Equity News - Vol 101, Issue 3 - Spring 2016

Vinie Clarissa Mana Meg Chivas Melodie Pawnee Anne Ansley Marlon Ami Abbie Taina Elia Deen Milica Marlo Rose-Mary Trudie Castulo Eilis Brik M. Stacy Susie Tamara Ronna Peder Lusia Sung Yun Lesleh Delius Triste Lois All
imi Pierre Ann-Marie Anisha Becca Demetrios Silvana Vanjah Rihana Reece Rasa Sabina Bernardine Dezur Clinton Naren Calista Mary-Jo Roni Veraalba Elyssa Kennl Emy Francois Chiara Emmanuelle Tricia TJ Cyrus Nyjah Tania S
od Joline Hiromi Conor Makenzie Sheilah Gardiner Omoze Tonja Pun Temar Lyrica Wade Fredrick Florrie Tanea Demond Alicen Isabella Jing Devanand Jarid Jerine Waliek Ax Chopper Sandy Kathryn Karack Kingsley Maya Muee
el Alphonso Tommaso Yamil Nyree Hana Cajardo John-Charles Steven Giulietta Tressa Felix Monish Marilee Augustus Garrick Harter Jerrica Giuseppe Clara Anne-Elise Earll Shirlene Quinlan Ellis Durand Chantel Jody Oscar Marn
arls Padraic Flo Elish Carlton Matthew Aneesh Maureen Bingo Rosebud Sindee Cusi Fawn Cami Edda Lesslie Daamen Liann Myvanwy Ramy Danica Marya Agnes Jasper Dulcy Namir Vitta Coco Godfrey Kerrianne Fabio Kwana P
n Charissa Allen Irwin Leanna Leighann Marta Britton D.J. Eowyn Josephine Mya Syndi Zoie Malynda Geri Ellen T Robert Don Jon-Michael Marisol Everett Leasen Joell Manu Madilyn Tyne Irma Johann Suzyn Virgil Dusty Michel
egel Grantham Mary-Linda Rin Guilford Hally Rashad Rosalee Flor De Liz Josef LaShawn Dwight Jerusha Ruthanne Jevon Topher Sheelagh Milfordean Andrea Thursday Tyla Lorna Mariah Misa Bryon Katerina Sue-Yenn Kahyun K
nJun Josey Sarab Ogie Alexendra Ann Marina Braddon Jean Norb Tsulan P.M. Poundo Laura Lynne Noshir Otis Cayte Delmar Malinda Nalina Leslie Arden Manson Concetta K.O. Tracie Chantal Jet Caden Pablo Ronnie Nael Peg
ma Toks Joane Jacquelyn Mary Ellen L.B. Fyvush Armond LaShonda Rawleigh Todrick Molly Krystal Halili Nino Lancer Kolton Joely Gil Eamon Shinnerrie Adria Venny Eli Tova Aasif Ariyan Rand Guerin Khori Abram Cailene Steffan
z Teodorina Regenna Julia Waldo Deon Frederic Skip Barbie Venida F. Saccha Donavon Raymond Razz Wynn Dormeshia Sherz Pjay Yolande Deegee Shonna Hayden Gail Amy Miho Jess Christina Carisa Elvy Baye Kristyne Alyso
thia Diz Aedin Hamilton Jaz Ramon Luchy Denice Nikol Pilita Gus W Denna Vern Bliss Brandy Dudley Adriano Kumi Melvin Emilio Desmin Athene Eboni Israel Abigail Brinie Mariann Laurissa Jazmine Brayshawna Sid Alee Freem
Haerry Kendall Jessilyn Cecilie Melle Kamella MaryGrace Algin Edi Sendhil Lucia Carlyn Waltrudis Aphrodite Chaz Sally Brance Sab Kristen-Alexzander Bari Shellen Jevetta Cristy Toby Mea Brian-Alwyn Memory Noelle Halley Kat
oung Grasan Arley Callie Kennya Dani Leicester Kasono Kim Lanny Shameika Shawna Kerri Shuler Shoshanah Hope-Lynne Xanthe Job Monna Rosanne Inuka Tanis Renata Tosin Zena Gerrit Kristofer Tanika D.H. Lani Theresa Tristi
Ahmad JoAnn Kyra Kiley Ron Jono Michele Cote Tegan Gin Eydie Kim-Scott Ritter Reily Suzanna Radomir Arija Thea Nita Rodica Donell Jeree Tasha Antwan Marcie Werner Kathel Micaela Brit Tallia Madeleine Tug Charmaine W
Cally Neema Royer Jan Chrissy Coby Rainee Cait Taylor Debbie Malcolm-Jamal Kadee MacLeod Taamu Carl-Michael Randy Kimiye Romar Maud Aldrin Carmela Helena Susanna Lindsey Sara Bret Carolyn Nehassaiu Emilee Mon
Leigh-Allyn Ronald Phumzile Giacomo Georgina Stella Tempe Ptosha Anthony Lukas Alix Stasha Chloe Asante Aubyn Mykelti Alli Keara Tiernan Leda Hettie Dante Raffeal Dude Krisy Warren Rianne Char Norrice Freddie Noam
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Shain Sarayu Adante Rovin Angelo Purdie Iris Ida Cheryse Caren Genie Mary Stuart Lenora Oakley Gabriele Yul Joy Bebe Cotter Neela Jemma Sonora Cassey Denis Jordan Zackary Franc Holley Nickella Asha Angeline Moni Dall
Jakki Gunter Stephanye Robbee Juli Dean-Carlo Jennie Dorian Kearran Nilaja Allan Ronica Wunmi Veryl E Mimi Karl Marie-Francoise Tuyet Samuel 'Vid Ryann Adea Addi Charlotta Leisa Rapha
d Carol-Lee Michel Dashaun Beckley Penni Petrus Gerrard Adrian Jake Davin Miguel Dennis Zook Tracy Lada Trond Jamilia Jarran Mikaela Ardelia WillieAnn Alan Winston Mattea Lorenzo Chaney Mutiyat La Shawn Rockland Alen
hi Beka Sly Branislav Jomarie Blaise L.J. Meagan Perryn Per Maury Darryl K.T. Charley Fred Zandy Debrah Olli Jaron Alberto Kitty Jeneen Scopas Blanca Brynn Stellie Zhailon Karan Tisha Rowan Jaime Kevin Sheridan Rheaume Dar
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Javon Edan Cailan Onni Diane Toccarra Eddy Kristie Keaton Rayme Jonelle W.D. Tito Jamil LaMar Danea Kym Vonetta Dyan Billy Siena Aaliyah Halo Macha Dontee David Hallie Gracy Renee Cappy Heland Felice Tarissa Suze A
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late Jerel AJ I.B. Marie-Ange Frank Leroy Eden-Lee Corwyn Christi Brooks Chinasa Makela Magi Haneefah Doretha Liche Vivis Chrisse Eben Al Annabelle Terri Hoon Wendye Juanita Marylouise Sharone Lynda Blaire Thalia Jone
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ailyn Kimiko Wynter Bellamy Dale Natasha Cambra Iain Bernard Latarsha Suellen Torrey Edson Masud Randolph Eugenia Edloe Grady Andy Nance Judine Dene Naima Sarah-Doe T J Fidel Larissa Cydney Meera Nattalyee Kamer
rince Inga Tamiyka Sirena Yesenia Lissette Cole Kelsey Dayci Julianna Milda Nastasia Shari Channing Khalifa Nesbitt Kasey Healy Sydney Chaunice Igor George Nadya Nicky Amiee Nique Chris-Ian Blair Kristy Esther Borden M'L
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Michael LaTrea Gussie Angela Seton Jarrett York Marilynn Mikayla Jed Roxane Emil Dule Jayme Kiersten Liisa Karel Chelcie Shammen Bea Keala Vaneik MiRi Ren Quanda Ursula Moeisha Sorsha Debby Lordan Rudy Lisette Jam
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Valeri Lorey Dionna Mahri Napiera Cherise Anneliese Nili Kateri Worth Din Blythe Semina Marva Danielle Darilyn Tenney Lynmarie Horatio Antonia Tootie Adeola Ilya Adina Kaitlyn Olympia Sylvie Lynorris Johary Ora Michi Adrian
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Equity
Spring | Volume 101 | Issue 3
Actors’ Equity Association
Welcome to Your
BRAND NEW EQUITY NEWS
Happy Spring! What a great way to greet the blooming of a new season with this — the blooming of our new magazine!
It’s a new era, friends.
As you can see, we’ve completely overhauled and updated the look of Equity News, and we’ve done it in a way that we
believe reflects the creative nature of who, and what, we are and represent. With the goal of diversifying our communication to you in a more appealing way, our Equity News Advisory Committee and dedicated staff have worked for
nearly eight years toward what we’re rolling out today — and I couldn’t be more proud of the results.
In endeavoring to discover what would make our national publication strongly resonate in the 21st century, we started with finding out what you, the membership, were eager to read about. We paid close attention to three different
surveys that were done. The information was consistent: You want feature articles about craft, how to get a job, what
Equity is doing for you, contracts, interviews and pieces that highlight members’ voices from across the country, including some tough subjects that we haven’t broached before. With our now quarterly format, the magazine will center
on our members, the industry and the union – telling your stories in a new light and in a new way.
In addition, and very importantly, we will be disseminating any and all breaking news in the Member Portal’s Equity
News Center. You will be able to read additional feature articles and time sensitive news items that may not fit into the
magazine.
I’d like to give a special shout out to the village of people it’s taken to get us here: Executive Director Mary McColl, our
National Equity News Advisory Committee (made up of both Councillors and rank-and-file members who have been
working diligently with staff to make this dream into a reality): Kevin McMahon (Vice Chair, hailing from the Western
Region), Nancy Daly (Western), Diane Dorsey (Central), Nicole Flender (Eastern), Bruce Alan Johnson (Eastern), Liz
Pazik (Central), Barbara Roberts (Western), Melissa Robinette (Eastern) and Buzz Roddy (Eastern), all of our current
and former Councillors who have weighed in during this process (including my former co-chair Jean-Paul Richard),
and so many current and former staff members including Anne Fortuno, Stephanie Masucci, David Lotz (former Director of Communications) and Helaine Feldman (former editor). We have been especially fortunate to have our
incredible new editor, Josh Austin, and our wonderful longtime Director of Communications, Maria Somma, at the
helm to guide and inspire us.
As always, if you have any ideas about what you’d like to read more about, please contact Josh at
[email protected]. We’re listening.
In solidarity,
Christine Toy Johnson
National Chair, Equity News Advisory Committee
EquityNews
Editor
Josh Austin
Advisory Committee
Christine Toy Johnson
(Chair)
Nancy Daly
Diane Dorsey
Nicole Flender
Bruce Alan Johnson
Heather Lee
Kevin McMahon
Liz Pazik
Barbara Roberts
Melissa Robinette
Buzz Roddy
Joann Yeoman
Got a question or
comment? Email
[email protected]
THIS ISSUE
#EQUITY
In House
Read the many ways in which
EquityWorks for its members
WORKS
06
Spring | Volume 101 | Issue 3
EQUITY
NEWS
CENTER
Read all about it
The union launches the all-new
Equity News Center
08
Main Feature
HIGMEC
Combating harassment
in the workplace
Member Danny Burstein shares
his Equity journey
09
10
Cue & A
Spotlight
Combined, two members have
Chicago Shakespeare Theater
talks the Bard’s 400th
worked over 182 Shakespeare-related contracts
14
16
Scene Around
Awards
Equity welcomes four SPTs to
Kansas City
The 2016 Kathryn V.
Lamkey presented
17
18
EquityNews
FRONT of
HOUSE
From the President
Evolution
W
elcome to the brand new,
all grown up, shiny, fancy
Equity News!
When I was elected last May,
one of my top priorities was to
evolve the ways in which Actors’ Equity communicates with
our members. Thanks to some amazing work from our
communications staff and the Equity News committee,
this long-gestating project has finally come to fruition. In
addition to bringing our union publication in line with
most of our sister unions and guilds, this new format — a
quarterly glossy is actually cheaper to produce and distribute than a monthly newspaper — will save the union
money. And it’s pretty.
Mostly, I am thrilled because for the first time, we
will have the space to delve more deeply into things that
concern and involve our members. This first issue, for
example, shines a light on the critically important topic of
sexual harassment in our industry. And we need to have
that conversation for so many reasons. Because we live,
work and interact with our colleagues in far more intimate and personal ways than most employees. Because
our business usually and uniquely lacks standard corporate HR oversight. Because the criteria by which we
are hired are almost entirely subjective. Because in more
ways than perhaps any other industry, we have to expand
our thinking about this topic. I am every bit as concerned
about young chorus boys right out of college, for example,
being sexually harassed or pressured into some kind of
quid pro quo. The myth of sexual harassment is that it is
only a women’s issue. We cannot afford to think of it that
way.
There are all sorts of ways in which a few bad apples
can convince actors that their careers will benefit from either tolerating sexual harassment or standing by and not
reporting what they observe in the workplace. And it’s
a small enough industry that, if our members don’t have
the tools to stand up for themselves and their colleagues,
it’s very easy to gain a reputation — fairly or unfairly — that makes them targets for ongoing harassment
on future jobs. I very much want Actors’ Equity to take
a leadership role in these kinds of big-picture industry
discussions, and the additional real estate within this new
format will provide us with more opportunities to do so.
In the months to come, look for new and interesting features within these pages. A significant portion
of Equity News has always been — and will continue
to be — devoted to informing our members about what
has already happened. The new format will give us a
long-awaited ability to explore what could happen. What
do our members really want to talk about? How can we
increase our reach, engage actors and stage managers
across the country and educate them as to where the
business is, where it is going and how Equity is helping
it to get there? What are the unique challenges facing
performers’ unions, as opposed to the things we have in
common with the broader labor movement? What about
issues like diversity in casting, or opportunities for performers with disabilities? These are the types of topics we
will be able to explore, in a forward-facing manner, in the
new incarnation of this publication.
Additionally, we’re going to be rolling out all kinds of
content, across several formats and delivery platforms.
All of it is aimed at making Equity a better-connected,
reliable source of news and information for our members.
We have amped up our social media game, which you’ll
see if you follow @ActorsEquity and @AskIfItsEquity on
Twitter (while you’re at it, take a minute to follow me at
@AEAPresident on Twitter and the nascent @ActorsEquityPresident on Instagram). We are aiming for a more
inclusive union, especially for those who live outside
office cities; if you couldn’t attend our recent tax seminar,
for example, you can pull a lot of the tax tips from our live
tweets.
Over on the website, you’ll soon notice the Equity
News Center, which will supplement Equity News with
an RSS feed, an assortment of blogs, and real-time informational updates. We’re overhauling Casting Call, which
is a necessary precursor to our upcoming launch of online
ECC (followed by EPA) signups. And in the not-too-distant future, we plan to add video and audio content to
both the site and Equity’s heretofore underused YouTube
channel. It’s an exciting time to explore the possibilities
of digital communication, and it’s time for Equity to use
every tool that is available to us.
