equity news...fitzgerald white (the lion king) at actors’equity association’s annual black...

By Sandra Karas,Director,VITA Program

Sounds like a no-brainer,right? But you might besurprised – pleasantly or

not – to learn what are and what

aren’t considered “ordinary andnecessary” business expenses forthose in the entertainment industry.Since I haven’t written on this topicin a while, I thought it would beprudent to review the list of theusual expenses most of you incurwhile pursuing and plying yourtrade and profession. And keepinggood records and receipts is amust if you’re going to survive anaudit, so stay tuned for nextmonth’s article on audit tips.

Here is the list of thegenerally recognized businessexpenses in the theatricalindustry:

1) Advertising & Publicity:photos, résumés, websites,IMDb, Showfax, Inc., etc.

2) Accompanist/Audition

Expense: accompanist, scenepartner, audition space/equip-ment.

3) Agents’ Commissions/Managers’ Fees: 10 percent (foragents); 10-20 percent (for man-agers).

4) Coaching/Classes/Lessons: voice, speech, acting,dance, movement, dialects, fenc-ing – any specialty performancetraining.

5) Entertainment forBusiness: for seeking and/orcontinuing professional contacts,obtaining work, furthering incomeproduction, etc.

6) Equipment & Software:audio/visual equipment,recorders, MP3 players, comput-

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Annual Membership Meeting isFriday, April 10, 2015

The Eastern, Central and Western Annual Membership Meetingwill be held on April 10, 2015. During the Annual MembershipMeeting members in all regions will be able to hear statements ofcandidates running for election to Office and Council.

The statements 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 agenda will also include the following:• Presentation of the Rosetta LeNoire Award• Report of the Executive Director• Report of the President• Report of the Eastern Regional Director• Report of the Eastern Regional Vice President• Membership Discussion Period in accordance with the by-laws

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 agenda will also include the following:• Presentation of the Rosetta LeNoire Award• Report of the Central Regional Vice President• Report of the Central Regional Director• Membership Discussion Period in accordance with the by-laws

The meeting in the Western Region will convene at11 a.m. PST at a location in Los Angeles to be announced in the

coming weeks. Please check ActorsEquity.org for updates.

The agenda will also include the following:• Presentation of the Rosetta LeNoire Award• Report of the Western Regional Vice President• Report of the Western Regional Director• Membership Discussion Period in accordance with the by-laws

For members with disabilities who would like to request anaccommodation to participate in the Membership Meeting,please contact Governance Associate Allison F. Bodwell at 212-869-8530, ext. 318 two weeks prior to the meeting.

Tax News:WhatYou May and May NotDeduct onYour IncomeTax Returns

(continued on page 2)

African American Actors on Broadway:Life,Work and InspirationAEA Celebrated Black History Month with an Exclusive Panel

(L to R) Marva Hicks, Alton Fitzgerald White, Montego Glover and(far right) Michael Potts spoke about their lives working on andoff the stage. Moderated by (2nd right) Allyson Tucker, andstanding next to the chair of the National EEO committee,Christine Toy Johnson, the Black History Month event took placeon Feb. 9, 2015.

When asked how shekeeps moving forwardthrough the hard times

this industry undoubtedlypossesses, Montego Gloverremembered how she gotthrough her Broadway debut.

While understudying Celie inThe Color Purple, Glover wasgiven a 15-minute notice thatshe was about to perform therole onstage for the first time.Because ushers didn’t havetime to stuff programs, the PSMdelivered a verbalannouncement to the audience—and was met withinstantaneous “boos.”

“The curtain billowed fromthe booing,” she remembered.She was thankful to have thesupport of her cast. “Thank Godfor an acting company.”

In that moment I thought, ‘Nomatter what is coming at you —boos or otherwise — you’regoing to make it.’”

Glover, who went on to getTony-nominated for Memphis,and will be in this spring’supcoming It Shoulda Been You,imparted her experience along

with theatre vets Marva Hicks(Motown), Michael Potts (TheBook of Mormon) and AltonFitzgerald White (The Lion King)at Actors’ Equity Association’sannual Black History Monthcelebration event in New YorkCity, “African American Actorson Broadway: Life, Work andInspiration” on Feb. 9, 2015, inEquity’s Council Room.

At the panel discussion,which was sponsored by AEA’sNational Equal EmploymentOpportunity Committee, theevent encouraged the Equitypanelists to discuss theircareers, what inspires them andhow working on Broadway haschanged their lives. Moderatedby AEA Councillor AllysonTucker (who described thepanelists as an “embarrassmentof riches” sitting next to her), thegroup discussed in front of apacked house everything fromgetting started in the businessto some of the issues faced byworking actors of color.

When dealing with a castingdirector who might not hire you,Potts simply said “call them onit.” The actor remembered whenauditioning for the role ofMolière — and he was the best

fit — the director asked him todo it again, and possibly evenonce more, only to be met with,“I haven’t decided on the culturalcasting of the play yet.” Whilelaughing, Potts said to thedirector, “Yes.You have. I knowwhen I’m being apologized to.”

“So, call them on it,” he said.“I make sure that they reallywant to see me. I’m not there tomake them feel good aboutthemselves.”

The panel also agreed thatan African American performer,along with any race, must gointo the audition room preparedto convince any director that heor she is the best for the role.More than that, they agreed thatonce you’ve landed a job, youmust deliver both on stage andoff.

Adding to the idea ofdelivering on stage and off,

Index


Page 3...........From the President

Page 4 ..........Celebrating Women

Page 4 .............Theatre Spotlight

Page 6 ................National News

Page 8 ..................Final Curtain

There are many inspirational women within our union that deserve praise; however, the women thatare sometimes forgotten that I find a special kinship with are our female stage managers. Four in

particular inspire me to be my best.They are focused, no nonsense, extremely intelligent, caring, the salt of the earth andmake me feel appreciated and safe, and they are magic. Susan R.White, Barbara Burton, Lucia Lombardi,Amber Dickerson — ladies I salute you.You are the best at what you do. Brava!

Debra A.Acquavella. She was my stage management teacher and mentorat Emerson College. In addition to answering all my questions about stage

management and teaching me the skills, she taught me how to get “enough” out of a career in the theatre —how to get enough money, enough satisfaction, hope when you’re not working and enough peace when you

are working. I think of these things almost every day as I’m making my way through this career.

E. FAYE BUTLER

VANESSA M. COAKLEY

In honor of Women’s History Month, what female AEA member has inspired your career?

MARCH 2015 / Volume 100 / Number 2

EQUITYNEWSACTORS’ EQUITY: STANDING UP FOR OUR MEMBERS

www.actorsequity.org

Editor: JOSH AUSTIN

Equity News Advisory CommitteeChristine Toy Johnson, Chair

(Eastern)

Nancy Daly (Western)

Diane Dorsey (Central)

Nicole Flender (Eastern)

Bruce Alan Johnson (Eastern)

Kevin McMahon (Western)

Liz Pazik (Central)

Barbara Roberts (Western)

Melissa Robinette (Eastern)

Buzz Roddy (Eastern)

EQUITY NEWS (ISSN: 00924520) ispublished monthly except for com-bined issues in Jan./Feb., July/Aug.,Oct . , /Nov. , by Actors ' Equi tyAssociation, 165 West 46th Street,New York, NY 10036. Telephone:(212) 869-8530. Per iod ica lspostage paid at New York, NY. and ad-ditional mailing offices. Copyright2003, Actors' Equity Association.Subscription price for non-membersof Actors' Equity Association: $25 peryear. Postmaster: Send addresschanges to Equity News, 165 West46th St., New York, NY 10036.

