Category: actors’ unions
THE 2010 HAROLD AWARDS!
WHERE: The El Mocambo (464 Spadina Avenue)
WHEN: Monday, May 3rd, doors @ 7:30 p.m.
WHY: Because it will be awesome!
TICKETS: $10 at the door
HOSTED BY: David Gale
Since 1994, The Harold Awards have come to represent the independent and hard-working spirit of Toronto’s vibrant theatre community. Since 1994, it has been a boisterous, mischievous, frequently intoxicated, hilarious celebration.
If you’ve never been, make this the year you break the seal. Attendees are not even supposed to mention the other awards show, so we won’t do it here, but let’s just say it’s nothing like it! Click the link to learn more about The Harold Awards and how they work.
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Independent Theatre Think Tank: Exploring agreement options outside of the CTA & ITA
WHERE: Theatre Passe Muraille
WHEN: Monday, May 17, doors @ 6:30 p.m.
WHY: Because it took 3 long years to get here.
HOSTED BY: CAEA Ontario Council Policy Advisory Group.
PANELISTS: Naomi Campbell, Michael Rubenfeld, and Rebecca Northan.
After voting to create a solution that encourages (as opposed to discourages), the creation of indie theatre in a 96-1 vote at the 2008 AGM in Toronto, and again in a 42-4 vote at the 2009 AGM in Montreal, this is the first tangible sign CAEA is finally taking the concerns of membership on this issue seriously. This will likely be the only opportunity for Equity members to contribute to what this new solution will look like.
The Ontario CPAG and members of the newly formed Independent Theatre Review Committee will be available to update the membership on this issue, who will be able to contribute their own ideas in a general think tank session. This is not intended as a beef session but rather as an opportunity for CAEA members to contribute new ideas as the committee begins its work on a new generation of independent theatre agreements.
Members should contemplate the following question:
“What do you want in an agreement that is outside of the CTA or ITA?”
Members should avoid ever complaining about Equity stopping or hindering them from creating their own work ever again if they don’t attend. Book your babysitter/night off now to avoid disappointment with your career and/or industry.
UPDATE:
This comment came in soon after posting.
Aaron Willis, Vinetta Strombergs and Mark Brownell are your new Ontario CPAG members.
The election of these members following a 96-1 vote in support of indie reform by membership at the 2008 AGM in Toronto, and the 46-2 vote demanding these reforms proceed with due haste at the 2009 AGM in Montreal (presented by newly-elected Quebec CPAG member Zach Fraser), indicates a huge amount of momentum for a new approach to contracting indie theatre.
Is the age of CAEA actively discouraging and opposing work by independent artists coming to an end? The cumulative message behind all of these votes, motions and AGMs is that resolving this issue is a major priority for CAEA membership nationwide.
On October 5th 2009, CAEA members sent a strong signal that they weren’t joking at the previous AGM held in Toronto when they voted 96-1 to pass a resolution in support of researching new solutions and contracts for use in creating indie work. With no action taken by CAEA almost one year after the resolution had passed, members returned a second vote that explicitly details their dissatisfaction. Approximate estimates (official numbers are still not available) pegged the tally at 42 for, 4 abstentions, and 4 against.
The motion, which was submitted by Sarah Stanley, was presented to the AGM by Montreal indie artist Zach Fraser. Of particular note was the address to the AGM made by CAEA founding member and ACTRA Lifetime Achievement recipient Walter Massey, who spoke eloquently in support of the resolution.
For the second straight year CAEA membership has voted overwhelmingly to support a new approach to encouraging, creating and contracting indie theatre. All that remains is to see if CAEA staff and the soon-to-be-elected Council will choose to ignore the expressly and explicitly stated desires of membership for a second straight year.
