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Gender Equity in Canadian Theatre

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Gender Equity in Canadian Theatre Email: [email protected] Website: www.eit.playwrightsguild.ca Steering Committee: Cole Alvis (IPAA), Aliyah Amarshi (PACT Diversity Committee), Joanna Falck (LMDA), Sedina Fiati (CAEA Diversity Committee), Lynn McQueen (CAEA), Lisa O’Connell (PTD), Achieving Equity in Canadian Theatre: Lena Recollet (IPAA), A Report with Best Practice Arden Ryshpan (CAEA), Recommendations Meg Shannon (PACT), Sheila Sky (ADC), charles c. smith (CPAMO), Donna-Michelle St. © April 2015 Bernard (The Ad Hoc Assembly), and Heidi Taylor (PTC) Co-Organizers: Rebecca Burton (PGC), Laine Zisman Newman (PTD) Prepared by Michelle MacArthur Metcalf Intern: Jennie Egerdie (PGC) Lead Researcher: Dr. Michelle MacArthur EIT Research Report 2 Table of Contents List of Tables and Charts ............................................................................................. 4 Acknowledgements .................................................................................................... 5 Executive Summary..................................................................................................... 6 Study Highlights .......................................................................................................... 7 Introduction ............................................................................................................. 10 Where are all the women? ............................................................................................................. 10 Equity in Theatre ........................................................................................................................... 11 Past Initiatives ............................................................................................................................... 12 Methodology ................................................................................................................................. 16 Key Terms ..................................................................................................................................... 17 From Research to Action ............................................................................................................... 17 Part I: Gender Equity in Canadian Theatre ................................................................. 19 Introduction ................................................................................................................................... 19 Gender Equity in Canadian Theatre: Some Recent Trends ........................................................... 19 Gender Division in Key Artistic Positions ................................................................................ 19 Gender Division Amongst Playwrights ..................................................................................... 22 Gender Division Amongst Actors .............................................................................................. 24 Gender Division Amongst Literary Managers and Dramaturgs............................................... 25 Gender Division Amongst Designers ........................................................................................ 25 Gender Division on Boards of Directors .................................................................................. 26 Working Conditions: Grants ..................................................................................................... 26 Working Conditions: Income .................................................................................................... 27 Arts Audiences: Equity-Seeking Groups ................................................................................... 29 Arts Audiences: Age .................................................................................................................. 31 Adding Up the Trends ............................................................................................................... 32 Regional Snapshots ....................................................................................................................... 32 Applause Awards ....................................................................................................................... 32 British Columbia. ...................................................................................................................... 34 Alberta ....................................................................................................................................... 34 Manitoba ................................................................................................................................... 35 Ontario ...................................................................................................................................... 38 Quebec ...................................................................................................................................... 39 New Brunswick .......................................................................................................................... 41 International Comparisons............................................................................................................. 42 Australia .................................................................................................................................... 42 United Kingdom ........................................................................................................................ 43 United States ............................................................................................................................. 46 Conclusion: Inequity as an International Phenomenon ................................................................. 49 Part II: Best Practices for Achieving Equity in Theatre ................................................ 51 Introduction ................................................................................................................................... 51 Methodology ................................................................................................................................. 51 Education ....................................................................................................................................... 52 Curriculum Changes ................................................................................................................. 52 Actor Training ........................................................................................................................... 54 Mentorship, Networking, and Extended Training ......................................................................... 56 EIT Research Report 3 Extended Training Opportunities .............................................................................................. 56 Live Events ................................................................................................................................ 59 Networking Online .................................................................................................................... 60 Administration ............................................................................................................................... 62 Playwriting ................................................................................................................................ 63 Directing ................................................................................................................................... 64 Acting ........................................................................................................................................ 64 Design ....................................................................................................................................... 65 Setting Qualitative and Quantitative Targets ........................................................................... 66 Gender Equality Checklist ........................................................................................................ 67 Advocacy and Awareness.............................................................................................................. 67 Supporting Women’s Work as an Audience .............................................................................. 67 Women’s Play Databases .......................................................................................................... 68 Awards and Public Recognition ................................................................................................ 69 Conclusion: Best Practices for Redressing Inequity...................................................................... 70 Summary of Recommendations…………………………………………………………………..71 Part III: Equity Initiatives in Other Industries ............................................................. 72 Introduction ................................................................................................................................... 72 Methodology ................................................................................................................................. 72 Engineering ................................................................................................................................... 72 Making Gender Diversity a Goal .............................................................................................. 73 Reducing Bias ..........................................................................................................................
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