2 EQUITY QUARTERLY 0 1 DUES REFERENDUM 4 EQ

Child’s Play

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DUES 2 0 1 REFERENDUM 4 Why the “torn” cover? After 14 years without an increase in dues, current rates are no longer sufficient to cover everything you want us to do for you. In order to respond to this financial shortfall, Council will be conducting a member referendum on an increase in both working and basic dues this coming February.

Some history on Equity’s dues Dues were last adjusted in 1999, when basic $170 dues went from $50 per year to $135 per Basic Dues Compared with Costs Over Time year. Equity has successfully operated on a 160 breakeven basis since then. Until recently, that is. Nothing catastrophic Costs 150 occurred; it’s just that inflation eventually Dues caught up with us. Paying for 2013 expenses with a 1999 dues rate is no longer possible, 140 and we have experienced growing deficits for the past two years. 130 The dues proposal Council proposes to increase basic dues to 120 $180, coupled with an increase in working 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 dues to 2.25%. These rates will then hold steady for at least six years. Where does the money go? We went with a combined basic and working dues format based on All the operational costs of Equity are paid for by its members. Dues member feedback, which suggested that a modest increase to basic cover several rounds of negotiation and ratification each year, review dues, coupled with a small increase to working dues, would be an and data entry of all engagement contracts, advocacy, administration appropriately balanced approach. of the insurance and RRSP plans, all communications to the members, At Council’s request, staff prepared five different options for a dues membership meetings, all other programs and services, the gover- adjustment. All were designed to address past and future inflation, with nance of the association, general administration of the association allowances for new initiatives, and the ability to pay back accumulated (website, membership, accounting, etc.), and all the office overhead. deficits. As might be expected, the vast majority of expenses are labour- The final decision on rates was made by Council at our June 2013 related – Equity is a service organization, so the largest cost is that of meeting. We used real time financial projections to adjust the rates to the people necessary to provide the services. Compared with similar what Council believed the members would regard as fair, appropriate associations, our staff complement is proportionally quite small, and and bearable across the whole range of member incomes. almost all of our “departments” consist of a single person. So, what will the proposed Members wishing to see a more change in dues look like on your detailed overview of Equity’s finances paycheque? For all members, the can find it online at www.caea.com semi-annual dues billing will go up Council proposes to increase basic in our News section, along with the to $90 or an increase of $3.75 per other National AGM reports. month. On the working dues side, a dues to $180, coupled with an member in the middle of our income Has Equity looked at other range, earning about $15,000 per increase in working dues to 2.25%. revenue options? year, would see working dues go up Members frequently ask if Equity by $37.50 for the whole year. These rates will then hold steady for can’t get some kind of operating grant like theatres do. Not really. Have contractual fees kept at least six years. The only subsidies available to arts up with inflation? organizations such as ours are short- Yes, they have. Take a look at scale term new initiatives grants. However, for an actor working in a CTA/ITA category C house, which is typical starting something we have no money to maintain doesn’t make finan- of numbers across the board. In 1999, the scale for a C house actor cial sense. There is also no special allotment of funds for professional was $623.18 per week; today it is $912.26 per week. Adjusting for the associations, and Equity long ago decided not to compete with our fee structure change in 2003, members have received an increase in own members for grant money. the minimum fees of around 36%, which is actually a bit higher than While dues cover the lion’s share of expenses, there are a few, smaller the inflation rate for the same period. revenue sources as well, and we have looked at them all. Of these, there are almost none that can be changed to a degree that would make • using an automated attendant phone system, instead of a receptionist any meaningful difference in the overall revenue picture. Council will, • lengthening standard wait times for staff response however, be implementing a new administration fee for arrears that we • discontinuing printed hardcopy scale agreements, except by request need to collect through engagers, and increasing reinstatement fees for and charged at cost recovery members who have had their membership suspended. • increasing the late dues payment penalty

On the flip side, what can the members expect if Since 1999, members have received the dues increase passes? First, Equity would pay off accumulated debt from the recent deficits. an increase in the minimum fees Second, we would almost certainly hire another, desperately needed, staff person to help us work on new initiatives such as: of around 36%, which is actually • improvement in the website • an online directory to help engagers contact members a bit higher than the inflation rate • an “availability” list for members • online filing of contracts and other engagement documents for the same period. • restoration of Council meetings in locations other than Toronto • restoration of professional development cuts • projects to address issues of diversity, harassment and audition What about the expense side of the ledger? access The basic dues amount that used to purchase $135 of business ser- All of these ideas, and many more, have been sitting on the shelf vices, supplies and manpower in 1999, now only purchases (compara- for lack of staff to implement them, and money to run them. Better tively) $90 worth. We have steadily pruned expenses wherever possible resources would mean that we could get to work on them. to keep pace with this reduction in purchasing power. In the past three Currently, our staff is working at capacity and beyond. At the best years alone we have: of times we have precisely enough people to keep the organization • elected to not replace one senior staff member who left, despite the running day-to-day. However, if someone is on vacation or ill, that fact that we desperately needed someone at that level typically means a whole “department” is shut down for a day or more, • cut an additional part-time position and it takes that much longer to get you the answer or help you need. • cut EQ magazine from four to three issues per year Having the ability to hire additional staff would also help us to generally • discontinued our one Council meeting per year held outside Toronto improve service to the members. • cut staff travel to the various regions • cut the professional development subsidy by 75% When is the referendum, and who gets to vote? • changed the honours ceremony to be held biennially, and combined The timeline and other details about the referendum are listed on the it with the national AGM to save costs back page of this special supplement. All life members and regular • changed how Council apportions resources to committees and members in good standing are eligible to vote, and voter kits will be advisories going out early in the new year. On top of that, Council recently approved another $35,000 in savings, including potentially discontinuing all remaining professional develop- ment subsidies and the honours program. Members wishing to see What will happen if the dues increase does not pass? a more detailed overview of Equity’s We have reached the point where paring costs no longer does the trick – Council and staff would need to make substantial changes to finances can find it online at services and benefits to bring expenses in line with revenue. The following list of options has been raised for future consideration. www.caea.com, linked from the At this point, none have been fully reviewed or approved by Council, but all are potential outcomes. Dues Referendum info page. • closure of the western office • moving EQ to an electronic-only format • discontinuing e-drive How can members can ask questions or get more • discontinuing support of regional theatre awards information? • discontinuing support for PAL and the Actors’ Fund We will be holding a series of member meetings across the country in • no member assistance or advice for engagements under reciprocal January and early February. The Toronto meeting will also be webcast, agreements with AEA, ACTRA or UDA so that members across the country will have an additional opportu- • reducing/eliminating contract review nity to attend. As well, members can contact the Dues Referendum • having minimal engagement follow-up prior to releasing security; Committee any time through either office, or at duesreferendum@caea. members would need to personally identify any outstanding pay- com. We want you to be able to make an informed decision, so please ment or other issues get in touch. EQUITY QUARTERLY

DUES 2 0 1 REFERENDUM 4 Council Connection For information and updates on the referendum, and all other Council blog business, look for the Council Connection EQ and Dues Referendum links at www.caea.com Dues Referendum Timeline Update your contact information at www.caea.com Equity members are advised to check their contact information online January 19 Montreal Dues Forum in the Members Only zone of EQUITYONLINE. The last day to update January 20 Ottawa Dues Forum your address is January 14 , 2014, in order to be mailed a voter kit. Halifax Dues Forum January 26 Winnipeg Dues Forum Are you in good standing? January 27 Regina Dues Forum Equity members must ensure that they are in good standing as of Saskatoon Dues Forum February 13, 2014, in order to be eligible to vote in the dues referendum. January 29 Voter kits in mail Membership status is posted in the Members Only zone of EQUITYONLINE at www.caea.com online. Members may also con- February 2 Calgary Dues Forum tact the membership administrator at [email protected] for Edmonton Dues Forum further information. February 3 Voting opens (8:00 a.m. AT) Vancouver Dues Forum Where to go with a question or a comment February 10 Toronto Dues Forum Need to know more, or want to contact the Dues Referendum February 13 Last day to be enumerated Committee? Drop us a note at [email protected], or (5:00 p.m. ET) leave a message on the dues referendum extension at 1-800-387- 1856 (416-867-9165 in Toronto). We’ll get back to you promptly. February 20 Voting closes (5:00 p.m. PT) February 21 Results Announced Voter assistance Any eligible voter who has not received a voter kit by Further information regarding cross February 7, 2014, should contact election voter assistance at country member Dues Forums will be published on EQUITYONLINE [email protected]. Or telephone the Voter HelpLine (www.caea.com) as it becomes available. at 1-800-387-1856 (416-867-9165 in Toronto). The HelpLine is staffed 9:00 a.m. to 5:00 p.m. ET weekdays.

Publications Mail Agreement #40038615 Return undeliverable Canadian addresses to: EQ Canadian Actors’ Equity Association 44 Victoria Street, 12th Floor Toronto, ON M5C 3C4 [email protected]

EQ is shipped in a biodegradable polybag Equity quartErly wintEr 2014

WORKING WITH KIDS ON STAGE ISSUES FACING CHILD PERFORMERS EQ ACTING AND PARENTING

Child’s Play Spotlight on children

THE STAGE CAN BE A MAGICAL PLACE, FULL OF IMAGINATION AND FANTASY. IT SEEMS LIKE A NATURAL PLACE FOR A CHILD TO FLOURISH AND SHINE. BUT JUST LIKE ADULT PERFORMERS, YOUNG PERFORMERS NEED TO WORK IN A SAFE ENVIRONMENT AND BE PAID FAIRLY. THEY ALSO NEED EXTRA CONSIDERATIONS, LIKE TUTORING, LIMITED HOURS, AND PARENTAL ACCESS.

