Winter 2009 - Canadian Actors` Equity Association

EQ
E Q U I T Y
Q U A R T E R L Y
Glorious
Opera
w i n ter
2 0 0 9
COC: A new era begins
How cool is Canadian opera?
War zone theatre
Blood and guts
Love and betrayal
Murder and marriage
Opera has always reflected the absolute highs and lows of
our human existence. While the stories may remain the same,
today’s opera companies are exploring new ways to present
their art to a wider Canadian audience.
President’s
message
Thank you, A
llan,
and hello fe
llow Equity
members.
If yo u ar e su
ff er in g fr om
el ec tion withdraw
I won’t take up
al, have no fe
ar…
Equity elections
a l o t o f s p a c e,
are just around
the
corner. In the
because I have asked
fall of 2009,
Eq
ui
ty
m
embers will elec
First Vice-President
t our new Cou
nc
il
and Council Po
Kerry Davidson to
licy Advisory G
ro
up
s
(CPAGs) for th
host the column for
e 2009-2012
term.
If
you are passio
this issue. I thought
nate about pr
ofessional thea
you might all appretre in Canada,
in
te
rested in taking
wanting to le
ciate hearing a voice
on new challe
arn more abou
ng
es
,
t the governan
tion, and have
other than mine for
ce of our Ass
a desire to se
ociarv
e
all Equity mem
want you! W
a change. (I know
bers, then we
hy not consid
er running fo
tion? If local
that I would!)
r Council in th
or grassroots
is elecactivities are m
then please co
However, before putting Kerry on the phone, there
ore your cup
nsider running
of tea,
for election to
region. As a C
is an important change I would like to bring to your
the CPAG for
PAG member,
your
you will prov
between the
attention. I have assigned the newly-created posiide the critica
members, as
l link
owners of the
National Counc
tion of Council-Member Liaison to Second ViceAssociation, an
il, to ensure th
d
the
at Council is ke
regional issue
President, Dawn Obokata. Dawn is an experienced
pt informed of
s concerning th
an
y
e membership.
and dedicated Councillor, and she has expressed
We have stream
lined the nom
ination proces
it easier for m
strong interest in helping members connect with
s in order to m
embers to stan
ake
d
fo
r election. Any
standing can be
their governing body. Effective immediately, you
member in go
nominated by
od
petition, with
other members
can reach Dawn at [email protected]. She
the support of
in good standi
tw
o
ng. Nominatio
on the website
will be glad to assist you with your questions, or
n forms will be
(www.caea.co
po
st
ed
m) and sent to
May. We’ll also
direct you to the person best able to assist you.
every member
be keeping th
in early
e membership
way with inform
Of course, I will continue to welcome contact
updated along
ation online, th
the
rough Equiflash
If you haven’
from you, but this change will give members
and email.
t already done
so, please mak
National Offic
access to someone whose primary job is acting as
e sure that th
e has your corr
e
ec
t
co
ntact informat
assignment so
liaison, which should improve response times and
ion and region
that we can m
ake sure that
chance to vote
more effective handling of inquiries. Please join
every membe
.
r has a
W
Council in welcoming Dawn to this position.
at ch th e w eb
si te fo r m or e
in fo rm at io n
involved with
ab ou t w ha t
being an elec
is
te
d
m
ember of Cou
CPAGs. Better
ncil and the
yet, contact a
Councilor or C
for a firsthand
PAG member
account. Our
directly
em
ail addresses ar
website, and w
e available on
e’d love to he
the
ar from you.
Allan Teichman
President
Kerry Davidso
n
First Vice-Pres
ident
w i n ter 2 0 0 9 E quity Q uarterly 1
EQ
E Q U I T Y
Q U A R T E R L Y Wi n ter
6
v o lu m e
work in progress
A
as a war rages on
editor Barb Farwell
design F resh Art & Design
www.freshartdesign.com
DEsign & Layout Chris Simeon,
September Creative
4 letterS to the editor
17 EQ lives
ready for the COC
Executive editor Lynn McQueen
3NOTES FROM ARDEN RYSHPAN
9EQ VOICES
14Alexander Neef is
18 fondly remembered
20 eq classifieds
21 eq flashback
Coming issue: spring 2009
Subscriptions are available at an annual rate of $35, including GST.
Equity members are encouraged to submit articles, submissions and accompanying
photos, notices of births, marriages, memorial notices and letters to the editor via
email ([email protected]) or on disk with accompanying hard copy. The copy deadline
for submissions is February 6, 2009. EQ reserves the right to edit for length, style
and content.
Publications Mail Agreement No. 40038615
EQ is published four times a year by Canadian Actors’ Equity Association.
EQ Equity Quarterly (ISSN 1913-2190) is a forum to communicate to Equity members
the activities of the Association and issues of concern to the Association. With the
exception of the editorial staff, the views expressed in solicited or unsolicited articles
are not necessarily the views of the Association.
4
1 President’s message
8 eq Backstage
is riding high
winter 2009 – Volume 2, Number 4
n u m b er
5 eq moves
10Canadian opera
EQ
2
2 0 0 9
National Office
44 Victoria Street, 12th Floor, Toronto, ON M5C 3C4
Tel: 416-867-9165 | Fax: 416-867-9246 | Toll-free: 1-800-387-1856 (members only)
[email protected] | www.caea.com
Western Office
736 Granville Street, Suite 510, Vancouver, BC V6Z 1G3
Tel: 604-682-6173 | 604-682-6174 | Toll free: 1-877-682-6173 (members only)
[email protected]
Cover and inside front cover: From Opera Atelier’s 2008 production of Mozart’s Idomeneo – Measha Brueggergosman as Elettra and Curtis Sullivan as Neptune; Curtis Sullivan, Jeannette Zingg and Vasil Garvanliev
Above: Brett Polegato as Eugene and Rhoslyn Jones as Tatyana in Vancouver Opera’s Eugene Onegin by Tchaikovsky
Notes from
Arden Ryshpan
As part of my preparation for the interview for this job at Equity, I asked the headhunter
if they could arrange for me to get copies of a selection of the agreements. I soon received a package containing the Canadian Theatre Agreement, the Royal Winnipeg Ballet agreement, and the
Canadian Opera Agreement.
I spread them out on the table and started looking for key recurring concepts and language,
as well as key differences. Slowly but surely, I worked my way through the agreements, reading
through the usual clauses on jurisdiction, grievances and working conditions. And
then I got to the back of the opera agreement.
There were 23 (!!!) pages of print so small I had to fetch my reading glasses –
listing the roles in 343 different operas. Here was a list of titles, many of which
were completely unfamiliar to me. It is truly a humbling experience to be confronted with the extent of your ignorance on a subject. And I certainly was.
I called my mother to talk to her and told her all this. “What?” she said.
“Weren’t you listening all those years growing up when we had the opera on
the radio?”
Well, I was listening. Saturday afternoon opera on the radio was as much a
part of the fabric of my life growing up as any other weekly ritual. While I neither
understood the language nor the plots (for the most part) I couldn’t fail to be moved by the lovely
music and emotion conveyed by the soaring voices.
The Canadian public from coast to coast has indicated their love for opera as well, by patronizing
the simulcasts from the Met in record numbers. Toronto now has a gleaming, shiny new opera
house – the Four Seasons Centre for the Performing Arts – a building getting rave reviews for its
sightlines and acoustics. Seats are not easy to come by for performances here.
