EQUITY QUARTERLY WINTER 2013

EQUITY CO-HOSTS FIA 2012 CONGRESS OPERA ATELIER IN FRANCE EQ DISABLED PERFORMERS SPEAK OUT

International performers unite! ARGENTINA AUSTRALIA AUSTRIA AZERBAIJAN BELARUS BELGIUM BRAZIL CAMEROON CANADA CHILE COLOMBIA CROATIA DENMARK

ECUADOR ENGLAND FINLAND FRANCE GEORGIA GERMANY GHANA HUNGARY IRELAND ISRAEL JAPAN KAZAKHSTAN KYRGYZSTAN LATVIA MADAGASCAR THEY TRAVELLED FROM MORE THAN 50 COUNTRIES

MOROCCO MOLDOVA NAMIBIA NEPAL NETHERLANDS NEW ZEALAND NIGERIA AROUND THE WORLD TO SHARE INFORMATION, DEVELOP BEST PRACTICES NORWAY PANAMA PERU POLAND PORTUGAL ROMANIA RUSSIA SERBIA AND WORK TOGETHER FOR IMPROVED ECONOMIC, ARTISTIC, SOCIAL AND LEGAL MONTENEGRO SLOVENIA SOUTH AFRICA SPAIN SWEDEN SWITZERLAND TURKEY UKRAINE UNITED STATES RIGHTS FOR PERFORMERS. CO‑HOSTED BY EQUITY, ACTRA AND UNION DES ARTISTES, URUGUAY ARGENTINA AUSTRALIA AUSTRIA THE 2012 INTERNATIONAL FEDERATION OF ACTORS (FIA) 2012 CONGRESS BROUGHT AZERBAIJAN BELARUS BELGIUM BRAZIL CAMEROON CANADA CHILE COLOMBIA CROATIA DENMARK PERFORMERS AND THEIR UNION REPRESENTATIVES TOGETHER FOR ONE SPECIAL ECUADOR ENGLAND FINLAND FRANCE GEORGIA GERMANY GHANA HUNGARY WEEK IN TORONTO TO DISCUSS NEW WAYS TO SUPPORT PERFORMERS, FIGHT IRELAND ISRAEL JAPAN KAZAKHSTAN KYRGYZSTAN LATVIA MADAGASCAR MOROCCO MOLDOVA NAMIBIA DISCRIMINATION AND ENSURE DECENT WORKING CONDITIONS ACROSS THE GLOBE.

NEPAL NETHERLANDS NEW ZEALAND NIGERIA NORWAY PANAMA PERU POLAND PORTUGAL ROMANIA RUSSIA SERBIA

MONTENEGRO SLOVENIA SOUTH AFRICA SPAIN SWEDEN SWITZERLAND TURKEY UKRAINE UNITED STATES URUGUAY EQUITY QUARTERLY WINTER 2013 EQ VOLUME 6 NUMBER 3

Home at last for 2 PRESIDENT’S MESSAGE 6 3 NOTES FROM ARDEN R. RYSHPAN Armide 4 LETTERS TO THE EDITOR 5 EQ MOVES 8 FIA 2012 Congress 16 EQUITY TWINNING PROJECT makes its mark 17 EQ BACKSTAGE 18 FONDLY REMEMBERED 13 Tackling tough 20 EQ ANNOUNCEMENTS issues at FIA 21 EQ FLASHBACK

Equity members can submit letters to the editor via email at [email protected]. The deadline for Coming issue: SPRING 2013 EQ submissions is Monday, February 18, 2013. 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 2013 – Volume 6, 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 Office 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 Office fight 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 benefit plans, information and support and acting as an advocate. woffi[email protected]

Inside Front Cover: Photos from the International FIA 2012 Congress, Toronto, September 27-30, 2012 President’s message

By the time you read this into the next term. Congratulationscolumn, to thea new incoming group ofteam. 22 members will be carrying the Council torch It has been an honour serving both Council and the membership as President for the past six years. However Council is, of course, far from a solo act. I cannot possibly overstate the energy, wisdom and persistence brought to the table by each of the Councillors, as they ploughed their way through a (seemingly) unending agenda. Aside from those topics previously reported on, Council has used the final meetings to conclude several more and to consolidate our to-do list, so that those few issues still under discussion will seamlessly carry over for the new Council. With the “main event” elections behind us, one of Council’s first items of business will be to elect its officers for the term. I thought it might be timely to take part of this final column to talk a little bit about how that happens, and what the officers do. Council has four officers: President (CGO), First Vice-President (Advisory Liaison), Second Vice- President (Member Liaison) and Secretary/Treasurer. Unlike with many boards, these are not fforma positions. Each officer has a specific job description assigned to him or her by Council, and all are focused toward assisting Council with its work. Council relies heavily on this, and officers are pro evaluated several times per term. Council is also unusual in that it has no Executive Committee, nor any other kind of Über-Council; individual officers have no extraordinary authority. The clearly delineated responsibilities make it easier for any Councillor, new or veteran, to run for and serve capably in any capacity for which he or she has the interest, energy and time to handle the job over the course of the term. And the Council-focused approach ensures that there is only one clear governance authority: Council. On the first meeting day of the new term, nominations are opened for all officers. Candidates can nominate themselves or be nominated by other Councillors. A session is held the next day to answer any questions about the various jobs, and then Council proceeds to election at the beginning of the third day. Voting starts with the President and concludes with the Secretary/Treasurer, and candidates for each get some time to speak and to field questions. Unsuccessful candidates for any office may run for the remaining spots. Of course, the first meeting is not all business: the new Council will also host the presentation of the annual Equity Honours. These are given to members and others in our community that the Equity membership has let us know are worthy of special recognition. For 2012, Council is pleased to announce that Life Memberships will be presented to both Evelyne Anderson and Marti Maraden, and the Larry McCance Award will go to Dawn Obokata. Vancouver philanthropist, Martha Lou Henley, has been chosen for Honorary Membership in recognition of her outstanding support of opera across the country. Congratulations to each of our honours recipients, and all the best to the new Council!

Allan Teichman President

2 EQUITY QUARTERLY WINTER 2013 Notes from Arden R. Ryshpan

We are pleased to feature the recent FIA Congress as the subject of this issue of EQ. While I have long known the value of our participation in this international organization, the positive response of the members who attended as del- egates was a huge reminder of the impact such an event can have on those who have not had the experience of spend- ing five days in discussion with international colleagues. Here are their thoughts in their own words: “While attending the FIA Congress it was quickly apparent that many countries around the world still consider performers second class citizens and/or criminals. The importance of perform- ers associations and unions to continue working together in the fight to have our voices heard and our work not only respected but considered of value, no matter what the sex, age, religion, ability, sexual orientation, colour of an artist, etc., is paramount. And for issues that are closer to home it’s also a great opportunity to exchange ideas with our sister unions, AEA, British Equity, and Australia’s MEAA and New Zealand Equity.” – Kerry Ann Doherty “Membership in FIA helps the world’s associations of performers and related artists band together at an international level, to achieve goals that most cannot accomplish alone, and it provides Equity with a voice on the global stage. It also gives those as well off as Equity the opportunity to appreciate how fortunate we truly are, viewed in the context of the whole. It was an hhonour tto bbe one of the co-hosting organizations of the quadrennial FIA Congress. Along with fellow presidents Raymond Legault (UdA) and Ferne Downey (ACTRA), I had the opportunity to welcome association delegates from more than 50 countries.” – Allan Teichman “Common struggles: That’s what the FIA Congress highlighted for me. The struggles that our Association faces are the same struggles that our sister associations and unions are facing around the world. Whether it be advocacy for the status of the artist, lobbying for fair tax legislation or ensuring safe workplaces, you can be sure that other associations are out there fighting for the same issues. Being in the room amongst the various unions’ elected and staff leaders served to remind me: We are not alone in our work. We are part of a global community of artists, working together for equitable treatment of artists.” – Evan R. Klassen “Apart from the warm, fuzzy feelings of solidarity between artist unions and associations from across the world, FIA was a sobering experience. It exposed our Association’s strengths and weaknesses, framed in a global context. Equity is admired by her peers for her sophisticated agreements with engagers. Equity is behind in embracing current media to engage its membership in practical and meaningful ways. Personally, I was reminded that though our struggles are great (and seem monumental at times), there are artists risking their lives every day to practice their craft, and in their attempts to organize themselves to pursue equitable treatment.” – Kimberley Rampersad These meetings also serve to remind us how extraordinarily lucky we are to live in a society where trade unions are not illegal, where we have long standing bargaining relationships with engagers who do not refuse to bargain actual binding arrangements with us, all of which takes place in a country that while not perfect, provides for equality legislation for all. We aren’t perfect either – no association is – and there are always things we would like to change both internally and within the arts and culture sector. But Canada is seen as a model of how things can be structured and work. And for that, we should be very proud.