EQUITY HAS WORKED HARD TO PROTECT CHILD MEMBERS UNDER OUR AGREEMENTS, BUT NON-UNION PERFORMERS NEED PROVINCIAL LEGISLATION TO ENSURE THEIR RIGHTS ARE PROTECTED. LEGISLATION IS CURRENTLY IN PLACE IN QUEBEC AND B.C., AND EQUITY HAS BEEN WORKING WITH ACTRA TORONTO AND CHILD PERFORMERS AND THEIR PARENTS TO INTRODUCE LEGISLATION IN ONTARIO. Equity quartErly wintEr 2014 EQ voluME 7 nuMBEr 3

Zach Fraser created the puppets in The Heretics of Bohemia for Scapegoat Carnivale at the Segal Centre for Performing Arts. Turn to page 14 to find out how Fraser and his partner, director Arianna Bardesono – and other Equity members – are raising children with busy theatre careers

2 MESSAGE FROM THE PRESIDENT AND EXECUTIVE DIRECTOR 6 On stage with kids 4 LETTERS TO THE EDITOR 10 Child’s play 5 EQ MOVES 18 FONDLY REMEMBERED 14 Acting and parenting 20 EQ BACKSTAGE 21 EQ FLASHBACK

Equity members can submit letters to the editor via email at [email protected]. the deadline for coming issue: suMMEr 2014 EQ submissions is Monday, May 5. 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 wintEr 2014 – volume 7, number 3 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]

Front cover and inside front cover: (L to R) Simeon Vivian, Libby Adams, Emily Hawton, Amariah Faulkner, Janna Polzin, Camden Angelis and Michael Murphy in the 2008 Toronto Mirvish production of The Sound of Music Message from the President and Executive Director

We’ve been busy In 2007, Council ran a major survey of the membership, so that we DUES 2 0 could plot our course for the next decade, and well beyond that. In 1 REFERENDUM 4 response to member input, we held our first group audition project, When you hear the words “Canadian Actors’ Equity completely revamped the insurance program, revised our joining Association,” what springs to mind? If you are like most people, process, improved our approach to encouraging and supporting members or not, you think of an office, of staff, of an administra- diversity in all areas, created and updated three new small-scale tion, of an address in Toronto or Vancouver, of pages of rules, of theatre agreements, rebuilt our advisory system from the ground a card in your wallet, etc. In truth, none of that is Equity. up, improved how we solicit and collect input into negotiations and agreement review, and many more things too numerous to list here. You are Equity We completed all that work on a budget that was already becoming very tight. But, guess what? The “to do” list you’ve Equity is a national professional association of roughly 6,000 indi- given us isn’t empty yet – we’re sure you’ve noticed – however viduals working in live performance across this country. People we don’t have the resources to move forward on the many addi- just like you, including you. And, to paraphrase a classic com- tional improvements we’d like to make. mercial, you’re not just a member, you’re also an owner – the membership owns and governs Equity. What we think we can do to serve you better So, what about the office, the staff, etc.? And what about In the last few years, technology has improved rapidly and every- Council? Where do they fit into this? one expects to be able to do more and more business online and Equity is not some kind of theatre club. It has a very practical over the Internet. Equity’s technology hasn’t kept up with those purpose; it exists to act for the greater benefit of its owners. Those changes, because we can’t currently afford to create those levels owners elect a Council to determine what those actions should be, of interactivity. Although it is relatively cheap for any individual and Council hires staff to take those actions. to create a personal web page, for instance, the same does not That’s where dues come in. All of the services and benefits and hold true when it’s scaled up to an organizational level. Equity’s other actions, for and on behalf of the membership, are paid for website is connected directly to its membership database, which by member dues. There are no outside sources of revenue. What is a complex thing to maintain, and brings a whole host of secu- members contribute each year has a 1:1 impact on what the orga- rity and privacy complications into the mix. So we need additional nization is able to achieve on their behalf. resources in order to improve the website (making it possible for members to pay their dues online, as an example) and update Here is why Equity needs more money the design to make it more intuitive. We’ve been running a deficit for the last few years. Back in 2010, We’d also like to invest in creating forms (including contracts) Council recognized the situation was an imminent and increasing that can be filled in and submitted online, which is much more problem, and came to the membership to ask for a dues increase. complex to build than a PDF that you fill in and email to the office. For a variety of reasons, the membership said no. At the moment, none of our colleagues in other associations have Unfortunately, the association does not have the option to say those either, but it is on everyone’s wish list. no to covering its operating costs, and so now we have a debt that we must repay if we are going to maintain our fiscal health. But What we’d like to do that we haven’t been able to do more than that, now we have a debt that is increasingly compro- Both Council and the membership would like to see us take on mising our ability to deliver the existing services. And without a certain big picture subjects like the issues around diversity in live dues increase to compensate for inflation over time, we have no performance. Topics like that aren’t easily (or quickly) solved by possibility of providing more and better services to the member- simply talking about them, and require some intensive, extensive ship in the future. We need to catch up in terms of what we are and expensive education and sensitization programs in the indus- able to do. And then we need to keep up. try. We haven’t had the resources to do that but we would like to.

2 Equity Quarterly winter 2014 Message from the President and Executive Director

The members responded very positively to the Audition Project we did a couple of years ago and we would love to be able to do them at least once or twice a year in different parts of the country. But we haven’t had the resources to do it again. We could source and provide high quality, valuable profes- sional development projects that could be delivered to members all across the country, but right now we don’t even have the money to maintain the current ones. There are other issues facing the membership – issues like harassment in the workplace, creating pride in membership, ensuring there is an Equity representative available to do a “first day” talk, and gender inequality, just to name a few – which require time, energy and some money in order to build smart, effective information campaigns for our members and engagers. At the moment, we don’t have the staff or the time to do this “in house” and we don’t have the money to hire outside professionals to do it for us. We know these are only some of the issues of vital Dues Forums importance to our members and our industry and we want the resources to be able to try to make a difference. But we can’t do across Canada any of this without the support from the membership. The ability of Equity to operate It’s all up to you effectively on your behalf is at Both Council and staff have worked hard to pare expenses, wher- ever possible. We have trimmed staff, our EQ publication schedule, stake. Attend a Dues Forum and Council meetings, staff and Council travel to the various regions, the make sure you are well informed annual Honours Presentations, professional development subsidies, when it comes time to vote. and many other things. But there comes a point where those cuts start to compromise core services, and we’re there. Past there, really. January 19 Montreal Here is the crux of the matter – your association can only afford January 20 Ottawa, Halifax to provide current, and future, services and benefits within its resources. When the dues were last adjusted in 1999, that amount January 26 Winnipeg was sufficient to provide 1999-level services, and to carry them forward for a number of years. The best-before date on that dues January 27 Regina, Saskatoon rate ran out a couple of years ago, and it’s time to adjust it for 2013 and future realities. February 2 Calgary, Edmonton If you want your association to be able to work effectively for February 3 Vancouver you, today, tomorrow and into the future, please vote “yes” in the dues referendum, so that we may do that. February 10 Toronto

Forum venue and scheduling information & the referendum

Allan Teichman Arden R. Ryshpan timeline are published on President Executive Director EQUITYONLINE (www.caea.com).

wintEr 2014 Equity quartErly 3 letters to the editor

New dance partners lETTERS on subjects of concern to Equity members will be I am usually notoriously behind in reading my EQ. But I took this one with considered for publication. Letters must be signed, but names will be withheld on request for those letters that may affect members’ employ- me and read it cover to cover the day after I attended the premiere of The ment. Letters that include artistic criticism of Equity members or letters that are antagonistic or accusatory, either implied or expressed, may be Handmaid’s Tale at the Royal Winnipeg Ballet. Perfect timing! withheld or edited at the discretion of the editor. Opinions expressed in Letters to the Editor are not necessarily those of the Association.

