Fall 2010 - Canadian Actors` Equity Association

EQ
E q u i t y
q u a r t E r l y
F a l l
2 0 1 0
HOW WE GOT TO HERE
BLACK THEATRE WORKSHOP TURNS 40
CANADIAN THEATRE TIMELINE
Cool Canadiana
We’ve come
a long way, baby!
IT STARTED AS A WAY TO BOLSTER
THE SPIRITS OF THE FIRST EUROPEAN
SETTLERS - AND SINCE THEN
CANADIAN LIVE PERFORMANCE HAS
EVOLVED TO TACKLE THE ISSUES
OF THE DAY AND PUT CANADIAN
PRODUCTIONS ON THE MAP. WE’VE
COME A LONG WAY FROM WHEN
FOREIGN TOURING COMPANIES
DOMINATED OUR STAGES, BUT WE
HAVE A WAY TO GO YET TO ENSURE
THE VOICES OF ABORIGINAL AND
OTHER DIVERSE COMMUNITIES ARE
HEARD ON OUR STAGES.
Early Colonial Period 1500-1700
1583
Sir Humphrey Gilbert’s company of
mummers comes to the New World
1606-1607
Under the direction of Samuel de
Champlain, Marc Lescarbot creates
Le Théâtre de Neptune en la NouvelleFrance
1694
Bishop Saint-Vallier bans a production
of Molière’s Tartuffe in New France and
the lead actor is excommunicated for
blasphemy
Late Colonial Period 1700-1900
1780
Les Jeunes Messieurs Canadiens is
founded in Montreal
EQ
E q u i t y
q u a r t E r l y
6
8
12
EQ
Fall 2010 – volume 4, number 3
EXEcutivE Editor Lynn McQueen
Editor Barb Farwell
dEsign & layout Chris Simeon,
September Creative
F a l l
v o l u m E
showcasing the
African-Canadian
experience
A brief history of
Canadian theatre
Cool Canadiana
Equity members are encouraged to submit ideas for articles, memorial notices and letters to the editor
via email (Eq@caea.com) or on disk with accompanying hard copy. the copy deadline for submissions is
Friday, october 29, 2010. EQ reserves the right to edit for length, style and content.
EQ Equity Quarterly (issn 1913-2190) is a forum to communicate to Equity members the activities of
the association and issues of concern to the association. with the exception of the editorial staff, the
views expressed in solicited or unsolicited articles are not necessarily the views of the association.
Canadian Actors’ Equity Association (Equity) is the voice of professional artists working in live
performance in English canada. we represent more than 5,500 performers, directors, choreographers,
fight directors and stage managers working in theatre, opera and dance, and support their creative efforts
by seeking to improve their working conditions and opportunities by negotiating and administering
collective agreements, providing benefit plans, information and support and acting as an advocate.
4
2 0 1 0
n u m B E r
3
2 PRESIDENT’S MESSAGE
3 NOTES FROM ARDEN R. RYSHPAN
4 LETTERS TO THE EDITOR
5 EQ MOVES
16 EQ&A
17 EQ BACKSTAGE
18 FONDLY REMEMBERED
20 EQ CLASSIFIEDS
21 EQ FLASHBACK
coming issue: wintEr 2011
subscriptions are available at an annual rate of $35, including gst.
Publications mail agreement no. 40038615
EQ is published four times a year by canadian actors’ Equity association.
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COVER AND INSIDE FRONT COVER: Our take on two national stereotypes. Images of our theatre history throughout the magazine are from a special photography exhibit
created in honour of Equity’s 25th Anniversary in 2001
ABOVE: (L to R) Joel Wirkkunen, Jonathan Sutton, Peter Anderson, Malcolm Scott and Peter Grier in the 1999 Vancouver Playhouse Theatre production of The Overcoat
1788
Officers in the military create The Garrison
Amateurs in Halifax
Fall 2010
1785
Allen’s Company of Comedians is the first
professional English theatre company to
settle in Quebec
1825
Théâtre Royal is built in Montreal
1825
Royal Circus opens in Quebec
Equity quartErly 1
President’s message
O ne of the
under curr en
ts of almost ev
this undeniable
ery discussion
reality: The th
about the stat
ea
tre “pie” acro
e of Canadian
who wish to fe
ss this country
theatre is
ed themselves
is not large en
from it. The sit
ough to sustai
shifts in the co
ua
tio
n
n
all those
gets better or
untry’s econom
worse in mod
y, but it is a ch
and, regrettabl
es
t
m
ro
ea
ni
c condition. It
sure with
y, there is no
was true whe
sign that it is go
mostly regional
n most of us
ing to improv
joined
and short-lived
e
any time soon
(a municipal C
. Notable exce
cal motivation
entennial, Oly
pt
io
ns
that flickers ou
are
mpics, etc.), an
t along with th
d largely driven
Not only is the
e final celebrat
by polititheatre-pie prob
or
y
fir
ework.
lem a perpetua
ing to a study*
l one, but it ha
based on the 20
s
be
en getting stea
06
census data (g
Strategies Rese
dily worse. Acc
oodbye, compu
arch:
ordlsory long form
)
conducted by
“The number
Hill
of artists in Can
ada grew muc
between 1971
h more quickl
and 2006. Ther
y than the ov
e were three-an
erall labour fo
1971. This is a
d-a-half times
rce
much higher in
as many artists
crease than th
In other words
in 2006 as in
e doubling of
, for the 35 ye
the overall labo
ars prior ending
about 75% gr
ur force.”
in 2006, the gr
eater than that
ow
th
in
in the artistic
the workforce
75% in artistic
workforce was
as a whole. Has
opportunity an
anyone noticed
d income over
the opposite.
a
pa
ra
th
llel increase of
at
tim
e? Hello? Any
Over the last
one? If anythi
15 years of th
compared to an
ng
e
,
st
th
ud
e stats show
y period, artis
overall earnings
t income actu
increase of 9%
al
ly
Faced with the
de
cl
ined by 11%,
in the same tim
reality of not en
eframe.
ough theatre pi
own – witness
e to go around
the growth of
, many artists ha
independent th
ve begun to ba
seem, it too is
eatre. But as in
ke their
problematic. Th
no
va
tiv
e
an
d
ea
pr
tre
oa
ct
co
iv
sts a lot to prod
e as that approa
many artists, th
ch may
uce, and it does
e principal bene
n’t bring in a lo
fit is a fleeting
consistent inco
opportunity to
t of money. Fo
me to be able
do
r
th
e
w
or
to
k
they love, but
pay rent or a
these small proj
still not enough
mortgage, bu
ects blossom in
y
gr
oc
er
ies or raise ch
to larger, more
exceptional. A
ildren. Sometim
remunerative on
nd yet, it is im
es
es, but those oc
portant to cont
ca
sio
ns
As part of the
in
are unfortunate
ue
do
ing that kind of
review of inde
ly
work.
pendent theatre
the future of th
, members will
eir organizatio
be asked to m
n and about w
ake critical decis
We need to en
hat we, as artis
ions about
able and nurtu
ts
,
expect of a ca
re grassroots w
reer in Canadia
tions and bene
or
k
an
d,
n theatre.
at
fits that provid
the same time,
e us with the ra
we need to se
profession. W
re
cu
op
re
po
th
e protecrtunity to earn
ithout either, w
a livelihood in
e risk losing a
are so justifiab
this all too tenu
key part of the
ly proud.
ous
tapestry of artis
tic excellence
What does th
of which we
e future of Can
adian theatre
look like? You
decide.
Allan Teichman
, President
*www.hillstra
tegies.com/doc
s/Artists_Cana
da2006.pdf
1860
Black patrons sitting in the main section
of Victoria’s Colonial Theatre are attacked
by whites who want them restricted to
balcony seating
2 Equity quartErly
1868-1900
116 plays by Quebec playwrights are
published, of which only 40 are ever
performed
1873-1892
40 theatres with a capacity of over 1,000
seats are built across Canada, all linked
by rail
1887
First stock theatre company appears in
Winnipeg and lasts one season
Fall 2010
Notes from
Arden r. ryshpan
Maintaining a space for Canadian content is one of the biggest challenges faced by the arts and
culture sector. While we have embraced our fiction writers and musicians with enthusiasm (and to some
degree our visual artists), there is still a hesitation among the general public to choose Canadian stories
on the stage and screen. “Oh brother, here comes the moose…” you can hear your average Canadian
thinking when they are asked to see a Canadian play or film. I don’t know why.