ArArdenden R. RRyshpanyshpan Executive Director

WINTER 2013 EQUITY QUARTERLY 3 Letters to the editor

Expect the unexpected support you offered me during my LETTERS on subjects of concern to Equity members will be considered for publication. Letters must be signed, but names will be withheld on When Samuel Odoi-Mensah, national difficulties in Canada. You stood firmly request for those letters that may affect members’ employment. Letters that include artistic criticism of Equity members or letters that are antagonistic or president of the Ghana Actors Guild, by me, making me feel at home. accusatory, either implied or expressed, may be withheld or edited at the discretion of the editor. Opinions expressed in Letters to the Editor are not experienced kidney failure at the I arrived safely on Sunday night in necessarily those of the Association.

FIA Congress – Equity, ACTRA and Ghana in good health. I have seen my PHOTO AND PRODUCTION CREDITS Inside Front Cover and pages 1, 8, 9, 10, 12, 14, and 16: FIA 2012 FIA came to the rescue. Samuel did doctor as arranged and everything is Congress photos: Chris Blanchenot, Jag Gundhu. not have any health insurance, so fine. Once again thank you for your Page 5: Photo: Katherine Fleitas. ixok’ (2010-12) by Carmen Samayoa and Edgar Flores with music by Brandon Valdivia produced by Aluna St. Michael’s Hospital in Toronto gen- support. Theatre and Mayahuel Tecozautla. Directed by Beatriz Pizano with choreography by Olga Barrios. Cast: Mayahuel Tecozautla. Stage erously covered some of his in-patient Samuel Odoi-Mensah managed by Gia-Fabiola Nahmens-Urruticoeche. Pages 6-7: Photos: Bruce Zinger. Armide (2012) by Jean-Baptiste Lully care costs through its foundation’s National President, and Philippe Quinault (libretto) produced by Opera Atelier. Directed by Marshall Pynkoski with choreography by Jeannette Zingg and fight compassionate care program, and FIA Ghana Actors Guild direction by Jennifer Parr. Cast: Colin Ainsworth, Peggy Kriha Dye, covered the cost of a direct flight home Aaron Ferguson, João Fernandes, Vasil Garvanliev, Carla Huhtanen, EQ reduced to three issues Olivier Laquerre, Meghan Lindsay, Curtis R. Sullivan and Artists of so Samuel wouldn’t miss his next dialy- Atelier Ballet. Stage managed by Arwen MacDonell assisted by Jessica As a cost-saving measure, Equity will Severin and Nan Shepherd. sis treatment. Samuel is doing well, as Page 13: Photo: Bruce Monk. White Christmas (2010) with music and reduce the number of EQ – Equity lyrics by Irving Berlin and book by David Ives and Paul Blake produced you can see from the letter below: by the Royal Manitoba Theatre Centre. Directed by Robb Paterson with Quarterly issues published annually original Broadway choreography by Randy Skinner recreated by Emily Morgan. Cast: Thomas Alderson, Matthew Armet, Kyle Blair, Timothy Dear Arden from four to three, effective immedi- Gledhill, Kalie Hunter, Kayla James, Kevin Klassen, Jeffrey Kohut, Lindsay Kramer, Walter Learning, Stan Lesk, Jennifer Lyon, Stephanie [Executive Director Arden R. Ryshpan], ately. Budget limitations have regret- Manchulenko, Marisa McIntyre, Stephen Patterson, Paula Potosky, I hope all is well with you and my tably required this cut to member Kimberley Rampersad, Jan Skene, Justin Stadnyk, Gordon Tanner, Joel Tanner and Ryan Wilson. Stage managed by Evan R. Klassen assisted by colleagues of Canadian Actors’ Equity service for an indefinite period. EQ Melissa Novecosky, Leslie Sidley and Jessica Freundl (apprentice). Page 15: Photo courtesy of Simon Burke. Association. I wish to express my will now be published in the Spring, Page 18: Photo of Patricia Moffat courtesy of DJ Hamilton; Photo of sincere gratitude to you and all col- Summer and Fall/Winter. Marc Desormeaux courtesy of Great Canadian Theatre Company. Page 19: Photo of Frank Glenfield by Benjamin Laird; Photo of Paul leagues of Equity for the wonderful Executive Editor O’Sullivan courtesy of Linda Kash. Page 21: Photos courtesy of the Canadian Conference of the Arts.

EQUITY’S 2012-2013 NATIONAL 2012-2015 EQUITY COUNCIL ANNUAL GENERAL MEETING Officers: Council President: Date: Monday, February 25, 2013 Allan Teichman ([email protected]) Time: 7:00-10:00 p.m. (doors open at 6:30 p.m.) First Vice-President: Venue: Gladstone Hotel (Ballroom) Kerry Davidson ([email protected]) Location: 1214 Queen Street West, Toronto, ON Second Vice-President: Aaron Willis ([email protected]) All Equity members in good standing are encouraged to attend. Apprentices Secretary/Treasurer: are also welcome to take part. Please bring your current membership/ Evan R. Klassen ([email protected]) apprentice card to show at the door. Equity’s Council for 2012-2015 is comprised of The NAGM will be divided into two segments. The first portion will take care 22 Councillors from 13 regions across Canada, of necessary business items and be kept as concise as possible. It will include: and meets 10 times per year. 8 Reports from the President and Executive Director, with updates on cur- 2012-2015 Council rent initiatives British Columbia Saskatchewan Eastern Ontario and

8 Receipt of the audited financial statements and appointment of the audi- and the Yukon Angela Christie the Outaouais tor for the coming year Scott Bellis Geoff McBride Kerry Davidson Manitoba / Nunavut 8 Member resolutions* Quebec Jane Heyman Kimberly Rampersad Howard Rosenstein The second half of the evening will be a presentation and Q&A on Equity’s Western Opera Ontario new insurance plan, and a discussion on Council’s plans for a review Wade Nott Hume Baugh Atlantic Robert Seale of dance representation. Members with an interest in these topics are Alberta South Nigel Bennett encouraged to attend. Simon Mallett Mark Brownell Eastern Opera Evan R. Klassen Refreshments will be served. Alberta North and Yanna McIntosh Robert Pel the Northwest Kristina Nicoll * For information about introducing a resolution, please contact President Allan Teichman at Territories Vinetta Strombergs Dance [email protected], or by mail to Equity’s National Office. Garett Spelliscy Aaron Willis Bill Robertson

4 EQUITY QUARTERLY WINTER 2013 EQ Moves Live performance across the country

Equity presented its annual recognition awards on December 3 in Toronto, Ontario. Winnipeg actor Evelyne Anderson and Stratford-based director Marti Maraden both received life membership in the Association in recognition of their distinguished careers in the perform- ing arts. Equity bestowed long-time Vancouver arts patron Martha Lou Henley with Honorary Membership in acknowledgement of her remarkable support of arts and culture. Former three-term Councillor and Council Vice- President Dawn Obokata was the recipient of the Larry McCance Award for her outstanding contribution to the Association and its mem- bership. Visit EQUITYONLINE to see photos from the Honours Award evening.

Eric Coates, president of PACT, has stepped down from his position of artistic director of the Blyth Festival in Ontario to become the new artistic director of Ottawa’s Great Canadian Theatre Company.

Ken Gass was terminated as artistic director by the Board of Factory Theatre of Toronto and has been replaced on an interim basis by Nina Lee Aquino and Nigel Shawn Williams. Gass recently announced plans to revive the Canadian Rep Theatre project dedicated to Mayahuel Tecozautla in the Aluna Theatre/Mayahuel Tecozautla production of ixok’ new and classical Canadian plays. his $100,000 prize money with protégés Jason Hand and Raha Elaine Calder is the new executive director of the Shaw Festival Javanfar, who will split $25,000. in Niagara-on-the-Lake. Calder held this position from 1990 to 1994, and is returning to Canada from the Oregon Symphony In early fall, after eight years with Equity, Business Representative where she was president. Gwen Bartleman left the Association to become program manager at Ryerson Theatre School. Alistair Hepburn, our new Business Alisa Palmer has been appointed artistic director of the English Representative in the National Office, joined Equity in December. section of the National Theatre School of Canada, replacing In other staffing news, Christopher Blanchenot and Meaghan Sherry Bie. Palmer has served as artistic director of Toronto’s Preston were promoted to the newly created position of Junior Nightwood Theatre and recently completed eight seasons at the Business Representative in late summer. Jeremy Civiero joined the Shaw Festival. staff as the new Communications Coordinator in October, replac- Long-time Councillor Nick Wyman has been re-elected president ing Chris. of Actors’ Equity Association in the U.S. The 2012 Stage West – Equity Emerging Theatre Artist The winner of the largest theatre award in Canada – the 2012 Award winner was Mayahuel Tecozautla of Toronto. This Elinore & Lou Siminovitch Prize in Theatre – is lighting designer award has a $2,000 prize and recognizes an Equity Robert Thomson of Montreal. This is the final year for the member of three years or less who has already made award, which has been presented for 12 years. Thomson shares a significant contribution and impression as an artist.