What a fabulous issue – and so very important for that portion of our mem- PHOTO AND PRODUCTiON CREDiTS Cover & inside front cover: Photo: Cylla von Tiedemann. The Sound of bership. I was gripped by the Grands Ballets account. And I particularly enjoyed Music (2008) by Howard Lindsay and Russell Crouse with music by Richard Rodgers and Oscar Hammerstein II produced by Andrew Lloyd Webber, the section of the dancers discussing their favourite roles. You have triumphantly David Ian and David Mirvish. Directed by Jeremy Sams with choreography by Arlene Phillips. Cast: Libby Adams, Camden Angelis, Amariah brought the dancers (and dance stage managers) out of the shadows. Bravo! Faulkner, Janna Polzin and company. Stage managed by Lisa Humber. — Virginia Reh, Associate Professor, Department of Dramatic Arts Page 1: Courtesy of Zach Fraser. Page 5: Photo: Marie-France Coallier. The Bacchae (2012) by Marilyn I. Walker School of Fine and Performing Arts Euripides translated by Joseph Shragge and Andreas Apergis with music by Brian Lipson produced by Scapegoat Carnivale Theatre. Directed by Andreas Apergis with choreography by Leslie Baker. Cast: Delphine Bienvenu, Hugo Dann, Holly Gauthier-Frankel, Karl Graboshas and company. Stage managed by Todd Bricker. Pages 6 & 9: Photos: David Cooper. It’s a Wonderful Life (2012) by Philip Equity members in good standing Grecian based on the film produced by Arts Club Theatre Company. Directed by Dean Paul Gibson. Cast: Lindsey Angell, Eileen Barrett, Hannah Brandon, Jennifer Clement, Bob Frazer and company. Stage managed by and their families now receive a Pamela Jakobs assisted by Kelley Cheetham and Sarah Pearson. Page 7: Photo: Scott Munn. A Christmas Carol: The Musical 25% savings on dental service fees (2009/10) by Charles Dickens with music and lyrics by Eric Hughes produced by Neptune Theatre. Directed by George Pothitos with when visiting a practitioner listed in choreography by Laura Caswell. Cast: Ian Gilmore, Cliff Le Jeune, Jon Osbaldeston, Margot Sampson and company. Stage managed by a Canada-wide Network. Crystal MacDonell assisted by Matt MacInnis and Lara Mattison. Page 8: Photo: Scott Munn. The Wizard of Oz (2010/11) by L. Frank Baum adapted by Frank Gabrielson with music and lyrics by Harold Fully paid up Equity members received Arlen and E.Y. Harburg produced by Neptune Theatre. Directed by George Pothitos with choreography by Laura Caswell. Cast: Laura a network eligibility card and informa- Caswell, Blair Irwin, Cliff Le Jeune, Stephen Roberts, Andrew Scanlon, Jeremy Webb, Chris Zonneville and company. Stage managed by tion brochure with their membership Crystal MacDonell assisted by Heather Lewis and Matt MacInnis. Page 10: Photo: Adam Rankin. Once On This Island (2014) by Lynn card issued as of November 2013. Ahrens with music by Stephen Flaherty produced by Acting Up Stage and Obsidian Theatre Company. Directed by Nigel Shawn Williams with choreography by Marc Kimelman. Cast: Charles Azulay, Jewelle Visit www.caea.com for more information. Blackman, Arlene Duncan, Keisha T. Fraser, Daren A. Herbert, Alana Hibbert, Kaya Joubert Johnson and company. Stage managed by Robert Harding assisted by Alice Barnett. Page 11: Photo: Terry Manzo. Medea (2000) by Euripides adapted by Robinson Jeffers produced by Stratford Festival. Directed by Miles Potter. WElCOME NEW MEMBERS Cast: Robert Benson, Max Besworth, John Dolan, Seana McKenna, Aidan Shipley, Scott Wentworth and company. Stage managed by Brian ATLANTIC Ania Hejnar Natalia Gracious Gitanjali Jain Scott assisted by Renate Hanson, Helen Himsl and Michael Hart. Kaitlin Morrow Jennifer Kee Eliza Johnson Philippe Michelena Page 12: Photo: Michael Cooper. Tommy (2013) by Pete Townsend Seann Murray Lukas Malkowski Stephanie Lawlor Clare Schapiro produced by Stratford Festival. Directed by Des McAnuff with choreography by Wayne Cilento and fi ght direction by Steve Rankin. Cast: BRITISH COLUMBIA/ Laura McLean Simon Lee Phillips Sandra Tremblay Conor Bergauer, Joshua Buchwald, Arden Couturier, Adrienne Enns, Kira YUKON (duplicate name) Julie Ludwig SOUTHERN ALBERTA Guloien, Jeremy Kushnier, Robert Markus and company. Stage managed Eugene Ma by Brian Scott assisted by Meghan Callan and Melissa Rood. Luke Beattie MANITOBA / NUNAVUT Caleb Ellsworth Clark Page 14: Photo: Cylla von Tiedemann. The Three Musketeers (2013) Sarah Carlé Shaun Castor Rebecca McCauley J. Lindsay Robinson by Alexandre Dumas produced by Stratford Festival. Directed by Frank Cassini Heather Russell Jeff McMahan Katharine Zaborsky Miles Potter with fi ght direction by Wayne Best. Cast: Graham Abbey, Jake McNeil Michael Blake, Keith Dinicol, Jonathan Goad, Deborah Hay, Luke Aaron Lau Nancy Sorel STAGE MANAGEMENT Humphrey, Cal Potter, Mike Shara, Steven Sutcliffe and company. Michelle Lieffertz Alissa Watson Colin Mercer Stage managed by Maxwell T. Wilson assisted by Angela Marshall, Janelle Murray Emilie Aubin Stephanie Meine and Zeph Williams. Anton Lipovetsky NORTHERN ALBERTA/ Mélanie Ermel Matreya Scarrwener Gwynne Phillips Page 16: Top left photo: Andrée Lanthier. Metamorphoses: Based on NWT Dana Jean Phoenix Laura Grandfield the Myths of Ovid (2013) by Mary Zimmerman produced by National Bronwen Smith Jesse Lipscombe Anthony Liam Kearns Arts Centre English Theatre. Directed by Jillian Keiley with fi ght Roseanne Supernault Tyler Seguin direction by John Koensgen. Cast: Ryan Allen, Petrina Bromley, Rachelle ONTARIO Jonny Thompson Skylar Nakazawa Casseus, Ishan Davé, Rosemary Dunsmore, David Francis, Gemma DANCE Daniel Oulton James-Smith, Andy Massingham, Alix Sideris and Joey Tremblay. Heather Marie Annis Margaret Thompson Stage managed by Stéfanie Séguin assisted by Kai-Yueh Chen. Top Liang Xing Ella Ballentine Laura Tremblay Maddie Pauling right photo: Richard Bain. Shakespeare’s Will (2007) by Vern Thiessen E. ONTARIO/ Gordon Bintner Kristina Uranowski Lysette Stevenson produced by Stratford Festival. Directed by Miles Potter. Cast: Seana Ley Ward McKenna. Stage managed by Anne Murphy assisted by Kim Lott. OUTAOUAIS Kenton Blythe Daniel Williston Bottom left photo: Maxime Côté. Seeds (2013) by Annabel Soutar at Stephanie La Rochelle Leigh Cameron William Yong WESTERN OPERA Centaur Theatre by Porte Parole. Directed by Chris Abraham. Cast: Christine Beaulieu, Bruce Dinsmore, Eric Peterson, Mariah Inger, Alex EASTERN OPERA Saara Chaudry QUEBEC Aaron Dimoff Ivanovici, Tanja Jacobs, Cary Lawrence and Liisa Repo-Martell. Stage Tonatiuh Abrego Alicia Douglas Adrien Benn Matthew Johnson managed by Merissa Tordjman. Bottom right: Courtesy of Zach Fraser. Alexandra Beley Rodrigo Letitia Renee Brookes (duplicate name) Page 17: Photo: Tanja Hayne, courtesy of Arianna Bardesono. Page 18: Courtesy of COC archives. Aviva Fortunata Fernandez-Stoll Youssef Camara Jeremy Ludwig Ken Gass Lucas van Lierop Page 19: Ed Harrington photo courtesy of Dolores Kirkwood. Andrew Haji Nicola Dawn King Lear: Andrée Lanthier, courtesy of the National Arts Centre. Aiden Thomas Glenn Sarah Marie Vardy Page 21: Courtesy of Playwrights’ Workshop Montréal.

4 Equity quartErly wintEr 2014 EQ Moves Live performance across the country

Gitanjali Jain, Jessica Hill, Holly Gauthier Frankel, Delphine Bienvenu and Melissa Trottier in Scapegoat Carnivale Theatre’s The Bacchae, which won several awards in the Independent category at the inaugural Montreal English Theatre Awards, including Outstanding Production, Outstanding Actor (Alex McCooeye), Outstanding Supporting Actress (France Rolland), Outstanding Supporting Actor (Greg Kramer), and Outstanding Ensemble

Equity will be presenting its annual recognition awards on Patrick McDonald, artistic director of Green Thumb Theatre, has February 24, 2014, at the Artscape Daniels Spectrum in Toronto, won the 2013 Vancouver Mayor’s Arts Award for theatre, and Ontario. Philip Akin, Janet Irwin and Kenneth Welsh will receive selected Kyle Jespersen as his choice for an emerging artist who life membership in the Association in recognition of their distin- demonstrates the promise of the next generation. guished careers in the performing arts. Winnipeg arts supporter Last November the Soulpepper Theatre Company raised more and Asper Foundation President Gail Asper will receive Honorary than $5,000 for the Actors’ Fund of Canada (AFC). Thanks to the Membership, and the Larry McCance Award for outstanding cast of The Norman Conquests – Table Manners and also to the contribution to the Association will be given to Don Wright. In many Equity members across Canada supporting AFC fundrais- addition, Stage Managing the Arts (S.M.Arts) will receive the ing events. The AFC provides emergency financial aid assisting CAEA Award of Distinction. cultural workers recovering from illness, injury or other circum- Chris Abraham, artistic director of Crow’s Theatre, is the win- stances causing severe economic and personal hardship. For more ner of the largest theatre award in Canada – the Elinore & information visit www.actorsfund.ca. Lou Siminovitch Prize in Theatre. Abraham receives $75,000 Barry Hughson will take over as executive director of The National and selected Mitchell Cushman, artistic director of Outside Ballet of Canada in January 2014. Hughson has over 20 years’ the March and associate artistic director of Crow’s Theatre, to experience as a professional arts administrator, most recently as receive $25,000 as his protégé. New supporters, including the executive director of the Boston Ballet. RBC Foundation and Hart House Theatre, University of Toronto, have enabled the prize to continue after it was announced that Equity members celebrated the 2012-2013 performance season with award ceremonies from coast to coast. A 2012 would be its last year. complete list of Jessie (Vancouver), Elizabeth Sterling Adam Brazier is the new artistic director for the Confederation Haynes (Edmonton), Betty Mitchell (Calgary), SAT Centre of the Arts in Charlottetown, P.E.I. He left his position (Saskatoon), Dora Mavor Moore (Toronto), Rideau as artistic director of Theatre 20, an artist-driven, Toronto-based (Ottawa), Montreal English Theatre Awards, and Robert musical theatre company to replace Anne Allan, who will be step- Merritt (Nova Scotia) nominees and winners is available ping down after 10 years on the job. online at www.caea.com. winter 2014 Equity Quarterly 5 Tales from the front lines Taking to the stage with children

Sophia Millar and Jordan Wessels in the 2012 Vancouver Arts Club Theatre Company’s production of It’s Captiona Wonderful to come Life

But working with children also carries a tremendous responsibil- children or ani- “Never work with ity. “You don’t want to turn a kid off from theatre,” she laughs. mals,” W.C. Fields famously said. It’s up to the adult actors to instill good habits in the children, Actor and theatre teacher Eileen Barrett wholehearted disagrees Barrett believes, and educate them about how the theatre works. – at least about the kids part. She finds working with children This can involve everything from teaching them to hang up their refreshing. “Kids are ready to leap in and go for it. They ask fewer questions before, and more afterwards,” she says. costumes to giving people privacy. It could even mean turning Barrett has worked with many child actors over the years in the up the heat a bit when children start to feel too relaxed in a long- Vancouver Arts Club production of It’s a Wonderful Life. She has also running show. “You need to remind them that we’re working, watched several of the children grow up to become confident young not playing,” she says. adult actors. “I was honoured to be part of their first time on stage,” But children should still be treated like colleagues, Barrett cau- she says. “I love watching those a-ha moments – when the light bulb tions, as they have to follow the same rules and they have the goes off and they get it. When they make the role their own.” same responsibilities as adults. That means you need to find things

6 Equity Quarterly winter 2014 Tales from the front lines By Barb Farwell Taking to the stage with children

CaptionCliff Le Jeuneto come acted with child performers when he was Marley’s Ghost and a member of the ensemble (fifth from the right, at back in the top hat) in Neptune Theatre’s 2009/10 production of A Christmas Carol: The Musical

they can relate to so they can understand how to behave both Barrett also teaches children at the Gateway Academy for the onstage and off. “You can never take anything for granted,” says Performing Arts in Richmond, B.C. There is a professional theatre Barrett. “They want to please you so they will often nod their attached to the school, so Barrett makes a point of taking her heads in agreement even if they don’t understand. The more you students on a backstage tour to see all the people involved in communicate and explain in rehearsal the better.” putting on a play. “They learn to be respectful of the theatre,” she says. Her teenaged students also get to put on a fully realized Keeping occupied backstage show with lighting, sound and costumes. It’s also important to keep children occupied when they are back- Actor Cliff Le Jeune also works with teenagers as a director of stage. They can’t read because they might miss their cues. That’s high school and junior high school musicals. “With a professional why, when not on stage, Barrett often volunteers to hang out cast we start a scene and I extract what I want. Then we redo with the kids. She can be found braiding the girls’ hair, or even it and take it to the next level. As a director and choreographer teaching the boys how to knit. working with kids, I have to see how the students relate to each

winter 2014 Equity Quarterly 7 Surrounded by children: Cliff Le Jeune as the Emerald City Guard in The Wizard of Oz at Halifax’s Neptune Theatre

