Actors’ EquityAssociation hosted afree, day-long seminar

entitled “The Business Behindthe Show” for casts of Broadwayand commercial Off-Broadwayshows, and members of theCouncil in late July. More than40 members attended, all ofwhom participated in a follow-upsurvey designed to gatheradditional input about whatmembers would like to see fromthe Union as a way to makeEquity stronger.

The idea of hosting aseminar developed as anoffshoot of Equity’s strategicplanning efforts and in responseto members’ call for greatercommunication about importanttopics. The purpose of thisseminar was to providemembers a deeperunderstanding about thebusiness side of theatricalproductions and demystify theeconomic and artistic decisionsthat producers, presenters andgeneral managers face whenworking on a production.

“We have heard from themembership that they would like

us to broaden ourcommunications with them. Wedecided to provide a servicethat would be of benefit to themembership, and in return askfor participation in a survey thatwould give us a betterunderstanding of what thatmight look like,” explainedExecutive Director Mary McColl.“The responses to that surveywill help us shape our overallcommunications strategy for thefuture. This was a ‘test run’ butsuccessful and we will beworking on how to provide theseopportunities more broadlyacross the country.”

“The Business Behind TheShow” is a seminar created and

Equity’s Organizing andSpecial ProjectsDepartment, under the

direction of National DirectorFlora Stamatiades, nowincludes the Committee on AreaLiaison Affairs (CALA) andOutreach and CareerDevelopment.

The reassignment of CALAand Outreach and CareerDevelopment offersopportunities for greaterinclusion and participationamong the membership.Organizing has been identifiedas an important piece in Equity’slong-range strategy planprocess. The expansion of thisdepartment will help bolster thatgoal.

“This is an exciting first stepin our organizational restructureand is important,” said ExecutiveDirector Mary McColl, “becauseit speaks directly to Equity’score mission of service to our

members. We will see anincreased growth in memberoutreach and advocacy at anational level.”

In addition to working closelywith Ms. Stamatiades on avariety of initiatives, the Liaisonchairs will continue to work withtheir respective RegionalDirectors. Tom Miller, Director ofOutreach and CareerDevelopment, will report to Ms.Stamatiades and continue hiswork in the areas of outreach,Eastern Member Education,Equity Membership Candidatesand career development.

Organizing continues tobe an important areaof focus for Equity. The

Organizing Department and theOrganizing Committee haveworked steadily to identify areasof the theatrical industry thatcan be brought into the Equityfamily. Significant inroads havebeen made with producers,especially those whotraditionally have not usedEquity agreements, to attain the

first-time contract. The mostrecent achievement was thesigning of the non-Equity tour ofDr. Seuss’ How the Grinch StoleChristmas! The Musical,scheduled to play the WangTheatre in Boston and MadisonSquare Garden in New York City.(It should be noted that thisproducer did not produce theBroadway company.) A cohesiveplan to address cruise ships isin development.

A Publication of Actors’ Equity Association • NEWS FOR THE THEATRE PROFESSIONAL • www.actorsequity.org • Periodicals Postage Paid at New York, NY and Additional Mailing Offices

“The greater the artist,the greater the doubt.

Perfect confidence is grantedto the less talented as a

consolation prize.”—Robert HughesEQUITYNEWS

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SEPTEMBER2012

Volume 97Number 7

Tom Carpenter is newEastern Regional Director..........1From the President..................3Theatre Spotlight ....................4Centennial feature:The 1919 Strike ......................6Final curtain..........................9National news ......................10

First Membership Meeting of the2012-2013 Season

will be held onMonday, October 8, 2012 – Central Region (6 pm)

Monday, October 8, 2012 – Western Region (6:30 pm)Friday, October 12, 2012 – Eastern Region (2 pm)

The Central Regional Meeting will convene onMonday, October 8, 2012 at 6 pm in theMember Center at the Equity Building,

557 West Randolph, Chicago, ILThe agenda will include:● Report of the Central Regional Director.● Report of the Central Regional Vice President.● Membership Discussion Period in accordance with the By-Laws.

The Western Regional Meeting will convene onMonday, October 8, 2012 at 6:30 pm at

Theatre West, 3333 Cahuenga Blvd. West, Hollywood, CAThe agenda will include:● Report of the Western Regional Director.● Report of the Western Regional Vice President.● Membership Discussion Period in accordance with the By-Laws.

The Eastern Regional Membership Meeting will convene onFriday, October 12, 2012 at 2 pm in the

Council Room on the 14th Floor of the Equity Building,165 West 46th Street, New York, NY

The agenda will include:● Presentation of the Paul Robeson Citation.● Membership Discussion Period in accordance with the By-Laws.(A sign interpreter will be present on request.)

Future Membership Meetings will be held on Friday,January 11, 2013 in the Eastern Region and Monday, January14, 2013 in the Central and Western Regions.The AnnualMeeting will be held on Friday, April 12, 2013 in all Regions.

Equity ContinuesOrganizing Efforts

Tom Carpenter is NewEastern Regional Director/Assistant Executive Director

Thomas Carpenter hasbeen hired as EasternRegional

Director/Assistant ExecutiveDirector and General Counsel.Tom joined the Equity staff inlate August, quickly immersinghimself in the day-to-dayoperations of the EasternRegion.

“I have tremendous respectfor Equity’s proud history andtraditions,” said Tom. “Growingup, my parents took my sisterand me to the theatre and Iremember to this day theexcitement I felt when the houselights dimmed and the showwas about to start. Now I havethe opportunity to work onbehalf of this talentedmembership and I’m veryexcited to be part of the Equityfamily.”

As the Eastern RegionalDirector, Tom will oversee theregion’s operations, collective

bargaining and contracts andwill lead the New York andOrlando staffs. He will alsoserve as lead staff for theUnion’s Public Policy efforts. Heis a member of Equity’sexecutive team and, as GeneralCounsel for Equity, Tom willoversee arbitrations andmanage the Union’srelationships with external legalcounsel for labor relations.

Tom also has a strongbackground in copyright law,and as live performanceincreasingly intersects withrecorded media, his expertisewill be instrumental as Equitydevelops new strategies toprotect the intellectual propertyrights of its members. His yearsof experience in the governmentaffairs arena will be valuable asEquity develops a solid andachievable public policy agenda.

“We are so pleased to haveTom join our staff,” said MaryMcColl, Executive Director. “Hisbreadth of experience and hisleadership skills complementour existing staff and supportour mission. Tom is quicklybecoming the ‘go-to’ guy for ourEastern Region.”

Mr. Carpenter most recentlyworked as the AssistantNational Executive Director andChief Labor Counsel for SAG-

(continued on page 2)

(continued on page 2)

Organizing Department RestructuredArea Liaison Affairs, Outreach Now Included

Developing aCommunications StrategyResults in Day-LongSeminar:“The BusinessBehind the Show”

Tom Carpenter.