WINTER 2013 EQUITY QUARTERLY 5 Opera Atelier brings Home at last for Lully’s opera of doomed love

Olivier Laquerre as Chevalier Ubalde with Artists of Atelier Ballet

Jack Rennie as Love and COMPOSER JEAN-BAPTISTE Lully spent Peggy Kriha Dye as Armide much of his life working in King Louis XIV’s court but, to his great disappointment, the King did not attend the debut of Armide in 1686 when it played at the Théâtre du Palais-Royal in Paris. So this May, more than 300 years later, Lully’s spirit could be felt when Toronto’s Opera Atelier staged three performances of the famous opera about the doomed love affair between the Muslim warrior princess Armide and the Christian knight Renaud at the restored Opéra Royal de Versailles – at Louis XIV’s palace – just outside of Paris. “I was awestruck, standing there in front of the castle and per- forming in a space that was created centuries ago,” said Carla Huhtanen, who played the roles of Phénice and Lucinde. “You could really feel history in the air.”

6 EQUITY QUARTERLY WINTER 2013 Armide to Versailles BY BARB FARWELL

that on purpose. We were doing it as it was done in the old days. Soprano Carla Huhtanen (centre) was the first member of Opera Atelier to sing on stage at Versailles It was pretty amazing.” There was one tricky piece of flying that the French crew just couldn’t get, but fortunately Opera Atelier had brought archival material with them from the performances in Toronto, so the crew could see what had to be done. “It was a bit nerve-rack- ing,” admits MacDonell. “We didn’t know what would happen, so we just decided to roll with whatever we could do – and it turned out perfectly.” The theatre, which holds 900 people, has very high walls, which makes the audience feel close to the stage, creating a very intimate atmosphere. It also has a raked stage, which improves the view for the audience, but created a challenge for the crew and performers. “It was a great space, but we’re not used to playing on a rake. It really affects things, such as the rolling set pieces and the dancers.” And while the acoustics in the theatre are fantastic for the audience, the orchestra was housed in a five-foot deep pit mak- ing it hard for the singers to hear the music. This was solved by shifting around the monitors for the performers and turning them up, said MacDonell. Besides the technical differences, there was also the difference in language. The opera is performed in French, and although many of the performers were bilingual, there are differences between the way French is spoken in Canada and European French. “We were not sure how we would be accepted,” says Olivier Laquerre, who performed the roles of Artémidore and Chevalier Ubalde. “We were aware that we were exposing our- selves to criticism.” On top of that, Opera Atelier was also giving the discerning Huhtanen also had the thrill of singing the first lines of the Paris audience an experience they didn’t usually have – a 17th opera. “I felt like it was the Olympics, and I was the first singer century opera created for a modern audience that still stayed true to represent Canada,” she laughs. to the play and its original time period. The Théatre Royal was brought up to modern standards in the “We were a bit scared, but it went over very well,” says 1950s, and still has many of the features it had 300 years ago. Laquerre. “We’ve never had any ovations like that in Toronto. Huhtanen had a chance to explore the maze of underground People were clapping in rhythm and hitting the floor. I’d never floors and corridors directly underneath the stage. “It was like see anything like that. It was an incredible success. the ruins of a Roman arena. When a character from the ‘other’ “To perform Armide for the first time in Versailles, to do some- world appeared, they came up in an elevator from underneath thing that would have been performed there, in a theatre built the stage. The elevators and floorboards were surely modern – for kings – it was an amazing feeling.” but they looked ancient!” “The moment I walked out on stage I burst into tears,” says There was also an old-fashioned rigging system of hemp lines MacDonell. “Our show was meant to be performed on that to move around curtains, lights and sets on stage. “There were stage.” EQ no brakes, and we are used to something that is more exact,” After performing in Toronto in April and Versailles in May, Opera Atelier’s Armide said stage manager Arwen MacDonell. “But the theatre is like went on to play at The Glimmerglass Festival in upstate New York.

WINTER 2013 EQUITY QUARTERLY 7 THE PERFORMING WORLD COMES TO CANADA EQUITY CO-HOSTS THE

Top row (L to R): FIA Congress participants; Arden R. Ryshpan, Equity Executive Director; The Honourable David C. Onley, Lieutenant Governor of Ontario, speaking at the World Opening Reception; Bottom row (L to R): Carlynn de Waal-Smit, Secretary, South African Guild of Actors; FIA General Secretary Dominick Luquer; The hosts – ACTRA BY BARB FARWELL President Ferne Downey, UdA President Raymond Legault and Equity President Allan Teichman

THIS SEPTEMBER more than 150 per- formed – that the congress has been held in North America. formers and representatives from performers’ trade unions, guilds Co-hosted by Equity, ACTRA and Union des Artistes (UdA), this and associations from 50 plus countries around the world met in congress also marked the election of ACTRA national president Toronto for the FIA 2012 Congress. and Equity member Ferne Downey as FIA president, taking over FIA, the International Federation of Actors, is an interna- from Agnete Haaland of Norway. tional, non-governmental organization that represents perform- Downey will be working with the three-person FIA team of General ers’ unions and voices the professional concerns and interests Secretary Dominick Luquer, Deputy General Secretary Dearbhal of actors, broadcast professionals, dancers, singers, variety and Murphy, and Policy Officer Stanislas Ide, who work out of Brussels. circus artists and other performers. Once every four years FIA convenes a week-long congress to What happened at this year’s Congress tackle arts and culture issues that are important to their mem- Some of the most important issues discussed this year were diver- bers. This is only the second time since 1952 – when FIA was sity, non-discrimination and freedom of expression. Although

8 EQUITY QUARTERLY WINTER 2013 20TH FIA CONGRESS

Top row (L to R): Newly elected FIA President Ferne Downey; Kimberley Rampersad (Equity Councillor for Manitoba/Nunavut), Evan R. Klassen (Equity Councillor for Eastern Opera), Equity Executive Director Arden R. Ryshpan, Secretary General of Oruuano of Namibian Artists Union Vincent Manyando Mwemba, Equity President Allan Teichman, and former Second Vice-President Kerry Ann Doherty (Equity Councillor for Ontario); Bottom row: (L to R): Former FIA President, Agnete Haaland of Norway; Stephen Spence, Assistant General Secretary, Equity U.K., with Mountie

these principles have always guided FIA, the organization real- benefit of a union contract, or no contract at all – and under ized it needed to become more outspoken and better prepared shockingly unacceptable terms and conditions, even though to take action when required. imported talent may be properly contracted through their home A decision was made to launch an international alert network unions. to raise awareness and generate support for performers who are This recently happened in New Zealand, where The Hobbit threatened – and even subjected to physical punishment – for was being filmed. Through international pressure brought on by opinions expressed through their art. the members of FIA, New Zealand Equity was ultimately able to “The time has come to give performers an equal chance to get the producers to sit down and talk to them. (You can read express their talent and their convictions – free from harassments, more about FIA’s involvement in The Hobbit on page 14.) discriminatory treatments and scorn,” says Luquer. “As our producers consolidate their power – becoming large, Another area of focus was large international film and televi- vertically integrated corporations with ever-greater international sion co-productions, where local talent often work without the reach – professional performers must build even stronger inter-

WINTER 2013 EQUITY QUARTERLY 9 THE PERFORMING WORLD COMES TO CANADA

Equity President Allan Teichman in the historic Ed Mirvish Theatre, which was generously donated to hold the World Opening Reception

Rolf Rembe, former General Secretary of FIA “We have an obligation to assist our colleagues who are not as fortunate because this improves the lives, working conditions and societal perception of artists and their work around the world.”

