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CANADIAN ACTORS’ EQUITY ASSOCIATION

Where would we be without Equity?OUR SHARED HISTORY, OUR FUTURE VISION

50 YEARS OF EQUITY IN CANADA

Our Dedicated Volunteers, Henry Gauthier, President . . . . . . . . . . . . . . . . . . . .3

A Labour of Love, Susan Wallace, Executive Director . . . . . . . . . . . . . . . . . . . .3

Congratulations, Liza Frulla, Minister of Canadian Heritage . . . . . . . . . . . . . .5

Carrying The Torch, Theodore Baerg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5

What Equity Means to Me . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6

Emerging Voices, Brenda Kamino . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8

Equity History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

Extended Family, Winston Morgan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

Regional Relations, Bill Forbes and Geoff McBride . . . . . . . . . . . . . . . . . . . . . .13

The Talented Mr. Neville, Lynn McQueen . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

Honourary Members, Intro: Jane Heyman . . . . . . . . . . . . . . . . . . . . . . . . . . . .15

A Fund of Our Own, David Hope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

The Oldest Newest Member of Equity, Philip S. Byrne . . . . . . . . . . . . . . . . . . .17

Notes From a Business Rep’s Desk, Miriam Newhouse . . . . . . . . . . . . . . . . . . .17

Congratulations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

Index

COVER: The Taming of the Shrew (1954) by William Shakespeare; Stratford Festival, Stratford; Director: TyroneGuthrie; Performers (L to R): Donald Harron, Douglas Campbell, William Needles and Barbara Chilcott; BACKCOVER: Performers (L to R): Douglas Campbell, William Needles, Barbara Chilcott and Company; Photographer:Peter Smith and Company.COVER: Iron Road (2001) conceived and composed by Chan Ka Nin and written by Canadian playwright MarkBrownell; Tapestry New Opera Works, Toronto; Director: Tom Diamond; Choreographer: Xing Bang Fu; Conductor:Wayne Strongman; Performers: Zhu Ge Zeng (centre) with chorus; also in the production: David Ambrose, Celia Au,Timothy Cadan, Lilac Cana, Grace Chan, Emily Cheung, Harriet Chung, Sam Chung, Brian Duyn, Bryan Estabrooks,Nicco Lorenzo Garcia, Martin Houtman, Stewart Howe, Jen-Yi Hum, Dan Jiang, Keith Klassen, Yan-Chuen Lee,Jennifer Lee, Henry Li, Anthony Malarky, Jet Matas, Claude Soulodre, Wayne Sujo, Curtis R. Sullivan, Jovanni Si,Richard Tse, Xin Wang, Cynthia Won, Wilson Wong, Jay Yoo and Zheng Zhou; SM: Isolde Pleasants-Faulkner;ASMs: Nancy Dryden and Janet Gregor; SM Apprentice: Marni Zarnett; Photo courtesy TNOW; Photographer: Cyllavon Tiedemann.

Summer 2005 – Vol. 29, No. 6

Editor: Lynn McQueen

Coming Issues: Deadline:

October 2005 September 3, 2005

November 2005 October 3, 2005

Copy is preferred: on computer disk in Microsoft Word

format or by email to [email protected].

Publications Mail Agreement No. 40038615

The News (ISSN 0384-0476) 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 expressions of each writer are the opinions of the

writer, not necessarily of the Association. Subscriptions are

available at an annual rate of $35, including GST.

Copyright ©2005, Canadian Actors’ Equity Association.

FOOTER BAR (L to R): representational images from Equity'sSilver Anniversary Photo Exhibit reprinted with the kind permissionof photographers, artists and theatres in the photos. See also TheTheater of Neptune, Peer Gynt, Billy Bishop Goes to War, UnidentifiedHuman Remains and the True Nature of Love; pages 12-13. ExhibitCurator: Susan Porter; Archival Printer: André Leduc.

Marriage of Figaro (1998) by Wolfgang Amadeus Mozart andlibretto by Lorenzo da Ponte; Opera Atelier, Toronto; Stage Director:Marshall Pynkoski; Choreographer: Jeannette Zingg; Performers (L toR): Jeannette Zingg and Curtis Sullivan; SM: Olwyn Lewis; ASMs:Arwen MacDonell and Stephanie Marrs; Photo courtesy of OperaAtelier; Photographer: Colin Faulkner.

Dry Lips Oughta Move to Kapuskasing (1991) by TomsonHighway; National Arts Centre/David Mirvish co-production, origi-nally co-produced by Theatre Passe Muraille and Native EarthPerforming Arts, Toronto and Ottawa; Director: Larry Lewis;Performer: Doris Linklater; Photo courtesy of NAC; Photographer:Gordon King.

Street of Blood (1999); Ronnie Burkett Theatre of Marionettes,Toronto; Written and performed by Ronnie Burkett; SM: Terri Gillis;Photo courtesy of RBT; Photographer: Trudie Lee.

Midas (1980); Tamahnous Theatre, Vancouver; Director: JackieCrossland; Performer: Larry Lillo; Photo courtesy of Stephen E. Miller.

The Overcoat (1999) by Morris Panych and Wendy Gorling; Playhouse Theatre Company, Vancouver; Directors:Morris Panych and Wendy Gorling; Performers (L to R): Colin Heath, Peter Anderson and Allan Morgan; also in theproduction: Peter Anderson, Manon Beaudoin, Judi Closkey, Brent Cook, Dean Paul Gibson, Peter Grier, ColinHeath, Jennifer Hill, Jennie-Rebecca Hogan, Blair Keyzer, Cyndi Mason, Susinn McFarlen, Paul Moniz de Sa, AllanMorgan, Michael P. Northey, Malcolm Scott, Courtenay J. Stevens, Jonathan Sutton, Brahm Taylor, Craig Veroni,Christine Wach and Joel Wirkkunen; Photographer: David Cooper.

Equity’s MissionCanadian Actors’ Equity is the professional Association of performers, directors,choreographers, stage managers and fight directors in English Canada who are engaged inlive performance in theatre, opera and dance.

Recognizing that the arts are vital to life and artists make an invaluable contribution toour society, the Association supports the creative efforts of its members by seeking toimprove their working conditions and opportunities.

The business of Equity is to negotiate and administer collective agreements, provide benefitplans, information and support, and act as an advocate for its membership.

Equity strives for fairness, integrity and compassion in all its endeavours.

With this special issue of the newslettercelebrating 50 years of Equity in Canada, I amhonoured to take this opportunity to high-light the dedicated work of our member vol-unteers. Over the years, our volunteers havebeen the backbone of the Association. Theyorganize events in every region; they are theface of Equity on the first day of rehearsalvisits and at school talks; they give curtainspeeches; raise money for The Actors’ Fundand so much more.

Our volunteer elected members haveably steered the Association into manyexciting initiatives. We have gone from a

small organization to an association that istruly national in scope. We have such astrong presence nationally and internation-ally due in no small part to the hard work anddedication of our volunteers. Who could haveguessed 50 years ago that our members wouldnow have access to an excellent insuranceplan, RRSP accounts and to professionaldevelopment funds?

Our volunteers have given many hoursto improving the Association by developingprograms that make our lives better and moresecure. I would like to thank each and everymember who has helped us grow over the last

50 years. I have met many of our volunteersover the years, and they all have one thing incommon: they are proud to be Equity mem-bers. They talk about the importance of get-ting involved and often express surprise atthe care and sensitivity that each and everyvolunteer brings to the table. I have nevermet a volunteer who didn’t put the good ofthe Association first.

I urge you to get involved. Each memberhas a voice and we want to hear it. Come dis-cover how rewarding it is to be a part our ter-rific organization. Here’s to the next 50 years,may they be as great as the first!

3 || SSuummmmeerr 22000055 || 50 years

Our Dedicated VolunteersHenry Gauthier, President

A Labour of LoveSusan Wallace, Executive Director

Fifty years ago, Actors’ Equity ofAmerica sent a team up from New York tohelp organize the first group of indigenousCanadian professional performers into whatwould become the “strength behind the cur-tain.” In those first years, artists volunteeredfor every position in the organization, fromlicking stamps to negotiating contracts. Afull-time paid position was not created untilLarry McCance took the reins as the then“Canadian Representative.” Today our Equityhas a staff of 23 in two offices.

As the organization grew, staff came andwent but many left an indelible mark on theAssociation. There are the obvious ones whohave been rewarded already with the LarryMcCance Award such as Burnard Chadwick,Chris Marston, Ron Haney and GaryGoddard. There are many more, however,who work at Equity as full participants in our

endeavours, totally committed to our goalsand ambitions, whose reward is a pay chequeand a rare pat on the back.

The receptionists have made the mostlasting impressions. On the front lines of ourphone banks, for members and producersalike, they are the first to receive the brunt ofwhatever crisis awaits on the other end of thephone. The lineage started with HelenSimpson-Baikie (the only support staffmember ever to receive the Larry McCanceAward), who worked as Equity’s receptionistas a second career after her own retirement.Following Helen, there was Karrye Samuels,Randall Adams and now Alexandrine Kelleyand Ian Morton to name a few. We seem tohave been blessed with a string of gifted, andmost importantly, calm individuals who arethe voice of the Association through thickand thin.

From staying late so a member can pickup a cheque, to carrying our banner in theLabour Day parade, staff members demon-strate daily that this is more than just a job.Eight out of 23 of our staff are former mem-bers of the Association so perhaps theirenthusiasm is contagious. Clearly, those whowork here every day do so out of an abidingrespect for Equity members and theAssociation.

This year marks 50 years of Equity inCanada and 10 years with the Association forme personally. I have loved every minute ofit, and cherished every up and down, highand low, win and loss. From all of us to all ofyou, we wish you every good thing and sendour hope that we can continue to serve yourneeds for at least another magnificent 50years. And thank you for allowing us to makea living doing something we love.