EQUITYNEWS

Area LiaisonHotline systemCall 877-AEA-1913

Equity has a national toll-freehotline system for members wholive in area liaison and officecities. The number is 877-AEA-1913 (honoring the year ofEquity’s founding). Each AreaLiaison city has its ownextension, where members canaccess news and informationin their region.

(1) Dial 877-AEA-1913

(2) Dial your city extension:811 Atlanta812 Austin/San Antonio813 Boston814 Buffalo/Rochester815 Chicago816 Cincinnati/Louisville817 Cleveland818 Dallas/Fort Worth819 Denver820 Detroit821 Florida – Central822 Florida – South823 Houston824 Kansas City825 Las Vegas826 Los Angeles827 Milwaukee/Madison828 Minneapolis/St Paul829 Nashville830 New Orleans831 New York832 Philadelphia833 Phoenix/Tucson834 Pittsburgh835 San Diego836 San Francisco837 Seattle838 St. Louis839 Washington DC/Baltimore

2 / EQUITY news MARCH 2015

AEA’s 99 Seat Theatre Plan Proposals

For more than 30 years, thetheatrical landscape in LosAngeles has been built

around the 99 Seat Theatre Plan.This plan considers participantsto be volunteers.

On February 6, 2015, Equity’sNational Council put forward athree-part proposal to makesubstantive changes to the planto eliminate availability of the plan.These include two new internalmembership rules that allow formembers to continue tocollaborate without benefit of acontract. The third proposal is fora 99 Seat Theatre Agreementunder which members wouldreceive minimum wage forrehearsals and performances.

The process for putting

forward these proposals to themembership is defined by a 1989out-of-court settlementagreement between Equity andthe 99 Seat producers. Thisprocess includes a series ofmeetings between Equityrepresentatives and the ReviewCommittee, a specialmembership meeting called byEquity to discuss the proposalswith its members; an advisoryreferendum of the members inLos Angeles County; and a finaldetermination by Council.

For more detailed informationand downloadable .pdfs on the 99Seat Theatre Plan proposal, visit“Proposed Opportunities for LAMembership” in the MemberPortal.

ers, personal organizers, smartphones, tablets, recording andediting software, mixing/audio,etc. for business.

7) Gifts for business: toagents, managers, directors, cho-reographers, casting offices, etc.

8) Makeup & Hair Care –While working or in preparationfor a specific job, including wigs,hairpieces and theatricalmakeup.

9) Office Supplies: stationery,mailers, postage, stamps, desksupplies, etc.

10) Repairs/EquipmentMaintenance: piano tuning,equip. maintenance contracts,repairs, etc.

11) Rental of Equipment,Studio Space, Cable TV, etc.:business use of contract rentals,video subscriptions, recording orrehearsal studio, etc.

12) Research Supplies:music, scores, DVDs, scripts,libretti, books, downloads, iTunes,etc.

13) Tax Preparation/LegalFees: any business-related feespaid to a professional.

14) Telephone: long-distanceor toll calls, a second linededicated to business use,cellular phone business use, callwaiting, call forwarding, datapackages, etc.

15) Tickets for Research:theatre, film, opera, concert,dance entry fees for theperformer’s study.

16) Tips/Gratuities: to thedresser, maid, doorman or anyrelated personnel.

17) Trade Publications:

Backstage, Variety, Performers’Cues, Call Sheet, etc.

18) Transportation SeekingEmployment: bus and subwayfares, auto use, taxicabs, jitneys,car services, etc. to attendauditions, go-sees, classes,interviews.

19) Union Dues andInitiation Fees: union andprofessional associations,working dues.

20) Wardrobe: specializedcostumes, dancewear, uniforms,footwear, etc.

21) Out-of-TownEmployment or AuditionExpenses: lodging, air/bus/trainfares, telephone, Wi-Fi, meals,laundry, tips while working orlooking for a job away from homeovernight.

Here is a list of what’snot deductible:

1) Gym Memberships: un-less it’s a specialty dance or edu-cational studio where you’re tak-ing classes to stay in shape, it’snot going to reduce your incometax.

2) Hair Cuts: maintaining yourlook for auditions or to keep upwith that 5-year-old head shot isjust not a business deduction. Ifyou get a gig, however, go rightout and get that look spruced upand take it off your taxes. It’s forthe employment contract andonly if your employer does notprovide hair and other groomingservices for your role.

3) Hair Coloring: Same dealhere. Maintaining the color or col-ors of your best style won’t beany kind of deduction unlessyou’ve just gotten a job and you

can then justify the color andstyle for the work you’re doing —if that’s what you need to use onthe job. If the employer provideshair care, you’re out of luck withthis expense.

4) Makeup: You already knowthe answer, right? Unless youhave an upcoming employmentcontract, you can’t really justifyreplenishing your makeup kit, sowait until you do get a gig and goright out and stock up with whatyou’ll need at the theatre. If you’regoing on a set or other job wherethey’re doing your makeup, youmight only be able to justify someof your costs.

5) Cosmetic Surgery andDentistry: These are not evendeductible as medical expensesunless they are performed to cor-rect an accidental, congenital ortraumatic disease or defect. Theexception might be someonewho does dental product com-mercials. Maintaining yoursmooth skin or bright teeth issimply part of good grooming, ac-cording to Congress.

6) Audition Clothing: If it’ssuitable for wearing on the street,it’s not deductible on your tax re-turns. Only specialized clothing,dancewear, costumes, uniformsand the like may be taken asbusiness tax deductions. Clean-ing and laundering your ownclothing used on a set or in ashow is fully deductible – just notthe cost of the clothes them-selves.

7) Over the Counter Medi-cines and Supplements: eventhose recommended and pre-scribed by your physician are notconsidered medical deductions if

they can be purchased over thecounter. So, those baby aspirin,antacids, anti-reflux products, vi-tamins and other doctor-recom-mended items are on your dimeand not on your tax return.

8) 100 Percent of Equipmentfor both business and per-sonal use: this includes yourphone (if you only have onephone and one line) and yourcomputer (if you only have one ofthose, too). You must apportionyour time and business use tosee what percentage of the timeyou’re using these items for busi-ness purposes. It’s not easy, butwe recommend keeping a log forone week in every calendar quar-ter and then averaging the 4weeks to see what your businessuse is. If you have a land line,your cell may be considered 100percent. If you also have a tabletor notebook, that second com-puter may be taken 100 percenton your returns.

If you have any questionsabout these or other tax matters,stop in your nearest VITA office.The New York City office islocated on the 14th Floor of theEquity Building, 165 West 46thStreet. Hours are 10:30 a.m.-4p.m., Monday, Wednesday,Thursday and Friday, or byphone: 212-921-2548. You mayalso get tax assistance inOrlando at the Equity office andin Los Angeles at The ActorsFund VITA Program.

Sandra Karas is Director ofthe VITA Program, Secretary-Treasurer of Equity and a NYLocal Board member of SAG-AFTRA.

Hicks said, “I just did the lastepisode of a series, and I knowthat character is coming back.”

Tucker asked the guests howrecent racially-charged events,such as the deaths of TrayvonMartin and Michael Brown, haveaffected their professional life.