The Vancouver Opera Company recently announced that they were in surplus for the eighth
season out of the last nine, proving that audiences all across the country are actively attending and
enjoying the opera. Canadian regional opera companies are also regularly delighting audiences.
In this issue, we are delighted to have an interview with the new General Director at the Canadian Opera Company, Alexander Neef, who shares some of his visions for the future with us in the
article. The issue has also allowed us to share with you some absolutely fabulous photos, showing
the splendor of the productions done in this country that showcase our members.
The beautiful music and dramatic plots in opera make it surprisingly accessible, something that I
hope we can find a way to communicate to a new generation of kids, who may or may not have
a mother who cranks up the volume on the radio in order to make sure the whole house is filled
with the sound of singing.
Arden R. Ryshpan
Executive Director
w i n ter 2 0 0 9 E quity Q uarterly 3
Letters to the editor
A memorable evening
I would like to sincerely thank
Equity for the wonderful Honours Celebration (Westcoast
Elegance) on November 2,
2008, at the Arts Club Theatre
in Vancouver, B.C.
It was a great opportunity to
meet many senior members that I knew
very well. The beautiful boxes that were
given to the members that have been with
Equity for over 25 years were a wonderful
gesture from the Association. As for my
Larry McCance Award, it is a beautiful trophy and I will take care of it all my life.
I must also thank the Honours Committee, the Councillors and the CPAG of
the region for making this memorable
evening possible.
Thank you, thank you, thank you,
Louis-Marie Bournival
Company Stage Manager
Arts Club Theatre
EQ
E Q U I T Y
Q U A R T E R L Y
It’s hard being green
I was very excited to see the
focus of this most recent edition of EQ. The issue of greening theatre has been one I have
been interested in for some
time. So thank you for that.
In that vein, I would like to
request that EQ no longer be packaged in
a plastic bag for environmental reasons. I
imagine the decision was made to protect
the mailings from inclement weather, but
I don’t think it’s worth it.
Best,
Holly Lewis, Equity member
F A L L
2 0 0 8
Green takes the staGe
Issue-based theatre Gets sexy
the dance of vIolence
Executive Editor note: At EQ we are always
on the lookout for ways to be more environmentally conscious. We have chosen to
use the polybag as is it fully recyclable and
allows us to include other important member
mail. This saves on money and packaging we
would need for a second mailing.
Notice of National Annual General Meeting
Equity’s 2008-2009 National Annual General
Meeting will be held in Toronto, Ontario.
Time: 6:00 p.m.
We know that these two topics are of
broad interest to our membership, and
hope you are able to join us for what
promises to be an informative evening.
Location: Austin Gallery, The Suites at
1 King W., 12th floor (King subway station)
The business portion of the meeting will
include:
Date: Monday, February 23, 2009
All Equity members are encouraged to
attend. Apprentice, provisional and probationary members are also welcome.
Based on member suggestions, this year’s
NAGM will be divided into two segments.
The first portion will take care of necessary
business items and will be kept as brief
as we can reasonably manage. The second
half of the evening will begin with a video
presentation by Executive Director Arden
R. Ryshpan, focussing on new media and
how this impacts our membership. This
will be followed by a seminar on verbal
contracts and letters of agreement, what
they are and what they aren’t.
8
8
8
8
8
reports from the President and Executive Director, including a review of
Association activities and updates
on current initiatives
receipt of the Association’s audited
financial statements
appointment of Equity’s auditors for
the coming year
an opportunity for the membership to
introduce resolutions*
a question-and-answer session
Refreshments will be available.
* F or further information about introducing a resolution, please contact President Allan Teichman
at [email protected], or by mail to the National Office.
4 E quity Q uarterly
Letters on subjects of concern to Equity members will
be considered for publication. Letters must be signed, but names
will be withheld on request for those letters that may affect
members’ employment. Letters that include artistic criticism of
Equity members or letters that are antagonistic or accusatory,
either implied or expressed, may be withheld or edited at the
discretion of the editor. Opinions expressed in Letters to the
Editor are not necessarily those of the Association.
PHOTO AND PRODUCTION CREDITS
Cover & inside front cover: Photo: Bruce Zinger. Idomeneo (2008)
by Mozart produced by Opera Atelier. Directed by Marshall
Pynkoski with choreography by Jeannette Zingg. Cast: Measha
Brueggergosman, Vasil Garvanliev, Peggy Kriha Dye, Olivier
Laquerre, Michael Maniaci, Kresimir Spicer, Curtis R. Sullivan, &
O/A dancers & chorus. Stage managed by Arwen MacDonnell
assisted by Kelly Luft, Nan Shepherd & Monika Seiler (apprentice).
Page 2: Photo: Tim Matheson. Eugene Onegin (2008) by P.I.
Tchaikovsky produced by Vancouver Opera. Directed by Pamela
Berlin with choreography by Allison Grant. Cast: Oleg Balashov,
Norine Burgess, Rhoslyn Jones, Chad Louwerse, Allyson McHardy,
James McLennan, Brett Polegato, Marcia Swanston, Peter Volpe
& the VOA chorus. Stage managed by Sheila Munn assisted by
Theresa Tsang, Beth Grieve & Melania Radelicki (apprentice).
Page 5: Photo: Trudy Lee. A Raisin in the Sun (2008) by Lorraine
Hansberry produced by Soulpepper Theatre & Theatre Calgary.
Directed by Weyni Mengesha. Cast: Awaovieyi Agie, Barbara
BarnesHopkins, Michael Blake, Matthew Kabwe, Abena Malika,
Diego Matamoros (Toronto) Stephen Hair (Calgary), Charles
Officer, Kofi Payton, Cara Ricketts & Alison Sealy-Smith. Stage
managed by Crystal Salverda assisted by Andrea Schurman.
Pages 6 & 7: Photos: Christopher Morris.
Page 8: Photos: Suzanne McLaren.
Page 9: Lower photo by Jeremy Mimnagh.
Page 10 & 11: Left photo: Robert Tinker. Transit of Venus (2007)
by Victor Davies with libretto by Maureen Hunter produced by
Manitoba Opera. Directed by Larry W. Desrochers. Cast: Colin
Ainsworth, Mark Grimaldi Booden, Russell Braun, Judith Forst,
Monica Huisman & Jean Stilwell. Stage managed by Paul A.
Skirzyk with assistance from Evan R. Klassen, Chris Pearce &
Candace Maxwell. Right photo: Tim Matheson. Daphne (2007)
by Richard Strauss produced by Pacific Opera Victoria. Directed
by Wim Trompert with choreography by Danette Bell. Cast:
Peter Barrett, Emmanuelle Coutu, Rebecca Hass, Kurt Lehmann,
Brian McIntosh, Eric J. Olsen, Sookhyung Park, Kimberly Paulley
& Anthony Pulgram. Stage managed by Jackie Adamthwaite
assisted by Connie Hosie & Steve Barker.
Page 12: Photo: Trudie Lee. Filumena (2003) by John Estacio
with libretto by John Murrell co-produced by Calgary Opera &
The Banff Centre. Directed by Kelly Robinson. Cast: Krzysztof
Biernacki, Torin Chiles, Gregory Dahl, Jacqui Lynn Fidlar, Gaetan
Laperriere, Graham Paynter, David Pomeroy, Elisabeth M.