“The level of fearlessness and playfulness [children] can achieve on stage, once comfortable, is admirable! Not to mention – they just have this natural charisma.” — Alix Sideris other. Who are the kids who catch on quickly? Who are the sing- when everyone is contributing. If you are not supporting the other ers and who are dancers? I have to judge them individually and actors, the chain is broken. The audience won’t believe.” figure out where the mid level ability of the group lies. You have To make sure the kids understand, Le Jeune uses the “nose to be able to challenge the more experienced while not leaving picker” analogy. “If they are watching a show and someone on out the ones who are less experienced or have no background. stage is picking their nose, I ask them where would they look? If you There are so many reasons why each of them is there. You want are not real and true and being in that moment, or if you are think- to make it a fun and rewarding experience for them.” ing about something else in your day – you’re picking your nose.” Le Jeune also believes that you can never take things for granted The kids get it right away, he laughs. “The last thing they want when it comes to working with young actors. Simple directions is to be on the nose-picker list!” like “go stage right” can go wrong until the child understands the Besides directing young performers, Le Jeune has also acted vocabulary. “You have to guide them. The stagecraft is challenged with children in Neptune Theatre’s productions of A Christmas on a much higher level,” says Le Jeune. Carol and The Wizard of Oz. “As an actor you have to rethink You also have to make them understand that they must always how you deal with the group dynamic. You can’t expect kids to be in character when they are on stage, even if they are in a crowd deliver the way a seasoned professional delivers. You have to scene. “The stage is a complete collective. I tell them that when engage them and entice them into the scene. In the end, it’s your they are on stage everyone has to be in that moment. It only works job to make sure they understand every moment.”

8 Equity quartErly wintEr 2014 Taking risks onstage Truth and Treason with Teesri Duniya Theatre and Macbeth with Ottawa actor Alix Sideris has also worked with young performers, Repercussion Theatre. and recently directed several child actors in The Pirates of Penzance “One main difference in working with a kid versus an adult is for the Opera Lyra Studio Ensembles. “Adult actors usually come that if the kid is at ease on stage he/she can easily upstage adults, into the rehearsal hall curious, prepared, and ready to take big as when you have live animals on stage,” she says. “Their pres- ence is so strong!” risks. Young actors, though usually quite curious and prepared, Bardesono also finds it interesting to work with children who sometimes need a little more guidance and time when it comes to have not had any theatre training. The challenge is to get them to taking risks in a scene,” she says. “Oftentimes, it’s simply a matter perform “big” for the stage while still being believable. of taking the time to establish a safe environment for them and “I found that the main techniques I use with adults for the making the effort to build strong relationships with them.” same purposes are working greatly with kids – creating complic- And while child actors can learn much from adults, it also works ity between them and their scene partners, using games to spark the other way around, finds Sideris. “They learn from us... and we their creativity, and a willingness to get involved and forget about learn from them. The level of fearlessness and playfulness they can their fears and self-consciousness.” achieve on stage, once comfortable, is admirable! Not to men- So unlike what W.C. Fields reportedly said, working with children tion – they just have this natural charisma – a built-in pointe fixe.” on stage is not so bad. There is one thing to look out for, however. Director Arianna Bardesono agrees that children can steal “There can be a lot of farting backstage,” says Barrett. “When the scene. She has worked with child actors on productions of they are excited, especially on opening night, they fart.”EQ

George Bailey with his children in It’s a Wonderful Life. Eileen Barrett has played George’s mother in several productions of the play over the years at the Arts Club Theatre in Vancouver

winter 2014 Equity Quarterly 9 Lobbying to enhance and clarify regulations Child’s play by Matthew Hays

The issues and concerns facing child performers and their parents are ones Arden R. Ryshpan can relate to, very directly. “I was six years old when I walked on to my first film set,” says Equity’s Executive Director. “My father worked in the theatre and my mother worked for ACTRA. With my parents’ experience and level of knowledge, I didn’t have to worry. But I’m aware of what child performers have to go through, and I’m certainly aware that many of them have parents who are at a distance from the busi- ness, and so they don’t know what to expect.” That’s why Equity has been working with their colleagues at ACTRA Toronto and consulting with child performers and their parents to work towards new legislation that is now before the Ontario legislature. Among other things, Bill 71 will set work hour limits for non-union-member child performers and ensure parental access during rehearsals and performance times. (Similar legislation has already passed in B.C. and Quebec.) The move is matched by a global push to see child perform- ers protected. Stanislas Ide, the policy officer for the Brussels, Belgium-based International Federation of Actors (FIA), confirms the organization has begun research and consultation into the area of labour laws for child performers, and that recommenda- tions might be in order. Equity has fielded comments from numerous members and non-members, including Elizabeth Van Wyck. Several years ago, her daughter (then a 7-year-old performer) landed a role in a high-profile musical in Toronto. As someone who had experience both performing and directing herself, Van Wyck felt the role would be a great thing for her daughter. “Taking on a role like this, for a young person, it can be amazing. It’s a great learning experience, and I felt my daughter would really get something out of it. I felt she was capable.”

Non-union situations Van Wyck also knew a thing or two about collective agreements, but since her daughter’s situation was non-union, things were Kaya Joubert Johnson and Jewelle Blackman in Once On This Island, produced by Acting Up Stage in different. Knowing that, she set about getting some assurances association with Obsidian Theatre Company from the producers of the show. “I was told a few things by the

10 Equity Quarterly winter 2014 surrounding child performers Child’s play The union must have a greater presence in the workplace, and parents need to make sure they can get a tour of the workspaces prior to the beginning of rehearsals or performances. – Elizabeth Van Wyck

producers. We were told to tell them they have to Seana McKenna as Medea with Aidan Shipley and Max Besworth as the our daughter would be Children in Stratford Festival’s 2000 production of Euripides’ Medea quit? That’s a very tricky working no more than thing, and a difficult 20 hours per week. I spot we were in. Had was told there would be I known it would have a tutor there.” been like that, I would But early on, there have said no in the first were problems. “She place.” was putting in an extra Van Wyck is the first hour here, and an extra to say that the vast hour there. That was all majority of people she unpaid. There were no and her daughter dealt tutors.” with on this show were We had to call up, amazing. “I know how complain and kick up a hard it is to put on a fuss about things. The show, don’t get me experience my daughter wrong. The cast and was having was a valuable one, yes, but there were things we’d crew were incredible. But that’s not the point. If the producers agreed upon that the producers were going back on. I didn’t think can, they will take advantage of the fact that many parents are this was fair. We don’t treat adult actors this way. Why is it okay clamoring for their children to have these performing experiences. to treat child actors like this?” And you can’t fly by the seat of your pants once the show is up Van Wyck says, “I don’t believe my daughter was harmed. I and running.” don’t think she was ever in an unsafe situation. But that doesn’t mean it was right. There was no tutoring, there were not proper A greater presence for unions breaks and there were extra hours of work done.” Van Wyck says the union must have a greater presence in the And then, Van Wyck was placed in a strange situation. “My hus- workplace, and urges parents to make sure they can get a tour band and I were basically turned into lawyers. We were calling the of the workspaces prior to the beginning of rehearsals or per- producers on things that were happening, things we were assured formances. “Children often get the responsibilities, but not the would not happen. At one point they said, ‘You can always take rights. They need to get both,” she warns. her out of the show.’ Think about that for a minute. When your Juanita Joubert is another mother of child performers, and she was child is really enjoying something, and they’re getting something also consulted by Equity about her recommendations about child out of it, and it’s their dream to be in a show, you’re going to have actor regulation. “With two children who perform, I’ve had over-

winter 2014 Equity Quarterly 11 Lobbying to enhance and clarify regulations

whelmingly good experiences,” Joubert says. “The cast and crews yet managed to get into Equity. And that makes those decisions have been great, and for the most part, it’s been more than good.” that much harder. “I’ve talked to a number of parents about this. But despite the good seven-year stretch, one incident stands There are certain things in life where money isn’t as important, and out in her mind. “There was one night that I was on my way to I understand that. But when people are simply offered a $500 hono- my daughter’s performance. It was about 7 o’clock, and I called rarium to do a show, I think that should be stopped.” ahead to say we had been caught Joubert says the producers of up in traffic. I apologized, and shows will come up with many then dropped my daughter off, a justifications for offering nothing few minutes late. After I dropped but a small honorarium. “They will her off, the person in charge lost argue that when there are several it with her, letting her know that small roles for children, they can’t arriving late was not okay.” afford to pay much more than But, Joubert says, this incident that. Or they’ll argue that the pointed to one of the problems amount of time the performer is that face child performers and to spend on stage isn’t very long. their families. “I was the one And they might point to the fact who was late, not my child.” that sometimes a TV commercial That being said, Joubert under- will only pay a small fee too. But stands what goes in to putting that doesn’t take into account on a show and what’s at stake. long rehearsal times and the wait- “When you’re in a show, you’re ing around during the show for working as part of a team. the small part the child is taking Personalities get involved. I on. It’s not the same thing as a know an adult wouldn’t want to day’s shoot on a commercial.” be spoken to in that way. I don’t Joubert adds that “I under- want to judge the person who stand that some children simply spoke to my daughter that way. adore performing, and many Maybe she doesn’t have chil- parents think that the exposure dren of her own, maybe she just will lead to other jobs. That’s why didn’t understand. Who knows it’s really important to have the what was running through her rules in place. The $500 hono- mind. But it was not acceptable.” raria should stop.” Joubert notes that her daugh- Even the Pinball Wizard started out as a kid in the 2013 Yanick Landry says he is Stratford Festival production of Tommy ter then had to proceed on to the extremely happy with the pro- stage and perform, and managed posed Bill 71, and even happier to do it, despite having been scolded. “I felt very protective in the that it appears poised to be passed into law. The Toronto-based tal- days following this, I think understandably. I told the person in charge ent agent has a number of child performer clients. “It’s very important about what had happened, and that I wanted assurances it wouldn’t for things like the number of hours a child can work, child safety and happen again. What I would say is crucial to people who have chil- parental access to children. Parents need to be able to speak up.” dren who perform – know what your child’s rights are and know what Bill 71 is about minimum standards, Landry says. “Once those your rights are too.” are in place, parents know what to expect.” He adds that these changes are not dissimilar to those brought in to the ACTRA The pressure to work for free agreement for child actors on TV and film sets a dozen years ago. Joubert says child performers face many of the same dilemmas adult “Since those rules were enacted, children have been much safer. performers do – in particular the pressure to work for free or almost It means there will be more supervision for children for live per- free. This is a dilemma faced by newer performers who haven’t formance jobs, as there is for TV and film jobs already.”