“You have to work to bebetter,” said Hicks. Withupbringing in the era and areawhere racial tensions were at aboil, Hicks tries to guide herfellow, younger cast memberswith which she works byreiterating, “Have your personalcharacter together so that whenthese instances come, you cansay ‘This is who I am; We’ve gotto be more.”

The group agreed that therecent events also reminded

them that this union is like ahome and the members arefamily. And part of theirresponsibility to their union, andfamily, is sharing theirexperiences, helping otherslearn, which led Tucker to herlast question: “What do you wantyour legacy to be?”

For all of the guests, it wasbeing remembered as someonewho brought integrity to theirwork. Summiing up, White said,“I’d like to be known assomeone who showed up ontime and did his workconsistently well.”

For White, it should be noproblem. Twelve years and4,000 performances later, theactor is still performing asMufasa to sold-out houses inDisney’s The Lion King onBroadway.

African American Actorscontinued from page 1

Tax News continued from page 1

Bess Marie Glorioso is continually an inspiration to me. I met her years ago when I was just starting out andshe had just moved to the city, and over the years I found a way to follow her and finally work with her. Bess

is not only respected by her peers as one of the top Broadway stage managers, she is generous and kind in how sheshares her time with the community and her friends. She serves on committees with BC/EFA and hershows are often fundraising winners. She rallies support for individuals in our community — and stillsaves time to make dinner with her husband on her nights off. I am lucky to count her as a friend.

Ellen Geer. I returned to the business after a 20-year absence. Studying with Ellen and watching her perform has instilled in me the confidence that I have a long, rich future practicing the craft that I love.


LIZA VEST

DEBI TINSLEY

MARCH 2015 EQUITY news / 3

From thePRESIDENT

To Join or Not to Join? My Rejoinder

Jean Stapleton because she made a personal connection with me when I was a student at U.C.L.A. waiting to findout if I was cast in a musical. She was in the lobby and noticed me anxiously pacing. She came up and asked what I

was waiting for and I told her I had auditioned for my first musical production. She said, “Yes, waiting is always thehardest part of this business.” She waited with me and when I saw my name on the list I thanked her for herencouragement and she gave me a hug. What a talented, beautiful, funny and gracious woman who touched myheart and brought me luck!

Earnestine Phillips interprets text better than anyone I know. When I see her completely disappear and a King comesforth, it is the height of reverence. She works from a place of truth and has inspired me to do the same.


REN HANAMI

CONSTANCE JEWELL LOPEZ

At our January EasternMembership Meeting, amember asked what to

say to young non-members whoare trying to figure out whetherthey should join Actors’ EquityAssociation as soon as possibleor wait a while or just keepworking non-Equity. In response,a couple members gave heart-warming testimonials on thevalue of AEA. We have noofficial AEA party line, but let meweigh in with my personalresponse.

Surprisingly, your presidentdoes not adjure every youngactor to grab his or her Equitycard at the first opportunity. Myadvice is to wait until you’reready: get your training, getexperience. Develop thosechops, build that résumé. Then,when you are ready to competewith the very best, go for it —and “go for it full out,” asDirector/Choreographer JerryMitchell says. And don’t hesitateoverlong before jumping in: Thelookism and physical demandsof the business can make one’s20s some of his or her mostemployable years.

Another argument for soonerrather than later is that a unioncard offers the opportunity,

through Equity PrincipalAuditions and Equity ChorusCalls, to be seen for desirablejobs. A young University ofMichigan grad told me howgrateful she was that after a stintat the St. Louis MUNY, she hadtaken the opportunity to get herEquity card. Because of EPAsand ECCs, she was getting in onauditions for Broadway, touringand LORT jobs for which herclassmates, who hadn’t had orhadn’t availed themselves of thesame opportunity, were unable tobe seen.

I have heard of peoplemaking the argument that theyplan to stay non-Equitybecause, if they “go Equity,” theywill never work or they will workmuch less. This line ofreasoning is fear-based, andanybody who thinks that way isunlikely to make a career of thetheatre. And I very strongly feelthat anyone who wants to makea career of the theatre HAS tobe Equity. Why would one notwant the opportunity to work atthe very highest level of thebusiness? Why would one notwant the protection and supportof bargained-for workingconditions? Why would one notwant a defined benefit pension?

And for those who claim theydon’t need a union becausetheir non-Equity job pays themgood money, I say that a non-Equity job that pays goodmoney is an Equity job inwaiting. We are committed toorganizing, to creating morework opportunities for themembers, and we will moveaggressively to bring anytheatrical employer with theability to pay decent salariesinto the Equity fold.

Perhaps most importantly,union is solidarity. Our union is50,000 people supporting oneanother in a very difficultbusiness; 50,000 peoplecommitted to creating the bestopportunities for one another tomake a life in the theatre. Whyon earth would an actor or stagemanager wish to give his or herenergy and talents to anenterprise that vitiated,undermined or militated againstthe success and efforts of theirfellow workers? Theatre isFamily. Union is Family. Whywould one hurt one’s familymembers?

So what I say to youngpeople considering whether orwhen to go Equity is this: If youare determined to have a careerin the theatre, you NEED to beEquity. First get your trainingand get some experience, butdo it as quickly as you can; andas soon as you feel ready tocompete with the pros, dowhatever you can to GET THATCARD! I will be proud to sign it.

During the EasternRegional MembershipMeeting held on

January 9, 2015, the memberspresent passed the followingtwo resolutions:

1) RESOLVED that AGMAaccess to Equity PrincipalAuditions shall be by aseparate audition list, similar towhat Equity MembershipCandidates currently do.

2) RESOLVED that ameeting would be scheduledwithin sixty days betweenMembers of the Union and theUnion-appointed Trustees tothe Equity-League Fund todiscuss how Members’ fundsare handled.

These resolutions werepresented to the NationalCouncil for consideration at itsmeeting on February 17, 2015.

The Council RESOLVED topostpone acting uponresolution #1 until furtherinformation could be obtained.

In response to resolution#2, the Council RESOLVEDthat AEA will host aninformational meeting withinthe next six months, whereinthe Equity Appointed Trusteeswill present an overview oftheir responsibilities and theirdecision-making process.There shall be a question andanswer period to follow.

A roll call vote to approve

this amended resolution was

taken and passed unanimously

with the following voting in

favor:Mr. Smith, Mr. Brown, Ms.

Nicole, Ms. Robinette, Mr.Zaloom, Mr. Bundonis, Mr.Quinn, Ms. Nevins, Ms.Lehman, Ms. Ivey, Mr. Rogers,Ms. Price, Mr. Brody, Mr.Denmark, Mr. Cooper, Ms.Williams, Mr. Cahn, Mr. Knapp,Ms. Cameron, Mr. Kennedy,Ms. Dolan, Mr. Shavzin, Mr.Girolmo, Ms. Fallon, Mr.Kaplan, Mr. Ewen, Mr. Carfrae,Ms. Arnett, Mr. Bott, Ms. Daly,Mr. Dotson, Mr. Gammell, Mr.Herzog, Ms. H. Lee, Ms. M.Lee, Ms. Loeb, Ms. Marty, Mr.McDermott, Mr. McMahon, Mr.North, Ms. Tross, Ms. Roberts,Ms. Simpson, Mr. Kilgore, Mr.Topol, Mr. Meyer, Ms. Kramer,Ms. Horne, Ms. Slusser.