Turnbull & Laura Whalen. Stage managed by Bonni Baynton
assisted by Lisa Roy Munro, Heather Moore & Karen Race.
Page 13: Top: photo by Pink Monkey Studios. Regina (2008)
by Mark Blitzstein produced by Pacific Opera Victoria. Directed
by Glynis Leyshon with choreography by Anne Wootten. Cast:
Kimberly Barber, Kathleen Brett, Gregory Dahl, Robyn DriedgerKlassen, Dean Elzinga, Tracie Luck, Doug MacNaughton, J.
Patrick Raftery, Louise Rose, DeAndre Simmons & Lawrence
Wiliford. Stage managed by Jackie Adamthwaite with assistance
by Connie Hosie, Steve Barker & Heather Rycraft (apprentice.)
Bottom: photo by Robert Millard.
Page 14: Photo by Michael Cooper courtesy of the COC.
Page 16: Photo: Gary Beechey. War and Peace (2008) by Sergei
Prokofiev co-produced by the English National Opera & the COC.
Directed by Tim Albery assisted by Marilyn Gronsdal Powell with
choreography by Laila. Cast: Mikhail Agafonov, Laura Albino,
Betty Wayne Allison, John Avey, Oleg Balashov, Ilya Bannik,
Michael Barrett, Peter Barrett, Sasha Bataligin, Russell Braun,
Norine Burgess, Sung Chung, Jesse Clark, Alain Coulombe,
Gregory Dahl, Vassily Gerello, Sonya Gosse, Alexander Hajek,
Teiya Kasahara, Mikhail Kit, James Lévesque, Adam Luther,
Stephen McClare, Peter McGillivray, Lisa DiMaria, Michael Myers,
Ileana Montalbetti, Robert Pomakov, Gabrielle Prata, Niculae
Raiciu, Bruce Schaef, Lauren Segal, Elena Semenova, Stanislav
Shvets, Michael Sproule, Jean Stilwell, Michael Uloth, Vadim
Zapletchny, COC dancers and chorus. Stage managed by Jenifer
Kowal assisted by Michael Lewandowski, Kristin McCollum &
Melissa Bergeron (apprentice).
Page 18: Photo: Robert C. Ragsdale courtesy of the Stratford
Shakespeare Festival Archives.
Page 19: Lower photo by Michael Cooper courtesy of COC.
w i n ter 2 0 0 9
EQ Moves
Onward and upward with the arts
Jackie Maxwell, Artistic Director of the
Shaw Festival in Ontario, was awarded the
2008 Herbert Whittaker/Drama Bench Award
for Outstanding Contribution to Canadian
Theatre. The recipient of this award is chosen
annually by the members of the Canadian
Theatre Critics Association.
Toronto playwright Daniel MacIvor was
named the 2008 recipient of the Elinore
& Lou Siminovitch Prize in Theatre. This
is Canada’s largest annual theatre award,
which includes a prize of $100,000 – $25,000
of which goes to a protégé selected by the
winner. Daniel choose Vancouver playwrights
Daniel Arnold and Medina Hahn as his
protégés.
James Moore was appointed Minister of
Canadian Heritage and Official Languages
in October following the federal election.
The member for Port Moody-WestwoodPort Coquitlam (British Columbia) was first
elected to the House of Commons in 2000.
Colleen Smith has resigned as Managing
Director of the Factory Theatre in Toronto
after four years. A search process is underway to name Colleen’s successor.
Charles Officer and Abena Malika in Soulpepper Theatre’s A Raisin in the Sun, directed by
Weyni Mengesha
The Neptune Theatre has announced that
George S. Pothitos of the Sudbury Theatre Centre will be
the company’s next Artistic Director. He will take up full time
residence in Halifax in June 2009.
Sandra Lefrançois has assumed duties as General Manager of
Cahoots Theatre Projects in Toronto. Interim General Manager
Christina Starr has returned to writing and production. Former
Cahoots General Manager, Kendra Fry, has been named General Manager of the Harold Green Jewish Theatre in Toronto.
Colleen Winton is the new Artistic Director of the Western
Gold Theatre in Vancouver. Former Co-Artistic Directors Anna
Hagan, Pamela Hawthorn and Don Mowatt have joined the
theatre’s board to assist in the transition.
Jessie van Rijn has been appointed General Manager of Vancouver’s Carousel Theatre for Young People. Jessie was the company’s Audience Services and Outreach Coordination for the past
two seasons.
w i n ter 2 0 0 9 Linda Levesque has officially taken over as General Manager of
Teesri Duniya Theatre in Montreal.
June Park is the new General Manager at Playwrights’ Workshop
in Montreal.
Meaghan Preston, familiar to many as Equity’s National Office
receptionist, has been promoted to the position of Assistant Business Representative, replacing David Zelden, who recently left
the Association. Michel Roberts has taken over reception responsibilities in the National Office.
Theatre director Weyni Mengesha won the 2008 Toronto
Arts Council RBC Emerging Artist Award – a $5,000 cash
prize presented to an emerging Toronto artist working
in any medium or performing arts discipline. Weyni is
leader of the Playwrights Collective at Theatre Passe
Muraille, and directed A Raisin in the Sun for Toronto’s
Soulpepper Theatre in 2008.
E quity Q uarterly 5
A work in progress as a
Christopher Morris is bringing the stories of families affected by the war in Afghanistan to an
Clockwise from top left:
An Afghan holy site
Kawa Ada and
Christopher Morris
Afghan actor
Parwin Mushtahel
Herat-based actor
Maryum Sadakhi,
pictured here with her
brother, Mostafa
Welcome to Petawawa
6 E quity Q uarterly
w i n ter 2 0 0 9
war rages on
international audience
By Barb Farwell
One day an idea
popped into director
Christopher Morris’ head. Wouldn’t it be fascinating to do a play
about war from the perspective of the families of soldiers in both
Afghanistan and here in Canada?
“I knew nothing about the war in Afghanistan,” says Morris.
“But I heard an interview with the wife of a Canadian soldier on
CBC. She talked about how it affected her life and her children.
“That’s when I just knew I wanted to explore the repercussions
of war as it goes through families, and how it plays out when
soldiers come home.”
That set in motion a journey that started in Petawawa, Ontario,
and has taken Morris to war-torn Kabul and Herat in Afghanistan,
and Islamabad and Lahore in Pakistan.
Morris, who is Artistic Director of Human Cargo, a Torontobased theatre company that brings social and political issues to
the stage, has a unique vision for the play. Not only will it explore
the war’s affect on families in Canada, Afghanistan, and Pakistan
– it will include cast members from all three countries, and will be
performed in each place.
w i n ter 2 0 0 9 So after spending two weeks in Petawawa last summer getting
to know the families of soldiers, Morris travelled to Afghanistan
with two missions – find an Afghan actor to be in his play, and find
a rehearsal and performance space. But before leaving, a young
actor convinced him to visit her home country of Pakistan while
he was away.
Morris took her advice, and travelled to the two countries in
the fall of 2008. Kawa Ada – a Canadian actor who was born in
Afghanistan, but fled the country with his parents when he was
two years old – accompanied Morris to Afghanistan.
“I knew that I wanted Kawa to work on this project with me in
the future, so I thought it would be a good opportunity for both
him and me if I brought him along,” says Morris.
It didn’t take much to convince Ada to go. “It’s always been in
the back of my mind to go back to Afghanistan,” says Ada. “There
has been this intangible force – of the people, the culture and the
country – that has had an indirect influence on me.”