We actually make a significant number of high quality productions in this country,
both live and recorded. Lest anyone have any notions about say, the superiority
of the British industry, I urge you to spend an evening in front of the telly the next
time you are in London. Not everything deserves to be exported.
And what makes a production “Canadian?” Surely, it means that it is made by
Canadians who, regardless of the subject matter, are likely to explain it filtered
through their life experience in this country. That sounds “Canadian” to me.
I recognize the challenges that come with programming new works. The average audience member has no idea if it is going to be good or not, especially if
it comes from a new playwright. And when both their disposable income and
available time are at a premium, they are likely to be selective about where they spend their dollars.
Many seem to prefer to choose the tried and true rather than the new and different. Every artistic
director ultimately needs to put a certain number of bums in seats if they wish to keep the doors open.
Looking for the balance between “no risk – less risk – high risk” is not an enviable task.
As funds become increasingly precious, the cash to develop new works gets meted out in smaller doses.
There are theatres and companies all over this country doing yeoman’s work to bring new work to the
stage and they should be commended for it. But a lack of a coherent government policy to create new
works means that the financial burden has been downloaded to the creators themselves, who often work
for little or no money to birth the project. Every statistic that has ever been run shows that artists subsidize
their own industry in a way that no other does. When there is not enough money in the system for script
development, the work still gets done, but unfortunately often on the backs of the members.
But if we don’t write and produce new works, if we don’t make work about our society right now
at this very moment in time, if we don’t try to look at contemporary conundrums, then we are nothing more than a branch plant operation for someone else’s cultural product.
You will see Equity’s lobbying and advocacy goals reflected in the content of articles in this issue
as well as “The Government Issue” from Fall 2009. We will continue to press all parties for comprehensive, forward-looking arts and culture policies that not only provide the right kind of stimulus for
growth but establish a prominent place for the arts in our country.
Arden R. Ryshpan
Executive Director
Early 20th Century 1900-1950
1890s
Gold Rush spawns theatrical, vaudeville
and burlesque productions in the Yukon
Fall 2010
1891
Railroad reaches Edmonton, joining that
city to the prairie theatre circuit
1919
Canadian Actor
Marie Dressler
leads a 30-day
strike on Broadway
1919
Hart House Theatre is
founded in Toronto and
leads the Canadian “Little
Theatre” movement
Equity quartErly 3
Letters to the editor
Challenging subject matter
I am writing in response to Matthew Hays’ wonderful article in the spring
issue of EQ. The tone of the article suggests that there is not that much
challenging work being done these days. I am not so sure.
Others will have their examples to add, but this was cast into relief
most clearly for me when we were home to a reading of Seven Jewish
Children, which was presented by Crow’s Theatre and the National
Theatre School. The B’nai B’rith wrote an open letter to the Mayor asking
him to shut down the performances at Theatre Passe Muraille (TPM) – a
municipally owned building. The Mayor steadfastly refused. He affirmed
our right to program this theatre independently and championed the idea
that we are meant to be a home for independent thought.
In the last two years we have produced work that has challenged our
audience with difficult issues and in some cases these are issues that certain
sectors of our community would rather not see discussed in public. Pyaasa
explored the inhumane nature of the caste system, The Misfit looked at
honour killings, Smoke Screen looked at marijuana use among young people, Born Ready looked at gun violence among young black men. BASH’d
was about the violence and intolerance directed at gay people. Future Folk
throws back the curtain to uncover the needlessly challenging daily lives
of our Filipino caregivers in Toronto who, on occasion, are unprotected
from mistreatment by their employers. Letters to My Grandma exposes
the inhumanity of religious intolerance. Such Creatures explores two different scenarios of intolerance and violence, one in the inner city and one
in a concentration camp. Yichud (Seclusion) was deemed by some to be
offensive. Our co-producing partner backed out before rehearsal was to
begin but TPM believed in the message that Yichud delivers to its audience
and we were still committed to producing it. We mounted the production
with the able help of the creative artists themselves – Julie Tepperman and
Aaron Willis of Convergence Theatre.
We have respect for our community and we do not want to cause harm
to any, but we do want to take on challenging subjects in an atmosphere
of respect for other opinions.
— Andy McKim, Artistic Director, Theatre Passe Muraille
The article “Artistic Freedom in Canada” in the Spring issue of EQ
should have cited Parts 1 and 2 of Section 167 of the Criminal Code
as an example of vague wording that can be used to shut down
free expression.
1921
Canadian Copyright Act is given Royal
Assent
4 Equity Quarterly
1925
Le Cercle Molière (now Canada’s oldest
professional theatre company) is founded
in Winnipeg
Letters on subjects of concern to Equity members will be considered
for publication. Letters must be signed, but names will be withheld on request
for those letters that may affect members’ employment. Letters that include
artistic criticism of Equity members or letters that are antagonistic or 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 necessarily those of the
Association. EQ reserves the right to edit for length, style and content.
PHOTO AND PRODUCTION CREDITS
Cover: Photo: Soren Sielemann, iStockphoto.
Inside front cover: Photo: Jill Chen, MentalArt, iStockphoto.
Pages 1, 8-11, and in timeline: Photos (except where mentioned
below) are from a special photography exhibit created in honour
of Equity’s 25th Anniversary in 2001. For full credits please visit
www.caea.com/EquityWeb/Extras/Gallery.aspx
Page 3: Timeline photos for 1919 (L to R): Photo of Marie Dressler courtesy of AEA
and International Newsreel. Photo of Hart House courtesy of Hart House Theatre.
Page 5: Photo: David Cooper. Moulin Rouge – The Ballet (2009) with music by
various composers, produced by Canada’s Royal Winnipeg Ballet. Artistic Direction
by André Lewis with choreography by Jorden Morris. Cast: Gael Lambiotte,
Vanessa Lawson and artists of the RWB. Stage managed by Ingrid Kottke. Timeline
photo for 1939: An American in Paris (1943) produced by the Canada’s Royal
Winnipeg Ballet. Choreographed by Gweneth Lloyd. Dancers (L to R) Betty
Farrally, Paddy Stone and Jean McKenzie. Photo courtesy of the RWB.
Page 6: Poster for A Raisin in the Sun (2010-2011) produced by Black Theatre
Workshop: Ellen Smallwood.
Page 7: Top photo: Isabelle Fleurelien. Le Code Noir (2008-09) by George Boyd
produced by Black Theatre Workshop. Directed by Richard Donat. Cast: Tyrone
Benskin, Stefanie Buxton, Keir Cutler, Frank Fontaine, Adrienne Mei Irving, Ralph
Prosper and Brett Watson. Production stage managed by Lori Allen with Stephen
Vincelli (apprentice stage manager.) Middle: Poster for Le Code Noir: Em Dash
Design. Bottom left photo: Isabelle Fleurelien. Skin (2008-09) by Dennis Foon
produced by Black Theatre Workshop. Directed by Tamara Brown. Cast: Glenda
Braganza, Neil Napier, Mike Payette and Julie Tamiko Manning. Staged managed
by Johanne Pomrenski and Jonathan Rondeau. Bottom right photo: Cindy
Lopez. The Nutmeg Princess (2009-10) adapted by Amah Harris based on the
original book by Richardo Keens-Douglas produced by Black Theatre Workshop.
Directed by Liz Valdez. Cast: Tamara Brown, Mike Payette and Warona
Setshwaelo. Stage managed by Seamus Ryan.
Page 11: Timeline photo for 1971: Isabelle Fleurelien. Ranee Lee and Joel Miller in
rehearsals for Swan Song of Maria (2009-10) by Carol Cece Anderson produced
by Black Theatre Workshop. Directed by Tyrone Benskin. Cast: Ranee Lee, Joel
Miller and Kiani del Valle (student). Production stage managed by Lori Allen.
Page 12: Photo: Cylla von Tiedemann. Jitters (2010) by David French produced
by Soulpepper Theatre Company. Directed by Ted Dykstra with fight direction by
Simon Fon. Cast: Kevin Bundy, Diane D’Aquila, Oliver Dennis, C. David Johnson,
Abena Malika, Jordan Pettle, Noah Reid, M.J. Ross and Sarah Wilson. Stage
managed by Andrea Schurman assisted by Laura Baxter.
Page 13: Timeline photo for 1980: Graphic courtesy of Equity.
