equity quarterly summer 2012

END-OF-TERM COUNCIL REPORT FEDERAL BUDGET UPDATE EQ GIVING BACK TO THE ASSOCIATION

Inside Equity A look inside your Association the human Brain has two siDes – the right siDe, which houses our creativity anD imagination, anD the leFt siDe, which allows us to Be logical anD keeP our lives in orDer.

Just like our Brains, equity also has two halves oF a whole – its electeD rePresentatives, who use creativity anD vision to govern the association, anD the aDministration anD staFF oF the organiZation, which ensure that memBers work with security, Protection anD suPPort. Both siDes are equally necessary. equity quarterly summer 2012 EQ volume 6 numBer 2

Budget fall-out 2 PRESIDENT’S MESSAGE 6 3 NOTES FROM ARDEN R. RYSHPAN 4 LETTERS TO THE EDITOR 8 End-of-term report 5 EQ MOVES 17 EQ VOICES 18 EQ BACKSTAGE 14 Serving the 19 FONDLY REMEMBERED Association 20 EQ CLASSIFIEDS 21 EQ FLASHBACK

equity members can submit letters to the editor via email at [email protected]. the deadline for coming issue: Fall 2012 EQ submissions is Friday, september 21, 2012. EQ reserves the right to edit for length, style and content. subscriptions are available at an annual rate of $35, including gst. EQ Equity Quarterly (issn 1913-2190) is a forum to discuss issues of interest to members concerning their Publications mail agreement no. 40038615 summer 2012 – volume 6, number 2 craft, developments in the industry, equity’s role in the workplace, and the important position live performance EQ is published four times a year by canadian actors’ equity association. eXecutive eDitor Lynn McQueen holds in the cultural and social fabric of canada. it is also used as an advocacy tool to educate others about National Offi ce the industry, promote live performance in canada, and celebrate the achievements of equity members. 44 victoria street, 12th Floor, toronto, on m5c 3c4 eDitor Barb Farwell tel: 416-867-9165 | Fax: 416-867-9246 | toll-free: 1-800-387-1856 (members only) Canadian Actors’ Equity Association (Equity) is the voice of professional artists working in live [email protected] | www.caea.com Design & layout Chris Simeon, performance in english canada. we represent more than 6,000 performers, directors, choreographers, September Creative Western Offi ce fi ght directors and stage managers working in theatre, opera and dance, and support their creative efforts 736 granville street, suite 510, vancouver, Bc v6Z 1g3 by seeking to improve their working conditions and opportunities by negotiating and administering tel: 604-682-6173 | 604-682-6174 | toll free: 1-877-682-6173 (members only) collective agreements, providing benefi t plans, information and support and acting as an advocate. woffi [email protected]

ABOVE: Ari Cohen and Harry Nelken in Zadie’s Shoes at Winnipeg’s Prairie Theatre Exchange, 2003. Find out how Tania M. Sigurdson, stage manager of this production, has been involved in Equity on page 16 President’s message

Council elections are just around the corner. they loom on the horizon – when I look at what’s left on the agenda at the moment, anything as Actually, it may be more accurate to say that deadline-like as elections most decidedly looms. As such, it’s also a time for review and reflection. You’ll find the review part in the inside pages, and the reflection bit begins in the next paragraph. Ten times a year, I write a series of discussion documents for the upcoming meeting of Council. On top of that, I author four EQ columns like this one, two Council Links, 20 to 25 blog posts, and the occasional contribution to the Equity Facebook page. Admittedly, that’s a lot of writing, but it’s also an ongoing series of opportunities to reflect on Equity: what it stood for at its inception, where it has travelled since then, and what it works for now. Many people will not know this, but up until 1976, what we now call Equity was a branch office of the American performers union, Actors’ Equity Association (AEA). And even more will not know that AEA will be celebrating its 100th anniversary next year. If you read about the working conditions back then, you cannot help but be amazed at how much artists in live performance, working collectively, have accomplished in the past century. Equity was founded by, and run by, and continues to be run by, artists, right up to this day. Although you elect Council to govern Equity on your behalf, the membership truly owns this Association. I mean that literally, and the past two Councils have been tireless in reaching out to the membership, broadly and in detail, to share information and to get input on major topics of discussion. For ad hoc contributions, we have also implemented a Request for Council Consideration form that is available for use by any member at any time, and our [email protected] and [email protected] addresses are appended to pretty much everything we send you. Despite all of this, it’s impossible not to notice that a sizable chunk of the membership regards the artists and their Association as two different things, and apparently believes that Equity has a purely self-informed and self-serving agenda. Take a look at the report included in this edition of EQ – with the exception of the dues referendum (because we have increasing costs to cover), every major issue noted is rooted in something that came to us from the membership. (Psst! That’s you, the artist.) Each of these changes has resulted in improvements you asked us to make, and our staff consistently achieve similar gains on the contract negotiation front. We’re coming up shortly on the most important member-input opportunity of them all: the chance for you to participate directly in the governance of your Association. Nomination forms were mailed to all eligible members in June, and I encourage each of you to consider running, or to nominate someone you think would represent you well. We’ve spent the past six years re-examining how we do things and what our members need us to provide for them, and there are doubtless many more changes in the offing. If you want to see Equity move with the times, now is the time for you Get involved. to get moving.

Allan Teichman President

2 equity quarterly summer 2012 Notes from Arden R. Ryshpan

This issue of EQ is all about the inner workings of Equity, as seen from the twin perspectives of the Council and the administrative side. While it is Council’s job to determine the direction and goals of the Association, it is up to the office to deliver the practical things that take us down the path to those goals. The role of Council is primary in the Association. And so the upcoming elections for a new Council this fall are, as always, very important. Since the introduction of Policy Governance, the tasks and responsibilities of Council have changed and concentrate much more on the larger picture – the upper level overview of the Association, as it were, rather than spending time on the day-to-day minutiae of the operation. We have seen some members (on and off Council) struggle with that change but, from an outside perspective, I think it offers Council the oppor- tunity to think and talk and have a chance to grapple with the bigger issues facing the membership, the Association and the industry in general. Once those decisions are made, they are turned over to staff and we have to then put concept into practice, a process that can be a challenge. Policy Governance encourages the Council to dream in widescreen Technicolor. It’s my unfortunate job sometimes to deliver something in black and white. All the things we all want the Association to be able to do, say and deliver to the membership, the engagers, the industry and the government, are restricted by time, money and competing priorities. This is no less frustrating for those of us at the office than it is for the membership. What makes the frustration bearable is when Council and staff are truly working together – both sides of the circle – to bring something to fruition that benefits the members. I have certainly heard from members that they think some things take too long to get dealt with. My response to them is yes, sometimes it does. But they should be comforted by the fact that their elected officials are genuinely concerned about trying to get it right, about getting the information they need, and then taking the time to process that information so they can make the right decision. You cannot fault them for that. I have been very impressed with the enormous concern that Council expresses when sifting through big issues and their sincere desire to make an informed and enlight- ened choice for their colleagues. Decisions are not made capriciously, either by Council or by staff – there is often too much at stake to do that – usually a member’s (or the membership’s) livelihood. And that is too important a thing to treat lightly or without due respect. As the elections approach this fall, it is essential that members with a genuine interest in the work- ings of the Association choose to run and to offer their service to and on behalf of their colleagues. It will educate you, surprise you, and occasionally irritate you – but always provide you with a source of satisfaction that you are doing something important in your Association and in your business.