AFTRA, where his portfolio ofresponsibilities includedoversight of legal worksupporting collective bargainingand organizing, as well asoversight of the GovernmentAffairs and Public PolicyDepartment. Prior to the mergerof SAG and AFTRA, he servedas AFTRA’s General Counseland Director of LegislativeAffairs. Early in his career Mr.Carpenter was Legal Counselfor Teamsters Local 705 inChicago. He received his JurisDoctor from Chicago-Kent

College of Law and hisundergraduate degree fromNorthwestern University.

“There are tremendous newchallenges on the horizon forthe men and women who makethe theatre their life-longcareers,” said Tom. “In mycareer, some of the mostrewarding work I’ve done is tohelp organize new work andnegotiate strong contracts forperformers and other mediaprofessionals. I’m especiallyexcited to be able to continuethose efforts here at Equity.”

Originally from Ohio, Tomresides in Brooklyn, NY with hishusband David Slivken and fourrescue dogs.

Editor: DICK MOORE

Associate Editor: HELAINE FELDMAN

Equity News Advisory CommitteeChristine Toy Johnson, Chair

(Eastern)Nancy Daly (Western)Diane Dorsey (Central)

Nicole Flender (Eastern)Bruce Alan Johnson (Eastern)

Stas’ Kmiec’ (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 ' Equ i tyAssociation, 165 West 46th Street,New York, NY 10036. Telephone:(212) 869-8530. Periodicalspostage paid at New York, NY. andadditional mailing offices. Copyright2003, Actors' Equity Association.Subscription price for non-membersof Actors' Equity Association: $25per year. 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 of Eq-uity’s founding). Each AreaLiaison city has its own exten-sion, where members can ac-cess news and information intheir 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 SEPTEMBER 2012

Tom Carpentercontinued from page 1

presented by the CommercialTheatre Institute, anorganization formed in 1982 totrain future producers forcommercial Broadway, Off-Broadway and touringproductions. CTI director, andproducer himself, Jed Bernstein,assembled movers and shakersamong Broadway’s producers,general management andtouring presenters. Speakersincluded Tom Viertel, partner,Scorpio Entertainment; DavidRichards, partner in Richards/Climan Inc.; Rich Baker,President of Fox Associates;and Maggie Brohn, partner,Bespoke Theatricals. Eachpresenter focused on an aspectof the industry from theproduction side – “What does aproducer do? What does it taketo be good at it?”(Bernstein);“How are showscapitalized? How do producersget paid?” (Viertel); “SampleShow Budgets- New York”(Richards); and “The Economicsof Broadway Touring” (Bakerand Brohn).

“What a great opportunity forCTI and Equity’s leadership tocome together to paint a richpicture of how the businessbehind the show really works,”said Mr. Bernstein. “It was terrificto have so many working actorsattend the seminar andgratifying to give them an insidelook at what producers,presenters and generalmanagers do.”

The Equity members inattendance learned first-handabout the essentials ofproducing, and how a producer

evaluates a production, whetherit involves moving a productionor developing an idea for a show(your own or someone else’s).Several presenters talked aboutthe financial considerations of aproduction, from thecapitalization aspect andstrategies to entice potentialinvestors, to the nuts and boltsof a show budget, including howit is developed, budget lines andwhat each line representsthroughout the life of a show.Speakers also revealed littlediscussed items that are takenfor granted within the day-to-dayoperations for a show, includingthe number of pages Playbillprovides for a producer; theadditional revenue stream of thecredit card operations; and howcosts are divided between theproducer and the theatre owner.

The topic of the road was acandid and enlighteningexamination of the challenges apresenter and a producer bothface. The domino effect ofbalancing the needs of bothsides and its final impact on theactors was frankly discussed.The speakers also revealed thatsome antiquated financialrequirements still find a place inthe budget discussion. Alsodiscussed was the meaning of“success,” including what makesa show successful and howsuccess is measured.

At press time, the results ofthe communications surveytaken in the days following theseminar were still beingreviewed. “We will look at otherways to reach out to ourmembers so we can gathermore information about what isimportant to them,” said Ms.McColl.

Behind the Showcontinued from page 1

Looking for AffordableHousing? The ActorsFund Can Help.Gotham West Set to Open in NY;Survey Underway to Determine Needin Rahway, New Jersey; New UnitsProposed in LA

Are you looking for afford-able housing? TheActors Fund can help all

Equity members prepare to findit. The Fund is also planning toexpand its current housing facili-ties, adding a new venue in Mid-town Manhattan and gatheringinformation about developing aproject in Rahway, New Jersey

Housing SeminarsTo begin your search, attend

The Fund’s “Finding AffordableHousing in NY” seminar. Learnwho’s eligible and how to applyfor the City’s many affordableand middle income residencesand what landlords are lookingfor in terms of credit scores,rental histories, earnings and taxreturns.

Hear about some of the bestopportunities becoming availablein 2013, such as Gotham West,a 1,238-unit residence that willoccupy an entire city block inHell’s Kitchen, with 250 lowincome and 432 middle incomeunits. Applications are nowavailable atwww.West 45Lottery.com.

Housing Resource CenterThe Fund’s online Housing

Resource Center provides infor-mation on affordable housing,roommate opportunities, tempo-rary housing, tenants’ rights andhousing court.

Housing Bulletin BoardThe Fund’s online Housing

Bulletin Board allows membersto post housing availabilities andsearch for places to live. If youare looking to/for a sublet, aroommate, something temporaryor permanent, check it out.

Actors Fund BuildingsThe Actors Fund has two af-

fordable housing facilities in NewYork City: The Dorothy RossFriedman Residence in MidtownManhattan (which houses TheFund’s Al Hirschfeld Free Health

Clinic available for anyone inthe performing arts who is unin-sured), and The Schermerhornin downtown Brooklyn (whichincludes a 2,000-square footperforming arts center).Visit www.actorsfund.org/housing to download an applica-tion.

Actors Fund Housing Development Corporation

(AFHDC)AFHDC is working to develop

more affordable, supportive andsenior housing for the performingarts community and is currentlyconducting a survey in the NewYork City/New Jersey region tohelp gather information for thedevelopment of affordableartists’ rental housing in Rahway,New Jersey. Visit www.rahwayartisthousingsurvey.orgto take the ten-minute surveyand you’ll help make this buildinga reality.Your responses are vitaland will assist in determiningproject financing, design, ameni-ties, and more.

Los AngelesIn Los Angeles, AFHDC has

joined forces with Artspace todevelop 100 units of affordablehousing in the downtown area forthe arts and entertainment com-munity. The proposed “BroadwayArts Center” would offer afford-able artists’ housing, perform-ance and exhibition space, andsupport for the street’s historictheatres. This project has attract-ed foundation support, includinga grant from MusiCares, and ispart of the LA Department ofCultural Affairs initiative to sup-port the development of theBroadway Cultural Quarter.Youcan download the preliminaryreports about the project atwww.actorsfund.org/AFHDC.

For more information, visitwww.actorsfund.org/housing, orcall 212-221-7300, ext. 19.

