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. CHOOSING AN AGENT often heated. The strike lasted EQ the development of theatre NATIONAL OFFICE 44 Victoria Street, 12th Floor, Toronto, ON M5C 3C4 19 days, and while the over in Alberta. The loss of both Tel: 416-867-9165 | Fax: 416-867-9246 | Toll-free: The Money Issue 1-800-387-1856 (members only) 800 actors who were working those venues has had a pro- [email protected] | www.caea.com on Broadway weren’t involved found impact on the profes- Western Ofﬁce 505 - 321 Water Street, Vancouver, BC V6B 1B8 in the negotiations, they were, sional theatre in Alberta. The Tel: 604-682-6173 | 604-682-6174 | Toll free: 1-877-682-6173 (members only) of course, directly affected by Kaasa Theatre housed in the wofﬁ[email protected] the event. For 19 days while basement of the Northern PHOTO CREDITS: Cover and inside front cover: Andrée Lanthier theatres were dark, the actors Jubilee Auditorium was the Contents page: Tim Matheson never wavered in their sup- home for long periods to Page 5: Tarek Abouamin port of Local One. Workshop West, Northern Light, and the Page 6: Photographer unknown Page 8: Nir Bareket Some of your (CAEA) members were late Phoenix Theatres as well as a number Page 10: Photo of Yvette Nolan and young man courtesy appearing in shows that were closed during of independent companies. The elimination of Native Earth Performing Arts; rest of page courtesy of Saskatchewan Native Theatre Company (SNTC) the strike. I am writing to say thank you to of those theatres should never have been Page 11: Courtesy of SNTC them for their support and understanding allowed to happen. Page 14: Brydon Paige – Collection de la Bibliothèque de la danse de l’Ecole supérieure de ballet contemporain & of what was at stake. We at Actors’ Equity – James DeFelice, Equity member Keith Knight courtesy of The Stirling Festival Theatre Association believe that only through soli- Page 15: Photo courtesy of the Morse Family Archive Page 16: Both photos courtesy of PAL Vancouver darity with our fellow unions will our indi- The challenge of new media PRODUCTION CREDITS vidual unions survive in this world of glo- I was wondering if there were any plans to Cover and inside cover: Copper Thunderbird by Marie Clements produced by the National Arts Centre balization. I was delighted to see that your discuss the issue of videos and photos that (Ottawa). Directed by Artistic Director Peter Hinton and dramaturged by Paula Danckert. Cast: Herbie Barnes, members believe that, too. we now find posted on My Space and Face- Reneltta Bourque, Byron Chief-Moon, Jonathan Fisher, Broadway is once again open and boom- book in upcoming newsletters. I am appalled Margo Kane, Kevin Loring, Billy Merasty, Paula-Jean Prudat and Michelle St. John. Stage managed by Louise ing. I hope that scenario will continue for a at how frequent this now is, mainly because, Currie with Assistant Stage Manager Stéfanie Séguin and Apprentice Stage Manager Richard Wilson. very long time. And I pledge that when your I am not sure colleagues really do under- Contents page: The Only Good Indian co-production between Turtle Gals Performance Ensemble and union faces situations similar to what we just stand what is required before doing this. Native Earth Theatre. Directed by Yvette Nolan and experienced, our members will stand by you – Betty Hushlak, Stage Manager, Alberta dramaturged by Marie Clements. Written and Performed by Jani Lauzon, Michelle St. John, Falen Johnson in solidarity. (apprentice) and Cheri Maracle. Also conceived and New media usage is a significant challenge written in part by Monique Mojica. Stage managed by – Mark Zimmerman, President, Isaac Thomas. facing the Association. While electronic Actors’ Equity Association (U.S.) Page 5: The Veil written and directed by Shahin Sayadi posting of photos and video is addressed based on Masoud Behnoud’s Khanoom. Produced by OneLight/Neptune/Mermaid Theatre (Nova Scotia). in many of our agreements and policies, it Cast: Lara Arabian, Valerie Buhagiar, Martin Burt, Nadiya Renovated Jubilees meant loss of Chettiar, Pasha Ebrahimi, and Genevieve Steele. Stage is hard to keep ahead of the rapid expan- managed by Hilary Graham. theatre spaces sion of the internet and electronic tech- Page 6: fareWel by Ian Ross produced by Prairie Theatre Exchange (Winnipeg). Directed by Libby Mason with I read with interest the article about the nology. Equity members are encouraged assistant direction by Monica Marx. Cast: Ryan Black, Lorne history and the recent major refurbishment Cardinal, Mark Dieter, Marsha Knight, Michael Lawrenchuk to direct questions regarding specific situ- and Tracey McCorrister. Stage managed by Rose Passante of Alberta’s twin Jubilee Auditoriums. The ations to their applicable regional Busi- with Assistant Stage Manager Wayne Buss!. Page 8: The Scrubbing Project produced by Turtle Gals accompanying photographs showed the ness Representative, or contact busrep@ Performance Ensemble co-produced with Native Earth caea.com for assistance or to report any Performing Arts in association with Factory Theatre. exterior and interior of the auditoriums. Directed by Muriel Miguel. Cast: Jani Lauzon, Monique According to one of the captions “the the- suspected unauthorized use. Mojica and Michelle St. John, Stage managed by Deborah Ratelle. atres were gutted and rebuilt to improve – Executive Editor

4 EQUITY QUARTERLY SPRING 2008 EQ Moves Performing arts people are going places

ACTRA Toronto presented Eric Peterson with the 2008 Award of Excellence in February. The Award recognizes outstanding performances by local members and celebrates accomplishments and excellence in the television and film industry.

Keira Loughran joined the Stratford Shakespeare Festival (Ontario) as play development co-ordinator in January 2008. She will oversee new play development for the theatre. Michael Rubenfeld has taken over Keira’s position as Artistic Producer of the Sum- merWorks Theatre (Toronto), a juried theatre festival featuring predominantly new Canadian plays.

Gideon Arthurs has replaced Chuck McEwen as Exec- utive Director of the Toronto Fringe.

Jane Hargraft was appointed General Manager of Opera Atelier (Toronto). She replaced David Baille who left this position last year to head the Interna- tional Society of Performing Arts in the U.S.

Del Surjik has accepted the position of Artistic Director at Persephone Theatre (Saskatoon). Del was on hand as the Saskatchewan arts and culture community celebrated the Persephone’s official grand opening of its new riverfront home on January 22. After 10 years as Artistic Director, Del leaves Pi Theatre (Vancouver) in the hands of his successor, Richard Wolfe. Martin Burt, Nadiya Chettiar and Valerie Buhagiar (standing) in the OneLight/ Kelly Robinson was named the Banff Centre’s new Neptune/Mermaid Theatre production of The Veil nominated for six Merritt Awards. director of Theatre Arts, succeeding John Murrell, who left the post in 2007 to become the Centre’s After 12 years as Artistic Director of Theatre Aquarius (Hamilton) emeritus artist-in-residence. Max Reimer is leaving the position to become the new Artistic Jeff Strome has been awarded the first-ever Victor S. Cowie Memo- Managing Director of the Vancouver Playhouse Company in the rial Scholarship in the Performing Arts (Winnipeg). The Award was summer of 2008. created posthumously to recognize the work of the late Equity Members of the Nova Scotia theatre community member Victor Cowie, an actor, director and University of Manitoba celebrated the presentation of the 2008 Merritt Awards English professor, who died in 2004. on March 3rd. The Awards, named for Dalhousie The Union of B.C. Performers named actor Duncan Fraser as University Theatre educator Robert Merritt, recognize this year’s Sam Payne Lifetime Achievement Award winner. The achievement in Nova Scotia theatre. In all, 18 shows from Award, inaugurated in 1995, recognizes a member’s outstanding 13 theatre companies from across the province were body of work. Jackson Davies was named the 2008 Sam Payne nominated for awards. Mary-Colin Chisholm received the Award winner, in recognition of his humanity, artistic integrity Mayor’s Award for Achievement in Theatre, and Christian and encouragement of new talent. Former Equity member Payne, Barry was the recipient of the Mayor’s Emerging Theatre who died in 1982, had a lifetime career as a performer and passed Artist Award. A complete list of nominees and winners is on his skills and experience to generations of actors. available at EQUITYONLINE (www.caea.com).

SPRING 2008 EQUITY QUARTERLY 5 ABORIGINAL PERFORMING ARTISTS ARE FINDING RECLAIMING

BY MICHELLE ST. JOHN Native people first experience an “Indian” from a western movie or pop culture’s negative portrayal of us. The damage has long been done, reinforced by extermination and assimilation policies that define these colonial constructs called Canada, the U.S., and SPOKANE AUTHOR, poet, and film- Mexico. As artists we are often expected to filter our experiences maker Sherman Alexie once said to me, “White writers get to through the white gaze when portraying ourselves in film, televi- be responsible to themselves and their art, we don’t have that sion and theatre. For many of us, this is unacceptable and theatre is luxury.” As Aboriginal artists, everything we do is representational, but one of the ways we’ve chosen to shift this paradigm: to control from the roles we choose, to how we disseminate our work and as our own image – on stage and in life. a result, we are inherently responsible to our communities. During the filming of the CBC mini-series, Conspiracy of Silence, The impact of images of First Nations peoples – from dime I worked with Monique Mojica and Jani Lauzon. On set we shared store novels to early burlesque and vaudeville shows through to stories of our common experiences as urban mixed-blood Native silent film and Hollywood – reverberate to this day. Most non- women. We talked of creating a piece that explored identity and