Ada had also worked with Morris in the past and liked how he
pushed his actors to their full potential.
While in Afghanistan, the two took advantage of every connection to seek out stories of how the war had affected families. They
also spoke with several actors, such as Maryum Sadakhi, to learn
about the local theatre scene. Ada also had the chance to meet up
with family members he had never met before – including a cousin
who helped show them around.
In Pakistan, Morris soon learned how involved that country is in
the history of the conflict in Afghanistan, and decided to add the
Pakistani perspective to his play.
By the time he returned to Canada he had connected with theatre companies in both countries and found the two actors he was
looking for – Pakistani actor Samiya Mumtaz, and Afghan actor
Parwin Mushtahel. Both of these women will be involved in shaping the play as it moves forward.
Next year Morris plans to visit Petawawa, Afghanistan and Pakistan again, but this time with playwright Jonathan Garfinkel, to
start shaping the script.
“I knew nothing when I started out,” says Morris. “But after
visiting each culture and hearing their stories, I know this will affect
audiences. But I don’t like setting things in stone. I don’t know
how these stories are going to end up yet.”
Human Cargo’s premiere production will be Night, an international creation
with artists from Nunavut, Iceland, Germany and Canada. To find out more visit
www.humancargo.ca.
Kawa Ada was recently awarded the 2008 Stage West – Equity Emerging Theatre
Artist Award.
E quity Q uarterly 7
EQ Backstage
If you are a dancer, you would want
to show more body
Making the most of your head shot
Be yourself. It’s not something most actors are often told to do, but when it comes to headshots it’s solid advice.
“A headshot is not a piece of art,” says Toronto photographer Suzanne McLaren. “It should
be an accurate picture of how you look right now.”
So if yours is more than a few years old, you’ve gained or lost weight, or changed the colour
of your hair – it is probably out of date. And you might want to have more than just one, says
McLaren. A “general headshot” is good to have, but you might think about having several shots
that reflect the kind of roles you are seeking.
For example, if you’re going out for commercials, a smiling photo – with bright colourful
tones – is appropriate. But if you’re auditioning for dramatic stage roles, you would likely want
a headshot with a more thoughtful expression, perhaps darker clothes and a moodier tone.
And don’t wear too much make-up. “Head shots aren’t supposed to look glamorous,” warns
McLaren. “You should look natural.” And be careful of looking too posed. “It’s hard to get a
read on your body language if you are posed or uncomfortable,” she says.
McLaren says one of her most important – and toughest – tasks can be getting the person to
meet the gaze of the camera by looking directly into the lens.
“Your eyes tell your story, so you need to make a real connection with the camera by looking
right into the lens where the image is being taken,” says McLaren. “I tell people to look away
from the lens periodically, take time to gather their thoughts and then look back. It’s a way to
keep their energy up so they bring that to the photograph.”
Digital technology has helped make this a little easier, however. “I have the images right
there on the monitor so the person can see what they look like. It’s easier to show them what
they need to do instead of telling them,” she says. “It also gets them involved. I ask for their
feedback and they get the chance to take ownership of their photo. This, I find, helps build their
confidence, which leads to better photos.”
Five tips for the perfect head shot
Try more thoughtful expression to get those dramatic roles
1. Y
our eyes tell your story. “When we look at someone, we look at their
face, their eyes. The eyes tell you what kind of mood the person is in – if
they are happy, or if a rage is coming on,” says McLaren.
2. Get to know your face. Take the time to practise expressions in the mirror.
Also take a good look at your posture.
3. Be prepared. Make sure you have had enough sleep and have eaten. It’s
also a good idea to bring a snack. “This is your livelihood on the line,” says
McLaren. “It’s amazing how many people show up tired or hungry.”
4. Feel comfortable. McLaren meets with her clients first for a consultation
so she can get to know them better, and learn what kind of roles they
want. It’s also an opportunity to discuss the right clothing and background, and help them feel comfortable in the studio.
5. Expect to pay about $300 to $400. That should include a set of 25 8x10
prints. And go for colour. “Black and white is out of date,” says McLaren.
Suzanne McLaren is a Toronto-based headshot photographer with over 10 years experience working with actors. You can
view her work at www.suzannemclaren.com
8 E quity Q uarterly
w i n ter 2 0 0 9
EQ Voices
Keeping up the momentum
By John Mac Master
I make my living as an
opera singer. Although
my career has taken me
around the world – I am
never happier than when I
am performing in Canada.
That’s why remarks made
by Stephen Harper during
the last election campaign
stating that average Canadians have no sympathy for
“rich” artists who gather at
galas to whine about their
grants really got me angry.
In my career, I have
attended a lot of galas – but I am usually there as the unpaid
entertainment. The purpose of these galas is to raise money. I am
lucky if I get paid for my expenses at such events – and I usually
don’t even get fed! After I perform, I “work the room” to help
the organizers explain to the guests why their donations are so
important. Art does not exist by government subsidy alone.
Speaking of funding, Harper also asserted that arts and culture funding rose during his tenure. Arts funding actually eroded
under his government. And not just by the $45 million of last
year’s cuts. According to The Globe and Mail, those cuts are
symptomatic of a trend under the Conservatives of seeing dollars
shifted away from arts and culture and funneled toward amateur
and sport activities.
Before last year’s election, the Conservatives cut programs
designed to help us sell our work abroad, increase sales opportunities for our movies and our CDs, and increase revenue for
artists. International touring provides exposure to both audiences
and critics and enhances Canada’s artistic reputation. Canadian
artists need to see and be seen beyond our borders. And please
note – I pay taxes in Canada on my worldwide income.
The economic argument in support of arts and culture is irrefutable. A 2008 study by the Conference Board of Canada –
called “Valuing Culture” – confirmed that the cultural sector
is an integral part of the new economy, employing 1.1 million
people across the country. (You can read the report at
www.ccarts.ca/en/election2008/documents/ValuingCulture.pdf)
This report also stated that the average Canadian household
spent roughly $1,650 on cultural goods and services in 2007 – for
a total estimated value of $21 billion. This fact alone should put
to rest the assertion that “ordinary” Canadians don’t care about
culture. Seems to me, despite what the government asserted,
w i n ter 2 0 0 9 somebody somewhere in this country is happily buying what
we have to sell.
After an arts and culture election rally organized by Equity and
others, I decided to explore what artists were doing to convince
politicians and the public that the arts are important to Canadians.
It turns out there is a lot of grassroots organizing going on.
In addition to the activities undertaken by the Association,
there were many memorable and pointed critiques, including:
Wrecking Ball parties, viral videos, the Department of Communications website, and a group calling themselves “This is NOT
a Conservative Party” organized a rally with an impressive list of
rock bands participating. I even donned my tails and went down
to the Phoenix Theatre in downtown Toronto and sang Puccini’s
Nessun dorma between performances by a couple of bands.
Dear colleagues, now that the election is over, it would be a
shame to lose the momentum in the arts community that rose
rather spontaneously at our collective outrage at the insults of the
Harper government. I hope that Equity and our many other union
partners will continue to lobby, educate, and rally the troops.
At the time of publication of this magazine, the future of the
Harper government past the end of January is in question. But no
matter who holds the reins of government, it’s important and effective for artists to continue to do what we do best – use our creative
talents to criticize, analyze, poke fun, blow holes in arguments and
seek truth over spin. We must use our creative talents to keep arts
and culture high on the priority list for all political parties.