I could not be more thrilled for Equity News, which
for the union’s first century has been a fixture of the
distribution of information, to become a tool with which
Actors’ Equity can lead. Enjoy.
4 | Equity News
@actorsequity
From the Executive Director
Welcome to 2016 - We’re Just Getting Started
W
elcome to the inaugural issue of Equity News
magazine. This is my first column and I’m excited to have another way to communicate directly with
you. Through my column I will have the opportunity to
address topics that you may not otherwise hear about and
make sure you are up-to-date on what the staff and I are
concentrating on.
In this issue we take a closer look at a problem many
members have faced in their careers — workplace harassment. Harassment can take many forms and can happen
to anyone, regardless of gender, at any time. It also is
prevalent in all areas of our industry, as our industry is a
microcosm of the society in which we live.
You may know, after I stopped performing, I began
work as an arts administrator/manager. I sought a promotion to be the director of operations at the performing arts center that I had worked for since it opened. I
fought and fought for that job, being told on more than
one occasion that there were “plenty of men applying for
the position.” Finally, after months of proving I had the
qualifications to do the job, the board chair for the center
told me, “OK, I’ll go along with your silly idea…you’ve got
great legs and will make a great lobby ornament.”
We do unusual work in an unusual environment — one
that is creative and tells stories. But we know in the moment when something is wrong, instead of letting it pass,
we have to dig deep, find the courage and say something.
This column is the first time I have publicly told my story.
I have been blessed that my career hasn’t been impacted
by ongoing harassment and discrimination because of my
gender. I do, however, understand how hard it is to say
something in the moment when harassment, discrimination or even abuse is taking place. I felt I was alone when
I was fighting for that promotion. You shouldn’t feel
alone if situations in the workplace confront you, because
your union is here to help.
In our coverage of this topic, we discuss the forms
harassment takes and how to address it (see page 10). If
the situation arises in the rehearsal hall or in the theatre,
call Equity. We are here to stand by you. And because we
know that harassment in its many forms can take place
outside of the work place we also provide a list of resources available nationwide (see page 13). One of the best is
The Actors Fund.
This year will be filled with benchmark opportunities
for Equity. In April, Council will convene in New York
for a plenary session where they will set priorities for the
actorsequity.org
Association. The decisions made at
the plenary will help us to remain
relevant and build a strong and
lasting future for the union and our
members.
This is a busy year for negotiations. We’ve got six negotiations
coming up, including the Short Engagement Touring
Agreement (where quality of life issues will be front and
center), ANTC and Off-Broadway. In the fall we will start
preparing for LORT negotiations. That contract expires
after the New Year. As in every negotiation, our goal is
to improve the terms and conditions in the contract and
to ensure that contributions our members make to the
production are recognized.
This wonderful new quarterly magazine will bring you
stories about members, written in the members’ voices. The cover of the magazine really says it all; a union’s
greatest strength and resource — the real core of any
union — is its membership.
As a complement to the magazine, we’ve created the
new Equity News Center in the Member Portal. There,
you’ll find the news, features, event listings, photos and
more, available in real time to keep you up-to-date. We’re
adding an RSS feed so the information can go directly to
your mobile device.
We’ve also expanded our social media to include
important news like Do Not Work notices, examples of
Equity success stories, and we’ve launched fun events
like the highly successful National Swing Day and Shakespeare quizzes. And we’ll focus on touring with “Toursday
Thursdays.” During tax season, we offered “Tax Tip Tuesday,” with very helpful information from Secretary-Treasurer Sandra Karas.
Recently, the National Membership Education Committee held a tax seminar, presented by Sandra that was
video-conferenced in New York, Chicago and Los Angeles. It was a first for us, and we didn’t stop there — we
filmed the conference and made it available through our
YouTube channel. We’ll be doing more of those videos so
that our members in every city can access the seminars
and workshops held in the office cities.
It’s an exciting time for Actors’ Equity Association.
There is much more in store for us in 2016 — we’re going
to make it a great year. Enjoy this first edition of the new
Equity News quarterly magazine.
Spring 2016 | 5
In House
#Equity
Works
Theatre News & Notes
E
quity assisted the American National Standards
Institute in shaping two recently approved workplace
standards:
• The first document provides guidance to protect
those at risk of falling from a stage or any type of raised
performance platform [ANSI E1.46-2016].
• The second document is a standard that has been
created for performer flying systems. The purpose of
this guided protocol is to achieve the adequate strength,
reliability and safety of these systems to ensure safety of
the performer, other production personnel and audiences
[ANSI E1.43-2016].
In 2014, the Central Region reported that about 2,600
workweeks were organized. The goal for 2015 was to surpass that total. The staff achieved that goal by organizing
3,080 workweeks.
Boulder, CO — Boulder Ensemble Theatre Company’s production of Cyrano at the Lone Tree Arts Center
in Colorado will be produced on an LOA/Midsize Tier 1
Agreement with five actors, one stage manager and one
assistant stage manager on contract.
Chicago, IL – After finalizing a touring addendum for a
regional theatre company, staff believes that it will result
in over 500 new workweeks for members in the following
year.
Chicago, IL — The Chicago Theatre Workshop, a new
Equity CAT Tier 2 theatre, will also be the Resident Equity Theatre in the brand new (and stunning) 120-seat Edge
Theatre located in the Edgewater Community. Chicago, IL – The Chicago Commercial Collective
and ARLA Productions’ A Splintered Soul created 51
new workweeks in the region. The Collective is currently
working on a production that will generate another 30
workweeks.
Chicago, IL – The Gift Theatre will celebrate its 15th
anniversary season this year. Additionally, staff negotiated an extension for its production of Good for Otto,
adding 56 workweeks to the 2015 season.
Chicago, IL – Equity welcomes the production of New
Country to the region under the CAT Agreement. The
show is a one-off commercial production at the Den
Theatre, adding 61 workweeks for members.
Chicago, IL – Central Regional staff moved the Solo
Performance Series at Silk Road Rising from the CAT
Per Performance Agreement to a weekly CAT Agreement,
adding workweeks and securing health weeks for members working on the Solo Series.
Crystal Lake, IL — The Williams Street Repertory
Theatre has come on board as a new CAT Tier N Phase
One theatre. Their Phase One Season, which started in
March 2016, will provide an additional 95 workweeks.
Dallas, TX — Uptown Players, operating on a two-year
LOA/LORT Agreement, will have a 4% salary increase per
season and an increase of four actor contracts over two
years
Dillon, CO — The Lake Dillon Theatre Company
renewed its Small Professional Theatre Agreement for the
2016 season with 17 actor contracts, six stage manager
and one assistant stage manager contract. Additionally,
this is the first year the company will use the EMC program.
Dublin, OH – Equity welcomes Tantrum Theater to
the family! The new URTA company is affiliated with
Ohio University and will produce a three-show summer
season, adding between 75 to 100 workweeks pending
casting.
Las Vegas, NV — A new Special Agreement Contract with
The Smith Center for Idaho! The Comedy Musical will
have 20 union contracts and earn 101 workweeks.
Las Vegas, NV — For the Record: Baz, a new open-ended
production at Las Vegas’ Mandalay Bay, will boast 15
union contracts on the Casino Agreement.
Lexington, KY – The Lexington Theatre Company
will be on an LOA to COST Agreement for its summer
musical, resulting in approximately 12 workweeks for
members.
Long Beach, CA – Musical Theatre West added nine
contracts, resulting in an additional 45 workweeks for
members.
Los Angeles, CA —The Latino Theatre Company will
begin using a Small Professional Theatre Agreement.
Los Angeles, CA — Equity proudly welcomes the Jewish
Women’s Theatre to the family! The company will
operate on the new Los Angeles 99-Seat Agreement.
Los Angeles, CA — Operating on an LOA to LORT Agree-
6 | Equity News
@actorsequity
ment, Cornerstone Theater Company’s production
of Urban Rez will feature four actors, one stage manager
and one assistant stage manager on contract.
Los Angeles, CA — The show Louis and Keely ‘Live’ at
the Sahara playing at both The Geffen and Laguna
Playhouses will boast seven LORT contracts, garnering
66 workweeks.
Los Angeles, CA — The Actors’ Gang is using a LORT
Contract for its upcoming one-week out-of-town engagement of The Exonerated.
Los Angeles, CA — Native Voices at the Autry’s
production of They Don’t Talk Back has seven HAT contracts, totaling an additional 42 (or more) workweeks.
resulting in more workweeks for members.
New York, NY— Staff in the Eastern Region were able
to secure Guest Artist contracts for members employed in
the inaugural BroadwayCon. This relationship will lead
to further contracts for the annual event.
Peoria, AZ — Theater Works has begun to transition
to a Small Professional Theatre Agreement from Special
Appearance.
Sullivan, IL – Little Theatre on the Square placed
its holiday revue, Jingle Bell Jive, on an Equity contract,
resulting in 10 workweeks.
Waterbury, CT — The Seven Angels Theatre is celebrating its 25th Equity anniversary.
Los Angeles, CA — Playing at The Montalbán Theater,
I Only Have Eyes For You will have 17 union contracts,
resulting in 188 workweeks for members.
Tracking What You’re Owed
Louisville, KY – The Actors Theatre of Louisville’s
production of The Glory of the World travelled to New
York’s Brooklyn Academy of Music, resulting in 120
workweeks for members.
Staff in the Eastern Region noticed that members on a
union tour were paid incorrectly during an international
engagement. Staff brought the error to management’s
attention and accrued an extra, total payout of $12,000
for the members.
Minneapolis, MN – Dark and Stormy Productions
will be moving from an SPT N to an SPT 1, which will
result in an additional two or more contracts per production.
Minneapolis, MN – Children’s Theatre Company will
perform under a residency agreement at Seattle Children’s Theatre, resulting in 54 workweeks.
New Harmony, IL – Two LOA to LORT theatres, New
Harmony Theatre and the Michigan Shakespeare
Theatre in Canton, MI, have renewed their agreements,
Eastern Region staff discovered that members working
on four TYA contracts had been paid incorrectly for a
pro-rated week. Once brought to the attention of producers, the total amount paid to all four casts was $907.
Additionally, staff discovered underpayments for chorus
increment parts for five members working at a LORT
theatre. Staff was able to achieve a retroactive payment
totaling over $550 for the members.
(Continued on page 19)
#EquityWorks: Equity Inks Historic Deal with Cirque Du Soleil Theatrical
After a successful campaign that combined a traditional organizing approach
with the immediacy of social
media, Equity and Cirque
du Soleil Theatrical have
entered into an agreement
for all future Cirque du
Soleil Theatrical productions
on Broadway (as well as
pre-Broadway engagements
and pre-Broadway tours) to be produced entirely under
Equity agreements. This is a milestone agreement and
the first major producer to enter the Equity Broadway
and touring market since Disney Theatricals made its
bow in the 1990s.
actorsequity.org
As part of this new relationship, the first Broadway-bound production,
Paramour, will be under a
special one-time agreement
that contains many of the
same terms and conditions
as the Production Contract, including minimum
Broadway salary and safety
rules. Because Paramour
contains many traditional elements that are part of
Cirque du Soleil’s trademark productions, this one-time
agreement was created. This special agreement will
cover the actors, singers, dancers and stage managers of
the company.
Spring 2016 | 7
In House
A listing of AEA’s success stories, good news,
milestones, new theatres, payments won and
upgraded contracts all for you, the members!
In House
EXTRA! EXTRA! EXTRA! READ ALL ABOUT IT
Introducing the brand spanking new
EQUITY
NEWS
CENTER
Equity News Goes Digital
I
t’s time to change up your morning routine. Whether
it’s sipping coffee with your favorite paper, zipping
through the “best of” headlines on the way to rehearsal or
waiting for that ECC or EPA in one of Equity’s Audition
Centers, you can add checking in on the union’s latest
dish from its news site with ease.
Located within the Member Portal, the Equity News
Center is the newest channel for the union to easily,
effectively communicate and interact with its 50,000 plus
members all over the country. A way to supplement the
former rendition of Equity News, this center will allow
for even more — timely — information, announcements
and stories.
“The Member Portal is a community site, and bringing union-related news into that community feels like a
natural evolution,” said Doug Beebe, Equity’s National
Director of Information Technology. “After all, the Portal
should be a complete member experience. Pay your dues,
update your profile, signup for an ECC — and now — read
the news.”
As a way to deliver timely and important news as it
happens across the county, the Center will post stories,
columns and messages consistently. Stories that come
from liaison cities will be available for the entire Equity
community shortly after the meetings and events take
place. The union will offer more announcements that
concern and benefit members.
And it comes complete with an RSS Feed.
An RSS, or rich site summary, Feed, simply, is a way
to get notified of regularly updated content within your
browser. Many websites, including news and entertainment-based sites, utilize RSS to alert readers of breaking
news or any fresh stories. The benefit of subscribing to
the RSS Feed is that it allows members to easily stay informed and receive the latest information and announcements from Equity.
Even better, an RSS Feed is ideal for those members
who don’t surf the web or frequent Equity’s website for
information on a daily basis. By subscribing to the feed,
those members will get updates automatically once online, enabling them to stay informed.
“We realize our members are on-the-go more often
than not,” Beebe said. “Why not let technology help them
get the latest news. We’re introducing technology that
helps our members, not slow them down. RSS Feeds are
a great solution for those working within this industry.”
The Center will host stories, profiles and features
throughout the year that wouldn’t have had the opportunity to fit into the old rendition or even into the current
magazine. With a digital spine, space is limitless.
(Continued onpage 19)
8 | Equity News
@actorsequity
CARD
grew up in New York City and dreamt of making
a living as an actor for as long as I can remember.
When I was 14 years old, I was lucky enough to have
been accepted into the famed High School of Performing Arts to study acting. It was there that I learned
what it actually took to be a professional actor. Oh,
how I longed to be one. During my high school years, I
did lots of community theatre and even did non-union
summer stock in Keene, New Hampshire, where I made
— and this is the truth — $200 for the entire summer.
We figured it out: We were making about 8 cents an
hour! But it was all valuable groundwork and, for me,
solidified the fact that if I was willing to do all of that, I
was in it for the long haul.
I signed my first Equity contract (a bright pink
chorus contract) in 1984 when I was 19. I was going
to Queens College and my musical theatre professor
was the brilliant Edward M. Greenberg. Ed became my
mentor and great friend. He was the Executive Director
of the MUNY in St. Louis and offered me a contract to
spend the entire summer of 1984 performing in three
shows: The Music Man with Jim Dale and Pam Dawber, Funny Girl with Juliet Prowse and Larry Kert and
the premiere of a new version of Sleeping Beauty.
It was at the MUNY that I first got a taste of the benefits Equity had to offer me. I felt protected, respected
and was happy to be well compensated for all my hard
work. I remember distinctly thinking that it would be
nice to start saving for my pension at such a young age.