6 EQUITY QUARTERLY SPRING 2008 THEIR WAY ON THEIR OWN TERMS OUR VOICE

from that conceptual seed emerged Turtle Gals Performance work, the impact of our presence and the legacy we are creating. Ensemble. In 2002, we premiered The Scrubbing Project at Factory One might wonder if this experience is cross-cultural yet white Theatre, co-produced by Native Earth Performing Arts. folks find affirmation every time they turn on the TV and skim the We could not have anticipated the overwhelmingly positive season brochures of regional theatres across this county. response to the play, and though it is a challenging form, non- Emerging artist Waawaate Fobister told me how seeing The Rez linear in structure and utilizes storyweaving, song and movement Sisters at PTE in 2002 changed his life. Seeing his first play, written – people of all ages and backgrounds expressed their gratitude for by a Native writer and performed by an all Native cast told him the courage it took on our part to say what we had to say. In turn that he matters – that his story, his voice can have a place on stage we acknowledge the courage on their part for being open enough and therefore in the world. to experience – us – in the centre of our own worldview. This validation led Waawaate to Humber College’s Theatre pro- We have since toured The Scrubbing Project to communities gram. This past fall, Waawaate played Nanabush in The Rez Sisters and universities across the country. Native folks still talk about at Theatre North West. He has since performed in Native Earth’s the play and how important it was for them to see three strong Death of a Chief in Ottawa and Toronto and his original one-man Aboriginal women telling their own stories on stage. show Agokwe will open Buddies in Bad Times season this fall. This is the ‘ripple effect’ made real for one artist – from seeing his first voice play, to training, to creating his It is through this – the speaking, own work – all within six years. We Aboriginal, First Nations, “ the singing, the moving and the Indigenous peoples of this land have very few opportunities to see telling of our stories, over and over again our truths reflected back. While that may be true for people of – that we find ourselves, our families, other ethnicities, this is our land. We don’t have another country to our communities. refer to, or to connect our identity with. We are deeply rooted in the Left: : Ryan Black in Prairie Theatre Exchange’s 1996 production of fareWel” earth here on this continent and therefore the stakes are therefore The name “Turtle Gals” comes from Turtle Gal, a story by much higher and fundamentally different for us than for all immi- Mohawk writer Beth Brant. Turtle Gal was a young girl so trau- grant groups who can always look back to their mother country matized by the loss of her mother that she refused to speak. We to remember who they once were. chose the name to give voice to that child in all of us who has been Traditionally, our cultures, faiths, histories and arts were not silenced through our individual and collective trauma: trauma from mutually exclusive. Though we have lost much since the Europe- the continued effects of colonization, genocide; residential schools ans arrived, we are continuously working to rebuild and reclaim on and the sexual abuse suffered there; fractured families, forced assim- all fronts. Therefore, for us, artistic faculty is not a fancy; it is the ilation. . . the list goes on. It is through this voice – the speaking, expression of our identity, healing, survival and sovereignty. the singing, the moving and the telling of our stories, over and over Manitoulin Island’s De-ba-jeh-mu-jig Theatre Group is again – that we find ourselves, our families, our communities. grounded in the Anishnaabeg worldview, and the company trav- So, when an elder purchases a theatre ticket and travels two els to remote communities that have no access to theatre to work hours to witness her people tell her own story back to her, we are with peoples there to foster Indigenous cultural creative expres- all transformed. We do not take for granted the weight of our sion. Companies like Full Circle, Native Earth, Red Sky, Saskatch-

