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Undeniably Visible Starting with Thomson Highway’S the Rez Sisters EQUITY QUARTERLY SPRING 2008 SEEKING EQUAL FOOTING DEVELOPING NEW NATIVE VOICES EQ A PAL FOR YOUR RETIREMENT Undeniably visible Starting with Thomson Highway’s The Rez Sisters A GENERATION OF NATIVE PERFORMING ARTISTS HAVE FOUND THEIR WAY INTO A HANDFUL OF ABORIGINAL THEATRE COMPANIES SCATTERED ACROSS CANADA. WITH THE STAGING OF MARIE CLEMENTS’ COPPER THUNDERBIRD AT THE NATIONAL ARTS CENTRE LAST YEAR, ABORIGINAL PERFORMANCE HAS FOUND ITSELF EMERGING ONTO THE LARGER STAGE. President’s message Let me begin by welcoming Yvette Nolan as guest editor of our first anniversary issue of EQ. With only four issues under our belt, EQ is still working to refine its voice, but it seems very fitting to me that with so many excellent voices among the ranks of our membership, we should be turning to them for knowledge, inspiration and challenge on the many topics that EQ will continue to cover. I hope this is only the first in such a series. There is another item making its debut today, and that is the issue of Council Link you will find tucked inside this magazine. With the departure from the 10-issues-per-year format of the newsletter, Council lost the opportunity to talk directly to the membership on the same basis that it had enjoyed in the past. Long lead-times for developing the kind of stories that EQ strives to cover means that up-to-the-minute communication from your board is more difficult to incorporate. We have posted material on the website, but that does not come to you, and not all members have computers or ready access to one. Council Link was developed to fill that gap. It will vary in length and sched- ule according to need, but the lead-time for producing this simple insert is much more manageable, and cost-effective. Needless to say, Council Link is still a work in progress at this point, and I hope to bring voices other than my own into your home as we develop it further. However, I can think of no better use for the first edition than to bring your voices to you in the form of a report from our recent survey. In keeping with the theme of this issue of EQ, I’ll point out that one of the sections in the survey centred on the challenges our members face in pursuing their careers. Heaven knows there are more than enough of these, but diversity barriers rank among the most long-standing and, seem- ingly, intractable of them. And yet, pondering the matter, I can’t think of a good reason why this topic is not so “yesterday” by now. I’ll close with something I just read in the transcript of the 1986 (!) National Symposium on Non-traditional Casting. Sean Mulcahy, then Acting President of ACTRA National, shared the following: [In 1963] the distinguished Black actor, Percy Rodrigues, stepped onto the stage of the Shaw Festival in Androcles and the Lion as Ferrovius the Gladiator, and to his eternal credit, the then-critic of the Toronto Telegram, in finishing his blazing review of this actor said very quietly, “I understand that this is the first time the part of Ferrovius has been played by a Black [sic] performer. From now on I will have difficulty accepting anyone less.” Shouldn’t we, the entire Canadian theatre community, have dealt with diversity barriers and levelled them a long time ago? Let us not accept anything less. Allan Teichman President SPRING 2008 EQUITY QUARTERLY 1 EQUITY QUARTERLY SPRING 2008 EQ VOLUME 2 NUMBER 1 1 PRESIDENT’S MESSAGE 6 Reclaiming 3 NOTES FROM ARDEN RYSHPAN our voice 4 LETTERS TO THE EDITOR 5 EQ MOVES 9 Initiatives for 12 EQ VOICES the future 13 EQ LIVES 14 FONDLY REMEMBERED 10 Supporting the 16 EQ BACKSTAGE next generation 17 EQ CLASSIFIEDS EQ SPRING 2008 – Volume 2, Number 1 EXECUTIVE EDITOR Lynn McQueen Coming issue: SUMMER 2008 Publications Mail Agreement No. 40038615 EDITOR Marianne Lepa EQ is published four times a year by Canadian Actors’ Equity Association. Equity members are encouraged to submit notices of births, marriages, memorial GUEST EDITOR Yvette Nolan EQ Equity Quarterly (ISSN 1913-2190) is a forum to communicate to Equity members notices and letters to the editor. Notices and accompanying photos MUST be sent via the activities of the Association and issues of concern to the Association. With the DESIGN Fresh Art & Design email ([email protected]) or on disk with accompanying hard copy. Article submissions exception of the editorial staff, the views expressed in solicited or unsolicited articles www.freshartdesign.com MUST be sent via email ([email protected]) or on disk with accompanying hard copy. are not necessarily the views of the Association. DESIGN & LAYOUT Chris Simeon, The copy deadline for submissions is May 7, 2008. EQ reserves the right to edit for September Creative length, style and content. Subscriptions are available at an annual rate of $35, including GST. COVER AND INSIDE FRONT COVER: Billy Merasty performs in the National Arts Centre’s 2007 production of Copper Thunderbird. ABOVE: Native Earth / Turtle Gals 2007 co-production of the world premiere of The Only Good Indian reclaimed and redefined the little known history of Aboriginal performers. Notes from Arden Ryshpan Since I started this job last fall, I have literally travelled from coast to coast. I’ve had the plea- sure of meeting with members from B.C. to Newfoundland with many stops in between. And what I have noticed is that the tremendous variation of landscape, climate and lifestyle in this country is one of our greatest assets and, at the same time, one of our greatest challenges. Anyone who knows me well will tell you that I can talk endlessly about the importance of Cana- dian cultural sovereignty. In fact, anyone who knows me well has probably had to sit and listen (more than once… and over dinner too, probably…) while I carried on about it, since I believe there is no issue of greater concern to the arts community. The subtle erosion of our borders has given us access to the very best the rest of the world has to offer; but, it has often crowded us out of our own backyard. Ensuring that there is space in our bookstores, on our airwaves and on our stages for Canadian material is of utmost importance. The rather hackneyed phrase “telling our stories” is one that the politicians always use when paying lip service to supporting the cultural industries. And, when they hear that phrase, many Canadians roll their eyes and think, “Oh, here comes another dreary tale about beavers and wheat.” But, they would be wrong. What “telling our stories” really means is that we are expressing our concerns, values and aspirations to each other – in ways that may be either familiar or not, but in ways that hopefully resonate and make us say, “Yes, I recognize that, and it has something to do with me.” That is why I am so pleased that this issue of EQ is spotlighting the work done in the Aboriginal community. As a vital part of the weft and weave of the cultural fabric of this country, Canadian Aboriginal companies use a mix of traditional and contemporary theatre, dance and song to express the concerns, values and aspirations of their community. In doing so, they illuminate issues of concern to all of us. Concerns about the environment, our children’s futures, the state of our health and healthcare system, our ability to find work that pays us enough to live with some modicum of comfort and aging with dignity – these are ideas that occupy us all. And then there are the tales of how change can affect an entire community, the family dynamic and, of course, love found and lost. These are stories that speak to us all. There are some provocative ideas expressed in this issue – ideas that some of you may not be familiar with and may not be sure how to respond to. That was, in fact, what I wanted when we first started planning this issue. I hope that future issues of EQ will also take on big issues and bring a new level of dialogue and perspective to the concerns and challenges facing all the members of our profession. Arden R. Ryshpan Executive Director SPRING 2008 EQUITY QUARTERLY 3 Letters to the editor Support for Broadway stage hands acoustics and audience comfort.” What LETTERS on subjects of concern to Equity members appreciated was not mentioned was the major loss of will be considered for publication. The editor reserves the right to limit letters and to select one or two representative By now you are probably aware of the work two important theatres, the Betty Mitchell letters when many similar letters are received. Letters must be signed, but names will be withheld on request for those stoppage that occurred on Broadway dur- Theatre in the Southern Jubilee Auditorium letters that may affect members’ employment. Signatures will not be withheld on letters that are ing this past November. The battle that was and the the Walter Kaasa Theatre in the antagonistic or accusatory, either implied or expressed, waged against Local One, the IATSE stage Northern Jubilee Auditorium. Both were against other members. Opinions expressed in Letters to the Editor are not necessarily those of Canadian Actors’ Equity Association. Letters that include artistic criticism hands who work on Broad- EQUITY QUARTERLY WINTER 2008 named to honour individu- of Equity members may be withheld or edited at the FINANCIAL PLANNING IS KEY way, was contentious and ALBERTA’S TWIN LADIES als who greatly influenced discretion of the editor.
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