John Mac Master’s recent performances include Tristan in Tristan und Isolde and
Canio in I Pagliacci at the Metropolitan Opera, Fidelio with the London Symphony
Orchestra, a debut at Dresden’s Semper Oper as Calaf in Turandot, Verdi’s Requiem
at the National Arts Centre in Ottawa, and Aegisth in Elektra for the Canadian Opera
Company. Mac Master was also a long time Equity Councillor and Treasurer of the
Association, as well as a Larry McCance Award winner.
Mac Master lends his voice to the This is NOT a Conservative Party rally
E quity Q uarterly 9
Fr o m
i n ter n ati o n al
s tar s
t o
i n n o vative
Canadian opera
By Colin Eatock
There’s probably never been
a better time to be an opera singer (or operagoer) in Canada than
the present.
Of course, Canadian opera artists aren’t a new phenomenon:
soprano Emma Albani, from Chambly, Quebec, was astonishing European audiences with her talents back in the 1870s. Back
then, Albani had to leave Canada to build a career – but today,
Canada’s singers are increasingly choosing to stay at home. While
it remains difficult to earn a living by working solely in Canada,
many singers augment their Canadian incomes with work in the
U.S. and overseas.
Adrianne Pieczonka used to live in Europe – in Vienna and
London – but in 2005 she returned to Toronto. She made the
move for personal reasons, to be closer to her family in Burlington,
Ontario. “I have a lot of work in Canada,” she says. “With the
exception of one year, I’m singing in Canada every year to 2013.
10 E quity Q uarterly
w i n ter 2 0 0 9
pr o d u c ti o n s
at
h o m e
is riding high
Left: Russell Braun as Le Gentil and Monica Huisman as Celeste in Manitoba Opera’s Transit of Venus by Victor Davies
Above: Sookhyung Park (centre) as the title character in Pacific Opera Victoria’s Daphne by Richard Strauss
But my career is still tilted in favour of Europe in a 60:40 ratio. I’d
like it to be 50:50.”
According to Pieczonka, Canada has gained a reputation in the
opera world as a country that produces excellent singers. “We
train singers very well,” she observes. “I hear people all over the
world say, ‘You Canadians are super!’”
Making a living in Canada
“There are more opera singers working and living in Canada than ever
before,” says tenor John Mac Master. Like Pieczonka, he lived outside
Canada – in New York and Vienna – before returning home. “Canada’s a really great country to live in,” he declares. “We have health
care here – which is not insignificant when you’re self-employed.
And… there’s more government support here than in the U.S.”
A look at the “big picture” bears out what Canadian singers say
about the strength of opera in this country. Almost all major Canadian
w i n ter 2 0 0 9 cities have an opera company, and in the largest urban areas there’s
often more than one. In total, there are more than 40 opera-producing
companies across the country, from coast to coast. Compared with
the profusion of theatre companies in Canada, opera may look thin on
the ground. But considering that 50 years ago there was only one (the
Canadian Opera Company), the growth has been remarkable.
About $60 million is spent on opera production every year.
Again, when compared with live theatre’s annual figures of almost
$250 million, opera appears modest. But, for better or worse,
opera’s $60 million is not evenly distributed: The largest opera
company in the country, Toronto’s Canadian Opera Company
(COC), produces seven mainstage productions and has a budget
of about $30 million, while a small company may have resources
in the neighbourhood of $500,000.
By global standards, Canadian operating budgets are low. Berlin’s three major opera companies spend approximately $200 million
E quity Q uarterly 11
Ca n a d ia n
o pera
i s
ri d i n g
annually, and New York’s Metropolitan Opera singlehandedly spends
its way through about the same amount over the course of a season.
As for the audience, Statistics Canada reports that just 3% of
Canadians attend opera performances. However, Christina Loewen,
director of operations for Opera.ca (Canada’s service organization
for the opera sector), notes that this number may be deceptively
small. “That amount would be higher if you looked at who opera
reaches,” she explains. “Outreach is a big part of what
opera companies do in their communities. Companies
tour to smaller towns, and there are lots of programmes in schools. Opera reaches into all sectors
of Canadian society.”
Ticket sales are looking good
Even if the core audience for opera is relatively
small, ticket sales, donations, and other factors
governing the overall financial well-being
of most Canadian companies are looking good these days. The COC recently
announced a surplus for the 2007/08
season, thanks to record subscription
sales, fundraising efforts, and nearly
100% ticket sales. Calgary Opera
has also posted a surplus, for
the 10th consecutive year.
And companies that have
recently experienced
difficulties are bouncing back to life: This
year, the Montreal
Opera retired a
debt that had
reached
$2 million, and
Manitoba
Opera has
whittled down a $600,000 debt to
just over $200,000.
As well, there are other indicators of strength – one of which is
new opera creation. Canada has a
handful of adventurous companies
that specialize in contemporary
opera, such as Toronto’s Tapestry New Opera Works and Queen
of Puddings Music Theatre, and
12 E quity Q uarterly
h i g h
Montreal’s Chants Libres. But new work is also being done by
our “mainstream” producers. In the last decade, Manitoba Opera
(Winnipeg) and Pacific Opera Victoria have each premiered new
operas (Transit of Venus by Victor Davies, and Erewhon by Louis
Applebaum, respectively). Calgary Opera is unique in that its
commitment to mount a contemporary opera every other year
is actually written into the company’s mandate. (They’ve done
Filumena and Frobisher, both by John Estacio.) And
new works are being planned for Vancouver and
at the COC.
Untraditional stagings also bring contemporary
sensibilities to opera. The COC has made a name for
itself in this regard, with its Ring Cycle two years ago
(not to mention innovative presentations of operas by
composers ranging from Mozart to Schoenberg).
Vancouver Opera’s visually stunning Magic Flute
of 2007 was inspired by West Coast native art
and culture, and was performed in English and
the Halq’emeylem language. Opera Calgary
recently updated Faust to World War I, and
Hamilton’s last Bohème was set in Paris in
the 1940s. Even Toronto’s baroque company, Opera Atelier, has been provocative
and innovative with the historical aspect
of its productions.
An abundance of excellent
singers
One of the driving forces behind
opera’s dramatic growth in Canada has been the abundance
of excellent singers that
this country produces.
However, the downside of this picture is
that with so many
Canadian singers –
and with new ones coming
along all the time – competition
can be keen.
Laura Whalen in the title role
of the Calgary Opera and The
Banff Centre world premiere
of Filumena (2003) by John
Estacio and John Murrell
w i n ter 2 0 0 9
“There’s a lot of competition,” notes Mac Master, “but if you
haven’t got the self-confidence, you shouldn’t be in this business.
You have to be an optimist, and you have to be driven.”
“It’s a very competitive business,” agrees Pieczonka – hastening to add that she doesn’t personally feel threatened by younger
singers because she sings roles that they generally can’t. But she
is concerned about the opportunities available to emerging artists.
“It’s hard for young singers to get a break,” she says. “They go to
university and do their master’s degree, and still can’t get work.”
As well, our bountiful abundance of opera singers may be having a depressing effect on the fees. Mac Master can’t help noticing that fees in Canada don’t compare very well with what he’s
been paid outside the country. “I don’t feel that our fees are
keeping pace with inflation,” he notes. “I’m concerned about
how infrequently we get to see and hear our own international
stars – and, in part, that’s because of fees.”