Sleeping Beauty (2005); Royal Winnipeg Ballet;Choreographer: Marius Petipa and staged by GalinaYordanova; Performers (L to R): Dmitri Dovgoseletsand Emily Grizzell; also in the 2004-2005 Company:Darren Anderson, Marius Arhire, Tara Birtwhistle,Carrie Broda, Zhenguo Chen, Vanessa Lawson,Chelsey Lindsay, Yosuke Mino, Sarah Murphy-Dyson, Giusseppe de Ruggiero, Serena Sandford,Janet Sartore, Daniel Shepherd, CindyMarie Small,Jo-Ann Sundermeier, Jaime Vargas, JenniferWelsman, Cindy Winsor and Johnny Wright; SM:Dianne Domaratzki; Photographer: David Cooper.


Greetings to all those celebrating 50years of Canadian Actors’ Equity Association.

Every day across Canada, audiences aretreated to creative and moving performancesin their local theatres. The acting, lighting,and set placement all flow together to create aseamless theatrical experience. This is thanksin large part to the hard work behind thescenes by the Canadian Actors’ EquityAssociation. Its longstanding commitment tosupporting and promoting our theatre

professionals allows them to take pride intheir work so they can concentrate onbringing arts and culture to all Canadians.

As Minister of Canadian Heritage andMinister responsible for Status of Women, Iwould like to thank the Canadian Actors’Equity Association for creating a supportiveenvironment for our artists so that millions ofCanadians can do what we so love to do — goto the theatre.

Congratulations on 50 years of Equity!

Congratulationson 50 years of equity!Liza Frulla, Minister of Canadian Heritage

Congratulations to Equity on 50 years ofgrowth and maturity in representing the per-forming artists of Canada. I remember mypride and sense of belonging to somethingvery artistically important when I receivedmy first Equity membership card well over 25years ago. My initiation fee was spread overmy first two contracts: a production of TheBarber of Seville with the Canadian OperaCompany Summer Festival and The StratfordFestival production of Candide. I cut my pro-fessional teeth in both theatre and opera com-panies and thus, while my career developedin the operatic area I have always felt a closekinship with my Canadian theatrical col-leagues. In the ensuing years, I have been adeputy numerous times, served on negotia-tion committees, been a member of the Opera

Advisory Committee and served on Council.Equity’s influence on the development of theoperatic art form in Canada has been essentialto its growth, sustainability and quality.There were some difficulties in the earlyyears when producers resisted the involve-ment of Equity. But over time, it became clearthat there was a common goal in creating ahealthy industry. Reasonable minimumsensured fair compensation and the Equityagreements provided frameworks forrehearsals and productions, which fosteredan atmosphere of professionalism and safetywith a basic uniformity across the country.While this may now seem somewhat trite toeven mention, 25 years ago many of theworking conditions we now take for grantedwere just being established as norms. Many

of my senior colleagues (as if I am not alreadysenior enough) spent a great deal of time andeffort creating language for agreements. Theyfound compromises, allowing growth of theart form to occur in an atmosphere protectiveof the artistic rights of all involved. For this,we should all be grateful, carry the torchproudly and support this proud andenduring legacy. Equity is our organizationand voice.

Internationally recognized Canadian baritoneTheodore Baerg has a long list of operatic andconcert credits. In addition to his successfulcontinuing performing career, he is a vocal ped-agogue and the Director/Producer of theUWOPERA program at the University ofWestern Ontario.

Carrying The TorchTheodore Baerg, former Eastern Opera Councillor

50 years || SSuummmmeerr 22000055 || 6

The Queen Elizabeth Theatre andVancouver Playhouse stages interconnected.In the middle of Caesar & Cleopatra at thePlayhouse the audience began to titter. MavorMoore threw suspicious glances in our direc-tion. The titter grew to prolonged laughterand glancing upstage I saw a stagehand fromnext-door, red lunch bucket in hand, stopcentre stage. He looked at the audience, at us,then turned and trudged back in thedirection from whence he came.

Yvonne Adalian, Saltspring Island, British Columbia

I became an Equity member in 1973,earning the giddy right to be slapped in theface eight times a week by Eugene Levy. Itwas a glorious time. Less glorious were myyears as a producer, when the ‘business’ ofdealing with Equity from the other side tooka lot of the joy out of creating joy. And now,as an Equity Councillor, I am reminded of thepassion of those members who care deeplyabout this profession, and who are striving tobuild a strong and exciting future for the the-atre artists in this country. I wish that werean easier job. I wish there was less antago-nism and more work. I wish the artists andthe theatres could recognize their own mutualinterests and work together towardsbecoming true creative partners. But mostly, Iwish that all Equity members understoodtheir own power to create change — some-thing that I, even after over 30 years as anEquity member, have only recently learnedmyself — that Equity is in fact its members,responds to its members and is here toexpress the concerns and the passions of itsmembers. If we all understood that, and actedupon it —now that would truly be glorious.

Jim Betts, Toronto, Ontario

I remember when we battled with theEquity Executive in Toronto to start theAlberta Advisory Committee, of which I wasthe first chair in the early 1970s. The pressoriginally referred to us as, “Judy Cooke andher ginger group” because we stood firmwhen Walterdale Playhouse, the community

theatre in Edmonton, refused to use amateurletter contracts for our members. NowAlberta has two advisory committees —“we’ve come a long way, baby!”

Judy Cooke, Kingston, Ontario

I joined the ranks of Equity by beinginducted into a children’s musical theatrecompany in Toronto, the infamous InnerStage. It was a HUGE deal!! Before I knew it,I was on the road with a company of four andperforming adaptations of children’s storiesin which I portrayed the “dancing roles.” Ibelieve at that time, our company brokeevery rule that Equity ever made and,because we were all ‘green,’ got away with it.Ah-h-h-h, how times have changed! Now I’minvolved with ‘policing’ managements, to adegree as a member of Manitoba’s AdvisoryCommittee and passing on my knowledge tothe next generation of ’newbies.’

Brenda Gorlick, Winnipeg, Manitoba

Equity to me is a fellowship of profes-sional artists who understand and appreciatethe demands of this life both artistically andemotionally. It is a shared dedication to a wayof expression that we cannot live without andthat we sacrifice for. It is a safeguard ofstandards and recompense for that work thatwe love.

Thomas Hauff, Toronto, Ontario

I live in an undesirable location for anartist and try to survive life as professionalwithout a single Equity theatre in my city.For me, the reciprocal agreement with Actors’Equity Association has allowed me to crossborders frequently to practice my craft. Ihave been able to secure work at Americantheatres, which I can commute to on a dailybasis. Although the paperwork to secure myvisa through the INS is always a tediousprocess, Equity has opened the door for me tofreely utilize this great privilege.

Rachel Kaiman, Windsor, Ontario

I have been a member of Equity for 30years and have served on the OntarioAdvisory for three terms. I began as a newbiewho could not even speak, in absolute awe ofthe articulate and knowledgeable voicesaround the table. I am now a more experi-enced voice but I am still in awe. I havelearned so much. I have listened to dedicatedand passionate individuals initiate change,which resulted in the creation of the Co-opPolicy and the Indie Policy. I am proud of us.May we continue to evolve, to listen to theneeds of our membership and to do ourutmost to address their concerns.

Here's to the next 50 years. Cheers!

Deb Grover, Toronto, Ontario

Equity has really taken care of me!When a theatre in Regina decided to cancel aproduction I had been contracted for —Equity saw to it that I was paid two weeks’salary. When I finally got around to applyingfor the American Equity pension — based onEquity contracts between 1965 and 1975 —Canadian Equity counselled me step-by-step.As a result — I get a cheque in US funds fromEquity League every month. Thank youEQUITY!

Sylvia Lennick, Downsview, Ontario

When I ask myself what Equity means tome I always have this overwhelming feelingthat something or someone is silently wrap-ping its knowing arms around me. I havebeen a member for almost 30 years ... that’s ascary thing to admit ... and never once have Ifelt that I have not been supported by OUREQUITY. I guess you could say that Equity isthe spine of its membership, strong but flex-ible. It is up to us, the members, to take careof that backbone because it is ours. As wehave done for the past 50 years I hope in thenext 50 years we continue to massage, stretchand strengthen the spine that is Equity.

Heather Lea MacCallum, Calgary, Alberta

What Equity Means to MeMember submissions

An early job after university was with aTheatre for Young Audiences company. I wastheir stage manager but they didn’t offer mean Equity contract. Instead, one of the actorswas contracted as the stage manager. TheEquity members involved not only under-stood it was inappropriate but felt, I think,considerable guilt at circumventing an organ-ization meant to protect artists. When I wasre-hired for a second season the actor whohad colluded in the ruse insisted the com-pany hire me as their stage manager — that’show I got my card. I learned a lot of my craftworking for that company, but I also learnedthat Equity membership meant fair dealing.Sometimes errors of judgment are made, butan Equity member acquires a set of standardsand ethics along with their card; something Ihave always tried to remember.

Myra A. Malley, Hamilton, Ontario

Never having accepted unquestioninglythe boss-peon model and being only half-deluded in thinking I deserve every whim, Inever forget how privileged I am to be part ofEquity. Had I subjected myself to anotheramateur musical in which I felt undervaluedand overworked, I would have quit. But Ipersevered! Being on the Western OperaAdvisory I’ve sat at agreement negotiationsand this has proven that we can all worktogether with mutual respect.