(I’m not so young anymore and am quite grateful I got
such an early start.)
I learned so much that summer and made many
great friends. Friendships that continue to this day. I
went back to the MUNY for several summers after and
eventually grew into character roles. One of those later
summers, I worked with Tony Randall, who eventually offered me my first Broadway contract. We’d had
a great time working together, and one day he
his National Actors Theatre CompaAn Equity mentioned
ny to me. I said, “Well, if you ever get it up and
member
running, give me a call.” He said, “I’ll do that.”
to a few years later, he calls me — out of the
since 1984, Cut
blue — with a job offer to be a company member
Burstein
in his new Broadway troupe.
The MUNY was a magical place for me. A
shares his
home away from home. I owe Ed Greenberg a
“HIGMEC” huge debt of gratitude for taking a chance on
a gawky, teenaged, theatre nerd who was so
story.
terribly green. He gave me the confidence to fly.
Thank you, Ed, wherever you are. I miss you.
And thank you, Equity, for looking out for me
and always insuring I will be properly taken care of. I’m
so honored to be a part of such a great union.
“This Issue” photo by Joan Marcus
Danny
Burstein
actorsequity.org
Danny Burstein, an award-winning performer, is currently starring
as Tevye in the Broadway revival of Fiddler on the Roof. Other
Broadway credits include Cabaret, South Pacific, Follies, Women
on the Verge of a Nervous Breakdown and The Drowsy Chaperone,
among others. The actor has worked across the nation at several
regional houses, including La Jolla Playhouse and The Old Globe.
Spring 2016 | 9
Members
HOW I
GOT MY
EQUITY
I
COMBATING
HARASSMENT
IN THE WORKPLACE
Immediately following the 11 o’clock number, the two star-crossed
characters finally kiss for the first time. It’s passionate and sincere —
enough to elicit a visceral reaction from the audience. That romantic
gesture is the highpoint of the show. All that’s left is the finale and, in
this case, the traditional happily-ever-after ending. Until tomorrow.
For one of the actors, that stage kiss is crushing. It represents months
of harassment he or she has been receiving from that other performer. Inappropriate remarks, unwanted touching and crude language.
The theatre industry is a hard place to imagine workplace harassment – sexual or otherwise. A creative environment, theatre
tends to sway left and right, straddling the line between conservative and provocative. But that by no means is an excuse for
bad behavior. Equity members work in a fast-paced, open and
creative atmosphere. As actors and stage managers, the hours
are long and often spent in close, physical quarters, where
significant relationships are quickly formed with colleagues.
Anyone working on a show might find themselves in an uncomfortable situation onstage, backstage or in a different setting altogether. The effects of harassment can be devastating to individuals
and can lead to damaging effects for performances and careers.
(Continued on page 12)
OURAGE BE LOUD PROUD HAVE A VOICE INDIVIDUA
AK OUT STAND UP STAY TOUGH REPORTBRAVERY TALK PROTECTIO
E HEARD DEFEND STAND STRONG DIGNITY TAKE ACTION
“Equity is here to help our members when harassment occurs in the workplace,” said Equity’s Executive
Director Mary McColl. “The moment it occurs — in
whatever form it takes — can be paralyzing to the individual. But silence can make it worse. That’s why I want
to assure our members Equity is here for them.”
It is illegal for any person to harass or discriminate
on the basis of a “protected class,” meaning a person’s
race or ethnicity, color, creed, national origin, alien
or citizenship status, age, gender, disability, sexual
orientation, gender identity and/or expression, marital
status, familial status or other beliefs.
Harassment takes several guises: derogatory or
demeaning comments, bullying, insulting or abusive
actions, biased behavior and stereotyping, having prejudice, discrimination, humiliation, retaliatory behavior
and denying opportunities.
There are two forms of sexual harassment. The first
is referred to as “Hostile Work Environment,” where
due to the behavior of another, one is made to feel
uncomfortable through jokes, visual images, language
“
the harassed party defines what is unwelcome, unwanted,
offensive, intimidating or hostile.
It is the law and the right of any employee to expect
employers to provide a workplace free of harassment. And
that right — protecting members in the workplace — has
always been a serious issue and concern for Actors’ Equity
Association. A union that doesn’t take such matters lightly, Equity has historically stood up and spoken out against
harassment in any form. The union, in every agreement, has
steadfast rules against such behavior and actions toward any
one of Equity’s members. The union will assist any member
who has been subjected to workplace harassment and will
investigate claims under the union’s collective bargaining
agreements.
“Equity members have the right under federal, state and
local law to work in an environment that’s free from harassment and discrimination,” said Thomas Carpenter, Eastern
Regional Director/General Counsel. “And, Equity stands
ready to protect its members whenever they face harassment of any kind in the workplace.”
The first step: speak out.
The moment it occurs — in whatever form it takes — can be paralyzing to the
individual. But silence can make it worse. That’s why I want to assure our
members Equity is here for them.
”
and gestures of a sexual nature. This “hostile work environment” can also stem from persistent, unwelcomed
attention. The second form, “Quid Pro Quo,” includes
the suggestion of preferential treatment if someone
agrees to sexual activities, or in the opposite instance,
losing out on an opportunity for refusal to engage in
these actions.
These actions aren’t always concealed inside a dressing room or alone in a rehearsal studio. Offensive jokes,
walking in on performers changing or even telling a
risqué story aloud can be construed as harassment —
and with good cause. The effects of harassment can be
devastating. What someone views as a harmless joke
or even any form of unwelcomed action could drastically hurt someone — personally and professionally.
Not only is there potential for a bad reputation, but
someone might be less productive at work or even lose
out on a possible opportunity. Low morale, low self-esteem, professional and familial stress and the chance
of financial costs and legal battles could all stem from
unwelcomed attention. And according to the courts,
- Mary McColl, Executive Director
The Actors Fund, a nonprofit human services organization assisting all members of the entertainment industry,
highlights the “3 Rs.” Respond: Firmly, but respectfully. Inform the offending person(s) that his/her behavior is unwelcomed and must stop. Record: If the behavior is repeated,
note the incident (include date, place and any witnesses).
Report: Don’t be afraid to tell your deputy and your Equity
representative.
Though it goes without saying, there are several ways to
ensure a harassment and bullying-free workplace. Respecting co-workers and their diversity; be aware of language and
communication style; keep emotions in check; avoid provocative jokes, pranks, teasing and confrontation; and avoid
racial, ethnic and gender-based humor.
In addition to Equity, there are resources across the
country that can help assist those affected by harassment in
the workplace. Most importantly, however, you are your first
and best advocate for safety.
“Find the courage to step up and step forward,” said
McColl, “for yourself and for those who follow you into that
rehearsal hall and that theatre.”
12 | Equity News
@actorsequity
AL CONFIDENCE ADVOCATE RESPOND DEMAND SAF
ON SPEAK OUT RESPECT INSTINCTS CONCERN BELIEVE ACT FA
What is The Actors Fund?
The Actors Fund is a national human services
organization that assists everyone working in
performing arts and entertainment. With offices in New York, Chicago and Los Angeles,
The Actors Fund provides a safety net and
offers a variety of ongoing programs to meet
the needs of professional artists.
How can The Actors Fund help me if I
am being harassed?
These situations can be especially confusing
and stressful. The Actors Fund offers Actors’
Equity members a free, safe and confidential
place to come for advice and support involving harassment and other workplace issues.
You can speak privately with a licensed
professional who will help you to better understand what happened and to explore your
options.
Should I contact my union or company
management before I call The Actors
Fund? If you experience something that makes you
feel uncomfortable and that you believe constitutes harassment, you should report it to
a union official such as your stage manager,
Equity Deputy or your business representative. Your employer (company management)
is responsible for addressing workplace
issues, including harassment and discrimination, so you are always encouraged to bring
it to their attention. But sometimes, you may
not be clear if it is harassment or may not be
comfortable talking to others in the workplace. You can contact The Actors Fund at
any point – before, after or at the same time. What if I am not located near an Actors
Fund office?
The Actors Fund has a toll free number and
they can talk with you over the phone or even
by Skype. If they feel that you would benefit
from seeing a counselor in your community,
they will help you find the right one.
Will The Actors Fund refer me to an
attorney if one is required? They will help you determine if you need an
attorney and discuss how to choose one, but
they don’t refer to individual legal practices.
They can give you information on nonprofit
legal service organizations. actorsequity.org
RESOURCES FOR YOU
E
quity always recommends that you first address
any harassment issues directly with your employer and the union. There are also other resources
available if you want to know more or speak with
professionals.
The Actors Fund
The Actors Fund offers Actors’ Equity members a
free, safe and confidential place to come for advice
and support concerning harassment and other
workplace issues. You can speak privately with a
licensed professional who will help you to better understand your experience and explore your options.
Call The Actors Fund nearest you:
New York: 800.221.7303 | Los Angeles:
888.825.0911| Chicago: 312.372.0989.
Other Resources:
Equal Employment Opportunity Commission: File a complaint and find your State office
1.800.669.4000 | eeoc.gov
Equal Rights Advocates:
Confidential counseling line
415.621.0672 | 800.839.4372
24-hour line: 415.621.0505
National Center for Victims of Crime:
Resource and advocacy organization for victims
1.800.FYI-CALL | 202.467.8700
New York Division of Human Rights:
File a complaint
dhr.ny.gov
The Feminist Majority Foundation:
A directory of sexual harassment state resources
feminist.org
Volunteer Lawyers for the Arts: Offer mediation — which is a voluntary, confidential
alternative dispute resolution to litigation — where a
neutral third party assists parties in conflict to find a
resolution to their differences or disagreements.
vlany.org/mediateart-faqs/
GET TO KNOW THE ACTORS FUND
HOW TO ADDRESS WORKPLACE HARASSMENT
ACT PERSERVERANCE CAREER SUPPORT STEADFAST WORT
There are many community counseling organizations that can provide help in determining how
to manage possible harassment situations. Check
your local directory or speak with The Actors Fund
for more assistance.
Spring 2016 | 13
T
he Bard remains one of the most produced playwrights — and with good reason. Shakespeare’s words, rich with intellectual drama, full of suspense and dripping
with biting humor, have provided Equity members with opportunities across the nation. Equity News spoke with the two members who have
worked on the greatest number of Shakespearean
productions on Equity contracts over the past 10
years. Both stage manager Cindy Kearns (with 80
contracts) and actor Troy Willis (62 contracts),
have made careers of the Bard while working at
the Atlanta Shakespeare Company in Georgia.
dy
Kea
rns
Equity News: Why has Shakespeare remained
so prominent in theatre?
Cindy Kearns: Because he understood,
perfectly, the human condition.
Troy Willis: He had a unique insight into
the heart of the human experience that
touches the soul and keeps people coming
back.
EN: What is your favorite play of the Bard
and what’s your favorite line he’s written?
CK: Hamlet. And, I have two from that play: “When
sorrows come, they come not single spies, but in battalions,” and “What a piece of work is man.”
TW: The Tragedy of King Lear. As I have gotten older,
I have grown to love one of his most mature plays with
a complex web of themes. My favorite line: “Love all,
trust few, do wrong to none,” from All's Well that Ends
Well (Act I, Scene 1). Words to live by.
n
Ci
EN: You have made a career of working on
Shakespearean productions. What training
did you go through to get here?
CK: No formal training. I trained on the job
with Artistic Director Jeffrey Watkins. I tell
people that I am the only graduate of the Jeffrey Watkins School of Stage Management.
TW: The majority of my training has come
from doing. Shakespeare's company would do a
Tr
different play every day. The Atlanta Shakespeare
Company doesn't go quite that far — we only do 12 to
16 plays a year.
oy
Wi
llis
Cue & A
Celebrating the 400-year legac
EN: Which Shakespeare show have you worked
on the most?
CK: I am currently working on my 19th production of
The greatest star-crossed lovers?
Othello & Desdemona - 13%
Romeo & Juliet - 60%
Troilus & Cressida - 5%
Hamlet & Ophelia - 22%
Your fave updated take?
The Boys from Syracuse - 0%
Kiss Me, Kate - 11%
West Side Story - 54%
The Lion King - 35%
Cue & A
cy of William Shakespeare
Romeo and Juliet.
TW: Romeo and Juliet. I have been in over a dozen productions of it and have played a number of the male roles
except Romeo, Mercutio and Tybalt.
EN: Having repeated the same show several times,
how do you keep it fresh?
CK: By working with a different director and a new cast,
which always gives me a different perspective on the play.
I also play mind games with myself; like what if the Friar’s
letter to Romeo had gotten through or what if the Nurse
was delayed on her way to meet Romeo or what if the sleeping potion just didn’t work.
TW: It's about being a reACTOR instead of an ACTOR. If I
am living in the moment and reacting it will be new every
time.
EN: What have you participated in that has been an
interesting take on one of the Bard’s plays?
CK: At the Shakespeare Tavern Playhouse, we have a
performance style that we call “original practice,” where
we perform the plays as close to the way we believe they
were performed in Shakespeare’s day. We did have two
cross-dressing characters in one production of The Merchant of Venice, however.
TW: Each production is a process that begins with the way
the play was originally staged in its own time and ends
with a modern audience experiencing the play in a manner
consistent with its creator's original intent no matter the
playwright.
EN: What are the differences of stage managing a
Shakespearean play versus a contemporary
drama? CK: I don’t believe there is any difference between the two. For me, every production is a series of steps and I have to
do all of the same steps for every show, whether it is Shakespeare or modern day. I have done a handful of musicals
and I find those to be a different animal altogether.
EN: When prepping for a role, how do you relate to
one of the Bard’s cherished characters?
TW: Not to cherish them, but hold them in high regard. I
have played over a hundred of Shakespeare's characters
and have only two plays left to complete my acting canon
— Titus Andronicus and Twelfth Night. The greatness of
Shakespeare is his ability to put the human struggle in each
of his characters that makes it easy to relate to them.
“The play’s the thing…”
Though he’s been gone for four centuries,
the Bard’s sharp-tongued dialogue and soliloquies remain. Equity members across the
country continue to breathe life into the historically dramatic scenes and hilarious characters of the late 16th century. Below is a list,
in order, of the ten most performed classic
Shakespearean shows Equity members have
worked on between 2005 and 2015.
A Midsummer’s Night Dream - 255
Romeo and Juliet - 243
Hamlet and Macbeth - 217
The Tempest - 213
Twelfth Night – 188
Much Ado About Nothing – 185
As You Like It – 174
The Taming of the Shrew – 143
Othello – 142
“This Issue” photo by Jeff Watkins.
Troy Willis as “Cymbeline” in Atlanta
Shakespeare Company’s 2011
production of King Henry VIII.
(Continued on page 19)
Who would throw more shade at the Bard?