Arden R. Ryshpan Executive Director

summer 2012 equity quarterly 3 Letters to the editor

Equity quartErly spring 2012

ARTS FUNDING IMPACTS YOU LOBBYING IN OTTAWA WITH EQUITY MANAGING YOUR CAREER EQ LETTERS on subjects of concern to Equity members We want to hear will be considered for publication. Letters must be signed, but names will be withheld on request for those letters that may affect members’ employment. Letters that include artistic criticism of Equity members or letters that are from you! antagonistic or accusatory, either implied or expressed, may be withheld or edited at the discretion of the editor. Opinions What would you like to read about in EQ? expressed in Letters to the Editor are not necessarily those of Please send your letters, comments and the Association. questions to [email protected]. PHOTO AND PRODUCTION CREDITS Connecting the dots Cover: Photo illustration by Christine Simeon. Photo: geopaul, iStockphoto. Inside Front Cover: Photo: ktsimage, iStockphoto. Burmese comedian freed Page 1: Photo: Bruce Monk. Zadie’s Shoes (2003) by Adam Pettle produced by Prairie Theatre Exchange. Directed In the EQ Spring 2010 issue on cen- by Robert Metcalfe. Cast: Sharon Bajer, Ardith Boxall, Ari sorship, we told you about Zarganar, a Cohen, Brian Drader, Stephen Eric McIntyre, Harry Nelken and Marina Stephenson Kerr. Stage managed by Tania M. Burmese comedian who was sentenced Sigurdson assisted by Wanda Bretecher. to 35 years in jail in 2008 for criticizing the Page 5: Photo: Janet MacLellan. Driving Miss Daisy (2011) by Alfred Uhry produced by Valley Summer Theatre. government’s relief efforts in the wake of CELEBRATING Directed by Linda Moore. Cast: Walter Borden, Carolyn Cyclone Nargis – a devastating storm that Hetherington and Graham Percy. Stage managed by Donna ARTS + CULTURE MacMillan. hit much of Myanmar. After a worldwide FROM COAST TO COAST TO COAST Pages 6-7: Illustration: danleap, iStockphoto. appeal by Amnesty International and September 28, 29 & 30, 2012 Pages 8-9: Illustration composition: Christine Simeon. Icon other human rights groups such as the illustration: kimberrywood, iStockphoto. Head illustration: tharrison, iStockphoto. U.K.-based International Committee for A collaborative pan-Canadian Page 14: Photo: David Cooper. The Three Musketeers Artists’ Freedom – Zarganar was released (2011) adapted by Tom Wood from The Three Musketeers volunteer movement to raise by Alexandre Dumas produced by The Citadel Theatre. in October 2011. the awareness, accessibility, Directed by Bob Baker with choreography by Phillip Nero and fi ght direction by Paul Gelineau. Cast: Josée Michelle participation and engagement Boudreau, Adam Cope, Jeremy Crittenden, Susan Gilmour, of all Canadians in the arts Alana Hawley, Elliott James, Kris Joseph, Matt Kloster, CORRECTION David Leyshon, James MacDonald, David MacInnis, Melissa On page 6 of the Spring 2012 and cultural life of their MacPherson, Alex D. Mackie, Eric Morin, Melissa Oei, communities. Adrian Proszowski, Jonathan Purvis, Justin Sproule, Lana issue of EQ, the x-axis on Chart 2 Sugarman, Shannon Taylor, Colleen Winton, Tom Wood, should be age, not work weeks. Ashley Wright and local youth chorus members. Stage managed by Wayne Paquette assisted by Holly Clark, Nancy www.culturedays.ca Yuen and Samantha Van Sluytman (apprentice). Page 15: Photo: © Volksoper Wien, Foto Marianne Weiss. Die Vögel (1999) by Walter Braunfels produced by Volksoper Wien (Vienna Volksoper). Directed by Claes 2012-2015 Canadian Theatre Agreement Fellbom. Conducted by Guido Johannes Rumstadt. Page 16: Photo: David Hou. Rice Boy (2009) by Sunil The 2012-2015 CTA was successfully ratified by a majority of eligible Equity Kuruvilla produced by Stratford Shakespeare Festival. member voters on June 21, 2012. Members voted 73.7% in support of the Directed by Guillermo Verdecchia with fi ght direction by Simon Fon. Cast: Deena Aziz, Raoul Bhaneja, Araya proposed changes. The voting return rate was 34.3%. Mengesha, Anita Majumdar, Sam Moses, Jonathan Purdon, CTA minimum fee increases (1.5% in year 1; 1.5% in year 2; 2% in year Anand Rajaram, Sanjay Talwar and Asha Vijayasingham. Stage managed by Brian Scott assisted by Marie Fewer. 3; and 5.08% in year 1 to all workshop fees and rates), and increases to any Photo of Tania M. Sigurdson courtesy of Tania M. Sigurdson. other monetary term of the CTA where a single minimum fee or rate applies Photo of Jeff Braunstein courtesy of Jeff Braunstein. for the duration of the Agreement (3% in year 1) took effect June 25, 2012. Page 17: Photo of Jim Fleck courtesy of Business for the Arts. All material changes to the CTA will take effect December 31, 2012, Page 18: Background photo: janrysavy, iStockphoto. Page 19: Photo of Stephen Adams by Andrew Semple. allowing both Equity and PACT time to make the administrative changes Photo of Micki Maunsell by Glen Erickson. required to implement the ratified changes. Page 21: Photos courtesy of Stratford Shakespeare Festival The material terms (only) of the previous CTA will remain in effect until archives. Photo of Alec Guinness: Peter Smith. Photo of William Hutt: David Hou. Photo from Romeo and Juliet: December 30, 2012. Copies of the “2012-2015 CTA minimum fees and other Douglas Spillane. Photo from As You Like It: Robert C. monetary amounts” booklet are available on EQUITYONLINE (www.caea.com). Ragsdale.

4 equity quarterly summer 2012 EQ Moves Live performance across the country

(L to R) Graham Percy, Walter Borden and Carolyn Hetherington in Driving Miss Daisy at Valley Summer Theatre in Wolfville, Nova Scotia. The play was named best production and Borden received the award for Outstanding Performance by an Actor and Hetherington received the award for Outstanding Performance by an Actress at the 2012 Robert Merritt awards

Ann-Marie Kerr of Halifax, Nova Scotia, is the 2012 inaugural Jesus Christ Superstar, which originated in Stratford as part of the prize recipient of the Gina Wilkinson Prize for an Emerging Female Festival’s 2011 season, received Tony Award nominations for Director. The $1,000 prize pays tribute to actor/playwright/director Best Revival of a Musical and Best Featured Actor in a Musical Gina Wilkinson by honouring an emerging female theatre director for Josh Young, who plays Judas. The production also earned who is transitioning from one theatre discipline (acting, stage man- two Drama Desk Award nominations – one for Best Revival of a aging, playwriting, administration, etc.) to that of directing. Musical and one for Best Sound Design for Steve Canyon Kennedy.

Karl Sine of Alberta is the first recipient of the Jean Pierre Zaz Bajon is the new general manager at Manitoba Theatre for Fournier Fellowship from the Academy of Fight Directors Canada Young People. and the College of Fight Masters. The award was developed to David Auster has joined the Stratford Shakespeare Festival as their honour someone who demonstrates an excellent work ethic, new producer. Jason Miller now takes over the position of creative as well as the generosity, desire and willingness to mentor with planning director. humility, and a genuine desire to pass it forward. Equity members are celebrating the 2011-2012 per- Ashlie Corcoran will be the new artistic director at Thousand formance season with award ceremonies from coast to Islands Playhouse in Gananoque, Ontario. coast. A complete list of Dora Mavor Moore (Toronto), Liana White has been appointed executive director of the Elizabeth Sterling Haynes (Edmonton), Jessie (Vancou- Canadian Federation of Musicians (CFM). White has been with ver), Robert Merritt (Nova Scotia), Betty Mitchell (Cal- the Federation for 16 years, most recently as director of adminis- gary), Rideau (Ottawa), and SAT (Saskatoon) Award nom- tration and services. inees and winners is available online at www.caea.com.

SUMMER 2012 EQUITY QUARTERLY 5 Where do we go from he A reflection on how recent shifts in government budgets will affect members

THE LAST TWO MONTHS have seen significant changes in governments and budgets across Canada. The much-anticipated – and feared – federal budget was announced, one that told of more cuts to the CBC, NFB and Telefilm, but not to the Canada Council’s funding. Alberta’s Progressive Conservative government was re-elected, which came as something of a surprise, as polls had indicated a victory for the upstart Wildrose Party (a party that had indicated it would slash funding to culture). Ontario’s Liberal minority government also unveiled their new budget, which did not cut the arts too severely. Equity Executive Director Arden R. Ryshpan reflects on what the cuts will mean for members, and what she feels is the best response.

You have expressed some relief regarding the can’t possibly be true. They don’t think I’m lying, but they can’t federal budget. Many were expecting something process it, because it’s inconsistent with what they read in news- much more harsh in terms of cultural funding. papers, everything they’re taught in school. Unless we can change I think it’s fair to say that we were pleased to see that there was the way people are learning about what the real economic engine no reduction to the Canada Council funding, though the Heritage of this country is, politicians, as well as the citizens who choose budget has taken a significant hit, and from what we can tell most those politicians, are going to continue to look at arts and culture of the hits are coming from the “arts” side, not the “heritage” as if it’s at worst a frill, and at best, simply an adjunct industry, not side. After the dire pre-budget predications we were buoyed to deserving of the kind of support given to the auto industry, or see the Canada Council spared. However, any cuts, to any arts any of the other heavy industrial industries – and no one seems programs, affect all of us. The loss of ten million to Telefilm and to complain about it when they get bailout money. It’s considered the cuts to the NFB put downward pressure on the industry. It stimulus spending. Unlike arts funding, which is seen as a handout. makes it harder for everybody in the business to make a living. With so much talk of economies of ideas and inno- How do we impress upon the government that these vation – which clearly involve a vibrant arts sector – cuts are having direct impacts on those in the cultural isn’t the notion that things have changed sinking in? sector? I feel like we’ve been making that argument But I say it to politicians, and they get that look in their eyes, and for some time, but it hasn’t been sinking in. their heads tilt, like when a dog cocks its head and looks at you I don’t think it has been sinking in either. When you look at a politi- quizzically. A lot of MPs and those who elect them don’t see the cian or an average citizen, and you tell them that arts and culture is day-to-day economic impact on their region. You can see the a larger economic generator than the forestry, fisheries and mining evidence a lot more clearly if there is a car factory in your rid- sectors combined, they blink at you uncomprehendingly. Because ing, or a bigger industrial workplace. But because we have mul- that’s not consistent with everything they’ve been told about the tiple workplaces in our community, I think we’re not that visible. economic engine of this country. There’s some cognitive disso- Another thing that constantly pisses me off is the conflation of the nance among people. You say those numbers and they think that work done by a professional artist with that done by an amateur.