— Arden R. Ryshpan, Equity Executive Director national solidarity and work toward global agreements to protect “Generally speaking, we tend not to interfere with the work of performers’ rights,” Downey told the Congress. our affiliates nationally. We could not possibly deal with the com- With the support of other artists from around the world, plexity of national regulations, business practices, and cultural and unions can stand tall and face powerful productions they would linguistic specificities. However, we do support members regularly have trouble confronting on their own. “This can go a long in very targeted campaigns or industrial actions by raising aware- way toward raising standards for all performers,” says Luquer. ness and international solidarity, and by guiding them toward best “Despite the high level of protection of many performers around practices that they can implement in their respective jurisdictions.” the world, the international nature of this industry means we are Therefore most of FIA’s work focuses on issues with a transna- only as strong as our weakest member.” tional nature, and relevant to many FIA affiliates. This can either stem from regional decision-making (like the EU, where policies Global vs. local are of immediate concern to 27 countries); or from the work of Although there are many issues that unite all performers – no international governmental organizations that establish global matter where they live and work – each country also has their norms of direct relevance, such as the World Intellectual Property own unique challenges. For FIA it can become a balancing act Organization or the International Labour Organization; or from to determine which issues to tackle. Inevitably it comes down to issues like international co-productions. making strategic choices. “Advocacy work for such a diverse organization is not always “We constantly need to prioritize to make the best of our lim- easy. We often need to find common denominators everyone ited resources, while providing a valuable service to our members can feel comfortable with and that we can express as the voice and performers worldwide,” says Luquer. of performers worldwide,” says Luquer.

10 EQUITY QUARTERLY WINTER 2013 Priorities coming out of Congress One key priority for the next four years is to improve the way FIA REGIONAL/LINGUISTIC FIA communicates to both members and the public by revamp- GROUPS ing its website and taking advantage of the latest technologies, interactive tools and social media. In order to encourage closer cooperation and networking FIA is also going to work hard to ensure that national gov- among members of the same region or language, FIA has ernments ratify the WIPO Beijing Treaty on Audio-Visual a number of groups that meet regularly on common issues Performances. This landmark treaty, that grants meaningful eco- and concerns. nomic and moral rights to performers around the world, needs FIA-NA (North America) 30 ratifying countries for it to come into force. Canada and the U.S. meet once a year with the English- Ferne Downey was part of the FIA delegation that attended speaking group of the U.K., Ireland, South Africa, Australia the Diplomatic Conference in Beijing last June, and gave the and New Zealand. Current issues involve live theatre, tour- opening day speech on behalf of all the actors of the world. ing, cruise ships, member created/produced productions, “It was as thrilling as it was intimidating,” says Downey. digital media and revenue, international co-productions, “International diplomacy is a slow and careful game – 20 years in this case. But we all kept the goal in mind – intellectual property diversity, commercials and videogames. rights of audiovisual performers must be valued and respected... FIA-LA (Latin America) all over the world. Issues involve ethnic and gender discrimination and sharing “Next steps – we need to persuade our respective national best practices to build into various media reforms. They are governments to sign the treaty and work toward ratification. The also working towards a “Latin American union passport” to Beijing Treaty needs to be finalized before a June 24, 2013, dead- extend trade union services and support to members tem- line.” (To read the treaty please go to www.fia-actors.com/en/ porarily working elsewhere in the region, and developing policies and click on WIPO AV Diplomatic Conference.) a comprehensive health and safety manual for performers FIA also wants to work more closely with the International and stagehands. Labour Organization (ILO), the United Nations agency that brings together governments, employers and workers’ representatives to EuroFIA (Europe) draw up and oversee international labour standards. The cultural Main focus is on advocacy concerning new EU regula- sector has been neglected and FIA would like the ILO to focus on tions. Current issues include collective rights management, the atypical working conditions that are inherent to the nature of the regulation of state funding in audiovisual production, performers’ work and raise core labour standards in the industry. core labour rights for self-employed performers and Social Dialogue Committees – where workers’ representatives What FIA means to Equity members meet regularly with their employers’ counterparts to carry Membership in FIA has several benefits for Equity members, says out joint projects and advise on or propose new regulation Equity Executive Director Arden R. Ryshpan: “It provides an inter- at the EU level. national forum for discussion and support, which is crucial when something happens to a member union. These coordinated actions AfroFIA (Africa) can build a powerful sense of solidarity that crosses cultures and This group meets once a year to meet and share ideas. borders, and even language. You really feel that you are part of These FIA members are among the least well-off, and these something larger and more important. meetings are often an opportunity for FIA to assess their “There are a number of us around the world who are fortu- degree of development, advise on how they can organize nate enough to have collective agreements, some level of gov- more effectively, and help build trade union capacity. ernment support and certain social benefits, often provided for through union membership. We have an obligation to assist our There are also Spanish-speaking and German-speaking colleagues who are not as fortunate because this improves the groups, which are both relatively new, and a Nordic group, lives, working conditions and societal perception of artists and which existed prior to FIA. their work around the world.”

WINTER 2013 EQUITY QUARTERLY 11 THE PERFORMING WORLD COMES TO CANADA

Adalberto Bazán, Unión Nacional de Artistas de Panamá

Equity Councillors Evan R. Klassen and Kerry Ann Doherty, with Executive Director Arden R. Ryshpan, applaud Kimberley Rampersad’s participation in a Congress panel on equality issues “We need to find common denominators everyone can feel comfortable with and that we can express as the voice of performers worldwide.”

— FIA General Secretary Dominick Luquer

This is not charity, insists Ryshpan. “It’s working with our fel- low artists to find ways to make their working lives better. And it FIA WORKING GROUPS is a two way street. For example, we may have better ideas about FIA members participate in a variety of working groups. how to use technology, but they have fabulous ideas about grass Currently there are working groups on gender, diversity, roots organizing that we may never have thought of.” intellectual property, co-productions, legal (one interna- Downey highlights the need for an international organization tional and one specifically to deal with EU matters), com- in this ever-changing world. “Performers’ rights have become mercials, videogames and collective management. global rights in so many ways. In the world of recorded media, Working with their FIA regional groups, the working groups the tsunami of digital change has merely amplified the need to have completed a number of successful projects, including: work collaboratively to protect performers globally. That is crystal s 4RANSITION3CHEMESFOR$ANCERS$EVELOPING#AREER clear. But it is equally exhilarating to understand the shared chal- Transition and Life-long Learning Schemes to Offer lenges that unite the live theatre performers of the world, from Long-Term Career Opportunities to Dancers after mature 100-year-old unions (like the Actors’ Equity Association Retirement from Performing in the U.S.) to developing unions that struggle to be created. s %NGENDERING#HANGE3TRATEGIESTO#OMBAT'ENDER Issues of dignity and respect for artists are not bound by borders. Stereotypes and Promote Equal Opportunities for Performers in Theatre, Film and Television in Europe. “As FIA President I will work toward keeping everybody com- municating, motivated and pulling in the same direction. We will To download these materials please go to www.fia-actors. earn respect for artists by fighting for it every day. Global solidarity com/en/research. must be the bedrock upon which FIA will continue to build.” EQ

12 EQUITY QUARTERLY WINTER 2013 FIA CONGRESS TAKES ON SOME TOUGH ISSUES

Canadian diversity on stage. Two actors of different ethnic backgrounds – Jennifer Lyon and Kimberley Rampersad – were cast as sisters in White Christmas at the Royal Manitoba Theatre Centre, 2010

International solidarity strengthens all performers

“It was to their chagrin I pursued the performing arts as my and non-discrimination for performers was EQUALITY vocation,” she said. “I could see their fears flash before their a key topic at the FIA 2012 Congress. eyes. Images of their first-born portraying maids, dancing girls Anne Papilloud, General Secretary, Syndicat Suisse Romand du Spectacle (Switzerland) moderated an international panel on and prostitutes, for it was few and far between to see anyone who promoting equality and non-discrimination in the workplace, and looked like me playing parts anything other than that.” Kimberley Rampersad, actor and Equity Councillor for Manitoba/ An Equity member for just over a decade now, Rampersad said Nunavut, joined representatives from Denmark, Australia and the what she has asked of the Association is no small task – to create and U.S. to share her thoughts and experience. “The point I wanted to make was – creating policy and clauses I was pleased to feel like we are not alone in our issues that promote diversity among ourselves and with engagers are and that other countries also have some of our problems. well and good, but will not change the minds of those who don’t I gained so much information around collecting societies want to have their minds changed,” says Rampersad, who is a [to licence copyrighted works and collect royalties], and first generation Canadian with an African mother and a South the steps to take to get our industry in line with the com- Asian father, both from Trinidad and Tobago. mon practice worldwide. I realized that we would need to “Diversity has to be approached differently and its success may change legislation in South Africa to get there, so there is look different from what we imagine it to look like.” a lot of work ahead – yet I am positive that we can begin During the panel, Rampersad told the story of how growing up this process and see it to fruition. her parents often reminded her of the sacrifices they had made — Carlynn de Waal-Smit, Secretary of the newly formed South African for her, and how they had their heart set on her embarking on a Guild of Actors, attending her first FIA Congress successful career.

