VANCOUVER OPERA AGREEMENT Begins July 1, 2004 Terminates June 30, 2009 between Canadian Actors’ Equity Association and the Vancouver Opera Association 2004 – 2009 Vancouver Opera Agreement | 2 TABLE OF CONTENTS PREAMBLE ......................................................................................................................................................... 4 1. GENERAL.............................................................................................................................................. 4 2. EQUITY MEMBERSHIP.......................................................................................................................... 4 3. LAWS GOVERNING THIS AGREEMENT AND RULES............................................................................ 5 4. INTERPRETIVE POWERS ..................................................................................................................... 5 6. ARTISTS' OBLIGATION TO EQUITY ...................................................................................................... 5 7. CANADIAN ACTORS' EQUITY ASSOCIATION SPECIAL PROVISIONS .................................................. 6 8. DISCRIMINATION.................................................................................................................................. 8 9. DISCRIMINATION FOR EQUITY ACTIVITY ............................................................................................ 8 10. BREACHES ........................................................................................................................................... 9 11. DEFAULTING ENGAGER....................................................................................................................... 9 12. CONTRAVENTION OF CRIMINAL CODE ............................................................................................... 9 13. COMPENSATION................................................................................................................................. 10 14. ARTISTS' CATEGORIES ...................................................................................................................... 13 15. DEFINITIONS....................................................................................................................................... 16 16. REHEARSALS ..................................................................................................................................... 18 17. COSTUME FITTINGS........................................................................................................................... 21 18. PERFORMANCES ............................................................................................................................... 21 19. COSTUMES, WIGS, SHOES AND MAKE-UP........................................................................................ 22 20. SAFE AND SANITARY PLACES OF ENGAGEMENT ............................................................................ 23 21. LODGING IN THE POINT OF ORIGIN .................................................................................................. 24 22. TRANSPORTATION AND BAGGAGE ................................................................................................... 24 24. PROPERTY ......................................................................................................................................... 25 25. SECURITY DEPOSIT (BOND) AND SECURITY AGREEMENT.............................................................. 25 26. ENGAGEMENT CONTRACTS.............................................................................................................. 26 27. INDIVIDUAL ENGAGEMENT CONTRACT ............................................................................................ 26 28. EXCLUSIVE SERVICE OF THE ARTIST............................................................................................... 27 29. BILLING, PHOTOS AND PROGRAMMES ............................................................................................. 27 30. PHOTOGRAPH CALLS AND PUBLICITY.............................................................................................. 28 31. ADVERTISING OF ARTIST'S NAME..................................................................................................... 29 32. UNDERSTUDIES ................................................................................................................................. 29 33. PERFORMANCES AND/OR REHEARSALS LOST................................................................................ 29 34. TERMINATION..................................................................................................................................... 29 35. TERMINATION DUE TO ACCIDENT, ILLNESS ..................................................................................... 30 36. RE-OPENING OF PRODUCTION......................................................................................................... 30 37. VISUAL OR SOUND RECORDING (USE IN PRODUCTION)................................................................. 30 38. PRESERVED PERFORMANCES (RECORDINGS) AND BROADCASTS............................................... 30 39. STAGE DIRECTORS, CHOREOGRAPHERS, AND FIGHT DIRECTORS............................................... 33 40. STAGE MANAGERS ............................................................................................................................ 36 41. TOURING ............................................................................................................................................ 39 42. TRANSPORTATION ............................................................................................................................. 41 43. OVERSEAS RIDER.............................................................................................................................. 44 44. OPERA IN SCHOOLS (OIS) TOURING ENSEMBLE ............................................................................. 44 45. CHORUS ............................................................................................................................................. 46 46. DANCERS ........................................................................................................................................... 47 47. CONCERTS ......................................................................................................................................... 48 48. ARBITRATION ..................................................................................................................................... 48 49. ENGAGER'S RIGHTS .......................................................................................................................... 49 50. EXPIRATION OF THIS AGREEMENT ................................................................................................... 49 Appendix A – Categorization of Roles............................................................................................... 51-70 Appendix B – Side Letter on Billing, Photos and Programmes In Town ................................................... 70 Appendix C – Side Letter of Understanding Confirming the Calculation of the AFC Donation................... 71 Appendix D – UBC/Vancouver Opera Pre-Professional Internship Program ............................................ 72 Appendix E – Side Letter of Understanding, Chorus Quota for “Turandot”............................................... 74 Appendix F – Side Letter of Understanding Fee Transition and Future Protection ................................... 74 2004 – 2009 Vancouver Opera Agreement | 3 PREAMBLE A. For the purposes of this Agreement, the "Engager" will be the Vancouver Opera. B. The Term "Equity" as used in this Agreement shall refer to Canadian Actors' Equity Association. The Engager acknowledges that Equity represents the following Artists involved in professional theatre: singers production stage managers dancers stage managers actors assistant stage managers stage directors choreographers assistant stage directors assistant choreographers ballet masters/mistresses fight directors C. The parties recognize specific local situations may exist for the Engager and in order to deal with such specific local situations, Equity and the Engager may mutually agree to special changes or alterations to the standard Equity rules governing engagement of Equity members which shall be attached to this Agreement as an Appendix. D. The Engager may apply to Equity to negotiate further changes or alterations to these Rules. E. Paragraph headings and the indexes used herein are inserted for convenience only and are not a part of this Agreement and Rules. 1. GENERAL 101. (A) The Engager acknowledges and recognizes that Equity is the exclusive bargaining agent for all persons defined as Artists in Section B herein and engaged by the Engager, except for those situations covered by Rule 102 herein. Whenever an Equity member is engaged it shall be under the terms of an Equity contract. (B) The Artist and Engager agree that the Artist is engaged as an independent contractor and nothing in this Agreement shall be construed to create an employee-employer relationship between the Artist and the Engager. 102. Notwithstanding the provisions of Rule 101 above, the Engager may negotiate with Artists and Artists' representatives and contract such Artists, using contract