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Spring 2004

The Alliance of Canadian Cinema, Television and Radio Artists

Acting up on the east coast PAGE 7 34785 InterACTRA Q5 5/21/04 1:57 PM Page 2

The battle rages on Thor Bishopric

hanks to a number of recent victories, the ongoing struggle While we have pulled back from the brink, our industry will only Tto protect our industry and increase opportunities for Canadian thrive under the promise of increased, stable funding. The CTF performers is a little more hopeful. must be enriched and it must be made permanent. In February, we saw the result of a year’s worth of relentless and We also found victory in the CRTC’s Public Notice on Drama. passionate lobbying pay off with the restoration of the Canadian The CRTC has incorporated a number of ACTRA’s suggestions Television Fund in the Federal Budget. ACTRA members stood in its series of proposals, including giving broadcasters more ad up to tell the government that last year’s $25 million cuts would time in exchange for airing Canadian drama. We are pleased with have a devastating impact on our national identity and our jobs, this first step, but we remain steadfast in our conviction that this and the Prime Minister proved to us that he was listening. Thanks crisis will not be resolved unless the CRTC also imposes minimum to every one of you who helped make noise – especially ACTRA content and spending requirements on broadcasters. Toronto for their leading role and financial support. Telefilm’s policies pose another ongoing challenge. We were nothing less than shocked when we learned that it had signed a secret deal with Creative Artists Agency to package Hollywood talent. The message to Canadian performers being that our best shot of being in a Canadian film is to move to L.A. and sign on with a U.S. agent. We find it ludicrous to think that a big U.S. agency can help develop our indigenous film industry. It’s in their interest to package their own talent in films aimed at attracting U.S. audiences. As Canadian taxpayers we are outraged; as Canadian performers, we are incensed. ACTRA is also using its voice to bring attention to the loom- ing prospect that our media and telecommunications industries will be opened up to foreign ownership. It is not an overstate- ment to say that if U.S. and multinational corporations are allowed to acquire Canadian broadcasting licenses, we will lose control of our airwaves, our jobs, our culture, and ultimately, our country. Period. I am confident that we are well equipped to confront all of these challenges. In January I was pleased to chair our new National Council, a bi-annual gathering of our elected represen- tatives from across the country. (You can meet them on page 26.) ACTRA thanks our outgoing National Executive for their invaluable service, especially Vice President David Macniven and Treasurer Jamie Bradley. In May, our National Executive met with UBCP in Vancouver for an extremely constructive couple of days, during which we agreed to proceed on a number of joint initiatives between ACTRA and UBCP. Our recent successes have reminded us how much can be achieved if we work together with one passionate voice. I am confident that the enthusiasm and vision of our National Council and membership as a whole will serve us well as we embark on an ambitious agenda and continue the fight for our industry and culture.

Thor’s letter to the Prime Minister, thanking him for keeping his Thor Bishopric, ACTRA President promise to ACTRA to restore the CTF.

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The Stage Mom In this issue of InterACTRA... PRESIDENT’S MESSAGE Survival Guide page 6 by Thor Bishopric ...... 2 for parents of young performers in the page 11 LETTERS ...... 4 Canadian film and television industry, by Robyne Ropell-Baruchel, published NEWS by ACTRA. Performer presidents merge in Montreal, ACTRA PRS hits the road, ACTRA Bylaw changes, The guide is free to ACTRA members Putting bums in seats, Juliani Endowment Fund ...... 5 (under 18), or $15 (incl. GST) for adult COVER STORY members and non-members. by Joanne Deer The Stage Mom Trailer Park Boys: Unlikely heroes on the Survival Guide verge of becoming international stars by 7 is available at being – gasp – Canadian ...... ACTRA branches FEATURE across Canada by Karen Ivany or call 1-800- How to get ahead in advertising: Commercials 387-3516 for offer performers more than just a paycheque ...... 11 more info. FEATURE page 18 by Joanne Deer Runaway Broadcasters: How profits are silencing Canadian performers ...... 14 BARGAINING by Kelly Lynne Ashton Full plate for new Collective Bargaining and Research Department ...... 16 Spring 2004 Volume 11, Issue 1 POLICY InterACTRA is the official publication of by Ken Thompson ACTRA (Alliance of Canadian Cinema, page 20 Television and Radio Artists), a Canadian Keeping control of our airwaves ...... 17 union of performers affiliated to the Canadian Labour Congress and the International page 21 BRANCH NEWS Federation of Actors. InterACTRA is free Maritimes, Montreal, Saskatchewan ...... 18 of charge to all ACTRA Members. Editorial Advisory Committee: Thor Bishopric, APPLAUSE Stephen Waddell, Ferne Downey, Brian ACTRA members in the spotlight ...... 20 Gromoff, David Macniven, Ken Thompson, Joanne Deer FAREWELL Contributors: Kelly Lynne Ashton, Ted Barris, Alex Barris, Rachel Davis, Al Foster, Tammy Bentz, Jamie Bradley, Mike Burns, John Rivet, Helene Winston ...... 24 Jeanie Calleja, Corrine Conley, Joy Corion, Sharon Davidson, Frank Glenfield, Matt Holland, Kim Hume, Karen Ivany, Shaun WHO’S WHO Johnston, Barbara MacAndrew, Jennifer page 23 Introducing your new ACTRA National Council ...... 26 McLaren, Howard Storey, Carol Taverner, Gary Vermeir, Mercedes Watson, Jeremy Webb MEMBER SERVICES Cover Photo: Courtesy of Showcase Member discounts; Face to Face, Design: Joss Maclennan Design now with even more face time ...... 27 Printed in Canada by union labour at Thistle Printing Limited WOMEN IN THE DIRECTOR’S CHAIR 2004 All contents are copyright © 2004 ACTRA. All ACTRA members report back ...... 29 rights are reserved and contents, in whole or in part, may not be reprinted without permission. ACTRA ICONS The points of view expressed do not necessarily John Drainie’s legacy ...... 30 represent those of ACTRA. Please return any undelivered mail to: BACK COVER ACTRA, 300-625 Church Street by Ferne Downey Toronto ON M4Y 2G1 ACTRA’s new statuette: A star is born ...... 32 TEL 1-800-387-3516 OR (416)489-1311 FAX (416) 489-8076 www.actra.ca [email protected] Want to receive InterACTRA by email? If you’d like Publications Mail Agreement #40069134 InterACTRA in your e-mailbox instead of by mail, email us ISSN 1705-949 C page 24 at [email protected] with your membership number.

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It’s my turn to send you congratulations First let me congratulate you on a job Thank you for sending me a copy of your now on the work and devotion you put well done in heralding the 60 years we ‘60 Years’ edition of InterACTRA. It was into writing and publishing the ‘60 Years’ have existed as a union. It brought back wonderful reading of the past struggles and edition of InterACTRA. It was so well those times when about 35 of us made a the many successes ACTRA has had over done with its photography, it makes an living solely from acting. The photo of the past 60 years. I want to pass on my important volume in the scant history of John Drainie, Frank Peddie and I working union’s congratulations for 60 years of pro- our actors et al, and their place over the on Jake and the Kid was a time when CBC gressive leadership on behalf of the mem- years in radio, TV and films. A pity you originated more outstanding radio fare than bers of ACTRA and compliment you on could not have included the names of the anywhere in the world. What prompted me your role in the broader union movement. CBC buffoons who continued to bring in to write to you was the photo in the publi- – Basil “Buzz” Hargrove, President, CAW American players leading to The Gold Rush cation with Michelle Finney and I in which Follies rumpus! Are they still around? it said I was playing Mister McGarrity on Again, I shall treasure this book, Maggie Muggins. In fact that is from Razzle “Hurray!” to ACTRA. It brings many Dazzle and I am playing Hiram Corntassle, Letters InterACTRA welcomes letters memories. cucumber farmer. I have made the correc- and feedback. Submissions should be no longer than 200 words, and may be – Gerald Pratley, Toronto ON tion known at the CBC museum but they failed to act on it hence the wrong informa- subject to editing for length. Please send tion. Oh yes I did work on Maggie Muggins, submissions to: [email protected] Correction: A name was omitted I was the voice of Clarence the Cow. from the list of ACTRA Presidents and So here I am 88 years of age, a life Calling all scribes! Interested in Chairpersons (p. 63): 1982-84 Joan –member of six unions, still doing the never-ending glory? Want to contribute Gregson, Chairperson, ACTRA Performers odd movie or TV role if it’s fun to do. content to InterACTRA? Please contact Guild. We apologize for the error. [email protected] – Jack Mather, Toronto, ON

THE ACTORS’ FUND OF CANADA Join us and make a difference!

A FRESH START THE ACTORS’ FUND OF CANADA provides short-term financial aid to help performers, creators, A BRIGHTER FUTURE technical personnel and other entertainment industry workers maintain their health, housing and A CREATIVE VISION ability to work after an economic setback. A small amount of money can make a difference. Your A VIBRANT CULTURE support can help to turn someone’s life around after an injury, illness or sudden unemployment. A BETTER CANADA Join the More Than Applause Campaign The Fund’s More Than Applause awareness and October 18-25 | 2004 fundraising campaign celebrates the best of the Canadian entertainment industry. Here are more than applause the few of the many ways you can get involved:

ON STAGE: autograph some posters, give a backstage tour, make a curtain speech, make an Opening Night gift, make voluntary payroll deductions, organize a fundraiser ON SET: meet the fans, give at lunch, hold a 50/50 draw, raise money at your wrap party, have a prop and costume auction BEHIND THE SCENES: sell some crafts, auction your skills, bake some goodies, host a dinner, throw a party, pass the hat, send a cheque, donate online, spread the word

• ORGANIZE • ENERGIZE • CELEBRATE • COMMUNICATE Make a tax-deductible contribution today and be part of the More Than Applause Campaign. Call 1-877-399-8392 or visit www.actorsfund.ca for details or to donate online.

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Montreal meeting of minds The presidents of Canada’s three performer unions met in Montreal in February, reflecting the odd coincidence that for the first time in living memory, the three presidents reside in La Belle Province. The meeting, attended by presidents Henry Gauthier (Canadian Actors’ Equity Association), Thor Bishopric (ACTRA) and Pierre Curzi (Union des artistes) along with senior staff, canvassed recent events and priorities within each association. The associations pledged to work The three presidents: Henry Gauthier (CAEA), Pierre Curzi (UDA) and Thor Bishopric (ACTRA). together on the independent contractor status of performers and, in preparation for the International Federation of By-law changes Putting bums in seats Actors (FIA) meeting this fall in Prompted by some recent proceedings, Since theatre owners will only extend Budapest, the Canadian forces are gath- ACTRA’s Discipline by-laws were amended a film’s release if they have a strong ering around a proposed declaration in at January’s National Council meeting. Some opening weekend, the best thing you support of cultural diversity. In an effort of the areas affected include: democratic can do for Canadian films is to go see to rally the support of the more than 100 rights, work rules, penalties and appeals. them as soon as they open. The First FIA affiliates, the declaration will closely In short, by-laws 7, 8, 9, 10 were replaced Weekend Club is a grassroots marketing model the recently adopted UNESCO with by-law 7 and subsequent numbering will strategy aimed at getting people to do declaration, which it is hoped may lead be updated. In addition the following sen- just that by spreading the word when to a treaty protecting cultural pluralism. tence has been added to by-law 14, V, I: a new film is released via email, website “Voting by Proxy is not permitted.” or a phone call. Launched in Vancouver ACTRA PRS: Putting millions Special thanks to the members of the in February 2003, the FWC now has National discipline by-laws working group more than 2,000 members and chapters in your pockets for tackling this challenge: David in Vancouver, Victoria, Calgary, ACTRA PRS has put more than Macniven (Chair), Wendy Anderson, Edmonton, Toronto and Halifax. $8 million back into the pockets of per- Lorraine Ansell, Ferne Downey, Glenn Let’s make sure Canadian films are formers, doubling the amount distributed Downey and Howard Storey. on more than 2% of our screens, get in just five years. Now, ACTRA PRS’ An updated version of the ACTRA by- your bum in a seat. (Performers’ Rights Society) Executive laws booklet will be available shortly, please For more info and to sign up Director Mercedes Watson is hitting the contact your branch for more information. visit www.firstweekendclub.ca. road to visit various parts of the country to tell members how she and her staff of 14 are tracking and collecting Use Fees. Come out and meet Mercedes, along ACTRA-AFBS Working Group with National President Thor Bishopric and National Executive Director As a result of changes to ACTRA If you have questions and concerns Stephen Waddell, and learn more about Fraternal policies in the past two years about AFBS policies, plans or practices, what ACTRA PRS is doing for you. and a number of new charges and fees, the Working Group needs to hear from Dates will be posted on the ACTRA many members have been excluded you. Contact the committee directly by: PRS section of the ACTRA website from coverage. In order to address EMAIL: [email protected] (www.actra.ca) as they are confirmed. members concerns and to clear the air, WRITE:ACTRA-AFBS Working Group Stay tuned to find out when you can ACTRA has set up an AFBS Working c/o ACTRA National catch the ACTRA PRS Roadshow at a Group to research members’ issues, 300-625 Church Street branch near you. In the meantime – report back and recommend options. Toronto, Ontario M4G 2G1 please tell us what you want to hear and questions you’d like answered by email- Ask Questions. Get Answers. ing us at [email protected].