75 Years AgoSeptember 1937

● The September issue ofEquity’s official publicationreports that the new AmericanFederation of Radio Artists(chartered by the Four As onAugust 27) “is off to a grandstart.” It is further noted that theFederation has acquired aNational Board “which has, inturn, elected officers to serve tothe first National Convention inNovember 1938; has appointedits executive officers; has set uplocals in New York, Los Angeles,Chicago and San Francisco, andis preparing to establish otherselsewhere; has a membership ofapproximately 2,000; atemporary office at EquityHeadquarters, and a workingtreasury…”● Actors’ Equity, Chorus

Equity, the American Guild ofMusical Artists, Screen ActorsGuild and the AmericanFederation of Radio Artists signan InterchangeabilityAgreement, making it easier formembers of each organizationto move from one type of activity

to another and to pay reduceddues and initiation to otherunions if the member is in goodstanding with his/her parentorganization.

50 Years AgoSeptember 1962

● The 19th season of EquityLibrary Theatre (the Equity-sponsored showcase theatregroup) opens with CouncillorEarle Hyman starring in Mr.Roberts. ● Equity lists 106 Franchised

Agents.

25 Years AgoSeptember 1987

● Actors Federal Credit Unionreports it is offering freechecking and a Visa credit card.● Career Transition for

Dancers sets its first majorfundraising event with Agnes deMille as Honorary Chair.

10 Years AgoSeptember 2002

● Equity creates a newposition of National Director,Organizing and Special Projects.● Nashville becomes Equity’s

24th Liaison city.

A Look Back

SEPTEMBER 2012 EQUITY news / 3

From thePRESIDENT

Make Your Own LuckBy Nick Wyman

Imissed the television cover-age of the Olympicmarathon. I missed most of

the Olympic coverage – I wasbusy running my own marathon:the Acting Career Marathon.Right now I’m in good stride:performing an Off-Broadwayplay, about to start rehearsalsfor a Broadway musical. Sweet.Of course, a couple years ago(2010: the Year EmploymentForgot) I hit the wall, inmarathon parlance. I wasn’t run-ning, I was crawling – crawlingtoward my pension, as I joked.

Running or crawling, I amclear that I have been unbeliev-ably lucky.Yes, I have someskills, but my success also restsupon a number of fortuitous en-counters as well as a variety offactors (my size, my coloring) forwhich I can take little credit. Thisbusiness is a challenge. Suc-cess is so unlikely that I fre-quently use the metaphor of alottery (and I sometimes wonderwhether the college students in-vesting tens of thousands of dol-lars in a Theatre major might notget a better financial return fromlottery tickets).

The Cynic’s Guide to Actingsays that the two best paths tosuccess in this business are tohave a trust fund or to be theoffspring of a very famous actor.If you have foolishly bypassedboth these routes, I have furtheradvice. To save yourself from anold man’s tendency to repeathimself, simply re-read mycolumns about running your ca-reer as a business (“Earn YourMBA”), how to choose whatwork or “work” to target (“TheFive C’s” and “Work, Art and‘Work’”), how to build your future(“Three Requests”), and how toaccept your current place in thebusiness and how to acknowl-edge yourself for the success

you already have (“Thank You”and “Mosaic”).

Although I admit that luckplays a large part in our careers,“luck is the residue of design,”as well-known stage managerBranch Rickey said. Musicalcomedy star Louis Pasteur said“Chance favors the preparedmind.” “Make your own luck” is acatchphrase. PsychologistRichard Wiseman has foundthat “lucky people generategood fortune via four basic prin-ciples. They are skilled at creat-ing and noticing chanceopportunities, making lucky de-cisions by listening to their intu-ition, creating self-fulfillingprophesies via positive expecta-tions, and adopting a resilientattitude that transforms bad luckinto good.” My columns are myeffort to help you to make yourown luck by designing a career,designing a life that keeps youconnected with Theatre for aslong as you desire to be con-nected.

Now the business tends toerode that desire in many actorsto the point where they throw inthe towel: “I’m sick of not makingmoney, I’m sick of not getting achance to practice my craft, Iquit.” I just had lunch with ayoung friend who came to NewYork with a theatre degree want-ing nothing more than to doShakespeare for a living. Thebusiness met him with total in-difference, and after eight yearstending bar rather than tendingto the Bard, he has taken a reg-ular 9 to 5 job. Perhaps he willcome back to acting; perhapsthis will be a hiatus. My wife(who is, as I am the first to tellanyone, the best actor in ourfamily) took a hiatus after herrun in Angels in America onBroadway because with threekids, we needed at least oneparental presence at home. Nowthat all three kids are in their

20s, she is weighing a return. Ihope she does come back – if itis what she wants.

We do this business becausewe love it. It rarely loves usback. Stage managing and act-ing onstage are but a part of themosaic of our life or of our liveli-hood. If this part of your mosaichas become too frustrating andunrewarding to tolerate, con-sider letting it go. If you must,pack your suitcases, close thedoor on the business of showand, with our blessing and un-derstanding, continue yoursearch for fulfillment and remu-nerative employment elsewhere.Or perhaps pack just anovernight bag and take a hiatus– as song-and-dance manRobert Frost says, “I’d like to getaway from Theatre awhile/ Andthen come back to it and beginover.”

As cheerleader-in-chief, Iwant to encourage you to staythe course. As the NY Lotterysays, “Hey, you never know.”And, unlike the Olympics, themedals don’t just go to the topthree finishers; in a sense, eachof us carries the medal we havealready won: our Equity card.Run your career as best youcan, and know that your electedleaders and a defined benefitpension will be there to cheeryou at the finish.

Your elected leaders aredoing their damnedest to im-prove our collective and individ-ual odds. We, too, are buyingour tickets, checking the num-bers, scratching off the symbols,hoping for success. Those lot-tery tickets are part of the mo-saic of our lives. Let us designthis mosaic with intelligence, op-timism, tenacity, fortitude, and aprepared mind. Let us make ourown luck. Here’s hoping you cre-ate as long and lucky a life inthe theatre as I have beenblessed to have.

Provost AddressesIllinois Arts Council;Supports Funding,Advocacy for the Arts

Central RegionalDirector ChristineProvost spoke at a

recent Illinois Arts Council(IAC) hearing about theimportance of the arts in thestate. The purpose of thehearings, held over two days inChicago and Springfield, wasto gather input and ideas fromorganizations, artists and thegeneral public as the IACdevelops its 2013-2020Strategic Plan.

“We need the help of thepublic to ensure the IllinoisArts Council addresses theneeds and aspirations of thepeople we serve,” said ShirleyR. Madigan, IAC Chairperson.The Illinois Arts Council servesthe people of Illinois through avariety of grants and servicesgeared to support the artssector, arts education and tofoster creativity and workingartists.

Ms. Provost opened hertestimony by reaffirmingEquity’s strong support forpublic funding for the arts atthe city, state and federallevels. She said: “In our state,there are currently 50 Equity

theatres that employ Equitymembers. That means ourmembers can live and work intheir chosen profession here inIllinois.” Provost went on to talkabout E. Faye Butler,describing her as a “nationallyrecognized actress who haschosen to stay in Illinois

because our state supports thearts, and theatre in particular.”