6 EQUITY QUARTERLY SUMMER 2012 Where do we go from here? By Matthew Hays A reflection on how recent shifts in government budgets will affect members

While people may recognize a fundamental difference between and other parts of the infrastructure of the province – it’s consid- the ballet classes their six-year-old takes and work done at the ered one of the bricks of the society. It’s not true in the rest of the National Ballet, they still think nothing of asking their friend who country, especially with this administration that is not very arts- is a professional singer to sing at their wedding for free. Would friendly. The minister claims it is, but I don’t think the Heritage you ask a dentist to fix your teeth for free? No, and you wouldn’t portfolio has the same profile that it did when Sheila Copps was be surprised when the dentist says no. People seem to think of the Heritage minister, for example. She was a very senior minister with work of artists as nothing – they think anyone can do it. Perhaps a lot of influence – she had the ear of the prime minister. It’s not they’ve been part of a band, or played a musical instrument in clear that it’s quite the same now. high school, or were once in a school play. They think it’s sort of like child’s play. That hinders our ability for the government to What can individual members do? I feel like many recognize artists’ work as “work” like any other profession. artists are feeling helpless right now. Arts and culture organizations have spent a lot of time lobbying the What was the worst bit of news to come out of government in the past few years, and not so much time lobbying this budget? the populace, as we should have. Everybody in the business has Although it doesn’t specifically affect Equity members, I think the friends and family, and it’s important for us to make them aware cuts to Telefilm are going to have a terrible impact on the feature of the issues, so that when they go to the polls – be they federal, film industry. Where they’re going to pull $10 million out, without provincial or municipal – to think of their loved ones in the arts affecting feature films, is beyond me. That’s the biggest problem. and make an appropriate decision. The amount of money that The cuts to the program that financed the Canadian Conference we generate, the contribution to the economy, is not recognized, of the Arts (CCA) and the Coalition for Cultural Diversity is going and that’s in part because the voters themselves do not factor that to make it very difficult for those organizations to reinvent them- in when they recognize who is going to do the best thing for the selves very quickly in order for them to continue their work. It will economy. Their understanding of the economy is still based on put great pressure on both of those organizations, which provide traditional heavy-industry. With all due respect to our colleagues significant services to the arts community in general, to scramble who work in the automotive industry, they got billions and bil- to replace the government financing fast enough to stay in busi- lions of dollars in bailout, clearly when they were on the verge of ness. The CCA has had their funds cut in half for this year, and bankruptcy and unable to sell their product. The product we create then that’s the end of it. After 60 years of existence, that’ll be it and sell is only growing. And there’s little recognition of that. For for government funding. I happen to be the CCA treasurer, so I’m individual members who are frustrated, I think the best thing they uncomfortably aware of the financially challenging position we’ve can do is talk to their friends and family and urge them to think been put in. We asked for a transitional period to figure out how about how they might vote next time. That’s how we’ll elect a we could refinance, but we were not given that time. The CCA is government that’s arts- and culture-friendly. now working hard to implement a new business model. What’s your biggest concern as we move forward? Several years ago, a number of Quebec producers We’re pleased about the things that aren’t being cut, but to be clear, lobbied the Quebec provincial government and the there’s no new money anywhere. There’s no increase, in many cases, federal government for more money. They explained to keep up with inflation, which means the pie will be shrinking over that the film sector was thriving and creating jobs, the next few years. It’s going to be tough. We’re going to have to look but that they needed more government support. for new ways to lever production funding for all areas of the arts, and The Quebec government immediately met their it’s hard to know what those ways are going to look like. For the next demands. The federal government didn’t. Why do few years people won’t likely see much of an increase in work oppor- you think Quebec is so far ahead in terms of the tunities. Not to sound too gloomy, but that’s the reality we face. EQ argument for cultural funding? Matthew Hays is a Montreal-based journalist whose articles have appeared in The Globe and Mail, The Daily Beast, The New York Times, The Guardian and The I think the big difference between Quebec and the rest of Canada Canadian Theatre Review. He teaches courses in journalism and film studies at is that in Quebec, culture is given the same priority as health care Concordia University.

summer 2012 Equity Quarterly 7 AN INSIDE LOOK AT HOW COUNCIL IS SHAPING END-OF-TERM R WE ASKED COUNCILLORS TO BY ALLAN TEICHMAN, PRESIDENT ANSWER ONE OF FOUR QUESTIONS: On behalf of Mark, Matt, Jeremy, Kerry, Ian, Sharon, s 7HATSTHEMOSTDIFFICULTDECISIONYOUHAD Kerry Ann, Toni, Scott, Zach, Kelly, Hal, Annabel, Evan, to make on Council? David, Kim, Wade, John, Robert, Kimberley and Virginia. s 7HATHAVEYOULEARNEDFROMYOUREXPERIENCE With updates by Executive Director Arden R. Ryshpan. as a Councillor? s 7HATAREYOUMOSTPROUDOFACCOMPLISHING WE ARE EQUITY COUNCIL. during the last term? Over the past (almost) three years, a dedi- s 7HATISSUEWASCLOSESTTOYOURHEARTWHILEON#OUNCIL cated group of your peers, elected from each region of the country, has Mark Brownell, Ontario worked on your behalf to guide During my entire term I was a fierce Equity today, and to shape it for defender of members who create their tomorrow. With elections on own small-scale work. Too often these the horizon, we wanted to members are treated like second-class bring you up-to-date on key citizens within our Association. It remains projects undertaken this to be seen whether the clear results of term. Council answers to the Independent Theatre Review Committee’s member the membership, and it’s survey will lead to positive change with regard to how Equity deals with its member/creators. important that you know how we have acted on Matt Cassidy, Ontario your behalf. From my experience as a Councillor I have Council and its exec- learned a great deal about the business utive director, Arden R. side of show business. The issue which Ryshpan, divide respon- was closest to my heart was negotiating sibility for the develop- the new CTA. The future of theatre in ment and review of Canada is bright if PACT and Equity con- various programmes tinue on this positive path of staging and creating theatre. and initiatives. Council handles direction through Jeremy Crittenden, B.C. /Yukon written policies, and Arden Reforming the CPAGs was the issue clos- and her staff handle pro- est to my heart. I felt very strongly that it gramme creation and admin- was unfair to our members to elect people istration. In recognition of this, to these groups that had no actual func- I’ve invited Arden to include tion. There was no real direction for the updates on several of the following CPAGs, no constitutional power to actu- ally affect change in the way our members may have topics, so that members know where thought they could. I felt our national Councillors needed each stands at present. to do a better job of engaging with the membership on a constant basis, but that involved cutting out the middle- New Member Joining Process man. It will hopefully bring about much more effective We are in the final stages of a long-term initiative to re-examine representation for the members that rely on us. how members come to join the Association. With almost all new

8 EQUITY QUARTERLY SUMMER 2012 EQUITY NOW, AND FOR THE FUTURE EPORT2012 members created by the hiring choices of dozens of engagers Kerry Davidson, 1st Vice-President, B.C./Yukon across the country, and only then communicated to Equity, few I cannot tell you how many times I have new members actually make the decision to join; they are com- heard myself, and others say “Well, our pelled to join because they want the contract being offered. region is different, and let me tell you Further, Equity itself is the last to know that it now has a new why” only to see nods of agreement from member. Council’s goal in changing the system is to place the the Councillors from every other region. decision to join more in the hands of the prospective mem- The more time I spend with my colleagues ber, and ensure that the decision is made knowledge- from across the country, and from different disciplines, the more I realize how similar we are, even in our uniqueness! ably in consultation with Equity. In the future, most prospective members Ian Deakin, Ontario will not be able to join directly upon accep- I was anxious to see how policy gov- tance of an Equity contract, but will ernance was going to change or even instead be offered the contract on a improve the way the internal governance “permit” basis. In order to ensure of Equity operated. I quickly found that that permit engagements are not despite my initial opposition to the new financially advantageous for governing formula, Councillors elected by engagers or permittees, all cus- their membership had far more control and far more input tomary source deductions will that directly affected the daily decision-making of Equity be made. A portion of the – streamlining the constant flow of information and con- deductions will be credited tributing to the decision-making of staff. Committee work on Council is also a vital part of its operational structure. toward the initiation fee, and the remainder will Sharon DiGenova, Dance go toward administration I have learned that our membership is costs. Permittees will have more diverse than I could have imagined. access to very limited ben- There have been issues which some mem- efits beyond the terms of bers assumed were universal, and when it the actual engagement, but actually came down to doing surveys, we will be able to “upgrade” found that they were in no way unanimous to regular membership by concerns – in fact in many cases they were not even main application to Equity, for concerns for a majority of the membership. That is not to access to full benefits. So that say that those concerns are not important – but it is evident serial engagement permits do that there is as diverse a population of members as there is a diverse array of agreements and policies we work under. not become a replacement for regular membership, there will be a Kerry Ann Doherty, 2nd Vice-President, Ontario cap on the number available, beyond Sitting on the Independent Theatre Review which the artist must complete the join- Committee was a huge challenge. I’m very ing process. proud of the work we accomplished. The Draft bylaws have been largely completed, moments that make my heart leap with pride with passage expected by the end of term. are the annual Honours Awards. Honouring Following necessary administrative changes, we anticipate hav- those who have inspired, taught, supported, ing this in place by December 31, when the material changes in and performed (in whatever capacity) above and beyond the CTA come into effect. what’s expected, is fantastic. It’s the highlight of my year.