Council Takes Action onMembership Meeting

Resolutions

2015 Annual ElectionCalendar

Friday, March 6, 2015 Deadline for Nominations byIndependent Petition (materialsdue in all three regional officesby 2 p.m. Eastern StandardTime) List of all nominatedcandidates will be available onEquity’s website by 5:30 p.m.EST.

Tuesday, March 10, 2015 Deadline to submit eligibilityprotests

Wednesday, March 11, 2015 Deadline for Candidates’Statements for Equity News,Equity website, and BallotBrochure (due in all threeregional offices by 2 p.m.Eastern Standard Time)

Friday, March 20, 2015 Deadline for registration to voteelectronically

Friday, April 10, 2015 Annual National MembershipMeeting (all regions viateleconference) Candidatespeeches

Monday, April 13, 2015 Distribution of Ballots (fromballoting company)

Tuesday, May12, 2015 Deadline to requestreplacement paper ballot fromballoting company

Wednesday, May 20, 2015 Deadline for Receipt of Ballots

Thursday, May 21, 2015 Tabulation Day

Thursday, June 4, 2015 Deadline to submit electionprotests

Additional information about the election process is available inthe Member Portal, members.actorsequity.org.

Chicago, IL – Erasing theDistance, a nonprofit focusedon highlighting mental healthissues through theatre willtransition from LOA-PP to CATTier N for its sit-downproductions.

Chicago, IL – RasakaTheatre Company, theMidwest’s first South AsianAmerican ensemble, is a newCAT Tier N Theatre.

Chicago, IL – RoyalGeorge Theatre will present acommercial production of FirstDate the Musical, operating onCAT 3 with at least five Equitycontracts. Additionally, thecommercial production of Louis& Keely: Live at the Sahara willoperate on CAT 6 with no lessthan nine Equity contracts.

Chicago, IL – Windy CityPlayhouse, a new CATTheatre opening this month,will now offer at least 12 Equitycontracts in its inauguralseason.

London, England – AEAnegotiated for the full companyof Broadway’s The ElephantMan starring Bradley Cooper,to transfer to the West Endunder a special agreement withEquity UK. In the official pressannouncement, Cooper said:“Never did we think we wouldhave the privilege to performthis show on Broadway, letalone in London. I’m honoredthat Alessandro, Patricia, theentire company and I have theopportunity to continue to tellhis story.” The production willopen May 2015 at the TheatreRoyal Haymarket for a limitedengagement through August 8.

Sacramento, CA – AEAnegotiated a new four-yearagreement with CaliforniaMusical Theatre that includessalary increases over eachyear.

San Francisco, CA – TheCollected Works, a small

# EquityWorks – THEATRE NEWS & NOTES



We asked the staff at theArden TheatreCompany to tell us

about the company; this is whatthey had to say:

When the founders of theArden Theatre Companylaunched a new company 27years ago, they didn’t know thatthey would greatly affect thelandscape of Philadelphia theatre,helping the City of Brotherly Loveto become a burgeoning theatretown that today is home toapproximately 50 professionaltheatres.

“When the Arden beganproducing and working withActors’ Equity, it was a big deal,”said Managing Director AmyMurphy. “There were not manyother Equity theatres in the cityyet – mainly the Walnut StreetTheatre, the now defunct DramaGuild, the Wilma Theater andPeople’s Light & TheatreCompany – and all of them butPeople’s Light & Theatre castout of New York. There were alsonot many working actors whocalled Philadelphia home.”

Since its inception, the Ardenhas maintained a commitment totwo things: its mission to tell“great stories by great storytellers”and to the ever-growing

Philadelphia artist community. The mission serves as the

Arden’s compass in its choice of

work for the five-showMainstage series and thetwo-show Arden Children’sTheatre series. Worksranging from Dostoevsky toDr. Seuss move across thetwo stages, in a thrivingtwo-theatre performing artscomplex that theypurchased as anabandoned building in 1995in Philadelphia’s Old Cityneighborhood. Thecompany’s presence hashelped Old City emerge asone of the region’s mostpopular destinations.

During the 2014/15 Season,Arden audience members will betreated to some of what the

Arden does best: a boldadaptation from classic literature(Charles Dickens’s GreatExpectations, adapted by GaleChilds Daly), a thrillingShakespearean adventure(Macbeth), and a daring andambitious musical (StephenSondheim’s Passion.) Next up atthe Arden is Under the Skin, aworld premiere by localplaywright Michael Hollinger thatgrapples with the complicatednotion of the American family.

Maintaining the same highproduction values as theMainstage series, 2014/15 ArdenChildren’s Theatre offeringsinclude a fresh adaptation of aclassic fairy tale (Beauty and the

Telling Great Stories with the Arden Theatre Company

Ian Merrill Peakes as Elomire (left)and Scott Greer as Valere (right) inthe Arden Theatre Company’sproduction of La Bête by David Hirson.

REFLECTINGON A CAREER

Tyne Dalyfirst joinedActors’ EquityAssociation in1963 afterapprenticingfor BucksCountyPlayhouse andthe AmericanShakespeare

Festival. She went on to make herBroadway debut in a brief, 12-performance run in That Summer –That Fall in 1967. In honor ofWomen’s History Month, the TonyAward-winning actor talks withEquity News about femaleinspirations, opportunities forwomen in the field and why shewould love to play Captain JamesHook.

Equity News: How did you earnyour Equity card?

Tyne Daly: I earned half my Equitycard at Bucks County Playhousebeing an apprentice with a little partin a play, which was kind of a trickbecause my dad and my mother andmy little sister and brother were in it,too.

I might have earned my first half byapprenticing at the AmericanShakespeare Festival. But in thosedays if you did two summers ofapprentice work you would sort ofearn your card, and that’s how I gotmy Equity card.

EN: Is there an AEA member(s) –specifically female - who’s inspiredyour career?

TD: Well my mother, Hope Daly,who got a dispensation from Equityonce to do a play with me out at theold Helen Hayes Theatre in Nyack,

New York. That was another summer’swork. We took the Helen Hayes anddid A Taste of Honey together. But,yes, she was my first actress as dadwas my first actor. So certainly momis there at the top of the list.

I’mthinkingaboutNancyMalone interms of aunion mate.Nancy justpassedfrom us.She wasvery activein theScreenActorsGuild, too,but hand inglove withEquity.Nancy wasjust one ofthosewonderfullyenergeticwomen whofelt thatactressesshouldconsider the idea of having power.

EN: Are there specificplaywrights, directors or theatrecompanies that showcase or havechanged the theatre landscape toshowcase the talent of women inleading roles?

TD: I would say Zelda Fichandler,certainly. I would say the DelacorteTheater, which was started by JoePapp. I think Joe Papp was aware of the value of all different kinds of actors and tried to promote that,including actors of the femalepersuasion.

EN: Is there a character(s)you’ve played or would like to playthat you believe is a symbol forwomen’s rights?

TD: Every character that I’veplayed stands up for women. Every

one. What you findin that woman iswhere her heroismis. Even if she’s anaxe murderer, youhave to find thehero insideanybody you play.

EN: Are thereany roles that aretraditionallyplayed by menthat you wouldlove to sink yourteeth into?

TD: I do have adream role andI’ve had it forprobably morethan 60 years —and it’s CaptainJames Hook.

EN: Why’sthat?