Page 14: Left photo: Tim Matheson. Confessions of an Indian Cowboy (2001)
produced by Full Circle: First Nations Performance. Cast: Margo Kane. Middle
photo: Ley Ward. The Food Show (2009), a collective creation by Dancing Sky
Theatre produced by Dancing Sky Theatre. Directed by Angus Ferguson with
choreography by Louisa Ferguson and the company. Cast: Matthew Burgess,
Sheldon Corbett (musician), Louisa Ferguson, Jamie Lee Shebelski, Bob Wicks
and Kevin Williamson. Stage managed by Ley Ward. Right: Leaving Home
poster designed by Lea Learning, courtesy of Walter Learning.
Page 15: Photo: Nir Bareket. The Impromptu of Outremont (1980) by Michel
Tremblay translated by John Van Burek and Bill Glassco produced by the
Tarragon Theatre. Directed by Bill Glassco. Cast: Clare Coulter, Nonnie Griffin,
Patricia Hamilton and Charmion King. Stage managed by Andrey Tarasiuk.
Page 16: Photo of George F. Walker: Ken Woroner. Production photo courtesy
of Factory Theatre. Problem Child (97-98) by George F. Walker produced by
Factory Theatre. Directed by George F. Walker. Cast: Nola Augustson, Shawn
Wayne Doyle, James Kidnie and Kristen Thomson. Stage managed by Kevin E.
Bowers assisted by Karen O’Brien.
Page 18: Photo of Maureen Forrester: BDS Studios.
Page 19: Photo of Wayne Nicklas courtesy of Judy Cook. Photo of Gerry
Salsberg courtesy of Second City.
Page 21: Photo courtesy of the Paul Hecht Private Collection.
*With thanks to the Canadian Theatre Encyclopedia and other
resources for the material to create the timeline running
throughout the magazine
1932
Dominion Drama
Festival is
created
1937
Creation of La Fédération des artistes de
la radio (the name Union des artistes is
adopted in 1952)
Fall 2010
EQ Moves
Onward and upward with the arts
Vanessa Lawson and
Gael Lambiotte in the
Royal Winnipeg Ballet’s
Moulin Rouge – The Ballet
Long-time Councillor Nick Wyman has been elected
president of the U.S. Actors’ Equity Association, taking
over from Mark Zimmerman who vacated the position
in December, 2009. First Vice President Paige Price had
been temporarily filling in as president.
Martin Bragg has been appointed Executive Director of Alberta Ballet. For the past
17 years he was Chief Executive Officer/Artistic Producer of The Canadian Stage Company
in Toronto.
Anne Clark is stepping down as Geordie Productions’
General Manager this fall. Anne worked with the theatre
for five seasons and saw the company successfully produce the first national tour of one of its mainstage productions.
Long-time staff member Keith Davidson has
assumed the new role of Director of Business Representative Services at Equity. Keith will continue to
provide supervision to the staff in the Business Rep
department as well as assistance to engagers.
National Ballet of Canada Second Soloist Robert Stephen was
awarded the Clifford E. Lee Choreography Award. This prestigious award was established in 1978 to encourage the development of Canadian choreographers.
This October, the Royal Winnipeg Ballet will
commemorate its 70th anniversary with its
first overseas tour in seven years. The tour will
travel to Israel, Jordan and Eastern Europe.
1939
Royal Winnipeg
Ballet (then the
Winnipeg Ballet
Club) is established
Fall 2010
1943
ACTRA is created to protect and promote
the rights of performers in film, television
and radio
1948
Straw Hat Players
summer theatre is
founded
1949
Théâtre du Rideau Vert is founded in
Montreal
Equity Quarterly 5
Showcasing the AfricanMontreal’s Black Theatre Workshop celebrates its 40th anniversary
By Barb Farwell
It started out
as a way for
members of Montreal’s Trinidad and Tobago community to socialize, connect and tell their stories –
now, after 40 years, Black Theatre Workshop (BTW)
has evolved into a reflection of the African-Canadian
experience in Canada.
As the only English-speaking professional Black theatre
company in Quebec, BTW has helped start the career of
many Black artists in Canada. Although its mission is
to encourage and promote the development of Black
and Canadian theatre, “this is not a fist-pumping Black
power thing,” says Artistic Director Tyrone Benskin.
“We want to make people aware of our stories,”
he says. “We are here, we have a presence. This is
not just something to think about during Black History Month.”
Benskin started his acting career at BTW in the early
1980s with a small role in a production of Neil Simon’s
The Gingerbread Lady. “It was a positive experience, and
for the first few years I grew my career with BTW.”
After moving on to perform at Stratford and the
National Arts Centre, Benskin says he has now come
full circle. “I want to maintain and position BTW as a
place for up-and-coming artists.”
When BTW was incorporated back in 1971, its
focus was on developing new work by West Indian
playwrights such as David Edgecombe. Over the years
it shifted its focus to produce a variety of plays from
around the world, such as an all-Black version of Harold
Pinter’s The Caretaker. At the same time it continued to
explore the Canadian-African experience through plays
by writers like Andrew Moodie and Djanet Sears.
“Now young people are writing about their Canadian experience – creating work steeped in their
Canadian voice,” says Benskin. “There is a wonderful
richness that is coming out of Canada.”
Late 20th Century 1950- 2000
1950
Newfoundland and Labrador Provincial
Drama Festival is created
6 Equity Quarterly
The poster for BTW’s 40th anniversary production of A Raisin in the Sun
1950
The Canadian Opera
Festival (now the Canadian
Opera Company) launches
its first production
1951
Massey-Lévesque Commission releases
its report on the National Development of
Canadian Arts, Letters, Humanities and
Social Sciences
1951
Théâtre du Nouveau Monde is founded
in Montreal
Fall 2010
-Canadian experience
Giving life to little-known stories
A recent production that Benskin is particularly
proud of is Le Code Noir by George Boyd and commissioned by BTW. It is the little-known story of
Joseph de Boulogne, who lived in Paris in the second half of the 18th century and was known as the
“Black Mozart” for his compositions and virtuoso
violin playing. “It’s a fascinating story,” says Benskin. “It’s important for me to get these stories out
there and welcome everyone in to see them.”
To celebrate its 40th anniversary, BTW will be presenting A Raisin in the Sun by Lorraine Hansberry,
which it first produced back in its 1978-79 season. Benskin says the play, which recently celebrated its 50th
anniversary, “got rid of a certain caricature. It showed
the same struggles as any other working class.
“But this is not just nostalgic. The play continues to
be really relevant. It shows the struggles that people
face today, just like any George F. Walker play.”
Another important priority for BTW is introducing
young people to the theatre through their touring
productions to elementary and high schools. “We
want students to know from an early age this is how
powerful theatre can be,” says Benskin. The company also offers the YouthWorks Training program,
a year-round theatre training program with an Africentric focus for young people of all backgrounds.
“For a little company we’ve done well,” says
Benskin. “It’s no longer, ‘Are you guys still around?’
but, ‘When’s your next production?’”
BTW’s 40th anniversary production of A Raisin
in the Sun runs from November 24 to December 5,
2010, at the Centaur Theatre in Montreal. For more
information visit www.blacktheatreworkshop.ca. EQ
Top left: Tyrone Benskin and Stephanie Buxton in Le Code Noir
Top right: The story of Joseph de Boulogne, known as the “Black Mozart” is one of those fascinating but little-known stories that BTW actively seeks out
Bottom left: (L to R) Julie Tamiko Manning and Neil Napier in Skin by Dennis Foon, a BTW production for young people that toured schools
Bottom right: (L to R) Mike Payette and Tamara Brown in The Nutmeg Princess, which answers the question: Are there any Black princesses?
1951
Celia Franca creates
The National Ballet of
Canada in Toronto
Fall 2010
1953
Stratford
Shakespeare
Festival opens
1953
Holiday Theatre dedicated to theatre for
young audiences opens in Vancouver
1955
First Canadian Advisory Committee is
elected as a branch of Actors’ Equity
Association (U.S.)
Equity Quarterly 7
H O W
W E
G O T
T O
W H E R E
W E
A R E
T O D A Y
A HIstOrY OF CAN
By KEith KElly
thE dEvEloPmEnt
of
theatre in our country has been full of adventure, conflict and passion – but it’s much more than just an interesting history lesson.