J. Thomas Looney - 4%
George Bernard Shaw - 45%
Ira Glass - 9%
Charles Darwin - 42%
Who is Shakespeare’s evilest villain?
Iago - 48%
Lady Macbeth - 25%
Richard III - 23%
Claudius - 4%
Chicago Shakespeare Theater
We asked the Chicago Shakespeare Theater to tell us about the
company. This is what they had to say:
T
ruly “all the world’s a stage” in 2016. This April marks
400 years of William Shakespeare’s enduring legacy
since his death in 1616, and artists and theatres from all
around the world are commemorating the playwright.
Chicago will host the largest of these celebrations —
Shakespeare 400 Chicago, spearheaded by Chicago
Shakespeare Theater (CST). This year-long international
arts and cultural festival brings together the city’s resident world-class institutions across disciplines and welcomes leading artists from around the globe to celebrate,
interpret and reimagine Shakespeare’s work.
“The poetry of Shakespeare’s words and his brilliant
characters from all walks of life weave universal stories,
speaking to artists across continents, cultures and centuries,” remarked the Theater’s founder and Artistic Director Barbara Gaines. “Shakespeare’s words move artists in
every creative medium.”
The festival began in January with Measure for
Measure from the United Kingdom’s Cheek by Jowl and
Russia’s Pushkin Theatre at Chicago Shakespeare. This
production, along with Belarus Free Theatre’s King Lear,
both garnered four stars from the Chicago Tribune in a
highly praised beginning to the festivities. Shakespeare
Photo by Liz Lauren
Spotlight
Theatre Spotlight
Othello (James Vincent Meredith, at
right) delights in his good fortune, as
the duplicitous Iago (Michael Milligan)
plots his next move in Chicago Shakespeare Theater’s production of Othello.
“This Issue” photo by Manuel Harlan. Pictured:
Equity member Jonathan Pryce in Shakespeare’s
Globe production of The Merchant of Venice.
400 Chicago will engage more than 500,000 Chicagoans
and visitors with events spanning theatre, opera, music,
dance, cuisine, exhibitions and workshops.
Over 60 Chicago institutions have come together in an
unprecedented partnership, including the Art Institute of
Chicago, Chicago Mariachi Project, Chicago Park District,
Chicago Public Schools, Chicago Symphony Orchestra,
Harris Theater for Music and Dance, Illinois Humanities,
Joffrey Ballet, Logan Center for the Arts, Lyric Opera of
Chicago, Museum of Contemporary Art and the Newberry
Library.
Shakespeare 400 Chicago will also bring international
artists from Australia, Belarus, Belgium, China, Germany, India, Mexico, Poland, Russia, the United Kingdom
and beyond. Festival-goers can expect highlights from
Shanghai Peking Opera, the Hamburg Ballet, the Company Theatre of Mumbai, Shakespeare’s Globe and Poland’s
Song of the Goat, among others.
“Chicago Shakespeare has been honored to serve as a
cultural ambassador for our city — importing astonishing
work from around the world and exporting our work to
leading international festivals,” reflected CST Executive
Director Criss Henderson. “Shakespeare 400 Chicago
deepens our role as a global theatre reflective of our global city — and demonstrates how Shakespeare’s timeless
words continue to inspire artists across disciplines and
across cultures.”
With over 1,000 artists, 850 events and 120 locations
throughout the city, the celebration impacts much more
than the theatre community of the Windy City. The City’s
rich culinary tradition joins in with Culinary Complete
Works, as 38 of Chicago’s most venerated chefs including Rick Bayless (Topolobampo) and Tony Mantuano
(Spiaggia) create new dishes inspired by Shakespeare’s
38 works. North Coast Brewing Company is releasing a
special Shakespeare 400 Chicago edition of their popular
beer, Puck.
The free Chicago Shakespeare in the Parks brings
Twelfth Night to neighborhood parks on the south,
north and west sides of the city. Three hundred high
school students and teachers from 50 public, private and
parochial schools city-wide will participate in the “Battle
of the Bard” — developed in partnership with Chicago
Youth Shakespeare — in which students will perform
scenes plus their own creative mash-ups from the canon
in a slam-style arena. Throughout the year, City Desk 400
correspondents from ten of Chicago’s universities will
respond online to the artistic work of the festival. This
unprecedented celebration is made possible by leading
support from the John D. and Catherine T. MacArthur
Foundation and Pritzker Military Museum and Library.
It’s a celebration 400 years in the making — a bold undertaking, true to the spirit of the global city of Chicago.
16 | Equity News
@actorsequity
Scene Around
{IN KANSAS CITY}
T R E ND I NG
G
ladys Fritts of the musical Radio
Gals was one of the first characters Licia Watson took on as a
performer at the Chestnut Fine Arts
Center in Olathe, Kansas.
She wasn’t yet an Equity member.
Ten years later, Watson performed
as “Gladys” once more. This time,
working on a Special Appearance
Agreement, or a contract that allows
an Equity performer to work in a
non-union theatre, at the company.
And now that the Center is utilizing
the Small Professional Theatre (SPT)
Agreement, designating it an Equity
house, Watson is ready to do the role
again, this time as an Equity member
in an actual Equity theatre.
“It’s exciting to see a theatre go
through the same arc that a performer goes through,” said Watson,
putting an Equity-esque metaphor
on the transition from non-union to
union for both actors and theatres.
“Now I’m able to go back this fall and
work my first full Equity contract
with Chestnut, as it’s now an SPT.”
In Kansas City, MO, Equity seems
to be trending. With the addition of
four new SPT theatres, the region
continues to grow into an artistic
hub for union members. Joining the
Equity family are the Spinning Tree
Theatre, The Living Room Theatre,
Musical Theater Heritage and the
Chestnut Fine Arts Center.
Michael Grayman, Artistic Director of Spinning Tree, moved to
the area with his partner, Managing
Director Andrew Parkhurst, six years
ago to fulfill a dream of opening a
theatre. “We knew that Kansas City
was a great up-and-coming city
that was really supporting the arts,”
he said. “We’re having a blast and
there’s so much talent here; it’s easy
to just work here.”
From the moment the couple
opened the company, they began
utilizing the Special Appearance
Agreement. Equity members for over
20 years, the duo wanted to be able
to give union members the chance
actorsequity.org
to work and receive health insurance right from the start. To become
an Equity house, for Grayman, is
coming full circle for himself and his
union.
“Being Equity is always what we
wanted to do,” Grayman said. “The
thought of being able to employ
members of our union and offer
them their weeks has always made us
feel so incredibly good. And, it just
feels so much better to be an Equity
company.”
After the regionally-cherished
American Heartland Theatre went
dark in 2013, Watson said a creative
void had been left in the theatrical
community. It’s her hope, as well
as the Kansas City community, that
these new theatres fill that vacancy.
And, Watson believes that the opportunities these new companies create
will lead to an even stronger cultural
landscape in the city.
“The Kansas City arts scene? In
one word: vibrant,” she said. “There’s
everything:
There’s a
breadth to the
arts community and a lot of
depth to it.”
With several
theatres in and
around the
area, saturation doesn’t
worry any of
the leadership.
Believing that
each theatre
works in inPhoto by Julie Denesha
spired tandem, Chestnut’s
Executive Director Brad Zimmerman
said each company has found its own
niche.
“The region has a lot of patrons,”
he said. “We are a medium-sized
market, and we have an awful lot of
theatre in Kansas City. The companies that have been successful have
found a niche, and there seems to be
a niche for everybody and enough
people that have interest in live theatre that we can all make a go of it.”
Zimmerman started his company
after freelancing as a music director for several years. Wanting to do
something different and in his own
space, he found an old house and
turned it into a 102-seat theatre (he
lives upstairs). Using the Special
Appearance and Guest Artist Agreements, he found that after talking
with Business Representative David
Kolen, transitioning to an SPT was
the next logical step.
And a lot less paperwork.
“These four new theatres will only
further enhance the already thriving
Equity community in Kansas City,”
said Central Regional Director, Sean
F. Taylor. “Our members continue to
see opportunities thanks to the hard
work of the staff, liaison committee
and the Kansas City theatres themselves. Members are able to live in the
communities they call home and earn
a living as an actor.”
Spinning Tree co-founders
and Equity members Andrew
Parkhurst (Managing Director)
and Michael Grayman (Artistic
Director).
“This Issue” photo by Manon
Halliburton. Pictured: Robert
Gibby Brand and Katie Kalahurka in the 2014 production of
Ghost-Writer.
Spring 2016 | 17
Awards
Chicago Theatre Leaders Receive Equity’s 2016
Kathryn V. Lamkey Award
Story | Luther Goins and Clare Kosinski
T
he 13th annual Spirit, A Celebration of Diversity — an
event presented yearly by the National Equal Employment Opportunity (EEO) Committee — honors individuals,
From left ro right: Christine Toy Johnson (National EEO
Committee Chair); Dev Kennedy (Central Regional Vice
President); Chuck Smith (Goodman Theatre Resident Director); Henry Godinez (Goodman Theatre Resident Artistic
Associate); Sean F. Taylor (Assistant Executive Director/
Central Regional Director); Barbara Gaines (Chicago Shakespeare Theater Founder and Artistic Director); Criss Henderson (Chicago Shakespeare Theater Executive Director);
and E. Faye Butler (National EEO Committee Vice-Chair).
GET
@actorsequity
with
SOCIAL
EQUITY
#EquityWorks
theatre companies, producers and organizations that provide ongoing opportunities for members of color in the
Central Region. Spirit took place on Monday, March 7,
2016, at the award-winning Chicago Shakespeare Theater
on Navy Pier.
This celebration of spirit, pride and accomplishment
included the presentation of the Kathryn V. Lamkey
Award. Named after former longtime Central Regional
Director, this special honor is awarded to an individual
and/or organization that helps to maintain and enforce
Equity’s goals of diversity and inclusion. The four incredible recipients included Chicago Shakespeare Theater Founder and Artistic Director Barbara Gaines and
Executive Director Criss Henderson; Goodman Theatre
Resident Director Chuck Smith; and Goodman Theatre
Resident Artistic Associate Henry Godinez.
EEO Committee Members and event Co-Chairs Christine Bunuan and Sandra Delgado organized and hosted
the celebration, and Central Regional Vice President Dev
Kennedy and Central Regional Director Sean F. Taylor
gave welcoming remarks. National EEO Committee ViceChair E. Faye Butler gave a brief history of the Spirit celebration and praised Central Region producers for their
ongoing commitment to Actors’ Equity members.
Spirit continues to highlight the strong relationship
between Actors’ Equity and Central Region producers
and theatres.
Editor’s Note: As was announced at Spirit 2016, Business Representative Luther Goins is retiring this year and was presented a proclamation in recognition of his many years of service
and dedication to Actors’ Equity.
HAVE YOU HEARD?
CASTING CALL IS CHANGING!
ONLINE SIGNUPS ARE COMING.
JUNE 2016
For more information, visit
the Equity News Center.
members.actorsequity.org/EquityNews/
18 | Equity News
@actorsequity
#EquityWorks,
Continued from page 7
News Center,
Continued from page 8
In reviewing weekly reports for a LORT theatre, Eastern
Region staff noticed that the theatre did not make the
health contributions for a member who had a buyout. In
working with the theatre, staff was able to achieve a total
of $680 in health contributions for that member.
The best part? Archives. The Center offers an archiving
system that will allow members to sift through stories.
Any article pertaining to a certain liaison city, specific
contract, special feature, etc. will be tagged and readily
searchable.
“Our membership is diverse in their interests and priorities, so tagging news articles and blogs is another way
to help members find exactly what they’re looking for,”
Beebe said.
More than just a news-centric site, though, The Equity
News Center will be a resource for members. Blogs offering advice and tips within the industry are under development. The President’s Column along with a blog dedicated to tax tips (by the one and only Sandra Karas, Director
of the VITA Program) will be available and backlogged for
members’ benefit.
So, subscribe to the RSS Feed and add checking the
Equity News Center to your routine.
It was learned that an Off-Broadway show had incorrectly
categorized five members of the cast. Once put on the appropriate contracts, the members received a total of $533
for chorus parts and understudy increments per week.
A theatre operating on an ANTC Special Agreement did
not stipulate terms regarding costume or tech bump
increments. With members’ assistance, staff was able to
get both costume rental and tech bump payments for the
members.
Eastern Region staff members found that an NYC Transition Company had not met its Equity ratio. Working with
the producer, staff made certain that an actor was put on
contract retroactively to the first rehearsal. That actor is
now applying to join the union.
Central Region staff recovered two weeks of salary, health
and pension payments for a member after a show closed
before an announced extension. (The actor had signed a
contract for the extension only.)
$3,600 in underpayments from a dinner theatre in the
Central Region were recovered after discovering that the
company made a mistake in pro-rating a holiday week.
Additionally, staff secured $1,600 in unpaid vacation pay
at a regional dinner theatre.
Central Region staff recovered $400 for two days of ASM
pre-production pay. Staff also recovered four days of SM
pre-production pay, totaling $600 in salary and an additional health week.
Western Region staff collected missing media payments
for members working on a TYA contract; a total of $1,725
was collected.
On behalf of members in the Western Region, $105 was
recovered for chorus and parts payments for WCLO
Agreements; $221 was received for a member working on
a LORT Agreement; and $7,300 recovered in salary and
increments from LORT Agreements.
Also, $2,116 was collected in vacation payouts for members in the Western Region who had worked on SPT
Agreements. Additionally, $5,837 was collected in pension and health payments on SPT Agreements.
For members who had worked on the Western Region
Guest Artist Contract, $950 was recovered in overdue
travel reimbursements, and $2,168 was collected in overdue overtime payments.
actorsequity.org
Shakespeare,
Continued from page 15
EN: Throughout your career, which has the been
the most complex production of Shakespeare you
have worked on? Or, what has been that one role
you have spent the most time preparing?
CK: I would say the most complex production that I have
done was “The History Project,” which consisted of Richard II; Henry IV, Part 1; Henry IV, Part 2; and Henry V.
We opened one a week over four weeks, and then the fifth
week we did one performance of each in chronological
order.
TW: Two come to mind. King Henry VIII because we
did it in rep with Maxwell Anderson's masterfully written play, Anne of the Thousand Days. The role would
be the 'Earl of Gloucester' in King Lear. I decided that
after his eyes were gouged out to do the rest of the show
with my eyes closed and bandages wrapped around my
head. (Why fake it when you don't have to?) I could have
opened my eyes if I ever felt I was in danger, but I trusted
my fellow actors to guide me.
EN: How can we get students to appreciate the
Bard? CK: By performing it for them. These plays were written
to be performed, not read in a classroom.
TW: Instead of the necessary, but incomplete experience
of reading Shakespeare in a book, it is important to let
students be active and engage fully with each other by
speaking the words aloud.
To read the entire Q&A, please visit the Equity News
Center in the Member Portal.