SPRING 2008 EQUITY QUARTERLY 7 ABORIGINAL PERFORMING ARTISTS

ewan Native Theatre Company, and others also actively work to develop a non-Native audience base because building these bridges and healing these wounds through story is a lofty aim, and we know that we do not live in a vacuum. Can we be on the main stages with- out being mainstream? Do we want to be on the main stages of regional theatres across the country? Hell yeah! What does it take to build that bridge? Faith in audiences? Willingness to risk in programming? Better knowledge of First Nations people? Better knowledge of First Nations artists? Peter Hinton, Donna Spencer and a few other allies have made us an integral part of their programming and that offer is essen- tial if there is to be true reciprocity between our communities. The National Arts Centre closed last season with Marie Clements’ epic, Copper Thunderbird. It was the first time in seventeen years that an entirely Native cast claimed that main stage in a work written by a Native writer. Why did it take so long? This season, nine First Nations artists took on Julius Cae- sar in an adaptation called Death of a Chief in the NAC Studio. We are at a turning point, witness- ing the explosion of First Nations artists on a scale never before seen and the funding and programming now Turtle Gals Performance Ensemble describe their production of The Scrubbing Project as engaging need to catch up with the ripple effect “the healing powers of humour to reveal the self-erasing impulse to scrub oneself of one’s colour: of in action. We’ve been running to catch one’s own skin.” up to the founding “Key Institutions” and their descendents for 40 years and hey, we’re still here. Michelle St. John is a Dora nominated; two-time Gemini Award We’ve survived the un-survivable and we are hanging on to the winning actor, playwright and producer. She has apppeared in pendulum that is about to swing back, full force. Where the Spirit Lives, Smoke Signals, Northern Exposure, The Sherman Alexie is right – we cannot underestimate the power of Business of Fancydancing, Unnatural and Accidental Women, simply being visible and the value it has for our people. As Indig- Copper Thunderbird, Annie Mae’s Movement, Death of a Chief enous peoples of this land, we are standing on the shoulders of our and The Only Good Indian… Michelle also served as producer/ ancestors and simultaneously holding up the next generation and it host for Red Tales – a weekly Native literary show on Aboriginal is for all of them that we do what we do and in the very doing of Voices Radio and is a co-founder of Turtle Gals Performance it, we are shifting the dominating paradigm of whiteness. Ensemble.

8 EQUITY QUARTERLY SPRING 2008 IS ANYBODY LISTENING? INITIATIVES FOR THE FUTURE

• Aboriginal theatre did not, and does not, have a great-grandfather benefactor. There were no established theatres that Aboriginal art- BY YVETTE NOLAN ists moved into; no theatre standard infrastructures to carry on; no insti- IN 2005, Aboriginal theatre practitioner Marie Clements undertook a tutional support of resources; no study for the Theatre Section of the Canada Council for the Arts. The study began theatre country clubs of networks; as a review of 10 years of support under the Developmental Support to Aboriginal no playwright resource centres and Theatre Organizations (DSATO); it quickly expanded to include interviews with few places that were willing to share Aboriginal theatre practitioners across the country, and a catalogue of virtually above lip service. every Aboriginal theatre production in Canada between 1982 and 2004. The objec- • There are only five Aboriginal the- tive of the study was “to identify specific issues and challenges related to the pro- atre companies on operating sup- duction of Aboriginal works and provide options and recommendations for future port from Canada Council and out initiatives and developments.” Clements delivered the study in May 2006. of that five, only two have risen to In October of 2007, the Clements report was launched at the Aboriginal Artistic Lead- the average level of funding that 163 ers Summit in Toronto, co-hosted by the Indigenous Performing Arts Alliance and Native mainstream theatre companies enjoy Earth Performing Arts. nationwide. The report included a list of recommendations for • In 2004-2005, Aboriginal the- Aboriginal theatre exists, atre companies made up 3.0% of action. The assembly at the the total number of companies in Summit, including artistic very often operating with so the operating grants program, but directors and general man- “ accounted for 1.8% of funding agers from across the coun- little infrastructure and its awarded through the program. try, was asked to prioritize the list, but people felt that resources spread so thin, that it • The average operating grant for before that could happen, Aboriginal theatre companies is the larger systemic issues is vulnerable to whim and the about 60% of that of the average needed to be addressed. overall for theatre companies. The four priorities com- vicissitudes of politics. • The average operating grant for ing out of the Summit were: Aboriginal theatre companies has stated support for the Indig- ” historically been well below that of enous Performing Arts Alliance as the service organization for Aboriginal performing francophone theatre companies out- arts; an articulated need for more adequate financial support from government(s) to side Quebec although it has increased sustain and equalize the playing field in order for the Aboriginal performing arts sector in recent years to 94% of the level of to survive for the next generation; recognition that the key Aboriginal arts organiza- the francophone companies. tions – Native Earth Performing Arts, Full Circle, Saskatchewan Native Theatre Com- • The majority of the Aboriginal company, Centre for Indigenous Theatre and De-ba-jeh-mu-jig – needed more support panies producing the majority of because they are the breeding grounds for the new work, the training ground for new Aboriginal work are weighted at the artists; articulation of the need for Aboriginal facilities so that Aboriginal performing very bottom of the funding scale. arts can tour. Data excerpted from Marie Clements’ study on Aboriginal theatre exists, very often operating with so little infrastructure and its Developmental Support to Aboriginal Theatre resources spread so thin, that it is vulnerable to whim and the vicissitudes of politics. But Organizations. it is nonetheless what Clements calls “a hybrid possibility… a dynamic raw force whose true success can only be measured in the future by what happens in the present.”