SUMMER 2012 EQUITY QUARTERLY 9 an insiDe look at how council is shaPing

Toni Ellwand, Ontario Executive director update: These changes will I am proud of having had the opportunity require a significant amount of education, with our to have been on the Insurance Committee future members and with the theatres that hire them. and to have had the chance to listen to We plan to develop a short, simple contract rider that what our very intelligent members had will be provided to non-members when they sign a to say about their insurance and where contract. This sheet will give them the information they want to see it go. I am thrilled to say they need. Once Council has completed their join- that Council’s final report is now in the hands of staff and ing discussions, we will start working on developing that they have been charged with finding a provider that a comprehensive set of new information documents meets the evolving health needs of our members. ready for when the new terms of the CTA come into Scott Florence, Eastern Ontario & the Outaouais effect. As a self-producing artist in a region where there’s a lot of indie work, I was Independent Theatre Review keenly passionate about the Independent The term began with a suite of in-depth research projects to Theatre Review Committee. We hosted a define the terms of engagement expected by members when round table discussion on the topic with hired to work on small-scale independent theatre. With the aid both members and non-members in our of Leger Marketing, we received input from over 900 members region, and followed the work that the indie committee across the country, giving the results an excellent level of reli- did quite closely. It’s been a long time coming and I’m ability. looking forward to seeing the new agreements rolled out From this research, Council made several policy changes to in the near future. direct staff in the creation of new engagement policies and Zach Fraser, Quebec contracts that recognize and enable the important role that There are members all across the country collaborative and small-scale independent productions play in with great advice. I encourage members not only the development of new work, but also that of artists. to be a part of the national discussion. Council’s task is complete, save for monitoring as part of its Around the table and over the phone, annual cycle, and the work has been passed to staff for imple- the varied voices of reason and passion mentation. Full reports were issued earlier in the term and are at Equity’s national Council help steer the available at EQUITYONLINE. organization in the best possible direction. At Council, we are not all of the same opinion, but it is a place for healthy Executive director update: As this issue of EQ dialogue. Council exists to serve its members and should goes to press, I will just have completed my cross- be the voice of the members. We can all do much better country consultative meetings with members. These at communicating – Council to members, but also mem- meetings have been extremely useful in answering bers to Council. Contact your Councillors. We can and do some of the questions the survey didn’t address and bring your voices to the table. finding some consensus on how we should tackle cer- tain practical issues. A new policy will be written in Kelly Handerek, Saskatchewan the next couple of weeks, but it will take some time As a new member to Council I have been after that for us to create the simplified policy and impressed with the governance model, contracts, including contract forms, and make them which is action-based. It asks for people available coast-to-coast. We will also have to write to accept tasks and responsibilities for the explanatory material to help members understand the universal governance flow of Equity and policy changes. With so many big projects on the go work on committees to resolve and explore emerging and important issues for the membership as a (CTA ratification and printing, Stratford negotiations whole. The accomplishments of this Council over a three- and ratification, Council elections and an overhaul year span are vast and each action celebrates people who of the joining process) the scheduling this year has give time, energy and commitment to make our Association been pretty tricky. Council has mandated this work a living model for professional artists in Canada. be completely finished by December, if not earlier.

10 equity quarterly summer 2012 equity now, anD For the Future

Service standards Hal Kerbes, Southern Alberta Based on a range of input over the years, Council mandated The transition to policy governance was the creation of the first-ever set of service standards for Equity’s very personal to me. Supporting the quali- interactions with members, and with others who have business fied professionals we hire to transact our with Equity. Policy was completed in late 2010 and service stan- business, while getting out of their way dards were published in 2011. They are available in the About while they work on our behalf, was impor- Equity section of EQUITYONLINE. Council will complete its first tant. Making Council’s job one of creating policy to define monitoring of staff customer service under the new standards the work they do and create a long-term vision for our in June of this year. Association and our members was, I believe, the right Insurance thing to do. Another major project since the beginning of the term was a detailed research effort aimed at reassessing the member health Annabel Kershaw, B.C. /Yukon and disability insurance plan. An in-depth survey was adminis- I am very excited at the proposed changes tered to the membership, and the results provided a wealth of to the Joining Process. It began several information on which to craft a new and improved plan. Rather years ago with the implementation of than restate all the data here, members can find the full report Probationary Membership and has moved EQUITYONLINE at . Based on these findings, Council made sig- forward toward the goal of having more nificant policy changes in late 2011, and staff has been hard at control regarding membership. This is a huge step towards work since then, crafting a new plan and soliciting proposals to ensuring that we will have members who have training, supply the coverage. experience and qualifications – resulting in fewer people Executive director update: By the time you read being forced to join before they may be ready or willing. this, we will have received several proposals from insurance companies. Once we’ve had a chance to Evan R. Klassen, Eastern Opera review the various new plan models with our insur- A major project this term was the insur- ance advisors at ACE, we’ll likely have a bit of nego- ance review. I sat on the Insurance Review tiation to do. At this point, I don’t know how quickly Committee, and we drafted up the recent a new provider can get a plan up and running but once we have chosen the company, we will let the member survey and subsequent policy membership know when they will be able to imple- changes. Members have been very vocal ment the new plan on our behalf. Staff and Council about their insurance needs, and Council felt it neces- are very much looking forward to being able to offer sary to undertake a major project to discover what the Equity members a wider range of choices at a variety members really want from their insurance coverage. As a of price points so that they can better manage their committee, we were very pleased with the responses, and insurance needs. the project is now in staff’s capable hands.

Improvements to negotiation and policy review David Leyshon, Ontario input and updates The way Council approaches decision- Because of information delays coming out of the 2009 CTA making is open and inclusive, and discus- negotiations, Council fielded a number of complaints from sion is always lively, where all opinions are members who felt that they were not being kept up to speed welcome and discussed. I feel confident on contract changes. Although the situation that led to the delay was complex, and challenging to deal with in the moment, about decisions that have been made. Of Council agreed that the whole process could be handled much course, in these financial times, and with the members vot- better. Since then Council has provided new direction on how ing down the latest referendum, making financial cuts is negotiation and engagement policy review is to be conducted always difficult – but unfortunately necessary.