TD: Why’s that?I adore the smilingvillain, the comic

villain. The comic villain is really fun.He also has the best speech aboutfame. The fame speech just knocksme out, and I quote it every once anda while.

EN: Tell us about your characterand the show you’ll be starring in,It Shoulda Been You, coming toBroadway in March.

TD: Yeah, she’s a momma. Youknow, I’ve played every kind ofmomma in the world, except sort of aspecifically Jewish momma, whateverthat means. My sister Glynnis saysthe “ish” people are the same. So you

CCEELLEEBBRRAATTIINNGG WWOOMMEENN OO

“Every character that I’ve played stands

up for women. Every one.

What you find in that woman is where

her heroism is.”- Tyne Daly

“I think that women bring a different

set of lenses to the table.”

- Elizabeth Shuler

This month’s EquityNews features articlesabout two women

from two very different partsof our world. One became theyoungest person on the AFL-CIO executive council andthe other is one of thetheatre’s most belovedactresses. However, thesimilarities in their journeys— and their connection tounionism — are striking. Bothcite the influence of theirparents — specifically, theirmothers — on their earlyengagement with theircareers and theirparticipation in union work.Both women’s storiesillustrate how bothconcentrating on just doingthe work, and on being opento the opportunities thatcome their way havecontributed to where theyare today. Finally, bothexemplify the humility thatunderlies that work, makingthem shining examples ofsuccess during Women’sHistory Month.

- Paige Price, 1st Vice President, AEA

By Josh Austin


Beast by Charles Way) and theworld premiere of a newadaptation of Rudyard Kipling’sThe Jungle Book, adapted byGreg Banks.

This breadth of work hashelped the Arden maintain itssecond commitment: to supportthe Philadelphia artistcommunity by continuallydeepening and providing growthopportunities for current artisticrelationships while forging newones.

The Arden’s 2014/15 seasonopener, La Bête, is just oneexample. Producing ArtisticDirector Terrence J. Nolen said,“We were compelled to produceLa Bête because we wanted tosee Equity members Scott Greerand Ian Merrill Peakes play theroles of Valere and Elomire.

Scott and Ian are two of theArden’s most treasuredcollaborators: La Bête markedIan’s 18th Arden production(including directing Freud’s LastSession in 2012 and playingMacbethlater thisseason),while it’sScott’s28th.”

SaidGreer, “TheArden is myartistichome, andthen some.My wife,EquitymemberJenniferChilds, and

I began dating while doing theArden’s The Taming of theShrew. Three years later, afterclosing Midsummer, we had ourwedding reception there. Ourdaughter has grown up playing

ping pong and hanging out in thegreen room. I have made myliving as an Equity actor for 22years and it is impossible toimagine my career without theArden.”

The Arden also seeks to bringnew artistic perspectives anddifferent approaches to itswork. This season marks thedirectorial debut for two Ardenartists. La Bête was directed byEmmanuelle Delpech, a brillianttheatre-maker and actressherself whose work is physical,inventive, and unique (shestaged an adaptation of Oedipusat Colonus performed at FDRSkate Park in South Philadelphiathat featured skateboarders asthe Greek chorus), andAlexander Burns, who will directMacbeth, opening in March.

Burns hails from Philadelphia’sQuintessence Theatre Group,founded in 2009, and has gainedcritical acclaim for his direction ofepic works of classic literature.

Recently, James Ijames, anAEA member who has appearedin numerous Arden productions,was commissioned to write aplay that the company plans toproduce in an upcoming season.

The Arden Theatre Companyis now the second highestattended theatre in Philadelphia,with over 110,000 patronsannually. During the 2014/15season they will contract 55 AEAmembers for a total of 617 workweeks largely governed by aLORT C contract for Mainstageproductions and a TYA contract(Theatre for Young Audiences)for Arden Children’s Theatre.

Doug Hara, Josh Carpenter, Lindsay Smiling andSally Mercer in Arden Theatre Company’s productionof Great Expectations. Photos: Mark Garvin

COMING TO THE TABLE

AFL-CIOSecretary/TreasurerElizabeth Shulerisn’t just the firstwoman to take onthe job, she’s alsothe youngestperson to join theFederation’sexecutive council.

Elizabeth Shuler has learned that whenit comes to having and maintaining acareer in a union, you can’t let gender,race or age be the first set of lensesthrough which one looks.

When Shuler became the executiveassistant to the president (similar to achief of staff) at age 34 for the IBEWInternational, she knew what she had todo in order to succeed within her career.

“It wasn’t about me being the firstwoman in the position,” she said. “I put myhead down and worked really hard — andtried to just let the work speak for itself.”

Taking on the executive assistant jobwasn’t the only first “first” for Shuler. Hercurrent role as the secretary-treasurer forthe AFL-CIO also marks the first time awoman has been elected to the position.Additionally, she holds the title ofyoungest person to date to join theexecutive council, which was when shewas 39 years old (current AFL-CIOPresident, Richard Trumka, held therecord at 40).

Still, with records broken and titlesearned, the Portland, Oregon, nativenever expected to see herself in hercurrent career, let alone position.Graduating from the University of Oregonwith a degree in journalism, Shuler’sprofessional journey with unionscontinually catches her by surprise.

Though her father worked what shecalled a “good union job” as a power

lineman, Shuler hoped to come out ofschool and find a reporting job, andaspired to be like NPR’s award-winninglegal affairs correspondent, NinaTotenberg.

Instead, the college graduate foundherself in an employment-barren market,piecing together a few part-time gigs tomake full-time work.

One of her jobs was at the local utilitycompany in Portland, Oregon, alongsideher parents. Shuler worked as a clericalworker during a time when the womenwere trying to organize into a union. Shewas hired by the IBEW local to help with

house calls, and, though the campaign toorganize failed, Shuler found herself anew, full-time position in the union.

“I think that they were clear in that ifthey were going to organize clericalworkers — because they alreadyrepresented the linemen — they neededto have some women, they needed tohave some younger people,” Shuler said.

Wearing many hats with her position(she worked on education and training,lobbying, press, community outreach,etc.), Shuler found herself, just five yearslater, at the age of 28, working for theIBEW International as an internationalrepresentative in Washington, D.C. Sixyears later, she was asked to tackle therole of executive assistant to the president.

“As the president’s executive assistant,the nomenclature makes it sound likeyou’re a secretary, but it’s the opposite,”

she said, “which often became confusingfor people, with me as a woman and at ayoung age. Most people thought I was ina clerical role as an administrativeassistant, which often added anadditional challenge in doing my job.”

Shuler was assigned to work closelywith the AFL-CIO on numerous initiativesand got to know then Secretary-TreasurerRichard Trumka.

As Trumka was assembling his ticketfor president of the AFL-CIO, heapproached Shuler, and in her mind, veryunexpectedly, asking her if she wouldconsider running for Secretary-Treasurer.

“It seemed like every five yearsI was kind of thrust through anunexpected door that opened,”she said. “And so, at 39, I waselected secretary-treasurer inPittsburgh at the convention.”

Part of Shuler’s mission sincejoining the executive council in2009 has been to increase thepresence and importance ofwomen, people of color and youthin the labor movement.

“I think that women bring adifferent set of lenses to the table,”Shuler said. “The more women we

have around that table, I think the richerthe dialogue, the richer the problem-solving, the richer the set of solutions willbe that we can craft to addresschallenges.”