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John Juliani Endowment Fund The Canadian creative community lost a taught and raised a little hell and con- sterling example, stellar practitioner and sciousness. The vision is to add to the indomitable presence in the passing of $18,000 already collected from friends and John Juliani last summer. As well as a family and to grow the fund to $250,000 to memorial service full of passionate perform- guarantee a scholarship of at least $10,000 ance and personal remembrances and per annum. ‘Savage God Day’, set aside by the City Please join us in making a tax-deductible of Vancouver on John’s birthday, the contribution. Cheques should be made greater community is establishing the John payable to the John Juliani Memorial Juliani Memorial Endowment Fund. Endowment Fund and sent to: University The fund will be in keeping with John’s Advancement, 2118 Strand Hall, 8888 enormous spirit – always the maverick University Drive, Simon Fraser University, while remaining steadfast and committed Burnaby, BC, V5A 1S6. to providing motivation and encourage- ment to those who feel the call to be – Howard Storey a performer. It will support a graduate John Juliani scholarship in the performing arts at Simon Fraser University where John CHEERS Anyone who thinks there isn’t a crisis just ain’t seen nothing yet. If those people who shrug at the disappearance of Cold Squad and Blue Murder think everything is rosy, they’re wrong. It’s Performing Arts Lodges not over. In about two months, I’m going to have to write another column of Canada making the case for Canadian story- telling on TV. It will probably insist that we can’t call ourselves a country Under the distinguished patronage of Her Excellency, the Right Honourable unless we support storytelling in our Adrienne Clarkson, Governor General of Canada own culture. I just know it. – John Doyle PAL is a national charitable organization offering assistance to older, disabled Globe and Mail, 24 February 2004 or needy members and associates of Canada’s professional performing arts community in the areas of health, well-being and accommodation. PAL is a provider of services, not simply an assisted housing provider. JEERS Thus the establishment of assistance to individuals, such as that provided through Supporting Cast, is vitally important. The minute a Canadian drama gets cancelled our stars and producers Share the PAL vision. Become a PAL member, or make a tax-deductible point their BMWs toward Ottawa. donation. For information about all our Chapters, you may contact us at: The parade of whiney cry-babies who lobbied the feds last year when the PAL Canada, 110 The Esplanade #328 Toronto Ontario M5E 1X9 Canadian Television Fund came up (416) 777-9674 short made the fuss over SARS look PHONE: • [email protected] • www.palcanada.org like a church picnic… The dramatists here should shut up and stop blaming Taking Care of Our Own networks for the ‘death’ of drama. – Bill Brioux Toronto Sun, 20 February 2004

6 InterACTRA SPRING 2004 34785 InterACTRA Q5 5/21/04 1:57 PM Page 7 Courtesy Showcase

The residents of Sunnyvale Trailer Park.

These are the people in your neighbourhood by Joanne Deer

ow this is reality TV. Take a few friend Ricky (Robb Wells). They, along with in the same block as that other mockumen- well-meaning ex-cons trying to secure the lovable and underestimated Bubbles tary darling The Office. Nretirement by 35, a drunken sexually (Mike Smith) with his signature Coke-bottle The key to the show’s success is perhaps confused park supervisor, a spandex-clad glasses continually clash with park supervi- best astutely summed up last summer by bottle-blonde single mom, and toss in guest sor, Jim Lahey (John Dunsworth). And The Globe and Mail’s TV critic John Doyle: appearances from the likes of Rush guitarist of course there’s the prospect of romance, “The series bears no resemblance to any Eric Lifeson, and you have Trailer Park with Ricky’s on-again-off-again relationship American sitcom. Trailer Park Boys operates Boys, one of the most authentically with Lucy (Lucy DeCoutere). on a level of assuredness that is breathtak- Canadian shows to grace our airwaves in Now in its fourth season, Trailer Park ing in Canadian TV. It doesn’t try to be years. Like it or not, robbing convenience Boys has officially grown from cult-buzz anything other than itself and it certainly stores, drinking until passing out, and to official hit.The Showcase premiere doesn’t imitate anything.” cultivating dope are as Canadian as waving of Season 4 drew 43% more viewers Laura Michalchyshyn, Showcase’s Senior wheat fields and maple-munching beavers. than last season’s premiere, and fans have Vice President of Programming, says that’s Perhaps even more so. snapped up more than 30,000 DVDs of what originally attracted her to the show. The low-budget mockumentary follows the first two seasons since its release in “Trailer Park Boys is happy to be in a trailer the daily travails of the residents of May 2003 (Season 3 was released this park in Halifax, they celebrate that, they Sunnyvale Trailer Park. Every season starts past April). The strangely broad fan base laugh at their accents and there’s a sort of with someone being released from prison, includes Ivan Reitman, Kid Rock and BBC rituals that are really original in that area most often Julian (Jean Paul Tremblay) America, which added the show to its of the country,” she says. the ladies man and ringleader, and his best line up in April where it has been slotted (continued on page 8)

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While the regional authenticity, such as the expletive-filled Nova Scotian patois, make it seem real, it’s the characters and the stories that make it appealing to those who couldn’t even locate Lower Sackville, Nova Scotia on a map. DeCoutere insists, “The show isn’t about trailer parks or making fun of trailer parks. It’s about how each group of friends have idiosyncrasies and you love them despite it. The trailer park is just a backdrop to a love story.” Unlike most U.S. television, which serves to tease audiences with the promise that they too might be rich and beautiful someday, Trailer Park Boys is grounded in the British tradition of finding relief in the misery of your next door neighbours – or in this case, the toughs who smoked in the back alcove of your high school. As Tremblay half- Courtesy Showcase teasingly suggests, you don’t watch the show to escape reality, you watch to feel better about your own lot. “Maybe people watch the show who have real jobs, Monday to Friday 9 to 5 Writer/director Mike Clattenberg (who Boys on the run: Julian (Jean Paul and have a hard time paying the bills, had been directing TV series such as Tremblay), Ricky (Robb Wells) living cheque to cheque, and they can Pit Pony, The Bette Show), and his high and Bubbles (Mike Smith). watch us and say ‘Jeez, you know what, school chums Wells and Tremblay had been my life’s not that bad.’” goofing off with a video camera for years for The germ of the series was born out of their own enjoyment before they decided to network rejections and one fortuitous the self-financed feature, One Last Shot. get serious and make an improvised feature meeting with Showcase’s Michalchyshyn about two pet assassins. At its Atlantic Film later, and the Trailer was on a roll. Director/writer Mike Clattenberg, Festival premiere, Clattenberg won the With its gritty realism, one might be the man behind the ‘Boys’. prize for Best Cinematography and John forgiven for initially thinking the show is Dunsworth was named Best Male Actor more ‘doc’ than ‘mock’-umentary. Like its for his initial portrayal of Mr. Lahey (then improvised-feature ancestors, the series still a pet store owner). Inspired by the recep- comes across like a couple of guys loafing tion, Clattenberg, Wells and Tremblay off with a video camera. But make no mis- decided to morph some of the film’s charac- take, Trailer Park Boys is no off-the cuff ters into a trailer park setting for a feature. fluke. It is the combination of well-written “Mike, Robb and I worked so well – and re-written scripts (by Clattenberg, together getting ideas and stuff and we Wells, Tremblay and Smith) – tight direc- didn’t really want to get away from that. tion, hardworking crew, and talented per- We wanted to continue growing together,” formers. And yes, they are acting. Along recalls Tremblay. with Tremblay, Smith, Wells, DeCoutere While shooting the feature, Clattenberg and Dunsworth, the regular cast is rounded caught sound man Mike Smith riffing off out with a blend of newcomers and a as his alter ego Bubbles and invited him number of veterans, including: Patrick to try his hand on the other side of the Roache (Randy), Sarah Dunsworth camera. The feature begat the series when (Sarah), Jonathan Torrens (J-Roc),

Courtesy Showcase producer/actor Barry Dunn caught the film’s Cory Bowles (Cory), Michael Jackson premiere at the Atlantic Film Festival and (Trevor), Shelley Thompson (Barb Lahey) approached Clattenberg about the possibili- and producer Barrie Dunn who doubles ty of turning it into a TV show. A heap of as Ricky’s dad.

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Growing up in Cole Harbour, N.S., Tremblay says he just happened into acting as a result of his friendship with Clattenberg. “I grew up with Mike and had always seen him having such a good time doing it, and I thought to myself, ‘Jeez, I’d love to be doing what he’s doing, he seems to be laughing and enjoying himself.’” Tremblay also credits Clattenberg with The real Lucy doesn’t take Clattenberg’s It’s a testament to Dunsworth’s talent his growth as a performer. “(Robb and I) creation as a personal reflection of his that he is able to glide swiftly between kind of got the acting bug from Mike, and initial impression of her. At least she hopes the park as Lahey, a drunken authoritarian, through his direction, he’s helped us out not. “My character is more negative and recently uncloseted homosexual known tremendously over the years. We always bitchier than I am. No one should be able for his imaginative ‘shit’ metaphors, used to say we went to the Acting School to do what she does, and who would date and the stage as Ben in Neptune Theatre’s of Mike Clattenberg.” a guy (Ricky) who’s such a tool?” production of Death of a Salesman. And As Julian, Tremblay gets to be the king DeCoutere has also worked on the other he’s equally proud of both. Dunsworth of the park, and despite his run-ins with side of the camera, from craft services, to counts himself lucky to have landed with the law, is arguably its moral core. While driving, to an AD, and now producing his colleagues in the park – along with his he’s been flexing his acting muscles outside with an independent company in Halifax. daughter Sarah, a seasoned performer in Julian’s tight t-shirts and is working on a “Working on both sides of the camera her own right. feature film script, he’s happy to live in to me is totally complimentary. Because “I would like to be able to work until the park as Julian for as long as he can. I understand why budgets work the way I am old and grey, that’s all I’ve ever really “For as long as people will let me, until they do and why sets demand the things aspired to. Once in a while you do some- we get booted off the network, I guess.” they do,” she says. DeCoutere is also acute- thing that you’re really proud of, and some- Lucy DeCouture landed in the park ly aware of the challenge of making a times you do things you’re recognized for after Clattenberg saw her in a short film living solely as an actor. “I think it would that you’re not proud of. But when things at the Atlantic Film Festival. Soon after be obnoxious of me to think I could always hang together like Trailer Park Boys, it’s he met up with her at party and told make money as an actor, but I still want wonderful, because I love being part of her he was going to write a part for her. to be able to do that a bit.” that team,” he says. “I thought it was just kind of greasy, like Dunsworth, perhaps the most credited Dunsworth claims similarities between suuuuure,” she recalls. “At the time I didn’t resident of the park, knows a thing or two Lahey’s struggle to make the park a nice know he was the coolest guy in Halifax, about piecing together a successful career place to live and his own challenges of I had no idea he had been around for in Halifax. With a résumé that includes being a performer in Halifax. “For years 10 years directing TV.” casting director, cab driver, voice-over artist, I thought I wasn’t Jim Lahey, but the more radio dramatist, and Sears Santa, Trailer times goes on, I think I am. Not the drink- Dunsworth as park supervisor Jim Lahey Park Boys is another piece to the long ing or the sexuality part – but just the part (right) and his ever-present side-kick puzzle of a career he has created while about trying to make it in the trailer park.” Randy (left) played by Patrick Roache. living in the place he loves. Meanwhile Tremblay confesses that the only thing he shares with the pompadoured Julian is his affection for rum and Coke, making it not such a hassle to be mistaken for Julian in bars. Still, he can’t help but feel a bit overwhelmed by the attention that being on a hit series brings. “We went up to the Canadian Music Awards in Toronto and it was just insane. We were in shock, Mike Smith, Robb Wells and I. We were given free limousine service all week, and people were handing us drinks left and right.” For DeCoutere, the series’ success means not being able to cut people off in traffic anymore during the summer- production months when her naturally brown locks turn blonde. “I’m fully aware of how lucky we are.