She outlined the economiccontributions the arts providein a community and pointed tourban renewal as an example

of how impactful the arts canbe when supported. As anexample, she explained thatFirst Folio spends more than$100,000 of its $400,000annual budget on goods andservices within five miles of thetheatre.

In her speech, Ms. Provostdramatically illustrated howEquity theatres can make apositive impact withincommunities. For example,Teatro Vista gives voice and ahome to Latino actors,playwrights, directors anddesigners, while Erasing theDistance takes true storiesabout people affected bymental illness and createsshows that educate the public.

Deb Clapp, Executive

Director of the League ofChicago Theatres, was also onhand at the Chicago hearing.The League represents morethan 230 member theatres inthe Chicago area. Ms. Clappspoke of the investment in thearts, underscoring that the“arts are at the core of whatmakes a community not justlivable, but vital.”

Another speaker was RaJoy, the Executive Director ofArts Alliance Illinois, astatewide arts advocacy andservice organizationrepresenting over 22,000 artsadvocates and hundreds ofcultural organizations acrossall artistic disciplines. Mr. Joymade severalrecommendations, including

the launch of a statewideCreative Economy Council;reinvigorating arts education inthe state; pursuing arts-basedcommunity development; andexpanding funding. He closedhis testimony by urging the IACto “Be Bold,” and “put a plan inplace that…positions Illinois asthe national leader in culturalpolicy and creative businessdevelopment.”

The dozens of individualswho spoke at the hearing allagreed that funding andadvocacy for arts is vital for thearts and the creative sector tocontinue to grow and thrive inthe state of Illinois. The IAC2013-2020 Strategic Plan willbe available in November,2012.

Members Unite toEnd Alzheimer’s; Walks Planned inFour Cities

Equity and SAG-AFTRAmembers, friends andfamilies will be

participating in walks in NewYork; Los Angeles; Washington,DC; and Hollywood, Florida aspart of a National Walk to EndAlzheimer’s sponsored by theAlzheimer’s Association.

Nancy Daly, former AEACouncillor and member of SAG-AFTRA, founded Actors Unite toEnd Alzheimer’s (AUEA) in 2011in honor of her mother. Onehundred rank-and-file membersacross the country joined theteam, raising more than$23,000. In January, 2012,Nancy received a personal letterfrom President Obama praisingthe dedication and success ofthe team and their commitmentto their fellow actors andfamilies who are living withAlzheimer’s.

“The foundation of this teamhas always been to take care ofour own,” said Nancy, whosemom died of Alzheimer’s onMay 8, 2012. The work of theteam has become her greatestlegacy to her parents. “I wouldlove for this team of 100 actorsto become 150 or even 200 and

more this year. I had no ideathere was such a need for thisuntil I led the 5K in LA last yearand saw many actors run up tous as they saw our union signs.‘I’m an actor, too. Can I walkwith you?’ ‘I’m so glad myunions did this for us.’ We werewalking in glory,” she says.

To join or support ActorsUnite to End Alzheimer’s SAG-AFTRA/AEA, copy the linksbelow to each of the four walksand you will be linked directly toeach team’s page. Everyone iswelcome.

New York City – Sunday,October 21 –alznyc.org/ActorsUnite

Washington DC – Saturday,October 27 –act.alz.org/goto/ActorsUniteDC

Los Angeles, CA – Sunday,November 4 –act.alz.org/goto/ActorsUniteLA

Hollywood, FL – Saturday,November 10 –act.alz.org/goto/ActorsUniteHFL

(Editor’s note: For NancyDaly’s personal account, “Livingin Twilight: A Daughter’sAlzheimer’s Story,” visit Equity’swebsite, www.actorsequity.org.)

Christine Provost.

4 / EQUITY news SEPTEMBER 2012

The Shakespeare Theatreof New Jersey, thestate’s largest

professional theatre dedicatedto Shakespeare and other worldclassics, is celebrating itsmilestone 50thanniversary this season.Founded in 1963 in CapeMay by Equity membersPaul Barry and PhilipDorian as the New JerseyShakespeare Festival, thecompany was invited totake up residence at DrewUniversity in Madison,New Jersey in 1972 so itis also celebrating thatevent’s 40th anniversary.

“From the founding of‘The New JerseyShakespeare Festival’ inCape May, to the move to DrewUniversity in 1972, to theopening of the new F.M. KirbyShakespeare Theatre in 1998,and now to our 50thAnniversary, our audienceshave applauded, cheered, andsupported this venerable

institution every step of the way,and for that we are immenselyproud and grateful,” says ArtisticDirector Bonnie J. Monte, whohas been at the theatre since

1991.Co-founder Philip Dorian also

expresses his gratitude: “Tohave participated in thefounding of a theatricalinstitution that has lasted 50years is a source of great pride.To have maintained a loving

relationship with Paul Barry andEllen Barry, Paul’s professionalas well as personal partner, forall those years is an equallyrewarding source of warmth.

And to see ‘ourFestival’ stillflourishing, isicing on thecake. Here’s to50 more.”

Today, thetheatre serves100,000 adultsand childrenannuallythrough itsproductionsand educationprograms. ItsMain Stageproductions

are presented in the 308-seatF.M. Kirby Shakespeare Theatrein Madison from May throughDecember. In the summer, anOutdoor Stage production isadded at an open-airamphitheatre in MorrisTownship, and throughout the

year, the Shakespeare LIVE!Educational touring companyperforms at schools and venuesthroughout New Jersey,Connecticut, Pennsylvania andNew York.

Equity member Erin Partinhas been working with theShakespeare Theatre of NewJersey for 11 years and is“proud to call it an artistic home.Under the leadership of BonnieJ. Monte and her dedicatedstaff, the theatre has blossomedinto one of the top the countryhas to offer. It is truly anexample of what a remarkableregional theatre can be. Theyeducate and develop the mindsof their audience by offering arich tapestry of classics, andtheir dedication to the growthand education of young artists isoutstanding. I feel so fortunateto come back year after yearand play on their ‘boards.’ I mustalso mention that to find such anincredible theatre this close toManhattan is a gift. The city isnever more than

Central Region

Tulsa TheatreGoes Equity

After three seasons inexistence, Tulsa ProjectTheatre (TPT) has

officially “gone Equity,” and willbe using a Tier 1 SmallProfessional Theatre Contract.This has been the theatre’s goalsince it first presented anoutdoor production of TheRocky Horror Show forHalloween 2009. Since August2011, TPT has been theresident theatre company forAssembly Hall in the TulsaConvention Center. “Having ahome in a space like that gaveus a full season to show wecould meet Equity standardsand do it in a facility that met itsexpectations,” said ToddCunningham, Tulsa ProjectTheatre ExecutiveDirector/Producer.

“Tulsa has a rich history ofsupporting the arts. For morethan 60 years, our communityhas maintained a symphonyorchestra, a ballet company, an

opera company, and manysmaller arts organizations. Whilethe city boasts of several theatretroupes, none of them was anEquity company. This seemedout of balance and needed tochange,” Mr. Cunninghamcontinued. “Our mission fromthe start was to bring Equity toTulsa. Most everyone else hadsome sort of unionrepresentation. It was time for

Actors and Stage Managers tohave the same benefits.