“
While it remains difficult to earn a living by working
solely in Canada, many singers augment their Canadian
incomes with work in the U.S. and overseas.
Top right: Doug MacNaughton and Kimberly Barber in a scene from
the April 2008 Pacific Opera Victoria production of Regina by Mark
Blitzstein, based on The Little Foxes by Lillian Hellman
Above: Adrianne Pieczonka as Tosca with Juan Pons as Scarpia in the LA
Opera production of Puccini’s Tosca, May 2008. Pieczonka was recently
made an Officer of the Order of Canada
w i n ter 2 0 0 9 ”
Carrol Anne Curry of Dean Artists Management (Canada’s largest management agency for singers, as well as conductors and
pianists who work in opera) is aware of the problem of flatlined
remuneration. “In the last decade, fees have risen somewhat,”
she says, “but there’s never been a huge bump in artists’ fees.
During the economic boom of recent years, I didn’t see the wealth
of Canada translate into higher fees for opera artists.”
During these troubling economic times, Canadian companies
may be in a better position than their neighbours to the south.
That’s because many of the larger American opera producers
own substantial endowment funds (always the envy of Canadians), which they manage as revenue-generating investments. But
these days those funds aren’t worth what they once were – and
companies depending on them are in a vulnerable situation.
The COC was fortunate to build its new theatre, the Four
Seasons Centre for the Performing Arts, at a time of economic
prosperity and largesse – and today it stands as a visible symbol
of the vibrancy of opera in Canada. Unfortunately, many of our
opera companies still perform in theatres that weren’t designed
for opera, sometimes with compromising results. But that doesn’t
seem to be holding those companies back. Canadian opera has
never been more exciting.
Colin Eatock is a Toronto-based writer and composer.
E quity Q uarterly 13
T h e Ca n a d ia n Opera C o m pa n y e n ter s a n e w era
Inspired by the COC’s
War and Peace
Alexander Neef
is ready for
his first shot
running an
opera company
By Wayne Gooding
Friday October 10, 2008.
When Alexander Neef went into work that morning, the sense of
excitement and nervous tension in the air was almost palpable.
It was the day of the premiere of Prokofiev’s epic War and
Peace, by every measure the biggest and most-ambitious single
production the Canadian Opera Company (COC) has attempted
in its almost-60-year history. Only 10 days on the job as the
COC’s new General Director, Neef had actually had little to do
with the staging, which realized a pet artistic project of his predecessor, the late Richard Bradshaw. But Neef had arrived during
the final rehearsal period, just in time for an intensive crash course
on his new company in full creative flight.
14 E quity Q uarterly
The experience was, as he would later characterize it, inspiring.
He was impressed by the focused commitment to the final artistic
product on everybody’s part – the musicians, singers, creative
team, technical crew and administrative staff. He liked that the
whole company seemed to be wholly engaged (doubtless, in part,
because the Prokofiev was one of Bradshaw’s final programming
legacies).
When he went into work after that October weekend, the
sense of excitement was, if anything, even greater, fuelled by
reviews that proclaimed the staging as one of the company’s best
in recent years. What he’d seen and heard over the previous two
weeks could only justify his decision to move to Toronto. “With
w i n ter 2 0 0 9
the opening of War and Peace, I knew I would like it very much
here,” he says. “I was very proud of the way the company had
worked. I think that’s how we should do art, how we should do
opera.”
The search for Bradshaw’s successor
If Neef was well pleased with the company, the feeling was
mutual.
After Bradshaw’s sudden death returning from vacation in
August 2007, the COC launched an international search to
replace him. At the end of the first phase of its work, the search
committee had a long list of 40 prime prospects, then a shortlist
of about half a dozen.
When the 34-year-old, German-born Neef was introduced last
June as the winning candidate, few outside the company knew his
name. He was, however, the unanimous
choice of the search
committee and of the
COC staff who had
talked with the candidates as part of the hiring process.
Soft-spoken and
somewhat reserved
in his bearing, he had
nonetheless impressed
everyone – both in
face-to-face meetings
and through due diligence – with his ideas
about running an opera
company, his knowledge of the international opera business, the
depth of his connections and the stellar trajectory of his relatively
short career in opera.
Ironically, Neef was already in a transitional stage between jobs
when the COC first approached him. At the time, he was Director
of Casting and Artistic Production at Opéra de Paris and as such
a close associate of the company’s director, Gérard Mortier. Neef
is, in fact, a protégée of Mortier, one of the most influential and
controversial opera managers of the past few decades.
Mortier gave Neef his entrée to artistic administration in 2000
at the Salzburg Festival, and the two have worked together since,
first at the Ruhr Triennale Festival, then Paris. When Mortier was
appointed head of New York City Opera (NYCO), Neef was set
to cross the Atlantic with him, and was already spending about a
week a month working at NYCO when Toronto called.
At that point, Neef knew little about Toronto or the COC,
but as he did his own research, he realized that he was facing a
rare opportunity. “I did not have to make a real choice between
“
Toronto and New York,” he says, “because Toronto turned out to
be a very different chance and a very different challenge.”
A world away from Paris
This is Neef’s first shot at running a company, and the opera business in which he’s taking that challenge on is very different from that
prevailing in Paris. The COC may be one of the top half dozen companies in North America, but it’s nonetheless relatively small. Paris
has an operating budget of about $240 million for its opera and
ballet productions, and stages about 20 operas a year; the COC has
seven mainstage productions and a budget of about $30 million.
In some respects, Neef welcomes the disparity. Sometimes, he
says, it felt as if they were producing opera in a factory in Paris,
one staging coming off of the line after another without respite.
On the other hand, the big budget obviously allows for more
artistic flexibility and
richer production values
than might be possible
in North America – especially since the norm in
Europe is for governments to subsidize 60%
to 70% of budgets.
Last year, the COC’s
public funding amounted
to 23% of the total budget – with the rest of
the money coming from
ticket sales and fundraising efforts, including
individual, corporate,
and foundation support.
Fundraising is part of the job of a General Director in North America, so Neef, like Bradshaw before him, also faces the challenge of
playing a vocal and active role to keep the money coming.
I can bring experience and
insights into the European
way of doing opera and merge
them with the efficient North
American way of doing opera.
w i n ter 2 0 0 9 ”
A different type of administrator
Neef’s background and approach signal a major cultural shift
within the company, too. The flamboyant Bradshaw was an artistentrepreneur who split his time between running the company
and participating in productions as conductor.
As General Director, his crowning achievement was to spearhead the drive that made the Four Seasons Centre for the Performing Arts, the COC’s new purpose-built home, a reality; but he
always regarded himself as an artist more than an entrepreneur.