The motion:
WHEREAS there is continuing dissatisfaction among the Equity Member/Creators with the current options to engage Equity artists, including the Independent Artists Projects Policy, Small Scale Theatre Addendum and Coop Guidelines that are available to its members;
AND WHEREAS Equity adopted a member resolution passed at the last National Annual General Meeting, resolving that steps would be taken by Equity to address this dissatisfaction by consulting with a committee, struck by Council, made up of volunteer CAEA Member/Creators whose purpose is to field concerns & suggestions, gather information and seek advice from fellow CAEA members as well as examine alternative options, devise revisions or alternatives to the current agreements and policies and report back to the Business Representatives, senior staff and membership at large, except that committee and advisory work will be initiated and guided by Council and answerable to Council;
AND WHEREAS there is further and growing dissatisfaction among the Equity Member/Creators with the lack of any tangible progress made by such committee and advisory work;
BE IT RESOLVED THAT Equity deem this matter a priority and take such steps as may be needed in order to cause senior staff to prepare a full report addressing these issues to be presented to the membership at large by the next National Annual General Meeting.
The Ontario all candidates meeting is this Sunday September 20th, 7pm @ the newly helmed Buddies in Bad Times Theatre, 12 Alexander Street, Toronto. Don’t take advice from the Indie Caucus. If you are a member of CAEA in good standing, go and learn for yourself who will best advocate for the type of theatre and practices you would like to see develop in Canada.
Chris Hanratty
I’ve been a CAEA member since 2004, and in that time I’ve worked under almost all of the contracts that Equity prescribes. Having worked primarily within the independent theatre community – and therefore under the ITA, the Indie, the Co-op Policy and the Fringe waiver – I am particularly attuned to the needs of artists who are making and producing independent performance work. Independent theatre is the driving force behind a strong sense of theatre community and is the starting point for many theatre artists, but the needs of this community are under-served and under explored by Equity.
As a CAEA Ontario Council member, I would like to help artists spend less time on the business side of being an artist and more time being an artist, by reviewing and revising the process, protocols and agreements to better reflect our needs. I would work with Equity and the independent theatre community to build and foster a stronger, more cohesive, relationship. The recent closing of Equity Showcase Theatre and the near-closing of the Western Office also strengthened my resolve to ensure that the voices of independent theatre artists are clearly a part of the decision making process. On Council, I would strive to put the Association back into the hands of its members.
Richard Lee
My name is Richard Lee and I am an actor, fight director, sound designer and independent theatre producer. I’ve been an Equity member since 2001.
The things I’d like to see improved in our association is the way in which we deal with artists from diverse backgrounds. I’d like to find positive active ways to promote and encourage the casting of diverse artists. Canada is a multicultural society and I think it would be great to see the stages of our theatres reflecting our country’s diversity in full.
Having worked as a producer of independent theatre, I would like to see our association keep up with the various diverse practices of creating theatre. Many independent companies are evolving the way they create theatre and I feel that we, as an association, need to grow the ways in which we engage these companies. By doing so, we continue to ensure and foster safe working conditions within these unique models of practice.
I am also interested in seeing better encouragement from our association in member driven projects. Supportive understanding of the spirit of creation within our membership encourages the growth of our industry, and thereby leading to more awareness of theatre in the community at large and more opportunities for members in the long run.
The world is ever evolving and changing, and we as an association must be aware of these changes and be proactive in our approach when working with all of Equity’ s partners. I am looking forward to serving on council, to be one of the voices of our association and to work together on all fronts to find ways to engage our audience and to raise awareness of the great theatre that is being made in Canada.
Mark Brownell
My reason for running for the Equity’s Ontario CPAG is this: A few years ago a decision was made by Equity to withdraw funds from Equity Showcase. As most independent theatre people in Toronto know, Showcase was a vital rehearsal resource to Equity artists in this city. That incident, as well as concerns about the handling of indie contracts by the staff and current council at Equity, was a wake-up call for me. I was forced to consider a more proactive involvement with Equity. I believe member/creators risk losing a voice at our Association if we succumb to apathy when important decisions are being made on our behalf. I am going to fight for Equity member/creators in the GTA to receive equal and fair treatment by our Association.
Vinetta Strombergs
I am running for the Ontario CPAG as a result of attending the AGM where the large turnout was primarily due to a pressing issue affecting members who are trying to create original theatre in tough economic times. I have served previously on Council and the National Executive and also chaired the Directors and Choreographers Committee. I believe my experience and perspective will be useful in ongoing discussions related to developing new agreements that do not undermine our existing collective agreements but also recognize our need to practice our artform and create theatre that reflects our individual passions and talent. Creating theatre is as important to our artistic development as taking classes to improve our skills. We are not just actors, directors and stage managers, some us are also creaters and therefore become producers. We need to examine the distinctions Equity makes when dealing with its own members in this regard. Even though Equity is a national organization, I think we can take into account regional differences in the same way that we recognize opera and ballet agreements are different from theatre and Stratford is different from Shaw. I would also like to explore new ways of cutting down excessive paperwork without jeopardizing security and accountability.