Courtesy Showcase Nobody considered they’d be in a successful Canadian TV show, let alone one that (continues on page 10)

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was on in the U.S.,” says Lucy. “I’m baffled, And that’s the other common theme: Instead of a recipe for the future of not that I don’t think the show is good, but the genius of Mike Clattenberg. Everyone Canadian TV success, DeCoutere sees its success happened in such an unassuming within 50 feet of the show doesn’t hesitate to the show more as an inspiration. way, almost by accident.” credit the success back to its creator, writer “I suppose Trailer Park Boys can prove While luck may have played a role in and director and his love of the story and that not every show has to look like a slick the show’s success, the performances that characters. To make her point, DeCoutere American show. Maybe it will encourage make it to the screen and the words they recalls a day last summer after they shot a producers and broadcasters to think outside are based on are no accident. It’s a common scene in which Julian’s car rolls, and lo and the box and stay true to a vision, instead assumption that having a small crew and behold, when the car stops there’s Julian with of compromising it.” even smaller budget gives the creators more his rum and Coke still full, and Mike is Michalchyshyn agrees. “It isn’t ‘make freedom to play around. Shot for just over laughing harder than anyone. another show like Trailer Park Boys,’ it’s $1 million a season, every penny counts – “After shooting for five years, writing, make another show that’s fresh and original and so does every minute. The set is a tight editing, and plugging it – he still finds that and creative. Don’t bring what you’ve shop where shooting 6-8 pages a day results drink gag funny,” she marvels. maybe learned over the last 10 years to in 12 scene days. Although where there’s Michalchyshyn credits Clattenberg’s the table, because those norms are all over. time, Clattenberg will step back and allow initiative and willingness to throw out a lot The times have changed.” the performers to do a ‘looser’ version. what the industry came to believe was the She also sees a ray of light in the recent “We always try to push it, and make tried and true methodology. “He worked successes of Trailer Park Boys and Corner it brighter, bigger and faster, while still with non-writer-writers, he worked with Gas, shows that celebrate who we are. being true to the script,” says DeCouture. a lot of actors who weren’t known to be “My hope is that it’s a time for innovation. Tremblay credits the feel of the show actors… celebrated Halifax and it became a It’s not a pleasant time to be trying to fund on screen to the intimacy of the set and character unto itself,” she says. “He’s stuck to and make television, but there are new the level of control (read, absence of his vision, he has not compromised much.” ways of doing it that will be equally suc- network suits) that such a small production Which brings us to the question of cessful,” she says. “Canadians are making allows. “It’s so laid-back and relaxing, whether Trailer Park Boys is the new great television, now that we’ve stopped Mike can get the best out of you and saviour-model for the struggling Canadian trying to be something that we’re not.” your performance,” he says. TV industry. Like Jim Lahey and John Dunsworth, Like any success, the real magic is in that “Sure,” says DeCoutere. “If you can find if Canadian TV pushes on and continues elusive quality that permeates the screen a person with Mike’s vision, who can make to stay true to itself, it might just be able when everyone shares the same groove. something out of nothing, and can find to make it in the trailer park. “With Mike, he knows what we’re going someone who let him make something to say before we say it, he knows where out of nothing, and can find the cast he Trailer Park Grrls Sarah Dunsworth (Sarah) we’re going to move, where the scene’s did and the crew that he did, and someone and Lucy DeCoutere (Lucy). going to head. We have that chemistry, who has a story as great as he did…” you can really feel it. It helps the performance and keeps it real.” The camaraderie of the cast and crew off-screen infuses the show, feeding into the feeling that you’re just watching a group of friends amusing themselves. And for the most part, they are. When they’re writing and shooting, they’re not thinking of the audience, but what they think is funny: if it makes them laugh, it works. “I think that’s why it’s so satisfying, because we’re relying on our own sense of humour,” says DeCoutere. “It’s a team effort, but in the end, it’s Mike Clattenberg’s warped, warped sense

of humour and timing, and within Courtesy Showcase that, a sense of compassion. He’s all over the show, it’s his baby.”

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EXT. STREET – DAY Wide shot: Exterior of an urban Our love/hate relationship convenience store. A Canadian ACTOR walks into the frame, approaches the by Karen Ivany front door, and enters. with commercials INT. CONVENIENCE STORE – DAY The Canadian actor surveys the snack selection, chooses gum, and places his fter talking to performers across one since. Not bad for a guy who followed Canada who successfully balance their desired purchase on sales counter. A a friend into a high school audition on a film and TV work with commercials, I’ve lark, and never looked back. (I wonder ECU: The clerk’s eyes shift from the gum concluded it all comes down to this: LOVE how the friend is doing…?) on the counter to his customer’s face. the residuals, HATE the stigma. Almost Seasoned actors perform this balancing half the ACTRA members approached for act with aplomb, and few apologies. They CLERK this piece declined to speak or requested understand that when you make the choice Hey! Do I know you? You look like… their names not be published. The appre- to become a professional actor, you’re ini- somebody. Hmmm… You’ve never been hension of being labeled a ‘commercial tially a gun for hire. How many of us have in here before? actor’ is alive and kicking in 2004. film, TV or theatre credits on our résumés ACTOR It’s ironic considering that at a recent that don’t necessarily reflect our personal No… but, well, I’m an actor. ACTRA Toronto Performer’s Conference values, morals, or point of view? in November, I moderated a panel on CLERK ‘Commercial Auditions’ that was packed Patrick McKenna Really? Have I seen you in anything? to the rafters. Although many who regularly ACTOR book commercial gigs squirm at the recog- Well… I just shot an episode of, uh… nition, even more are searching for some on CBC, this new show… This Is ‘magic bullet’ way to get in and still others Wonderland? who choose never to work in this area. It certainly sparks the ‘Art vs. Commerce’ The Clerk stares at the Actor, blinks. – or ‘Art vs. Craft’ – debate. The fact remains that nearly 30% of ACTOR members’ income comes from on-camera I did some stuff on Corner Gas. television commercials, voice-overs, radio That one’s funny… spots and corporate videos. In our current CLERK production climate, where Canadian drama Wait – you’re Hemorrhoids Guy! That’s it! is disappearing from our small screens, You’re the dude with the inflatable pillow our strong dollar is deterring U.S. produc- in the restaurant! I LOVE that one, man! tion and the threat of foreign ownership of our airways looms, the world of advertis- EXT. STREET – DAY ing remains a soft place to fall for many Wide shot: Exterior of an urban ACTRA members. As your career advances, you hope to convenience store. The front door flies Harvey Atkin, one of Canada’s most have more control over the contracts you open. The Actor runs out. prolific and experienced actors (known accept, and continue to bring a range of to many as simply ‘The Voice’ – Harvey’s, skills and life experience to every project. Leon’s…), has found great success in the Take for example, the tale of Patrick commercial world, along with a source of McKenna, a Second City alumnus, who pride. A 33-year veteran, Atkin’s daytimer after many successful years as an amiable is overflowing with commercial recording TV Spokes Guy (that winning smile, those sessions as well as shooting dates for Law twinkling eyes!) sat down with his agent & Order: SVU and CSI. Still, almost 75% Gail Abrams in 1995 to devise a new career of his income is derived from commercials, strategy. It included saying ‘no’ to commer- which he warns, no actor should demean. cial auditions, and aggressively pursuing “They are an art form and special disci- dramatic roles. pline unto themselves,” he says. “You can’t “There was a kind of line at that point prepare for a commercial audition, but you between being a commercial actor and a do have to bring ALL of your previous TV actor. So I had to make that line, take experience to the audition.” that road for myself,” he says. Hmmm… like every role, I muse. Atkin The result was a series lead on Traders must know a thing or two. He booked the as abrasive hothead Marty, while simultane- first commercial gig he ever auditioned for ously cracking us up beside Steve Smith on (Salada Tea) and has booked almost every (continues on page 12) Harvey Atkin

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Our love/hate relationship with commercials – continued from previous page

The Red Green Show. “That was a while The audition process can be exhausting – ago, though. I’m not sure I would make the the buck doesn’t stop with casting directors. same choice today, with so little TV being What brings us back for all those inane made. But it worked well for me, at that callbacks are the number of decision-mak- time.” ers in the mix. The director, agency pro- Christian Potenza (‘that red-haired guy’) ducer, production-house producer, writers is the most frustrated familiar face. He feels and the client all have a say. You’re also there’s no place for him on episodic TV up against demographic research, and the because his image dominates the ads that company founder who doesn’t know diddly carry the shows. He claims he’s not taken about acting, but a heck of a lot about seriously for film, even if it’s a comedic what looks good next to the product! role, because of his over-exposure as ‘The Toni Ellwand, a working performer for Listerine Sidekick’ and others. Though more than 20 years, sums up the ultimate, he is in constant demand for commercials consistently given advice for dealing with and directs commercial casting sessions, audition fatigue; “Getting a commercial he’s eager to take the risks involved in is like winning the lottery. Forget about creating his own transitional strategy. it as soon as you leave the building!” For Ian Finlay, a ‘70s National Theatre Toni Ellwand Still, while some of us complain we are School grad, a string of part-time acting not seen enough, there are some who feel that certain groups, like Second City alum- ni, are seen over and over. When I asked Seeing an actor’s face in a commercial sometimes Kim Everest, (CDC, Powerhouse Casting, and recently credited with casting the first inter-racial couple in a national campaign), inspires, or reminds casting directors to schedule why this view persists, she admitted that improvisers are skilled at getting an idea across quickly, their sense of timing is them for an audition for a film or series honed. It’s an important element when you are dealing in 15, 30 and 60 seconds. jobs enhanced his theatre skills for com- was really helpful in developing another She agreed those skills aren’t limited to mercial success. “I’ve continued to work side of the business-industry or corporate improvisers. All good actors have great in these (commercial) areas for the past narration. I got pretty good at sounding timing. 30 years or so, going through very hot like I knew what I was talking about, streaks, mostly good times, and fortunately even when I didn’t!” says Finlay. for my family and me, very few cold peri- When asked if he feels that his commer- ods,” he says. He worked part-time in radio, cial work ever held him back, he had this What’s the big deal? and for a TV series doing off-camera car- to say; “It depends on the way people look toon voices, later hosting a TV series and at you. In my case, in the Montreal market, It’s in the numbers... reading the news for CBC Radio. “This I’m still remembered from some of my TV work. Sometimes it gets in the way of my ACTRA members made $35 million under the Commercial Agreement Ian Finlay believability as both a commercial actor and a screen actor. Other times, I got the in 2003. gig because they wanted, for lack of a better 28% of ACTRA members’ income word, a ‘personality’. It works both ways.” came from commercials. Canadian casting directors continue to chirp ‘work is work’ when asked about actors Those numbers are even higher doing commercial work. In ACTRA in Toronto, where commercial Toronto’s Performers magazine, and at mem- production proved to be a reliable bers’ conferences, casting directors repeat place to work when SARS took a that any professional booking adds to a per- bite out of many other areas. ACTRA former’s reputation. Ross Clydesdale, cast- Toronto members made 32% of their ing director for Queer as Folk, has said that income in commercial production. seeing an actor’s face in a commercial some- With paystubs totaling more than $32 times inspires, or reminds him to schedule million, that’s just less than half them for an audition for a film or series. the amount made in IPA shoots.

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I had a difficult time finding members of ethnically diverse backgrounds who worked Internet ad explosion with some regularity in commercials. means more jobs Priya Rao, the Chair of ACTRA Toronto Performer’s Diversity Committee has for performers appeared in a few. “The industry is at long The $7.2 billion dollar Internet ad last realizing that Canadians want a more industry is coming of age, and realistic portrayal of the community we live increasingly, advertisers are tapping in. Progress has been visible, but there is still into the same professional performers a long way to go before ‘visible minority’ used for TV commercials. actors are viewed as merely ‘actors’,” she says. Director Andrew Chu admits that North The recent four-minute American America, for all its first-world progress, still Express mini-movies starring Jerry lacks a modern image of its population. “In Seinfeld and Superman show why big Albert Howell Europe, and South America, you see more advertisers and big talent are drawn variety, and generally more edgy material to the Internet: Believe it or not, in advertising and promotion. Definitely a Creative freedom – greater artistic more realistic portrayal of what people look licence and no time constraints like. Not all perfect and squeaky-clean.” sometimes the best part He adds that the problem is worse in the Viral – word of mouth and the power U.S. where spots are often created to reach of email can send a catchy or novel of getting a commercial either a white or black, demographic. internet-based ad around the world Actor, writer and producer Jean Yoon has in minutes shot a number of on-camera spots, all with- Immediacy – consumers can buy the isn’t always the money in the past seven years. She has noticed product on the spot. Watch the film, an increased willingness from both casting apply for an AMEX on the spot. I asked Albert Howell, (co-creator of The directors and clients to seriously consider Unlimited lifespan – not tied to a Devil’s Advocates), about the perception actors of colour, and Asian actors in partic- specific “media buy”, the ads can be his fellow improvisers score all the commer- ular. “Again, it depends on the product or seen anytime, day or night for as long cial gigs: “Commercial gigs do NOT go to service, right? You still don’t see a whole as the advertiser wants them to be Second City alumni. Maybe it seems that lot of Asian faces in any beer commercials, available. way because every year there are more and cuz we Asians don’t drink, right? NOT!” Cost – A website is a gazillion times more… I’ve seen the same five or six actors In her view, most colour-blind commer- cheaper than 30 seconds during the get lots of commercials and none of them cial casting remains in the realm of group Friends finale. are from Second City. What you WILL see shots or SOC category. “Who’s the Hero? is a lot of (us) at auditions. The name still Most likely one of the white characters. opens doors, but most spots, in my experi- Not always. But most likely.” short sunshine-filled days, children who ence, are decided by look and ability.” Yoon’s remarks echo the recurring theme in real-life ARE adorable, fellow actors Unfortunately, the commercial market ‘it’s a nice job when you can get it’. “The who make you spit-up your fake milk with has not embraced all actors. Reflecting the cash helps offset the poor wages of theatre, laughter and ‘hot & ready’ that’s really hot reality of our diverse culture in advertising and yeah, people actually SEE the darn and ready! remains a stumbling block for actors of things!” A principal commercial spot is as Ellwand muses, “When someone recog- colour, and those who are differently-abled. welcome as any other role. “When I land a nizes you for being the IDA Pharmacist, gig, it’s because I’m a good actor AND the and pulls their ear playfully – just like you Priya Rao client has a vision of Canada that is as did in the spot, to show the young girl that diverse as the crowds that clamour on to she could try wearing an ID bracelet as an the subway trains each morning. I AM earring… That’s the best part!” CANADIAN.” Everyone I spoke to echoed the financial relief that commercial work offers. While Ellwand’s diverse career takes her from the stage to the TV screen, she has kept one foot in commercial work, grateful for the freedom her commercial work allows. “The money’s good. It pays the mortgage and relieves the stress of having to find full-time work when, as in my case, you’re a mother with three kids!” Believe it or not, sometimes the best part of getting a commercial isn’t always the money. There are great and fun directors, Jean Yoon SPRING 2004 InterACTRA 13 34785 InterACTRA Q5 5/25/04 1:54 PM Page 14