Wade Nott, Vancouver, British Columbia

When I was a teenager growing up inLondon Ontario, I used to help out backstageat Theatre London, the then semi-profes-sional company at the Grand. For every show,a couple of ‘real’ actors would come in to playlead roles. To indicate their special status,their names would be marked with anasterisk in the programme, with the magicalwords, “Appears courtesy of Actors’ Equity.”I never imagined that one day I would havethe right to an asterisk beside my name. Andto have the privilege of serving as an Equitycouncillor, and Vice-President? Unthinkable!I don’t look or sound like those actors —maybe our membership really is becomingdiverse! And I still feel a little twinge of pridewhen I see my Equity card in my wallet,knowing I am part of this great professionalcommunity.

Dawn Obokata, Toronto, Ontario

I first joined Equity through MermaidTheatre after seven years of working in festi-vals and as an apprentice. My career wasgoing along very well, I was rarely out ofwork and I enjoyed touring all over NorthAmerica. In 1995, however, in Winston-Salem, N.C., I was rushed to the hospital aftercollapsing backstage. There were many testsdone, and it was determined that I had atumour the size of a large orange pressingagainst the language centre of my brain. Ishall never be able to express my sincerethankfulness in the quick and caringresponse of the membership. The support Ireceived, the letters and phone calls, somefrom people I did not know, helped megreatly. That is the importance of our associa-tion. You were all there when I needed you; Iwill always be there for you.

John O’Keefe, Halifax, Nova Scotia

Like many in stage management, I viewEquity with a certain ambivalence. It can bedifficult being part of a niche discipline in anassociation primarily geared toward, andlargely directed by, its performer members.Occasionally, the suggestion is made that weshould strike out on our own, found a newassociation, or join another. But where elsecould you find so many extraordinary col-leagues who are, ultimately, all dedicated tothe same thing you are?

Allan Teichman, Niagara-on-the-Lake, Ontario

I haven’t been a member of Equity verylong and I haven’t taken part in any non-Equity productions. However, the horror sto-ries I have heard, with respect to the treat-ment of actors with respect to minimum duesand per diems and what some producers getaway with, are very frightening compared towhat our protections are under Equity con-tracts. I grew up with my father constantlycriticizing unions and I, looking up to him,ended up adopting his views. Now that I ampart of Equity though, and given those sto-ries, he (and I, of course) is happy that I amrepresented by a union that has rules andstandards that protect me and my interests.

Michael Torontow, Kanata, Ontario

“We want you to be in our Equitychorus!” That was my first time hearing aboutEquity, except to know that some performers‘were’ and others ‘were not.’ I replied to theopera company representative, “Uhhh, okay… what does that mean?” (Already showingmy keen professional mind and witty waywith words.) “Well, you’ll make $800 insteadof $200, but you’ll have to pay initiation anddues,” was the response. They cut straight tothe economic issues, disregarding socio-politico-philosophical ones. But I did thearithmetic (which was so much easier thanlearning Italian lyrics) and the answer wasobvious. And after 29 years in the business ithas proven to be a smarter decision than Icould have imagined!

Sandy Winsby, Mississauga, Ontario

A second generation Equity member(Father Tom was a four-decade member). Ihad the privilege of joining in 1976 behindbrother Edd and wife Eileen. I say privilegebecause in my 30 years of working mainly inmusicals and opera, Equity has not onlynegotiated good working fees and conditionsbut provided expert advice and support. As along standing advisory member and coun-cillor, I have been fortunate to observe first-hand what a committed, passionate, andhardworking group of business reps and staffthe Association has. We’re in good hands.

Don Wright, West Vancouver, British Columbia

Pronunciation: ‘e-kw&-tEFunction: nounInflected Form(s): plural -ties

Etymology: Middle English equite, fromMiddle French equité, from Latin aequitat,aequitas, from aequus equal, fair.

1a: Justice according to natural law or right;specifically: freedom from bias or favoritism.

That’s it. It is very important to me as aperson and as an actor to be treated fairly,justly and equally.

Raugi Yu, Vancouver, British Columbia


The 50 years of Equity issue wouldn’t beright without a diversity corner. At first, itseemed appropriate that someone on theDiversity Committee (like me) should writethe article. But over the past few years, naymonths, there has been an increase inmember-generated activist movementswhich, to the Diversity Committee, signalledit was time to hear some new voices.

The Myths of Casting theme at the WestCoast Advisory’s recent meeting and themember supported protest of Peter Birnie’sclosed-minded review of the non-traditionally cast Einstein’s Gift in theVancouver Sun, and other recent events, havespawned a new wave of discussion amongdiverse artists. These artists give hope bytheir numbers, creativity, talent and convic-tion that creating a level playing field mayindeed be on the horizon.

And so, instead of “Where would we bewithout Equity?” we present members whotell their stories and pass along their collec-tive and individual experiences, casting apositive look to the future.

�We’ve Only Just Begun…Nina Lee Aquino, Artistic Directorfu-GEN Asian-Canadian Theatre Company

Fu-GEN started out in an actor’s base-ment. A group of Asian-Canadians, readingplays that we felt were important or reflectedour experience.

The fu-GEN that we all dream of is afresh, explosive, bold company … constantly

intruding on an all-white Canadian theatrescene. Diversifying it. Making it stronger.The key to this is telling daring stories, loudand proud, exclaiming that we are here,developing not only new voices, but profes-sional voices and talent both on and off thestage.

Our company is artist-based, driven bypassion and dedicated to honing andexposing talented Asian-Canadian theatreartists. It is our hope that someday the prom-ising talent that we are developing now —not solely actors, but directors, stage man-agers, choreographers, fight directors — willbe able to carve out their own names andplaces within the Toronto theatre community.

But it’s not easy. There are still only asmall number of Asian-Canadian artists outthere. We suffer from scarce resources but wehave the stories to tell and the people to tellthem. We need to start from somewhere, tostart training and exposing emerging artiststo the professional world. We are in dire needof support by arts agencies, to diversify thecommunity and support the growth of newartists. Toronto is one of the most diversecities in the world, and we believe it’s timethe stages reflected the streets. We need togive talented, emerging artists the opportu-nity to gain the professional experience theyneed so that they can blossom into profes-sional Equity players someday.

We invite Canadian Actors’ EquityAssociation to join us on our sometimesarduous but exciting journey developing

these artists into skilled performers/direc-tors/designers, promising storytellers andreal contenders in their fields; to build andstrengthen our theatre community.

In addition to being a director, playwright and dramaturge,Nina Lee Aquino is Artistic Director, fu-GEN Asian-Canadian Theatre Company and Producer for Factory CrossCurrents Festival.

It is no surprise that fu-GEN is a growing force to contendwith on the Toronto theatre scene led by Nina and co-founders Richard Lee, David Yee and Leon Aureus. BK

�

Brave NeworldCamyar Chai, Producer, neworld theatre

Neworld theatre’s second decade of pro-ducing, what gets referred to as culturallydiverse theatre, began in May, 2005 with ourproduction of James Fagan Tait and JoelysaPankanea’s adaptation of Dostoyevsky’s Crimeand Punishment. It was the last in a recentseries of unique shows such as Asylum of theUniverse and The Adventures of Ali and Ali.

Crime and Punishment is large scale —the production featured 24 actors and musi-cians, 11 of whom were Equity members con-tracted under the Guest Artist Policy — wasin the realm of what some might consider thepurview of the country’s regional theatres.Adding to the large cast of professionals,director Jimmy Tait’s vision includedemerging, community-based actors fromVancouver’s Downtown Eastside, actors hehad previously worked with on an epic-scalecommunity play in the area. His choice is justone example of how neworld constantlyexplores the notion of inclusivity in a varietyof contexts.

A broad, integrated and artisticallycogent mix of diverse artists, in all senses ofthat sometimes problematic word, drives ourapproach to theatre-making. We do notbelieve that inclusivity is a token act, done inorder to appeal to funders or as some kind offavour to the so-called disadvantaged. It’swho we are. Vancouver’s true theatre ecologyis as culturally, economically and stylistically‘diverse’ as the city and country it emergesfrom.

Camyar Chai is Artistic Producer of Vancouver’s neworldtheatre.

Camyar’s phenomenal passion, artistic vision and his soundpolitical beliefs account for his valued contribution toCanadian theatre and to Equity Council. BK

�


Emerging VoicesBrenda Kamino, Diversity Committee, member-at-large

Looking PastSteve Gin, Creative Director, Theatro Berdache

There’s a rite of passage associated withgetting your Equity card. Like many otheryoung actors, I racked up my final credits tojoin Equity by performing in a school tourthat visited places none of us even knewexisted.

The theatre was Regina’s Globe, and theplay was Martha Brooks’ brilliant Theatre forYoung Audiences script Andrews’ Tree,which explores the way children grapplewith death and loss. The theatre had decidedto cast the three members of the suburbanPederson family multiculturally, with anAboriginal actor playing oldest sister Gillian,a South East Asian actor playing middle sisterSarah, and myself (being what my friendDrew Hayden Taylor calls, “an ethnic Heinz57”) playing the precocious brother Neil. Ihad been an outspoken defender of diversecasting, but even I had reservations aboutthis combination.

All doubts evaporated when our play hitthe road to school gymnasiums across theprovince, and we saw how unhesitatinglychildren accepted us as a family. In one post-show question and answer session, a six-year-old girl asked us if we really were brother andsisters. When we asked what made her thinkthis, she replied, “You love each other, justlike a family should.” If only adults could beso wise ….

One of the most inspirational descrip-tions of the theatre I’ve ever heard is, “Agymnasium for atrophied imaginations.” I

love that metaphor, because it speaks to thetransformational potential of the theatre, andthe power to see past our limitations into aworld of possibility. In this light, I believethe time has long passed to give culturaldiversity its rightful place on Canadianstages. Years ago, when a friend of Asian her-itage made her Citadel Theatre debut in a sup-porting role in Hello Dolly, a colleagueremarked to me that the casting choicebothered her — ” for about five minutes.”

“The next time I saw her in a musical atthe theatre, it bothered me again — for abouttwo minutes.”