Neef is from a different mould, a Blackberry-toting administrator quite in his element talking about budgets, efficient operations
and the need to counterbalance everything the company does with
income. It’s telling that one of his first administrative changes at the
COC was to take responsibility for signing contracts, and that he
E quity Q uarterly 15
T h e Ca n a d ia n Opera C o m pa n y e n ter s a n e w era
tors and other creative
casts one of his artistic
staff to work with the
priorities – extending
company, too.
the horizon on the
“It’s like a chain
company’s artisticreaction,” says Neef.
planning cycle – in
“Once we get a cerquantitative terms.
tain group of people
“Getting access to
working here, things
the best artists is a
will feed from the
matter of mathematcasting.”
ics,” he says. “If we
Neef is optimistic
want top-line artists
that the COC is in a
who book three or
healthy position to
four years ahead, we
ride out the current
have to plan three or
economic maelstrom,
four years ahead.”
fuelled in part by the
While these are still
knowledge that cashearly days in Neef’s
flow for this season is
administration, he
solidly in place and
has started to articustatistics suggest that
late an artistic vision. A scene from the Canadian Opera Company’s production of Sergei Prokofiev’s War and Peace
people tend to turn to
When he got the first
call about the job, he went home to research the company on rather than away from the arts when times get tough.
Opera, though, is the most expensive of the performing arts, so
the Internet, and the new, internationally acclaimed opera house
immediately piqued his interest. In his view, the opening of the he takes “prudence” as a hallmark of planning. “We have to be
new house marks the beginning of a new phase of growth for the conservative on the income side rather than overestimating,” he
company, and his responsibility as General Director now is to fully says. “We can’t spend money we don’t have. And I like to have
a Plan B in mind, which is the worst-case scenario.”
realize its promise as a world-class performing institution.
In his first season, though, Neef is focusing on coming to terms
In some respects, he says, the COC already has the wherewithal
to achieve this goal, with the new house, the orchestra and the with the Canadian opera scene. He’s been meeting with and audichorus providing key foundations. The company is still in its hon- tioning singers (he may be an administrator by profession, but
eymoon period with the new house in the sense that, with only he does have firm views about such things as singing technique
the company’s third season playing out on its stage, there’s still or good Mozart style), meeting with other General and Artistic
much to learn about what can and can’t be done, and indeed how Directors and looking for possibilities of co-operation (not a strong
point of the Canadian opera industry) and, of course, restoring
best to present existing repertoire in a new space.
“We need to analyze the possibilities, as performers and as the confidence and momentum in his own close-knit company
programmers,” says Neef. “We need to define who we are in (Bradshaw’s death knocked it off kilter).
At some point, Neef will appoint a successor to Bradshaw the
programming and in performance.”
conductor, though it may be a season or two before he makes
that decision, taking enough time for a series of guest-conductor
World-class artists
In part, bringing the company up to world-class standards means prospects to work with the company and the orchestra. In the
bringing world-class creative teams and artists to the company. meantime, he’s working on that world-class future for the comHence his early insistence on sketching out the seasons as far pany, confident that the spirit he experienced around the opening
of Prokofiev’s War and Peace, will help get it there.
ahead as 2012/13.
“I’ve seen how this company has critical pride,” he says. “PeoHe talks of casting a dozen or so major Canadian artists –
this would be artists like Ben Heppner, Gerald Finley, Measha ple know and talk about what’s good and what’s not good about
Brueggergosman and Adrianne Pieczonka, already major figures what it’s doing. We have a phrase in German about running
on the international opera circuit – and then bringing in major into open doors, meaning that we run into people who are likenames from outside Canada to up the star quotient. If the com- minded and sympathetic in outlook. That’s how I’ve felt about
pany knows what it’s doing far enough ahead to book the big coming here. I don’t have to knock.”
names in singing, it’s easier to attract the major conductors, direc- Wayne Gooding is editor of Opera Canada magazine.
16 E quity Q uarterly
w i n ter 2 0 0 9
EQ Lives
Celebrating our off-stage moments
Births
Beaming big brother Sébastien is proud to
announce the birth of his little sister Zoé
Solange, born (in their car!) to Equity members Galia Goodwin and Terence van
der Woude on April 6, 2008.
2
Equity stage manager Suzanne Williams and
husband Michael Bluestone of IATSE Local 58
are tickled to announce the arrival of their twins
– Jackson
Michael and
Piper Sydney – born
November
5, 2008.
Everyone is
doing well
and looking
forward to
many sleepless nights.
Weddings
3
4
1. Equity member Tammy Roberts and automotive service
technician Chris Durksen are thrilled to announce that their nuptials went off without a hitch on July 26, 2008, in Calgary. Not
once did anyone cry out, “An actor and a mechanic?! That’ll
never fly!” Chris and Tammy wish to thank all those near and
dear to them who helped to celebrate this life event (many of
whom are likely reading this issue of EQ).
1
2. Equity members Jennifer Stewart and Sam Strasfeld were married in Stratford, Ontario, on
June 30, 2008. Family and friends were in attendance to celebrate the day with the ceremony at Shakespearean Gardens followed by a reception at The Church Restaurant.
3. Equity members Melissa Good and Randy Hughson were happily married on February 9, 2008,
in Heidelberg, Ontario.
4. Equity actor Ramona Gilmour-Darling and Sandy Thorburn, musical director, were married on
May 24, 2008 (a date that would forever give them free fireworks on their anniversary!). The fantastic
wedding took place in the Thousand Islands Playhouse’s Firehall Theatre in Gananoque, Ontario.
5
w i n ter 2 0 0 9 5. On July 21, 2007, Equity member Dale R. Miller and Timothy Stain were married in a private but
spectacular Buddhist, inspired wedding, surrounded by family and close friends. Complete with a harp
and a Celtic band, it was a magical day and they could not be happier!
E quity Q uarterly 17
Fondly Remembered
Richard Monette
1944 - 2008
By A nn Stuart with Martha Henry,
Stratford Shakespeare Festival
Richard Monette was endowed with many gifts – intelligence,
talent, ambition – which would take him to the pinnacle of his
profession as the longest-serving Artistic Director of the Stratford
Festival. However, his childhood was bleak, without the secure
and unconditional love found in a happy and stable home. He
would use his gifts to find a family of friends (including his beloved
brother Mark) and another home – in the theatre.
Perhaps because they had been missing from his own life, he
always retained a love of the delights associated with a happy
childhood. If it lit up, made a funny noise, wore mouse ears,
exploded, or by any other means created a moment of magic or
mystery, Richard adored it. If it soared up (balloons, champagne
corks, fireworks, the stage curtain) or floated down (snow, chandeliers, a dead duck, the stage curtain) Richard adored it.
Every possible occasion was celebrated – anything that meant an
opportunity to dress up, eat, drink, give gifts and have a good time.
And preferably to capture the celebration in photographs. Richard
was a master at finding the perfect gift – not necessarily expensive,
but fun and right for the occasion. Never generic, each gift was an
irreplaceable treasure – souvenirs from his travels or a dried rose
from the bouquet presented at his retirement gala. Books and posters were inscribed; cards carried personal notes and his name with
the omnipresent drawing of a heart. Probably the highlight of a life
of celebrations was the Stratford Festival’s Golden 50th Season with
the opening of the new Studio Theatre, the re-opening of the renovated Avon Theatre and visits from the Governor General, the Prime
Minister and festival founder, Tom Patterson. And golden gifts. For
months before, Richard’s home overflowed with an ever-expanding
collection of gold just-about-everything. And during opening week
he proudly drove around town in a shiny gold car.