This is the first in a series of articles exploring the Americanization of our airwaves as a result of Canadian private RunawayRunaway broadcasters:broadcasters: broadcaster’s culture-quashing addiction to profits and cheap U.S. programming. by Joanne Deer

’s newest promos declare wide range of programming that reflects Playback, June 9, 2003: CTV“Canada is Watching!” Canadian attitudes, opinions, ideas, They’re right. Since 90% of the TV English values and artistic creativity, by displaying “CTV Senior VP Bill Mustos admits Canadians watch is imported, ‘watching’ Canadian talent in entertainment Cold Squad and Cold Case look is all that’s left for us to do, as opposed programming.” 2 very similar. ‘Imitation is the to say, ‘doing’, ‘creating’ and ‘working’.1 Instead of a world in which broadcasters highest form of flattery,” he says Rather than producing original Canadian protect Canadian identity and provide with a shrug. “Besides, it was drama, private broadcasters are taking opportunities for creative expression, we going to go to someone – it might advantage of the relaxed Canadian content find ourselves in a place where Leonard as well be us.’ This way he adds, regulations by turning to cheap U.S. prod- Asper, head of CanWest Global openly the net can cross-promote both uct to fill their schedules – minimizing declares: “We are sick of being the punch- shows and build a franchise.” costs to maximize profits. The resulting ing bags of the regulatory framework.” 3 March 2004: domination of U.S. product on our air- How did we veer so far off course – in a waves is chipping away at our culture and situation where we no longer have broad- Cold Squad is cancelled. diminishing our opportunities for creative casters, but simulcasters? Where culture is expression. Broadcasters are seeing record eclipsed by greed? It is no coincidence that profits, but Canadians are paying the price; Canadian broadcasters doubled their profits we’re losing our jobs, our voices, and in a year when the hours of Canadian ultimately, our culture. drama hit almost record lows.4 The obliga- “The hardest part about covering Today, the primetime schedules of our tion to nurture Canadian identity and pro- U.S. networks this fall has been private networks are so dominated by U.S. vide a voice to artists has been eclipsed by keeping up all the cancellations. simulcasting that if they went off the air, the increasing power of shareholders. TV, Coupling? Gone. Boomtown? most of us would see little effect on our our most influential cultural medium, has Also gone. Skin? L.A. Dragnet? viewing choices. During the week of April become a big business in which the bottom Outta here. The Brotherhood 26 - May 2, 2004, Global’s primetime con- line usurps cultural responsibility. of Poland NH? The Lyons Den? tribution to Canadian storytelling consisted While private broadcasters have been Dead as Betamax. But this year, of one hour of the recently-cancelled Blue moving in this direction for some time, ‘the season from hell’ in the words Murder. CTV fared slightly better, packing the CRTC’s 1999 Television Policy has of Variety has been more harsh in two half-hour episodes of Degrassi fast-tracked the pursuit of profits. The than most, in particular for Global, and 60 minutes of The Eleventh Hour on policy relaxed the definition of Canadian which had picked up the Canadian Sunday night. Two-and-a-half hours of content to include cheap reality and maga- rights to almost all of those ill- Canadian comedy (Corner Gas, Comedy zine-style programming and removed fated series.” Inc) rounded out their paltry platter of spending requirements, in essence leaving – Playback, December 15, 2003 Canadian offerings for the week. Basically, the production and airing of Canadian the only Canadian content on our private drama to ‘goodwill’. The result: the num- broadcasters’ airwaves are the revenue- ber of original Canadian dramatic series on reaping commercials. the air declined from 12 in 1999 to a low In their pursuit of profits, broadcasters of three in 2003. It is also no coincidence “‘The struggle for networks is seem to have conveniently forgotten about that while English-Canadian broadcasters trying to marry business with the Broadcasting Act, standards they spent 10% less on Canadian drama in the cultural responsibility of agreed to in exchange for the a condition 2001-2002, they spent 15% more on U.S. 5 telling Canadian stories about of their licences. Since 1991, the Act has programming. Broadcasters’ argument that experiences Canadians can relate regulated our airwaves by setting out rules they need the profits they get from U.S. in to… Not that I have anything affecting programming content, artistic order to produce Canadian programs seems against gardening shows, but talent, employment practices and owner- a little tired when the more they make, the they don’t speak to us as a ship. It also lays out a strict set of principles less they produce. Instead of reinvesting culture… We are in danger of to ensure diversity and protect Canadian their profits into the system, they seem to losing our industry and something culture, dictating that the Canadian broad- just want more. needs to be done immediately.’” casting system should: “serve to safeguard, U.S. content is a bargain hunter’s dream. enrich and strengthen the cultural, politi- While some hit shows come with a hefty – Wendy Crewson, Hollywood cal, social and economic fabric of Canada price tag, most are comparatively cheap, 2004 North Magazine, Feb-March and… encourage the development of especially when contrasted with the cost Canadian expression by providing a of producing from scratch. American

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Short-changingShort-changing CaCanadiannadian cultureculture

networks cover the bulk of production Every dollar spent on U.S. program is costs, what is reaped from lucrative interna- another dollar that could have been invest- “If you don’t have TV for your tional sales is just creamy frosting for L.A. ed in developing and nurturing a Canadian country, you’re not using the most studios. The relative cost of most of these series – one broadcasters could maintain populist medium. If we’re going to shows is so little; if we were talking about scheduling control over. Instead, broadcast- cede all the television airwaves to lumber it would be called ‘dumping’. And ers cede control of our airwaves in the American programming, we’re consider this: conventional Canadian name of lining their pockets with profits, going to be screwed, it’s important broadcasters earn an average of $275,000 profits that could be invested into jobs for to keep struggling along.” an hour for U.S. programming.6 performers and other Canadian creators. Of course, not every show broadcasters Some quick math tells a disturbing story: – Semi Chellas, Co-creator & pick up wins the ad revenue lottery. In fact, one hour of TV drama employs, let’s Executive Producer, The Eleventh 12 almost 65% of them don’t make it past the say, 100 performers. Multiply that by 13 Hour, in Eye Weekly, February 2004 stress test of the first few weeks in the fall episodes, multiply that again by nine, the season. If the new shows can’t compete number of series we have lost since 1999, with the old stand-bys, or don’t have ‘CSI’ times that by four years. That’s more than in the title, chances are the U.S. network 46,000 jobs for Canadian performers, and will rip it off the air before you can say when we lose our jobs we lose our stage ‘18-34 year-olds’. Gone are the days of and our voices. Increasingly we are being “Always bitching that they have few early Seinfeld when a network ‘believed’ in censored from telling our own stories and dollars for Canadian programming, a show and allowed the audience to build from creative expression on all fronts; pri- the private-sector moguls have on word of mouth and critical acclaim. vate broadcasters won’t give us the oppor- deep pockets for U.S. shows… Remember Boomtown? I do, and I cursed tunity to express ourselves on our TV air- Nowhere are U.S. shows more profusely when NBC unceremoniously put waves and U.S.-controlled distributors readily consumed than in Canada. it on permanent hiatus. How about won’t So great are the audiences that, for Wonderfalls? A critically acclaimed show give us access to our film screens. mass purposes, TV being the most shot in Canada with Canadian performers Left to feed on this steady diet of U.S. important mass culture medium, that got yanked off the air after a handful fare, we are becoming passive voyeurs, English-speaking Canada is a of episodes because Fox wasn’t satisfied ingesting another culture at the expense colony of the United States.” with the profits. of our own. The uninformed might, at first Remember, Canadian broadcasters don’t glance claim that U.S. and Canadian cul- – Jeffrey Simpson, Globe and Mail, 30, 2003 get their money back when the U.S. net- tures are no different. Those of us who live May work cancels a show, even if their purchas- here know the truth: we have our own es never make it out of their suitcases. people, our own geography, our own way They’re throwing away money that could of life, and our own values. At least for be spent making Canadian shows by buy- now. If we lose the ability to celebrate and ing multi-million dollar jeans they only share these unique characteristics, we may “Canadian drama has been pushed hope they can actually zip up when they well lose them. to the margins of the broadcast get home. Oh, and someone is going to call Other countries have fought the behe- schedule… The goal must be to you every week and tell you exactly when moth of U.S. TV dominance. U.S. fare create more opportunities and to put them on. also dominated the prime time schedules more spaces, to strive for programs The simulcasting requirements of of countries like Australia, Germany, Italy that are not only made-in-Canada the U.S. programs means that the few and Spain until their governments took but also made-for-Canada… The Canadian shows that get made are slotted a stand introducing a number of measures Committee believes that the CRTC’s and shuffled into the few spots left, à la including quotas and increased spending priority programming policy, which The Associates. Its time slot was changed requirements. In Europe, half the prime- does not require broadcasters to 11 times in 39 weeks. This story is repeated time drama is homegrown.7 In Australia air a specific amount of dramatic all too often, as Canadian drama is ghet- five of the top 10 programs are Australian.8 programming or earmark a certain toized to times that aren’t exactly enticing Meanwhile we struggle to get one show amount of expenditures on original to ad buyers: basically, when no one’s in the top 20. Canadian drama, needs to be watching. The broadcasters then have For too long Canadian private broadcast- revisited.” an excuse to cancel them, claiming they’re ers have enjoyed playing both sides. They’re – Our Cultural Sovereignty, not getting good enough ratings. more than happy to lap up regulation and Standing Committee on Canadian Canadian performers are getting caught government ‘interference’ when it suits Heritage, June 2003 in the middle of this simulcast-squeeze. (continues on page 27)

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Off to a running start by Kelly Lynne Ashton Director, Collective Bargaining and Research

or the first time, ACTRA National Fhas set up a Collective Bargaining and Research Department, and I am pleased to be heading that up. We have a lot of work ahead of us as we strive to improve the quality and quantity of work oppor- tunities for performers. Some of the tasks that we’ll be pursuing are: supporting all of the negotiating ACTRA’s Kelly Lynne Ashton (Director, Collective Bargaining and Research) with the NFB’s committees, assisting Branches in admin- Jacques Bensimon (Government Film Commissioner and Chairperson) and Linda Smith istering ACTRA’s collective agreements, (Manager, Staff Relations) sign the ACTRA NFB Agreement. supporting grievances and special projects where requested, overseeing the editing National Commercial Agreement – production, and broader definitions to and printing of new and renewed collective Our agreement with the Association of encompass more audio formats. As well, agreements and directing ACTRA’s efforts Canadian Advertisers (ACA) and Institute working conditions have been brought into to increase opportunities for members in of Communications and Advertising (ICA) line with our other ACTRA collective digital media. is set to expire on June 30, 2004. ACTRA agreements. The Audio Code will be circu- The main focus of our attention so far has commenced negotiations with an eye lated to the membership for ratification has been on negotiating better wages and to concluding a new deal before the once approved by the National Executive. conditions for members under a number of current one expires. ACTRA’s collective agreements, including: Audio Code – National Film Board We’re very excited to be updating the Agreement – Audio Code which covers audio-only pro- Terms of settlement ductions, and has been used primarily to were concluded late engage performers doing voice-over work. IPA and CBC Agreements – last year. We secured There have been quite a few changes in These were both renegotiated last year. general increases in minimum fees of 3%, the industry since the Code was last updated Editing is almost complete and copies 2% and 2% in each of the 3 years of the in 1978! After consultations with members, of the new agreements will be available agreement; as well as a 1% increase in staff and voice agents, we are now finalizing in print and electronic form shortly. In the NFB’s contribution to your insurance the revised Code, which provides higher the meantime rate increases and terms plan (from 4% to 5%); and a 32% increase rates, Use Fees for certain categories of can be found at www.actra.ca. in the cap on the NFB’s maximum contri- bution to your retirement plan. Members ratified the deal and it should be in effect by the time you read this. Breaking News! Commercial Agreement Negotiations

Vision TV – At press time, ACTRA’s negotiators, who have been meeting with ACA and ICA Negotiations got under (the trade associations representing Canada’s advertisers and agencies) report that way in February 2004. efforts to negotiate an expedited settlement have not been successful. It is expected that terms As a consequence, ACTRA’s member-driven Negotiating Committee will be of settlement will be undertaking full negotiations with ACA and ICA and remain determined to conclude agreed to by the parties an equitable settlement prior to the Agreement’s expiry date of June 30, 2004. by the time you read this.