“But now,” my colleague concluded,“That little voice just shuts up and recognizeswhat a wonderful performer she is.”

Steve Gin is Creative Director of Calgary’s Gay and LesbianTheatre, Teatro Berdache.

Steve Gin still battles the ‘ethnic Heinz 57’ label as an actor.As co-founder of Calgary’s Aboriginal company, Crazy HorseTheatre, he made a huge contribution to the creation ofdiverse theatre in Canada. BK

�

CollaborationsDonna Spencer, Artistic Producer, Firehall Arts Centre

When I was welcomed into the Canadiantheatre family in the 70’s, I, like many others,felt I had finally found the place where I fit.At my very first acting class, I announcedvery confidently I was planning to act butreally wanted to be a director and producer,and wondered at the time why my teachersmiled knowingly at my words. I do not comefrom a theatre family and often felt in the ear-lier days of my career like an adopted child in

a huge family who knew of mysteries hiddenin closets for which I could only hope theywould help me find the key. And many yearslater, I am thankful to all of those who helpedme find that key. They encouraged me to rec-ognize the power of theatre and, in recog-nizing that power, to understand that itcarries with it a huge responsibility.

When asked why I choose the plays Ichoose or why I feel passionately about theimportance of a pluralistic Canadian voice inour theatres, I refer back to those theatreelders who encouraged and supported me inthe continual work required to find my voicein the work. I believe strongly that theatre isa collaborative art form made richer throughthe sharing of ideas, talents and discourseamong many whose experiences may differbut whose purposes and belief in the respon-sibility attached to the work are similar. It isfrom successful collaborations between allengaged in the process that a wellspring ofpossibilities emerges, drawing us towards thediscovery of the true power of the work andits engagement with our audiences.

Donna Spencer is Artistic Producer of Vancouver’s FirehallArts Centre.

We are all so proud of Donna for being a pioneer and a stal-wart in the areas of diverse casting and alternative voices.She has championed the diversity movement for over 20 yearsand Equity is lucky to have such a creative, thoughtful andimaginative member. BK

BRENDA KAMINO has been an actor, director, producer,writer, teacher and activist since 1977, an Equity councillorfor nine years, and even theatre officer at the Ontario ArtsCouncil. Ms. Kamino founded the Emerald City TheatreCompany with non-traditional casting as its main mandate.

�

Hedda Gabler (2005) by Henrik Ibsen adapted by Judith Thompson;Volcano, in association with Buddies in Bad Times Theatre; Director:Ross Manson; Performers (L to R): Nigel Shawn Williams, AlonNashman and Yanna McIntosh; also in the production: CynthiaAshperger, Anne Baggley, Tanja Jacobs and Tom McCamus; SM: JPRobichaud.

May 1913: A group of actors in New Yorkdraft a constitution for the first Actors’Equity Association (AEA).

1919: Canadian actor Marie Dressler leads a30-day strike in New York. The first Equity inNorth America is formed shortly thereafter.

July 13, 1953: The Stratford Festival launchesits first six-week season, opening withRichard III on a thrust stage in a tent.

1954: Canadian Council of Authors and Artists(CCAA), the national umbrella organizationfor ACTRA, is approached by Stratford actorsfor bargaining representation. A meeting isheld in Montreal between Neil LeRoy, CCAAPresident and representatives from AEA.Stratford actors begin to work under AEAcontracts administered by the CCAA.

Feb. 13, 1955: First membership meeting ofAEA is held in Canada. Attendance includes:Canadian representative Dennis Sweeting,Paul Jones of AEA, Neil Leroy and BernardCowan of CCAA.

March 20, 1955: First Canadian EquityAdvisory Committee (CEAC) is elected: LloydBochner, Douglas Campbell, Robert Christie,David Gardner, Eric House, William Hutt,Paul Kligman, Larry McCance, JohnMaddison, Grania Mortimer and WilliamNeedles.

April 15, 1956: The CEAC becomes theCanadian Advisory Committee (CAC).

1958: Equity opens its first office at 519Jarvis Street, Toronto with a staff of two.

1958: Equity comes to an agreement with theAmerican Guild of Musical Artists (AGMA) torepresent artists in opera and dance inCanada.

1958: Six Equity members at Stratford eachthrow one dollar into a pot, thereby startingThe Actors’ Fund of Canada.

1959: Equity negotiates the first contractwith the Royal Winnipeg Ballet.

1960: AEA strikes and wins the right to apension. The pension applies to Canadianmembers as well.

October 1962: The CAC becomes the CanadianExecutive Committee (CEC).

1971: The CEC launches a survey on thedirection of the Canadian arm of Equity.

Nov. 18, 1971: The CEC discusses a contro-versial plan for a more comprehensiveCanadian contract. Burnard Chadwick,Executive Secretary for Canada, promises toconsolidate Equity rules into one book.

1972: The Canadian government calls uponEquity members to decide their tax status.

Members vote by a narrow margin in favourof independent contractor status, therebyforegoing the benefits of being employees.

Early 1972: A survey shows significantinterest in an independent Canadian Equity.Later that year, Chairman Dan MacDonaldand AEA President Theo Bikel take the nowfamous “walk in the woods” at anInternational Federation of Actors (FIA)meeting in Stockholm, laying the ground-work for the creation of a fully independentCanadian Equity.

1973: Theatre producers form the League ofCanadian Theatres (LOCT) largely to dealwith Equity’s plan to present producers witha consolidated Canadian contract.

1974: The first Canadian Theatre Agreement(CTA), with 53 articles and 249 clauses, takeseffect. Actor minimum fees are $110 to $180per week depending on the company cate-gory and stage manager minimum fees arebetween $132 and $234 per week.

1974: Equity negotiates a first contract withthe Canadian Opera Company and theNational Ballet of Canada.

1975: Jane Mallett is honoured with Equity’sfirst Life Membership.

February 1976: Equity launches its firstCanadian newsletter under the direction ofeditor Frank Hogg.

50 years | SSuummmmeerr 22000055 | 10

Equity Histor

April 1, 1976: Canadian Actors’ EquityAssociation is formed, transferring 2000 mem-bers from AEA. Equity adopts its Constitutionand By-Laws outlining the objects of theAssociation and signs reciprocal agreementswith ACTRA, AEA, AGMA and UdA.

April 1976: LOCT changes its name to theProfessional Association of Canadian Theatres(PACT).

Feb 24, 1977: Equity holds its first full elec-tions. Dan MacDonald becomes Equity’s firstelected president.

June 1977: The first CTA, negotiated betweenEquity and PACT, takes effect. The three-yearagreement introduces separate clauses fordirectors and choreographers.

February 19, 1979: Equity opens the westernoffice at 111 Dunsmuir Avenue in Vancouver.

June 1981: Equity purchases its first com-puter system at a cost of $40,000.

April 1983: The Executive Committee linkmembers from outside of Toronto byspeakerphone.

December 1983: The Equity ‘angel’ is adoptedby Council as the new logo.

April 1989: Equity establishes the profes-sional development fund.

September 1989: Phantom of the Opera opensin Toronto and plays for 10 years becomingthe longest theatrical run in Canadian history.

December 14, 1993: Equity members vote71% in favour of raising basic dues by 40%over five years and eliminating the cap onworking dues by 1999.

June 1995: PACT takes Equity to the OntarioLabour Relations Board, alleging an unfairlabour practice after CTA negotiationsbreakdown. A one-year agreement is eventu-ally negotiated. No decision is rendered onPACT’s attempt to deem Equity a trade unionand its members employees.

October 1995: Over 200 Ontario membersdemand changes to the Co-op Policy and anew form of contract for members who self-produce. The Indie is born.

April 25, 1996: Equity is certified by TheCanadian Artists and Producers ProfessionalRelations Tribunal (CAPPRT) to representartists working in the federal jurisdictioncapping a 25-year effort to secure Status ofthe Artist legislation.

December 1996: Equity’s national officemoves to 44 Victoria Street.

July 1997: Artists at the National Ballet arelocked out after negotiations fail to reach anew agreement. Pressure tactics eventually

result in a significantly improved Agreementand a return to work.

May 1998: The first Canadian TheatreConference sponsored by Equity, PACT,Playwrights Union of Canada and AssociatedDesigners of Canada is held in Saskatoon.

November 1998: Livent seeks bankruptcyprotection in the US and Canada. The RCMPlaunches an investigation into Livent’s books.

June 20, 1999: The CTA is extended for oneyear to allow for completion of interest basednegotiations. Bargaining sessions are sched-uled over the next 14 months.

October 1999: Under the aegis of the NationalHarassment Task Force, Equity, PACT and theAFM sign an industry wide statement ofprinciples.

Spring 2000: Equity launches e-drive.

March 29, 2000: Equity is certified by theAlberta Labour Board to represent the dancersof the Alberta Ballet becoming an officialtrade union for the first time in its history.

April 1, 2001: Canadian Actors’ Equity cele-brates 25 years as an autonomous organization.

June 3, 2001: Equity celebrates its silveranniversary with 14 parties held from coastto coast.


ry

continued on next page …

PHOTOS BELOW (L to R): Stratford First Rehearsal in the Agricultural building at Fair Grounds (1953); Front row (L to R): Irene Worth, Robert Goodier, Bruce Swerdfager; Centrerow (L to R): Timothy Findley, William Needles, Eric House, William Hutt, Roland Bull, Robert Christie and Douglas Rain; Photographer: Peter Smith and Company. The Theaterof Neptune; commissioned by Canadian Actors' Equity Association and presented to Actors' Equity Association to commemorate independence. Original design and execution byIra Ginsburg, Toronto. Peer Gynt (1956) by Henrik Ibsen; The Canadian Players; Performers (L to R): George McCowan, Bruno Gerussi, David Gardner and William Cole. Photocourtesy of Stratford Archives; Photographer: Peter Smith and Company. Unidentified Human Remains and the True Nature of Love (1989) by Brad Fraser; Alberta Theatre Projects,Calgary; Director: Bob White; Performer: Kate Newby; SM Debra McKay; ASM Photo courtesy of ATP; Photographer Trudie Lee. Billy Bishop Goes to War (1978) by John Graywith Eric Peterson; Vancouver East Cultural Centre; Performer: Eric Peterson; Photographer: Glen Erikson. Equity Banner; Photo: Chris Blanchenot.