Aaron Willis
I am an actor, director, and Equity member since 2003. As a member who creates and produces theatre at the independent level, I am running for Ontario CPAG to help represent the voices of artists who, in order to bring their work to the stage, often take on a multitude of production responsibilities over and above the creation of their art.
Independent theatre artists who are members of CAEA and who attempt to create and mount our own work often find ourselves in an unnecessarily adversarial relationship with our own Association. If we are to continue generating new work, nurturing the development of new and diverse artists on our stages, and ensuring the viability of young theatre companies, it is essential that all members of CAEA who have a vested interest in these things make their voices heard, or risk decisions being made on our behalf without our input. We must be transparent about the frustrations and obstacles that we face, and we must continue to recommend and advocate for new models of engagement that more accurately & adequately reflect the evolving needs of the artists. These models of engagement must be as innovative as the work being created.
As your CPAG representative I intend to stand for the voices of those CAEA members who, despite the countless obstacles, bravely continue to create and produce their own work when no one else will. These member-creators not only provide constant work opportunities for other Equity members, they are the life-force of independent theatre in this city, and across the country.
This week we turn over our website to The Indie Caucus (IC), which Praxis Theatre is a member of. The IC (as no one has ever referred to it) is a TAPA committee formally announced at the 2007 AGM for the Toronto Alliance for the Performing Arts (TAPA). It was created to provide a forum for companies to work together through the many challenges that face indie theatre in Toronto.
There is no formal membership to the IC. It is open to any TAPA member who self-identifies as an “indie” company. The IC makes decisions based on a consensus model that is inclusive to the desires of all who regularly attend meetings, and to date we have held three public town hall sessions to receive as much feedback as possible from the community about our proposals.
Unfortunately, the IC has been bogged down in 3 years of what can only be described as stonewalling by CAEA. Our attempts to come up with solutions to the problems posed by the myriad of problems the antiquated agreements they require us to use have sucked up a massive amount of volunteer hours thus far. The IC was supposed to be about working together to find to solutions to all sorts of theatre producing things: marketing, ticketing, outreach, budgeting, etc.
We’re really bored with this situation and are excited to move on to working through other challenges. A full chronology of our incredibly frustrating journey is available on the Facebook group created to communicate with likeminded artists on this topic: Artists for a New CAEA Agreement.
We definitely hit a wall when a 96-1 vote at CAEA’s last AGM to support our proposals was widely ignored by the organization. (They can do that?) Reform from the inside seems the only hope at this point as the desires of CAEA membership seems to be having little discernable effect on policy.
This week, ballots for Equity elections will be mailed to all members in good standing. Don’t throw that ballot in the garbage! Since there was only a 28% voter response from the general membership in the last Council election your vote can definitely make a difference.
The Indie Theatre Caucus at TAPA would like to independently endorse the following candidates for Ontario Council and CPAG:
Ontario Equity Councillor:
Chris Hanratty & Richard Lee
Ontario CPAG
Mark Brownell, Aaron Willis & Vinetta Strombergs
These are all Equity member/creators who have actively participated in Indie Caucus activities over the past three years. All understand and are publicly supportive of the issues surrounding small independent theatre in this country. We also recommend that all members from across the country check out all of the candidate statements in your region on the Equity site by clicking here:
It is quite apparent from many of these statements which candidates support indie issues and which do not. Later this week: We hear from the Indie Caucus candidates on why they deserve your vote!
The Indie Caucus
Invites any and all interested parties to:
Canadian Actors’ Equity Association Town Hall #3
Indie Caucus Candidates Revealed!
Thursday August 13th, 7:00pm @ The Theatre Centre
This is the first Town Hall since the historic 96-1 vote at the CAEA 2009 AGM to better represent the needs of member/creators.