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Fighting foreign ownership by Ken Thompson, Director of Policy and Communications

hen you live next to an elephant CRTC and on Parliament Hill. They will cheaper programming from their own Wyou might not want to invite it stack up their financial experts, economists domestic (mostly U.S.) markets. into your parlour. Canada developed for- and lawyers from New York and L.A. to We do have some allies that provide eign ownership policies for broadcasting whittle down the little Canadian program- a ray of hope in this otherwise gloomy and telecommunications industries early ming currently on the air; already weak picture. The Parliamentary Committee on in the 20th century to keep our cultural content regulations and cultural policies Canadian Heritage released a report on the identity safe from broadcasters that hail will be eroded even further if the rules state of Canadian broadcasting last spring from our pachyderm neighbour. All this against foreign ownership are relaxed. that said ‘No’ to foreign ownership of cable could soon change. The corporate lobby has so far been able companies and broadcasters. As well, the Corporate interests in the form of cable to convince the Department of Industry Macerola Report, mandated to review companies and telecommunications con- and the Parliamentary Standing public funding of Canadian television and glomerates are driven by the belief that Committee on Industry, Science and film, also recommended that the current more investment from foreign sources Technology to get behind their program. requirements for Canadian control of would increase their ability to compete. The Industry Committee’s recommenda- ownership not change. They are asking the government to relax tions, however, have failed to take into Foreign ownership of our airwaves is also foreign ownership rules that protect account that the crisis in Canadian drama on the radar of the Minister of Canadian Canadian ownership of our airwaves by will get even worse if the ownership rules Heritage Hélène Scherrer who is responsi- saying that our broadcasters and telecom- are relaxed. It is a very short leap from let- ble for broadcasting policy. In the presence munication companies cannot be owned ting foreign companies control the means of a room full of culture hawks she commit- by a majority of foreign investors. of distribution of broadcast programming ted her energies to upholding Canadian If powerful multinationals south of to controlling the content. Without regula- content regulations in the face of foreign the border become controlling owners tion to encourage the carriage of Canadian ownership. And with an election coming of Canadian companies, they will be able drama, opportunities for Canadian perform- the foreign ownership of cable companies to out gun the cultural community at the ers will bottom out as foreign owners get and could become the number one culture issue. While the bureaucrats push this issue back and forth, there is a rising ground swell of opposition to foreign ownership from those who care about preserving Canadian culture. Already the grass roots opposition to greater integration with the United States of Canada’s social and eco- nomic system is growing as we approach an election. The Our Canada Project and a coalition of ACTRA and CEP with the Friends of Canadian Broadcasting have been spreading the message to say no to foreign ownership. At the fore of this battle are the creators of Canadian programming who will not give up the right to tell their own stories. ACTRA’s voice is one of the loudest.

Protecting Canadian Sovereignty: ACTRA has joined the Our Canada Project, an unprecedented coalition of 25 diverse organizations including major environmental, women’s, labour, student, arts and social justice groups concerned about the future of Canadian sovereignty and values. Go to www.actra.ca for more info.

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MARITIMES

We’ve been relatively busy here in the ACTRA Maritimes has just declared Tri-Province Branch. It’s not the Golden its first unfair engager: Bruce Dennis of Age of television but we’re getting by. New Brunswick’s Trillium Films. We’ve had We’re still struggling to get an hour-long a long-standing rocky relationship with this drama out of the region. There were high company and the latest production entitled hopes that Snakes and Ladders would be Steve’s Lucky Day was the proverbial last secured for another season but as we all straw. know, nothing in this business is secure as The prequel to the Trudeau miniseries, CBC decided not to renew this smart series. tentatively titled: Trudeau: The Early The new clay-animated CBC Kids series, Years, has just begun pre-production and Poko, is a success and is renewed for will go to camera in mid-May. Produced Joseph Rutten, ACTRA Maritimes Life another season and another children’s by Halifax’s Big Motion, it will feature a Member working on the AIP production stop-motion series with the working title majority of French-speaking performers. Recollections. Lunartown is presently in pre-production. The co-pro MOW Elena & Vara (formerly The fate of This Hour Has 22 Minutes is Sex Traffic) wrapped a few weeks ago and still up in the air but Mary Walsh’s literary the British producers were amazed at our A few months ago, the New Brunswick series Open Book is a go. dedicated background performers when government released a statement declaring The above productions were all out of they all showed up for work in the middle that many tax credits, including the N.B. the now-defunct Salter Street Films, the of ‘White Juan’, the worst blizzard ever. Film and Tax Credit, would be under the multi-award winning and highly successful Trailer Park Boys is exploding! They have guillotine in their upcoming budget. production company shut down by parent just launched a new season and are prepar- ACTRA Maritimes immediately sent company Alliance Atlantis. Out of the ing to shoot again this summer. On top out a release condemning the threat and ashes have risen smaller companies that of their national triumph, besides the mer- supporting the tax credit. Then, Branch will continue with many of the projects. chandise you can buy, the Boys are infiltrat- President Jeremy Webb, Representative There have been a rash of MIP, AIP and ing the United States through the specialty Gary Vermeir, N.B. Councillor Paul Training agreement projects through the network BBC America. We’re pretty proud LeBlanc and yours truly hauled ourselves Atlantic Filmmakers Co-op, Centre for Art of our all-Maritimes success story. to Moncton to loudly protest to the N.B. Tapes and the new film schools at the Nova The ACTRA Maritimes Political Action Finance Minister in a public forum. Scotia Community College and the Nova Committee is awaiting the release of the President Webb gave an eloquent and Scotia College of Art and Design. I have Nova Scotia Government’s strategic study firm speech and, as a result, the tax credit had the pleasure of performing in two of on the N.S. film and TV industry. Our remained intact. these productions and it is our hope that breath is bated and pens drawn for an Due to the continuing downturn in sub- these students will become the ‘Filmmakers immediate press release. stantial production, the Maritimes Branch of Tomorrow’. is sad to announce the lay-off of our beloved branch clerk, Sandra Larson. Sandra, using Maritimes’ her deadly talents of being a nice, sweet, Branch Acting for helpful person, was the first face and voice Camera workshop: of the Maritimes office. She was a great Angela Vermeir asset to the Branch and consistently went (facilitator), above-and-beyond the call of duty for the Louise Renault, membership. Jeannine Bakeef, Kate Killam and Sandra Larson (camera-person). In Solidarity, Jamie Bradley National Councilor ACTRA Maritimes

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MONTREAL TREAL ACTRA Montreal finished 2003 on a high note with our 60th Anniversary celebrations held November 22 at the ele- gant Windsor Hotel. The day began with a well-attended event called the Pitch-the- Panel Breakfast, wherein a handful of mem- bers pitched their film and TV ideas to a panel of industry professionals. It was fol- lowed by a screening of the short films created as part of our first-ever ACTRA Shorts Competition. There were some stun- ning films submitted, and top honours went to the roommate comedy, Chute, which was screened again during the Gala Awards Ceremony that evening. A few hundred dignitaries, members and guests donned their finest and enjoyed Pitch-the-Panel Breakfast and the ACTRA Candace Fox (Candy) and Landon Montour a lavish soiree of dining, dancing and mer- Shorts Competition this year; and we’re (Jonathan) in Moccasin Flats. riment. Local jazz luminary, Ranee Lee, looking at another Awards Ceremony, performed with her trio; the late Cancon- though likely as part of a more modest in the province, but more importantly the champion producer Nicolas Clermont was event, scheduled for early in 2005. biggest year ever for ACTRA membership. honoured with a posthumous Award of Service to the members continues to be This means Saskatchewan actors are getting Recognition; and the Award of Excellence a top priority for our branch, yet we are a larger share of the roles. Saskatchewan was bestowed upon long-time ACTRA forced to focus our efforts more and more actors are hitting screens across the country member and Montreal native son, William in the area of public policy, as our indige- in three unique and successful series. Shatner, who regaled the crowd with a nous film and television industry deterio- Corner Gas is the surprise hit of CTV’s hilarious acceptance speech. Dancing began rates at the hands of misguided funding sked, Moccasin Flats is a gritty inner-city in the stately ballroom shortly after dinner, agencies, unsupportive broadcasters and drama for APTN and Renegadepress.com and continued until the wee hours… distributors, and a seemingly indifferent is a smart multicultural teen – themed Special thanks to the members from Federal government. But staff, council and drama also on APTN and TVO. ACTRA Toronto Council who advanced (as we’ve seen with our 60th Anniversary Moccasin Flats brought us seven new full the cause of inter-branch solidarity and events) our members are up to the chal- members of aboriginal descent, a happy result camaraderie with their welcome presence lenge of continuing of our local organizing efforts and the tenaci- at the event. to make this vibrant ty of producer and ACTRA member Jennifer We have several new faces on Branch acting community Podemski. On the year, the branch saw a Council, and we all met early this year for thrive. jump in full membership of nearly 20%. a one-day retreat to exchange ideas and There were films too. The Pedestrian discuss our mandate for the next two years. In solidarity, featured our very own National Councillor Plans are underway to repeat both the Matt Holland Wendy Anderson in the lead and can be President, seen on Movie Central. Other productions Jennifer Kierans, winner of ACTRA ACTRA Montreal include I Accused, Caught in the Montreal’s ACTRA Shorts Competition for Headlights, Lost Soul, Youkali Hotel, Chute and the film’s star, Barry Julien. SASKATCHEWAN Lost Angels and Hollywood Flies. All this was happening while our biggest producer, A long winter has brought little discontent Mindseye Pictures was out of action due for ACTRA Saskatchewan members. to financial difficulties. ACTRA members were busy through the With Saskatchewan actors getting a more coldest months of the year on the Time equitable share of the acting opportunities Code Pictures 3 pack of MOWs Mary in 2003 we are optimistic that this trend Higgins Clark Presents. This production will continue for our marked the first time that our community membership through has stayed active through the prairie winter 2004 and beyond. and after everyone thaws out (sometime around June) we will all reflect positively on the experience. This all comes as a cherry on top of the Mike Burns cake that was 2003 in Saskatchewan. It was Branch Representative the second biggest year ever for production ACTRA Saskatchewan

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applause

Christopher Douglas & Shaver take Watkins on his Everest a walk of fame Trek. ACTRA members Shirley Douglas and Helen Shaver are among the 2004 inductees to Canada’s Walk of Fame. The inductees will receive their stars on the Walk in Toronto’s Entertainment District and be feted at a public gala tribute on June 23.

Shirley Douglas Presenter Adam Beach gives Sarah Polley her Genie. Member climbs Everest for 2004 Genies disability awareness and Congratulations to all of ACTRA’s Genie accessibility nominees! ACTRA member Scott Thompson hosted the May 1 awards ACTRA member Christopher Watkins show. climbed Mount Everest as guide and climber with Team Everst03. The PERFORMANCE BY AN ACTOR expedition was led by right-arm IN A LEADING ROLE: amputee Gary Guller to raise awareness ★ Rémy Girard, Les invasions barbares and funding for people with disabili- Barry Pepper, The Snow Walker ties. Chris helped guide the Challenge Trek team of 17 individuals with PERFORMANCE BY AN ACTRESS diverse disabilities including five in IN A LEADING ROLE: wheelchairs on their three-week trek Rebecca Jenkins, Marion Bridge to Mt. Everest Base Camp at 17,500 Molly Parker, Marion Bridge feet above sea level. Despite having ★ cerebral and pulmonary endema, Chris Sarah Polley, My Life Without Me

climbed the infamous Kumba Ice fall. © 2003 Warner Bros. Karine Vanasse, Séraphin, Un homme Several team members went on to et son péché successfully reach the summit. PERFORMANCE BY AN ACTOR Injured in a serious auto accident IN A SUPPORTING ROLE: in the late ’80s, Chris spent a year in Benoît Brière, La grande séduction and out of hospital recovering from Eugene Levy and co-star Catherine significant hip, back, shoulder and O’Hara in A Mighty Wind. Christopher Plummer, Blizzard head trauma. Chris returned to alpine Roy Dupuis, Séraphin, Un homme sports and has hiked extensively in et son péché the Rockies, Africa’s Mt. Kilimanjaro, 2004 Grammys and on Mt. Elbrus in Russia, all to Eugene Levy rocked it out at the 2004 PERFORMANCE BY AN ACTRESS raise money and awareness for chil- Grammys in February taking home the IN A SUPPORTING ROLE: dren with illness or disability. Next award for Best Song Written For A ★ Marie-Josée Croze, Les invasions up, Chris hopes to go to the North Motion Picture, Television Or Other barbares Pole with a paraplegic friend, and is Visual Media for the theme to A Mighty Emily Hampshire, A Problem With Fear considering a transatlantic balloon Wind. Eugene shared the award with co- crossing with Gary Guller and two writers Christopher Guest and Michael Meredith McGeachie, Punch quadriplegic friends. McKean. ★ Indicates Award Winner

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Barbarian continues applause to invade Barbarian Invasions added an Oscar for Best Foreign Language Film to its growing list of honours. The film’s honours to date include: three wins at Cannes, a Golden Globe nomina- tion, two BAFTA nominations, six Genie Awards, and six Jutras (including Best Actress for ACTRA member Marie-Josée Croze). It also dominated France’s Cesars, winning best film, best director and best screenplay. Marie-Josée Croze was nominated for Most Promising Kiefer Sutherland Actress. Pierre Alcide Sutherland scores SAG Award France honours Kiefer Sutherland picked up a Screen Pierre Alcide Actors Guild Award for his portrayal of 24’s man with nine lives, Jack Bauer. France honoured ACTRA Fellow ACTRA member Pierre Alcide with the members Eric Chevalier de l’Ordre National McCormack du Mérite. The honour was (Will & Grace) and created in 1963 and recognizes Matthew Perry those who have achieved dis- (Friends) were tinguished merit in either nominated For the public or private sector. Marie- Outstanding Pierre is also a recipient of the Josée Médaille d’honneur du Sénat, Performance by Croze an Ensemble in Paris. Eric McCormack a Comedy Series. Born in the Jura at the beginning of the Second World War, Pierre joined the army after high school and took part in the French war Tina Keeper honoured at in Algeria. Returning to France, he worked with an Aboriginal Achievement architect and began university Awards studies in Caen. He then came to Canada where in the ‘60s, ACTRA member Tina Keeper he helped organize evenings was among 14 honourees at the with French organizations in National Aboriginal Achievement Canada and in the ‘70s, joined Awards presented on April 14 the Ontario section of the in Calgary.