October 17, 2001: Equity and AEA sign apension reciprocity agreement.

March 8, 2002: Equity holds press conferenceannouncing a $157,200 settlement withLivent. The monies are used to settle out-standing disputes from various Liventproductions.

September 2002: Insurance plan arbitrationavoided; PACT and Equity negotiate resolu-tion to address insurance plan deficit.

October 27, 2002: The inaugural presentationof Stage West — Equity Emerging TheatreArtist Award to Philip Warren Sarsons.

October 28, 2002: Council passes a motion torepresent fight directors as Equity members.

July 1, 2003: The American Guild of MusicalArtists rescinds the reciprocal agreementwith Equity.

March 29, 2004: The Directors andChoreographers and Stage ManagementCommittees hold first-ever face-to-face meet-ings during the spring Council session.

June 2004: In separate decisions, the TaxCourt of Canada finds three dancers at RoyalWinnipeg Ballet to be employees for tax pur-poses and the Canada Revenue Agency (CRA)rules that actors, designers and other inde-pendent contractors are employees ofMagnus Theatre.

December 16, 2004: The Executive Committeedetermines that the Toronto production ofBlue Man Group is operating within Equity’sjurisdiction and must adhere to theIndependent Theatre Agreement if they wishto engage Equity members.

February 13, 2005: It is 50 years since theCanadian Advisory Committee of Equity wascreated.

February 28, 2005: Equity Council votes toimplement Policy Governance as theAssociation’s new governance structure.

June 2005: The CRA reverses the MagnusTheatre decision.


In 1976, fresh out of the Bachelor ofFine Arts programme (with a major in the-atre) at the University of Victoria I embarkedon my first Equity contract withKaleidoscope Theatre. The play was Equus. Iremember getting my copy of the CanadianTheatre Agreement (CTA) in the mail andimmediately looking up “nude auditions.”Little did I know at the time that the CTAand the help line to the business reps wouldpreoccupy a good portion of my next 29years as a stage manager.

I have called both Equity offices onmany occasions, and I still do, to discusstrivial concerns, clarification of clauses andon occasion with some gargantuan issue thatopened up many cans of worms. I am alwaysgiven valuable advice and much neededsupport.

My role as a stage manger has shapedme both personally and professionally. As ayoung stage manager I quickly realized thatthe CTA was not just a bunch of clauses butmore importantly a compendium of rights.What Equity members and staff had createdand at times fought hard for was a standardby which I could measure my own beliefsand value systems within the business. Ialso quickly came to understand that stagemanagement was the keeper of the “CTAflame” since we are often the Equitymember that both fellow members and man-agement look to for guidance concerning theapproach to a subject. The CTA was theinstrument by which I learned how to havea voice, how to interact with my colleaguesand eventually, as I gained more confidence

in my opinions, to effect change by being ona CTA negotiation team.

I consider myself to be truly blessed tohave been a part of the arts community formost of my life, but I am also smart enoughto know that it would never have been asrewarding without the encouragement andleadership of those Equity members andstaff I was privileged to work with.

I think of Equity as my extendedfamily. I have grown up in the business withEquity members and the office staff whonurtured both my career and my personallife. I have experienced companionship,mentorship, and friendship. I have honedmy skills on committees, on Council, and innegotiations. Without the exceptional sup-port of the Association, on many levels, theS.M.Arts (Stage Managing in the Arts) bookand conferences would have been but anunfulfilled dream. Like any family, we havehad our disagreements but we have grownup stronger together and I could not ask forbetter siblings.

We are Equity. In our brief history, wehave effected important changes in allaspects of our association and I look forwardto my future relationship with such an intel-ligent, committed and honourable family.Congratulations and best wishes for the nextpart of the journey.

WINSTON MORGAN has been fortunate to work in most

of our provinces as a stage manager. He is the author of

Stage Managing the Arts in Canada and is the director of

S.M.Arts, a training conference for stage managers.

Winston is currently Associate Director, Theatre

Operations for the Toronto International Film Festival.

ExtendedFamily

Winston Morgan, Ontario Councillor

… continued from previous page

Bill: At my first Council, I thought,“What chance does a struggling actor fromthe East who has never worked above a ‘G’ orGuest Artist have against the ‘A’ house stars ofToronto?” It didn’t take long to get vocal.There have been passionate discussions, butfor all our reputation for being ‘flightyartists,’ it is remarkable how logical andrespectful we can be.

Geoff: The Atlantic region consists offour provinces. Is this a challenge?

Bill: While Equity’s representation bypopulation electoral system creates a coun-cillor to member ratio, the Atlantic regionmust also contend with four provincial agencystructures. Actions lobbied outside the organ-ization are quadrupled. Two elections back,Quebec offered to forego expanded represen-tation to offer a councillor to the East. Thissuggestion wasn’t constitutionally possible,but a wonderful show of understanding.

Geoff: But regional challenges are madeeasier by those wonderful tools: the tele-phone, the fax and email. When I first waselected to the Advisory, I remember one ofour big expenditures was a speakerphone. Doyou still have that?

Bill: The phone is in a basement boxsomewhere, primitive 20th century tech-nology, but it saved a five-hour drive for someadvisory members.

Geoff: Presently, we have members fromNewfoundland and Labrador, New Brunswickand Nova Scotia. The downside is that thereare members of the Advisory whom I have yetto meet face to face.

Bill: Voice is important. Sometimes it isas simple as definition. When I first went toCouncil, our region was called the Maritimes,a misnomer that didn’t include Newfoundlandand Labrador. When Nunavut was created,we needed to amend Equity’s Constitution torecognize a political reality if not yet acrowded pool of membership.

Geoff: The regions give voice to newideas don’t they? The Indie (IndependentArtists Projects Policy) was originally

developed for the Ontario region and thenmigrated successfully across the nation.

I think the regions help give us a sense ofidentity; that is part of our national character.We have divided ourselves up into little tribesand huddle together against the perceivedthreat from the big bad world.

Bill: It is interesting to sit with council-lors or advisory members from Alberta orManitoba and hear very similar ‘special’problems.

Geoff: Are regions a bad thing? Can aregion get stuck on their identity? The ‘youdon’t understand that things are differenthere’ line. What do you think of that?

Bill: I think part of it is access. Equity‘sphilosophy is that artists have equal access towork across the country. The geographic frus-tration is that while larger regional theatresaudition in Toronto the reverse rarely hap-pens. What is the difference between protec-tionism and regional pride? It makes littlesense not to introduce new ideas and per-formances to a region, but an overwhelminginflux snuffs out the local membership. Weneed to seek the healthy balance.

Geoff: I used to think that things weredifferent, but the recipe for theatre is prettysimple: you start with a story and find aninteresting way to tell it; then hopefullypeople will come and see it. Afterwards wecan all go for a drink and talk about howmuch fun we had (or didn’t have) doing it.

Bill: On my first trip to Newfoundlandin our own region, but geographically dis-tanced, I was blown away by the variety ofstylistic experimentation available. TheAtlantic provinces are not just doing fishplays; Manitoba and Saskatchewan aren’thooked on wheat sagas; and Alberta Northand South don’t fixate only on cows and oil.

BILL FORBES has had three terms as elected representative.

One as Councillor, one as Chair often subbing in at council

and one as Chair elevated to Councillor.

GEOFF MCBRIDE is an actor/writer and currently one of

the two Atlantic Region Councillors.

OFFICERS

President: Henry Gauthier (Quebec)Vice President External:Dawn Obokata (Ontario)Vice President Internal:Donna Fletcher (Manitoba & Nunavut)Treasurer:Kerry Davidson (British Columbia & the Yukon)

Secretary: Hal Kerbes (Southern Alberta)

EXECUTIVE COMMITTEE

Louis-Marie Bournival (BC/Yukon)Patricia Darbasie (Alberta North/NWT)Ian Deakin (Ontario)Heather Lea MacCallum (Alberta South)George Masswohl (Ontario)Geoff McBride (Atlantic)Virginia Reh (Ontario)Sandy Winsby (Ontario)Donald M. Wright (Western Opera)Katey Wright (BC/Yukon)

The Council of CAEA is made up of 38Councillors from all 13 regions and disciplinesin Canada.

OTHER COUNCILLORS

Tricia Adams (Ontario)David M. Adams (BC/Yukon)Liza Balkan (Ontario)Jim Betts (Ontario)Tara Birtwhistle (Western Dance)Matt Cassidy (Ontario)Brenley Charkow (Ontario) Kerry Ann Doherty (Ontario)Stephanie Graham (Ontario)Thomas Hauff (Ontario)Stephanie Hutchison (Eastern Dance)Annabel Kershaw (BC/Yukon)Winston Morgan (Ontario)John O’Keefe (Atlantic)Isolde Pleasants-Faulkner (Eastern Opera)Alix Sideris (Eastern Ontario & the Outaouais)Danielle Skene (Quebec)Laurel Smith (Ontario)Jennifer Spencer (Alberta North/NWT)Barry Stilwell (Eastern Opera)Allan Teichman (Ontario)James Warren (Ontario)Marianne Woods (Saskatchewan)


Regional RelationsBill Forbes, Atlantic member & Geoff McBride, Atlantic Councillor

2003 - 2006Elected Representatives of Equity

When meeting John Neville you can’thelp but feel that you’re looking at the face ofa life well-lived. Lucky enough to interviewthe man whose name has become synony-mous with trailblazing, I took the opportu-nity to discuss life with one of Canada’s mostrespected performers and artistic directors.