“Working toward the goal ofEquity affiliation caused TulsaProject Theatre to up our game,”Mr. Cunningham said.

“Everyone wins in thisscenario. Ourcompany is stronger.Our talent is happier.And, mostimportantly, ouraudiences shouldexpect qualityentertainment.”

One of the happyactors is Equitymember JonathanGilland. “I amhonored to have seenTulsa Project Theatrecome to life over thepast few years,” hesays. “While I’m notoriginally from Tulsa, Idid graduate from theUniversity of Tulsaand was able to

watch as this company wentfrom nothing but a hope and adream to what it is today. I’vebeen in several productions withthis company over the past fewyears in different stages of mycareer—with no contracts,Guest Artist Contracts, andfinally, for the first time ever withTPT, an Equity contract.

“One of the things I love mostabout Tulsa Project Theatre ishow young they are,” he adds.“TPT is still in this wonderfulstage of creatively dreamingand still reaching for the stars.Their energy and drive is unlikeany theatre I’ve ever worked at.Of course there have beensetbacks and troubles, but whatyoung theatre company hasn’texperienced that. The thing thatvalidates their existence is thatthey get right back up and tryagain. Isn’t that what it is allabout? I myself am anextremely young actor and onlygot my Equity card last year.

Tulsa Project Theatre has donenothing but embrace andsupport me through all of mycareer choices. It is a companythat I love coming back to timeand time again. Although NewYork City has become my home,it is so wonderful to have theopportunity to come back toTulsa with work through TPT.They have made a vow as acompany to bring quality theatreto Tulsa and it makes me proudto work with them time and timeagain.

“Just as I have grown andmoved forward in my career, Ibelieve the same is true forTulsa Project Theatre. I thinktheir joining the Union will notonly allow them to grow andmove in the direction that theyhave been dreaming of, but alsohelp other local groups grow,creating a stronger performingarts community in Tulsa.”

Looking to the future, musicaltheatre will remain thecompany’s focus, but there areplans to include non-musicalproductions as well and toinitiate collaborative efforts withthe community and state andlocal universities.

Eastern Region

Shakespeare Theatreof NJ Celebrates TheBig Five-Oh!

a short train ride away. I hope tofind myself back for many moreyears to come.”

“I never could have predictedwhat a godsend theShakespeare Theatre of NewJersey would be for my careerwhen I accepted my first (Equitycard-earning!) job there over 14seasons ago,” says Equitymember Greg Jackson. “Sincethat fateful day I’ve had thegood fortune to play a plethoraof incredible roles, from theclassical and contemporarycanons as well as having theinvaluable experience ofworking with an amazinglydiverse and talented array ofactors, directors, designers andadministrators. The success andexpansion the theatre hasenjoyed under the unwaveringvision of Bonnie Monte hasbeen inspiring to behold. Withinthis wonderful place I have metsome of my dearest friends andcollaborators, foundrepresentation, connected withother theatres (both in NY andregionally), and experiencedsome of my most thrilling artistictriumphs—all within an easy,hour-long commute from PennStation. The Drew campus inMadison is a bucolic oasiswhere I can escape the citygrind and focus on my craft insome of the finest works thetheatre has to offer. Theaudiences are appreciative,engaged, insightful anddiscerning. The productions aretop-notch, the feeling is one offamily, and the sense of missionat STNJ is palpable—from themain stage to the outdoor stageto the educational and outreachprograms and throughout thecommunity of artists. I countmyself extremely lucky to becalled a company member.”

Jonathan Gilland in Joseph and theAmazing Technicolor Dream Coat.

Erin Partin as Isabella (c) pleads with Sean Mahan (l) (Antonio)as Lindsay Smiling (the Provost) looks on. (Photo: © Gerry Goodstein)

(L to r) Jim Hopkins, Brian Cade and Kevin Isola inThe Liar. (Photo: © Gerry Goodstein)

SEPTEMBER 2012 EQUITY news / 5

Western Region

Bigger isBetter inDenver

In 1972, Donald R. Seawell,a Wall Street lawyer andBroadway producer, fulfilled

the dream of philanthropist andDenver Post owner Helen G.Bonfils when he conceived theDenver Performing ArtsComplex. The Complex wouldeventually become the largestperforming arts facility underone roof in the world.

The first piece of the puzzlewas the 2,700-seat BoettcherConcert Hall opened in 1978. By1979, the Denver MunicipalAuditorium had been renovated,two cabaret spaces had beenadded and the Helen G. BonfilsTheatre Complex opened withfour theatres. The DenverCenter for the Performing Arts’Denver Center TheatreCompany (DCTC) found a homein the Bonfils Complex andopened on New Year’s Eve withthree simultaneousproductions—The CaucasianChalk Circle, Moby DickRehearsed and The LearnedLadies.

In its more than 30 years, theDenver Center TheatreCompany has mounted 375productions, 167 readings ofnew works, 125 world premieresand 21 commissions and, in1998, in recognition of its bodyof work, it received the TonyAward for Outstanding RegionalTheatre.

“Denver Center TheatreCompany relies on highly giftedand accomplished professionalactors—and of course thatmeans AEA members,” says

Artistic Director Kent Thompson.“We’re committed to makingtheir experience here as fulfillingas possible—from taking care ofthem to making sure they haveenough rehearsal time to greatproduction support. After all, onthe night of a performance, theactors’ work is what carries theshow.”

The actors recognize andappreciate this.

“I’ve had the great good luckof performing in 36 productionsat the Denver Center TheatreCompany over the past twodecades,” says AEA memberSam Gregory. “What struck me20 years ago and what remainstrue today is the Company’scommitment to excellence. Ihave consistently been amazedand humbled by the extremelyhigh standards ofprofessionalism and artistryevidenced in all aspects ofproduction. A lot of the effortgoes unseen by the public, butis greatly appreciated by theresident and guest artists alike.In rehearsal, for example, I haveasked for a prop, say a dagger,and within the hour, stage

management has arrived withfive daggers to choose from.There are too many examples ofthis kind of ‘above and beyond’work to mention, but they areevidence of the kind ofprofessional environmentconsistently provided by theDCTC. As a major LORT theatrein the state, the Denver Centerprovides a varied and excitingseason of 11 plays each year.Audiences are treated toeverything from Shakespeare tonever-before-seen musicals andplays. There’s also a New PlaySummit, which helps developfive new plays each year. I amproud to be considered amember of such a top notchAEA theatre company.”

AEA member Drew Corteseis a newcomer to the DenverTheatre Center. “When I wascoming out of grad school, thehead of our program offered usan apology for having trainedand prepared my class foracting company work at a timewhen acting companiesthemselves were vanishing fromthe American theatricallandscape,” he says. “Actors had

little choice but to transformthemselves into artisticmercenaries, bouncing fromtheatre to theatre to hone theircraft and leaving them at themercy of an audition cycle thatmight only yield two shows perseason. To have Kent Thompsonadd me to the Resident ActingCompany at the Denver Centerhas been an absolute blessing.The consistent work, thisamount of stage time across avariety of genres and charactertypes, is something you canonly have within a company—and that’s to say nothing of thebenefits of working with thesame artists over and overagain. Here at DCTC, we’ve gotthe advantage of having playedthe game together already,allowing the veteran players toassume their leadership roles asleading actors on and off thestage and to mentor rookies likemyself on how one forges a life,

imaginary or otherwise, in thisinsane business.”