summer 2012 equity quarterly 11 an insiDe look at how council is shaPing

Kim McCaw, Northern Alberta & N.W.T. and communicated to the membership, and input opportunities I have learned that it is very difficult for me to all such reviews have now been codified. These changes have to feel, as a Councillor, satisfaction that I recently been further modified to reflect the outcome of the am really engaged in making things better independent theatre review work. for the average Equity member. The policy Members are now informed on a regular basis of all upcoming decisions we now make seem too often reviews or renegotiations, and provided with an early opportu- far distant from action that will affect real nity to have input into each. Reporting after the fact has been change. The next Councillor from our region needs to be similarly improved, with the affected membership for each better than me at embracing the potential of policy gover- engagement document now receiving news in a timely manner nance and making it work for the membership. following negotiation and ratification, where applicable. Aside Wade Nott, Western Opera from the usual EquiFlash notifications, details can be found on Simply keeping up with the amount of mate- the back cover of EQ and on EQUITYONLINE. rial that comes from Council is an accom- plishment! There is a lot to learn, a lot to read Dues referendum and a lot of points of view to consider when Toward the end of 2011, Council conducted a referendum, ask- making fair and balanced changes to existing ing for permission to raise basic dues to account for inflation policy. The issue closest to my heart was the of costs. Basic dues were last adjusted a dozen years before. Independent Theatre Review Committee’s excellent work and Regrettably, we did not receive the required two-thirds major- findings from last year’s survey. I hope this creates a surge in ity needed to proceed with the change. In order to ensure the homegrown artistic activity in theatre, opera and dance. ongoing financial stability and effective operation of Equity on behalf of its members, Council has needed to make some finan- John O’Keefe, Atlantic cial decisions aimed at reducing costs. In order to ensure that It was not so much an ‘issue’ but a process these adjustments do not compromise core services, we have that was closest to my heart: The Request for Council Consideration (RfCC) form. I begun with peripheral areas, such as reducing the professional love these things! I think it is a great way development subsidy by 75% and moving most meetings back for the members at large to reach out and to Toronto, rather than cycling them to all regions. Sorry to directly speak to Council (and staff). It’s on say that there are more in the offing, but we are doing what the website and it can be sent to any Councillor or the is necessary to operate within the means available, and staff is president... or whoever... Check it out. Print it off... get a examining similar measures. bunch of them. Sit down with other members... make a list and send them in. They do take up time, and have to be Executive director update: Unfortunately, this has fit into Council schedules, but it is a sure way to get what put the Association in a very difficult financial position you want dealt with read in Council – and dealt with on and we have had no choice but to lay off a staff mem- the record. The catch is: you have to be willing to stand ber. We also lost a staff member last year who was up and contribute. You have to participate! never replaced, making us even more shorthanded. The lack of financial resources means Equity can no Robert Pel, Eastern Opera longer purchase outside services and expertise, and I have been reflecting back on this term and must now bring some activities in-house. This puts the policies that were examined and devel- additional stress on the remaining resources (fiscal oped – and we covered a lot of territory. and human) and as much as we will try not to affect Being on the Honours Committee is a treat, core operations, there will inevitably be a reduction in however the closest issue to my heart, and service as we are forced to do with less. probably the most unpopular, was the dues referendum. I am concerned about the financial health for our Association in the future. This just means we shall have Advisory changes to work harder with what we have and look at creating a One recent important change was a reorganization of the tra- dialogue on solutions, as well as putting out a good campaign ditional advisory system. After several years of hearing from on the positive nature of a basic dues increase over time. CPAG members that the habitual approach was no longer

12 equity quarterly summer 2012 equity now, anD For the Future

working, Council decided to adopt a new system modelled on Kimberley Rampersad, Manitoba/Nunavut the recent, and very successful, Independent Theatre Review I was pleased to see the Joining Process Committee. Rather than electing regional committees each term reviewed. To reclaim our ability from and giving them a rather vague assignment to “connect with the engagers to offer membership in the members,” committees will now be issue-based and struck our Association – and to make member- and dissolved as needed. Members no longer need to wait for ship a conscious choice on the part of the individual and not something that is a chance once every three years to get involved on that level, ‘thrust’ upon them – is critically important. It allows new and committees will have a clear focus and expected product. and emerging members who aspire to work in Equity’s This new system will come into effect with the start of the 2012- jurisdiction – with its protections, benefits and privileges 2015 term of Council. Details appeared in the Spring 2012 EQ – the fluidity and flexibility to gain experience wherever and Council Link. the opportunities present themselves, with an eye on becoming full members in our Association. Communications Over the course of the past two terms, Council has made a con- Virginia Reh, Secretary-Treasurer, Ontario certed effort to increase the number of ways in which it gets I was most proud of my work as co-chair information out to the membership. Last term saw the beginning of the Directors, Choreographers and Fight of regular columns in the front pages of EQ, and semi-annual Directors Committee. This committee was dormant for the first half of the term, issues of Council Link, both delivered to all members. In addition, but very focused when it became active. the first publication of an end-of-term report was inaugurated. Co-chair Kelly Handerek and I were able This term, Council continued that work: in order to move to assemble a dynamic committee from across the country to a more frequent publication schedule, and to keep mem- and the disciplines. The committee immediately identified bers up to speed on the progress of longer-term projects, the a range of concerns and ultimately we were able to pres- Council Connection blog was introduced in 2010. Members can ent concrete proposals to the CTA negotiating team. In subscribe to new posts for up-to-date information on current the process we reached out to additional specialists, par- Council doings, and can comment on them as well. With almost ticularly in fight direction, who were very generous with 60 posts in just over two years, information on your Association their time and expertise, giving us very precise and timely has never been closer to hand. proposals when the negotiations were well under way. Many of the resulting proposals have been incorporated into the new CTA and are going to make a real difference In conclusion… for directors, choreographers and fight directors. Council has accomplished a lot during this term, and the high- lights listed above don’t really do justice to the enormous range Allan Teichman, President, Stage Management of topics we have addressed and completed, nor those on which Although Council has faced quite a few we are now poised to embark. ‘tough’ decisions in my time, the making As I write this (early June), there are still five more months of each actual decision is not that difficult. left in this term, and a whole pile of important topics still on What is difficult is the exploration and delib- the agenda. Please consider this my commitment to continue eration leading up to it. By the time we get to aggressive progress on these topics through to our last meet- the point of decision, and it sometimes takes ing. As much as we have accomplished, there is still much to be a while, the way forward is self-evident, and there is substan- tial consensus on what needs to be done. Over the course of done, and the current Council will hand off any unfinished busi- three terms, the most challenging decisions have invariably ness to the incoming Council in a manner that will allow them focused on a change to how we traditionally operate. Boards, to hit the ground running on your behalf. like most people, cleave to what is familiar, even long after If you would like to be part of that work, please consider run- it stops working well. Sometimes it’s purely a matter of ‘bet- ning for election in the fall. Nomination information will be com- ter the devil you know.’ It takes a certain amount of faith to ing your way soon. Council needs excellent Councillors, and the make the leap to a new insurance plan, governance system, membership needs, and deserves, an excellent Council. We’d engagement policy, etc. You could say those decisions were like to think we have met that need. EQ ‘difficult,’ but they were also exhilarating in a way.

summer 2012 equity quarterly 13 answering the call to serve your association

(L to R) Justin Sproule, Eric Morin, Kris Joseph and Ashley Wright in The Three Musketeers at The Citadel Theatre, 2011

Equity members get involved By BarB Farwell

John Mac Master, tenor Equity controller Doug Irons – “an unheralded superman, in “I’m a complainer,” says John Mac Master. “I had been with the my opinion” – patiently explained the day-to-day money man- Canadian Opera Company chorus for a year, and there were lots agement and worked with Mac Master to bring financial con- of things about the (opera) agreement I had questions about. So cerns to Council’s attention. I decided to become informed.” One such concern was recommending a dues increase in 1993. Mac Master’s first step was to be elected to an advisory com- “This was the era of the mega-musicals – Like Phantom and Les mittee. “There had been an established order and we were the Mis. A lot of staff time was spent working on agreements, and ser- young Turks,” he says. “My decision to run for Council was an vicing all the members’ concerns. Most productions run for weeks, extension of that experience. It was a time when opera’s con- but these were going on year after year, creating new circumstances cerns were brought to the table and addressed.” and the need for new agreements. There was a lot of work activity.” At the time, Mac Master was working anywhere from 12 to 24 Mac Master was also working on Phantom at the time, and the weeks a year as a professional chorister, and spending the rest of $1,150 cap on 2% working dues applied to him. “The cap affected the time hustling for work at venues such as Winnipeg’s Rainbow me, but I thought, if I’m working I can afford to pay the 2%.” Stage and the Shaw Festival. A minimum dues increase was approved, and the dues cap was Although he describes himself as “underemployed” at the time, gradually removed over a number of years (implemented 1994-99). it was the right time for him to become involved in Equity before an Another decision Mac Master was involved in as treasurer was established career made the time commitment difficult. “Everyone to double the stabilization fund originally set up by former execu- needs to determine when it is best for them to be involved – and tive director Graham Spicer. This “war chest” of reserve funds sometimes it’s smart to do it when you are young or old!” not only supplies interest income to balance the budget in years As a Councillor, Mac Master decided the best way to under- when dues income is low, or expenses high, but can also be used stand the organization was to follow the money. He ended up to fight for members. “It means we can have the guts to go for- serving two terms as treasurer, although he didn’t have a business ward. We don’t need to back down for fear of being sued, and background. “My brother is the accountant. I had trouble read- we have the wherewithal to pay legal fees,” he explains. ing a balance statement at the time.” Although Mac Master strongly believes that Equity members should His first order of business was to go line by line through the give back to their organization – he received the Larry McCance budget and have staff explain each section. “How you spend your Award for service – the experience also can truly benefit a career. “As money defines yourself more than what you say about yourself,” artists we are self-employed. We are running small businesses – and he says. “I think the basis of good stewardship is to make sure the the more you know, and the more you become involved, the more money is spent well. You owe that to the members.” you understand the opportunities and see the trends.”