It’s critical to look back at where we’ve been to discover where
we want to go in the future. When the first Europeans came to
the New World they were uncertain of what they would find. The
harsh climate, the lack of even the most rudimentary amenities,
and the untamed wilderness challenged even the most adventurous of these new arrivals. To bolster their spirits it was clear that it
would be necessary to find ways to introduce some of the familiar
elements of their previous life in Europe. Samuel de Champlain
established the Order of Good Cheer where through music, food
and other diversions a sense of belonging could emerge.
In 1606, to aid in this mission, Champlain asked Marc Lescarbot
to establish Le Théâtre de Neptune en la Nouvelle-France at Port
1957
The Canada Council is created by
Parliament
8 Equity quartErly
1958
Birth of the Manitoba
Theatre Centre in
Winnipeg
Royal (now Nova Scotia). Lescarbot rose to the challenge and the
production of his plays became a regular part of the offerings of
the Order of Good Cheer. The joys of theatre were a welcome
distraction from the hardships of life in New France.
The development of theatre in Quebec City did not go as smoothly.
The dominance of the Roman Catholic Church directed those who
wrote plays to focus on biblical themes. When this was challenged,
there were serious consequences. Bishop Saint-Vallier asked Comte de
Frontenac, the Governor General of New France, to ban a production
of Molière’s Tartuffe, a move he reputedly encouraged with a bribe.
In 1693-94, the same bishop went further and banned all theatrical
productions in Quebec. The Church continued to exercise censorship
of theatre and all of the arts into the 20th century.
The desire to replicate the Old World in the New World was
manifest in the manner in which theatre and other art forms
1959
Toronto Workshop Productions opens in
Toronto with an experimental mandate
1960
Vancouver Opera
produces its first opera
Fall 2010
NADIAN tHeAtre
would develop over the next 300 years. In 1788, the soldiers in
Halifax produced theatre within the garrison. The first production
was Sheridan’s School for Scandal. Satisfied with their foray in
theatre, the soldiers built the New Grand Theatre in Halifax. The
first production was Shakespeare’s The Merchant of Venice.
From 1789-90 two theatre companies emerged. Allen’s Company of Comedians, which was founded by Edward Allen from
the Theatre Royal in Edinburgh, and Les Jeunes Messieurs Canadiens, a French-speaking theatre company whose founders were
politically involved with the society being created in Canada at
the time. Initially, Allen’s Company produced works from Shakespeare in English communities, while Les Jeunes Messieurs concentrated on the works of Molière for French audiences. Eventually the two companies broadened their repertoire to include
plays from both playwrights.
1960
The National Theatre School of Canada
opens in Montreal
Fall 2010
1962
Shaw Festival is
founded in Niagaraon-the-Lake
Theatres form across Canada
The next 100 years saw the building of theatres across Canada.
From 1873-1892, 40 theatres with capacities of over 1,000 seats
appeared. While the wilds of the New World were somewhat
tamed by Canadians, the security of the Old World filled these
theatres with travelling troupes from England and France. Glimmers of hope were appearing at residential stock theatre companies in Edmonton and Winnipeg.
In Quebec, from 1868-1900, 116 Quebec-authored plays were
published. During that time period, only 40 of these works were
performed. The appetite for seeing our own work on our stages
was in a nascent phase.
It was not until the beginning of the 20th century that the
stirrings of national consciousness began to emerge in the arts.
Canadians had begun to reflect their own stories and perspectives.
1963
Vancouver Playhouse opens
1963
Neptune Theatre
is formed in
Halifax
Equity quartErly 9
h o w
w E
g o t
t o
w h E r E
In the visual arts, the Group of Seven and Emily Carr renounced
the disciplines of the Royal Academy in favour of their own style
which better represented the realities of the Canadian experience.
In literature we also saw the emergence of a distinct Canadian
voice through Margaret Laurence, Robertson Davies and Roch
Carrier who reflected upon Canadian themes and perspectives.
In 1919, Hart House Theatre opened in Toronto, committed
to the development of Canadian theatre. Hart House was seen
as the leader of the “Little Theatre” movement in Canada, which
further extended theatre life to communities across Canada.
The Dominion Drama Festival was established in 1932. This
national competition allowed theatres to compete with talent
from all over Canada. The competition culminated in a one-week
festival of winning plays. The festival was suspended in 1939 due
the onset of the Second World War. It was revived in 1947 and
continued until 1978.
The dominance of foreign companies on Canadian stages evaporated following the war. It was from this fecund ground that the Canadian voice began to develop with remarkable strength and timbre.
The Canadian voice
Paul-Émile Borduas and the artists known as the Automatistes detonated the Quiet Revolution in Quebec with the release of Le Refus
global in 1949. This was a fiery renunciation of the bounds of colonialism and domination by the Church. It was an insistent affirmation that
the time for the real potential of Quebec become manifest.
Part of its manifesto was: “The magical harvest magically
reaped from the unknown lies ready in the field. It was gathered
by all the true poets. Its powers of transformation are as great as
the violence practiced against it...
“Make way for magic! Make way for objective enigmas! Make
way for love! Make way for what is needed!”
w E
a r E
t o d a y
The effects of a growing self-awareness and the desire for change
led to a burst of activity on the stages of that province. We see the
advent of Le Theatre du Rideau Vert in 1949, lead by Mercedes
Palomino. In 1951, Georges Groulx, Jean Gascon, Jean-Louis Roux
and Guy Hoffman established Le Théâtre du Nouveau Monde in
Montreal. In 1952, the theatre and performing artists were united
under the umbrella of Union des Artistes. This organization began
to ensure that artists received a fair recompense for their work and
that working conditions were safe and reasonable.
The growth spurt in Quebec continued with the opening of the
Comédie-Candienne in 1957 under the artistic leadership of Quebec
playwright and actor Gratien Gélinas. In 1960, the National Theatre
School opened in Montreal, providing professional training to actors
and other theatre professionals in both French and English.
A similar revolution was happening throughout the rest of
Canada. The late ’50s and ’60s saw the creation of the Stratford
Shakespeare Festival, the Shaw Festival Theatre and Theatre Passe
Muraille in Ontario, the Manitoba Theatre Centre, the Vancouver
Playhouse, the Neptune Theatre in Halifax, Edmonton’s Citadel
Theatre and Theatre New Brunswick. In 1969, the curtain was
raised at the National Arts Centre in Ottawa, playing host to two
repertoire theatres, one in French and one in English.
National pride
Perhaps it was the national exuberance and confidence from Expo
67 and the Montreal Olympics, or the creation of the Canada
Council in 1957 and other provincial arts councils and funding
programs, but it was clear that reticence had become an endangered species in Canadian theatre.
The confluence of the Centennial, the arrival on the political
scene of Pierre Trudeau as Prime Minister, and the era of the
flower children and vehement anti-Vietnam War protests created
a heady new environment for artistic expression and creation.
“As we prepare for our 150th birthday,
much can be done to ensure the hard won
gains of the Canadian artistic community...”
(L to R) Eric Peterson and John Gray in Billy Bishop Goes to War, which premiered in
1978 with Peterson playing 18 spoken parts and Gray as director, narrator and pianist
1965
The Citadel Theatre is founded in
Edmonton
10 E q u i t y q u a r t E r l y
1965
The Charlottetown Festival opens
1966
The Alberta Ballet is founded
1968
Theatre Passe Muraille opens in Toronto
Fall 2010
It became manifest in the creation of new theatres across Canada producing new plays that gave voice to the new Canadian
spirit. This provided opportunities for talent like Tom Hendry, June
Faulkner, Bill Glassco, Walter Learning and Jim Garrard to provide
stages for the likes of actors Martha Henry, William Hutt, Shirley
Douglas, Christopher Plummer and playwrights George F. Walker,
Norm Foster, George Ryga, and many others, who would form the
bulwark of Canadian theatre.
Canadian theatre had arrived with a bang! The challenge then
became maintaining the momentum. As anyone familiar with the
arts knows, economic realities have a habit of shaping the fortunes of all art forms. With the economic recessions of the ’70s
and early ’80s, and new pressures such as increasing competition
for audiences and a growing array of home-based entertainment
options – theatres looked for ways to economize.
Smaller productions and plays with a broad audience appeal
began to displace Canadian original works. These factors persist through to the present day. In 1993-94 the Canada Council
reported 519 productions of Canadian plays. By 2005-06 we saw
a modest increase to 918 plays by Canadians. Large theatres were
responsible for 12% of Canadian plays in 1993-94, but by 200506 this had declined to 9%.