Photo courtesy CBC Television Veterans’ Association of Best known for her Gemini Award- France. He currently serves as winning portrayal of RCMP consta- President. He was an instructor ble Michelle Kenidi on North of 60, at Ryerson and U of T where Tina has also been a host of The he encouraged his students to Sharing Ciricle and Hot Topics and study the French language and gives much of her time to communi- Tina culture and to spend time in ty-based initiatives and as a role France. As an ACTRA mem- Keeper model to Aboriginal youth. ber, Pierre has appeared in more than 140 films.

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applause ACTRA Maritimes GG’s Performing Arts honours five Kudos for young Awards members Dave Broadfoot performers and Douglas ive ACTRA Maritimes members were Some of ACTRA’s most talented Campbell, both Fhonoured at the branch’s Annual members have been recognized ACTRA Life General meeting on Saturday May 1, 2004. with nominations at the 25th members, were National President Thor Bishopric present- Annual Young Artist Awards. among those ed ACTRA Awards for Outstanding Male The Young Artist Awards honour honoured with and Female to Dennis Envoldsen and performers under the age of 18 Governor Dave Broadfoot Hollis McLaren. Hollis received the award for their accomplishments in film, General’s for her chilling portrayal of Wanda Barzee, television, music and all areas Performing Arts Awards in one of the two kidnappers in the U.S. of entertainment. November. The awards are presented MOW The Elizabeth Smart Story and Katie Boland, Marc Donato, annually to artists who, over a life- Dennis won for his gem of a performance Jake Epstein, Tajja Isen, time of achievement, have made an as telegraph operator Vince Colman in Jamie Johnston, Jacob Kraemer, indelible contribution to Canada’s Shattered City. Hannah Lochner, Joseph Marrese, cultural life. The awards are presented Maritimes Branch President Jeremy Amber Marshall, David Sazant, at a ceremony at Rideau Hall then, Webb presented the ACTRA Award of Talia Schlanger, Gregory Smith, the following evening, the recipients Excellence to David Renton, citing his 40- Alex Steele, Emily Vancamp, are celebrated at a tribute gala at the year contribution to the performing arts in Calum Worthy. National Arts Centre in Ottawa. Halifax. President Webb pointed out that he and David share the same birthday, but on the day Jeremy was born – 36 years ago – David was the sitting President of ACTRA Maritimes. David continues to serve on Branch Council as Treasurer. During the presentation, Jeremy announced that Branch Council had elected to rename the award the ACTRA Maritimes David Renton Award of Excellence. Long-time members Deborah Allen and Gloria Langlands were presented with Life Memberships in recognition of the pivotal role each has played in the history of the Maritimes Branch. – Gary Vermeir ACTRA Maritimes Branch Representative

Canadian Screenwriting Bob Martin, Susan Coyne and Mark McKinney with their award. Awards Several multi-talented ACTRA mem- best in Children’s & Preschool. bers were winners at the Writers Guild Mark Farrell’s episode of Made of Canada’s Canadian Screenwriting in Canada, “Bestseller” tied with Awards. Susan Coyne, Bob Martin yet another Made in Canada script and Mark McKinney won in the for best Comedy/Variety. Drama Series category for their collab- ACTRA member Sean Cullen oration on Slings and Arrows, hosted the hilarious and record- “Outrageous Fortune” while Howard breakingly succinct awards ceremony Busgang’s script The Blobheads, at Toronto’s This is London nightclub “The Blobs Drop In” was named on April 19. David Renton receiving the ACTRA Award of Excellence.

22 InterACTRA SPRING 2004 23 CTRA A enter- Inter Brent Street 2004 Elizabeth Gordon and stage play NG

Elizabeth Rex ’s . She has also , alling Angels SPRI xpecting Life Without Life Without Me Elizabeth Rex The Many Trials Trials The Many F

Sonja Smits E , , , , DNA The Interrogation The Interrogation Pink , and most recently, My , eter Keleghan , , , P The Saddest Music in , aders Awards nominees Awards . A Gemini Award-winning took the two-juried awards Tr Diane D’Aquila , imothy Findley , the CBC presentation based , the CBC presentation he 2004 ACTRA Toronto ACTRA he 2004 drew a sold- Awards Performers Diane D’Aquila CarverBrent T Indicates Award Winner Indicates Award The 2004 Award of Excellence The 2004 Award During the sweetly-short awards During the sweetly-short endy Crewson egal Rex L out crowd to the Carlu on February out crowd 20. Member performer, Sonja is well known to performer, audiences for her roles in on The Eleventh Hour The Eleventh T recipient by last year’s for Best Performance – Female and for Best Performance Male, for their work in Carver Pinsent adapted for broadcast. was presented to given back to the ACTRA com- starting in the ‘80s when munity, women’s she served on ACTRA’s caucus. More recently she has worked with ACTRA to save Canadian TV drama, lobbying federal politicians and cabinet ministers to reverse the decline in Canadian television drama. tained the audience of more than tained the the formal part of the 600 during broke evening, before the crowd mode,into full-on celebration up with dancing and catching hours. colleagues into the wee show, ★ 2004 PERFORMANCEOUTSTANDING – FEMALE: W of One Jane Doe ★ ★ Debra McGrath Debra David Fox the World Mark McKinney Mark Rendall of Michael Crowe Michael Riley Sarah Polley Sarah Sophie Traub OUTSTANDING PERFORMANCEOUTSTANDING – MALE: . . Sonja Angie Gei . Thor Bishopric and Charmion King and eaton McLean S Debra McGrath Debra and CTRA National President CTRA National President

Gordon Pinsent Gordon

Nominee A of Excellence recipient with Award Smits Courtesy CBC Television CBC Courtesy in . Diane D’Aquila hosting the awards and

Mark Rendall

eter Keleghan Brent CarverBrent Elizabeth Rex. Nominee P ceremony. Stars shine at Toronto awards Toronto at shine Stars

All photos courtesy Carol Racicot. 34785 InterACTRA Q5 5/21/04 2:00 PM Page 23 Page PM 2:00 5/21/04 Q5 InterACTRA 34785 34785 InterACTRA Q5 5/21/04 2:00 PM Page 24

We share our sadness at the passing of the following colleagues

Peter Brocking Jason Edmonds JW Hunter Barbara McLeod Carolyn Tweedle Arthur Cole Harry Elton George Josef Laura Press Daryl Wells Claire Crawford Cliff Gardner Eugene Kash Guy Provost Billy E. Williams Patrick Crean Paul Brian Harding Tom Kneebone Eric Smith House Austin Willis Jack Creley Reg Harvey Monty McFarlane Paul Sutherland

ALEX BARRIS 1922-2004 shone the showbiz spotlight on He all but himself. Alex Barris spent a lifetime creating pictures with words – on paper and on the air. As a journalist, columnist, reviewer, chronicler, TV and radio host, jazz reviewer, lyricist, racon- teur, author of 10 books and screenwriter of at least 800 scripts for radio, television HELENE WINSTON and film, he always gave credit where he Alex’s show… I didn’t have to worry 1922-2004 felt it was due, including to his wife, Kay. about my rent anymore.” Hollingsworth “I appeared,” he would say as he signed became a successful performer on shows ur dear friend Helene Winston drew off each Barris Beat TV show in the ‘50s, as diverse as Ed Sullivan and Mr. Rogers. Oher last breath on March 6 at the “through the courtesy of my wife, who’s If he admired dancers and singers, Alex Motion Picture Home in L.A. She had home looking after the kids.” adored musicians. battled cancer courageously for some years, Alex Barris died at 82 on January 16, “All musicians in Toronto were fond determined to do so in the comfort of her 2004. He had suffered a massive stroke of Alex because he was fond of us,” said home in Van Nuys where many Canadian almost a year before at his home in trombonist and Boss Brass leader Rob actors were welcomed and entertained. Toronto while at the computer working McConnell. “He never had a newspaper Helene was an artist in the theatre and on his next book about some of his column, a radio or TV show where he in life. I recently had the privilege of favourite people – composers and lyricists didn’t introduce musicians, help musicians spending an afternoon with her. She lay – writing to the very end. or give musicians credit.” glamorously atop her bed in a floral gown Oh, he basked in the limelight through Alex himself earned deserved praise looking out on the veritable jungle garden a half-century of show business activity in the U.S. via Emmy nominations and she had created, a perfect haven for her too. Most remember his pioneering work in Canada with numerous ACTRA nomi- adored cats. The walls of her sunroom were on camera as host of the Barris Beat, Front nations; most cherished praise came, covered with the mementos of shows and Page Challenge panellist, MC for One of however, at the 1994 Geminis, when he friends, spanning her career from its begin- a Kind, host of Barris And Company and received the Margaret Collier Award for ning in Winnipeg, pictures of her playing much later as the writer/host of CBC TV’s Life Achievement in Television Writing. Gladys, Al Waxman’s mother in King of Rear-View Mirror. He actually performed He gave back to his fellow artists, serving Kensington and her many L.A. triumphs – publicly for the first time in New York as on ACTRA committees and as a Vice- Madame Arnfeldt in Gigi at the Anaheim a childhood crooner, or as he explained President for two terms. Music Theatre and Rummy Mitchens in in an early bio “Sang like a bird, but was “When I think of Alex, I think of how Major Barbara at the Mark Taper Forum. also paid like one.” incredibly good he was at making people She was a talented sculptress and in As whimsical as Alex was about his own happy and enlightening them at the same recent years devoted herself to poetry. stints in front of an audience, he had the time,” said comedian Roger Abbott, who In 2001, at a sold-out fundraiser for the greatest respect for those who did it in pur- worked with Barris behind the scenes on Performing Arts Lodge, Helene regaled suit of artistic excellence and professional everything from ACTRA Awards shows us with anecdotes both hilarious and survival. Several of his peers said so during to performer/writer caucus sessions. “All poignant from her career interspersed an upbeat memorial at Toronto’s Arts and the great things he did for everybody else, with poems from her book From Sleeping Letters Club in February. I think that’s where he got his greatest Libido to Geriatric Sex. “Alex Barris launched my career,” satisfaction in life… Alex Barris is proba- With all of her creativity, Helene was recalled Joey Hollingsworth of his first bly the one person I know who was lucky also a top notch bridge player and could be appearances on the Barris Beat. At the enough to make all his dreams come true. quite reckless at a Las Vegas gaming table! time, the tap dancer said he was living And what a remarkable epitaph that is.” The spotlight has dimmed. hand to mouth at the YMCA in Toronto – Corinne Conley for $6.50 a week. “But after I appeared on – Ted Barris