12 Equity Quarterly winter 2014 surrounding child performers

Is your child cut out for show biz? Landry cautions, however, that even if and when Bill 71 is passed, EXCERPT FROM THE PREAMBLE people must carefully consider whether or not their child is really OF THE CANADIAN THEATRE cut out for show biz. “It’s not an instantaneous career-making AGREEMENT ARTICLE move, that first audition,” he says. “You have to be ready to CONCERNING CHILD PERFORMERS attend multiple auditions. Some will take off sooner than others. You have to have no illusions about that, and you have to be The Professional Association of Canadian Theatres and Equity agree that specific and appropriate care and atten- prepared to be supportive when your child faces rejection.” tion be given to Child Performers. Child Performers shall There are a number of things Landry looks for when he is meet- be treated with respect at all times. No Child Performer ing with a child who wants to perform. “It really has to be some- may be punished or subject to other harmful, frightening thing the child enjoys, not something they are being pressured to or humiliating behaviour. do. Not every kid is going to become a child star. It’s just the same PACT and Equity recognize that the responsibilities in the as skating or piano lessons – the child must be naturally drawn contracting of a Child Performer include written permission to it and enjoy it.” from the parents/legal guardian, and a full discussion of the And, Landry says, there are sacrifices. “If your child is doing a duties and responsibilities of the Theatre, the parents and the live show, there may be months of rehearsals. For that, you will Child Performer. A Child Performer will be provided with addi- have to give up other activities. Rehearsals and attending every tional consideration in areas of supervision, training, hours of participation, interaction with others and permission from, and performance adds up to a serious time commitment.” communication with, parents/legal guardian and schools. Landry says set fees for non-union child performers isn’t some- This consideration does not reduce the duty of care thing that he worries too much about, but he adds that “accepting required of the Theatre and of those engaged by the Theatre a very low honorarium is not something I encourage. That really with regard to their interaction with Child Performers. depends on the show and production. I know some might see it as A Child Performer may not be engaged under conditions an opportunity for their child, but be careful. Say someone says they which do not meet or exceed either the Theatre’s provin- need 20 orphans for a production of Annie. Okay, so is this being cial legislation or regulations, or in the absence of such, done by a community theatre or a for-profit big theatre? Is this an the Ontario Child Performers Guidelines. The Theatre will opportunity or exploitation? You have to weigh these things. You provide the parent or legal guardian with a copy of the rel- have to make sure your child is not being taken for granted.” evant provincial legislation or the Ontario Child Performer Guidelines, whichever is applicable. When you’re a parent of a child performer, you’re not their The Theatre, the parent or legal guardian, the Child agent, you’re still a parent. “A parent’s job must be to remain a Performer, and Equity at the parent or legal guardian’s parent. Always have your child’s best interests at heart. A union’s request, shall have a thorough discussion addressing the job, and an agent’s job, is to back up the performer. Without a following items: union, the parent is paramount. Remember: if you’re negotiating • Travel, care, and release a job for your child and it doesn’t feel right, it probably isn’t.” • Dismissal and/or absence from school “I think sometimes parents don’t always understand the com- • The anticipated schedule for rehearsals and performances mitment that’s needed,” says Ryshpan, who agrees with Landry. • Etiquette and behaviour expected of the Child Performer “I think having laws like this, that clearly lay out what the regula- and the parent or legal guardian and conversely, what tions are, is really important. It allows parents, the child perform- expectations of etiquette and behaviour the Child Performer, parent or legal guardian may expect from ers and the producers of these shows to know precisely where the Theatre they all stand – an open discussion, right from the get-go, is cru- • Any scenes the Child Performer will be expected to par- cial. The parents are inevitably going to be involved. When you ticipate in where the parent and/or legal guardian and hire a child, you’re really hiring a family. the Theatre have determined the Child Performer will “One of the reasons we’re moving ahead with this is because it require additional support is work, whether it’s being done by an adult or a child. The govern- • Any relevant policies of the Theatre ment must intervene to make sure the labour conditions are fair.” EQ • Any relevant concerns of the parent/legal guardian or

Matthew Hays has written for The Globe and Mail, The New York Times, The the Child Performer Canadian Theatre Review, Maclean’s and Vice.

winter 2014 Equity Quarterly 13 acting and parEnting is it possible to play both roles at the same time?

Cal Potter, 15, (front) is already following in his parent’s footsteps. The son of actor Seana McKenna and director Miles Potter shows off his swordplay in Stratford Festival’s production of The Three Musketeers

By cynthia Macdonald actors and parEnts are a lot alike. work in the theatre. The cost and availability of quality childcare Both work frequently at night, are experts at singing and/or mim- is a critical issue, as is the need for travel and separation. These icry, and routinely get yelled at by people who don’t really mean factors are daunting enough to make some people leave their it. (Add to which, the pay could sometimes be better!) careers, or even put off having children altogether. Still, while Because the two endeavours have so much in common, it’s easy things could definitely be made easier, most families manage – to argue that performers are naturals when it comes to parent- seemingly through a mix of compromise, patience and great help ing. Trailblazers too – since, as the generations change, theatrical wherever they find it. families are always pioneers. With schedules that are anything In fact, “there’s been a huge baby boom in our community!” but nine to five, they often find themselves hurling rigid child- exults Liisa Repo-Martell. “I don’t think people are afraid; they rearing playbooks out the window and creating their own rules. seem to be having kids in droves.” The veteran Toronto actor The result? A fleet of creative, adaptable children, with a series of and her partner, Chris Abraham, are doing their part as parents unique memories to nurture them in adulthood. to Hazel, 7, and Leo, 20 months. They, and many other friends, But that’s not to say it’s easy – far from it. Raising children have been inspired by the example of acting families who came is more of a challenge than it has ever been for parents who before them (in fact, they met while working on a production of

14 Equity quartErly wintEr 2014 The Cherry Orchard, watching director Leah Cherniak balance “Sure, why not?” continues his partner and Cal’s mother, actor directing duties with those of mothering an infant). Seana McKenna. “So many corporations have childcare in-house. As we speak, the couple is coasting on a wave of acclaim: You know, our schedules are so erratic, it’s so hard.” McKenna Repo-Martell is starring in the highly acclaimed Seeds at says that when Cal was little, “if I went out of town, I would try Montreal’s Centaur Theatre, while Abraham (Seeds’ director) and negotiate childcare, or line it up somehow. It’s just a given that basks in the glow of his recent Siminovitch Prize for directing and you’re going to have to manage the scramble. But other businesses prepares to open Winners don’t have that problem.” and Losers at Toronto’s McKenna and Potter Canadian Stage. also advocate the institu- It’s the kind of success Raising children is more tion of five-day rehearsal that could swell anyone’s weeks, another measure head – except maybe one more popular in Quebec belonging to the parent of a challenge than it than elsewhere. “Five of a young child. “I’m just hours a day, for five days a going to change a dia- has ever been for parents week, spread out over five per while we’re talking,” weeks,” says Fraser. “Ari laughs Abraham over the who work in the theatre. and I seek out companies phone. He’s waiting for a that have adopted that new babysitter to spell him model, which feels way off so he can leave for a tech rehearsal; one of the “army of sitters more civilized.” In addition to other benefits (including longer and grandparents” he and Repo-Martell rely on during especially engagement with the material), the model is more family-friendly. busy, two-city times such as this. Though as Fraser admits, that’s only true if you’re staying in one place. “If you’re hopping from city to city, it obviously means A community of babysitters you’re going to be away from home longer.” Both consider themselves fortunate to be part of a community that helps out when needed. Repo-Martell belongs to a Facebook Child performers group of actors who provide emergency childcare for each other When the child – not the parents – is the performer, different when faced with sudden callbacks, for example. Also, “what’s problems present themselves. Amariah Faulkner is a 12-year- sad but true about our industry is that there are a lot of fabulous old rising star. As her father, Thomas, says, even in infancy she people who are unemployed,” she says. “So we usually avail our- was recognized as having “it.” With a rare combination of drive, selves of actors as babysitters.” discipline, talent and prettiness, the Grade 7 student is in great But even when it’s available, childcare can be punishingly demand as a triple threat performer. expensive (“I think a lot of actors are essentially paying to work, All of which has meant sacrifice for her family. “When Amariah once they have kids,” Abraham admits.) The situation is much first started to pursue her dream, I was working full-time,” says her easier in Quebec, where subsidized high-quality daycare means mother, Danielle. When, at the age of 6, her daughter landed the parents pay a mere seven dollars a day. role of youngest daughter Gretl in the Toronto stage production of That policy has proven a lifeline for Montreal actor and direc- The Sound of Music, Danielle gave up her job as an executive assis- tor Zach Fraser and his partner, director Arianna Bardesono. The tant. One of three Gretls who worked in rotation, Amariah was with pair recently welcomed their baby son Marlowe, and are also the show for over a year – which meant a great deal of commuting parents to three-year-old Julian. “We are in the best place in the for Danielle. “We chose to have the one income [Thomas works as world right now,” says Bardesono happily. Because neither par- a product analyst] and live a more lean lifestyle, so she can do this ent has any local family to rely on, the subsidy is their salvation. for as long as she wants to. I don’t think we’re lacking in anything; “We’d never be able to manage in Toronto – there’s no way it’s very fulfilling to watch your child blossom, and come to life.” we’d be able to afford daycare,” says Fraser. “There’s just more Easy to believe: Amariah is poised and winning, and her eyes breathing space here. Which is not only good for our lifestyle, shine as she tells of her dreams to open a dance studio and see a it’s good for our art.” Broadway play, in the midst of her whirlwind childhood of audi- Repo-Martell and Abraham believe a national childcare policy tions, lessons, performances and schoolwork. “I’m always doing would go a long way toward solving problems for theatrical fami- something, I’m always on the go,” she grins. lies across the country. Another possible solution? “Childcare in But life can be difficult for families like Amariah’s. Work hours theatres,” says Stratford director Miles Potter, father of Cal, 15. are not necessarily regulated, and tutoring isn’t always guaranteed winter 2014 Equity Quarterly 15 Acting and Parenting