Spring 2016 | 19
In Memoriam
Mitchell Agruss
Billie Allen
Steeve Arlen
Stewart Ballinger
John Barrett
Brian Bedford
David Beyer
Helena Bliss
John W. Bottoms
David Bowie
Herbert Braha
Ruth Brandeis
William J. Brooke
Donald Brooks
Martin Brooks
David Canary
Myra Carter
Jane Cecil
Irwin Charone
Jo Flores Chase
David Coleman
Jeffrey Cornell
Michael Cripe
“Were I to die and go to heaven and find it
populated by actors, I would not be unhappy.”
- Playwright Ben Hecht
Robert Dahdah
Wayne Pare Daniels
Betsy Ann Dickerson
Bairbre P. Dowling
William Patrick Dunne
Corey Elias
Patricia Elliott
Patricia Fay
Carol Fijan
Sylvia Gassel
George Gaynes
Russell Graves
Betty Anne Grove
Margaret Hall
Pat Harrington
Ann Hegira
James Hook
J. R. Horne
Ronald House
Patricia Grace Kennedy
Kyle Kulish
Karen Landry
Jean Lee
Richard Libertini
Robert J. Loggia
Marjorie Lord
Edmund Lyndeck
Will Mac Millan
Valerie Mamches
Warren Manzi
Carole Marget
David Margulies
Ethel Martin
Norman Matlock
Belle Mc Donald
Roger Mc Intyre
Edwin J. McDonough
Deann Mears
Al Molinaro
R. Joseph Mooney
Susan Elizabeth Mowrer
Priscilla Murray
Sha Newman
Jay Oker
Frank Ottiwell
Bruce M. Paine
Robert Parnell
Randy Phillips *
Mark Rabin
Paul Renault
Alan Rickman
Jay Stephens Rodriguez
Wayne Rogers
Bette Rogge
Bing Russell
Vanna Salviati
J. Jay Saunders
Isaac H. Schambelan
Jose Simon
Brad Thomason
Joyce Tomanec
Hollie Vale
Abe Vigoda
James Van Wart
Betsy Von Furstenberg
Arthur Wagner
Nan Withers
*Denotes Equity Councillor
Reported between 11-17-2015 and 02-29-2016
Letters to the Editor
In Remembrance
Sylvia Gassell passed away on Feb. 24, 2016. Born
in NYC on July 1, 1923, she was a wonderful performer
and writer and a strong union advocate having worked
on a number of AEA Committees. She served on the
Council for five years.
Along with her husband, Joel Friedman, Sylvia was
a founding member of the New York Shakespeare Festival, and their contribution to the development of the
theatre was acknowledged by Joseph Papp in Free for
All. She made her Broadway debut in The Time of the
Cuckoo with Shirley Booth. Over her long career, she
worked Off-Broadway, in regional theatre and did a number of national tours, including A View from the Bridge
with Luther Adler, A Streetcar Named Desire with Diana
Barrymore and My Fair Lady with John Neville.
As a writer, she co-authored a number of articles on
Greek Theatre with Joel.
Sylvia was a brilliant performer; a charming, witty
companion; and a very generous and much loved friend,
and will be sadly missed by all who knew her.
20 | Equity News
- Marie Bridget Dundon
@actorsequity
Back of
HOUSE
My friend, Michael Shelle, died on Feb. 14, 2016. It was Valentine’s Day. I mention this day of love because Michael
never waited for just Valentine’s Day. Every day of his life was full of love. Love for his family, his wife of 54 years,
Peggy, his children and grandchildren and great-grandchildren. Love for his friends and fellow actors. I could tell you
about his many credits and accomplishments as a talented performer and singer, but instead I’d like to share the continuing gifts he gave to me. Whenever I or any of his friends got cast in a show, Michael’s joy and excitement for our
success was unconditional. It was never about him, never a competition. Just pure joy. Pure love. A rare quality to find
in a friend, especially one who is also an actor. In this day and age of self-promotion and “me, me, me,” it’s easy to lose
sight of what is truly important in life. Michael taught me never to forget that. And I will never forget him.
- Ken Krugman
Letters received from paid-up members on subjects of concern to Equity members will be considered for publication in Equity News, provided
that they are no greater than 175 words in length. Letters selected for publication may be edited for space requirements. Actors’ Equity Association reserves the right to decline to publish letters at its sole discretion. When multiple letters on the same topic are submitted, the Editor may
decide to select a smaller number of representative letters for publication. Letters must be signed and must provide preferred contact information for verification purposes, but names may be withheld from publication in certain limited circumstances, at a member’s request. Opinions
expressed in Letters to the Editor are not necessarily those of Actors’ Equity Association.
COMING SOON:
#TOURSDAY
Are you on an Equity tour? Getting familiar with the local haunts of Cleveland, playing I SPY on
Highway 1 or just getting to know the backstage of a new theatre? We want to hear from you! Show
your Equity pride: Tell us your stories and send us your selfies (we know you have them) and photos
of you and your castmates as you take your show and Equity across the country. Don’t have any?
Snap a selfie, involve your cast, and send it to [email protected]. Make sure to participate
on #Toursday (every Thursday — get it?) and demonstrate the importance of Equity on the road.
actorsequity.org
Spring 2016 | 21
BOH
CRB Non-Councillor Election
As per the By-Laws of Actors’ Equity Association, the Central Region will be
electing eight non-Councillors for the Central Regional Board for the 2016
Election. Only members living in the Central Region are eligible to run and
to vote for these positions. The following two-year non-Councillor seats are available: four principal,
one chorus, and one stage manager. There are also two one-year terms up
for election: one chorus seat and one stage manager seat. All candidates
must meet the same eligibility requirements in their category as Councillors in their category. If you wish to be considered for any of the above
seats, please submit your candidacy according to the schedule found on the
Member Portal. All information will be posted in the election section of the
Member Portal in late May.
For any questions or a CRB non-Councillor candidate packet, contact Emanuel Rios at [email protected] or 312-641-0393 ext. 240.
Want to Join a Committee?
What’s one of the best ways to make a difference for you and your fellow
members? Simple: join a committee. At Equity, member involvement is crucial when it comes to maintaining and improving the lives of our members,
the importance of our art and the prominence of this Association. With committees that range from member education to equal employment opportunities, there are ways for you to get active. To join a committee in your region,
call the Governance Department at 212-869-8530, ext. 327.
MAKE YOUR VOICE HEARD!
Attend the Annual Membership Meeting
Equity’s Annual Membership Meeting is Friday, April 8, 2016, in all Regions.
The Eastern, Central and Western Regions will be connected for the April
8, 2016, Annual Meeting so that members in all regions may be able to hear
statements of candidates running for Council. The national portion of the
meeting will begin at 2:30 p.m. EST, 1:30 p.m. CST and 11:30 a.m. PST.
The meeting in the Eastern Region will convene at 2 p.m. EST in the
Council Room on the 14th floor of the Equity building at 165 West 46th
Street, New York City, NY.
The meeting in the Central Region will convene at 1 p.m. CST in the Conference Room on the 3rd Floor of the Equity Building, 557 West Randolph
Street, Chicago, IL.
The meeting in the Western Region will convene at 11 a.m. PST at the
I.A.T.S.E. Local 80 Meeting Hall, 2520 West Olive Avenue, in Burbank, CA.
EQUITY NEWS (ISSN: 00924520) is published quarterly by Actors’ Equity
Association, 165 West 46th Street, New York, NY 10036. Telephone: (212) 8698530. Periodicals postage paid at New York, NY. And additional mailing offices.
Copyright 2016, Actors’ Equity Association. Postmaster: Send address changes to
Equity News, 165 West 46th St., New York, NY 10036.
22 | Equity News Area Liaison
Hotline System
Call 877-AEA-1913
Equity has a national toll-free
hotline system for members who live
in area liaison and office cities. The
number is 877-AEA-1913 (honoring
the year of Equity’s founding).
Each Area Liaison city has its own
extension, where members can
access news and information in their
region.
(1) Dial 877-AEA-1913
(2) Dial your area extension:
810 Albany
811 Atlanta
812 Austin/San Antonio
813 Boston
814 Buffalo/Rochester
815 Chicago
816 Cincinnati/Louisville
817 Cleveland
818 Dallas/Fort Worth
819 Denver
820 Detroit
821 Florida – Central
822 Florida – South
823 Houston
824 Kansas City
825 Las Vegas
826 Los Angeles
827 Milwaukee/Madison
828 Minneapolis/St. Paul
829 Nashville
830 New Orleans
831 New York
832 Philadelphia
833 Phoenix/Tucson
834 Pittsburgh
835 San Diego
836 San Francisco
837 Seattle
838 St. Louis
839 Washington D.C./Baltimore
@actorsequity
BOH
Create your own out-of-the-box work experiences
on an easy-to-use Equity contract
The Business Theatre and Events Memorandum of Understanding can be used for product industrials, stage
managing fashion shows, medical and legal training
exercises and more. It’s a big name for a simple idea.
Intrigued? Contact Maria Cameron (Eastern Region) at [email protected]; David Kolen (Central Region) at
[email protected]; and Christa Jackson (Western Region) at [email protected] for more information.
How Equity’s Bonding Policy Helps You
One of the most important provisions of an Equity contract, the bonding policy, was established decades ago
in order to protect union members when working under
contract.
This policy helps ensure that you receive at least the
minimum guarantee of contractual salary and benefits
(including pension and health credits) in a timely manner
should an employer default on its obligations to you or
Equity. The union ensures that members are always paid
first out of the bond. However, it’s important to note that
filing your contract once it is signed – no later than the
first rehearsal – helps Equity guarantee the agreement is
properly bonded.
For single-unit productions, the amount of the bond is
based on the number of Equity contracts issued for the
show. For seasonal theater, such as Stock, LORT and Letactorsequity.org
ter of Agreement, to name a few, the bond is based on the
highest number of active contracts in a two-week period.
If Equity receives more contracts than the bond protects,
the union will immediately demand additional bond be
posted. If, for some reason, the producer fails to increase
the bond, actors will have the option to cancel their contract without any further obligation to the employer.
If a single-unit production defaults, members will receive
the minimum contractual obligation out of the bond. If
employed at a seasonal theatre that defaults, you may
receive only the portion of the contract guarantee that is
available in the bond. But Equity will pursue the defaulting employer in an effort to secure the full obligation due
to the members.
The Equity bond is just another example of how the
union is standing up for its members. #EquityWorks
Spring 2016 | 23
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YOUR
UNION
E
HOW TO VOTE
Actors’ Equity Association’s 2016
Election is about to get underway.
On Monday, April 11, 2016, ballots
will be distributed by Global Election Services to all paid-up members.
2016
National
E
L
E
C
T
I
O
N
Candidate
Statements
There are three ways to vote:
Paper Ballot: Paper ballots will be
mailed out on April 11, 2016. Fill out
your paper ballot and return it per
the instructions provided. If you vote
by mail, you must tear off the top
portion of the ballot. Your ballot will
be void if you do not tear off the top
portion of the ballot.
Paperless Balloting: If you registered for E-Voting prior to Friday, March 18, 2016, at approximately 11:59 p.m. EST on April 11, 2016, you will receive
an email from Global Election Services with instructions for voting online. Make sure that this message
doesn’t get caught in your email provider’s spam
filter. The email will come from actorsequityhelp@
electionservicescorp.com. You will not receive a
paper ballot.
Online Voting: Even if you did not pre-register for
E-Voting, you can still vote online. When you receive your paper ballot, go to https://www.esc-vote.
com/ae2016 and find the link for online voting. Enter your personal internet login number (from your
paper ballot) and your member ID number (printed
on the front of your membership card) and follow
online voting instructions.
Note: All ballots must be received by 5 p.m. EST on Wednesday, May 18, 2016.
CALENDAR
Friday, April 8, 2016
Annual National Membership Meeting
(all regions via video conference)
Candidate Speeches
Monday, April 11, 2016
Distribution of Ballots (from balloting company)
Tuesday, May, 10, 2016
Deadline to request replacement paper ballot from balloting company
Wednesday, May 18, 2016
Deadline for Receipt of Ballots to the balloting company
Thursday, May 19, 2016
Tabulation Day
Thursday, June 2, 2016
Deadline to submit any election protests
*Make sure to check members.actorsequity.org for any updates.
Eastern Region
Principal Four-Year Term
(Vote for no more than six)
WALLY DUNN
(Residence: New York, NY)
Contracts worked: Production, LORT,
NEAT, ANTC, LOA, SPT, Casino, Production Tier, Special Agreement, COST,
CORST, LOA-NYC
Open, direct, unambiguous communication is a necessity. I firmly believe
we, the membership, are Equity's best
resource.
We are smart, highly motivated people who bring vitality,
passion and experience to bear on our problems. When we
are invited to participate in the the debates that directly affect
our livelihood and artistry we are at our strongest.
I believe Equity's mission is to negotiate, administer and
enforce contracts that compensate us justly, recognize our
artistic contributions to developing works, provide a safe work
environment and ensure our pension/401k and health plans
are sufficiently funded.
Also part of the mission, AEA must foster and promote
live theatre by helping young theatres to grow, organize new
employers to provide more jobs, educate and develop our audiences so they understand what Equity stands for, provide career development opportunities to its members and endorse
non-political legislation that promotes diversity, tax fairness,
non-discrimination, workplace safety and social equality.
I ask for your vote because I have the proven experience
to get things done in Council and I am a dogged advocate
for all members - your vote for me will send to Council an
engaged, working, experienced advocate who will listen to you,
speak for you in Council, act on your behalf and be accountable to you. To that end, I support and pledge to join those
Councillors who publish their voting record and rationale on
Member resolutions. wally4aea.com
BOB KNAPP
(Residence: New York, NY)
Contracts worked: Guest Artist, Special
Appearance, Mini, Dinner Theatre, LOA,
SPT, TYA, NYMF, Showcase
I’m very proud to have worked for
almost twenty years on AEA’s Council.
It has allowed me the honor of achieving
several tangible improvements for the
our membership.
I was instrumental in establishing EPA’s for all LORT
Theatres, including show-specific auditions for “LORT on
Broadway” theatres. I spearheaded the creation of the Agent
Access Auditions. As a Vice-Chair of the Developing Theatre
Committee I nurtured many SPT and LOA Theatres, and contributed to the creation of the NEAT contract.