In addition to focusing on women’sissues and participating in many women’scauses, Shuler’s outreach to youth hasincluded the AFL-CIO’s NextUp youngworker initiative, which strives to educate,empower and mobilize youth both insideand outside the labor movement.

“I think there are more opportunitiesfor this generation than what previousgenerations had in terms of opportunitiesfor young people and women in ourmovement. But I would say we still have alot of work to do to open up thepossibilities, and it’s an exciting part of myjob to be able to help make that happen.”

OONN AANNDD OOFFFF TTHHEE SSTTAAGGEEknow the Irish, Jewish, Spanish,Swedish — it’s all the same mother.She’s the mother of the bride andthat’s going to be fun. I’m about toactually be the mother of the bridelater on this year in October; mylast-born daughter is gettingmarried.

It’s an art imitates life situation.My character thinks she’s lovingand generous and nice and herdaughter thinks she’s impossible.You know, that’s all.

EN: What do you hope toinspire in today’s generation oftheatre actresses and audiencemembers?

TD: Well I think it’s pretty basic:interest in the living theatre. We livein a mechanized world where youcan get anything and anybody rightin front of your eyes. But the livingtheatre, live theatre, both for theperformer and for the audience is atradition that I hope never getsreplaced by shadows on thescreen. I’ve done both. I’ve been ina couple or three movies and a lotof television and that’s all shadowson the wall. When you come to thetheatre, and I come to the theatre,with “hey, guess what, we’re bothhere” — that is irreplaceable.

EN: What advice could youoffer to actors — specificallyfemale — who want to forge acareer on stage?

TD: Keep your heart high. I haveno secret formula for making acareer. But, I think if you honestlyexplore all of the different womenthat you are interested in playing itwill grow you as a woman, it willmake you into a better woman ifyou really look at them. About howto forge a career? I don’t know.How to forge an interesting life?Look around. It’s all out there.


Pamela Singer gave me a job early in my Equity career and gave me the confidence to jump into the world of NewYork theatre. Brandy Kline has had my back for the past eight years. Judith A. Lewis has nurtured and

enabled my passion for (addiction to?) live theatre in every way. Ruth Schudson, who co-founded the MilwaukeeChamber Theatre — my home-base for almost 30 years — has been a colleague, confidante and consummate rolemodel for living a gracious and conscientious life in the theatre, the community and the world.

The great Cherry Jones. She is such a powerhouse and has played amazing roles!00She approaches her work with this astounding physicality and strength, but somehow holds on to the most delicate

emotional core. I attended her alma mater (Carnegie Mellon), so I’ve had the chance to meet her several times. Fromthose short but memorable encounters, I’d say she’s as kind and warm as a person as she is compelling onstage.


JUDY MARTEL

KC WRIGHT

By B. A. Nilsson

“How can we make it easierfor area colleges to hire us?”

“How can we become part ofthe area’s community theatres?”

The Greater Albany AreaLiaison committee held itsannual meeting on February 16at Capital Repertory Theatre,welcoming (in spite of thesingle-digit temperature) AEAPresident Nick Wyman andFlora Stamatiades, NationalDirector, Organizing & SpecialProjects, along with 14 areamembers.

Discussing how localcolleges are willing to hireactors, but the paperwork hasproven daunting, Stamatiadesnoted that Equity is alwaysworking to simplify its contracts

and codes, pointing to the newonline Deputy portal as anexample of the progress.Meanwhile, Equity businessrepresentatives are available tohelp.

Other opportunities mayawait in community theatreproductions. Such organizationsin other liaison cities haveenjoyed the benefit of payingEquity actors to work with theircasts. “Send us their informationand we’ll do some outreach foryou,” Stamatiades said.

“It’s tough to figure out howto make a go of theatre,”Wyman said toward themeeting’s end. “We need tokeep exploring how theatre canbest serve its communities in away no other art form canoffer.”

Albany, New York

Greater Albany Area Liaison Meeting

Atlanta, Georgia On Jan. 26, 2015, the

Atlanta Liaison Committee metto discuss upcoming andcurrent projects in the area.With 47 members inattendance, the committeetalked about its successfulfundraising for Open HandAtlanta, an organization that isdedicated to assisting peopleprevent or better managechronic disease throughComprehensive Nutrition Care.The nonprofit “combines home-delivered meals and nutritioneducation as a means toreinforce the connectionbetween informed food choicesand improved quality of life,”according to its website.

The committee and itsAtlanta Cares/Equity FightsHunger Fundraising Drive hasraised over $85,000 over thepast four years in support ofOpen Hand Atlanta.

Additionally, the membersspoke about upcoming

education and outreachprojects as well as potentialsalons put on by area AEAmembers for other Equitymembers. Committeeselections were also held;Jackie Prucha, Jon Goldsteinand Clifton Guterman wereselected to retain their existingseats on the committee.

Due to Winter Storm Juno,special guests Rebecca KimJordan, 2nd Vice President,along with Tom Carpenter,Assistant Executive Director,Eastern Regional Director andGeneral Counsel, had to Skypeinto the meeting rather thanmake an in-personappearance. Aside fromanswering questions themembership had, Carpenterand Jordan talked about theupcoming Production Contractnegotiations, and discussedcombining many of theDeveloping Theatre Contractsand the “Ask If It’s Equity”campaign.

The company of TheComedy of Errors atCincinnati ShakespeareCompany felt incrediblyheartened, raising $2,600 forBroadway Cares/Equity FightsAIDS in just two weeks —especially in a theatre thatseats only 160. The 14-member cast all pitched intothe fundraising, led by Equitystage manager Alice Flandersand company member BrentVimtrup.

“I’m a huge advocate forBroadway Cares/Equity FightsAIDS,” Vimtrup said. “I believevery strongly in its mission, sowhen the idea to collectdonations came up, I reallypushed for it.” Flanders, in hersecond fundraising effort,agreed. “Brent gave thespeech every night. His

enthusiasm encouraged mostof the giving. I had multipleactors come to me after amatinee and tell me that theyhad been exhausted, not at allprepared to do a secondshow, only to have theirspirits buoyed again by ourincredibly kind and givingpatrons,” she said.

Vimtrup added, “We at theCincinnati ShakespeareCompany love that we canhelp in whatever way we can,year after year.” BroadwayCares/Equity Fights AIDShelps fund Cincinnati’sCaracole, Inc., one of morethan 30 AIDS serviceorganizations in Ohio fundedthrough BC/EFA’s NationalGrants Program, which totaledmore than $100,000 for thearea in 2014.

ChicagoActors’ Equity Association’s

Equal Employment OpportunityCommittee, will present “Bodyand Soul: Career Managementand Understanding theEmotional Realities of theTheatre Artist,” on Saturday, April11, 2015, from 9 a.m.-12 p.m.

“Body and Soul” is the first in a series of career empowerment workshops exploring the journey of theatre artists. The workshop topics will include dealing with the reality of rejection, image versus talent, developing a sense of self-care and identifying new directions for one’s career. Hosted at the Greenhouse Theater Center in Chicago, there is no RSVP needed for this event. For more information, contact Business Representative Luther Goins at 312-641-0393 ext. 237 or [email protected].