WINTER 2013 EQUITY QUARTERLY 13 FIA CONGRESS TAKES ON SOME TOUGH ISSUES

First of all, unions, associations and guilds must look like their memberships, said Rampersad. “Whether it be those who work in the offices, elected representatives, or those who advocate on our behalf. We cannot begin to make our demands if the desired behaviour does not make itself manifest among us first. “Secondly, our organizations must work and look within their memberships to identify under-represented creators, writers and directors. They must nurture and mentor these artists to become the decision-makers because change is slow from the outside, but potentially explosive from the inside.” We cannot rely on the state or on legislation, she told the Congress. It is up to us to take action. “Gratefully, I have been the benefactor of the determination, both of members who have walked before me and of my Association. In 2010, I was cast in a leading role – a sister to the other female lead – on the mainstage of one of Canada’s leading regional theatres. Two actors of dif- Jurre Schreuder, Chairman of the Theatre Branch of Dutch FNV-Kiem, and ferent ethnic backgrounds playing sisters. I know our local com- New Zealand Equity President Jennifer Ward-Lealand pose with Mountie munity took notice and many across the country took notice, too. maintain a workplace environment in which she can be considered I knew I stood on the shoulders of many artists and was supported for any role she auditions for, limited only by her skill as an artist. by my Association.” Equal access to work through auditions is not enough, she said. But Rampersad said she doesn’t want to be singled out. She “Though an important first step championed by my Association, it wants to be included. “I ask that when you see inequality to call does not necessarily require a shift by decision-makers – be that a it out. Right there. On the spot. And when you see someone else producer, casting director or director – to consider me for a role they call it out, rise up beside them and pull someone up with you. would not traditionally cast me in. The audition merely requires the Ignorance has no elegant response if confronted in a timely man- ner. Which is now.” decision-makers to be present. The question is: Is the work being received and is it being given full value and consideration?” Middle Earth and global production contracts Unfortunately, Equity cannot change the minds of particular Another important issue discussed at Congress was the impact of decision-makers. It cannot force them to adopt progressive and large international film and television co-productions on perform- inclusive ideas about casting. “Positive legislation, meaningful ers. In these large multi-million dollar films and mini-series, local policy and thoughtful workshops are noble and valuable but they talent often work without a union contract, while imported talent are not necessarily going to change the minds of those unwilling may be contracted through their home unions. to do so,” she said. This recently happened in New Zealand, where the movie The So how do we get open-minded people to produce, create, Hobbit was being filmed. write, cast and direct? How do we identify and celebrate those For some years, performers in New Zealand have struggled on who support equality in our workplace, which translates to art on non-union contracts. These contracts provide no minimum guar- the stage, reflective of our membership and society? antees of wages or working conditions, no residual payments and no cancellation payments in the event the performer’s contract is cancelled. This was a very important event and incredibly well In 2006, at the request of New Zealand performers, the organized by Equity, ACTRA, and UdA. Having it in Australian performers’ union – the Media Entertainment & Arts Toronto was especially excellent. I knew very little of Alliance – opened an office in New Zealand. the city before, but as I walked around and discovered Since then, under the leadership of president Jennifer Ward- on plaques and statues the history of people’s involve- Lealand, the New Zealand performers have been working hard ment in rebellion and the labour movement – it became to negotiate a contract with both individual producers and the clear it was a marvelous place to have the Congress! producers’ association, the Screen Production and Development Vive le Canada! Association, (SPADA). — Stephen Spence, Assistant General Secretary, Equity U.K. FIA resolved that the time had come for performers around the world to support their colleagues in New Zealand and seek

14 EQUITY QUARTERLY WINTER 2013 The International Federation of Actors gives a global voice to those often working in deplorable conditions, with no guarantee of health or safety. [FIA] fights for their artistic, social and legal rights around the world – a world far more impoverished without the performing arts.

— The Honourable David C. Onley, Lieutenant Governor of Ontario, speaking at the FIA World Opening Reception on September 26

a union contract for all performers on The Hobbit. FIA urged all its affiliates to ask members not to act in The Hobbit until the producer had entered into a collective bargaining agreement that provided satisfactory terms and conditions for all performers employed in the film. As a result of this international pressure, the contracts eventu- ally offered by the producers included conditions such as residual payments for performers – which means New Zealand perform- ers will share in the financial success of the film, as their col- leagues from elsewhere in the world will. “Throughout this difficult time for our union, knowing FIA was in full support of our actions was an enormous comfort,” says Ward-Lealand. In addition, since The Hobbit, local performers have secured Simon Burke in Mary Poppins in Australia. Burke was in Toronto in 2009 when he performed Captain von Trapp in the Mirvish production of The residuals agreements on several productions shot in the coun- Sound of Music try. “These residuals will help build sustainable local careers and grow a successful New Zealand production industry,” says Simon are now encouraging our members to sign a petition to Live Burke, Equity President, Media Entertainment & Arts Alliance. Performance Australia. FIA has assisted us in getting the word “As well, SPADA agreed to meet with Equity to discuss perform- out about this petition.” ers’ terms and conditions for future screen productions.” Despite the continuing strife with the theatre producers over In the meantime, they will use the Code of Practice for the this issue, Burke hosted the 2012 Helpmann Awards, which rec- Engagement of Cast in the New Zealand Screen Production Industry ognizes achievement on the Australian stage and is organized – known as the Pink Book – as the basis for performers’ contracts. and run by Live Performance Australia (LPA). Although the Pink Book had been ratified and jointly agreed on in “It was my great honour and pleasure to host the Helpmanns 2005 by SPADA, New Zealand Actors’ Agents’ Guild, Actors’ Agents’ for the first six years. But spool forward six years to April of Association of New Zealand, and New Zealand Actors’ Equity – it had this year when LPA without notice or consultation terminated been largely disregarded by producers. “The Pink Book is now being our long-standing imported artists agreement. Having just re- used as a minimum. This is a huge step forward,” says Burke. engaged me to be the host of the Helpmanns, I suddenly found myself in a very difficult position. FIA steps in Down Under for live performers “After much soul-searching I decided the best way to proceed International support through FIA is also helping live performers was business as usual; that we should continue to respectfully call in Australia. on LPA to reconsider their decision. And that despite calls from Last spring, Live Performance Australia (the body that repre- many outraged members about boycotting the event, Equity sents live theatre producers in Australia) abruptly terminated a should continue to support the event, as hard evidence of our long-standing agreement governing the use of overseas artists. desire to work collegially with producers as industry partners.” Without this agreement there is no obligation to conduct a cast- Burke says this spirit of collaboration is what propelled 99 past ing exercise to find an Australian performer before importing a Helpmann Award winners to sign an open letter to LPA that was performer from overseas, explains Burke. published in The Australian (the national newspaper) on the morn- “Equity has launched a campaign called ‘Live Theatre, Local ing of the awards, urging the producers to come back to the bar- Jobs’. This has received very positive media coverage and we gaining table and negotiate a new overseas artists agreement. EQ

WINTER 2013 EQUITY QUARTERLY 15 FIA TWINNING PROJECT BENEFITS BOTH COUNTRIES A match made in FIA – Canada and Namibia Ken Burns and Vincent Mwemba Oruuano of Namibian Artists Union reunited at A Trade Union for the Arts Industry in Namibia the FIA 2012 "Empowerment, Vision, Development" Congress (Reg. No.: TU.002/08) THIS IS TO CERTIFY THAT

______IS A REGISTERED MEMBER OF ORUUANO P.O. Box 22287 63 Robert Mugabe Avenue MEMBER NUMBER: Windhoek Tel: 061 240535 Fax: 248097 ______Cell: 0812499057 Email: [email protected]