Alix Sideris in Metamorphoses: Based on the Myths of Ovid at the National Seana McKenna as Anne Hathaway in Vern Thiessen’s Arts Centre English Theatre Shakespeare’s Will at Stratford Festival

“There’s been a huge baby boom in our community! I don’t think people are afraid; they seem to be having kids in droves.” — actor Liisa Repo-Martell

Liisa Repo-Martell in Seeds, presented at Centaur Eloi Archambaudoin and Chimwemwe Miller in Coma Unplugged, directed by Zach Theatre by Porte Parole and directed by Chris Abraham Fraser. Starting their son in daycare at six months allowed Fraser and partner Arianna Bardesono to work at the same time

16 Equity Quarterly winter 2014 for full-time performers. The Faulkners believe legislation such for what I wanted, something that brought me joy. I wasn’t just as Bill 71 (which passed second reading in the Ontario parlia- punching the clock... and yes, maybe sometimes we had to have ment this summer) will help protect these rights for children. And three nights of lentils. But I didn’t talk about the hardship of maybe grant some to parents too. “I’d like to have somewhere that, because I wanted her to know that I was trying to spend to sit,” says Danielle ruefully. “One of the things I’d love to see the short period of time I have on this earth in a place of love happening in theatres is a green room. Because we parents drop and passion.” them off at the stage door, and then we’re left for six to eight Like parents in any other profession, theatre parents learn fast hours with nowhere to go.” that having kids means getting more done in less time. Often, improvisation is as necessary in life as it is at work: Amariah talks Following theatrical footsteps of squeezing in her homework during car rides or visits to a sand- Though both were involved in community theatre in their home- wich shop, while Fraser recalls arranging naps for newborn Julian town of Barrie, Ontario, neither of the Faulkner parents is a pro- in the corners of rehearsal halls. But Repo-Martell thinks the time fessional performer. Are the children of such parents more likely crunch is actually a particular blessing in her profession. “You to follow in their foot- have less time to be steps? At least in the Aurelie Pedron in Adam’s Rib by Arianna Bardesono’s company, Odelah Creations neurotic, less time to short term, the answer worry about whether may be yes. Cal Potter you’re good or not. has already worked as That level of anxiety an usher at Stratford, and self-obsession and as a local jobber falls away when you in the festival’s pro- have kids.” duction of The Three Most agree that Musketeers. Abraham parenthood is also a and Repo-Martell are journey that informs currently considering and enriches their the pros and cons of theatre work. While putting little Hazel everyone interviewed onstage. “There are here says that the things we can’t do,” experience certainly says Abraham, “for isn’t a precondition example, it’s hard to for actually playing a maintain extracurricu- parent (“You always lar activities like soccer use your experience because we’re often and your imagina- moving around. But tion anyways,” says one thing we can offer is the rare experience of being onstage McKenna), it deepens their craft in ways that are sometimes less in a play.” direct. Sideris says she could go to the emotions of a grieving For her part, 18-year-old Ottawa native Hannah Sideris-Kersh mother in The Changeling faster, by knowing what it might feel is embracing the actor’s life with great enthusiasm. The daughter like to have her own beloved child disappear. Bardesono finds of actor/director/writer Alix Sideris and writer David Kersh has being a mother humbling, a reminder that in life, as onstage, been acting professionally since the age of 8 (with a notable turn “you always have to consider the other person’s point of view.” as a 12-year-old witch in the National Arts Centre’s production And while it has made Chris Abraham’s schedule more hec- of Macbeth). She also crowdsourced money for herself to study tic, being a father has added meaning to it too. “Having kids Shakespeare in London last summer. transforms the way you think about everything,” he says. “You Sideris thinks it’s because, in raising Hannah, she always become a different person. It’s changed the way I think about the took time to emphasize the positive aspects of her own career. world, about art, about what its function is and why we’re doing Sometimes this was hard; Kersh and Sideris separated when it. It’s made me think more about the consequences of what I put Hannah was six, making life more financially precarious for the out in the world.” EQ family. “There were times that I couldn’t be home, because I was working,” says Sideris. “But I showed her that I was going Cynthia Macdonald is a freelance journalist and arts critic in Toronto. winter 2014 Equity Quarterly 17 Fondly Remembered Lotfi Mansouri, Life Member 1929 – 2013

By John Leberg Joan Sutherland and Lotfi Mansouri

Lotfi Mansouri, the Iranian-born opera direc- tor and manager who ran the Canadian Opera Company (COC) in Toronto and the San Francisco Opera, died at his home in San Francisco on August 30 from complications of pancreatic cancer. He was 84. Lotfi was my friend, colleague and mentor. In 1970, at the Centre Lyrique in Geneva, I observed him directing a class for young art- ists. The atmosphere at this class was positively electric. He loved and was constantly stimu- lated by aspiring young artists who shared his passion for opera. But it was not until 1976 when Lotfi accepted the position of General Director of the COC that I got to know Lotfi and his wife Midge. When General Director Dr. Herman Geiger-Torel died unexpectedly, Lotfi was suddenly tage that he drew from to make his unfailing artistic decisions thrust into the business of managing an opera company. I remem- convincing. He believed in fulfilling the intent of the composers ber we prepared and budgeted his first season of 1977 over a and librettists in the operas that he either produced or directed. weekend, without any lead time to contract major artists. At the Lotfi’s legacy as an innovator in the opera world was solidified in same time we formed the first COC orchestra. We were both neo- January of 1983. During a production of Richard Strauss’ Elektra at phytes; Lotfi had never run a company and I had never budgeted the COC, he introduced a simultaneous English translation of the a season. By some form of divine intervention, the 1977 season of libretto on a horizontal video screen above the proscenium. The Don Carlo, Magic Flute, Daughter of the Regiment and Wozzeck system became popularly known as SURTITLES™. For the first time, was an artistic and financial success. Lotfi had accomplished his opera audiences without knowledge of German could understand first miracle! and follow librettos by Strauss and Wagner. Today, SURTITLES™ or One of the things I most admired about Lotfi was his clarity of other forms of synchronous translation are used worldwide. thought. From the outset he was always very clear about his goals. In 1989 Lotfi supported the challenging work of creative artists He wanted a longer season and ended up producing nine main when the United States Senate passed a bill sponsored by Republican stage productions from October to June. He wanted to develop Senator Jesse Helms to bar the National Endowment of the Arts our audience so we had Residencies, summertime abridged operas from using federal money to “promote, disseminate or produce in a beer tent, Radiothons and other exciting and informative com- obscene or indecent materials” including “sadomasochism, homo- munity events. He wanted a more adventurous repertoire and pro- eroticism” and the exploitation of children. Lotfi argued against the ductions. He personally went on to direct 30 new productions such measure and wrote in The New York Times that Die Walküre and as Lulu, Jenu° fa, and Death in Venice, as well as Norma, Hamlet Salome could be in danger of falling under those restrictions. “It is and Adriana Lecouvreur with Dame Joan Sutherland. the responsibility of an international opera company to present the He was the conduit between the European golden age of the full spectrum of opera in all its diversity,” he wrote. “That spectrum arts and the new world. In his student days he studied with Fritz would be severely curtailed if we allow politicians like Senator Jesse Zweig and the legendary Lotte Lehmann. He also assisted direc- Helms to decide which works we may present.” tor Dr. Herbert Graf and followed him to the Zurich Opera, and Lotfi brought an enthusiasm and a larger than life personality took part in Friedelind Wagner’s young artists’ program. During that exuded the glamour and excitement of opera as theatre. his time at UCLA, Stravinsky, Schoenberg, Arthur Rubinstein and Lotfi’s legacy will live on and he will always be remembered with Thomas Mann all lived in Los Angeles and formed the rich heri- great love and affection.

18 Equity Quarterly winter 2014 Jani Lauzon and August Schellenberg in Ed Harrington 1933 – 2013 King Lear at the National Arts Centre By Dolores Kirkwood