Cincinnati, Ohio

The Comedy of Errors Raises anAbundance of Riches

Correction In coverage of

December’s Gypsy of theYear Competition in EquityNews, it was incorrectlyreported that AltonFitzgerald White closed theshow. In fact, Tony Awardwinner Lillias White broughtthe show to a grand finaleleading the “Celebration ofThe Wiz” company back onstage with her stirringperformance of the show’santhem “Home!”

mailto:[email protected]


Photos: Monica Simoes

Audra McDonald! When I got the opportunity to work with her, I knew it would be a valuable lesson.Getting to watch her on and off the stage, she always displayed great leadership, talent and wisdom.

It was a life changer for me. I knew then that as a person, and soon to be star, my greatness would have to extendbeyond the stage. She is the epitome of excellence, and with every song that she sings history is being made. Forthat, I will be forever grateful for the lessons that I continually learn from her.

Lois L. Griffing, who was a production stage manager at the Goodman Theatrewhen I first came to Chicago, and is currently the PSM for Kinky Boots on Broadway, has always inspired me by handling

complex and challenging productions with incredible steadiness and great humor. She is simply one of the best.


VALISIA LEKAE

KIMBERLY OSGOOD

Houston/Galveston, Texas

The annual Houston/Galveston Actors’ EquityMembership Meeting was heldon Monday, February 9, 2015, atThe University of Houston’sSchool for Theater and Dance,which currently hosts the AlleyTheatre during the renovation ofits space.

Prior to the meeting, AEAWestern Regional Board Chairand Western Regional VicePresident, Doug Carfrae, andEquity Business RepresentativeAlbert Geana-Bastare as well asthe local liaison committee hadan informal lunch meeting at alocal restaurant. That eveningthere was a small receptionbefore the meeting was called toorder by Houston liaison chairJoel C. Sandel. New liaisoncommittee members wereselected; joining the committee,this year, are AmandaPassanante, Joe Kirkendall andJoseph Corri.

Geana-Bastare provided adetailed rundown on all of thecontract activity in our area overthe past year and briefly spoke

about the desire to transitionseveral of our theatres, whichhave been using actor contractsregularly, to SPT status. It wasnoted, specifically, that StarkNaked Theater Company wouldbe taking that step next season.Carfrae then gave members anidea of what was going onnationally and the exciting ideaof ‘rebranding’ AEA in order tomake the general public moreaware of who we are as a union.

While at the meeting,members took the opportunity toshare some thoughts: One ofthe stage managers expressedconcern about long techrehearsals, where actors haveto wear extreme costumes andcompression garments forextended periods of time.Another member stated aninterest in doing a show underthe Members Project Code. Atthe conclusion of the eveningCarfrae expressed hisadmiration of the localmembership for its enthusiasmand involvement.

The Jungle Theater inMinneapolis once again put theneeds of others first when itappealed to audiences onbehalf of BroadwayCares/Equity Fights AIDS. Thecast and crew of On GoldenPond raised nearly $10,000during three weeks of

fundraising. Equity memberMichael Booth, who portrayedBill Ray, said that though he’dnever been a part of BC/EFAweek before, it was a joy.

“In my career of more than20 years, it just wasn’tsomething I’d thought to do,” hesaid. “When I found out that

Broadway Cares/EquityFights AIDS helps fundOpen Arms ofMinnesota, I washooked. A friend of minevolunteers there and Iknow the good workthey do. I made sure tolet our audiences knowthe money they weregiving would come backto our community.”

The six-personcompany took turnsmaking the nightlyspeech. “I’m not aperson who iscomfortable asking fordirections, let alonemoney,” said Booth. “I

was rewarded and surprised bythe generosity of the audiences.”In addition to Open Arms,BC/EFA also funds six otherMinnesota-based charities,including Minnesota AIDSProject and Minnkota HealthProject, awarding $80,000 to thearea in 2014.

Minneapolis, Minnesota

Minneapolis Theatre Breaks its Own Fundraising Record

Arriving around8:20 a.m. for freetax returnpreparation fromVITA, Equitymember JamesMills was gone by11:15 that morning.

Of course, keeping withwhat feels like tradition,members showed up duringthe early morning hours onFeb. 2, 2015, patiently waitingfor VITA (Volunteer Income TaxAssistance) to open its doorsin the NYC Equity building forits 39th season.

“This is a great service theunion provides, and I havealways used VITA’s servicessince becoming a membereight years ago,” said Mills.

Headed by Director andAEA Secretary/TreasurerSandra Karas, VITA is the onlyIRS-sponsored tax assistanceprogram in the countryspecializing in performers’ taxreturns. The program preparesthousands of complex federal,state and local tax returns formembers. Additionally, theassistance program is offeredin Los Angeles and in Orlandofor members.

For Mills, and many other

AEA members, getting theirtaxes done anywhere elsefeels like a mistake.

“These people are in thebusiness,” he said. “They knowhow to help you and carefullywatch for any red flags. Thevolunteers truly understandhow taxes can apply toperformers.”

Operating Monday,Wednesday, Thursday andFriday through the end of taxseason, VITA is open from10:30 a.m. to 4 p.m. in theNYC Equity office on the 14thfloor. Tax worksheets areavailable for download in theVITA section on the MembersPortal,members.actorsequity.org.These worksheets, whichcomply with IRS law, arerequired and must becompleted before anappointment.

Editor’s Note: Tax assistanceis also available in Orlando at

the Equity office and in LosAngeles at The Actors FundVITA Program.

By Irene Adjan, SouthFlorida Equity Liaison

The South Florida GeneralMembership Meeting was heldon Monday, Feb. 9, 2015, at TheWick Theatre in Boca Raton.

On hand to share informationand answer questions wereSenior BusinessRepresentative, Beverly Sloanand Eastern Regional VicePresident, Melissa Robinette.There was a lively discussionabout a number of topics,including how our region can

better educate new companiesand stage managers to avoidpotential future conflicts, whatefforts can be made to educatethe house managers and ushersat Equity theatres — so theycan speak knowledgably aboutthe union to audience memberswho may ask — and a desire tohave business representativesvisit the region with more

frequency to help enrich therelationship producers have withthe union.

It should be noted that it isabsolutely true that a union —or any organization — is only asstrong as its members, and youcan only be heard and countedif you show up. It was trulywonderful to have so manymembers attend the meeting

South Florida

South FloridaGeneralMembershipMeeting

New York City

VITAopens foryear 39

Igot my Equity card over 50(ahem) years ago in March1963 while still a very young

student at Antioch College inOhio. Antioch had a work-studyprogram and I had chosen totake a non-paying job as anassistant to director StuartVaughan, who was mounting aproduction of The Taming of theShrew, under the auspices of thePhoenix Theatre at the (old)Anderson Theatre on SecondAvenue and 12th Street in NewYork City. Since NYC was myhometown, I was able to forgothe salary and live at home,which made me an extremelyattractive job applicant for theproducers, T. Edward Hambletonand Norris Houghton.

During rehearsals, Iremember how secretly thrilledeach actor was to discover hewas the one to be clothed in abright red costume. It wasn’t untiltech night, when all the actorsgathered on stage for the firsttime, that there was a realizationthat all of them were clothed invariations of the same, brighthue. I still remember the open-mouthed astonishment as theylooked around them.

As luck would have it,Vaughan needed someone tomove a table for an on-stagescene change and no one wasavailable. Thus, I became a non-speaking servant to Petruchioand was inducted into Actors’Equity Association.


Letters received from paid-up members on subjects of concern to Equity members will be consideredfor publication in Equity News, provided that they are no greater than 175 words in length. Lettersselected for publication may be edited for space requirements. Actors’ Equity Association reserves theright to decline to publish letters at its sole discretion. When multiple letters on the same topic aresubmitted, 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, butnames 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.