14 equity quarterly summer 2012 “The agreements in place at the Deena Aziz, actor John Mac Master as time were not good, and I was frus- “Like many artists, I’ve felt frustrated Hoffegut in Walter with aspects of the CTA in the past,” Braunfels opera trated at not being able to be flex- says Deena Aziz. “But if you have an Die Vögel for the ible,” says Joseph. “I wanted to do opinion about the way we do business Volksoper Wien something about it.” – how we make theatre – you need (Vienna Volksoper) So, as a first-time Councillor, première, 1999 to get involved. It’s more constructive Joseph became one of three co- to make changes from the inside than chairs of the Independent Theatre grumbling over drinks at the bar.” Review Committee. But when the So when executive director two other co-chairs faced time con- Arden R. Ryshpan asked Aziz to straints, the everyday leadership of join the CTA negotiating team, she the committee fell to Joseph. happily agreed. After almost four The committee was tasked with months and more than 20 meet- investigating the current engagement ings, Aziz looks back on the process of members in small-scale theatre as a long but rewarding experience. across the country, examining the “It was unexpectedly collaborative.” policies aligned with current practices That’s because Equity and the under the existing five agreements, Professional Association of Canadian Theatres (PACT) brought their and then making recommendations for improvements. “It was a issues to the table for exploratory discussions before official negotia- very large project. We really had to buckle down,” says Joseph. tions began. Part of “interest-based bargaining,” it basically lets each The first step was to survey members to find out what was side in on what the other is thinking. “It was a great foundation. We currently working well under the agreements, and what wasn’t. had to stand our ground at times, but the process was always collegial The survey was sent to all Equity members in good standing and respectful,” Aziz says. – about 5,300 people. A second smaller, but equally complex, Aziz says she was relatively familiar with the CTA before she survey was sent out to several hundred small-scale engagers, started – having participated in the creation of the Tangerine many of whom were also Equity members, and a third was Project was an excellent primer – but she didn’t realize how much distributed to Equity staff. she would learn about her Association in the process. “I gained a Although a survey marketing company had been hired to man- deeper understanding of the workings of Equity, a new apprecia- age the process, it did not end up completing the project and the tion for the energy, time and commitment of staff.” review and analysis of the written comments on the surveys fell to She also has a more detailed picture of PACT members. “Given the committee members. “There were 7,000 text responses that the collaborative nature of theatre, it’s useful to understand the we had to review to determine common themes,” says Joseph. challenges they face.” “It took a couple of months.” Still, there are areas of mutual interest that Aziz wishes had seen As luck would have it, one of the committee members, Mark more movement. “I’ve been concerned about cultural diversity Wallace, has a masters in statistics, which became invaluable for a very long time,” says Aziz. “But it seems like we’ve been when preparing the executive summaries and reports on the find- having that first conversation for decades. It’s time to start making ings of each survey. changes – to start seeing the diversity of our country reflected in The next step was a comprehensive review of all policies related and at our theatres.” to small-scale theatre to see how the survey findings matched up Although Aziz is disappointed with the lack of progress on that to current policy. “It was very intensive, requiring weekly meet- issue, she plans to continue serving on the joint work group on ings,” says Joseph. cultural diversity. “This is our organization – we own it. If we want Because the committee members were spread out across Canada, things to happen we have to be involved. they used online “huddles” to share documents and make comments. “If you expect to be treated a certain way, to have the struc- Then came the work to arrive at a 36-page final report and hun- tures and freedoms you want and need to create, you have to be dreds of pages of appendices outlining 10 policy recommendations engaged in your professional relationships. And being involved – which were further fine-tuned by Council into substantial rewrites of with Equity is a great way to do that.” two of Council’s most important governance policies. And what was to have been a one-year project turned into two – from the establish- Kris Joseph, actor ment of the committee to the final Council vote to accept the changes Small-scale theatre issues were the main reason actor Kris Joseph to the Association’s Policy Governance Document. decided to run for Council, but he had no idea those issues would “It was hard work, but I’m fiercely proud of what we did,” says rule his life for more than two years. Joseph, who at one point was in rehearsals for eight hours a day summer 2012 Equity Quarterly 15 Answering the call to serve your Association while he juggled his responsibili- “Instead of talking about how to sus- Deena Aziz in ties as co-chair. tain theatre, we were talking about how Rice Boy at “When the vote was passed we the Stratford to sustain ourselves as we age – how to acted like badly behaved children – Shakespeare stop using RRSPs as emergency funds, we were so excited it was done.” Festival, 2009 how to get out of that mindset. It was a Now it was up to staff to formally really great conversation about planning implement these changes into new – not for Canadian theatre, but for our engagement policies. personal future.” Until he worked on the commit- Along with the RRSP committee, tee Joseph said he had no idea of Sigurdson still sits on the local Council how much the Association does Policy Advisory Group, and says she has with so little. “Everyone should mixed feelings about the change to issue- serve their Association to see how driven advisory groups. “I understand that much work the staff at the office it is stressful to find people to run, as every- do. And if you are angry, if you one’s time is so valuable. With more specific want to make changes, you need issues, the membership might respond bet- to be at the table. Have a voice!” ter. But from a regional perspective I’m sad it is going. In Manitoba we sometimes felt far away from the National Tanya M. Sigurdson, stage manager Office staff – and we needed that regional support. When stage manager Tania M. Sigurdson did “I’m curious how it is going to work out, but I have faith in her paperwork to become an Equity member Council to bring out that regional support when we need it.” she remembers feeling disconnected. “The chair of the local advisory group, a stage Jeff Braunstein, actor manager I had apprenticed for (Katie. R. East), “As a performer you give a performance, not said I should drop by and attend a few meetings,” take a performance. The art of giving is part of says Sigurdson. “That was it – I was intrigued.” being an actor,” says Jeff Braunstein. “It’s good Sigurdson ended up deciding to run for a spot on the advisory to give back.” council herself. And Braunstein certainly knows how to give She loved the local discussions about co-ops and how to protect back to his Association. After first being elected to both roles of member and engager in member-created work. But it Council in 1982, he moved on to serve as treasurer, vice-president was when the topic of policy governance came up that she knew internal, and two terms as president. “It was a natural progression. she wanted to be in on the national discussion and run for Council. I wanted to bring my experience to the table over the years.” “I had worked professionally in arts administration for the Braunstein was president during a particularly fractious period Fringe Festival in Winnipeg so I knew how boards worked,” she when the producer of the commercial production Durante went says. “I knew policy governance was important, but I also under- bankrupt. It owed money to many Toronto-based members and stood the resistance to it.” Equity had to cover the costs, as a bond was never posted. This Council also gave Sigurdson the opportunity to share ideas with created a hostile division between members. members in other disciplines. “I spent my life with stage managers, “It was a tumultuous time. Some people wanted Equity to so I didn’t have the chance to have great conversations with other break apart, but we worked through it with the members’ help,” members on how to sustain theatre in Canada. It was fantastic. says Braunstein. “I’m proud of how we were able to steer the “Everyone is so passionate. These are people in love with what Association through this difficult time and keep it together.” they do. They don’t choose it for the money. I think [President] In fact, keeping the regions connected and involved was one of Allan Teichman is a great gift – he can manage that many voices.” the main issues that drove Braunstein throughout his time on Council. When Sigurdson decided to go back to school for a teaching degree “One of the things I worked toward, and strived for, was making she realized she could no longer give the time commitment to be on Equity more inclusive and not Toronto-centric. I felt Equity should Council. She still wanted to be involved, so she decided to continue always be involved in helping members find work in the town they her role as a member of the Retirement Funds Investment Committee. wished to live, and not have to move to Toronto or Vancouver. “When Arden first asked me to be on the committee I thought, There should be work right across Canada.” I don’t know anything about RRSPs. And she said that’s why she A recipient of the Larry McCance Award for service, Braunstein wanted me – I was like 90% of our membership. They already says the best reason for getting involved is to have some say in the had people who knew about RRSPs. They needed someone like running of your Association. “After all, Equity is such an important me who needed to be taught. part of an artist’s life.” EQ

16 Equity Quarterly summer 2012 Answering the call to serve your Association EQ Voices The business case for supporting the arts By Jim Fleck