Besides benefiting from Equity’s help and guidance, he said FIA Congress in Budapest, Hungary, AT THE 2004 Canada’s involvement helped raise the credibility and profile of Equity entered into the first-ever FIA twinning relationship with Oruuano with its own government. Namibia, an arid, but spectacularly beautiful and sparsely popu- “The twinning project helped my union in many ways,” he said. lated country on the south west coast of Africa. “One of the ways was government acceptance of the establish- After winning its independence from South Africa in 1990, the ment of the National Arts Council of Namibia – a body that the people of Namibia had the joyous but complicated job of adjust- government is channeling funds for artists to develop their work.” ing to their newfound freedom and democracy. The twinning Equity’s gift of membership cards also continues to make a big agreement with Equity has helped Oruuano of Namibian Artists’ impact. “The membership cards helped us so much because it Union – which was founded in 2003 to represent all artists – gave our members a sense of identity and pride. This increased organize its members through collective bargaining, membership our union membership from 500 to 1,750,” said Mwemba. outreach and other areas of union development. Bringing associations together, at very different stages of their The twinning project officially kicked off in 2005 when Vincent development, is good for both parties, says Equity Executive Mwemba, Secretary-General of Oruuano, visited the Equity Director Arden R. Ryshpan. offices in Toronto for two weeks. He trained on software systems, “It is pretty inspiring to see the determination and dedication of our worked with then executive director Susan Wallace on lobbying colleagues at work at some of the emerging unions. Since they have and government funding, and developed a 75-page proposal for limited resources, they are forced to be highly creative in the ways in a national theatre agreement with the help of Ken Burns, a former which they try to engage their members, and their activities can spark senior business representative. new ideas for us. In return, we can offer our resources in administra- The next year Burns spent two weeks in Namibia, lending more tive tools, lobbying experience and collective bargaining strategies. Canadian support and expertise. He also brought a gift of mem- “All of us at Equity value the friendship with Vincent Mwemba bership cards that could be filled out and laminated on the spot. and we hope to be able to provide him with more practical assis- After keeping in close contact with Equity, Canada and Namibia tance in the future.” were reunited this September when Mwemba returned to Toronto There has been an increasing demand for more twinning agree- for the FIA Congress. ments, especially with unions in Latin America, says Dominick “Since my visit to Canada in 2005, my union received recogni- Luquer, FIA general secretary. The only other twinning agreement tion from the government and stakeholders because we had a is between Equity U.K. and the Ghana Actors’ Guild (GAG), which country-wide awareness campaign and membership drive. We is in its third year. Since the beginning of the agreement, GAG has also managed to establish regional branches in eight regions,” expanded dramatically, increasing its membership and opening up said Mwemba. three new branch offices. EQ

16 EQUITY QUARTERLY WINTER 2013 Basic rights for EQ Backstage performers with disabilities

Although there are over 650 mil- The I AM PWD campaign focused on lion people with disabilities in the world, three areas – access, inclusion, and accuracy. according to a UN estimate, they remain sAccess is about removing physical bar- virtually invisible on our stages and riers to jobs, as well as intentional or screens. unintentional discrimination, so PWDs In the United States, 20% of people can equally compete. between the ages of 5 and 64 are living sInclusion means that PWDs deserve to with a disability, yet less than 2% of char- have their stories and images reflected in acters on television have a disability, and only one-half of 1% of media’s portrayal of the diverse “American Scene.” words on television are spoken by a person with a disability. sAccuracy means eliminating stereotypical or false depictions of And despite policies against discrimination, more than a third PWDs, and wherever possible, cast them for characters with of performers with disabilities in the U.S. reported some form of disabilities. discrimination in the workplace, such as being refused an audi- The three-year campaign started off with simultaneous press tion because of their disability. conferences in Washington, New York City and Los Angeles, and “People with disabilities in the media were invisible,” says Ray included letter writing campaigns, workshops and presentations Bradford, National Director, Policy and Diversity Advocacy for by performers with disabilities, especially by Robert David Hall, SAG-AFTRA. “So we decided we had to bang the drum loudly who was a co-chair of I AM PWD and instrumental in founding so we would not be ignored.” the campaign. As a result, in 2009 Actors’ Equity Association (AEA), the But the most important aspect was outreach to the unions’ American Federation of Television and Radio Artists (AFTRA) and membership in creating a nationwide network of activists, and Screen Actors Guild (SAG) came together to form I AM PWD – the creation of Action Groups. For example, the Media and Inclusion in the Arts & Media of People with Disabilities – and Industry Watchdog group examined American media over a created a PR campaign to educate the industry and public on the three-year period and developed a “scorecard” to assess PWD lack of inclusion and universal access for people with disabilities. presence in TV, film and theatre. The campaign aimed to increase the number of people with One scorecard showed that on Broadway, from 2009 to 2011, disabilities (PWDs) in the entertainment and news media in only one disabled character was played by a PWD – a sight- order to reflect society, and give PWDs equal access to roles. impaired actor was understudy for Helen Keller in The Miracle This includes writing more roles for disabled characters, but also Worker – and five disabled-specific roles were presented, but not casting more PWDs in non-descriptive roles. For example, why played by actors with disabilities. couldn’t the next-door neighbour, judge or best friend be dis- I AM PWD also developed a resource guide for industry pro- abled as they often are in real-life? fessionals to help them understand the importance of including Another aim is to have disabled characters actually played by more PWDs in entertainment and news media, and to debunk PWDs. While some disabled characters are portrayed by PWDs, some common myths – such as the misconception that they lead such as Robert David Hall, a double leg amputee with prosthetic to higher employer insurance costs and longer rehearsal periods. legs who portrays coroner Dr. Albert Robbins on CSI: Crime What started as a PR initiative ultimately turned into a global Scene Investigation, many are not. disability rights movement. And though the formal campaign has “If a character has a disability, we are not saying that you can wrapped up, the union’s work is far from over. only cast a performer with a disability. That would be reverse dis- “This is a tough business for anyone. I believe the situation has crimination,” says Bradford, who has worked on the I AM PWD improved for PWDs in our industry, but it’s nowhere near where campaign since its inception. “But, we do want to guarantee we want it to be,” says Bradford. “Perhaps the most valuable les- access to these roles and create a level playing field. Our members son every union can take from our experience is this: If you listen are saying, ‘Give me the opportunity to compete like anyone else.’ to your members, give them ownership in creating a campaign “Access to employment at all levels is a basic human right. We that seeks to improve the quality of their lives. You not only directly are speaking the same language as other major civil rights move- impact the work at hand, you ultimately grow your base of dedi- ments. Our issues are not different.” cated activists and future leaders – and that benefits everyone!”

WINTER 2013 EQUITY QUARTERLY 17 Fondly Remembered

Patricia Moffat 1930-2012

BY NONNIE GRIFFIN

One of my favourite people in ‘The Business’ died of cancer this last beautiful low voice June 11th. Saddened as I am, in the end I find myself full of admi- brought Pat huge suc- ration for this wonderful woman and so grateful that I knew her. cess in the world of She and I shared a friend’s house in Niagara-on-the-Lake dur- advertising and she ing the run of Shadow Box for Press Theatre in St. Catharines in found lasting happi- 1979. I was nervous about it and admitted the same to Pat as I ness with her partner, didn’t know whether she’d be “interested” in me. Quoting from DJ Hamilton. There my book, Showbiz and Other Addictions, she said, “What makes was always a radiance you think that just because you’re a woman, I’d be attracted to about the two of them you? Are you attracted to every man you meet? No! You ‘straight’ and it never changed people always think you turn gay people on, and you don’t!” through the years. In my book, I mention that my biggest fulfillment during that Reaching the end, I was told that Pat’s love of life and sense show was getting to know her so well. “There’s a whole world in of fun never left her. She inspired those who were around her that woman!” I wrote about her, and how true that was. in palliative care, and they felt that with her shining personality, Starting out in CBC television, she played opposite Bill Shatner, she would be around for quite awhile. Apparently though, she amongst others, and was featured in several TV dramas. However, chose her date for leaving, and was true to it as she was true to her successful career was brought to an abrupt end because of everything in her life. She was a blessing in our lives and a credit prejudice towards her sexual orientation. Nevertheless, her to our profession. Marc Desormeaux 1962-2012

BY MILES POTTER AND SEANA MCKENNA (Read at Marc’s memorial)

We wish we were with moments, scenes, plays and actors come into focus in a way they you to celebrate Marc’s never would have without his musical presence. And of course life, but I suppose we’re his actual physical presence was one of the joys of working with having a celebration of him. If Marc had a “trick,” it was that he spent hours and hours our own for him. Today just sitting in the rehearsal hall, watching, listening, and “rehears- we begin rehearsals for a ing” with us in his head. Then, at the back of the hall, a keyboard revival of Shakespeare’s would appear and we knew a score was being born. Will, a production satu- We will all miss Marc the friend – the guy without pretension rated with the presence whose various greetings to people were individual and enthusias- of Marc. It is a one- tic. If you were lucky enough to be the recipient of a Desormeaux person show, but in fact there are two presences onstage – the nickname, you know what we mean. And if you were lucky actor, and the world Marc created with his music. When Marc enough to spend time with Marc, you realized you were in the composed music, he did not supply tone or intrude with a musical presence of a special spirit. We hope that spirit is in the room with comment on the action, and he certainly did not tell the audience you today, and we know that sometime this week when it comes what to feel. He had the remarkable ability to let his music act time to push the go button and Marc joins us in the rehearsal hall inside the play as if it were another character. To act with Marc’s one more time, it will be hard, but we will welcome him, and we music was to play with another skilled and subtle actor. He made will keep going.