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Al starred in a half-hour live musical variety show The Alibi Room, produced and directed by another memorable character from radio, Peter Donkin. Al’s partner in the show was a tall, gorgeous blonde named Madrienne Small. (I was so in awe of her, I tried to bleach my hair, with awful results). Every episode was an adventure. One time rats ate through a power cable and we went to black halfway through the show. We improvised special effects to add ambience and so one night I watched as Al and Madrienne gazed into each other’s eyes crooning Autumn Leaves to each RACHEL DAVIS AL FOSTER 1918-2003 other and the viewers in Halifax. What those viewers couldn’t see was 6’ 6”, 1981-2004 Foster was the first ‘star’ I met 250lb stagehand Stan Scallion crawling achel Davis, the 23 year-old when I started as a receptionist in the rafters of the rickety building, Al Rdaughter of Gemini-winning actor 49 years ago in the old Theatre Arts balancing an apple basket full of leaves Janet Wright and Bruce Davis, was shot Building on College Street that housed to be released on cue, allowing them to and killed in Vancouver on January 4, CBC-TV in Halifax when the station drift gracefully upon the singing couple. 2004 while trying to save a man from first went on the air. It was a magical When the cue finally came, Stan shifted being kicked to death. The hearts of time, I was 18 and just out of Mount his body and wafted the first few handfuls so many of us ache for Janet and her Allison University, an ‘innocent’ sudden- of leaves downward – and then came the family as they mourn the loss of this ly cast among the weird and wonderful sound of something breaking, a yelp of most courageous, loyal and loving characters who pioneered CBC television pain, a light exploding as it crashed to woman. According to her father, she in Atlantic Canada. the floor… followed by Stan, still clutch- had been a peacekeeper all her life, One of the wonderful ones was Al ing his basket. Al didn’t miss a beat. intervening in fights and trying to Foster. His sleek dark good looks, crisp He deftly manoeuvred himself and mediate arguments. “It’s always worked, curly black hair and easy bonhomie gave Madrienne away and finished the song: until now,” said Davis. him an air of showbiz sophistication; and “And I miss you most of all, my darling, She could not ration her strength. he was oh so kind, even to naive new- When Autumn leaves begin to fall.” She could not tolerate things that comers like me. He was the perfect gen- Al Foster was a pro, and no hurtling insult the dignity and the light in us all. tleman, no dramatic outbursts, just smil- 6’6”, 250lb body was going to take his big She would not calculate what she ing, pleasant Al, no matter what the finish away from him. could afford to give, or in any way chaos as we all learned how to put live stand by, hold back, or remain TV on the air. – Barbara MacAndrew silent in the face of danger or deceit. She was like all people with strength; open and vulnerable and not afraid he obtained his B.A. degree in Theatre. to be afraid. JOHN Upon returning to Calgary, he was an actor and director with Workshop 14 – Rachel’s Family RIVET and also did considerable work in radio. 1922-2003 In 1954, he went to the University Memorial Fund of Alberta in Edmonton for his teach- A trust fund has been created that will “A fellow of ing certificate, and later his M.A. in go to charities Rachel held important. infinite jest, of Educational Drama. He acted and If you would like to make a contribu- most excellent directed at the university’s Studio Theatre tion, please make cheques payable to: fancy.” and Walterdale Theatre Associates. He Investors Group (In trust), Referenced – Hamlet later became a Drama Supervisor for the as: Rachel Davis Memorial Fund and Edmonton Catholic School System where send to: Investor’s Group, c/o Ray ohn Rivet was an active participant he made a significant contribution to Wallis, Senior Account Consultant, Jin theatre, radio and film in Calgary theatre arts education. 200-1200 Lonsdale Avenue, North and Edmonton. He died on December 3, An ACTRA member since 1972, John Vancouver, BC V7M 2H6 2003 and will be much missed. continued to be involved in radio and film For further information, contact: John developed a love for theatre in work and in 2001 and 2003 he acted with Ray Wallis at 604-986-1200, his youth in Calgary, and after serving fellow seniors at the Edmonton Fringe. [email protected] or in the Canadian army, he enrolled at Janet Land at 416-406-1574, the University of Washington, where – Frank Glenfield [email protected]

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is governed by a National Council of your peers, ACTRAmade up of the President, Past President, and 24 Councillors appointed by the branches. Every member of National Council is a professional performer who volunteers their time and energy to work on your behalf. They are your direct link to your union – please don’t hesitate to contact them and share your concerns – or applause – at [email protected]. Aidan Devine Austin Schatz Toronto Toronto

Thor Bishopric National Rob Morton Lyn Mason Green Theresa Tova President British Columbia Toronto Toronto

Wayne Nicklas National Colin MacLean Richard Hardacre Barry Blake Vice President Edmonton Toronto Ottawa

Ferne Downey National Linda Kupecek Christie MacFadyen Tyrone Benskin Treasurer Calgary Toronto Montreal

Brian Gromoff Wendy Anderson David Macniven Maria Bircher Past President Saskatchewan Toronto Montreal

Rob LaBelle Heather Allin Sean Mulcahy Jamie Bradley British Columbia Toronto Toronto Maritimes

Ruth Lawrence Howard Storey Robert Collins Karl Pruner Newfoundland/ British Columbia Toronto Toronto Labrador

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Runaway broadcasters – continued from page 15 them: enjoying protection from foreign competition and relying on generous tax Show your card cuts and public money to pay for the minimal Canadian content that they and save your are obliged to air. Yet they also claim the right to make full-fledged free-market money profits, vilifying all attempts to force them to reinvest some of the profits back into All ACTRA and UBCP/ACTRA members (Full, Apprentice and ACTRA Extras) are entitled the system that has served them so well. to a number of discounts when you show your member card. For a full list of discounts So long as shareholders are calling all and details on how to access these deals and more, pick up a copy the shots, we can’t rely on goodwill to get of the benefits guide at your ACTRA branch, or download a copy from the members’ broadcasters to live up to their obligations section or the Siteseer role at ww.actra.ca. Questions? Contact Joanne Deer at under the Broadcasting Act. The CRTC [email protected] or 1-800-387-3516 ext 4045. must add some teeth to their licensing regulations by bringing back spending Lush – 25% discount requirements, and requiring broadcasters to Calling all Lush fans: Present your membership card at the cash air a minimum number of hours of original and get a 25% discount at Lush’s 22 locations across Canada. Canadian drama during prime time hours. However, the health of our industry VIA Rail Canada – ACTRA members get up to 5% off VIA Rail’s needs more than regulatory measures best available fares in all classes by booking directly with VIA from the CTRC, it needs a long-term Rail using the group discount number ‘9950’. commitment from private broadcasters to invest in and nourish Canadian talent There are no service charges or additional fees when you book and storytelling. 1-888-VIA-RAIL directly with Via Rail by phone at or in person While we know that broadcasting is (not through a travel agent). a business where shareholders are king, we also know that it is public airwaves Hotel Deals – Participating hotels in Vancouver, Calgary, Edmonton, Regina, and the regulated environment that allow Saskatoon, Toronto, Ottawa, Montreal and Hollywood. Check the Benefits Guide their profits to flourish. Broadcasters must for full details and locations. be dissuaded from driving south for filler Budget Rent a Car – Quote the Budget CorpRate Program and stiffing Canadians with the bill. Discount Number A278900 to receive your discounted Until that happens, we’ll be tuned into rates. 1-800-268-8900 www.budget.com their every move. Canadian performers are not going to go quietly away and allow Cineplex Odeon – Save up to 50% off regular box office prices when you order our voices to be drowned out by corporate coupons online at www.gifts.cineplex.com. You can buy them for your own use, greed and its cacophony of U.S. network or for gifts. Because this is such a superiffic deal, the special number code needed schlock. We have too many experiences to access the discounted tickets can only be given to members – find it in the to share, too many stories to tell. Benefits Guide or by calling 1-800-387-3516, ext 4045.

48% Variety – off first-time subscriptions to Variety! ENDNOTES Get a year of Variety and access to www.variety.com 1 CRTC, Broadcasting Policy Monitoring Report. for just US$168.00 when you quote code 8AADW04. December 2003. 2 Broadcasting Act, 1991 Bell Mobility – Take advantage of special rates with 3 Leonard Asper, President & CEO, CanWest Global Bell Mobility. With the plan, 22.50/month can get you: Communications Corp. AGM. January 29, 2004. 200 anytime minutes/month, free call display and 4 CRTC, Television – Statistical and Financial Summaries, voicemail, per second billing, $0.20/min after 200 min., 1999-2003. February 2004. $0.10/Canadian long distance, and NO connection charge. 5 Broadcasting Policy Monitoring Report. December 2003. Other plans are available, please ask for details when you 6 Glenn O’Farrell, President & CEO, Canadian Association of Broadcasters. “Putting Audiences First”, Playback, call 1-866-548-2666, ext 8020 or visit ANY Bell Mobility January 19, 2004. store, quoting plan number AACCT58. Existing Bell mobility 7 Barry Kiefl, International TV Programming and customers can switch to this plan free of charge by calling Audience Trends 1996-2001, May 2003. 1-800-667-0123. 8 Canadian Coalition of Audio-Visual Unions, The Crisis in Canadian English-Language Drama, March 2003.

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Face to Face: Giving you even more Face time

Face to Face is ACTRA’s free online talent catalogue that lets you show the world what you’ve got to offer. When you use Face to Face, you get the power to take control of marketing your unique skills and experience. Unlike other talent catalogues, Face to Face lets you instantly email your résumé, headshots and video and audio clips to producers and casting directors around the world. For free. Will anyone see me? You can increase the amount of exposure you get by keeping your profile updated and detailed, adding photos and video and audio clips. The amount of exposure you can get is endless if you take matters into your own hands and send producers and casting agents your portfolio. Cool. How do I get in on this?? You’re already in! All ACTRA members Online at www.actra.ca automatically have a basic profile and if ACTRA has your photo, even from previ- What if I prefer to keep my profile ous catalogues, it is included in Face to Face. The trick is to make it your own by hidden from other members? building your profile, posting your résumé, We want you to feel in control of your Naturally, ALL profiles, including those adding up to 10 photos, video clips, audio profile – hey, it’s yours! We’ve therefore of minors, will remain fully accessible to clips. You can even add a hyperlink from added some new features that allow you ACTRA-approved industry partners with your profile to your own personal website, to decide whether your fellow members a Face to Face password. if you have one. Once your profile is set can see it. up, you can update it at any time, or Members 18 years of age and over can Um, my brain ate my password… restrict access to their profiles by activat- authourize your agent to make changes. If you’ve lost your password you can use ing a new prompt. You will be asked upon the handy “Lost your password?” button your initial login to Face to Face to indi- Can ACTRA Members search at www.actra.ca or contact [email protected]. each others’ profiles? cate whether other members can access your profile. You can change your mind More questions? Need help getting started? Previously, only ACTRA-approved indus- any time by activating the new toggle Contact your local branch, or email try partners could search the profiles on on your Face to Face homepage. [email protected]. Face to Face – generally signatory produc- Child performers do not need to ers, or non-signatory producers working ‘opt out’ – they have automatically been within ACTRA’s jurisdiction. This past excluded from the expanded access. Share your March, access opened to include a whole Parents/guardians of child performers new group of industry partners that you’ve can choose to ‘opt in’ by submitting a Face to Face success story! worked with your entire career: your fellow written request to ACTRA. When a Have you received any calls or an ACTRA members. A group of ACTRA’s minor turns 18, he/she will automatically leading members asked for this important be included in member searches and be audition as a result of your profile? change and it was endorsed by National accessible to other members unless they Send your stories to [email protected] Council. Now you can raise your profile select the ‘opt out’ feature that will appear and we’ll help you brag in the next and build links within your professional on their Face to Face homepage on their issue of InterACTRA. peer group. 18th birthday.