SPRING 2008 EQUITY QUARTERLY 9 Supporting the next Youth outreach and training is as important as production

Above: Established professionals mentor First Nations youth in the Young Voices Program at Native Earth Performing Arts in Toronto.

10 EQUITY QUARTERLY SPRING 2008 generation

BY MARIANNE LEPA

REACHING OUT to Aboriginal youth is another responsibility of the Native performing arts organizations scattered across the country. Companies such as Saskatchewan Native Theatre Company in Saskatoon, Full Circle: First Nations Performance in Vancouver and Toronto’s Native Earth Performing Arts, Inc. have developed training and mentorship programs to encourage young Aboriginals to use the performing arts to find their own voice. For Juritha Owens, 27, Full Circle’s Aboriginal Ensemble Training Program, “really opened up the inner creativity I have.” Juritha, has just completed the two-year program and is working as an intern with Full Circle while busily audition- ing and networking in Vancouver for roles. She was drawn Opposite page top and above: SNTC’s 2007 Circle of Voices program production of Kehiw (Eagle). to the performing arts after spending time doing outreach work in South America. Below: SNTC’s production of Annabel: Tale of a Girl and her Raven by Mark Dieter. Working in remote villages, Juritha saw firsthand how culture among indigenous peoples could be transmitted and maintained through song and story. “I was inspired to put my own stories into my own art form,” she says. Cultivating a sense of the medium is what Alanis King, Artistic Director at Saskatchewan Native Theatre Company (SNTC), hopes will come from two SNTC programs. The 10-year-old aboriginal theatre company is recognized and associated with theatre and outreach in their hometown of Saskatoon, across the Prairies and beyond, says Alanis. An eight-week summer program hires students in the SNTC training program to tour to eight remote communities and give the young people there a chance to experience the performing arts. “It’s instilling some inspiration in a young kid who, five years later, maybe will see a poster and come in,” says Alanis. “It’s creating an awareness of the performing arts and, we hope, generating future artists in our community to replace our young actors who are being swooped up by the major centres.” For Juritha, the professional skills she gained in training were just one part of the learning experience. “It teaches you a lot about who you are as a person; you develop and grow so much from all the activities.”

SPRING 2008 EQUITY QUARTERLY 11 We are on the cusp of being undeniably, EQ Voices incontrovertibly visible BY YVETTE NOLAN

It was the invitation Pollack, David French – and prepared the soil for their spiritual to serve as the Guest progeny Jason Sherman, Wendy Lill, Judith Thompson. But for Editor of EQ that Native writers, there has been no such harvest. No theatres, few nailed it for me. Con- companies, and audiences apparently completely uninterested in temporary Native the- what we as Aboriginal people have to say about our lives here, atre has been around on this land, at this time. But now, 25 years on, 25 years after for 25 years, but the the founding of Native Earth, it feels like we are on the verge of average Canadian something. There is more work by more artists in more places. theatregoer might not More groups are springing up and surviving: Raven Spirit, Kahawi know it. Really, how Dance, Cheyikwe Performance, Turtle Gals. More mainstream many people have theatres are producing plays by Native writers: Western Canada seen more than one Theatre Company, Magnus Theatre. At the National Arts Centre, contemporary Native Peter Hinton has made a commitment to including First Nations theatre piece in the works each season. Saskatchewan Native Theatre Company last decade? To this and De-ba-jeh-mu-jig are both about to get their own facilities. day, I sit on panels There is a piece in the new issue of The Walrus called “Riel’s and committees with Prophecy,” about “the new confidence of Aboriginal theatre.” colleagues whose That confidence allows us to eschew polemic, and enter instead entire experience of into a measured and productive dialogue. Aboriginal theatre is The Rez Sisters. Yet since the phenomenal And then there was an invitation to guest-edit this issue of EQ; success of Tomson Highway’s story about the journey of seven the offer of this forum, to discuss the challenges and realities of Aboriginal women to the World’s Biggest Bingo, a whole genera- Native theatre in this country, unmitigated by the white gaze, the tion of playwrights, choreographers, directors and actors have perception of what Native theatre looks like. That’s what nailed grown up and made plays, dances, and theatre companies. it for me – that confirmed for me this feeling shared by many of Really? my colleagues – that we are on the cusp of being undeniably, For two decades, Native theatre has existed on the margins incontrovertibly visible. of the mainstream. Yes, playwrights like Drew Hayden Taylor and Daniel David Moses have emerged and with them a body of work that is produced, translated, published and studied, but how many Contemporary Native theatre Native theatre companies exist and have the resources to produce a play per season, “has been around for 25 years, much less two or three? How often do you see a Native-penned play in the but the average Canadian season of a mainstream theatre? Since the beginning of a contemporary Canadian theatregoer might not know it. theatre (arbitrarily identified by Producing Marginality author Robert Wallace as the ” 1967 Vancouver Playhouse production of George Ryga’s The Yvette Nolan is a playwright, director and dramaturg. Plays Ecstasy of Rita Joe) dozens of theatres that served as incubators include Annie Mae’s Movement and BLADE. Recent directing for new works materialized: Theatre Passe Muraille (1968), credits include The Only Good Indian (Turtle Gals) and Death Factory Theatre (1970), Tarragon Theatre (1971), 25th Street of a Chief. She is currently the Artistic Director of Native Earth Theatre (1972) Prairie Theatre Exchange (1972). Those stages Performing Arts, and a playwright-in-residence at the National produced a raft of playwrights – George F. Walker, Sharon Arts Centre.