An “icon extraordinaire,” Ed Harrington lived a life of commit- ment and inspired thousands in South Australia, Germany, France, the U.S. and Canada. Born in New Westminster, Ed received his BA in English and History at the University of B.C., his MA in Theatre at the University of Oregon, and continued his professional develop- ment with classes in acting and directing in London, England, the University of Washington, the Sorbonne in Paris, and in San Miguel de Allende in Mexico. He loved the theatre and passed on his experience and knowledge to co-workers and helped launch countless careers in the profession – and taught all the values of teamwork, discipline and commitment. Ed acted professionally in theatre and film and was a mem- ber of ACTRA, the Union of B.C. Performers and Equity. For his creativity, dedication and inspiration to others he was honoured August Schellenberg with many awards, such as an Ovation Award from APPLAUSE! Musicals Society, ACTRA’s Sam Payne Award, and the Bernie 1936 – 2013 Legge Cultural Award for the encouragement of the arts in New Westminster. He also received the Key to the City of Port By Jani Lauzon Coquitlam for his promotion of drama and musical theatre, and was inducted into the B.C. Entertainment Hall of Fame. A star will When I first met Augie Schellenberg I was star struck, painfully soon be placed on Granville Street in Vancouver in his honour. shy. I had followed his work, his words, his presence on the screen Ed was an active member of Vagabond Players for many years, and stage for years. Through his creative endeavours I felt he was and after his retirement from teaching, he was a founder of Royal waving words of encouragement to us all, especially those of us City Musical Theatre Company, where he served passionately who were struggling within a less than even playing field in the as artistic director for 20 years. Last year he was named Artistic industry. There was Augie, our champion, in the ring showing us Director Emeritus – a title he treasured. how to fight for what we wanted, believed in. Ed was a man who lived life to the fullest. Family, career, travel and Here was an actor who achieved so many firsts. He was the first the world of entertainment filled his life with joy. We will miss him. Native actor to graduate from Montreal’s National Theatre School. He starred in The Ecstasy of Rita Joe, the first play to be shown at the National Arts Centre (NAC) in Ottawa. And he realized a life-long dream of bringing an all-Aboriginal King Lear to the NAC, another first. Working alongside Augie’s King Lear as Cordelia and the Fool profoundly changed the way I look at my work, and my life. Augie’s long time colleague and personal friend Michael Fletcher shared his thoughts about Augie with me. “Augie Schellenberg’s visceral understanding that all great the- atre is about family, defined his genius as an actor. As we ran lines one night for the 1973 production of Walsh, he confided that he yearned to be at home with his newborn child. Rita Joe, Black Robe, Free Willy, Lear represented his intimate artistic longing for the unity of his family and by extension the family of everyone.” And that was Augie. He travelled with his wife, Joan Karasevich. He talked lovingly of his three daughters. And his stories! During Lear, every night backstage he would whisper, “Couldn’t do it without you, Fool.” I know it wasn’t true, but he sure made me feel like it was. And I would say back, “No Augie, I couldn’t have done it without you.” winter 2014 Equity Quarterly 19 EQ Backstage The Stage Parent Survival Guide What is an agent’s role? How do auditions work? Are there special rules for children working as actors? Those are just a few of the questions that stage parents have when their children start working professionally. Fortunately, Equity’s Canadian Theatre Agreement (CTA) has special provisions for child performers, including the recent enhancement of terms requiring the engager and the parent to address a variety of issues pertinent to the child prior to their engagement. These terms cover a variety of condi- tions from who is responsible for the child in the workplace to ensuring that there is time in the rehearsal schedule for schoolwork. But regardless of what is in the CTA, navigating the world of professional acting can still be overwhelming. Robyne Baruchel knows that world well. Both her children started acting at a young age and are Equity members. Her son, Jay, is a successful film actor, writer (Goon), director (Trailer Park Boys) and producer, recently starring in Hollywood films such as This is the End with Seth Rogen, and Tropic Thunder, with Robert Downey Jr. Her daughter Taylor is a graduate of the Dawson College Professional Theatre Program (The Dome) and also appeared in several films, including one with her brother, the Canadian film, The Trotsky. Taylor is also an acting coach. Baruchel says she learned how to guide and protect her children through their acting careers by trial and error – all the time thinking there had to be an easier way to learn the tools of the trade. So in 2002 she decided to write The Stage Mom Survival Guide. While the book deals mainly with the film and television business, it also has lots of good, practical information for parents of children working on the stage – such as how to find a reputable talent agent, and advice on whether your child (and your family) is up to the challenge and commitment of working as an actor. Above all she stresses the importance of never forgetting your role as a parent to protect your children when advocating for them. Written in a friendly, conversational style, Baruchel is able to simplify the intricacies of agreements and payments – and even includes a handy glossary of film and television language. She also has fun debunking the stereotype of the obnoxious, overbearing stage mother – and calls stage parents the unsung heroes of the film industry. As her son Jay writes in the forward to the book – even though she earned the nickname Robyne Barracuda by tirelessly defending the rights of children on set, “she got that there is a middle ground to be found, that you can, in fact, protect your child and be a pleasure to deal with on set at the same time.” Now updated and in its second printing, the guide has a new title – The Stage Mom/Parent Survival Guide – and is being used by the next generation of stage parents to help their children successfully navigate the world of professional acting.

A former agent and director of Montreal’s On-Camera Acting Workshops at The Studio with Suzanna LeNir, Baruchel is currently on sabbatical. The Stage Mom/Parent Survival Guide is available at select bookstores and online at actra.ca.

Book excerpt l Although this excerpt from Chapter 2 – How Do I Get Started? deals with the film and television industry, Baruchel’s observations can easily apply to live performance. “The film and TV industry is a wonderful, exciting and sometimes highly stressful adult envi- ronment. For an actor, it can be a roller-coaster ride of flattering attention one day and rejection the next. Keeping a steady level of confidence in who you are and what you do is a tall order for a young person. Just like the grown-up actors, they have to be able to separate their emotions and egos from their work. They have to want to do this more than anything else as they often miss out on many of the typical social activities that most kids enjoy. Then, when you combine the stress that accompanies an acting career with the regular concerns of school, well, that is a very heavy load indeed. It’s not easy for a child to stay connected to his peers, maintain his grades and be able to work at the same time. All this to say, if your child is struggling socially, emotionally or at school, this is definitely not the extracurricular activity for her.”

20 Equity quartErly wintEr 2014 EQ Flashback Playwrights’ Workshop Montréal For the last 50 years, Equity members have enriched their Tyrone Benskin and Colleen Curran careers through artistic work created at Playwrights’ Workshop Montréal (PWM), Canada’s oldest play development centre. Founded in 1963, PWM’s mission was to call attention to the lack of English Canadian playwrights and plays on Canadian stages. The brainchild of theatre artists Guy Beaulne, Dan Daniels, Carol Libman, Aviva Ravel, Walter Massey, Norma Springford and Victor Knight, PWM has since become a leading voice in the creation and development of contemporary Canadian work and new writers for the stage. Working with emerging and established playwrights and theatre companies across the country, PWM offers support in the form of workshops, residencies, one-on-one dramaturgy, playwriting units and public readings. In the last 10 years alone, nearly 150 plays developed at PWM have gone on to production across Canada and around the world. Most recent plays include Greg MacArthur’s Tyland, Paula Wing’s Robin Hood, Marcus Youssef’s Jabber, Mary Vingoe’s Refuge, Omari Newton’s Sal Capone: The Lamentable Tragedy of, and Alexandria Haber’s Life Here After , to name but a few. PWM has also played a pivotal role in the development and dramaturgy of work in translation. To celebrate its 50th anniversary, a gala was held in May at the Centaur Theatre in Montreal, hosted by actor and playwright Ann-Marie MacDonald and PWM artistic director Emma Tibaldo. PWM’s colourful history was celebrated by having five past artis- tic directors and one founder showcase a playwright and their play. These were projects PWM had been instrumental in devel- oping over five decades of developmental work. “It is an extraordinary time to look back at the successes and assess what needs to be accomplished in the next 50 years. A time to celebrate and thank all who have made PWM a home to Roy Higgins and Carol Libman in 1973 at the PWM offices creative exploration,” said Tibaldo.

Moira Wylie and Douglas Campbell at a PWM public reading 1973 PWM Open House wintEr 2014 Equity quartErly 21 Equity quartErly

RRSP FUNDS ON HOlD liST – FiNAl NOTiCE ARE yOU ON THiS liST? Please take a minute to review the names on the list below. Are you on the list or do you know someone on it? The following members have not opened an RRSP and risk losing their money. In accordance with Bylaw 107(c), failing to have a valid RRSP account will result in the assignment of the money to the Actors’ Fund of Canada. Members must act quickly to avoid losing unallocated RRSP funds collected in 2012. To open an account contact Colleen Didur, Membership Administrator, by email to [email protected] or by phone at 1-800-387-1856 (416-867-9165 in Toronto) before February 14, 2014. Joyce El-Khoury Joel Smith Francis-William Joanna Garfinkel E.B. Smith Rachel Rudd Kevin Matviw Rheaume Larry Beckwith Wendy Gail Merk Brian Markinson Joel Cochrane Richard Armstrong Valeria Kondrashov Lisa Merchant Kate Etienne Matthew Raudsepp David Schaap Richard Whittall Jorden Morris Kyle Haley David Lafleur Sam Barringer Anne Grimm Adam Cope James Cade Chris Ralph Anthony Ulc Karl Werleman Matt Owen Murray Sarah Carlsen Wendy Leard Abdelghafour Elaaziz Jonathan Shatzky Brad L’Ecuyer Gustav Andreassen Zachary Flis Paul Randolph David-Benjamin Jean Deschenes Jason Hales M.H. Olver Johnson Tomlinson Nelson Wong Cherise Clarke Joseph Bascetta Harout Markarian Alida Nyquist-Schultz Martin Villafana Catherine Gell Robyn Slade Karen Cromar Raena Waddell Austin Cole SAVE THE DATE Jamie Northan Evan Hall Jeffrey Bate Boerop Ainsley Hillyard Derek Johnson Tony Calabretta Dominique LeBlanc Charles Davidson Reed Needles Dione Taylor EQUiTy’S ANNUAl GENERAl MEETiNG Sandrine Merette Bryn McCauley John Murrell Matthew Nethersole Frank Schorpion EQ Dorian Foley Chantelle Lomness- Sarah Watson Joseph Bucci Jim Yi Jazz Testolini Seely David Shelley Alison Roy Caleb Olivieri AND HONOURS PRESENTATiONS Aura Carcueva Matt Ward Helen Koya Mitchell Pady Andee Shuster Julian Casey Stacey Bulmer Pasha Ebrahimi Cassandra Silver Dominique Bourassa FOR 2013-2014 Michael Fabiano Jeffrey Renn Julian Cervello Shira Leuchter Brownes Date: Monday, February 24, 2014 J. Patrick Raftery Ashley Turner Isabel Dos Santos Djennie LaGuerre Jennifer Gibson Leonard Foglia Sofia Tomic Josephine Chang Shanna Miller Bernard Starlight Time: 5:30-10:00 p.m. (doors open at 5:15 p.m.) Massimo Cannistraro Lance Cardinal Zoe Newton-Mason Leigh Torlage William George Michael Paterson Jessica Lewis Stephen Cassell Sean Cummings Ashley Magwood Venue: Daniels Spectrum Genevieve Dorion- Sharlene MacLean Nina Arsenault Katie Malloch Lis Soderberg Coupal Mirian Katrib Thom Jaskula Lorna MacDonald Patrick Sabongui Address: 585 Dundas St E, Toronto Milosh Rodic Tara Beagan Angela van den Cimmeron Meyer Margo Regan Doug MacAulay Kobena Acquaah- Heuval Philippe Castagner Ben Lewis Equity members in good standing are encouraged to attend Aurianna Angelique Harrison Ethan Cole Heather Braaten Paul Jeffrey Tuttle Tawiah M’Carthy Sarah Hillier Aymen Benkreira Maria Del Mar the NAGM, and to join Council in celebration of this year’s Emily Atkinson Angela Dennis William Ellis Natalie Roy Terry Kelly Vicki St. Pierre Pierre Antoine Lafon David Kaye Valsy Bergeron Peter Keleghan honourees. Refreshments will be served. Pier Kohl Simard Fred McCausland Alexandria Haber Christopher Masson Angus Kellett Darren Dolynski Charles Bender Miranda Macdonald David R Clark Tricia Cooper Brian Webb Gianna Vacirca Michael Sawarna Jordan Gasparik The NAGM (5:30-7:00) will include: Amchok Gompo Floyd Favel Catharin Carew Margaret Legere Anthony Palmer Dhondup Isaiah Bell Esabelle Yi Jou Chen Michelle Rios Rose Kristin Friday • Reports from the President and Executive Director, Jillian Willems Li Zihao Jaclyn Oakley Carlos Revored-Couto Ian Brodland Jennica Grienke Leaynne Connolly Lilli Connor Kristian Reimer John La Pierre with updates on current initiatives • Receipt of the audited financial statements and appointment of the auditor for the coming year Voluntary RRSP Contribution Deadline • A roundup of advisory committee activities so far this term It is not too late for an Equity member to make an RRSP contribution for deduction • Member resolutions, if any* from their 2013 income tax. Voluntary RRSP contributions must be postmarked on or before February 28th, Equity’s Honours (7:00-10:00) will be presented to: 2014. Cheques must be payable to London Life Insurance Company and mailed to: • Philip Akin, Janet Irwin and Kenneth Welsh – Group Retirement Services, 330 University Avenue, Toronto, ON M5G 1R8 Life Membership Please ensure that your name and certificate number are clearly marked on the front • Gail Asper – Honorary Membership of the cheque. Questions regarding voluntary RRSP contributions may be directed to • Don Wright – The Larry McCance Award Colleen Didur, Membership Administrator, by email to [email protected] or by • Stage Managing the Arts (S.M.Arts) – phone at 1-800-387-1856 (416-867-9165 in Toronto). The CAEA Award of Distinction RSVP By EMAil: [email protected] – indicate your Want to receive an electronic version of EQ? attendance for (a) AGM, (b) Honours & Awards, or (c) both. Equity offers electronic access to Equity Quarterly. * For information about introducing a resolution, If you would rather read an online version of EQ – login to please contact President Allan Teichman by email to Member Only zone on EQUITYONLINE (www.caea.com) and [email protected] or by mail to Equity’s National Office. update your EQ delivery options.