Development of foreign audiences and markets has always
been seen as a way to diversify revenue and promote Canadian
artistic expression. Unfortunately, the two main federal government programs that assist in the promotion of Canadian culture
internationally were axed by the current government. Not finetuned, not retargeted – but cancelled in 2008.
A new turning point?
Today we stand some seven years from the 150th anniversary of
Confederation. Fifty years ago, the Centennial celebrations were
a turning point and an extended celebration of Canadian artists
and our 100 years of life as a nation.
As we prepare for our 150th birthday, much can be done to
ensure the hard won gains of the Canadian artistic community can
be further advanced and celebrated.
First, we need to review our federal cultural policies. Each time
this has happened we have seen a burgeoning of creativity in
all the art forms. The Canada Council was created as a result of
the Massey-Lévesque Commission, and the Applebaum-Hébert
Committee stimulated growth in all artistic disciplines for over a
decade.
We also need to ensure that our resources and strategies are
consistent with a world that technology has so changed and dominated. A serious review would have the chance to do this.
Second, now is the time we must begin working to develop a
fund to support the creation of new works for the 150th anniversary
of Canada. Such funds were created for the Centennial and the
Millennium and were largely responsible for the generation of new
works, which were the centrepieces of those landmark occasions.
The fund must allow our artists and creators free rein to draw
a portrait of Canada at the beginning of the 21st century. Such
productions have lasting benefits for all Canadians and provide a
reflection of where we have been, where we are now, and where
we are heading as a society.
In the ’70s the federal government sponsored projects through
the Opportunities for Youth and Local Initiatives job creation programs. The emphasis was on job creation – not accounting for every
penny or burying recipients in red tape. The arts community took full
advantage by creating theatres, artist-run centres, dance companies
and museums – many of which are still operating today.
Third, we must find a way to engage the aboriginal and culturally diverse communities on their terms and with respect. These
groups are creating their own stories of the Canadian experience
but often feel marginalized from the larger artistic community.
If we can achieve these goals – not only will we have much to
celebrate in 2017, but once again we will have fashioned a brave
new world on Canadian soil. EQ
Keith Kelly has been involved in arts and cultural policy for over 30 years and is
an honorary member of Equity. He is a founding board member of the Governor
General’s Performing Arts Award Foundation and the Hnatyshyn Foundation and
was National Director of the Canadian Conference of the Arts from 1989-98.
(L to R) Marc Gelinas, Jean Archambault and Peter MacNeill in David Fennario’s
bilingual play, Balconville, at Montreal’s Centaur Theatre in 1981
1968
Theatre New Brunswick
is founded in Fredericton
Fall 2010
1969
National Arts Centre
opens in Ottawa with
George Ryga’s play The
Ecstasy of Rita Joe
1970
Creation of Toronto’s Tarragon Theatre
1971
Black Theatre
Workshop is
founded in
Montreal
E q u i t y q u a r t E r l y 11
thEatrE artists rEFlEct on thE Evolution oF our nati
(L-R) Noah Reid, M.J. Ross, Kevin Bundy, C. David Johnson
and Oliver Dennis from Soulpepper Theatre Company’s
2010 production of Jitters by David French
COOL CANADIANA
By matthEw hays
George F. Walker. Judith Thompson. Daniel MacIvor. Tomson Highway. Michel Tremblay.
it’s not so diFFicult
to cite
the names of famous Canadian playwrights. As anyone in the
international theatre milieu will tell you, there is a considerable
Canadian canon, with solid national name recognition around our
cultural exports.
But some remember a time when there wasn’t such an expansive body of work to draw inspiration from. “When I first started
in the 1960s, I wasn’t aware of many Canadian plays,” says Wal-
1972
Alberta Theatre Projects established in
Calgary
12 E q u i t y q u a r t E r l y
1974
Persephone Theatre opens in Saskatoon
ter Learning, the playwright, actor and director who founded Theatre New Brunswick in 1968. “At that point, the overriding vision
wasn’t to do Canadian work, it was just to get something going
on and get an audience in.”
Then, Learning recalls speaking his mind. In 1969, a journalist
asked him why, as artistic director of Theatre New Brunswick, he
wasn’t putting on any Canadian plays. “I responded that I wasn’t
doing so because 90% of Canadian plays are garbage. Canadian
1974
Native Theatre School (renamed the
Centre for Indigenous Theatre in 1994)
opens in Toronto dedicated to promotion
of aboriginal theatre
1974
Canadian Theatre Review begins
publication
Fall 2010
onal theatrical canon
Press picked up the quote and ran with it in papers coast to coast.
Then Alden Nowlan wrote a column in which he pointed out that
90% of plays from anywhere were garbage. Alden and I became
great friends and ended up collaborating, writing several plays
together.”
Learning, who also served as artistic director of the Vancouver
Playhouse from 1982-87, recalls that the 1970s proved a decade
of exponential growth for Canadian theatre. “The Factory and
Theatre Passe Muraille were really getting into collective creations,
which are a fascinating way to work. Our people weren’t trained
in the process. But the content of their shows was different too.
I wasn’t going to try to bring something as racy as Baby Blue to
Sussex, New Brunswick!”
typewriter away from the writer. Paul taught us to say things with
confidence. The actors were the voices. We weren’t interpreting
someone else’s character.”
Thompson’s choices in topics varied, but they invariably
involved communities in some kind of crisis – often giving voice
to marginalized people who were getting shafted. Coulter says
the process itself, the form of collective creation, was hugely significant in shaping a national Canadian theatre.
“I had spent part of my childhood in Britain, and spent some
time at Stratford. I had no idea you could speak in a Canadian
voice telling Canadian stories. I didn’t know that could come
under the category of theatre. The work that Paul was doing
was hugely important.”
Canadian literature and cinema, Expo 67, and
Canada’s Centennial celebrations put a new
emphasis on exploring Canada’s national identity.
“There was a flowering of pride.”
And Learning says a switch was hit when he read David French’s
play Leaving Home. “He’s from Newfoundland, as am I. We did
the second production of that play. We found a voice that really
spoke to our audience. There was an organic feel to his work.”
A true Canadian body of work
The main difference Learning sees now is that “we really do have
a canon. What’s glorious is that after 40 years, we have a body of
work we can go back to. My hat went off to Soulpepper Theatre,
as they recently did a production of David French’s Jitters, and
they did such a great job of it. We have to keep rediscovering that
canon – that in turn will inspire new playwrights.”
Veteran actor Clare Coulter remembers the exciting theatre
experiments she was part of at Theatre Passe Muraille in the
’70s. She says that Paul Thompson had been to France where
he’d seen various theatrical collective creations take shape, and
brought some of those techniques back to Toronto with him. “It
was very exciting making those shows,” she says. “The idea was
that you would take the script away from the actor, and take the
1976
Canadian Actors’ Equity Association
is established as independent from
American Actors’ Equity
Fall 2010
1979
Toronto’s Buddies in Bad Times theatre
opens, dedicated to the promotion of
lesbian and gay writers and creators
A Canadian voice telling Canadian stories
But Coulter is quick to add that exciting new strains of theatre
did not exist within a vacuum. Much of the development of new
approaches by such Toronto theatres as Theatre Passe Muraille,
The Factory and Tarragon, were helped along by advocates in
the press. “The Toronto Star critic in the early ’70s, Urjo Kareda,
raved about what we were doing. His muscle really helped to
get audiences out to see it. He could see that we were trying
something different, an alternative to the theatre as opposed
to the established theatre. He always came to our shows and
engaged with them, thoughtfully and passionately. That support
was invaluable.”
The blossoming of so much experimentation by grass-roots
theatre start-ups was also due to government subsidy. Coulter
recalls that under Trudeau, the Local Initiative Program grants
were launched, helping creative types push ahead with new
visions for the theatre. And she says that subsidies like that one,
along with the support of critics like Kareda, helped to foster audience growth and enthusiasm for Canadian works.
