in a career as an actor is The Agents Book, which is published by AMIS and available through their website at www.amisontario.com. It answers the most frequently asked questions by people just starting out in the entertainment business, and pro- vides solid advice on such topics as what parents should expect on set if their children are working. It also describes some of the most prevalent industry scams to be on the lookout for, and includes a list of ethical agents who belong to EICAA or TAMAC. ACTRA Toronto also has a list of reputable agents on its website at www.actratoronto.com/ perform/agents.html. If you are suspicious of a particular “agent” or have a question about the industry, you can call the AMIS hotline at 416-977-3832. Although it’s operated out of Toronto, anyone in Canada is welcome to call. The hotline, which is staffed by experienced professionals from the entertainment and fashion industries, receives about 40 calls a week. If necessary, they refer the caller to other organizations for legal advice. Unfortunately, most of the calls the hotline receives are from people who have already been scammed. If you do some research ahead of time you can make sure that doesn’t happen to you.

2005 2006 2008 2010 Anne of Green Gables Federal Court of Appeal finds dancers Canada’s culture sector economic institutes devastating celebrates its engaged by the Royal Winnipeg Ballet footprint is 7.4 % of Canada’s total funding cuts to the arts and culture 40th anniversary to be independent contractors and not real GDP industries employees

Fall 2010 Equity quartErly 17 Fondly Remembered

Maureen Forrester 1930 – 2010

By Dr. Irving A. Guttman, Life Member

A star, an artist, a beautiful human being. What an incredible journey we have had together. Maureen and I started our careers together making our debuts in opera at the same time at the age of 23 and 25, respectfully, in 1952. After hearing Blanche Thebom in Samson and Delilah in 1951 at the Montreal Forum, Maureen and I were on such a high, I tore my shirt off and fell to my knees in the middle of the street and said, “Maureen, you have to become an opera singer!” I cast Maureen a year later in Cornwall, Ontario, as the grand- mother in Menotti’s The Consul. The rest is history. Many years later I brought her to Edmonton four times: two operas, The Masked Ball and Salome; a musical, South Pacific as Bloody Mary where stage director Brian Macdonald had her dance in her bare feet; and the 25th anniversary concert for the Edmonton Opera. For the gala concert she sang Menotti’s grandmother’s lullaby from The Consul. This was her signature aria from her debut in Cornwall in 1952. She toured with the Toronto Symphony Orchestra and Sir Andrew Davis as guests of The People’s Republic of China in 1978 and she was chairman of the Canada Council where she provided great responsibility for the arts. Maureen was an amazing individual; her love for life was over- Life Member Maureen Forrester as Herodias in the Canadian Opera Com- pany’s 1985/86 production of Salome whelming. Flexibility, humour and warmth were always there, and she gave 100% to her art form with such conviction and soul that Opera had a party for the chorus. Maureen overheard and said you were left breathless, moving you onto another plateau. An she would love to come. The chorus member was overwhelmed artist of this calibre only comes along once in a lifetime. The great when Maureen graciously accepted. conductors of the world, such as Zuban Mehta, Bruno Walter, Despite her very demanding career, Maureen found time to Fritz Reiner, George Szell, Sir Thomas Beecham, Otto Klemperer raise five wonderful children, Paula, Susie, Daniel, Linda and Gina. and Pierre Monteux knew this. Her Mahler, Lieder and Bach were She made and found time for them no matter how difficult the the highest interpretations and quality of any singer. Canada can challenges were. be so proud and grateful to have this great singer fill our hearts I can remember, so vividly, her dark eyes which sparkled, talked and and ears with such magnificent colours and sounds. Her true tal- expressed so much about life. As she wrote in her biography to me: ent came from within. She sang from the soul. You heard more For my beloved Irving whom I have learned so much. You are than voice – it was ethereal. responsible for turning me on to this wonderful art of opera. Maureen always had time for everybody – from the chorus XXX Heartfelt thanks, Maureen. and orchestra pit members to her cast. Her persona was so hum- Our farewell to her has a permanent gift – a legacy that we ble that you felt comfortable talking about anything. She loved can cherish forever with her recordings. An incredible journey of to party, sharing and laughing, and creating an atmosphere in joy and pain. the room that everybody could relate to and enjoy. An example The stage gave us a great human being. She created a permanent of this is when a very young chorus member in the Edmonton memory which I will cherish forever.

18 Equity Quarterly Fall 2010 Wayne Nicklas 1951 – 2010

By Brian Richardson

It is always hard to say goodbye to an You were the kind of guy who loved old friend. So letting you go, Wayne, to laugh. You found humour in such a was difficult for all of us who knew broad range of things, and the way you you. Many of us from the Winnipeg took delight in good food and drink community had worked with you, as meant your companionship was wel- had actors from all across Canada, comed by your friends and fellow thes- and even some from the U.S. I mean, pians. You were also great with kids even doing Shakespeare with William Hurt though sometimes you terrified them or Keanu Reeves at the Manitoba The- too, like when you were The Hooded atre Centre is only a small part of your Fang, or the largest White Rabbit ever career. After all, you did Shakespeare in to appear in Wonderland. After all, you the Ruins all over the ‘Peg. Of course, were a big guy with a large presence. you also brought history to life at The You carried on with the same spirit of Forks National Historic Site for nigh getting on with life right up to the end. onto 16 years as well, and between We miss you, buddy. At least I got to play that and Artists in the Schools you and The Parting Glass for you at the memorial I certainly worked together in close service even if we didn’t get to raise one proximity for over 20 years. together before you left. Sláinte!