12 EQUITY QUARTERLY SPRING 2008 EQ Lives First comes love, then comes marriage...

BIRTHS

1. Equity members Del Surjik and Johnna Wright are thrilled to announce the birth of their son, Sascha Ray Fortunato Surjik-Wright, on December 19, 2007. He is now speaking fluent Italian and working on his second doctorate. Proud parents are sleeping when they can.

2. On October 18, 2007, Equity member Danielle Skene and her partner, Michael Morin, gleefully announced the birth of their daughter Ella Marie Morin 1 and they haven’t stopped talking about her since. 2

WEDDINGS

3. Equity member Roxanne Prokop and Banff Centre Head Stage Carpenter Dave Miller were married in a beautiful outdoor ceremony in Banff National Park on September 15, 2007. While Roxanne will keep Prokop for theatre biz, she will be now known as Miller in life.

4. Congratulations to First Soloist Richard Landry and Second Soloist Julie Hay, of The National Ballet of Canada, who were married in St. Lucia in January.

5. Equity member Amber Archbell and Equity Apprentice Tara Tomlinson were married Jan- uary 12, 2008. Both attended Humber College for Technical Theatre Production in ‘97/’98 and then re-united at Buddies In Bad Times The- atre while working on Hysteria! in 2004. Amber and Tara officially tied the knot with a small ceremony and reception at the Walper Terrace Hotel in Kitchener, ON where they have been working with Theatre & Company. Thanks to all our family and friends who helped us create and celebrate this perfect day! 5

3 ENGAGEMENT

6. Equity members Andy Pogson and Jenn Buffett would like to announce their engagement. Andy proposed on Christmas Eve, but not before asking Jenn’s Dad for permission. When he got down on one knee, Jenn cried and then said, “Yes!” They plan on getting married in New Brunswick in 6 4 June 2009.

SPRING 2008 EQUITY QUARTERLY 13 Fondly remembered

Brydon Paige 1933 - 2007

BY VINCENT WARREN, OC

Brydon Paige, was a pioneer in Canadian and Quebec dance. Born in Vancou- ver, he began ballet training at the age of 16 with Kay Armstrong. In 1953, he began dancing for Ludmilla Chiriaeff on the newly formed Radio-Canada, and was a founding member of Les Ballets Chiriaeff, which later became Les Grands Ballets Canadiens. A strong interpreter, Paige excelled in comic and dramatic roles, and became a leading dancer in the troupe. Later, encouraged by Chiriaeff, Paige emerged as a choreographer. In 1976, he became Artistic Director of the Alberta Ballet, and in the course of 10 years, he put that small company on the map of Canadian culture through his untiring and inspired artistic decisions. He created many works there and developed young dancers such as Mariane Beausejour and Claude Caron. His last major production was the massive international production of Aida, which he mounted in major cities around the world. He returned to Montréal, where he directed ballet programs at Ecole Pierre Laporte and Ballet Divertimento. Brydon passed away after a long struggle with heart disease and its complications. He will be sorely missed by his fellow artists and co-workers.

Keith Knight 1956 - 2007

BY CAROLINE SMITH

I first set eyes on Keith in 1984 in a bar in Sault St. Marie, but he always said he didn’t recall the incident. I do – I remember everything about this wonderful man. We reconnected nearly 20 years later when Keith crashed auditions for The Drawer Boy at the Stirling Festival Theatre where I was artistic director. I cast him immediately as Angus, and from that moment, Keith became part of Stirling’s heart – a beloved player, director and friend. He could and would play anything, from over-the-top roles in our Pantos to nutsy Uncle Teddy in Arsenic and Old Lace. Keith’s last show was a country variety concert on the Stir- ling stage in April of 2007, telling jokes and laughing with good friends Ken MacDougall and Don Harron. I know he had a blast. If it’s true that there’s a bigger stage out there in the hereafter, I have no doubt Keith is downstage centre, where he’s always belonged. Everyone at the Stirling Festival joins Keith’s wife, Jenifer, his family and his friends in remembering this sweet prince with laughter, love and a pint or three.