Publications Mail Agreement #40038615 Return undeliverable Canadian addresses to: EQ Canadian Actors’ Equity Association 44 Victoria Street, 12th Floor Toronto, ON M5C 3C4 [email protected]

EQ is shipped in a biodegradable polybag 2 EQUITY QUARTERLY 0 1 DUES REFERENDUM 4 EQ

Child’s Play

Please detach this special supplement from your copy of EQ for easier reading. Please detach this special supplement for easier reading.

DUES 2 0 1 REFERENDUM 4 Why the “torn” cover? After 14 years without an increase in dues, current rates are no longer sufficient to cover everything you want us to do for you. In order to respond to this financial shortfall, Council will be conducting a member referendum on an increase in both working and basic dues this coming February.

Some history on Equity’s dues Dues were last adjusted in 1999, when basic $170 dues went from $50 per year to $135 per Basic Dues Compared with Costs Over Time year. Equity has successfully operated on a 160 breakeven basis since then. Until recently, that is. Nothing catastrophic Costs 150 occurred; it’s just that inflation eventually Dues caught up with us. Paying for 2013 expenses with a 1999 dues rate is no longer possible, 140 and we have experienced growing deficits for the past two years. 130 The dues proposal Council proposes to increase basic dues to 120 $180, coupled with an increase in working 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 dues to 2.25%. These rates will then hold steady for at least six years. Where does the money go? We went with a combined basic and working dues format based on All the operational costs of Equity are paid for by its members. Dues member feedback, which suggested that a modest increase to basic cover several rounds of negotiation and ratification each year, review dues, coupled with a small increase to working dues, would be an and data entry of all engagement contracts, advocacy, administration appropriately balanced approach. of the insurance and RRSP plans, all communications to the members, At Council’s request, staff prepared five different options for a dues membership meetings, all other programs and services, the gover- adjustment. All were designed to address past and future inflation, with nance of the association, general administration of the association allowances for new initiatives, and the ability to pay back accumulated (website, membership, accounting, etc.), and all the office overhead. deficits. As might be expected, the vast majority of expenses are labour- The final decision on rates was made by Council at our June 2013 related – Equity is a service organization, so the largest cost is that of meeting. We used real time financial projections to adjust the rates to the people necessary to provide the services. Compared with similar what Council believed the members would regard as fair, appropriate associations, our staff complement is proportionally quite small, and and bearable across the whole range of member incomes. almost all of our “departments” consist of a single person. So, what will the proposed Members wishing to see a more change in dues look like on your detailed overview of Equity’s finances paycheque? For all members, the can find it online at www.caea.com semi-annual dues billing will go up Council proposes to increase basic in our News section, along with the to $90 or an increase of $3.75 per other National AGM reports. month. On the working dues side, a dues to $180, coupled with an member in the middle of our income Has Equity looked at other range, earning about $15,000 per increase in working dues to 2.25%. revenue options? year, would see working dues go up Members frequently ask if Equity by $37.50 for the whole year. These rates will then hold steady for can’t get some kind of operating grant like theatres do. Not really. Have contractual fees kept at least six years. The only subsidies available to arts up with inflation? organizations such as ours are short- Yes, they have. Take a look at scale term new initiatives grants. However, for an actor working in a CTA/ITA category C house, which is typical starting something we have no money to maintain doesn’t make finan- of numbers across the board. In 1999, the scale for a C house actor cial sense. There is also no special allotment of funds for professional was $623.18 per week; today it is $912.26 per week. Adjusting for the associations, and Equity long ago decided not to compete with our fee structure change in 2003, members have received an increase in own members for grant money. the minimum fees of around 36%, which is actually a bit higher than While dues cover the lion’s share of expenses, there are a few, smaller the inflation rate for the same period. revenue sources as well, and we have looked at them all. Of these, there are almost none that can be changed to a degree that would make • using an automated attendant phone system, instead of a receptionist any meaningful difference in the overall revenue picture. Council will, • lengthening standard wait times for staff response however, be implementing a new administration fee for arrears that we • discontinuing printed hardcopy scale agreements, except by request need to collect through engagers, and increasing reinstatement fees for and charged at cost recovery members who have had their membership suspended. • increasing the late dues payment penalty

On the flip side, what can the members expect if Since 1999, members have received the dues increase passes? First, Equity would pay off accumulated debt from the recent deficits. an increase in the minimum fees Second, we would almost certainly hire another, desperately needed, staff person to help us work on new initiatives such as: of around 36%, which is actually • improvement in the website • an online directory to help engagers contact members a bit higher than the inflation rate • an “availability” list for members • online filing of contracts and other engagement documents for the same period. • restoration of Council meetings in locations other than Toronto • restoration of professional development cuts • projects to address issues of diversity, harassment and audition What about the expense side of the ledger? access The basic dues amount that used to purchase $135 of business ser- All of these ideas, and many more, have been sitting on the shelf vices, supplies and manpower in 1999, now only purchases (compara- for lack of staff to implement them, and money to run them. Better tively) $90 worth. We have steadily pruned expenses wherever possible resources would mean that we could get to work on them. to keep pace with this reduction in purchasing power. In the past three Currently, our staff is working at capacity and beyond. At the best years alone we have: of times we have precisely enough people to keep the organization • elected to not replace one senior staff member who left, despite the running day-to-day. However, if someone is on vacation or ill, that fact that we desperately needed someone at that level typically means a whole “department” is shut down for a day or more, • cut an additional part-time position and it takes that much longer to get you the answer or help you need. • cut EQ magazine from four to three issues per year Having the ability to hire additional staff would also help us to generally • discontinued our one Council meeting per year held outside Toronto improve service to the members. • cut staff travel to the various regions • cut the professional development subsidy by 75% When is the referendum, and who gets to vote? • changed the honours ceremony to be held biennially, and combined The timeline and other details about the referendum are listed on the it with the national AGM to save costs back page of this special supplement. All life members and regular • changed how Council apportions resources to committees and members in good standing are eligible to vote, and voter kits will be advisories going out early in the new year. On top of that, Council recently approved another $35,000 in savings, including potentially discontinuing all remaining professional develop- ment subsidies and the honours program. Members wishing to see What will happen if the dues increase does not pass? a more detailed overview of Equity’s We have reached the point where paring costs no longer does the trick – Council and staff would need to make substantial changes to finances can find it online at services and benefits to bring expenses in line with revenue. The following list of options has been raised for future consideration. www.caea.com, linked from the At this point, none have been fully reviewed or approved by Council, but all are potential outcomes. Dues Referendum info page. • closure of the western office • moving EQ to an electronic-only format • discontinuing e-drive How can members can ask questions or get more • discontinuing support of regional theatre awards information? • discontinuing support for PAL and the Actors’ Fund We will be holding a series of member meetings across the country in • no member assistance or advice for engagements under reciprocal January and early February. The Toronto meeting will also be webcast, agreements with AEA, ACTRA or UDA so that members across the country will have an additional opportu- • reducing/eliminating contract review nity to attend. As well, members can contact the Dues Referendum • having minimal engagement follow-up prior to releasing security; Committee any time through either office, or at duesreferendum@caea. members would need to personally identify any outstanding pay- com. We want you to be able to make an informed decision, so please ment or other issues get in touch. EQUITY QUARTERLY

DUES 2 0 1 REFERENDUM 4 Council Connection For information and updates on the referendum, and all other Council blog business, look for the Council Connection EQ and Dues Referendum links at www.caea.com Dues Referendum Timeline Update your contact information at www.caea.com Equity members are advised to check their contact information online January 19 Montreal Dues Forum in the Members Only zone of EQUITYONLINE. The last day to update January 20 Ottawa Dues Forum your address is January 14 , 2014, in order to be mailed a voter kit. Halifax Dues Forum January 26 Winnipeg Dues Forum Are you in good standing? January 27 Regina Dues Forum Equity members must ensure that they are in good standing as of Saskatoon Dues Forum February 13, 2014, in order to be eligible to vote in the dues referendum. January 29 Voter kits in mail Membership status is posted in the Members Only zone of EQUITYONLINE at www.caea.com online. Members may also con- February 2 Calgary Dues Forum tact the membership administrator at [email protected] for Edmonton Dues Forum further information. February 3 Voting opens (8:00 a.m. AT) Vancouver Dues Forum Where to go with a question or a comment February 10 Toronto Dues Forum Need to know more, or want to contact the Dues Referendum February 13 Last day to be enumerated Committee? Drop us a note at [email protected], or (5:00 p.m. ET) leave a message on the dues referendum extension at 1-800-387- 1856 (416-867-9165 in Toronto). We’ll get back to you promptly. February 20 Voting closes (5:00 p.m. PT) February 21 Results Announced Voter assistance Any eligible voter who has not received a voter kit by Further information regarding cross February 7, 2014, should contact election voter assistance at country member Dues Forums will be published on EQUITYONLINE [email protected]. Or telephone the Voter HelpLine (www.caea.com) as it becomes available. at 1-800-387-1856 (416-867-9165 in Toronto). The HelpLine is staffed 9:00 a.m. to 5:00 p.m. ET weekdays.

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