On coming to Canada in 1972, he talksabout being invited to direct a play by theNational Arts Centre,

“I had a wonderful time with a good castand it worked out very well. But it wasjust supposed to be four weeks work andthen I was to return home to London,England. In my last week, I received acall from Winnipeg, asking me to act inthe magnificent play Ghosts. And Icouldn’t say no. Suddenly while inManitoba, I got a call from Edmontonsaying, ‘Will you come and be thedirector of the Citadel Theatre?’ And so Ihad to phone my wife yet again. This timeI said, ‘I think we’re moving to Canada.’”

John Neville’s career was marked with a forkwhen, in 1967, he was offered the road toooften travelled ,

“I got a phone call from a woman fromParamount pictures in Hollywood. And Iwent into her offices and she said, ‘Nowwe’re going to send you to Italy to be inWar and Peace and then we’re going togive you a seven-year contract inHollywood.’ I said, ‘No, no, no. I can’t dothat.’ She said, ‘Why not?’ I said, ‘I’m atthe Old Vic.’ She said, ‘I know you’re atthe Old Vic. I saw Richard II last night.

You were wonderful.’ I said, ‘Yes, but yousee the boss has asked me to stay withhim for the whole five years.’ She said,‘Did you sign a contract?’ I said, ‘No.’ Shesaid, ‘Well what’s the problem?’ I said,‘Well, I shook his hand.’

This was how I treated my fellow actorswhen I was Artistic Director. I think gen-erally people have been okay with that.And if they weren’t then they wouldn’twork with me any more.”

Now a Canadian citizen Neville beams,

“I’m thrilled to be a Canadian. This is agreat country; we should never forgetthat.”

And equally delighted to hold a stake as afounding member of Canadian Equity,

“I joined right away when I came toCanada. I was Equity in England and Ibelieved in it there and I believed in ithere. And still do, of course. Breakingaway from the Actors’ Equity Associationwas a very good thing. Canada deservedits own association.”

Neville’s impact on the Canadian theatrescene crossed the prairies from the CitadelTheatre, to the Maritimes as Artistic Directorof Neptune Theatre in Halifax and back tocentral Canada as Artistic Director at theStratford Festival, where he left an indeliblemark by eliminating the company’sconsiderable deficit.

Neville admits wryly that “there wasn’t muchhumour when I took over Stratford.”

It is his pursuit of experimentation combinedwith a sense of discipline and intellectualrigor, that have made him so celebrated,

“My theory is that if you do Shakespeare,you can play anything. And that is thetruth.”

If there was ever a clash between his roles asan Equity performer and member and his roleas Artistic Director, Neville never felt it,

“I never had a problem. I obeyed therules and never went behind anyone’sback. I never felt that an agreementimpinged on the artistic integrity of myproductions. I played by the rules and Iexpected my cast to do the same. I’m anEquity man.”

While Mr. Neville’s illustrious career hasbeen recognized with numerous significanthonours, including an honorary doctoratefrom Ryerson University in 1999, he cher-ishes the Life Membership he was awarded byEquity in 2000,

“It meant a huge amount to me; it meantthat I belonged. I’m so proud to belong,especially as I came to Canada. I am proudto be an Equity member and I am treatedwell by my association. Equity takes careof us and that’s a fact …. It’s an honour tobe in a very fine union.”

JOHN NEVILLE, actor/director born in London, England

and came to Canada in 1972 after enjoying an exciting career

on the British stage. In Canada, he has directed at the

National Arts Centre and was artistic director of the Citadel

Theatre (1973-78). During his time in Alberta, he became a

champion of Canadian drama, directing Michel Tremblay’s

Hosanna. He then became artistic director of Neptune

Theatre (1978-83) and in 1985 succeeded John Hirsch as

Artistic Director of the Stratford Festival. At the end of his

Stratford tenure in 1989, he had eliminated the company’s

massive deficit and introduced musicals to the stage of the

Festival Theatre. Mr. Neville continues to perform, direct

and teach and now makes his home in Toronto.


The Talented Mr. NevilleLynn McQueen, Communications Director

“ … I never felt that an agree-

ment impinged on the artistic

integrity of my productions …

I’m an Equity man.”

Where would we be without our hon-ourees? This is like asking ‘where would webe without our history?’ Reading the list ofthose honoured by Equity is like looking at athree-dimensional map of Canada’s theatricalhistory. One that encompasses the entirecountry: the artists, the benefactors, the man-agers, the visionaries, as well as those whowork behind the scenes. When I recoveredfrom the shock of learning in 2004 that I wasto receive the Larry McCance Award, the firstthing I did was look at the list and accom-plishments of those I was joining. I felt veryhumbled. I saw names of people I’d only heardabout, names of those whose work had moti-vated me when I was starting out, names ofCanada’s theatrical pioneers and names of col-leagues. Compared to the long cultural historyof some other countries, we in Canada are stillat the beginning. It’s easy to get so caught upin the struggles of the present that we forgetour own vibrant past. There’s an inspiringstory in each of the names of those Equity hashonoured in the past 30 years. I invite you toscan the list, relish the stories that come toyou immediately and for those names youdon’t recognize: look them up, Google them,ask other people. You’ll be surprised,delighted, and I hope, proud to belong to thesame rich tradition of Canadian theatre.

JANE HEYMAN joined Equity in 1966, serving as anelected member for over 20 years; seven of those as Secretaryto Council. She is a director and acting teacher. Since 1985she has taught at Studio 58, Langara College where she wasalso Associate Director. She is proud to be a co-founder ofWestCoast Actors, the Women in VIEW Festival and PALVancouver.

Honorary Membership — awarded by Councilto persons who are not members, but whohave assisted in promoting the objects of theAssociation or made an outstanding contri-bution to the performing arts. They may notvote and have neither the rights nor theobligations of membership.

1980 Norma Springford1982 Tom Paterson1983 Dorothy Somerset

1984 Laura Legge 1985 Art Eggleton 1986 Pauline McGibbon 1987 Heather McCallum 1990 Nicholas Goldschmidt1991 Floyd S. Chalmers 1993 Brian Paisley1994 David and Edwin Mirvish1995 Keith Kelly1996 David Spencer1997 Walter Carsen1999 David and Margaret Fountain2000 Margaret Mooney2001 Kathleen M. Richardson2002 Andis Celms2003 Jacqueline Shumiatcher2004 Dr. Martha Cohen2005 Wendy Lill

Life Membership — awarded by Council tomembers who are deemed to have made anoutstanding contribution to the performingarts and to Canadian Actors’ EquityAssociation. They pay no basic or workingdues, but have all rights and obligations ofmembership.

1975 Jane Mallett1976 Herman Geiger-Torel,

Hamish Robertson, Herbert Whittaker1977 Mervyn (Butch) Blake

Dora Mavor Moore, Dennis Sweeting1978 Robert Christie, Gratien Gelinas1979 Sam Payne, Arnold Spohr1980 Paul Kligman1982 Donald Davis1983 Lois Smith1984 Amelia Hall1986 Maureen Forrester1987 George Luscombe1988 Jean Gascon, Barry Morse1990 Jack Merigold1991 Dan MacDonald1993 Evelyn Hart1994 Douglas Campbell1995 Joy Coghill1996 Jean-Louis Roux

1997 William Hutt1998 Antony Holland, William Needles1999 Lotfi Mansouri2000 John Neville2001 Frances Hyland2002 Tony Van Bridge2003 Tibor Feheregyhazi2004 Doreen Brownstone, Irving Guttman2005 Gordon Pinsent and Charmion King

Larry McCance Award — awarded to mem-bers of Canadian Actors’ Equity Associationor staff who have made an outstandingcontribution to the Association.

1982 Burnard Chadwick1983 Peg Harmon1984 Vernon Chapman1986 Dan MacDonald1987 Sandy Webster, Gary Goddard (posthumous)

1988 Walter Massey1990 Helen Simpson-Baikie1991 Barbara Chilcott, Desmond Scott1993 Kenneth Wickes1994 Araby Lockhart1995 Christopher Marston1996 A. Frank Ruffo1997 Jeff Braunstein1998 Patricia Carroll Brown1999 Richard Hurst2000 Winston Morgan2001 Ron Haney 2002 John Mac Master2003 Jane Heyman 2004 Terry Tweed2005 Brenda Kamino

Stage West — Equity Emerging Theatre ArtistAward is awarded to an Equity theatre artistwho has been a member of the Association forless than three years in recognition of theirprofessionalism, artistic excellence andinnovation.

2002 Philip Warren Sarsons2003 Lucia Frangione2004 Michael Scholar Jr.


Honourary MembersJane Heyman, BC/Yukon member

Since the Actors’ Fund of Canada wasfounded in 1958 to “care for, relieve and aidpoor, needy and distressed persons belongingto or associated with the theatrical professionin Canada,” Canadian Actors’ Equity and theActors’ Fund have been partners in ensuringtheatrical artists in Canada are supported inthe pursuit of their craft.

Donald Davis, Barbara Hamilton, JaneMallett, Larry McCance, Barry Morse andWilliam Needles were the newly-mintedorganization’s first directors, which wasfounded just three years after Equity. Theirvision was to provide Equity members, andothers who wanted to help, a way to give asecond chance to their friends and colleaguesin the profession who had fallen on hardtimes.

For many years, the Actors’ Fund was asmall desk (staffed in the early days by JaneMallett) in a spare room of the Equity office,

but it rapidly proved to be a large source ofrelief and renewed hope for thousands ofEquity members in need of short-termfinancial aid.