AEA member KathleenMcCall was born and raised inColorado and remembers beingin high school when the Denver

Center opened its doors. Sheheaded off to college to studytheatre and hoped that somedayshe could come home to work.“Having been a professionalactor for many years I finally gotmy wish and have been thrilledto be a part of a residentcompany that maintains such ahigh standard of excellence. Thetheatres, four in total, are state-of-the-art, beautifully equippedspaces that allow an incredibleexperience not only for theaudience, but also for the actorworking there. But more thanthe space, a theatre gets itsheart and soul from the staff,crew, designers, directors andactors that inhabit it. It finds itsvision from the Artistic Directorand works its way through thecompany. The vision at theDCTC is inspiring, challenging,exciting and rewarding, whetherwe are re-examining a classic orgiving voice to a new work. And

one of the greatest joys for mehas been to see focus placed onwomen playwrights and womendirectors over the past sevenseasons. To say I am blessed isan understatement.”

CentralRegion SMSharesHealth Tip

Central Region StageManager Carole JoBradley, a contestant in

the recent AEA-Union PlusHealth & Wellness VideoContest, shares this health tipon zen and the art of stagemanagement:

“The number one way I stayfit is through practicingmeditation. Wellness of my mindleads to fitness in my body andin all of my affairs. Duringmeditation, I contemplate the

truth of who I am, and know thatI am connected to all life. I ammore than my resumé, my body,or current show. I use meditationto train myself to see beyond mycurrent set of circumstances. Itis proven to reduce stress—thenumber one cause of all ‘dis-ease’—and meditation is free. Ialso use the tools of affirmative

prayer, visioning, and spirituallaws to facilitate inner healing.For the last seven years, thisdaily practice has kept me inpeak performance, while stagemanaging. I only wish I realizedits value when I first startedcalling shows—25 years ago.”

HEALTH WELL-NESS&&

Kathleen McCall and John G. Preston in The Taming of theShrew. (Photo: Vicki Kerr)

Sam Gregory and the cast of the DCTC production of Two ThingsYou Don’t Talk About At Dinner. (Photo: Terry Shapiro Photography)

Carole Jo Bradley.

By Peter Royston

n July of 1913, the NewYork Revieweditorialized, “An actors’union…is doomed tofailure…Every actorconsiders himself the

nonpareil of his own line andwants a larger salary than anyother competitor. Therefore toregulate pay and form of contractwould be an impossibility,because on these questions noset of actors will stand together.”

Even beyond the manyconcrete reasons for its founding,Equity had to fight againstperception in its early days:perception from outsiders thatperformers were so full of pridethat they would never unite incommon purpose, and theperception from many actors thatthe very act of acting was nomere job to be put on the samelevel as unionized carpenters andsteamfitters. The Strike of 1919secured for Equity a place at thetable of organized labor, and forits members the first fair andstandard contract that they hadever known. But more than theseconsiderable achievements, the1919 Strike strengthened the ideathat acting was not just anephemeral avocation. Acting wasa profession; acting was work.

Alfred Harding began hisbook, The Revolt of the Actors,with the very Biblical soundingchapter, “As It Was In TheBeginning,” and, indeed, thestories of the conditions thatEquity was formed to fight againsttake on a very Biblical qualitytoday: stranded actors wanderingthe wilderness, working in squalidconditions, actors rehearsing formonths for free only to play fortwo or three performances, actorsworking under a “SatisfactionClause” which left theiremployment under the absolutewhim of a manager. Bizarrely,salaries were halved during theweeks before Christmas, HolyWeek and Election Week (!)

Attempts at organizing weretried. The Actors’ Society wasformed in 1896 with the naïvemandate of working only with

“responsible managers,” ignoringthe fact that more and moreindependent managers werebeing enveloped by the growingTheatre Syndicate. The Societyproved so ineffective that inDecember of 1912, one hundredmembers met to decide whetherto continue or dissolve. Althoughthe mandate came down todisband the Society, some feltthe need to continue the fight,despite the fact that, as Hardingwrote, “every previous actors’association had been wrecked

by factional fights or by thehostility of the managers.”

A committee was formed toplan for a new, hopefullystronger, association. The newgroup took on a name whichencompassed what they werefighting for: “Actors’ Equity.”

The comedian FrancisWilson, Equity’s first president,was realistic about this newventure’s chances, but chose tosee the glass half full: “I haveseen so many of these attemptsstart and fail – but I am anoptimist and am always willingto try once more.” This couldhave been the union’s mottoduring those early days – trying,failing, and then trying again.

This undaunted

determination is rememberedtoday. New Orleans LiaisonJohn Bostic says, “I amconstantly amazed at not onlythe courage but the vision of theearly union members. It seemsto me that somehow theyunderstood that if their craft was

to continue to grow and remaina viable and healthy professionthat they were going to have tochange the established systemnot only for them but for thosewho followed them.”

On May 26th, 1913, 112people crowded into the ElksHall in the Pabst Grand CircleHotel to officially found Actors’

Equity. It all went off without ahitch and, it must be said,without much fanfare. Equity’sfirst years were full of smallskirmishes; it was a time of“feeling our way” as EdwinArden later wrote in EquityMagazine. But the storm clouds

were gathering and soon wouldbreak. By 1917, an agreementhas been reached, but fewmanagers actually used it. Thecontract is very fair, a managertold Francis Wilson. When willyou start using it, then? askedWilson. “When you make me,”the manager replied.

For Wilson, the future was

clear: Equity had to becomeaffiliated with the ever-growingorganized labor movement. Butperhaps Equity’s greatestchallenge in these early yearswas the perception from manyof its own members into thenature of acting itself. For them,acting could not be put on parwith unionized labor. Ashistorian Sean P. Holmes wrote,many actors believed that “(a)san art form that depended for itseffect on engagement withemotions and the illusion ofspontaneity…acting wasincompatible with the values ofobjectivity and rationality at theheart of the emergingprofessional cultures of the earlytwentieth century.” Or as actorBlanche Bates said in a speech,“We are not laborers withcalloused hands…and what wehave is something that cannotbe capitalized. What we givecannot be weighed ormeasured.”

What Mrs. Bates wasignoring was the fact that theactors’ work was indeed beingcapitalized, weighed andmeasured in equations thatoften left them broke and in the

cold. Fred Niblo seemed toanswer Mrs. Bates when hestated, “It is not art to get up atfour o’clock in the morning andcatch a train. It is not art totravel in a vile-smelling daycoach all day – a day coach soold and terrible that railroadcompanies only keep it to haulactors in...It is downright labor.”

6 / EQUITY news

The 1919 Strike

“No More Pay, Just Fair Play.” Marie Dressler and Ethel Barrymore during the 1919 Strike.