As Vice Chair of the Auditions Committee and Chair of
the Monitor Sub-Committee, I helped establish standards
and procedures for EPA’s and I’ve worked to guarantee Local
Auditions. When Monitors were engaged as Staff, I was one
of two people asked to create their training program. I am
currently part of the small working group helping to guide the
new online sign-up program. I have also served on several
negotiating teams, to improve salaries and working conditions
for our Actors. I care deeply about enhancing the benefits and
opportunities for my fellow members, whether or not they’re
presently working and wherever they’re working. So, it disturbs
me when I see signs of exclusion in Council, in the service of
factionalism and/or streamlining our governmental structure. A
union’s strength is its collective respect and care for the entire membership. I pledge to keep the voice of the Membership rank and
file strong and present on your Council. I ask for your support
in continuing to do so! SCOTT MCGOWAN
(Residence: Maplewood, NJ)
Contracts worked: LORT, COST,
CORST, Dinner Theatre, Guest Artist,
Cabaret, TYA, SPT, LOA, Special Appearance
I became a member of AEA over 25
years ago, and have been a councilor for
numerous years. Over the years, the
climate has changed in our theatre world, as well as in my own
life. Keeping pace with technology and using social media to
remain relevant and accessible is key to our future. As a father
and home-owner, I have grown even more aware of the need
for such basics as fair wages, health insurance and pension -things people in other professions take for granted.
I have been the chair of the TYA committee, and vice chair
of the Developing Theatres, Cabaret, Guest Artist and Membership Education committees. I care deeply about finding
ways to support smaller theatres in building relationships with
AEA, which is vital to our efforts to find jobs for our members
not living in the three major office cities. As an active member
of the New Jersey theatre scene, I’m familiar with issues that
arise in smaller regions and with developing theatres across
the country. Membership Education is designed to help younger members learn about our union, grow in our craft and get
connected to valuable resources. My belief in the importance
of these areas is what first prompted me to join council. I will
continue to advance these agendas so that all members can
feel confident and proud of the union that represents us.
Please allow me to fight for what I believe is best for our
future.
Don’t forget the Shoe Fund.
BRIAN MYERS COOPER
(Residence: New York, NY)
Contracts worked: Production, LORT,
Off-Broadway, LOA-COST, Guest Artist,
Special Appearance, Dinner Theatre, Mini.
Codes: Showcase (seasonal and NYMTF),
29-hour Reading
So, this is what’s been troubling me…
The working-class theatre actor is nearly
extinct. Every year our wages buy less, while institutions across
the country build multi-million dollar buildings to showcase
elaborate productions, and pay the actors on their stages less
than a good babysitter. Theatre as we know it doesn’t exist
without us, and yet we aren’t paid accordingly.
In my twelve years on Council, I’ve seen this over and over.
I’ve led negotiations with not-for-profit theatres and heard
their cries of poverty and how they don’t know if they’ll be
able to keep their doors open. A few short years later, as I
walk through their sparkling new lobbies, I realized that when
they really want something, the money gets found. The problem is, Actors aren’t the thing they’re willing to find that money
for.
The business model of actors subsidizing institutions with
well-established audience and philanthropic bases is unsustainable. It is unacceptable for an actor to walk through a
$40-million lobby to net less than they would on unemployment. Institutions that reap the rewards of productions that
go on to mega-success need to put some of that money back
in the pockets of the artists who subsidized its development
with their credit cards while they barely lived on not-for-profit
salaries.
Box office is not the driving economic force in the not-forprofit world–fundraising is. What happens if, instead of selling
donors on shiny new capital projects, theatres create Artist
Endowments and pay the artists a living wage?
MORGAN PAIGE FLUSS
(Residence: New York, NY)
Contracts worked: TYA, LORT, SPT Committees: Dev’T, Membership
Education, EPA, TYA
As a fourth-generation union member and active committee member
currently on the audition battlefield, I’ve
been honored to work on proposal selections committees
and work through contract language with staff. I’ve been an
advocate, developing and obtaining TYA contracts, during a
time when art education cuts are forcing AEA to lose work
weeks. As a voting committee member, I’ve gained confidence
to speak out over the years and want to see new members
feel free to engage at meetings—there’s much to be gained by
listening to each other.
It should be easier for members to understand of the
processes and functions of the organization; no one should
feel uncomfortable about trying to learn and become more
active. For example, joining a committee can be confusing, and
challenging to navigate once approved. I’d like to make com-
mittees more accessible; I proposed that new members be
provided with a handbook and will be assisting in its design for
the committees.
I hope to increase transparency, making information
more available, to improve communication between staff and
members. Questions should be welcomed, growth experiences celebrated, and activity—be it auditioning or attending a
meeting—applauded! Together, we can maintain consistency
for audition protocol and procedures and improve overall
member experience.
I’m proud to be a member and want to see us advance and
grow. As someone on the audition lines with you, I’d like to
attend meetings on your behalf—representing your voice, your
opinions, your needs.
JEFF APPLEGATE
(Residence: Cranbury, NJ)
Contracts worked: SETA, LORT, URTA,
COST, SPT, Business Theatre
I believe a good Councillor needs to
sympathize, synthesize, problem-solve…
and understand the process (and art!) of
getting things accomplished. Great ideas
only become reality by making them so
in a complex system.
I’ve lived the ‘mixed blessing’ that is the SET agreement,
and I continue working to improve it and find ways to further
increase work-weeks without dragging other work downward. I’ve lived unemployment spells, with daunting EPA lines
and frustration with audition material being unavailable or
ridiculously excessive. And I share frustrations with Equity’s
communication and technological shortfalls.
Most importantly I understand the process of carving a path
toward improvement, through a system that can seem arcane
and unmanageable. I have a government degree from Cornell.
I currently serve on five Equity committees and observe two
others (plus the P&H Caucus). I’ve worked on contract negotiations and served as a grievance panelist. I know that achieving
solutions requires breaking down the core of a goal—and
its obstacles—to their essence and then working within the
process to surmount, remove, or redefine those obstacles until
you get as close as humanly possible to that goal.
There are a lot of great candidates for Council this year.
There are a lot of great ideas, and no shortage of passion. But I
humbly submit that when choosing your votes, the skill and experience to make those ideas and passion come together and
actually happen is critical. I believe that’s what I have to offer to
move our Union forward.
JeffApplegateAEA.weebly.com.
NICK WYMAN
(Residence:Yonkers, NY)
Contracts worked: Production (Broadway, National Tour, Bus and Truck),
Special Production, LORT, COST, WCLO,
Off-Broadway, ANTC, Cabaret, Business Theatre, Special Agreement, LOA,
Workshop, Mini, Showcase Code, Staged
Reading (Two-Week & 29-Hour)
I have spent most of the past year working on plays in
LORT theaters away from my home. Each time I have made
a point to speak to the leadership and board members not
only of the theater where I am working but also of the other
local SPT and LORT theaters, to advocate for Live Theatre and
particularly for improving the opportunities and conditions for
Equity actors and stage managers.
Wherever I live or work, I have always been a voice for the
under-represented actors --those actors who choose not to
live in New York and who struggle to find even modest-paying
work in SPT and other theaters.
I have had the privilege and honor of representing the
members of Actors' Equity for most of my adult life: 20 years
as a Councilor and 5 years as President. I have learned a lot
-- from working in both plays and musicals under most of our
contracts all across our country, from visiting every single one
of our liaison cities and listening to members there, from the
wisdom and knowledge of both elected representatives and
paid staff, from meeting with union leaders who represent
actors in other countries and union leaders who represent
other workers in our country, and from my own actions, both
the triumphs and the missteps.
I want to put that experience and that intellectual capital
to work for you, to increase both the quantity and quality of
Equity work opportunities. I ask for your vote.
PETER DAVIES
(Residence: New York, NY)
Contracts worked: Production,
Off-Broadway, LORT, URTA, SPT, Showcase Code, LA 99-Seat Theatre Plan
Proud Equity Member for nearly 40
years. I ask for your support in my run
for Eastern Principal Councillor, so I
can represent you, the Members of our
Association. We have a broad slate of talented and committed
candidates, so why me?
One: I’m Effective. Over the past year I’ve observed our
Council at nearly every Eastern meeting. I’ve worked successfully to bring about a meeting between Members and
our Health Trustees. More needs to be done to assure open
modern communication within Equity. Barriers need to be
lifted, so we all can talk, strategize and work together to make
a stronger Union.
Two: I’m Committed. I’m fearless and won’t hesitate to
challenge those who represent, employ and serve Members. I’ll
be a voice for our diverse Membership nationwide, especially
the underserved: Members with disabilities, Members outside
of New York, Pro99, Members with creative visions that don’t
fit into a narrow view bound by bottom lines.
Three: I’m Experienced. I’ve forged relationships with local,
state and national elected officials. I’ll advocate for Members,
for health insurance, for sensible tax laws, to build opportunities for theatre all across the country. Together we can fulfill
the mandate of our Constitution: “…to advance, promote,
foster and benefit all those connected with the art of the
theatre.”
Let’s move forward together, towards a more inclusive
Association, a more representative Union, a more informed
Membership, seeking real Equity for ALL. I ask for your support:Vote for Peter Davies for Eastern Principal Councillor.
https://www.facebook.com/Peter-Davies-for-AEA-Eastern-Principal-Councillor-688051658003734
JOE ZALOOM
(Residence: New York, NY)
Contracts worked: Production, LORT,
Off-Broadway, Stock, SPT, Dinner Theatre
A proud and active Equity Member
since 1968. I’ve worked in our National
regions as Actor, ASM, and Deputy. A
Committed Advocate on behalf of our
Members, I have been a VITA Volunteer
for 16 years.
COMMITTEES: LORT (Chair of most recent negotiations),
ERB, Developing Theatres, EEOC, Membership Education,
Young Performers and International Actors.
As Councillor and Advocate for Member Inclusion, Communication, Leadership Transparency and a working Partnership with Leaders and Employers, I promise that You Will be
Heard,You Will be Listened To and You Will be Answered,
establishing Trust between Membership and Leadership.
“The power to fix lies with you”. With Trust, Respect and
Understanding, a Unified National Membership can find equitable solutions to all issues dividing us. It’s time to begin the
Conversation.
I will propose National Town Halls to provide an opportunity for Member Issues to get a Full Hearing.
I will continue to work and fight for:
- A Leadership more responsive to Members.
- AEA’s search for alternative Member Health Care.
- Advance Stronger Contracts with Pension and Health.
- Improving Work and Safety Conditions.
- Reclaiming and Expanding the Equity Tour Market.
- Technological Access to Auditions, Member Education,
Governance and Communication.
I take the duties and responsibilities of Council very seriously and was honored to have served. I hope that you will
consider my candidacy. Stand Up! Speak Up! VOTE! #10KforAEA
FB Joe Zaloom for Equity Council
[email protected] TIMOTHY OLIVER REID
(Residence: Brooklyn, NY)
I have been a proud member of
Actor’s Equity Association since 1996….
when i was but a wee child actor. Over
my years as AEA member, i’ve been
fortunate to work on many contracts
and have also served as Deputy on many
occasions. Like many other members, I’ve often given my two
cents about any and every issue that has aggravated and benefited me, thanks to the work of our leaders. At some point, those who show leadership qualities have to
step up to the plate and do their part. I am offering up myself
for candidacy as Principal Councillor.
My aim is not to waltz in and “shake things up” but to be a
new voice to work alongside those council members who have
given of their time and experience over the years. My experiences will be different than some. More Transparency and communication… Making information as easy as possible for all members to access. Whether
regarding contract negotiations, questions about contracts
currently working under or issues with auditioning
Diversity Every sector of entertainment seems to have
their own version of a diversity task force but few are working
together. I’d love to see changes including a diversity task force
with members of AEA, SAG-Aftra, CSA, SDC and Producers
taking a clear look at where we are and what we can do to
make our stages and other venues look like the world we see
daily.
Service Simply put, i’d like to be of service to my union and
my
JEFF BLUMENKRANTZ
(Residence: New York, NY)
Contracts worked: Production,
Off-Broadway, LORT, Workshop, Business
Theatre, Stock, Dinner Theatre, URTA,
Cabaret, Special Agreement
This year marks my 30th anniversary
as an AEA member, and as I prepare to
open in my sixth Broadway show (Bright
Star), I’m more present than ever to my love for what we do
and my desire to protect and support the health and vibrancy
of the American theatre and its practitioners.
I’m heartened by the recent appearance of the Actors’
Equity Discussion group on Facebook – harnessing the power
of the internet to make communication between members and
leadership easier and more effective.
Each year brings new and pressing issues for our membership: contract negotiations, health/pension, work safety, open
call conditions, digitalization, competition from sister unions,
non-union productions, etc. I’d be lying if I said I championed
any one issue over another. Please know that they’re all equally
important to me, they’re all worth going to the mat for, and
that’s what I’d like to do, that’s why I’m running.
It would be an honor to represent you.
PERNELL WALKER
(Residence: Bronx,NY)
Contracts worked: LOA,Showcase
Other union affiliation: SAG-AFTRA
I am a Bronx born actress who
joined equity in 2011. I worked under
LOA contracts with Classical Theater of
Harlem and Hip-Hop Theater Festival in
the Off-Broadway production of SEED. I have also worked under the showcase contract with award winning Fire This Time
Festival. I produced a reading series Hear It Out! in which I
worked closely with Equity's Theater Authority to secure permission to use equity actors for this reading series. I am grateful to be apart of a union that is continually standing up for its
members. I want to be an advocate who voices and addresses
the concerns of union members. New York is an amazing place
of opportunity for Theater Artists and performers. For an
Artist continually in pursuit of their dreams, making a living in
New York can be very difficult financially. The cost of living in
New York continues to rise significantly. Our members deserve
stronger salaries, conditions and terms.I am committed to
work hard as Councillor to be present in meetings, listen and
learn as much as possible to ensure that our members have a
stronger, effective union behind them. With your support, I can
be that new voice to advocate for you.
BENJAMIN MAPP
(Residence: New York, NY)
Contracts worked: LORT, Cabaret,
COST, MSUA, LOA, Midsize
As members of Actors Equity we all
want to make a living and to be compensated fairly. The specific issues that
have ignited my desire to run for Equity
Council are: Touring Contracts, Workshops vs Labs and Health Insurance. I find myself in constant
debate over these issues with my Equity peers. I can no longer
sit on the sidelines and am eager to fight for our members. I
want to get directly involved so we can strengthen our union.
I have been a member of Actors’ Equity for eight years and I
am very passionate about the work that we do. It is a thrilling
time to be in the theatre. I would love to bring my voice to
the table so we can progress as a union and live and flourish as
working actors.
JAY PARANADA
(Residence: New York, NY)
Contracts worked: Special Appearance,
Showcase, NYMF Reading, 29-hour
Staged Reading, TYA, Theatre Authority
I am an advocate of diversity.
Being a minority, I believe that I offer
a unique perspective on the challenges
many of our members face in this business. For the past 10 years, I have experienced what it feels like
to be one of the only people of color standing on line at an
(Continued on next page)
EPA, as many *may* have chosen to only attend auditions that
specifically call for their ethnicity. With all this media attention
on diversity, it's time to talk further about these challenges and
how to bring our union deeper into the fold. One inherent challenge of enacting an all-inclusive diversity
model is that members need to feel that they are being represented on all levels of leadership, especially in Equity governance. If elected to council, I hope to act as a conduit for our
members to express issues related to diversity and inclusion
that they may experience. I am keenly aware that change doesn’t happen without
the help of a village, and I hope to reimagine programming
and conversation that will ensure that our voices are heard.