As someone who has sup- Arts and culture is a major industry and integral to the overall ported the arts and the creative health of our economy, again both in terms of dollars generated community for many years, I but also in terms of hearts reached. As economies struggle all over believe the arts are an integral the world, we are able as a people to reach for the arts as a means part of society. As Aristotle once of solace and common experience. All of which is why both public said, “The aim of art is to repre- and private sector investment in the arts is more critical than ever. sent not the outward appearance As Canada’s only association of business leaders who support of things, but their inward signif- the arts, Business for the Arts is dedicated to empowering arts and icance.” The arts are a funda- culture organizations to build strong relationships with the private mental expression of our deep- sector as volunteers, investors and ambassadors for the arts. est emotions as human beings Our flagship program artsVest™ is helping to bring together and provide a common language businesses and arts and culture groups across Canada through across all languages and societies. In essence, the arts are abso- matching incentive grants and sponsorship training workshops. lutely a part of who we are. From 2011 to 2013, artsVest will generate approximately The arts enrich our lives, feed our spirits, fuel inspiration, and $3.9 million in private sector sponsorship resulting in an influx of stimulate dialogue and new ways of thinking and perceiving. about $6 million to the cultural economy, as well as create syner- Without arts and culture, our communities would lose all sense gistic new partnerships between an estimated 750 local businesses of vibrancy and pride of place among our citizens. Our economy and 280 arts groups across the country. would also suffer. Studies show that the arts help attract and retain talent to our workforce, stimulate tourism, and encourage We have also partnered with the Canada Council on a series of creativity and innovative thinking. In essence, investing in the arts Roundtables to identify ways in which the arts and culture com- just makes good business sense. munity can better position themselves within business investment A McKinsey & Company report commissioned by Business for strategies, and understand how the public sector can help stimu- the Arts in 2009 concluded that the arts can have a positive social late broader support of the arts from the business community. impact on local communities by improving quality of life and com- Overwhelmingly, businesses that are involved as investors in the munity engagement, and by contributing to social innovation. arts tell us that they invest for both community investment priorities It has also been well documented that the inclusion of arts and as well as to fulfill business objectives such as brand enhancement, culture in the revitalization strategies of many major cities has employee engagement, client entertainment and niche marketing resulted in increased tourism, job creation, urban regeneration and opportunities. The arts and culture sector is at a distinct advantage in business relocation to the downtown core. As an economic gen- being able to provide tangible benefits that fulfill key business goals. erator, arts and culture industries in Canada represent $46 billion Research has shown that 77% of Canadians are likely to buy and employ some 630,000 people. brands that contribute to worthy causes. Interestingly, 68% of And yet, arts and culture continues to struggle with the threat Canadians say they would remain loyal through a recession to a of cuts from the public sector and a volatile market that affects brand that contributes to a worthy cause – even if lower price brands private sector investment. Public sector support is crucial as it pro- were available. For business leaders who are looking for meaningful vides the solid operating base from which arts leaders are able to data that demonstrates the economic and social advantages of the fundraise and build stability. Our McKinsey report reveals that for arts, these are all compelling reasons to support the arts. every public sector dollar invested, another dollar is stimulated As a country teeming with artists, musicians, actors, writers, from the private sector, and moreover generates a positive return dancers, directors, choreographers, composers, broadcasters and through direct benefits (earned revenue, ticket sales), indirect filmmakers, investing in the arts is simply good for business. benefits (boosting incidental business and tourism) and induced spending (organizational and employee spend). The founder of Fleck Manufacturing Co., Dr. James D. Fleck, O.C., was deputy minister and assistant to former Ontario premier William Davis. He has served on The amount of money Canadians spend on cultural events is the boards of the Art Gallery of Ontario Foundation, the Minister’s Advisory Council revealing. A 2008 Hill Strategies Research report found consumer for Arts and Culture (Ontario), the Toronto Music Garden and Harbourfront. His spending on cultural goods and services totalled $27.4 billion. awards include the Edmund C. Bovey Award for Leadership Support of the Arts, the Angel Award for Philanthropy in the Arts by the International Society of Performing Total spending on live performing arts was $1.4 billion, more than Arts and the Ramon John Hnatyshyn Award for Voluntarism in the Performing Arts. double the level of consumer spending on live sports. To learn more visit www.businessforthearts.org.

summer 2012 Equity Quarterly 17 EQ Backstage The world is coming to Equity

This September 24-30, performers’ trade unions, a truly global organization with affiliated members in guilds and associations from every continent will gather every continent. in Toronto for the 20th FIA Congress. Equity is one of the co-hosts of this quadrennial event, along with ACTRA and How is FIA funded? UDA – which collectively represent the professional lives FIA is mainly funded by its own member unions and is of 30,000 plus performer members across Canada. This run with the membership’s full participation and rep- week-long international member summit marks only the resentation in all areas of policy-making and activity. second time that a Congress has met in North America. Why does FIA meet? What is FIA? Once every four years, FIA convenes a week-long con- FIA is an international non-governmental organization gress tackling arts and culture issues important to per- representing performers’ trade unions, guilds and asso- formers’ associations and guilds from around the globe. ciations around the world. It voices the professional con- Each Congress examines the social, economic and polit- cerns and interests of actors (in film, television, radio, ical challenges facing performers and artists, fosters dia- theatre, opera, dance and live performance), broadcast logue around political and social issues, and provides a professionals, dancers, singers, and variety artists. Many forum in which to share innovative new technologies of FIA’s member unions were founded in the live the- and expertise with international colleagues. atre milieu and view live performance as the essence of FIA CONGRESS 2012 will provide the representative the performing arts and an indispensable expression of organizations a unique opportunity to access up-to-date national culture. information on developments in collective bargaining, FIA is a strictly a-political organization committed to new technologies, cultural funding and policy, trade union an equal-opportunities policy, regardless of gender, race, development, and a range of issues relating to the political, colour, ethnic/national origin, religious beliefs, sexuality, social and professional protection of their memberships. age or marital status. Please visit www.fia-actors.com to learn more FIA works to safeguard and extend national and local about FIA. funding for live performance in all the forms in which performers work, including theatre, opera, dance, vari- ety and circus, and for acceptable rates of pay and the FIA BY THE NUMBERS highest standards of health and safety. FIA also provides 14 6 delegates information, support and advocacy internationally at the 20 guests and observers European Union and WIPO (World Intellectual Property Organization) on issues common to all its members as 5 continents well as copyright, secondary use rights and other issues 55+ countries of specific concern to associations representing the 40+ languages spoken audio-visual sector. 5 languages in translation (English, French, Spanish, German and Russian) Who makes up FIA? 8 regional and working group meetings FIA has affiliates in North America (FIA-NA), Latin America 35 motions for discussion (FIA-LA), Africa (AfroFIA) and in the European Union, 30+ sponsors Switzerland and the European Economic Area (EuroFIA). 12 panelists and speakers When was FIA founded? 150 hotel rooms Set up in 1952 by British Actors’ Equity and the Syndicat 2 busloads of visitors to Niagara Falls Français des Artistes-Interprètes, FIA has grown into

18 EQUITY QUARTERLY SUMMER 2012 Fondly Remembered

Stephen Adams 1960 – 2012

By Rosemary Dunsmore

I can’t believe Steve is gone. He was a force of nature, like sun- I loved the contradiction of the shine. He was just so there. I might not see him for months at a man – such a capital “G” guy – in time – such as when he, Tracey and Finlay moved to Vancouver. appearance for sure, a former steel There were several years that I didn’t get to sink into one of his worker, race car driver, but at the bear hugs. Nevertheless he was there. As “email storytellingguy” same time he was an artist and that rare man you could talk to and a mental companion – a positive voice in my head nudging as if he were a girlfriend. At his memorial, both men and women or exhorting me toward my better self. mourned the loss of a friend who always had time for coffee and Steve entered my life when I cast him in a play at the Centaur intense creative conversation. He thrived on this active engage- Theatre in Montreal. I knew of his legendary status as ACTRA ment not only with friends, but also with himself and his creative hero in the union disputes in B.C. He lived close by and gen- voice. So he acted, wrote, produced, studied, worked out, always erously picked me up on the way to rehearsal. That is when seeking more, reaching toward the light. He engaged fully in what the ‘Talking’ began. We conversed about the play, acting, prob- he chose to do – his family, his friends, his work. He engaged with lems in the rehearsal hall, life! Dinner with Friends is a personal his frustrations and disappointments – made friends with them. play and requires reaching all the way back in the drawers of He engaged in real and valuable communication. your life, unearthing uncomfortable issues conveniently buried Steve would urge us to seize the day, do it now – engage today beneath the debris and demands of quotidian routine. Steve with our dreams. Fulfill the art of conversation. In so doing, we LOVED that stuff. will meet ourselves and each other.