AEA members rally for affordable healthcare at the New York City Labor Day Parade in 2010.

How could the wild, irrationalheart of theatre be brought tothe bargaining table?

In the spring of 1919, thenew managers’ group, theProducing Managers’Association (PMA), announcedthat it would not recognizeActors’ Equity. In July, thecontract between Equity and theProducers expired, and Equitylaid out its demands: recognitionof the union, better rehearsalpay, an eight performance week,and pay for holidays andSundays. The managers dug intheir heels andthe lines weredrawn.

On August1st, 1,500Equitymembers metat the HotelAstor, and in anoverwhelmingvote, pledged tostick withEquity and itsnew affiliationwith theAmericanFederation ofLabor. A weeklater, it wasvoted that nomember wouldwork for any

managerassociated withthe PMA. Equitymembership grewin leaps andbounds whileBroadway houseswent dark,including the castof the showLightnin’ whohung up a banneron their marquisthat read “Lightin’Struck!”

In his essay,“All the World’s aStage! The Actors’Strike of 1919,”Sean P. Holmesoutlined some ofthe very theatricalmethods theactors used to“woo the public”during that long,hot summer:

• Actors sangparodies of

popular songs to the crowds onBroadway streets, including thisversion of George M. Cohan’swar-time hit “Over There”:

“So beware, have a careJust be fair, on the square,

everywhere. For we are striking, yes, we

are strikingAnd we won’t be back till the

managers are fair.”(Ironically, Cohan was

Equity’s most vocal critic,vowing to never sign an Equitycontract!)

• Eddie Cantor, along with

fellow comedians W.C. Fields,Ernest Truex and Frank Fay,would pretend to stall his car infront of still-open theatres. “Wepretended to be fixing the carand clowned around until theprospective ticket purchaserswere attracted by us,” he said,“We entertained them so well onthe street corner that they

willingly missed the showinside.”

• On August 19th, Equitystaged a massive benefitperformance before a sold-outcrowd at the Lexington AvenueOpera House. With W.C. Fieldsplaying master of ceremonies,acts included Marie Dressler,the first president of the newlyformed Chorus Equity, staging a150 chorus girl dance number injust a few minutes, Lionel andEthel Barrymore, Eddie Cantor,and a final cry from the heartbased on Marc Antony’s funeraloration for Julius Caesar: “Willyou stand up and show that youare with us and join in our cry ofEquity! Equity! Equity!”

As August bore on, more andmore Unions responded to thiscall and refused to crossEquity’s picket line. As SeanHolmes wrote, “The othertheatrical unions’ decision toback the actors shifted thebalance in the theatrical powerstruggle decisively in favor ofthe actors.”

The strike had spread toChicago, Boston andWashington, D.C. 37productions had closed, 16 hadhad openings prevented and $3million had been lost by theproducers. The challenge that

had been thrown at FrancisWilson’s feet – “When you makeme” – had been strongly met.On September 6th at 3 am, themanagers signed a five-yearcontract. Equity had grown froma membership of 2,777 at thebeginning of the summer to14,000 as the new theatricalseason began.

The 1919 strike was apassionate demand for respectfrom a profession that many,including many actors, saw astoo enlightened to be compared

to “common” unionized workers.All that changed after 1919.Shelly Gaza, Denver AreaLiaison, says, “If anything, I feellike most AEA Members todayfeel the complete opposite fromthat. So many actors and stage

managers I know desire nothingmore than the ‘simple’ thingsthat we see ‘average’ peopleachieve: the ability to provide forourselves and our loved oneswhile doing work that ismeaningful and valued.” TomHelmer, former Councillor, andPhiladelphia Liaison Chair,concurs: “We all get a paycheckunder a union contract thatrequire the same federal andstate deductions for SocialSecurity, Medicare, taxes,UnemploymentInsurance….because we are‘employees,’ not ‘independentcontractors.’”

Many see echoes of 1919 intoday’s tensions betweenemployers and unions. “Theseare particularly perilous timesfor unions,” says Abner Genece,San Diego Area Liaison, “Thosewho would destroy what hasbeen built for all who labor havegained traction in a growingatmosphere of social andeconomic anxiety…All labor isbeing hunted. Equity is notexempt.” As member JanineDiVita described when shejoined protesting Wisconsinstate union workers in 2011after their collective bargaining

powers were stripped: “Whetherwe want to face it or not, wemust stand up for ourselves intimes like these because onceunions are attacked in one state,it is just a matter of time beforeour own union is threatened.”

s / 7

The Women of Equity bound for Wall Street, 1919.

Former AEA Eastern Regional VP Kate Shindle addresses the“We Are One” Rally in Los Angeles in 2010 to support collectivebargaining rights.

(Front l to r) Western Regional Director Mary Lou Westerfield,Joe Voves; (back) Don Mueller, Richard Ostlund and ClarindaRoss march in Los Angeles to support marriage equality.

In 2009, Philadelphia AEA members rallyagainst a proposed Pennsylvaniaentertainment ticket tax that wouldnegatively impact theatres.

In 2011, Central Regional VP Dev Kennedy andAEA Executive Director Mary McColl go toMadison, Wisconsin with other AEA members tosupport collective bargaining rights for publicand private sector workers.

8 / EQUITY news SEPTEMBER 2012

How I Got My

Equity CardMadeleine Sherwood

By Madeleine Sherwood

(Editor’s note: On March 12,2012, Madeleine Sherwoodwrote the following to EquityNews: “A short while ago I wasput on an In Memoriam list byEnsemble Studio Theatre. (Theyhave since apologized.) I decid-ed I had better surface. To thebest of my knowledge, I am notdead, just very deaf. I live in myfamily home in the Laurentiansin Quebec. I will be 90 on No-vember 13, 2012.”

“I have always enjoyed ourAEA News, especially ‘How IGot My Equity Card.’ For years Iwanted to write for that columnmyself, especially after readingRuth Gordon’s account in Equi-ty, which said it so beautifully:

“‘I wanted to be an actress in1912; I want to be an actress to-day. That walk from the dark-ness backstage through thedoor or opening to the scenerywhere I make an entrance intothe bright lights with that big dimmass out beyond, which bursts

into applause, then the first terri-fying sound that comes out ofmy throat, which they describeas a voice, but that first instant itis the siren of terror and inten-tion and faith and hope and trustand vanity and security and in-security and bloodcurdlingcourage which is Acting.’ RuthGordon 1896-1985 Yeah!”)

Osceola Archer directed aplay for Equity Library Theatre.Everyone loved and respectedOsceola. She was a devotee oflive theatre. I read for her andwas told “You have so much en-ergy and enthusiasm, the part ofthe Mexican girl is yours.” Therest of the cast was all people ofcolor. They called me the blondMexican. They liked my fire.Lucky for me. That was about1950 and I was able to join Eq-uity and get my card. This wasway before I created the role ofAbigail for Arthur Miller in TheCrucible, then Cat on a Hot TinRoof and Sweet Bird of Youthwith Elia Kazan.