1980
Federal Cultural Policy Review
Committee (Applebaum-Hébert)
publishes its recommendations
to the federal government
1982
Edmonton International Fringe Festival is
established, the first in North America
E q u i t y Q u a r t e r l y 13
T h e a t r e a r t i s t s r ef l e c t o n t h e e v o l u t i o n o f o u r n a t i
Left: Opening up the theatre to Aboriginal voices and other diverse communities. Margo Kane in Confessions of an Indian Cowboy (2001)
by Vancouver’s Full Circle: First Nations Performance
Middle: Louisa Ferguson in The Food Show, a collective creation by Dancing Sky Theatre that included dinner for the audience prior to the performance
Right: Poster from Theatre New Brunswick’s 1973 production of David French’s Leaving Home. “We found a voice that really spoke to our audience,”
said Walter Learning
“Audiences in Canada became much more aware of what we
were doing, and what could be done,” she says. Canadian literature
and cinema, Expo 67, and Canada’s Centennial celebrations put
a new emphasis on exploring Canada’s national identity. “There
was a flowering of pride.” And that audience enthusiasm helped to
create an eagerness for the artists to continue to experiment, push
the boundaries, and create entirely home-grown works.
Angus Ferguson says that when he and his wife Louisa founded
the Dancing Sky Theatre in Meacham, Saskatchewan, in 1992,
they didn’t set out to mount only home-grown shows. But that’s
the way it turned out. “After our fourth season, we realized that
all the plays we’d done had been Canadian, though that wasn’t
something we set out to do. But connecting with the audience
was something we had set out to do, and Canadian plays speak to
Canadian audiences. So it became an unwritten mandate.”
The trouble with a great deal of new theatre work, Ferguson maintains, is that it’s very urban. “We are a small theatre and the village of
Meacham is small. Finding plays that actually speak to rural audiences
is hard. Often, new work can be pretty bleak too – like with four characters, every one of them you hate. We already know life’s tricky, I’d
like to see how people got through life’s difficulties.”
1983-1988
Maureen Forrester, noted Canadian
contralto, becomes the first female Chair
of the Canada Council
14 E q u i t y Q u a r t e r l y 1984
Globe Theatre of the Northern Arts opens
in Yellowknife
New creative processes
Like the upstart theatres in the ’70s, Ferguson says new and edgy
methods of the creative process are what drives his theatre. “Actors
are really very creative people. And they’re often not given the
chance to create. We have writers in residence, and we do collective
writing, bringing actors and musicians together to collaborate.”
Last season, Ferguson brought several actors together to
explore society’s changing attitudes towards what we eat. Called
The Food Show, Ferguson says “the actors jumped at it,” and
the show proved successful. The theatre’s setting helps: While he
stresses that the Dancing Sky Theatre is “not dinner theatre,” he
says that because people often have to travel quite far to see a
show, they serve dinner prior to the performance.
Creating brand new work, Ferguson points out, is incredibly
rewarding – but also more expensive. “We’ve learned how to pull
together a show in two and a half weeks. That can be tough – there
isn’t always time for more in-depth exploration of a topic. Generally, when people think of research and development investment,
they think of medicine and engineering. They don’t think about it
so much in the arts. But artists need to try and fail too. It’s harder
to sell. People have heard of Hamlet, but a new show, no.
1986
Siren-Gélinas Task Force on the Status of
the Artist releases its findings
1988
Canadian Advisory Committee on the Status
of the Artist, comprised of artists and officials
from associations and guilds, recommends
adoption of a Canadian Artists Code
Fall 2010
onal theatrical canon
“And the institutions that are in place try to make you do things
the same way, because that’s easier and more efficient. We’re
supposed to be a creative art form, so I think we should try to do
it another way. But that takes effort and time. Luckily, some attitudes have changed. In the 50s and 60s, nearly all of the theatre
produced in Canada was English or American.”
While there’s now a rich canon to revisit, theatre vets say that
basic economic realities have changed for Canadian theatre. “It
used to be that when you were talking about putting on a play,
the number of the cast never came up,” says Learning. “But now
the size of cast is one of the first questions, as well as the number
of sets. The economics have changed so much. It’s very rare to
see a big show put on. And that breeds a self-fulfilling prophecy
– people will only write shows for small casts.”
is that there hasn’t been a strong interest in developing Aboriginal
work. I think that would be a very good direction Canadian theatre
could go in – there is a great deal of international interest in these
stories, and I think that would open up a lot of possibilities for us.
It’s a rich history that hasn’t been tapped into.”
Twenty years ago, Kane developed a one-woman show,
Moonlodge, about the abuse a native girl suffers while in foster care. “I
did that show because there was so little on stage for aboriginal people.
There were no roles for me, nothing that spoke to my experience.
“But 20 years later, I don’t get the sense that things have
changed all that much. It’s been glacial, at best. I feel like I’m
constantly dealing with the fact that we’re silenced and ignored.
I’m reacting constantly against the inertia of society.
“I know it’s a challenge for people to hear, but it needs to be said.
“We really do have a canon.
What’s glorious is that after 40 years, we have a
body of work we can go back to.”
Economic realities
We need to be much more open
in our models. We might not
“I think corporate sponsordevelop a show within Euroship has changed the theatre,
centric creative models. We’re
and not for the better,” adds
not always using the same
Coulter. “They need to promodels. I’d like to see more
mote the idea that life is good.
theatre companies develop
And it used to be that even if
partnerships with Aboriginal
a play didn’t attract a huge
companies where the power is
audience, there might still be
equal. Artists shouldn’t feel like
something artistically valuable
second-class citizens.
about it. Twenty years ago, I
“I think the next 25 years
applied for a grant from the
could be crucial for the CanaCanada Council. They got
dian theatre. We need to hear
back to me and said, ‘This (L to R) Clare Coulter, Charmion King, Patricia Hamilton and Nonnie Griffin
in
Tarragon
Theatre’s
1980
production
of
Michel
Tremblay’s
The
Impromptu
from new and different pershow won’t be popular, you
of Outremont – one of the Canadian voices telling Canadian stories
spectives. It should be about
need our help,’ and gave me
the grant. Recently I applied for one, and the response was the shared learning – we need to open up the theatre to Aboriginal
voices and other diverse communities.” EQ
opposite: ‘Sorry, no popular appeal. Declined.’”
For all the talk of change, Margo Kane says she sees few signs of Matthew Hays is a Montreal-based journalist whose work has appeared in The
progress for Native theatre artists. The artistic director of Vancouver- Globe and Mail, The Guardian, CBC Arts Online, The New York Times and the
Canadian Theatre Review. He teaches courses in journalism and film studies at
based Full Circle: First Nations Performance says “my biggest concern Concordia University.
1988
First significant reform of Canadian
Copyright Act since 1921 extending
copyright protection to choreographers
Fall 2010
1989
Phantom of the
Opera opens in
Toronto and plays
for the next 10 years
1992
Parliament passes the Status of the Artist
Act recognizing artists’ contributions to
the cultural, social, economic and political
enrichment of Canada
1994
Vancouver’s Western Gold, Canada’s first
professional theatre for senior artists, is
founded and Ex Machina is created in
Quebec
E q u i t y Q u a r t e r l y 15
EQ&A
The world is waiting for more Canada
An Eq&A with playwright George F. Walker
Playwright, screenwriter and director George F. Walker had his first play, The Prince of Naples, performed
by Toronto’s Factory Theatre in 1972. His many plays since then include Criminals in Love, Problem
Child, Theatre of the Film Noir, Love and Anger and Escape from Happiness. This year he directed his
latest play, And So It Goes, for the Factory Theatre.
He has won the Governor General’s Award three times, the Dora Mavor Moore Award five times, the
Chalmers Award nine times, and is a member of the Order of Canada. His plays have been performed
across Canada as well as in the United States, Germany, Australia, and New Zealand.
EQ: Have changes in government funding –
especially towards touring – affected you?
GFW: I appreciate how the lack of funding
affects artists, but it hasn’t really affected
me. My play gets published and I’m off it.
They go on – hopefully without me. But
I’m sympathetic to the touring companies.
Touring extends the life of a work.
EQ: What do you think the future holds
for Canadian theatre?
(L to R) Shawn Wayne Doyle, Kristen Thomson and James Kidnie in George F. Walker’s Problem
Child, presented in the Mainspace as part of the Factory Theatre’s 1997-98 season
EQ: Are there some uniquely Canadian
themes that drive your work?
EQ: Are people around the world eager to
see works by Canadian artists on stage?
George F. Walker: I’m Canadian, so
they must have Canadian themes. I don’t
really analyze it. Sometimes my work is
set specifically in Toronto or in a specific
neighbourhood.
GFW: To some, Canada is an undiscovered country. American and British theatre
is imported around the world. Canadian
and Australian theatre is new. It’s something different. It’s another voice.