This Town Hall is being held during the SummerWorks Festival at The Theatre Centre to reach as many independent theatre creators as possible with the latest exciting developments in how professional associations are adapting to modern creation practices.
This Town Hall will present:
- The names of the two indie caucus candidates who will be running for CAEA Council and the two candidates who will be running for CAEA Ontario CPAG in this fall’s CAEA election. Some of them will also be present at the meeting to announce their platforms.
- Important information regarding why the ITA agreement has just been extended for a single year.
- Equally important information about a new Fringe/SummerWorks Contract that is currently being drafted by CAEA.
- An update on what steps CAEA has made to fulfill the mandate set forth in the 96-1 vote for reform at the previous AGM.
This is a key moment in how the agreements we use to make art together will develop over the next decade. Come learn more this week and save yourself ten years of banging your head on the wall!
Want to know more? Check out the Facebook Page: Artists for a new CAEA Indie Agreement
The agreement, which is not technically an Equity contract, but is “promulgated by Actors’ Equity Association to allow its members to participate in productions in small theaters without the benefit of an Equity Contract.”
Members receive no salary or benefits and the performance and rehearsal schedules are limited in number. The terms of the code, created by and for the members, are designed to protect both the Equity actors and the interests of those theatres in New York City that operate under an Equity contract.
Approximately 1000 productions went on in NYC last year under this agreement, which does not forbid producers and actors coming to a sub-Equity standard agreement on pay. This code can only be used by Equity actors working in theatres with less than 99 seats in two types of situations:
A) The
Basic Showcase Code for use on independent one-time productions.
B) The
Festival Showcase Code that allows actors to work for not-for profit producers who create a season of work.
Some of the recent changes include:
- Maximum ticket prices have been increased from $20 to $25.
- Maximum rehearsal time has been increased from four to five weeks.
- Maximum budget to fall under the basic code is increased from $20,000 to $35,000.
- Performances may now be held over a six-week period.
These changes were the result of the Off-Off Broadway Committee, which is made up of members of Equity who have worked under the code and producers who have produced under the code.
Will this significant shift by AEA towards allowing its membership greater ability to leverage their labour to kick-start careers and productions have an impact in Canada?
The 2009 CAEA AGM held on February 24th in Toronto saw a massive turnout to support a Member Resolution calling for Equity to provide a Showcase-type agreement for use by its membership. The final vote in support of this motion was 96-1. The issue brought out so many members, that the minutes to several previous AGMs were passed by an assembly that had finally achieved quorum. Clearly CAEA has a mandate to come up with a new system that supports members that want to hustle to get something off the ground, but no one knows what will be proposed.
What do you think? Should CAEA adopt a Showcase-type code? Should the rules in the U.S. have anything to do with Canadian rules? Are these agreements “the thin end of the wedge” that will spell the end of reasonable protections for performers? Has that been the case in New York? Is this a good way to facilitate artists creating their own work?
On Monday February 24th CAEA held its annual AGM. Though attendance in the past has been so poor that quorum has not been achieved, members turned out in exceptional numbers this year. Debate from the floor made clear the motivation behind this unparalleled presence. The Member Resolution put forward by TAPA Indie-Caucus member Mark Brownell prompted this surge in numbers—artists came to vote.
The resolution (with minor amendments), passed with overwhelming support; only one individual voted against it.
Those who spoke in support of the resolution—which deals with member-created work —urged the audience to consider the specific manner in which the way that artists work has changed. Individual members spoke for those from across the country who could not be present, reporting that they see their impetus to create as being stymied by the association. A particular point of emphasis noted the distinction between producers and member-creators. A second distinguishing point was the necessity of making this discussion a national dialogue. The President himself could not help commenting “I am getting a strong message here.” He explained that member-initiated production has been put on Council’s work plan for the next year.
With respect to concerns about the resolution, one speaker suggested that CAEA avoid an influx of too many member-creators and make the agreements available to these artists more difficult to access.
Council meets in March. Equity by-laws place the command of this Member Resolution firmly in the hands of Council. The membership present at the AGM has voted, with quorum. Council now has the opportunity to vote and determine the future of this resolution. Attendance on Monday evening must send to Council a clear signal as to how the resolution and its outcomes might be handled.
Click here for the CAEA Council Info Page
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