But the gifts and good times were only a symptom of something much deeper and more important: Richard’s need to care
for those around him and to give them a sense of being loved
and special. These were his most important gifts: his kindness, his
compassion, his wit. A born entertainer, he could always find the
perfect anecdote to amuse or teach. But he listened, too, when
young and old, friends and strangers, told him their dreams or
18 E quity Q uarterly
Richard Monette as Dr. Caius in the 1982 production of The Merry Wives
of Windsor at the Stratford Shakespeare Festival
their problems. He gave people opportunities to do things they
had never done before and he gave them his faith that they would
succeed. His care extended beyond those who worked with him
to include the audiences who came to his theatres. He wanted
them to have a wonderful time so they would love the theatre
and return. He cared for the citizens of Stratford, even those who
never attended a play, because he knew that the town’s economy
was linked closely to the success of the Festival.
Richard’s theatrical achievements were many but it is worth
noting that every one developed from his sense of caring. He was
concerned about classical training opportunities so he started the
Birmingham Conservatory. He was passionately committed to the
work of Shakespeare so he programmed the entire Shakespearean
canon during his tenure. He wanted Stratford’s theatres to be beautiful, comfortable and inviting so he renovated the Festival and Avon
Theatres and built the Studio. He worried that the Festival would not
survive hard times so he created the For All Time Endowment Fund.
These were his gifts to the future and they will endure.
Dear Richard. You were so special, so precious, so gifted. Thank
you for everything.
w i n ter 2 0 0 9
Lloy Coutts 1941 - 2008
Excerpted from a speech by Dawn Obokata
for Lloy Coutts’ Equity Life Membership Award
Lloy Coutts had a
career spanning over
30 years, in which she
was a coach, mentor
and director. Theatres,
actors and audiences
from the Citadel to the
Vancouver Playhouse,
the Tarragon Theatre, CanStage and Workman Theatre Projects
all benefited from her work.
She brought her enormous talent and skill – and her keen intelligence and wit – to students and actors at the universities of
Guelph, Waterloo and York, Vancouver’s Studio 58, Tarragon’s
Maggie Bassett Studio, and Equity Showcase Theatre.
She was a voice coach at the Stratford Festival during Robin Phillips’ tenure, and directed and taught Richard Monette’s Conservatory programme. In 2005, the festival honoured Lloy’s contribution
as a coach by giving her the prestigious Tyrone Guthrie award.
It is indeed a testament to Lloy’s influence that many of the
young artists she worked with became lifelong friends who continued to seek her advice as their careers matured.
Whenever anyone describes working with Lloy, there are three
things that are mentioned: her sharp focus on the crux of the
matter at hand; the way she demanded excellence and usually
got it; and her keen sense of humour.
I was directed by Lloy in a production of Tale of a Mask, one
of the shows she did at Workman Theatre Projects in the Queen
Street Mental Health Centre in Toronto. These were always exciting collaborations between professional theatre artists and outpatients of the centre.
The situation could sometimes be quite intense, but Lloy had a way
of unifying the group so we all felt like peers, and maintaining focus
on the theatrical process. She knew when to push, and when to relieve
the tension. I have fond memories of sitting in the cafeteria after a
grueling morning rehearsal, talking about Kevins with Lloy. We both
agreed that it was Kevin Kline over Kevin Costner any day….
Gary Rideout 1952 - 2007
interaction with
my character,
and every time
he would come
close to me to
sing, he would
have so much
saliva that he was
always spitting
in my face. This
was not on purpose of course,
but I can tell you
that it added to
my relationship
with his character on stage. We
laughed about it
after the perfor- Gary Rideout as the Witch in the Canadian Opera
mances.
Company’s 1998 production of Hansel and Gretel
Gary sang with
the San Francisco Opera, The Met and the Canadian Opera
Company, among other places. It did not matter where he was
performing, he would always give the best he had with the most
professional attitude a singer could have.
By Benoit Boutet
I knew Gary since our school days at the University of Toronto’s
Opera school. His voice was already very powerful and brilliant
at a young age. He was also a fine actor, which led him into the
character tenor field in his early roles. He was such a good actor
that at times, on stage with him, I could not see Gary anymore
but just the role he was playing. It was almost scary, but terribly
convincing.
In recent years he had moved on to Wagnerian roles with great
success; he actually was the first “American” to sing the role of
Siegfried at the Kirov Opera. He had engagements in Monte
Carlo, Tel Aviv, Toulon and Washington D.C. He was also very
well praised as Loge in the Arizona Ring Cycle.
He had quite a good sense of humour and was always ready
for a laugh. Funny, caring, and kind, I cannot think of anyone
else who was so genuine. He always travelled with his little white
dog, and I remember seeing him walking his dog in the worst
snow storms.
I remember fondly doing Britten’s Prodigal Son with Gary, and
he was playing the “scary” role of the Devil. He had a lot of
w i n ter 2 0 0 9 E quity Q uarterly 19
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welcome NEW MEMBERS
Atlantic
Theo Pitsiavas
Andria Wilson
British c olumbia
Pearce Visser
David Patrick Flemming
James Sanders
Pablo Silveira
Lee Vincent
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Kyle Cameron
Debra DaVaughn
Ashley Liu
Anna Williams
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20 E quity Q uarterly
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Hayley Crittenden
Kazumi Evans
Chris Bradford
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E. Ontario/outauais
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Paul Williamson
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Peter Scolari
Zarrin Darnell-Martin
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Michael McLeod
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Costa Tovarnisky
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w i n ter 2 0 0 9
EQ Flashback
The Manitoba Theatre Centre
celebrates 50 years
When John Hirsch and Tom Hendry founded
the Manitoba Theatre Centre (MTC) in 1958,
their goal was to create great professional
theatre with mass appeal. As Hendry said,
“One can endlessly cite statistics to prove
employment, economic impact and tourist
magnetism. What the arts – given a chance
– bring to a city is something in addition to
all those material rewards. They give a great
city an image of its soul.”
Since its founding, MTC has produced
more than 500 plays, and hundreds of
Equity members have appeared on its
stages, including Len Cariou, Graham
Greene, Martha Henry, Judd Hirsch, Thomas
Hulce, William Hurt, Tom Jackson, Seana
Above: The first program cover from 1958
Above right: Gordon Pinsent and Doreen Brownstone in A Hatful of Rain
McKenna, Eric Peterson, Gordon Pinsent,
Keanu Reeves, Fiona Reid, R.H. Thomson,
Kathleen Turner and Al Waxman.
The first play produced at MTC was
The great EQ “Flashback” photo mystery
The general consensus is that Larry Cherniak is our mystery man in last issue’s
“Flashback” photo. But who was the bearded man sitting last in the front row? It
turns out it’s not Stephen Heatley – but Stephen Katz.
Michael V. Gazzo’s A Hatful of Rain, starring Equity Life Members Gordon Pinsent
and Doreen Brownstone. A half-century
later, Brownstone was back on stage playing Yente in MTC’s 50th anniversary production of Fiddler on the Roof.
w i n ter 2 0 0 9 E quity Q uarterly 21
EQ
E Q U I T Y
Q U A R T E R L Y
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tool for the opera, ballet and theatre
agreements
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if we can’t find you
The 2009-2012 Council elections are coming soon. Equity
members are asked to verify their contact information and
electoral region online at www.caea.com.
Equity has gone green
News concerning the administration and governance of the Association
(e.g. notice of upcoming meetings and information on membership
benefits) is now only electronically distributed to the membership.
Members who do not have access to the internet must call the
National Office at 1-800-387-1856 (416-867-9165 in Toronto
only) to make alternative arrangements.
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EQUITYONLINE at www.caea.com.
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22 E quity Q uarterly
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w i n ter 2 0 0 9