The Fund has come a long way since itsmodest beginnings. The desk is gone and theFund is no longer housed in the Equity office,but the ties to Equity have remained veryclose. During the most severe crisis in ourjoint history, the Fund and countless Equitymembers across the country came together tocreate Equity Fights AIDS. Year after year,members gave their creative time and organi-zational skills, put on special benefit per-formances and innumerable fund-raisingevents, made speeches from the stage andvolunteered to pass around buckets at partic-ipating theatres. All to collect crucial fundsneeded to help members of the professionwho literally had nowhere else to turn. Liveswere improved, lives were turned around,

lives were saved — all through the selflessefforts of colleagues and friends. A terriblescourge was countered by a noble effort.

In the last five years, the Fund has deliv-ered over $1.6 million in financial aid to helpEquity members and other entertainmentprofessionals maintain their health, housingand ability to work after a financial setback.And, although times have changed and theFund has grown, its partnership with Equityremains strong. Our histories are intertwined(Larry McCance, a founder of Equity was alsoa founder of the Fund and many recipients ofEquity’s award that bears his name have beenActors’ Fund directors), as are our values ofcommunity, solidarity and promotion of thecreative spirit that animates all artists.

Congratulations, Equity, on 50 greatyears. Here’s to 50 more!

Norma (2004) by Vincenzo Bellini; Pacific Opera Victoria, Victoria; StageDirector: Tom Diamond; Conductor - Timothy Vernon; Performers (L to R):Anita Krause, Barbara Livingston, Alain Coulombe and members of the POVChorus; also in the production: Marilyn Arsenault, Elizabeth Bishop andDavid Pomeroy; Stage Manager: Jackie Adamthwaite; ASMs: Ann Walsh andJulie Moss; Photographer: David Cooper.

A Fund of Our OwnDavid Hope, Executive Director, The Actors’ Fund of Canada



I have only spoken to Equity staff ontwo occasions, but each call has been momen-tous in my life! The first call from Equityapproved my request for membership and thesecond asked this tyro member to write onthe meaning of Equity for thecommemorative publication.

Born in 1933, I had my first experienceof playing to a paying audience in 1950 whenI had a lead role in Ladies in Retirement. Ihave been acting ever since then. Whileliving in Britain, I was involved only in non-musical theatre. I obtained my degree, part-time, worked in laboratories, married andbecame a father.

In early 1963, I left the laboratory benchfor sales and marketing and in 1969 I trans-ferred to Canada where I became entirelyinvolved with musical theatre, performing inone or two community theatre productionseach year. Looking back, it is clear that the-atre was a parallel career that sustained me

through the rigors of day-to-day businessactivities. My business life led us to move toBelgium for two years, Switzerland for threeyears and the United States for one year,which meant that I could not pursue myactivities in the theatre full-time. However, Iwas awarded a fellowship in my professionalsociety and became a vice-president runninga global business.

During this period, I performed in some24 amateur Broadway musicals and many con-cert-style productions. I retired in 1991 andin 1993 auditioned, as a Local Jobber, forHuron Country Playhouse. Since that date, Ihave appeared in 11 professional productionsand, with much pride, as an EquityApprentice, playing Jacob in Joseph and theTechnicolor Dreamcoat, at King’s WharfTheatre and Drayton Festival Theatre.

I was very proud to be accepted into aprofessional production and prouder still tobe continually asked back to act in a variety

of productions with friends who had madetheatre their life’s work. It inspired me tothink that perhaps I too could have had the-atre as my principal, rather than parallel,career and that attaining Equity membershipwould be a tangible manifestation of this.

It is a great pleasure and honour for meto have achieved the goal of Equity member-ship. I am proud to belong to this band ofbrothers and sisters who give such pleasureto audiences all over the world and derive somuch personal pleasure from doing so. I lookforward, hopefully, to many moreperformances before I shuffle off the stage.

In community and professional theatre since1950, some of Philip's favorite roles were:Lazar Wolf in Fiddler, Benny Southstreet inGuys and Dolls, Mayor Shinn in Music Man,Sir Lionel in Camelot and Reuben and Jacob inJoseph.

The Oldest Newest Member of EquityPhilip S. Byrne, Ontario member

Questions asked over the years … THE GOLDEN OLDIES

“Is it true that if there are more people onstage than in the audience, we don’t have toperform?” (Still the all-time favourite)

“If we take a vote and we all agree, can we …(fill in the blank with anything fromchanging the lunch time to working withouta fee)?” Or its variation from the theatre: “Isit okay to … ? We’ve asked the artists andthey’ve all agreed.”

“We’ve been in business for over 25 years andhave never defaulted. Why do we have toincrease our bond?”

“Do I have to attend a rehearsal that wasn’tlisted on the original schedule?”

IT SHOULD BE TRUE

“Aren’t I entitled to two complimentarytickets when I work at a theatre?”

THE STUMPERS

“Would it be okay to accept a certifiedcheque?”

“We’d like to pay the artists more than theminimum fees. Is that a problem?”

“May I bring my dog to rehearsals?”

NONE OF OUR BUSINESS

“How do I get rid of my agent?”

Miriam Newhouse is an Equity BusinessRepresentative who worked for 30 years inCanada, England, Denmark and the UnitedStates as an actor, writer and teacher. She wasan Equity Councillor for one term before joiningthe Equity staff in 1994.

Notes From a Business Rep’s DeskMiriam Newhouse, Business Representative

continues to flourish between our two greatunions, and we look forward to continuingthis relationship over the coming years.

We have shared theatre and musical his-tory, we both hope for a bright future in theindustry and without Equity the worldwould be deprived of the best in Canadiantalent.

Congratulations to Equity on reachingthis milestone, and long may you continue todo good work on behalf of your members.

Bobby Herriot, Vice-President, from CanadaAFM of the United States & Canada

ARTS CLUB THEATRE COMPANY

As long as the Arts Club TheatreCompany has existed, Equity has been a con-stant friend standing right beside us. Whenthe Arts Club first opened its doors in 1964, itwas one of the only places whereVancouverites could come to see local profes-sional artists at work throughout the year.Equity has allowed us to continue growingartistically, while providing our artists withimmeasurable support both on and off thestage. Happy anniversary Equity! Here’s to 50more!

ASSOCIATED DESIGNERS OF CANADA

The board, members and staff of TheAssociated Designers of Canada (ADC)heartily congratulate Equity on its 50 years ofadvocating for and supporting workers in thelive performing arts in Canada. ADC ispleased to share a vision for the future withEquity — we know that better conditions andopportunities for artists means better theatre,opera and dance — and stand both behindand aside Equity as it strides toward thatfuture. Félicitations!

ALLIANCE OF CANADIAN CINEMA,TELEVISION AND RADIO ARTISTS

Congratulations for 50 years of fightingfor the rights of Canada’s professional theatreartists. Signed in 1971, ACTRA and Equity’sreciprocal agreement is clear recognition thatour long-standing relationship is based onrespect and unity.

ACTRA is proud to stand with CanadianActors' Equity Association and work togetherto improve the rights and opportunities forCanada’s professional artists who make aninvaluable contribution to the cultural life ofour country.

ALBERTA THEATRE PROJECTS, CALGARY

As a proud member of Canadian Actors’Equity, not to mention a very proud engagerof artists who are members of the Association,it is with considerable glee that I add myvoice to the chorus of celebrants marking 50years of Equity in Canada. We have all come avery long way in the last 50 years. Moreimportantly, we have illuminated theCanadian experience for our fellow citizens,and for that vital work all members of theAssociation should be proud and honoured.

Bob White, Artistic Director, Alberta Theatre Projects

AMERICAN FEDERATION OF MUSICIANS CANADA

On behalf of the members of AFMCanada, it gives me great pleasure to sendcongratulations to Canadian Actors’ Equityon achieving 50 years of service on behalf ofour great Canadian actors. Over these 50 yearsCanadian musicians have been privileged tohave many opportunities to work with Equitymembers, and the result has been that theCanadian public has had nothing but the bestin entertainment. The working relationship

CANADIAN ARTISTS AND PRODUCERS

PROFESSIONAL RELATIONS TRIBUNAL

The Canadian Artists and ProducersProfessional Relations Tribunal (CAPPRT)congratulates Canadian Actors’ Equity on its50th anniversary.

CAEA was the first artists’ association toapply for certification under the federalStatus of the Artist Act that came into effecton May 9, 1995. CAEA applied for certifica-tion on June 23, 1995 and was granted certi-fication by CAPPRT on April 24, 1996.

CANADIAN OPERA COMPANY

Ron Haney, where are you; all is forgiven… John Mac Master, Ron Haney and SuzanneVanstone across the table: Managementdemands extraordinary risk riders ... COChires long-time CAEA members SandyGavinchuk, Olwyn Lewis, Suzanne Vanstone,John Kriter, Chris Cameron, Catherine Tait,Craig Morash, Karen Olinyk as administra-tors, and Equity says we STILL can’t get itright! … Muriel James remembers whenchorus music rehearsals were 50 cents an hour… Keith who?

In 1980, through the collaboration withCAEA, the COC was able to establish theEnsemble Studio Program, which has devel-oped over 175 Equity artists, over 90% ofwhom are currently still actively in thebusiness.

In the 2005-2006 Season, the COC’sEquity payroll will total well over $3,500,000.

DRAYTON ENTERTAINMENT & EQUITY

— MAKING DREAMS COME TRUE

It takes many partners to make a dream areality, and Equity has played a pivotal role inthe development of arts and culturethroughout Canada. Fifteen years ago, afledgling summer theatre festival was born

Congratulations


It has been our privilege and our ambi-tion to work with you behind the curtain tobring a professional level of entertainment tothe audiences in Toronto.

Our collaborative work in boycottingunfair employers has strengthened our posi-tion in the theatrical community. We look for-ward to a closer and stronger relationship forthe next 50 years.