14 EQUITY QUARTERLY SPRING 2008 Barry Morse 1918 - 2008 Members who BY DAVID HOPE passed in 2007 Barry Morse, one of the The Actors’ Fund of Can- Jennifer Alexander ada’s original founders, was widely known for his Zeyn Ali compassion and respect for people generally and for his Anagram fellow actors in particular. Novices and veterans alike Eleanor Beecroft praised him for his help- ful presence on set and his Duncan Bell ability to bring out the best in others. Paul Craig One day in 1958, Barry, Donald Davis, Barbara Richard Curnock Hamilton, Jane Mallett and William Needles, each put Richard Brent Davison $1 into a pot and began the benevolent organization Pat Dawson that marks its 50th anni- Denny Doherty versary this year. Barry died in England on February 2, Tibor Feheregyhazi 2008, at 89. He began his theatrical career in England and, in 1951, immigrated to Canada, where Celia Franca he played a pioneering role in CBC television. He wrote, narrated and produced A Touch of Greasepaint, a half-hour radio program that ran for 14 years on CBC Radio. Known Colin Graham to television audiences for his portrayal of Lieutenant Philip Gerard on The Fugitive and Professor Victor Bergman on Space 1999, Barry also served as artistic director of the Shaw William Hutt Festival in the 1966 season and went on to play more than 3,000 roles in radio, film and television and theatre. He eventually returned to England, where he was president of Charmion King the Shaw Society. Commenting on Barry’s passing, Actors’ Fund of Canada President Graham Harley Rick McNair said, “Barry Morse had a long and remarkable career on stage, screen and radio, and made an enormous contribution through his humanitarian and charitable work. He was a Colin Miller supporter of many causes but it was through his role as a founder and the first Treasurer of the Actors’ Fund that his generous spirit found its most profound expression.” Edward Mirvish (Honorary)

Gary Rideout

Bruce Swerdfager

SPRING 2008 EQUITY QUARTERLY 15 EQ Backstage A PAL is a retiring performer’s friend

Canada’s first Performing Arts Lodge (PAL) opened in Toronto in 1996 after a 10-year fundrais- ing campaign. In 2005, the Vancouver PAL opened its doors. Between them, more than 300 performing artists at or near retirement age have found affordable housing and care in their senior years. Planning is under way to build PALs in Halifax, Calgary, Strat- ford, Winnipeg and Edmonton. The goal of the lodges is to provide and maintain affordable housing and comfortable living conditions for those who have devoted their lives to the performing arts. The PALs in Vancouver and Toronto provide a collegial environment among residents who share a lifetime of memories from the stage and screen. Stage facilities are available in both PALs, so residents are able to continue in the “show biz” life, hosting and performing in live performances and cabarets. In addition, the facilities include libraries, exercise space, art studios, and, in Vancouver and Toronto, a rooftop garden where residents can relax and socialize. Each PAL has individual eligibility requirements, but tend to cater to the person 55 years of age or older who has devoted a significant portion of their life to the performing arts. Actors, writers, musicians, technicians, producers, directors and designers have taken up residency in Toronto’s 205 and Vancou- ver’s 99 units. Plans are underway to expand services to include assisted living and nursing care for the very sick and frail residents who now have to be moved into pro- vincial nursing homes. One of the significant challenges for the PAL Top: A model suite at the Vancouver Performing Arts Lodge (PAL). organization, is making corporations and the public Bottom: PAL residences offer affordable and secure living conditions for retired understand why performing artists have trouble sav- performing artists. ing for retirement. Most contributions to build and support the lodges come from the performing arts community itself. For more information about the Performing Arts Lodges, visit www.palcanada.org. For information specific to the Vancouver PAL, visit www.palvancouver.org and for Toronto, visit www.paltoronto.org.