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Women in the Director’s Chair 2004

he annual Women in the Director’s Chair workshop gives eight woman directors a Tchance to hone their skills in this acclaimed program that takes participants through the components of a production with professional performers and crews. For two intensive weeks at The Banff Centre, directors, actors and crew are given the chance to stretch their creative muscles in a supportive, educational environment. InterACTRA asked a few members to reflect on their experiences at WIDC 2004: “I’ve seen the workshop from three very different perspectives, as a script supervisor Tammy Bentz (r) directs Jeanie Calleja (l). (1998), actor (2002) and now as a director. I think that sets some record somewhere. I’ve also witnessed it morph into the technical achievement it has become. Now there’s a writing component sponsored by CBC Television, the Story Incubation Module, which takes place in December, well ahead of the actual workshop to facilitate script revisions. In January the WIDC simulates a real-life set experience. Luckily the workshop focuses on ‘process’ not result. The only pressure is to experiment. That’s what’s so great – you are encouraged to take risks to realize your wildest ideas. The hot team of excellent mentors (including ACTRA’s own Rosemary Dunsmore), offer practical tips and pearls of wisdom along the way. On set I worked with Greg Middleton, DP (Better Than Chocolate, Kissed) and a slew of experienced, talented actors and IATSE/DGC crew. Working with these skilled people was only half of the highlight because the social bonuses were also inspiring and thought provoking. The work continued even in our ‘fun times’. I stressed, I worried, I rejoiced, I was frustrated. I panicked, but more than anything I soared. All those people working to make my idea better. I sucked out everything I could from all those knowledgeable mentors, crew and actors. And then I inhaled all I could 1 from the choice location – Banff. When you think of it, in 2 ⁄2 weeks, the workshop man- ages to produce eight short films that are compiled into an hour-long drama plus 2 ‘gag’ reels and many million magic moments. It’s exhausting and exhilarating all at once. Christine Lippa directs Paul Haddad. More than anything the workshop produces directors. Whatever we eight were before, we have now earned our seat in the director’s chair and then some. As graduates of the program, we are all embarking on a collaborative project, facilitated by Creative Women Workshops, which we plan to pitch at the Banff Television Festival. That’s how motivat- ing the program is. 2005 The Women In the It was a big thrill going to the workshop this time as a director knowing how much ACTRA supports the WIDC. I am most grateful for our member scholarship fund, which Director’s Chair Workshop helped make the WIDC a financial possibility for me. What a bonus – thanks ACTRA STORY INCUBATION MODULE (SIM) and all its parts! December 3 to 6, 2004 (open to the Of all three times I’ve been to the WIDC this was the time it all clicked and made directors participants only) the most sense, like coming home. I found the place where I’ve always longed to be and realized it’s also where I belong – in the director’s chair.” PREP, PRODUCTION, POST MODULE – Tammy Bentz, Director Participant, Vancouver BC (PPPM) January 20 to February 6, 2005 (all ACTRA actors eligible) “As an actor struggling to find her place within this crazy business my experience at the The deadline for applications for WIDC WIDC Workshop was invaluable. It reminded me of why I’m doing what I do which is 2005 are: DIRECTORS: September 30, to help bring a story to life. As a sponsor, (ACTRA) should be very proud and happy to 2004, ACTORS: October 31, 2004, know that (we) are helping shape the skills and confidence of an amazing and talented CREW: October 31, 2004 group of directors. We need more women telling our stories.” For more information contact – Jeanie Calleja, Acting Ensemble, Toronto ON Carol Whiteman, Program Producer “WIDC is building a future for women in our industry. The quality of knowledge and 1-877-913-0747/ (604) 913-0747 TEL: experience the women leave the workshop with may very well shape the face of our film EMAIL: and television industry. It’s not only that the evolution of our industry is begging for more [email protected] participation by women in key positions, but also that our industry is begging for a more www.creativewomenworkshops.com cohesive, united, and collaborative process for storytelling. WIDC is taking great strides www.banffcentre.ca/bnmi towards these goals.” www.actra.ca – Shaun Johnston, Acting Ensemble, Edmonton, AB

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ACTRA ICONS

Other actors perhaps have had superficially the John Drainie same dexterity; but the ability to speak 197 dialects accurately at any age-level is not often accompanied by the two other prerequisites of rson Welles once called John Drainie greatness, a profoundly compassionate insight Othe greatest radio actor in the world. into character and a ceaseless concern with Few would disagree. Undoubtedly, John what the play means: Drainie has all three gifts Drainie was one of Canada’s most well- in abundance. – John Reeves known and distinguished actors. A self-taught actor, John Drainie started John Drainie’s legacy lives on in the out as part of a group of Vancouver radio annual award established in his name two artists that included fellow greats Fletcher years after his death. The first recipients Markle, Alan Young, Lister Sinclair, Len Jesse Ljungh, W.O. Mitchell, Tommy Tweed, Peterson, Arthur Hill, Bernie Braden and and Jean Murray have since been joined by Andrew Allan. They made Vancouver stand some of Canada’s leading performers and out in early radio drama, before moving on broadcasters: Andrew Allan, Harry J. Boyle, to Toronto during the Second World War Lister Sinclair, Graham Spry, Rupert Caplan, to be central to the CBC’s drama revolution John Drainie Len Peterson, Robert Weaver, Jane Mallett, during the Golden Age of Radio. John Reeves, Johnny Wayne & Frank Shuster, John’s versatility was showcased in literal- When you listened to him on radio, your ear Ruth Springford, Norman Campbell, ly hundreds of productions – including play- would tell you: “That’s John,” but your heart Frances Hyland, Mavor Moore, Lucio Agostini, ing Matthew in the original 1956 CBC-TV and mind believed it was Jake, or the Brass- Robert Christie, Fred Diehl, Bernard Cowan, production of Anne of Green Gables, as Pounder or Leacock or Sir John A. MacDonald Pat Patterson, Ross McLean, Davidson well as hosting This Hour Has Seven Days. – or whatever he wanted you to believe. In Dunton, Peter Gzowski, Allan S. McFee, However, he was perhaps best known for Tommy Tweed’s two-hour scripts in which Gordon Pinsent, Barbara Frum, Max the five years he spent playing hired man Drainie played Sir John A., a character kept Ferguson, Knowlton Nash, Dodi Robb, Jake Trumper in CBC Radio’s Jake and the yelling at meetings: “You’ll never die, John Joe Schlesinger, Peter Herrndorf, Bernie Kid by W.O. Mitchell. A.!” Perhaps in our acting company we might Lucht, Pierre Berton, Shelagh Rogers, John died in at the age of 50 in October change the A. to D. – Alan King David Suzuki, and Jim Murray. 1966, leaving his wife, Claire, and six chil- dren, including daughter Bronwyn, a writer I am personally convinced from frequent and broadcaster who wrote his story Living observation…. that he was, beyond a doubt, the Part: John Drainie and the Dilemma of Drainie the lousiest impromptu reader it has been my Award Canadian Stardom, published in 1988. anguish to hear. Indeed, his first readings were Medal, Shortly after John’s death, ACTRA so awkward as to cause newcomers, who sculpted published a commemorative book contain- didn’t know him, to shake their heads sadly by Dora ing tributes from performers, writers and and mutter “even with no lessons I could do de Pédery- directors. Here is a small selection of that better than that.” But give Drano time to Hunt. testimony to the impact that John Drainie commune with the text; to think about its had on his fellow performers and Canadians meaning; to get himself into that character’s as a whole. particular frame of mind; to shut out the stu- I learned my craft, week by week, watching dio; to forget his worries, his family, his friends, This year’s recipient, chosen as always by this kind-hearted, sincere wonderful human his commitments, and finally, to mark that a jury of past recipients will be honoured at being John Drainie, as he brought understand- script with his own brand of cabalistic but the Banff Tribute event and presented with ing, warmth, and life to the role of Jake. Under unintelligible hieroglyphics, and there was a bronze medal cast by renowned medallist his paternal gaze, The Kid blossomed into reali- none to come near his final performance. Dora de Pédery-Hunt. ty. What a debt of gratitude I owe this versatile – Tommy Tweed creative artist. I cherish the friendship between John Drainie, Jack Mather and Frank Peddie in Jake & The Kid. John Drainie and the Kid. I shall miss him. – Billie Mae Richards Photo courtesy CBC Still Collection, Toronto For any actor with an agile tongue and a flexible voice, it’s easy to play a wide range of characters and be a man of a hundred voices. What John Drainie did was something much greater than that: he played a thousand characters with only a few voices.

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ACTRA’s new Statuette makes her entrance (continued from back cover) THE ARTIST: Adrienne Alison

drienne Alison has been sculpting for face or neck). She established and operated approach of Malliol, the early 20th century A18 years and has studied both in North a clinic at Toronto’s Sunnybrook Hospital French sculptor, who draped the nude sculpture America and in England. Her unique back- for more than a decade. lightly, so as to show off its form. ground spanning art and art as applied to Her understanding of human anatomy The pose was selected to reconstructive medicine allows her to com- is carried over in her same attention to capture the movement of an bine artistic sensitivity with a disciplined, detail and spirited realism in sculpture. actor when embracing the professional process and anatomical accura- Adrienne has done portrait busts for private audience and expressing cy. Adrienne is a leader in this highly spe- collections in England and Canada, work- the emotion in cialized field making advances in maxillofa- ing in a variety of mediums including plas- a role. cial prosthetics (rebuilding or replacing the ter, terra cotta, bronze and bronze-resin. I hope these “As a fan and an artist, I wanted to create sculptures will sculpture to honor the long tradition of acting strike a chord with and dramatized story. The actor brings life to those who have the written word and gives voice and physical dedicated their profes- expression to universal emotions. For this rea- sional lives to acting, son, I chose a realistic rather than an abstract by visually honouring form. I also chose to honour the fact that the this great artistic tradi- actor is a living, breathing person with a sculp- tion, and that recipients ture in the human form. The piece is deliber- will enjoy the aesthetic ately lyrical; to embrace the sensitivity an actor pleasure of looking at must bring to his or her profession. I used sev- the pieces as sculpture, eral visual links to the origins of performance in in addition to valuing ancient Greece. The faces and hairstyles used them as awards, Award sculptor Adrienne Alison with in the pieces are from classical and classically for many years.” husband Loudon Owen at the ATP Awards. derived sculptural traditions. I followed the – Adrienne Alison Contact ACTRA… ACTRA National Office ACTRA Edmonton ACTRA Ottawa ACTRA Performers’ Rights Society 302-10324 – 82nd Avenue The Arts Court, 170-2 Daly Avenue 300-625 Church Street Edmonton AB T6E 1Z8 Ottawa, ON K1N 6E2 Toronto ON M4Y 2G1 TEL: (780) 433-4090 FAX: (780) 433-4099 TEL: (613) 565-2168 FAX: (613) 565-4367 TEL: (416) 489-1311/1-800-387-3516 EMAIL: [email protected] EMAIL: [email protected] www.actraottawa.ca FAX: (416) 489-8076 www.actraedmonton.com EMAIL: [email protected] ACTRA Montreal ACTRA Saskatchewan EMAIL: [email protected] 530-1450 City Councillors Street 212-1808 www.actra.ca Smith Street Montreal QC H3A 2E6 S4P 2N4 Regina SK TEL: (514) 844-3318 FAX: (514) 844-2068 TEL: (306) 757-0885 FAX: (306) 359-0044 UBCP/ACTRA EMAIL: [email protected] 300-856 Homer Street EMAIL: [email protected] www.actramontreal.ca 1 Vancouver BC V6B 2W5 www .actra.ca/sask (604) 689-0727 TEL: ACTRA Manitoba ACTRA Maritimes (604) 689-1145 103-1660 FAX: 203 – 245 McDermot Avenue Hollis Street B3J 1V7 EMAIL: [email protected] Winnipeg MB R3B 0S6 Halifax, NS www.ubcp.com TEL: (902) 420-1404 FAX: (902) 422-0589 TEL: (204) 339-9750 FAX: (204) 947-5664 EMAIL: [email protected] EMAIL: [email protected] ACTRA Calgary www1.actra.ca/winnipeg www.actramaritimes.ca Mount Royal Place 260-1414 – 8th Street SW ACTRA Toronto Performers ACTRA Newfoundland/Labrador Calgary AB T2R 1J6 200-625 Church Street 324-354 Water Street, 3rd Floor TEL: (403) 228-3123/1-800-839-9513 Toronto ON M4Y 2G1 P.O. Box 575, St. John’s NF A1C 5H3 FAX: (403) 228-3299 TEL: (416) 928-2278 FAX: (416) 928-2852 TEL: (709) 722-0430 FAX: (709) 722-2113 EMAIL: [email protected] EMAIL: [email protected] EMAIL: [email protected] www.actracalgary.com www.actratoronto.com www1.acrea.ca/stjohns

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ACTRA’s new statuette makes her entrance by Ferne Downey

was a mission that became a quest. Actors and staff It had a yearning: we sought a small and beautiful statue to honour the outstanding work of our members in ACTRA’s 60th year. It was decided that for a number of reasons, including prohibitive costs, ACTRA’s previous award, the beloved Nellie, would not be revived. It also seemed appropriate to celebrate the revival of our awards and our monumental anniversary with a new statuette, a symbol of our creative and collective evolution. The Communications Committee undertook an extensive national search. Our initial fantasy was that we would find actor/ sculptors, and much to our collective delight we did. We found actors who worked in all forms – mixed-media, blown and cast glass, wood, bronze, etc. – and we excitedly exchanged digital photographs of many talented artists’ work electronically. We found an intriguing piece at a leading Toronto gallery but the costs of obtaining rights to reproduce the sculpture would have been sky high. That’s when the penny dropped: we realized that ACTRA needed to commission a new work created especially for us. Ta da! That was a certainty. Jackie Laidlaw, ACTRA Toronto Performers’ Awards Chair, helped us search far and wide, visiting artists’ studios in the city, in the country – literally. It was her good luck that she mentioned our quest to internation- ally renowned sculptor Adrienne Alison at a book club. Adrienne was keenly interested in the challenges posed, and Jackie asked if she’d like to submit a sketch or idea to the committee. She assented immedi- ately, and went a step further by Help us name creating two exquisite clay maque- our statuette! ttes instead! Adrienne had gone off on her own doing a mountain We have a beautiful award, of research and unearthing the ties but now she needs a name. that bind actors together universal- All members are invited to send ly. Her first clay models utilized in suggestions for consideration. the masks of comedy and tragedy, which we found too resonant of If your suggestion is chosen, the SAG Award, The Actor. She you will become a legend in the heard us, was inspired and came ACTRA Awards history books… back with the statue you see today. 10 and we’ll also throw in It was the furthest thing from our Cineplex Odeon movie passes. minds that we might fall for the Send your suggestions traditional form of bronze sculp- before July 16, 2004, ture, but we were smitten with to: [email protected] this lyrical and bold beauty. It was a fabulous entrance.

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