UU..SS..PPoossttaaggee

49Letters to The Editor

IN MEMORIAM It is with deep sadness that I

write of my friend Edward J.Gryska’s unexpected andsudden death from a heart attackon January 15, 2015, whilecaring for his elderly parents inhis home town of Chicago.

He had just finishedproducing and directing his sixthannual production of AChristmas Carol at the Lawry’sdinner theatre in Las Vegas,where he was currently living.

Ed founded The Salt LakeActing Company, where heserved as producer/director forover 20 years, directingtraditional shows, new plays andmusicals, while always choosingscripts that were provocative,entertaining and eye-opening. Asdirector of SLAC’s annual,hilarious production of Saturday’sVoyeur (a take-off of Mormonethics and mores), he helpednurture hundreds of local andvisiting Equity and non-Equityactors with his passionate

knowledge of theatre,extraordinary work ethic,generosity of spirit, kindness andjoyous wit. His indomitable spiritwill be truly missed.

My condolences and deepestsympathy go to his family, friendsand long-time business partnerBrandon Klock.

— James Dybas

EPASDear Editor:

I was once interviewed forEquity News on the value ofEPAs. I said they were usefuland had gotten employment fromthem. I want to amend myopinion. I’ve been informed thatsome jobs I planned to attendEPAs for went ‘straight-to-offer,’or have been ‘cast’ in spite ofnotices saying “all rolesavailable.” One theatre companydid put ‘offer out’ in its castingnotice and kudos to them. Actorsshould have the right to makeinformed decisions as to whetherthey want to spend hours atEPAs on the off chance that the

person offered the role turns itdown, and CERTAINLY be told ifit’s been cast.

Giving actors an ‘opportunity’to audition for roles that don’texist is disrespectful and wrong. Ihave been a working member ofActors’ Equity for over 35 years.Even with an agent, I’ll go toEPAs if there’s a job I want to beseen for. I hate to think that mytime and that of my fellow unionmembers is of so little valuethese days.

— Sandy Rosenberg

Editor’s NoteDear Sandy:

Thank you for reaching out tous; we understand the concern.While we understand that it canbe frustrating for our members,producers are not prohibitedfrom casting roles by direct offerprior to holding their required Eq-uity auditions. They are encour-aged (and in some casescontractually required) to note intheir casting notice any roles thatare already cast or out on offer.

Ellen Tovatt

How I Got My

Equity Card

Years later, as a seasonedactress, I was pleased to againwork for the aptly namedPhoenix Theatre, which hadarisen once more, this timeunder the auspices of Hal Princeand the New Phoenix RepertoryCompany. Here, I spent threeblissful years doing repertory onBroadway in the Lyceum, HelenHayes and Ethel Barrymoretheatres. Often we would performone play for the matinée and adifferent one at night.

I remember Bill Moor steppingout into the dressing roomhallway wearing his white shirtand his dark green visor from hiscostume for The Great GodBrown and his voluminous blackvelour pants from Don Juan.“This is your repertory quiz,” heannounced. “What play are wedoing?”

I look back with fondness atall my wonderful years in thetheatre. But I most particularlyremember the thrill of playingPetruchio’s mute servantbecause it brought me one of mymost cherished possessions: myActors’ Equity card.

Tracking What YouAre Owed

AEA staff securedapproximately $2,500 invacation compensation for 10members, and $1,000 in unpaiddeductions for three members atthe close of the season for aLOA-CORST Michigan theatre.

Under the LORT CasualEmployment Rider, AEA in theCentral Region recouped over$500 in educational fees for amember working on acontracted production.

The Central Region staffuncovered several underpayments pertaining to updatesto the CAT Agreement. Theseincluded recovery of an extraweek of salary and benefits for

an on-call understudy, per a newagreement rule; $150 incompensation for rate variancefor members signingcommercial consent forms; andmissing tech week supplementstotaling $21 per member.

Following contractnegotiations for DinnerTheatres in Chicago, AEA staffprocessed retro salaryincreases for several membersat two different theatres, withpayouts totaling $700 and$1,000 for members at eachrespective company.

Equity helped to recover over$2,800 in a lost baggage claimfor a Western Region memberwho worked under a LORTAgreement.

Based on the review ofweekly reports, AEA madesalary claims on behalf of sevenmembers who were underpaidwhile working on variousWestern Region LORTAgreements, totalingapproximately $1,000.

theatre company, will embarkon its first professional Equityshow using the MBATAgreement.

# Equity Workscontinued from page 3

FINAL CURTAIN

Al Alu

Roy E. Andrews

Edward Atienza

William Austin

Brenan Baird

Eyleen Barry

Quinn M. Bass

Ted Beniades

Dianne Benjamin-Hill

Dean Bennett

Dina Bennett

John Branon

Allison Brennan

Joyce Campion

John Carpenter

Martin Clark

Ralph Cosham

Louis Criscuolo

Jack Dabdoub Jr.

Gunnar Dahlberg

Rockford Evan Davis

Maggie DeVora

George Dickerson

Steven R. Donner

Leo Ferstenberg

A. Gino Giglio

Kristin Gillies

Michael Goz

Doris G. Gramm

Barbara Ann Grimes

Joan Harvey

Edward Herrmann

Pam Hunt-Spradley

Jeffrey Jacob Hyke

John Randolph Jones

Linda Kane

Charles Kindl

Leesa Troy King

Joel M. Kramer

Walter J. Laughery

Robert Lavelle

Bruce Marc Levine

Carline Lewis

Paul Lukather

Rick Lusby

Geraldine Mc Ewan

Jerry Mc Gee

Allen C. Mitchell

Mary Ann Mobley

G.D. Naga

Julia Neary

Mike Nichols

Phillip Piro

Ed Preston

Larry L. Randolph

Rhodes Reason

Gregory Reuter

Meredith Rich

Geraine Richards

Susan Riddiford

Brooks Rogers

David Ryall

Richard Schaal

Vernon Ray Schwartz

Charlie Serrano

Michael Tartel

Andrea “Spook” Testani

Richard Lyle Thomas

Matthew Tomlanovich

Leonard Tucker

William J. Visteen

Mark Weston

Billie Whitelaw

Rae Whitney

Phyllis Wilcox

Marsha Zamoida

“Were I to die and go to heaven and find itpopulated by actors, I would not be unhappy.”

—-Playwright Ben Hecht(Reported between 11-15-2014 and 02-19-2015)

Growing up in Chattanooga, Tenn., movie musicals were the closest I got to professionals doing the kind of thing I wanted to do —and chief among them was The Sound of Music. Julie Andrews belting out, “I have confidence in confidence alone,

besides which you see, I have confidence in me!” was the most inspiring moment of the most inspiring movie to this little girl.For years, I thought “proper” singing involved a British accent, and I tried my best to imitate her sound as I acted out themovie in front of the television during its annual network showing. When I start to falter and lose faith, the best remedy is topull out that movie and remember the confidence that little girl in Tennessee had — and then get back to work.

I had the privilege of working with Jinni Pike in Kansas City a few years ago and she is my inspiration as a stage manager. Her professionalism, positive attitude and calm demeanor in a crisis

inspire me every day. Personally and professionally, she embodies the definition of a strong woman.


CLARA HARRIS

RENEE CALDWELL

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