18 EQUITY QUARTERLY WINTER 2013 Frank Glenfield, Honorary Member 1924-2011

BY THOMAS PEACOCKE, LIFE MEMBER

It was 1951. I was 18. We were a confused cluster nervously for six decades, very often reporting to our first acting class at the University of Alberta. telepathically. He introduced himself as business manager of the drama division. Two of those whose lives He appeared highly skilled at keeping the mercurial Chairman almost he deeply touched spoke at organized. He did some acting. Sometimes we joined him on stage. Frank’s memorial service. Although not a teacher, he spent a lot of time with us. He made us One was Carl Hare, my con- laugh; he made us care. He was always around; always available. temporary. Within me he ignited a flame that catalyzed my narcissistic pas- The other came under time into a life in the theatre. He alerted me to the challenges and Frank’s wing at Imperial Oil. fulfillment that lay ahead should I commit to serious work in, on, He is currently our Prime and around the wicked stage. A substantial leap for one devoted Minister. to making friends and family laugh at my antics in Jay Tobias I still look around for Frank when I attend the theatre. farces rented from Samuel French. Frank subtly generated crucial questions about life and art. A little Frank Glenfield was one of the kindest, most thoughtful, word here, a nod there. I was then unaware that it was he who most generous people you could ever meet. I made the inspired us to define problems and discover solutions collaboratively. mistake of once saying to my wife, “When I’m older I hope Though as I ruefully discovered more than once, he was not above a I’m more like Frank Glenfield.” And she said, “Why don’t judicious application of tough love, particularly on issues concerning you try being more like him now!” Well, that’s a tall order. personal and theatre ethics. Lessons never forgotten! I may be Prime Minister, but I’ll never be Frank Glenfield. He introduced the thought that theatre is an art that one might Prime Minister Stephen Harper, actually practice full time. Even in Alberta. Something so remote it speaking at Frank Glenfield’s funeral had never crossed my mind. I took him up on it. He mentored me

Paul O’Sullivan 1964-2012

BY STEVE ROSS

I met Paul O’Sullivan at an Mr. I-don’t-have-to-worry had gotten the part and I would be audition for Mel Brooks’ understudying him. Thus began an education in comedy the likes The Producers. We were of which I never thought I’d see. both going in for the same He was fearless in rehearsals. He would try anything. We role. I’d worked with his gal, never knew what he’d do next. Irreverent. Rooted. Honest. Dirty. Linda, the year prior but he Quietly brilliant. I would watch him every night. It was one of the and I hadn’t crossed paths. best years of my life and Paulie was a big part of it. After the show At first meet he was quiet, polite, shy, unassuming, but within closed we remained close. We would see each other as often minutes – deeply funny. I was immediately drawn to him. He was as we could. Each time I was welcomed with that same “proud so quick and his humour was so smart. He mentioned that he’d papa” look on his face. done a lot of work at Second City and I thought to myself, “Well, I think about him a lot. If I get stuck in rehearsals I’ll often think, there goes my chance of getting this role.” “Be fearless. Paul would have tried anything at this moment.” At the audition, you could hear everything from outside the He also taught me that it’s ultimately a job. Do the best you can. room and as I came out Paulie was just beaming. He said “Well, Commit completely. Get in, get out. Go home to your family. I don’t need to be worried now. You got it! Amazing!” I’ll never Love your work. Love your family. At the risk of sounding trite or forget that look on his face. He was like a proud papa. So gen- cliché... Paul taught me a whole lot. I know I’m not the only one. erous. I couldn’t stay to hear him but within hours I heard that Miss you, Paulie.

WINTER 2013 EQUITY QUARTERLY 19 EQ Announcements

We thank all of the sponsors who made the FIA 2012 Congress a great success! A big thank you to all Equity’s special sponsors who helped us host Congress delegates from around the world this September. Special thanks to the Stratford Festival for sponsoring a special theatre visit for all our visiting guests, and to Mirvish productions for providing us with such a beautiful World Opening reception venue.

SOULPEPPER THEATRE

Congress 2012 sponsors also included: ACA, ADAMI, AEA, AFBS, AFM - CFM, AISGE fundación, AON-Hewitt, BECS, Cavalluzzo Hayes, Shilton, McIntyre & Cornish LLP, CFM-FMC, CMG, CMPA, Creative Arts Savings & Credit Union, Deluxe, DGC of Canada, DGC of Canada Ontario, Elliott Special Risks LP, Foyston, Fraser & Hoyt, Gordon & Payne Inc., Greystone Managed Investments, IATSE, ICA, MPA, Multi- Risk Media, NSF, OMDA, PRS, PACS, Roots, SAG-AFTRA, Shaftesbury Films Inc., Teaterförbundet, Sweden, Telefilm Canada, and USW.

WELCOME NEW MEMBERS 17th Toronto Conference ATLANTIC EASTERN OPERA William Ellis Andrew Trithardt April 2013 Sarah Jean Begin Claire De Sévigné Sedina Fiati Samantha Wan Created by Winston Morgan. Keith Lam Patrick Foran BRITISH COLUMBIA/ Ryan Whittal Directed by Janelle Rainville. Jack Michael Rennie Kate Gordon Jeff Yung Equity is a key S.M.Arts sponsor as YUKON Alexis Gordon Anousha Alamian MANITOBA / NUNAVUT QUEBEC part of the Association’s professional Tim Bandfield Sarah Hansen Heather Cant Aymen Benkreira development mandate. Gabriel Gosselin Alexandra Herzog Marlie Collins Genevieve Dorion- Shannon Guile Shaleen Hudda Hosted by Ryerson Theatre School Jay Hindle Jerrold Karch Coupal 44 Gerrard Street East. Paula Potosky Pier Kohl Mike Klemak Alix Sobler Amy Keating This conference is for the experienced stage Molly Kidder Sylvain Millette Linda O’Connor Stephanie Sy manager who is looking for diversification Judy Kovacs Sabrina Reeves Melissa Oei Jillian Willems within their field; the apprentice stage Derek Kwan Sam Stein Amisha Parikh-Friese NORTHERN ALBERTA/ manager who wants to hone their skills; and Shira Leuchter SOUTHERN ALBERTA DANCE NWT the student stage manager who wants to Milan Malisic Corey Payette James Nicholas Karyn Mott Sera-Lys McArthur know more about their career choice. Applewhite Jana O’Connor Julia McLellan STAGE MANAGEMENT As in past years, S.M.Arts will be Alanna Margaret Nicole Papadopoulos Benjamin Mehl Kai-Yueh Chen offering a conference pass that allows a Michelle Rios McAdie Thamela Mpumlwana Christina Cicko participant to attend all of the courses for Michael Duggan Anna Joy O’Callaghan ONTARIO Riley Raymer a substantially reduced rate. Samantha Hogan Laura Vande Zande Nick Abraham Chantel Riley Rebecca Mulvihill The 2013 Conference course schedule is Benjamin Warner Warren Bain Alan K Sapp Jody Lynn Butler Laura Schutt Kathryn Phillips available at www.stagemanagingthearts.ca. E. ONTARIO/ Ishan Davé Hallie Seline Kate Redding Enquiries about the 2013 Conference may OUTAOUAIS Michael De Rose Geoffrey Sirett Katerina Sokyrko be directed to Janelle Rainville, Director at Kate Smith Julia DeSotto Anisa Tejpar Joyce Zogos [email protected].