My goal is to collectively find ways in which we, as a union,
can encourage more diversity in casting, especially for women
and ethnic minorities. Ultimately, if we are united in spirit and
action, we will in turn cultivate an environment in which our
members feel enfranchised to speak their truths about how to
make the union work better. I’d love to represent you - let’s
talk! #JAYforAEA facebook.com/JAYforAEA tinyurl.com/JAYforAEA FRANCIS JUE
(Residence: New York, NY)
Contracts worked: Production, Production Tour, LORT, Off-Broadway, LOA,
SPT, MSUA, COST, Guest Artist, ANTC,
WCLO, Dinner Theatre, Business Theatre, TYA
Committees served: Production,
LORT, Agency, New Media and Technology, Organizing, Public Policy, Health, Member Education, Executive, Advisory Committee on Chorus Affairs, Equity Caucus of
the Equity-League Pension, Health and 401(k) Funds.
As your Councilor, I have focused on finding practical solutions, always keeping in mind the real impact of decisions on
membership and our union in the long term.
I believe that all sectors of our industry deserve dignity. I
have happily served on several negotiating teams and many
committees, to advance salary and benefit improvements, safer
work conditions, and inclusion.
Building consensus requires advocating for Equity values. I
would like to continue to improve communications, promote
union identification, and increase Equity’s capacity for services
and organizing.
I love being an Actor. I love being a member of Actors’ Equity and standing strong for our rights as artists and workers. I
am proud to represent a wide range of experience, as a New
Yorker raised in San Francisco, who has worked all over the
country on many different kinds of contracts. I ask for your
vote. EquityWorks. EquityVotes.
MARY GUTZI
(Residence: Rego Park, NY)
Contracts worked: Production,
Off-Broadway, LORT, LOA, Guest Artist,
COST
I'm a proud Union member and
have been for close to 40 years. Having
worked under a variety of contracts and
being bi-coastal (working and living in
NY and LA), I can offer a unique perspective to Council representing membership across the country.
Communication is the key. We can only serve the needs
of our membership if we understand them. We must keep in
mind the changing times , the changing economy but stay the
course, protecting the rights of our membership, quality and
safe working conditions and competitive salary that meets the
cost of living. Plus maintaining health and pension contributions
and allowing our membership to work proudly, make a living
and perhaps raise a family.
I want to see us get the "road "back- not the multi level
contracts but the Production contract that has long allowed
us to be compensated for being out of town. We must stay
strong- we must respect our needs as much as we do the
producers by negotiating compromise with mutual respect,
improving the dialogue between the Union and the producersnot just at contract times.
We all deserve to work. There is a responsibility to being a
Union member. Get involved! WE are the Union! Know your
rights and also your responsibility. We must strive for solidarity
and support each other and our common goals.
I will be strong. I will listen. I will stay the course. Thank you
for your vote.
Buzz Roddy
(Residence: Bronx, NY)
Contracts worked: Off-Broadway, LORT,
COST, CORST, URTA, SPT, Guest Artist,
Dinner Theatre, Special Appearance, TYA
As an AEA member for over 3 decades I can tell you - this ain’t my first
rodeo. Always an advocate for the rank
and file member I continue to serve
on several committees – the engine of our union. I helped
establish the media payments in our contracts that are now
the industry standard. Member education is vitally important
for union strength: Perhaps you’ve been to one of my unemployment insurance or website building seminars or maybe I
met you at a New Member Reception. I’ve been a Councillor.
(2008-2013) During and since my term, I’ve shown up and
done the work. I know contracts. I’ve negotiated them with
producers. I usually volunteer as the deputy. Buzz knows
unions. I’ve been delegate to the NYC Central Labor Council
and the NYS AFL-CIO convention and lobbied on AEA’s behalf
at the State and Federal levels. Members get JOBS from EPA/
ECCs. I’m working ever to improve that system. Many of the
greatest actors and Stage Managers live and work nowhere
near NYC, CHI or LA. Their input and experience are crucial
to our being a truly national union. Diversity is a strategy not just a feel-good notion. I serve at SAG-AFTRA too, and
for years have been helping to bridge that gap. I’m grateful to
make my living in this profession. Questions? Comments? [email protected] & www.buzzforcouncil.com
MARK RICHARD TAYLOR
(Residence: Orlando, FL)
BAGS OF CRAP! Now that I have
your attention- I have been an active
Equity member since 1995, and I have
worked in theaters inside and outside of
New York. It is that distinction that I can
bring to the table. I am someone who
has worked under various Equity contracts (including Walt Disney World) and it is this variety that
helps me understand and appreciate the varying voices within
our membership. We always mention and strive for diversity
as a union, I believe it's just as important for us to strive for
diversity of region. We must bring more voices outside of New
York proper into The Council. It's time. I would be honored to
be that voice. I have been Chair for The Central Florida Liaison Committee for last several years, served on The Organizing Committee, and the committee to restructure The Members Project
Code and Fringe Code. I have also served on varying years
of negotiating committees for The Walt Disney World Contract. I Have always been a big proponent of the arts and The
performers that inhabit them. I would like to bring my diverse
experience to the many issues that present themselves before
the membership. I believe in this Union , I believe in its members , and I believe in exercising my voice to help Actors Equity
continue to grow. NANCY SLUSSER
(Residence: New York, NY)
Contracts worked: Off-Broadway, LORT,
LOA-Referenced to LORT, Dinner Theatre, Guest Artist, URTA, TYA, Mid-Size,
Menopause Special Agreement, Memorandum of Understanding, Staged Reading & Showcase including NYMF Festival
I’ve been a proud AEA member for
27 years. It’s been my privilege to serve our membership for
the past 10 years as a Principal Councillor. My Committees:
Off-Broadway, Chair Off-Off Broadway, 1st VC Midsize, 3rd VC
TYA, Membership Education, LORT, Media and New Technology, Election Procedures, Parents,Young Performers, three
Nominating & Joint Officers Committees and 14 contract
negotiating teams (3rd VC Off-Broadway and 2nd VC SETA).
I’ve been a VITA Volunteer in both Chicago and NYC, worked
as a Principal, Chorus member, Understudy, Dance Captain and
Deputy on numerous productions.
I am a mom, a wife and an AEA Actress! I believe ALL of
us should be able to live FULL lives while pursuing our art. I
will continue to fight for strong contracts, help bridge communication between producers, AEA staff nationwide and our
members. I’ve worked across this nation. Every region needs
work opportunities and better communication so that we can
take advantage of all possibilities.
We each have a voice. If we understand the contracts we
work, we can help strengthen these contracts for the future.
This starts at show level, through committee and Council involvement, and contract negotiations. Let’s keep our contracts
strong and maintain rights for our members on Showcase and
Festival codes.
I Love our Union. My motto: Educate and Motivate! Let’s not
complain, let’s find solutions to our challenges! Please vote for
me and I will continue to fight for all of us. Feel free to reach
out to me via Facebook.
TODD BUONOPANE
(Residence: New York, NY)
Contracts worked: Production, SETA,
LORT, Off-Broadway, Workshop, WCLO,
COST, LOA, TYA, Reading, Showcase
Hey Theatre Nerds! I’m Todd. I’m
always Deputy. I serve on many committees (Production, SETA, LORT & Developing Theater). And I would like to be
your next Principal Councillor.
A few of my ideas:
• TAKE BACK THE WORKSHOP. Labs and Readings are being
abused. We, actors & SMs, are happy to help you create your
new show, but we should be compensated for it.
• STRENGTHEN SETA. SETA is up for renegotiation this year.
I have done my time on a SETA contract. This contract was an
important step in regaining “the road”, BUT we need higher
minimums, better housing options and greater compensation
when tours go International
• ONLINE AUDITION SIGN-UP. If I can use my phone to
order dinner, schedule my Mark Fisher class and find a date, I
should be able to use it to sign up for an EPA.
• SAFE & SANITARY. Many NYC theaters are beautiful, historic...and disgusting. We should not worry that our place of
business will make us sick.
• HIGHER QUOTAS. We need Higher Equity Ratios for our
theaters in the regions. (And for that matter, we need to do
everything we can to make sure that our female members are
hired equally. )
• As Always: HIGHER MINIMUMS! We should not break the
back of any theater, but when an Artistic Director is allowed to
become a millionaire, we should be able to pay our bills!
I would be honored to serve you! Please reach out to me
at [email protected] or on twitter @ToddBuonopane
JAMES LUDWIG
(Residence: New York, NY)
Contracts worked: Production, LORT,
Off-Broadway, Casino, Guest Artist,
Workshop, Business Theatre, ANTC
My Equity Sisters and Brothers:
I want to continue the work I have
started on Council, work that we’re
succeeding with: And I’m asking for your
support.
I have been leading a team that has concentrated on getting
Members paid for their involvement in New Media: As Chair of
the Media committee (and founder of New Technology) I have
helped put New Media rules in place across our contracts,
and designed new models for full broadcast of stage productions, from LORT to PBS to full Cinecasts of Broadway shows
- these are models that are getting Actors paid, money that
didn’t exist before on these contracts; while still fostering a
landscape that allows new content to be produced. I have been
creative, and because of that, we’ve been successful.
Media is a small part of the larger picture that is strong
Unionism for our Membership. There is no doubt about it:
We’re living in an anti-Union world, one more hostile to
collective bargaining since perhaps the very beginning of the
Union movement; and every minute of every day, new tests
present themselves. I challenge myself to ‘think outside of the
box’ in response, and (and I know they can speak to this) I
challenge my fellow Councilors to do the same.
It has been my great honor to serve you - and there is so
much more to do. Please, let me continue to challenge, both in
the Council room and out in our Community. Let me continue
to be your asset
CAMILLE SAVIOLA
(Residence: West NY, NJ)
Contracts worked: Production, LORT,
Workshop, Stock
My name is Camille Saviola and I
want to represent you as your Principals
Councilor. Am I out of my mind? Isn’t
that a thankless job? The answers are yes,
I am, and, I don’t know, we’ll find out. I
understand, first hand, the challenges and
struggles a theater artist faces. Representing you is my way of
giving back to young professionals and seasoned veterans who
need fairness, support and protection. I bring many years of
theatrical experience to the table, I’m interested in wages that
keep up with the rate of inflation, equal opportunity, and fair
resolution of grievances. I’m a Bronx girl, born and raised, and I
swear I planned my career while I was an unfertilized egg in my
mama’s womb. I started young and followed my dream.
I wish that for all of you. It takes desire, intelligence, will,
passion, determination, imagination, a great sense of humor, the
heart of a lion, skin thick as a rhino, a curious nature, and love.
It’s a full time job. I know you want the promise that the future
holds for you, to be fulfilled.
I’m with you! And it would be my privilege to serve you
and to help you to achieve your goals. Thanks.
Eastern Region
Chorus Four-Year Term
(Vote for no more than two)
STAS KMIEC
(Residence: New York, NY)
KIRSTEN WYATT
(Residence: New York, NY)
Contracts worked: Production (Broadway & Tour), SETA, LORT, COST, MSUA,
SPT, Special Agreement, Workshop,
Off-Broadway
I’ve been an Equity member since
1997. In that time I’ve realized the
responsibility to strengthen our union
lies solely on us – the members. I’ve proudly served as deputy
on the many contracts I’ve worked, but it wasn’t until I had a
bad run-in with a SETA contract that I decided it was time to
get involved in a more proactive way. To date, I actively serve
on four committees: ACCA, Production, LORT, and SETA. Now
I feel the need to take my passion for our union to the front
lines. I have worked as a principal, an ensemble member, understudy, swing and standby and feel I’m in the unique position
to tenaciously represent the chorus – the backbone of any
production.
My goals for our Union:
• Strengthening and enforcing our existing contracts.
• Continuing our fight to take back the road.
• Getting online signups for EPAs and ECCs…because it’s
2016.
• Working to improve ratios in regional theaters – especially for the ensemble.
• Being on the forefront of our next big issue – development rights for our actors when they participate in
new works. This includes revisiting the use of the LAB
contract which stripped our members of any right of
first refusal and remunerative payment.
I will always listen and fiercely advocate for the best interests of my union sisters and brothers.
This is OUR union and together we can make a difference.
Questions? Comments? Email me: [email protected]
RASHAAN JAMES II
(Residence: New York, NY)
Contracts worked: Production Tour Tier
D, Production Tour Tier C, MSUA, COST,
Reading, LORT
Hello fellow members, I am a working
and auditioning actor and proud member
of Actors’ Equity Association. I joined as
an Equity member in 2006 in the chorus
of Aida at Westchester Broadway. Here in 2016, I am running
for Council as the Chorus Councilors’ seat. I am running to
ensure strong future of our union for current members and
future members alike.
Our union was founded to advocate for our rights as performers. Since then, we are over 50,000 members strong and
we continue to grow stronger each year. With an increasing
membership and footprint, the issues facing our members are
evolving rapidly.
As the political landscape in our country is changing,
our members are facing new challenges across our country. Government at all levels has considered legislation that could
be utilized to discriminate which directly affects our actors in
these areas. Our union must take bold action so that members are protected from anything from, contractual violations
to discrimination that occurs on the road. Some of which I’ve
directly encountered while touring recently.
To this end, I propose the creation of a nationally elected
Councilor of Diversity to advance, promote, and advocate
issues of diversity. Equity has a strong commitment to diversity,
and the creation of this position would put our Council on the
forefront. While our union’s virtual presence has immensely
improved, we must continue our work on finding new and
innovative ways that allow our members access to union
resources so that we can all be
RONALD L. BROWN
(Residence: New York, NY)
Contracts worked: Production (National
Tour), SETA, LORT, COST, CORST, SPT,
Dinner Theatre, Guest Artist, URTA,
Business Theatre, LOA, Special Agreement
Committees: ACCA, SETA, LORT, EPA
(Auditions), Developing Theatre, Membership Education, Dinner Theatre, Media.
I’m proud and honored to have served on council for the
past five years, especially as advocate for the chorus. Currently engaged on my second SETA tour in three years, I’ll be participating in the upcoming SETA negotiations. Members have
made it clear that ‘Quality of Life’ issues are their foremost
concern. Housing, travel and transportation, health maintenance, and especially Per Diem have to be corrected. The
‘economics of the road’ may influence salary levels on tours,
but our members’ quality of life should never be negotiated
into tiers.
As a former AEA auditions monitor and frequent auditioner, I strive to maintain a strong voice on council advocating for
our auditions, from improving accessibility to assuring efficient and fair procedures. As a member of the Online Signup
Workgroup, I’m excited for the upcoming roll-out of the
Equity online signup site. It’s taking time, but our goal is doing
it right. I believe members will appreciate what has gone into
the making of an effective program to handle the needs and
expectations of a diverse membership.