Gerry Salsberg 1949 – 2010

By Nicholas Rice

Gerry Salsberg could be demanding, exasperating and exhaust- ing. He was also an extraordinarily kind, passionate and deeply talented man. He often said he’d done his best work as Orin the Dentist in Little Shop of Horrors, and as Tevye in Fiddler on the Roof. But I had my own favourites. More than two decades ago he played The Cowardly Lion in The Wizard of Oz. He could have trod the well-worn Bert Lahr path, but he didn’t. Gerry’s Lion was loud, kvetchy, and broadly and unashamedly Jewish. Perhaps initially scary, he also had an adorable pussy-cat quality lurking just below the surface, a quality he was eager, even desperate to show the world. Gerry didn’t just play the part – he was the part. It was one of those magical times when the actor and the role are one. suffering of a pal. And this, too, was just him. Even that close to He also played Oscar in The Odd Couple. I was privileged to him, I could not tell the actor from the act. He was as great in the see his performance every night from the best seat in the house – I role as he was in life. was Felix. Gerry’s Oscar was loud, generous, gregarious and pro- It’s no secret Gerry was a troubled guy. Yet for all his tsuris, foundly loving. He was the all-time best friend-in-need. There’s he was one of the most decent, and certainly one of the funniest nothing, absolutely nothing he wouldn’t have done to ease the people I’ve ever known. We’ll miss him terribly.

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20 Equity quartErly Fall 2010 National Theatre School EQ Flashback celebrates its 50th anniversary

Photo of the first graduating class (1963) in The Marriage by Nikolai Gogol. L to R front row: Lionel Simmons, Coralee Elliott Testar, Robert Sherrin (director), Suzanne Grossman, Paul Hecht. L to R back row: Peter Cullen, Bill Armstrong, Chela Cannon (Matthison), Ed Rudney, Neil Dainard, Sabina Maydelle (Von Fircks). Classmates Martha Henry, Antje Holtz, Heath Lamberts, Diana Leblanc, Gary Learoyd and Donnelly Rhodes are not in the photo

For 50 years, the National Theatre School (NTS) has been the train- since its inception in 1960 and entered the fields of dance, theatre, ing ground for some of Canada’s most successful actors, playwrights, opera, film, television, radio, digital arts, literature, and the circus. directors, set and costume designers, production managers, lighting To learn more about the events surrounding the 50th anniver- and sound designers, technical directors and stage managers. Over sary, including the Homecoming Weekend (October 28 to 30, 1,900 artists have graduated from NTS’s English and French sections 2011), please visit http://ent-nts.ca/en.

Fall 2010 Equity quartErly 21 EQUITY QUARTERLY

Announcing Equity’s new Festival Policy Created to enable members and independent producers to par- EQ ticipate and showcase their activities in a festival setting. The What to find at “Festival Policy” replaces Equity’s current “Fringe Application.” Over the last number of years, new festivals have emerged in Equityonline every part of the country. These festivals all share certain similar- ities with the “Fringe Festival” model – no presentation fees but www.caea.com a small honorarium or a sharing of box office receipts, limited technical support and performance spaces and venues that may • Contact information for Council’s be something other than traditional theatres. Some of these fes- Independent Theatre Review Committee tivals may be curated, others may be by lottery. In all cases, they • Information on HST implementation in offer Equity members opportunities to showcase their work. British Columbia and Ontario In an effort to facilitate the participation of our members in these • 2010 theatre award ceremony links types of activities and to minimize the paperwork required (for both members and staff!) Equity is pleased to announce a new • Councillor and CPAG contact information and more extensive Festival Policy. Only one page long and • Personalized Privacy settings requiring payment of insurance only, this Policy should make • Member Only zone (update contact these types of engagements much easier for all involved. information online) The Festival Policy and application form is available online at www.caea.com

Members Advantage Program Council Connection blog Equity offers members in good standing a comprehensive benefits package Visit Equity President Allan Teichman’s blog sharing entitling them to discounts and benefits on a range of national and local the doings of Council with the Equity membership. services. See the EQUITYONLINE “MAP” brochure for further information. Visit www.caea.com for more information.

Publications Mail Agreement #40038615 Return undeliverable Canadian addresses to: EQ Canadian Actors’ Equity Association 44 Victoria Street, 12th Floor Toronto, ON M5C 3C4 [email protected]

22 Equity Quarterly Fall 2010 EQ is shipped in a biodegradable polybag