16 EQUITY QUARTERLY SPRING 2008 EQ Classiﬁeds

JOY OF DANCE STUDIO SARAH SHEARD M.A. SINGING LESSONS/COACHING WITH What actor doesn’t need a flexible second PSYCHOTHERAPIST DONNA GARNER job? Why not become a Ballroom Dance Do you have trouble dealing with self- Qualified instruction (H.B.Mus.perf/ Teacher? The Joy of Dance Studio at doubt, depression, rejection, difficult RCM Examiner) in vocal technique and/ Broadview & Danforth is now offering the associates and other commonly or repertoire coaching for all ages and first professional teachers training program faced problems of artists? Perhaps levels. Twenty years’ teaching experience in Canada. No previous dance experience I can help you. I have a unique in classical/contemporary/music theatre. is required. Classes are either Mondays understanding of your world, the world Studio centrally located, a 10-minute & Thursdays 6-8 p.m. or Saturdays & of the creative artist. Since 1995 I have walk from Davisville subway station. Sundays Noon-2 p.m. www.joyofdance.ca helped people reboot their passion, A positive, straightforward teaching dissolve old emotional patterns, and approach with no mind games. For more rediscover the joy of taking risks. information call (416) 533-2643. THE TAXXMAN: PETER MESSALINE Reasonable rates. Riverdale office. I’ve already helped someone you (416) 778-1224 or sarahsheard.com. For know. Been blindsided by Canada upcoming workshop info email me at: CUSTOMIZED MONOLOGUES Revenue? Work with me and shrug [email protected]. Experienced playwright offers original it off. No attitude, just experience material crafted to your specifications ... and sympathy. Children, foreign reasonable rates and easy payment plans. work, GST, incorporation advice, ATTENTION UNIVERSITY OF Email Mo at [email protected]. back taxes. Tax for artists by an WINDSOR GRADS! artist. Call (416) 960-9272 for free In 2008-09, the School of Dramatic advice. [email protected] Art is celebrating the 50th anniversary www.petermessaline.com of University Players, and the School’s 40th. Special events involving alumni are being planned. If you would like to INCOME TAX PLUS! be kept informed of these events, please I am a chartered accountant specializing contact Chris Knack at (519) 253-3000 in providing tax and financial services ext. 2818, or [email protected]. to people in the entertainment field. I restore hope offer e-file and paper filing for current and prior years. I can help with GST and KUDLOW & McCANN The Actors’ Fund of Canada other issues as well. You get friendly, Chartered Accountants Celebrating 50 years of professional service and reasonable rates. • have innovative solutions to your tax providing emergency financial IAN G. HUNT, C.A. 79 Bowmore Rd., problems aid to Equity members and Toronto, ON M4L 3J1 (416) 463-6471 • providing comprehensive tax other entertainment industry professionals or [email protected]. and accounting services to the entertainment industry A step beyond the ordinary! regain control FRIENDLY COACHING WITH BARBARA 21 St. Clair Avenue East, Suite 401 GORDON will help you choose a Toronto, ON M4T 1L9 monologue or gear up for an audition. Tel: (416) 924-4780 rebuild a life With 30 years of experience in theatres Fax: (416) 924-5332, across Canada, film and television. [email protected] For more anniversary Barbara can lend an impartial eye and [email protected] information or to donate online, visit ear to help you clarify your thinking and www.kudlowmccann.com www.actorsfund.ca boost your confidence. (416) 535-0058

SPRING 2008 EQUITY QUARTERLY 17 EQUITY QUARTERLY EQ WHAT’S NEW AT EQUITY

What to find at www.caea.com

• “Me and My Money” retirement planning series The Western Office is moving! • Councillor, CPAG and Committee contact information Equity’s Western Office will be relocating. Check • Online events calendar EQUITYONLINE www.caea.com for updated information. • Member Only zone (update contact information online) The office’s email address, phone and fax numbers will • e-search, our online digital search tool for the opera, ballet remain the same. and theatre agreements

WELCOME NEW MEMBERS

Suzy Crocker Atlantic Adam Sergison Ontario Brian Sutton British Columbia / Yukon Allison Angelo Ontario Sylvie Charlotte Gosse British Columbia / Yukon Michael Hogeveen Ontario Emmanuelle Zeesman Eastern Ontario & the Outaouais Garen Boyajian Ontario Anne Brummel Manitoba / Nunavut Ashlyn Ireland Ontario Chantelle Lomness-Seely Northern Alberta & the N.W.T. Tanya Fraser Ontario Ashley Fenster Ontario George Acheson Quebec Carlos Gonzalez-Vio Ontario Mikel Mroue Quebec Nadine Jackson Ontario Christine Aubin Khalifah Quebec Patrice Goodman Ontario Catherine Marie Harrison Saskatchewan Julian DeZotti Ontario Ann Barrett Southern Alberta Joanie Ellen Ontario Rachel Parris Southern Alberta Kevin Tookey Ontario

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18 EQUITY QUARTERLY SPRING 2008 EQ is shipped in a recyclable polybag