EQ: Your work has been performed quite
extensively around the world. Is that partly
because you deal with universal themes?
We’ve been sitting for so long on the banks
of the river from London to New York.
Other countries may not feel it as acutely as
us because we are so close to (the U.S.). We
are bringing a new kind of English theatre to
other countries – along with Australia and
New Zealand. The world is becoming bigger
and smaller at the same time.
GFW: I try to write about real life – with
an eye on everything bigger. It has to resonate with me. I have to feel it to write it. I
don’t aim for an international audience. I
don’t aim for anyone.
1996
Canadian Artists and Producers
Professional Relations Tribunal comes
into operation
16 E q u i t y q u a r t E r l y
1998
Second phase of Canadian Copyright
Act, reforms are passed by Parliament
granting performers neighbouring rights
in sound recording
GFW: When I started there was no theatre scene in Canada – so it looks better
now than it did then! New playwrights
need theatres like (Toronto’s) Factory,
Passe Muraille and Tarragon. These kinds
of theatres are now across Canada. You
don’t need to leave home anymore. It’s a
better scene with more choices.
If we had a government that really, really
cared instead of giving token support – we
could elevate Canadian theatre to a whole
new level. They could lead the way. The
bigger (theatre) gets, the better. I don’t
care what the ideological leanings of the
government are – they just have to believe
in how important culture is to the fabric
of society. It could be a bigger part of our
lives and we could invite more people in.
I’m waiting for that.
21st Century 2000 - Present
2001
Equity celebrates its silver anniversary
with parties held coast-to coast
2005
Equity, the Toronto
Musicians’ Association
and IATSE launch a
boycott of the Blue Man Group in Toronto
Fall 2010
EQ Backstage
Real agents don’t advertise
If you are looking for an agent the last thing you should do is answer
an ad in the newspaper or on the Internet.
No legitimate agent advertises, says the Acting and Modeling Information Service (AMIS) – an organization set up by Toronto casting agents
in 1995 who were tired of people being ripped off by unscrupulous
agents.
AMIS was instrumental in helping establish the Entertainment Industry
Coalition Agency Association (EICAA), which, along with the Talent
Agents & Managers Association of Canada (TAMAC), self-governs the
agent community. Members of these two organizations have to adhere
to a strict code of ethics.
If an agent doesn’t belong to either of these groups – beware. It
doesn’t cost anything to join EICAA, so there is no reason for a legitimate
agent not to be a member.
Unfortunately, there are some people out there calling themselves
agents who run “photo mills.” These people charge you a fee to audition, and then require you to purchase services such as photos for two
to three times the cost. After that, the photos just end up gathering dust
in a file cabinet somewhere.
The truth is, an agent should never charge a fee and there should never be an
exchange of money before you have had any work. Once you are working the agent receives a
commission – normally 15% for film and television work and 10% for theatre.
A good reference for anyone starting out in a career as an actor is The Agents Book, which is
published by AMIS and available through their website at www.amisontario.com. It answers the
most frequently asked questions by people just starting out in the entertainment business, and provides solid advice on such topics as what parents should expect on set if their children are working.
It also describes some of the most prevalent industry scams to be on the lookout for, and includes
a list of ethical agents who belong to EICAA or TAMAC.
ACTRA Toronto also has a list of reputable agents on its website at www.actratoronto.com/
perform/agents.html.
If you are suspicious of a particular “agent” or have a question about the industry, you can call
the AMIS hotline at 416-977-3832. Although it’s operated out of Toronto, anyone in Canada is
welcome to call.
The hotline, which is staffed by experienced professionals from the entertainment and fashion
industries, receives about 40 calls a week. If necessary, they refer the caller to other organizations
for legal advice.
Unfortunately, most of the calls the hotline receives are from people who have already been
scammed. If you do some research ahead of time you can make sure that doesn’t happen to you.
2005
Anne of Green Gables
celebrates its
40th anniversary
Fall 2010
2006
Federal Court of Appeal finds dancers
engaged by the Royal Winnipeg Ballet
to be independent contractors and not
employees
2008
Canada’s culture sector economic
footprint is 7.4 % of Canada’s total
real GDP
2010
British Columbia institutes devastating
funding cuts to the arts and culture
industries
E q u i t y q u a r t E r l y 17
Fondly Remembered
Maureen Forrester 1930 – 2010
By Dr. Irving A. Guttman, Life Member
A star, an artist, a beautiful human being. What an incredible
journey we have had together. Maureen and I started our careers
together making our debuts in opera at the same time at the age
of 23 and 25, respectfully, in 1952.
After hearing Blanche Thebom in Samson and Delilah in 1951
at the Montreal Forum, Maureen and I were on such a high, I tore
my shirt off and fell to my knees in the middle of the street and
said, “Maureen, you have to become an opera singer!”
I cast Maureen a year later in Cornwall, Ontario, as the grandmother in Menotti’s The Consul. The rest is history. Many years
later I brought her to Edmonton four times: two operas, The
Masked Ball and Salome; a musical, South Pacific as Bloody Mary
where stage director Brian Macdonald had her dance in her bare
feet; and the 25th anniversary concert for the Edmonton Opera.
For the gala concert she sang Menotti’s grandmother’s lullaby
from The Consul. This was her signature aria from her debut in
Cornwall in 1952.
She toured with the Toronto Symphony Orchestra and Sir
Andrew Davis as guests of The People’s Republic of China in
1978 and she was chairman of the Canada Council where she
provided great responsibility for the arts.
Maureen was an amazing individual; her love for life was overwhelming. Flexibility, humour and warmth were always there, and
she gave 100% to her art form with such conviction and soul that
you were left breathless, moving you onto another plateau. An
artist of this calibre only comes along once in a lifetime. The great
conductors of the world, such as Zuban Mehta, Bruno Walter,
Fritz Reiner, George Szell, Sir Thomas Beecham, Otto Klemperer
and Pierre Monteux knew this. Her Mahler, Lieder and Bach were
the highest interpretations and quality of any singer. Canada can
be so proud and grateful to have this great singer fill our hearts
and ears with such magnificent colours and sounds. Her true talent came from within. She sang from the soul. You heard more
than voice – it was ethereal.
Maureen always had time for everybody – from the chorus
and orchestra pit members to her cast. Her persona was so humble that you felt comfortable talking about anything. She loved
to party, sharing and laughing, and creating an atmosphere in
the room that everybody could relate to and enjoy. An example
of this is when a very young chorus member in the Edmonton
18 E q u i t y Q u a r t e r l y Life Member Maureen Forrester as Herodias in the Canadian Opera Company’s 1985/86 production of Salome
Opera had a party for the chorus. Maureen overheard and said
she would love to come. The chorus member was overwhelmed
when Maureen graciously accepted.
Despite her very demanding career, Maureen found time to
raise five wonderful children, Paula, Susie, Daniel, Linda and Gina.
She made and found time for them no matter how difficult the
challenges were.
I can remember, so vividly, her dark eyes which sparkled, talked and
expressed so much about life. As she wrote in her biography to me:
For my beloved Irving whom I have learned so much. You are
responsible for turning me on to this wonderful art of opera.
XXX Heartfelt thanks, Maureen.
Our farewell to her has a permanent gift – a legacy that we
can cherish forever with her recordings. An incredible journey of
joy and pain.
The stage gave us a great human being. She created a permanent
memory which I will cherish forever.
Fall 2010
Wayne Nicklas 1951 – 2010
By Brian Richardson
It is always hard to say goodbye to an
old friend. So letting you go, Wayne,
was difficult for all of us who knew
you. Many of us from the Winnipeg
community had worked with you, as
had actors from all across Canada,
and even some from the U.S. I mean,
doing Shakespeare with William Hurt
or Keanu Reeves at the Manitoba Theatre Centre is only a small part of your
career. After all, you did Shakespeare in
the Ruins all over the ‘Peg. Of course,
you also brought history to life at The
Forks National Historic Site for nigh
onto 16 years as well, and between
that and Artists in the Schools you and
I certainly worked together in close
proximity for over 20 years.
You were the kind of guy who loved
to laugh. You found humour in such a
broad range of things, and the way you
took delight in good food and drink
meant your companionship was welcomed by your friends and fellow thespians. You were also great with kids even
though sometimes you terrified them
too, like when you were The Hooded
Fang, or the largest White Rabbit ever
to appear in Wonderland. After all, you
were a big guy with a large presence.
You carried on with the same spirit of
getting on with life right up to the end.