Improving wages and benefits, organizing more work, safe
and sanitary conditions, artistic protections, and other issues
are continuing challenges. Conversations with members
across the country to better understand their concerns are
extremely important to me. We must continue to advance the
communication lines between council and membership.
Please exercise your right to vote.
Eastern Region
Stage Manager Four-Year Term
(Vote for no more than one)
JASON A. QUINN
(Residence: New York, NY)
Contracts worked: Production, Special
Production (tour), Workshop, Developmental Lab, LORT Rep & Non Rep,
COST, Off-Broadway, Cabaret, SPT, Mini,
Transition, NYC LOA, NYMF (code &
contract), Fringe, Showcase, Staged Reading (code & contract)
I have a strong personal investment in our contracts and
protections. I’m lucky to have built my career as a stage manager working in every area Actors Equity has jurisdiction: plays,
musicals, and events, in NYC and regionally, across the gamut
of our theaters and agreements, from full scale Broadway
houses to developing new works from the ground up; it’s that
experience and my understanding of both the scope of our
industry and the nuance it requires, partnered with the desire
to improve our conditions are what led me to run for Council
the first time.
Since then, we’ve seen significant improvements and faced
some great challenges and there remains work to be done:
the ongoing process of improving communication; organizing non-Equity tours; fostering and creating new access and
opportunities; bringing our smaller contracts up to the cost
of living; continuing to move Equity forward to keep up with
evolving technology to serve the members in a digital era;
pushing and lobbying for the critical arts funding to keep our
theatres thriving.
As councilors our job is not to always be right but to do
right. To do right for our union and for our members. As a
stage manager I work for the best interests and safety of our
membership daily; as a member of several negotiating teams I
work to strengthen our contracts; and as a councilor I work
towards the betterment of our union as a whole.
It is an honor to continue my service.
Thank you.
Central Region
Principal Four-Year Term
(Vote for no more than one)
Mark David Kaplan
(Residence: Chicago, IL)
Contracts worked: Production, LORT,
CAT (1-6), COST, Dinner Theatre, RMTA,
Business Theatre, TYA (Weekly and PP),
Off-Broadway, Cabaret, URTA, SPT, Guest
Artist, LOA, Staged Reading, Showcase
I am a grateful, working actor celebrating my 30th year in AEA, nearly
half of that time spent in proud service to our membership.
(Continued on next page)
My committee work includes:Vice Chairs of Production and
International Actor’s, CAT, EEO, EFA, Dinner Theatre, Membership Ed, and more. I’ve negotiated Production, Dinner Theatre,
CAT, U/RTA, CORST, TYA and MSUA contracts. As a member
of a recent sub-group of actors and stage managers focusing
on quality of life on the road, we shared pertinent information
with the League, giving needed attention to the constant challenges of that existence. It was invigorating to be a part of an
unrestricted communication - an empowering experience. That sort of communication is what we need across our
membership. It has no regional or contract boundaries. We
must continue to embrace the technology that adds transparency to our work. With that knowledge we will be a stronger,
healthier body. I’m currently developing an event forum with EEO in Chicago, which will give credence and inclusion to our LGBTQIA
membership. Unchartered, necessary steps, toward greater
respect for all of us. Though I reside in Chicago, I’ve toured extensively, and
still seek work across the country. I know many of you. I look
forward to meeting more of you. Throughout these 17 years
on the Central Board, 5 as councillor, I continue to be inspired
by your experiences and talent. I’m proud to represent you,
and I’d be honored to continue forward.You have my voice. [email protected] #MDKforAEA
KELLEY FAULKNER
(Residence: Milwaukee, WI)
Contracts worked: LORT, SPT, Dinner
Theatre, 29 Hour Reading
An Equity member since 2002, I
am grateful for the protections I have
been afforded, and it's time for me to
give back and get my hands dirty. I have
been a professional actor since childhood, and have been based in NYC, Philadelphia, and currently,
Milwaukee. Having served as principal and chorus deputy on
numerous productions, I feel that we can all be more involved,
whether that means joining a committee, or even simply
attending membership meetings. Let's make it easier and
more appealing. I want our leadership to be more accessible
and transparent, and more conscious of the image we project
publicly. Improving technology is also something that I know is
important to all of us, as is continuing our efforts to take back
the road. I am committed to engaging with all members on any
topic, and will make those conversations a priority. Navigating
change and dissent can be difficult, but it's not impossible, and
it doesn't have to be ugly. The 99-seat situation in LA exposed
some major issues of communication and differences in philosophy, but it also continues to prove the amazing resolve that
we ALL possess as artists and laborers. I have much to offer: a
fresh perspective, a passion for justice, and the energy to get
things done. With over 50,000 dynamic and talented members,
I am confident that we can continue to evolve in a meaningful
way. I thank you for your vote, and for your involvement in our
union.
Western Region
Principal Four-Year Term
(Vote for no more than one)
BARBARA CALLANDER
(Residence: Seattle, WA)
Contracts worked: LORT, LOA, SPT,
TYA, Guest Artist, Special Appearance,
Periodic Performance, Umbrella Agreement, NY Showcase Code, Members’
Project Code
Based in Seattle, I was one of the
first Councillors elected from outside
an office city, and served three terms. I recently returned to
Seattle, and ask for your support in returning me to Council.
I have served on numerous committees, including: Developing Theatre, TYA (also Negotiating Teams), WCLO, Seattle
and Washington/Baltimore Area Liaison Committees, and the
committee-of-three that developed the National Representation Plan.
The diversity of our membership is one of Equity’s greatest strengths. We must continue to build a strong, cohesive,
national Union that is also flexible enough to be responsive to
the needs of all our members. To do this, it is essential that we
have Councillors who live throughout the country.
Organizing and Developing are areas of particular concern
to me. We must find new and innovative ways of creating
more and better jobs for us all – encouraging theatres to
grow, organizing non-union producers, identifying new areas to
organize.
I am also very interested in health insurance issues – I’ve
been an Observer to the P&H Trustees – and in member education and outreach.
I have lived and worked in NYC, as well as regional cities
on both coasts. I am committed to solving problems of concern to you, wherever you may live.
I will listen with an open mind, and use my varied experiences, perspectives and creativity to help find the best solutions possible.
I look forward to the opportunity to serve you on Council.
Thank you.
LEO MARKS
(Residence: Glendale, CA)
Contracts worked: Off-Broadway, LORT,
SPT, LOA, Workshop, Showcase
I’m an Obie-winning actor who’s
lived in NYC and LA, and worked Equity
contracts in a dozen cities.
As a proud Equity member since
1999, I’m concerned that right now too many of our members
don’t feel heard. Having worked all over the country, I continually hear the same issues: a lack of flexibility and responsiveness to regional differences and questions of inclusion. We
need greater communication, transparency, inclusiveness, and
flexibility to specific concerns in specific markets, because we are a
national union without locals.
With that in mind, last year I introduced a pair of amendments to the Equity By-Laws, focused on creating genuine dialogue—between membership and Council, and dialogue among
members. I’m running now to build on that foundation.
We need to expand opportunities for our richly diverse
membership, solve non-union touring issues, modernize and
expand our digital presence, improve audition access and procedures, and offer small theaters viable paths to succeed and
hopefully create more contracts.
I’ve managed successful political campaigns and worked as
a communications consultant for Fortune 500 companies. So
I think I bring passion, a broad perspective and an informed
conviction that one size does not fit all.
Ultimately, I believe the animating principle of our union
must be that we are workers and artists. That duality creates
complexity, but it’s a complexity that must be embraced for
our diverse needs to be served.
I’d be honored to have your support. Let me know your
concerns at: https://www.facebook.com/LeoMarksforCouncil2016/
CHARLAYNE WOODARD
(Residence: Los Angeles, CA)
Contracts worked: Production (Broadway, Bus and Truck), Off-Broadway, LORT,
Workshop, 99-Seat
For more than forty years, I have
been a member in good standing of
Actor's Equity Association. My union
has been good to me and it is high time
I give back. I look forward to being a sounding board for our
members - ready and willing to listen to members' concerns,
frustrations and grand ideas. My goal is to be proactive with
the Council and AEA leadership, as well as rank and file members. This means keeping avenues of communication open and
easy to access. For me, it is not about complaining any longer.
It is time to join in and help bring about change that benefits
us all.
Western Region
Chorus Four-Year Term
(Vote for no more than one)
TRO SHAW
(Residence: Los Angeles)
Contracts worked: Production (Broadway), LORT, COST, MSUA, WCLO, Showcase, 99 Seat Agreement, Guest Artist
I have been a proud member of
Actors’ Equity since 2008. I've worked
on both coasts - from Broadway to 99Seat Theatre - in musicals and plays alike,
and a significant part of that work has been under a chorus
contract. Since moving to LA, I’ve become passionate about
encouraging transparency, communication, and inclusiveness
between leadership and members at large; concerns that I
believe resonate in regions all over the country. If elected, here
are some issues I am fired up about, and hope to dig into:
• EMPOWERING MEMBERS
We can empower members at large by demystifying the
union policies and procedures and by being more inclu
sive in the decision-making process.
• USHERING AEA INTO THE 21ST CENTURY
Members want more access - for example we need an
AEA app that allows members to login and sign up for
EPA’s, view up dates and news as a feed, and send mes
sages to the body at large.
• BRINGING MORE NATIONAL AND REGIONAL AUDITIONS
TO LA
We have a beautiful new AEA facility; let's bring in more
work opportunities to the LA Community.
• CURBING NON-UNION TOURS
The #AskifitsEquity campaign has started the conversa
tion. We need to go further by sitting down with IATSE
and AFM to see what our combined unions can do to
address this most disturbing trend.
• GIVING VOICE TO THE UNDER-REPRESENTED
I will be an advocate within our council for women,
minorities, people with disabilities, etc, and encourage
more accountability in producing and casting decisions.
www.facebook.com/troshaw4AEAcouncillor
KIM HUBER
(Residence: Sherman Oaks, CA)
Contracts worked: Production (Broadway, National Tour), LORT A-D, COST,
URTA, WCLO, RMTA, LOA, Guest Artist,
TYA, Dinner Theatre, HAT, SPT, 29 hour
Staged Reading Code, 99 Seat Code Committees: EEO, ACCA, WCLO, Developing Theatres
A proud member of 23 years, I am honored to have served
on the National Council as an interim replacement since July. Having spent the first half of my career working out of college and on Broadway (primarily on the Chorus contract), and
this past half as a working mom, regionally in and out of LA; I
have lived many stages of membership, and have spent considerable time in our liaison cities. I want to ensure that our
union membership is of best value to everyone. How can we
come together in true solidarity? I am motivated and hopeful
to find solutions to our internal and external challenges. I am passionate about gender parity. The average 60/40
ratio of AEA men to women on American stages should no
longer be considered the norm nor acceptable. As a member
of the EEO committee I am committed to pushing the boundaries of what our union can do to help women members, as
well as ensuring that our stages reflect the diversity of our
membership. There is so much more to do. My brief term has been illuminating. Issues facing our union
are complex and filled with nuance. Our membership deserves
a greater understanding of decisions made by council. We can
do better disseminating information to our members and exploring more effective options for members to be heard; creating a dialogue that moves us forward. I’ve just gotten started!
I’d be honored for your vote. Western Region
Stage Manager Four-Year Term
(Vote for no more than two)
PAT LOEB
(Residence: Los Angeles, CA)
Contracts worked: SPT, HAT, LORT, BAT,
WCLO, TYA, URTA, GA, SA, PP, Staged
Readings
With 40+ years running the gamut
of large and small productions, including
a handful of tours, I work most often
with smaller companies whose existence
depends on compromise. In a time of tremendous challenge
and overwhelming contradictions, we need to help those who
want to make a living while not squashing innovation. Long
before being elected to Council, I joined many contract and
service committees, leading events for membership education
and EEO (National Vice Chair), proposing practical ideas for
contracts — all with the goal of engaging current and future
members, providing knowledge, increasing participation, and
generating better working conditions. I was taught to listen to
and represent everyone’s voice.
I stand for those reluctant to speak or who feel unheard.
I show up. I follow through. I am not afraid to be the minority
voice, to make sure all are represented, and even when we
initially disagree, I listen and am willing to change my mind.
My specific causes: generate more contract work; energize
and link local members with local and national funding, especially in endangered venues; create more and broader inclusion
and diversity; and generate greater member participation. We
need to create mutual support with sister unions; make it
easier for more members to accrue health benefits; and clearly
brand our work.
They say it takes a term to learn to be a Councillor. I want
a second term to make a difference by implementing what I’ve
learned.
I humbly request your vote, and thank you for your consideration.
LARA E. NALL
(Residence: Sacramento, CA)
Contracts worked: LOA, SPT, HAT, 99Seat
My name is Lara and it’s nice to meet
you.
When I joined AEA in 2008, I had
very little idea of what it meant to be a
member of a union. I always saw it as something beyond, out
of reach, something that only “they” who knew more and had
more experience than me could fully understand. Since then
I’ve come to realize that there is no “they”; there is only you,
and I. That we, every member in every region and every city in
that region are equal. Our voices are equally important.
Different voices and opinions that are truly heard are the
lifeblood of any society. Open, meaningful dialogue with and
accessibility to our elected officials is the only way to ensure
that we can move forward as a unified whole to protect and
further our rights as artists. As a professional stage manager
my job is to listen, plan and implement the best strategy for a
successful, productive and positive environment. I am the facilitator, the mediator and the Devil’s advocate. I see each piece
of the puzzle and how it fits into the bigger picture. I want to
bring these skills to our Equity council for you and our fellow
members everywhere. I want to hear from you and help you
find your place in the bigger picture; because you and I are the
only ones who know what is best for us. Please feel free to
reach out: https://www.facebook.com/LaraNall4AEACouncil/
JOHN M. GALO
(Residence: Studio City, CA)
Contracts worked: Full Production,
Production Tier D, SETA, LORT, WCLO,
Dinner Theatre, Stock, URTA, Special
Agreement, TYA
I’m a lucky guy! I make a living in a
profession that I dearly love – the theater. For this I am grateful and thankful
that I belong to a union. Actors’ Equity has ensured that I am
compensated for my work, I am treated fairly and with respect,
I am kept safe and protected in the work place, and it works
to provide for my future through both the pension plan and
401k.
The union is strong and has made great advances for us
as actors and stage managers. Does this mean that there isn’t
room for improvement? For example, Equity is currently negotiating the SETA touring contract. Some areas that I feel could
use improvement include: Fair compensation for the talents
we provide, per diem reflecting the realities of life on the road,
choice of housing and restricting multiple week stops without
additional compensation.
As a stage manager of national tours under a variety of
contracts and for various producers and general managers, I
feel that my experience and communication skills will be an
invaluable asset to the union.
Yes Actors’ Equity has been good to me and I want it to
continue to be...for me and for you! It’s time for me to give
back. With your vote, I can gratefully and proudly serve on the
Governing Council! Thank you for your time and consideration. Please vote so your voice can be heard!