20 EQUITY QUARTERLY WINTER 2013 The Canadian Conference EQ Flashback of the Arts closes operations

Clockwise from above: 1941 Kingston Conference; Prime Minister Pierre Trudeau at the 1983 CCA Conference; Free Trade Agreement protest; Equity Executive Director Arden R. Ryshpan addresses the plenary session at the Strategy Symposium; Simon Brault receives the Keith Kelly Award for cultural leadership

After 67 years, the Canadian Conference aging. Membership renewals came in and past seven decades. As the largest alliance of the Arts (CCA) has shut its doors and is commitments for private and public fund- of the Canadian arts, culture and heritage becoming dormant for the time being. ing were obtained so that the organization sector, it provided a national forum where Last year, the CCA was unofficially told could keep on functioning until at least issues of common interest were discussed that the federal government intended to March 2013. “But a sober assessment of and pursued. stop funding it. In order to transform itself our prospects for 2013-14 led us to the sad “We remain convinced the Canadian over to an autonomous organization after conclusion that despite our best efforts, cultural sectors need an organization like 47 years of public funding, the CCA asked we could not do in six months what we the CCA,” said Alain Pineau, who has the Harper government for two years of had told the government would take a served as national director for seven years. transition funding. On April 11 of this year, minimum of two years to put in place,” “Therefore we have decided to leave the the organization found out that the request said Kathleen Sharpe, Chair of the Board. organization in order, in a suspended state, was denied and that it would receive the “Time was not on our side to keep opera- with a caretaker Board to preserve our equivalent of six months of support only. tions going as we tried to restructure, and incorporation and charitable status. Our Despite the enormity of the challenge, we resolved that it would be irresponsible hope is that a group ready to take on the the Board and staff of the CCA decided to on our part to accept funding, private and challenge of re-launching this unparalleled see if the organization could pull through public, under such circumstances.” instrument in the arts, culture and heritage by trying to implement the ambitious busi- The CCA has played a crucial role in the sector will emerge some day.” ness model it had developed during the development of the Canadian cultural sec- EQ will provide updates on the CCA and the plan to past year. Initial signs were very encour- tor and of federal cultural policies over the put a caretaker Board in place.

WINTER 2013 EQUITY QUARTERLY 21 EQUITY QUARTERLY

AGREEMENT NEGOTIATIONS AND ENGAGEMENT POLICIES UNDER REVIEW IN 2013 2013 negotiations: s "ANFF#ENTREFORTHE!RTS!GREEMENTnEXPIRES-ARCHnNEGOTIATIONS commence in March – suggestion deadline is January 25 s #ANADIAN/PERA!GREEMENTnEXPIRES*UNEnNEGOTIATIONSCOMMENCE in Spring – suggestion deadline is February 1 s /PERA!GREEMENTnEXPIRES*UNEnNEGOTIATIONSCOMMENCEIN3PRINGn negotiation deadline is February 1 s .ATIONAL!RTS#ENTER-USIC$EPARTMENT!GREEMENTnEXPIRES*UNEn negotiations commence in early June – suggestion deadline is April 20 s .ATIONAL#APITAL#OMMISSION%VENTS!GREEMENTnEXPIRES!UGUSTn negotiations commence in early June – suggestion deadline is April 20 ERRSP FUNDSQ ON HOLD LIST – FINAL s .ATIONAL"ALLETOF#ANADA!GREEMENTnEXPIRES*UNEnDISCUSSIONCOM- NOTICE ARE YOU ON THIS LIST? menced November 2012 and negotiations are ongoing – suggestion dead- Please take a minute to review the names on the list below. Are you line is January 15 on the list or do you know someone on it? The following members 2013 pending engagement document renewals: have not opened an RRSP and risk losing their money. In accordance s )NDEPENDENT/PERA0RODUCERS!GREEMENTMIRRORSTHETERMSOFTHE/PERA with bylaw 66(c), failing to have a valid RRSP account will result in the assignment of the money to the Actors’ Fund of Canada. Members must Agreement) – expires June 30 – suggestion deadline is February 1 act quickly to avoid losing unallocated RRSP funds collected in 2011. s &ESTIVAL0OLICYnANNUALREVIEWIS-ARCHnELIGIBLEFESTIVALANDORPOLICY To open an account contact Colleen Didur, Membership Administrator, suggestion deadline is March 1 by email to [email protected] or by phone at 1-800-387-1856 s !MATEUR0OLICYnANNUALREVIEWIS/CTOBERnSUGGESTIONDEADLINEIS (416-867-9165 in Toronto) before February 15, 2013. September 1 Vinessa Antoine Abdelghafour Patrick Ledwell Rachel Rudd Elena Araoz Elaaziz Sandra Lee Ben Sanders Lapses: Erin Armstrong Dean Elzinga Richard Leech Kat Sandler Oliver Armstrong Jonathan Marien Lewis Sarah Sanford s 4ANGERINE0ROJECTn!DDENDUMTOTHE#4!nLAPSES$ECEMBER  Nina Arsenault Estabrooks Norma Lewis Alison Schamberger when the material terms come into effect in the 2012-2015 CTA Meredith Arwady Geoffrey Ewert Kayla Lorette Joseph Schnurr Kaela Aryn Chris Farquhar Christine MacInnis Alex R Scott s ).$)%ANDTHE#O OP'UIDELINESWILLBEREPLACEDBYTHE)NDIEAND Brandon Banks Sarah Kathleen Tom Macleay Julia Sedwick Micah Barnes Farrell Ashley Magwood Marc Senior Artists’ Collective Policy, to be released in January 2013 Frederic Beaudoin Christian Feliciano Katie Malloch Anna Shafajinskaia Burak Bilgili Aaron Ferguson Esther Maloney David Shelley All Equity members are encouraged to contribute to the review and negotia- Sean Bowie Genevieve Fleming Stephanie Marshall Tetsuro Shigematsu tion of these agreements or the revision of these engagement policies. Suggested Heather Braaten Waawaate Fobister Aaron McCallum Jimi Shlag Leslie Ann Bradley Naomi Forman Duncan McGregor Kris Siddiqi proposals for change or amendment should be sent to [email protected]. Emma Brager Mark Cameron Michael McLeod Cassandra Silver Benoit Briere Fraser Alexander James (Nol) Questions and suggestions regarding the negotiation of any agreement or Brooks Rose Kristin Friday McMorran Simonse revision of any engagement policy may be emailed to [email protected], Molly Brown Patsy Gallant Kent McQuaid Jemima Sutherland Nils Brown Vasil Garvanliev Chimwemwe Miller Lindsay Sutherland- or sent by phone to 1-800-387-1856 (416-867-9165 in Toronto). James Cade John Gaston Shanna Miller Boal Aura Carcueva Paul Gatchell Matthew Kelsey Ter Kuile Lance Cardinal William George Nethersole David-Benjamin Catharin Carew Riley Gilchrist Jamie Northan Tomlinson Sarah Carlsen Tyler Gledhill Caleb Olivieri Liesl Tommy VOLUNTARY RRSP CONTRIBUTION DEADLINE Stephen Cassell William Greenblatt Simone Osborne Kevin Tookey Jesse Catibog Eglise Gutierrez Anthony Palmer Pandora Topp It is not too late for an Equity member to make an RRSP contribution for Julian Cervello Alexandria Haber Christina Parker Kyle Toy Kai-Yueh Chen Kimberly Harvey Janice Paterson Millie Tresierra deductions from their 2012 income tax. Cherise Clarke Dustin Hiles Susan Patterson Ashley Turner Tony Clarno Ted Huffman Phillip Payne August Tye Voluntary RRSP contributions must be postmarked on or before Lauren Collins Paul Brian Imperial Danny Pelzig Mary Walsh March 1, 2013. Cheques must be payable to Wesley Connor Paul Jeffrey Lyubov Petrova David Moses Charlotte Corwin Zain Kassam Rodrigo Pino- Warburton London Life Insurance Company and mailed to: Aaron Craven Quinn Kelsey Hellman Matt Ward Richard Crawley Margot Kidder Gilles Poulin-Denis Keely Welsh Group Retirement Services Cassius Crieghtney Kirsten Kilburn Gerard Powers Jesse Wheeler Sean Cummings Sarah Kitz Annie Purcell Pauline Whitehead 330 University Avenue, Toronto, ON M5G 1R8 Charles Davidson Mitchell Kummen Sondra Mike Wiebe Lucinda Davis Kristin Kuttner Radvanovsky Nelson Wong Please ensure that your name and certificate number are Keith Digby Pierre Antoine Doris Rajan H John Wright clearly marked on the front of the cheque. Questions regarding Austin Diiulio Lafon Simard Matthew Raudsepp Jim Yi Stephen Dooks Djennie LaGuerre Margo Regan Kyra Zagorsky voluntary RRSP contributions may be directed to Isabel Dos Santos Kristin Langille Wellesley Mark S. Doss John Langs Robertson III Colleen Didur, Membership Administrator, by email to [email protected] Tyler Duncan Ken Lavigne Ian Ronningen or by phone at 1-800-387-1856 (416-867-9165 in Toronto).

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]

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