Micki Maunsell 1923 – 2011

By Bill Millerd

Micki was a force – one of those opened a theatre space on Granville Island in 1979, the Waterfront great ladies of the theatre who Theatre. As a director, she created an exciting and vibrant ensemble helped transform the Vancouver that for a number of years presented works from the “classic canon.” scene from a couple of professional Micki continued to be a major player in our ever evolving commu- theatre companies in the 1960s to the more than 80 groups today nity. She wrote a one-woman show, Sitting on a Suitcase, which that present theatre in various forms in many different spaces. she performed at the Fringe Festival; opened her own acting stu- Micki possessed an abundant spirit coupled with a wicked sense dio pioneering her unique brand of vocal technique; and assisted of humour – she had quite the cackle. She was one of those directors with her keen eye for talent. As an artist and instructor, people who did not suffer fools. Opening nights, it was a treat Micki’s honest approach provided sharp insight coupled with a to see Micki in one of her outfits – always stylish, the height of disarming wit. One of her favourite instructions to over-emoting sophistication. I picture her with a long, elegant cigarette holder, students was, “I don’t care what you’re feeling, darling, what the centre of attention. As an actress, she made the part of Lady about the audience?” Bracknell her own; for the Arts Club she did a startling perfor- At her memorial, speaker after speaker mentioned the fierce mance as the Old Woman in The Chairs. loyalty she provided, the word of advice she offered, the kind Micki loved the classics and in 1974, sensing that Vancouver was ill gesture of support, and the nudge in the right direction that she served in that area, founded a theatre company: Westcoast Actors – a gave to so many. It is often said that they don’t make people like collective of some of our finest actors – and joining two other groups, that anymore – words couldn’t be truer about Micki Maunsell. summer 2012 Equity Quarterly 19 EQ Classifi eds

Friendly Coaching with Barbara Gordon will help you choose a monologue or gear up for an audition. With 30 years of experience in theatres across Canada, film and television, Barbara can lend an impartial eye and ear to 2012 Stage West-Equity help you clarify your thinking and boost your confidence. (416) 535-0058 Emerging Theatre KUDLOW & McCANN Chartered Accountants • Innovative solutions to your tax problems • Providing comprehensive tax and account- Artist Award ing services to the entertainment industry for over 20 years 21 St. Clair Avenue East, Suite 401 Toronto, Ontario M4T 1L9 Tel: (416) 924-4780 • Fax: (416) 924-5332 The Stage West-Equity Emerging Theatre Artist Award is Gary Kudlow, Ext. 23 Warren McCann, Ext. 27 adjudicated annually by Equity’s Honours Committee. [email protected] The Award and its $2,000 cash prize are bestowed to a [email protected] www.kudlowmccann.com theatre performer who demonstrates professionalism, You can do a full Italian in 45 minutes. But can artistic excellence and innovation within their craft. you convert us to Provolone in 30 seconds? Been meaning to try acting with your voice? Want to approach every audition like the actual Applicants must be members of Equity for less than booking? Need a new or refreshed voice reel? Equity member and top voice actor Tracey three years and be full members in good standing. Hoyt is here to help – at piratevoice.com or For 2012, applicants must have joined (416) 594-4357. pirate voice the Association after July 1st, 2009. WELL-KNOWN CANADIAN OPERA SINGER/TEACHER Applications must be post-marked by August 31, 2012. • Voice lessons now available with bass- baritone Brian McIntosh Complete application details are available online at • Friendly, supportive, yet thorough teaching style www.caea.com. • Many years of international experience both as performer and teacher • Lessons in a large, comfortable teaching studio in London, Ontario, equipped with a grand piano • Accompanists are available for repertoire sessions WELCOME NEW MEMBERS Call (519) 690-0525, or email [email protected] to arrange an audition. ALBERTA NORTH & N.W.T. MANITOBA / NUNAVUT Mitchell Pady Amy DeFelice Ryan James Miller Jeremy Proulx Shakespeare coaching with Rodger Barton ATLANTIC Nadine Pinette Chantel Riley Stephanie Sy Almost all actors need a great speech by Stephanie MacDonald Alison Roy Markian Tarasiuk Shakespeare during their careers. Selecting Michael McPhee Chris Sams Karl Thordarson and refining the right one can be crucial in Bridget Wareham Christina Stelmacovich getting into schools or making artistic direc- ONTARIO Jazz Testolini B.C. / YUKON Megan Anderson tors listen. Rhythmical chanting will get you Jordan Till Raes Calvert Sam Barringer nowhere. You need coloured, nuanced and Brandon Coffey Diane Bentley QUEBEC fresh-minted thought to conquer Shakespeare. Paul Hooson Simon Bracken Francis-William Rheaume You also need time for the speech to mature. DANCE Ashely Bryant Natalie Tannous (604) 816-2881 www.shakespeareoutloud.ca Alison Stroming Sochi Fried Anthony Ray Williams Jason Hales E. ONTARIO/OUTAOUAIS STAGE MANAGEMENT THE WYLDE PROJECT...a studio for actors Jason Huska Catherine Boutin Kai-Yueh Chen After 30 years of teaching in Canada’s leading Qasim Khan Catherine Rainville Lisa Nelson theatre schools, Peter C. Wylde is now offer- Eileen Li ing expert private coaching in audition prepa- EASTERN OPERA Erik Markewich WESTERN OPERA Charlotte Burrage ration with material both classical and modern. Marla Brennan Hannah Miller Marie McDunnough Matt Owen Murray Amchok Gompo Dhondup By appointment: [email protected] or (416) 921-9894. Rate: $75 per hour.

20 equity quarterly summer 2012 EQ Flashback Stratford turns 60 It all started in the early 1950s to help boost Stratford’s struggling economy after the railway industry left. Journalist Tom Patterson (Honorary Equity member) dreamed up the idea of turning his Ontario hometown into a cultural hotspot with a theatre festival devoted to William Shakespeare. Dora Mavor Moore put Patterson in touch with British actor and director Tyrone Guthrie, who became the festival’s first artistic director, and on July 13, 1953, the Festival presented its first performance – Richard III, with Alec Guinness in the title role. Since then, more than 25 million people have vis- ited the Stratford Shakespeare Festival to see plays by Shakespeare and other great dramatists, such as Anton Chekhov, Henrik Ibsen, and Eugene O’Neill. The festival has also premiered works by Canadian playwrights and showcased performances by world-renowned actors. To celebrate its 60th anniversary, Stratford has a special line-up planned, including Christopher Plummer’s one-man show, A Word or Two, based on literature that has inspired his life, and The Matchmaker, by Thornton Wilder, which has a unique Canadian connection. When Thornton’s first attempt at the play, The Merchant of Yonkers, flopped – Guthrie helped him rework it into The Matchmaker, where it went on to Broadway. “We wanted the 60th season to be representa- tive of Stratford in all its glory, so we spread our wings wide to encompass as many genres as we possibly could,” said artistic director Des McAnuff. “Our 2012 playbill ranges from the very roots of drama, the tragedy of ancient Greece, to some of the finest playwrights working in Canada today. Shakespearean comedy, history and romance are complemented by a hilarious contemporary pas- tiche of Shakespearean tragedy, while the season’s varied musical theatre repertoire acknowledges our own era’s great contribution to the Western dra- matic tradition. I think this will be a great time to visit Stratford. It’s a time of great celebration.” Stratford Behind the Scenes, a commemorative cof- fee table book, has also been published, featuring the backstage artists who design and build sets and cos- tumes. In addition, Most Rare Visions – an exhibit of costumes, maquettes and props – is on display in the Clockwise from top: Alec Guinness in Richard III, 1953; William Hutt as Prospero in new Festival Exhibition building across from the Avon The Tempest, 2005; Louise Marleau and Christopher Walken in Romeo and Juliet, 1968; Theatre. To find out more about the 60th anniversary Domini Blythe as Celia and Maggie Smith as Rosalind in As You Like It, 1977 celebrations please visit www.stratfordfestival.ca. summer 2012 Equity Quarterly 21 equity quarterly You say you want Equity to serve you better?

…You can help make it happen The governance of Equity is managed by a national Council of 22 representatives, elected from across Canada, assisted by a slate of advisory committees. This October, a new team of members will be chosen to serve on Council for the 2012-2015 term. What does Council do? • Council provides the strategic leadership for the Association, setting stan- dards for all aspects of everything that Equity does. EQ • In consultation with the membership, Council constantly seeks more What to find at effective support of member careers. • Council monitors all aspects of Equity’s activities, to ensure that standards EQUITYONLINE are met, and goals are achieved. Equity is dedicated to the election of a Council that is representative of the diverse membership of the Association. Council encourages members of WWW.CAEA.COM a visible minority group, Aboriginal peoples, persons with a disability and women to seek nomination for election. • 2012 theatre award ceremony links To find out more about running for Council, or how to nominate a fellow • e-search for the ITA (includes new fees member, visit EQUITYONLINE at www.caea. for 2012-2013) • Service Standards • RRSP funds on hold list • Personalized privacy settings EQUITY COUNCIL • Member Only zone (update electoral region and contact information online) ELECTIONS 2012 ELECTION TIMELINE: Nomination forms are included with this issue of EQ. Equity has gone... August 31 ...... Nominations close September ...... All-candidates meetings across the country September 12 ...... Last day for members to update electoral regions All membership correspondence of a general nature September 28 ...... Election ballots mailed to membership is now electronically distributed to Equity members October 5 ...... Voting by telephone and Internet begins by direct email or EQUIFLASH notices. Members October 24 ...... Last day to come into good standing and be eligible to vote who do not want to receive general Equity cor- October 31 ...... Last day to vote respondence by email, or who do not have access to the Internet, must call the National Office November 1 ...... Election results announced (1-800-387-1856 or 416-867-9165 in Toronto, December 2-4 .....First meeting of new Council Monday through Friday between 9:00 a.m. and Election of President and officers 5:00 p.m.) to make alternative arrangements.

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22 equity quarterly summer 2012 EQ is shipped in a biodegradable polybag