INTERNATIONAL ALLIANCE

OF THEATRICAL STAGE EMPLOYEES, LOCAL 822

It has been our pleasure — perhaps yourpain — to have allowed us the opportunity to:Block, Brush, Buckle, Build, Clasp, Clip,Comb, Contour, Cut, Dry, Fit, Glue, Grease,Highlight, Knot, Lace, Maintain, Measure,Mold, Paint, Pin, Pluck, Preset, QuickChange, Set, Spray, Tape, Tease, Tie, Velcro,Wash, Wipe and Zip … our way through mil-lions of performances!

Congratulations on your first 50 years!

IATSE, Local 822Theatrical Wardrobe, Makeup Artists & Hair Stylists

MANITOBA THEATRE FOR YOUNG PEOPLE

The exuberant realities created by Equityactors in our theatre and in schools on theroad have inspired three generations ofCanadian children. Hats off to you all…here’sto the next 50 years. Mazel tov.

MERMAID THEATRE OF NOVA SCOTIA

We salute our colleagues at Equity on theoccasion of 50 years of activity. It’s hard tobelieve that Mermaid has been calling theoffice for more than 30 of those seasons!We’ve particularly appreciated the supportwe’ve received from the Maritime Advisory astogether we’ve dealt with the challenges oftouring to snowy Hopedale, steamy Ho ChiMinh City, and countless places in between.Best wishes from all of us at Mermaid Theatreof Nova Scotia.

out of little more than hopes and dreams.Today, Drayton Entertainment operates theDrayton Festival Theatre, Drayton; HuronCountry Playhouse and Playhouse II, GrandBend; King’s Wharf Theatre,Penetanguishene; Schoolhouse Theatre in St.Jacobs; and now, the St. Jacobs CountryPlayhouse. Equity has been there since thebeginning, and we proudly salute 50 years offairness, integrity, and compassion. Wefondly reflect on our shared history, and lookforward to working together to achieve ourfuture dreams.

Alex MustakasArtistic Director, Drayton Entertainment

GEORDIE PRODUCTIONS

Congratulations from GeordieProductions to Equity on its longevity! Wewish all Equity members everywhere long lifeand rewarding careers in their chosen fields.

INTERNATIONAL ALLIANCE OF THEATRICAL STAGE

EMPLOYEES, MOVING PICTURE TECHNICIANS,ARTISTS AND ALLIED CRAFTS

On behalf of the over 105,000 members ofthe IATSE, I would like to offer sincere con-gratulations to the Executive, staff, and mem-bership of Canadian Actors’ EquityAssociation. The growth of legitimate theatrein Canada could not have been possiblewithout Equity’s tireless efforts in promotingand strengthening the industry. It’s beengreat sharing the triumphs, the struggles, andof course, the stage with you over the lasthalf-century.

Thomas C. Short, International President, IATSE

INTERNATIONAL ALLIANCE

OF THEATRICAL STAGE EMPLOYEES, LOCAL 58

Congratulations Canadian Actors’ Equityassociation on 50 fantastic years of repre-senting professional actors in Canada fromLocal 58 of the International Alliance ofTheatrical Stage Employees.

MODERN TIMES

Modern Times made a commitment towork under the Independent TheatreAgreement in the early years of the company’sexistence fifteen years ago. Since this time, wehave seen a healthy evolution of Equity’s rela-tionship to independent theatre, more flexi-bility and openness to rehearsal processesthat follow untraditional models. We arelooking to collaborate with Equity in thefuture so that constructive agreements can befound that assure the protection of our artistswhile furthering the creativity of Canadiantheatre. Congratulations on 50 years of Equityin Canada.

NATIONAL ARTS CENTRE, ENGLISH THEATRE

The National Arts Centre opened itsdoors in 1969 and from that time to thepresent, its labyrinthine hallways have beenaccumulating the photos of the thousands ofartists who have graced our stages.

It is a pleasure to watch young actors dis-covering our country’s great theatrical paston the walls beside their dressing rooms. Asthey embrace the future, they also honourand acknowledge those who have gone beforethem.

Our congratulations to Canadian Actors’Equity Association on its great past and itsgreat future!

OPERA ATELIER

The creation of theatre is a collaborativeprocess involving the design team, the per-formers on stage, the technicians back stage,the musicians in the pit and countless otherartists, production staff and administrators allworking together to realize the perfect per-formance. Central to the creation is the coop-eration of the individual artists and theAssociations that represent them. OperaAtelier is proud to have a 20-year workingrelationship with the Canadian Actors’Equity Association and wish CAEA and itsmembers our best for the next 50 years!


ROYAL WINNIPEG BALLET

In 1959, at the age of 20 and a growingforce on the Canadian dance scene, the RoyalWinnipeg Ballet entered into a relationshipthat would forever change its core business.At that time, the Canadian branch of Actors’Equity and the RWB began a collaboration,which still endures today.

We perform all over the world in a safeand professional environment thanks to theongoing efforts and cooperation betweenEquity and the RWB. The RWB congratulatesyou on 50 years of service to the performingartists of this country and we look forward toour continued association in the years tocome.

STRATFORD FESTIVAL OF CANADA

Congratulations to the members ofCanadian Actors' Equity Association on your50th Birthday from Stratford Festival ofCanada. For the past 53 years, our patrons andartists have joined in a celebration of theenduring works of Shakespeare as well as

achievement represents half a century ofoffering vital support to the professional the-atre, opera and dance artists enrichingCanada’s cultural fabric. Congratulations.

TORONTO MUSICIANS’ ASSOCIATION, LOCAL 149

Toronto Musicians’ Association congratu-lates the members, officers and staff ofCanadian Actors’ Equity and joins you in cel-ebrating 50 years of Equity in Canada. On theformation of the Canadian Equity AdvisoryCommittee in 1955, the Toronto Musicians’Association (founded 1887) welcomed avalued brother/sister into the arts/entertain-ment family of Canada. During the past 50years we have worked together creating anddefining Canada’s culture, united in our goalfor performing artists to live and work indignity.

UNION DES ARTISTES

Union des artistes salutes 50 years offriendship!

When told that Canadian Actors’ Equitywas celebrating its 50th anniversary, it mademe think of how much we share. We not onlyshare the union jurisdiction for stage, weshare this passion for the arts and culture, weshare the same battles regarding the status ofartist, we share members, and we have sharedthe same values for 50 years: defending theimportance of maintaining and fostering ourcultural identities; supporting each other inbattles for the right to equitable and fair treat-ment of performers; and working hand-in-hand for better living conditions for Canadianartists. We cannot think of a better futurethan a continuing and genuine relationshipwith the Canadian Actors’ Equity Associationfor at least another 50 years. Joyeuxanniversaire Equity!

Pierre Curzi, President

WESTERN CANADA THEATRE

Congratulations on attaining the land-mark, golden age of 50! Here’s to making it acentury of excellence!

David Ross, Lori Marchand

musicals, contemporary plays and newCanadian works. Over our history, we'vedrawn artists from across the country andtouched the lives of millions of patrons fromacross the continent.

THE CANADIAN CONFERENCE OF THE ARTS

The Canadian Conference of the Arts(CCA) offers hearty congratulations toCanadian Actors’ Equity Association on 50years of Equity in Canada. The CCA applaudsEquity for its tenacious defense of the rightsof live performing artists in theatre, opera,and dance in English Canada. As the CCA cel-ebrates 60 years as the united voice ofCanadian arts and culture, we join with youin celebrating our joint accomplishments onbehalf of all Canadian artists.

THE CHARLOTTETOWN FESTIVAL,CONFEDERATION CENTRE OF THE ARTS

On behalf of The Charlottetown Festival,I extend sincerest congratulations to theCanadian Actors’ Equity Association on cele-brating 50 years of Equity in Canada. In 2004,we celebrated 40 years of excellent Canadianmusical theatre at The Charlottetown Festival.We are grateful for the support and guidancewe have received from the Equity in the past.We look forward to working with Equity forthe benefit of Canadian performing artists formany years to come.

Anne Allan, Artistic Director, Charlottetown Festival

THE PROFESSIONAL ASSOCIATION

OF CANADIAN THEATRES

The Professional Association of CanadianTheatres (PACT) shares Equity’s vision ofsecuring a healthy future for the arts inCanada. PACT would like to extend bestwishes to Equity on celebrating 50 years ofEquity in Canada during 2005. This milestone


Congratulations…continued

Equity Staff Susan Wallace Executive DirectorDouglas Irons ControllerKen Burns Senior Business Representative Lynn McQueen Communications DirectorVera Penford Executive AssistantMillie Kwan Assistant ControllerKeith Davidson Business Rep ManagerGwen Bartleman Business RepresentativeDennis Lepsi Business RepresentativeMiriam Newhouse Business RepresentativeIan Ross McDonald Business RepresentativeGretel Meyer Odell Business RepresentativeIngrid Turk Business RepresentativeDavid Zelden Assistant Business RepresentativeChris Blanchenot Communications Co-ordinatorJoanne Doucette Bond AdministratorDarlene Harold Membership AdministratorAlexandrine Kelley ReceptionSandra Poulin Benefits AdministratorShanon Button Contracts AdministratorColleen Didur RRSP & Insurance AdministratorKaren Kilian General SecretaryIan Morton Administrative Assistant

Equity National Office44 Victoria Street, 12th Floor

Toronto, ON, M5C 3C4Phone: 416-867-9165 | Fax: 416-867-9246

www.caea.com | [email protected]

Equity Western Office505 - 321 Water St.

Vancouver, BC, V6B 1B8Phone: 604-682-6173 | Fax: 604-682-6174

[email protected]

5 0 Y E A R S I N C A N A D ACanadian Actors’ Equity Association

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