We miss you, buddy. At least I got to play
The Parting Glass for you at the memorial
service even if we didn’t get to raise one
together before you left. Sláinte!
Gerry Salsberg 1949 – 2010
By Nicholas Rice
Gerry Salsberg could be demanding, exasperating and exhausting. He was also an extraordinarily kind, passionate and deeply
talented man.
He often said he’d done his best work as Orin the Dentist in
Little Shop of Horrors, and as Tevye in Fiddler on the Roof. But
I had my own favourites. More than two decades ago he played
The Cowardly Lion in The Wizard of Oz. He could have trod the
well-worn Bert Lahr path, but he didn’t. Gerry’s Lion was loud,
kvetchy, and broadly and unashamedly Jewish. Perhaps initially
scary, he also had an adorable pussy-cat quality lurking just below
the surface, a quality he was eager, even desperate to show the
world. Gerry didn’t just play the part – he was the part. It was one
of those magical times when the actor and the role are one.
He also played Oscar in The Odd Couple. I was privileged to
see his performance every night from the best seat in the house – I
was Felix. Gerry’s Oscar was loud, generous, gregarious and profoundly loving. He was the all-time best friend-in-need. There’s
nothing, absolutely nothing he wouldn’t have done to ease the
Fall 2010
suffering of a pal. And this, too, was just him. Even that close to
him, I could not tell the actor from the act. He was as great in the
role as he was in life.
It’s no secret Gerry was a troubled guy. Yet for all his tsuris,
he was one of the most decent, and certainly one of the funniest
people I’ve ever known. We’ll miss him terribly.
E q u i t y Q u a r t e r l y 19
EQ Classifieds
pirate voice
If all the world’s a stage, then our recording
studio is the bank. Always wanted to try acting
with only your voice? Want to approach every
audition like a booking? Need a new voice reel
or to refresh your current one? Equity member
and top voice actor Tracey Hoyt is here to help.
Learn more. Go to www.piratevoice.com or call
(416) 594-4357 today.
THE TAXXMAN – PETER MESSALINE
I’ve already helped someone you know.
Been blindsided by Canada Revenue? Work
with me and shrug it off. No attitude, just
experience and sympathy. Children, foreign
work, GST, incorporation advice, back taxes.
Tax for artists by an artist.
Call (416) 960-9272 for free advice.
peter.taxxman@gmail.com
www.petermessaline.com
COACH ON CALL
BRuCE HuNTER is your acting Coach on Call.
Over 30 years’ experience in the industry.
Good Will Hunting, Mean Girls, Puppets Who
Kill, The Border, Degrassi, “Comics” on CBC.
Bruce can help you find the comedy that may
not be apparent or the drama that may be
hidden. Get the eye you need to get the job
you deserve. $60 for 1 hour, $80 for 2 hours.
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MuSIC SERVICES FOR ACTORS
• Audition prep for new songs
• Transposition of charts
• Rehearsal tracks by email
MAKING a SCENE 2010
• Live piano accompaniment
Conveniently located near subway.
Clients include cast members of Les Miz, Phantom, LOTR, Cats, Drowsy Chaperone, Sound
of Music, Beauty and the Beast, Lion King.
Jim Clayton (416) 919-4990
jim@jimclaytonjazz.com
PSyCHOTHERAPy & COuNSELING for the
CREATIVE ARTIST
CAEA member J. Spencer Rowe, RSW, is
uniquely qualified to help the Creative Artist.
• life transitions
• loss and saying goodbye to your created entity
• career/family (balance)
• unblocking and re-awakening
• finding your “truth”
• paying attention (mining)
Visit: www.humanicsdiscovery.com
Contact: (416) 629-7005 (M to F - 9 to 5 p.m.)
(confidentiality assured)
NOV. 26th & 27 th • VANCOUVER, BC
FRIENDLy COACHING WITH BARBARA
GORDON will help you choose a monologue
or gear up for an audition. With 30 years of
experience in theatres across Canada, film and
television, Barbara can lend an impartial eye
and ear to help you clarify your thinking and
boost your confidence. (416) 535-0058
CARTE-BLANCHE PHOTO – HEADSHOTS
In need of a new headshot?
Professional headshots in Toronto
• In studio or on location.
• Professional make-up artist.
• Final images prepared for both traditional
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info@carte-blanchephoto.com/ (647) 284-9925 /
www.carte-blanchephoto.com
20 E q u i t y q u a r t E r l y
WeLCOMe NeW MeMBers
ONTARIO
Karl Ang
Emily Bartlett
Jerome Bourgault
Jesse Catibog
Stefan Dzeparoski
Katherine Forrester
Jordan Kanner
Nancy Kenny
Damien Lavergne
Michael MacDonald
Jeigh Madjus
Sarah Matton
James Wynn
NORTHERN ALBERTA & N.W.T.
Michael Clark
MANITOBA & NUNAVUT
Erik Fjeldsted
Jeremy Walmsley
ATLANTIC
Mary Fay Coady
Kevin MacPherson
DANCE
Oliver Armstrong
QUEBEC
Matthew Raudsepp
E. ONTARIO/OUTAOUAIS
Andy Cockburn
Kelly Rigole
Fall 2010
EQ Flashback
National Theatre School
celebrates its 50th anniversary
Simmons, Coralee
L to R front row: Lionel
Marriage by Nikolai Gogol.
The
in
, Bill Armstrong,
63)
len
(19
s
Cul
er
clas
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tin
ht. L to R back row: Pet
Hec
l
Photo of the first gradua
Pau
an,
ssm
Gro
e
ates Martha Henry, Antje
rrin (director), Suzann
delle (Von Fircks). Classm
Elliott Testar, Robert She
May
ina
Sab
d,
nar
Dai
l
Nei
Ed Rudney,
photo
Chela Cannon (Matthison),
nelly Rhodes are not in the
lanc, Gary Learoyd and Don
Leb
na
Dia
ts,
ber
Lam
th
Holtz, Hea
For 50 years, the National Theatre School (NTS) has been the training ground for some of Canada’s most successful actors, playwrights,
directors, set and costume designers, production managers, lighting
and sound designers, technical directors and stage managers. Over
1,900 artists have graduated from NTS’s English and French sections
Fall 2010
since its inception in 1960 and entered the fields of dance, theatre,
opera, film, television, radio, digital arts, literature, and the circus.
To learn more about the events surrounding the 50th anniversary, including the Homecoming Weekend (October 28 to 30,
2011), please visit http://ent-nts.ca/en.
E q u i t y q u a r t E r l y 21
EQ
E QUITY
QUART E RLY
What to find at
Equityonline
www.caea.com
• Contact information for Council’s
Independent Theatre Review Committee
• Information on HST implementation in
British Columbia and Ontario
• 2010 theatre award ceremony links
• Councillor and CPAG contact information
• Personalized Privacy settings
• Member Only zone (update contact
information online)
Announcing Equity’s new
Festival Policy
Created to enable members and independent producers to participate and showcase their activities in a festival setting. The
“Festival Policy” replaces Equity’s current “Fringe Application.”
Over the last number of years, new festivals have emerged in
every part of the country. These festivals all share certain similarities with the “Fringe Festival” model – no presentation fees but
a small honorarium or a sharing of box office receipts, limited
technical support and performance spaces and venues that may
be something other than traditional theatres. Some of these festivals may be curated, others may be by lottery. In all cases, they
offer Equity members opportunities to showcase their work.
In an effort to facilitate the participation of our members in these
types of activities and to minimize the paperwork required (for
both members and staff!) Equity is pleased to announce a new
and more extensive Festival Policy. Only one page long and
requiring payment of insurance only, this Policy should make
these types of engagements much easier for all involved.
The Festival Policy and application form is available
online at www.caea.com
Members Advantage Program
Council Connection blog
Equity offers members in good standing a comprehensive benefits package
entitling them to discounts and benefits on a range of national and local
services. See the EQUITYONLINE “MAP” brochure for further information.
Visit Equity President Allan Teichman’s blog sharing
the doings of Council with the Equity membership.
Visit www.caea.com for more information.
Publications Mail Agreement #40038615
Return undeliverable Canadian addresses to:
EQ
Canadian Actors’ Equity Association
44 Victoria Street, 12th Floor
Toronto, ON M5C 3C4
info@caea.com
22 E q u i t y Q u a r t e r l y EQ is shipped in a biodegradable polybag
Fall 2010