As soon as I got to New York,

I pounded the pavement likehundreds of others, looked forauditions in Backstage, andwaited for the paper each weekto come out. Receptionists weremostly kind-hearted as I handedin my 8 x 10 glossy and knewthey would probably dump it inthe wastebasket, but they wouldall smile sweetly and say, “Noth-ing today, Madeleine.”

I’ve been a member of Equityfor 50+ years and on EquityCouncil (1983-1993) as well. Myfriend Conard Fowkes called meMadame Contrarian, then kindlyswitched it to “Catalyst.”

Being a member of Actors’Equity has given me the oppor-tunity to do the work I love themost.

I lived for 50 years at 32Leroy Street in the Village, andfrom Day One, I loved workingin New York City. Now I am hap-py to be home in Canada.

Long live live theatre. Madeleine Sherwood played

Mae/Sister Woman and MissLucy in both the Broadway andfilm versions of TennesseeWilliams’ Cat on a Hot Tin Roofand Sweet Bird of Youth. OtherBroadway productions includeThe Night of the Iguana, Invita-tion to a March, Arturo Ui, Do IHear a Waltz?, Inadmissible Evi-dence, and All Over. On TV, sheplayed Reverend MotherPlacido to Sally Fields’ SisterBertrille in The Flying Nun from1967 to 1970.

INITIAL THIS! By Jim Bernhard

ACROSS1 Imogene of comedy5 Boast9 Lug13 Nobel-wining Danish

physicist14 Barrett of gossip15 Break down a sentence16 S. (actress)19 Corp. boss20 Cape in Antarctica21 Extreme degree23 C. (actor)29 Syllable before “Na Na”30 Letters before Victor31 ______-con32 La la preceder33 Govt, disaster agcy,35 Last president commonly

known by his initials37 Twangy39 F. (actor)43 Hindu group44 Chinese chairman45 Mont Blanc and Jungfrau,

for example47 Initials before F at the end

of the work week48 Extinct bird51 Q-U link53 MGM’s lion54 N. (playwright)57 Annie in “Oklahoma!”58 Garden supply company59 Latin bandleader Edmundo61 W. (playwright)68 “________Good Boy

Deserves Favor” (Stoppard-Previn play)

69 Dinner at eight or breakfast

at Tiffany’s?70 Choir garment71 Beige and wheat72 Concordes for short73 Pitcher

DOWN1 Brit, hon,2 Alley of old comic strip3 It was played by 59 Across4 Commedia dell’_____5 Bikini top6 CD attachment7 “Lend______” (1948

Broadway revue)8 “Everything in

the______(Giles Cooper-Edward Albee play)

9 Seraglio10 MGM’s “_______Gratia

Artis”11 Entertainment org. for the

mil.12 Deighton or Cariou15 Character17 Frost18 Stubby of “Guys and Dolls”21 Notation on checks that

bounce22 “The Gift of____” (O. Henry

story)24 Carol Burnett’s alma mater25 Musical by Pearson, Maltby,

and Shire26 “There’s nothing to it!”27 Hiked28 Falstaff’s princely friend34 Play by Yazmina Reza36 Def______ (hip-hop record

label)38 “Gotcha!”

40 Take another walk down theaisle

41 Theda the silent vamp42 Play by Terence Rattigan43 Mid.46 Jack of “Flower Drum Song*49 Table scraps50 Leigh Hunt’s Abou’s tribe

52 Preposition on some trafficsigns

55 Workers in the garden56 Dostoyevsky’s ” ______from

the Underground”60 Shrek, for example61 “Quiet on the _______”62 Roe

63 Stouthearted ones in “TheNew Moon”

64 Yoga accessory65 Freeman and Pacino66 Vigoda, for one67 “La______” (song by

Charles Trenet)

1 2 3 4 5 6 7 8 9 10 11 12

13 14 15

16 17 18

19 20

21 22 23 24 25 26 27 28

29 30 31 32

33 34 35 36 37 38

39 40 41 42

43 44 45 46

47 48 49 50 51 52 53

54 55 56 57

58 59 60

61 62 63 64 65 66 67

68 69 70

71 72 73

Ocean State Theatre Grows and Knows“How to Succeed”

Good news! OceanState Theatre, anLOA-LORT company

in Warwick, Rhode Island, willbe moving into a new space toproduce year-round. Picturedare cast members from OST’srecent production of How toSucceed…. (Back row, l to r:A’Lisa Miles, Derek Johnson,Matthew Rickard, Erik Keiser,

Steve Gagliastro, Tony Triano;front: Caroline Listul, KateFerdinandi, AEA Eastern Re-gional VP Melissa Robinette,and Morgan Rose). The com-pany is run by Equity MembersAmiee Turner and Joel Kipper.The show was directed by AEAMember Lennie Watts andchoreographed by AEA Mem-ber Chris Saunders.

(answer on page 9)

This Labor Dayweekend, Equitymembers participated

in the American Rights AtWork Tweet-a-thon. The four-day event brought togetherunion members who work inentertainment, sports andnews media—all of whomtweeted about the advantagesfor themselves and workers ineach sector of the economy ofbeing a #unionmember. Morethan 11,000 tweets were sentby union members and theirsupporters throughout the longweekend, reaching 11.7 millionpeople on Twitter and creatingup to 43.8 million impressions.

Here are just a few:

Sarah Daniels @ImSarahDaniels: Giving love thisweekend to my favorite union,@ActorsEquity! Thank you forthe Equity cot. Oh yeah, andeverything else.

Laura Zingle @stagezingle:Celebrating my first Labor Dayas a proud @ActorsEquitymember! Huzzah!

Sharon Lawrence@sharonlawrence: Proud &gr8ful for my @sagaftra &@AEA #union membership onthis #LaborDay. Healthcare,pension & wkingconditions protected &preserved!

Chelsea Costa@Chelsea_Costa: Proud@ActorsEquity member todayand every day.#HappyLaborDay

Linda Powell@misslindapowell: UnionShout Out! Proud member@ActorsEquity and @sagaftra.

Brynn Williams @BrynnWilliams: Proud #AEAmember since 2005!Thanks. @ActorsEquity:).Happy Labor Day!

Tony Howell @tonyhowell:Grateful to give a labor day

matinee of Cabaret! Proud newunion member!@mgrplayhouse@ActorsEquity

Michael J. Ward III@MichaelJTWard: “All thatharms labor is treason toAmerica.” —-Abraham Lincoln# unionmember#sagaftramember @sagaftra@ActorsEquity

Hannah Wichmann@Hlywood_H: Happy LaborDay! I love being in my union,thanks for all you do for us.Proud member since 2008.@ActorsEquity #unionmember

Raymond J Lee@raymondjlee: Proud to be amember of @actorsequity@sagaftra this glorious LaborDay:) #ProudUnionMember

Brian Myers Cooper@BriMyCooper: ACTORS:Golden Day, health & pension,overtime, vacation, sick dayand so much more=words ILOVE! Thanks @ActorsEquityProud #unionmember

Jimmy Ludwig@JimmyLudwigNYC:Labor Day! So proud to be a#UnionMember today.Remembering all the peoplewho sacrificed so we canbargain collectively!@ActorsEquity

Francis Jue @fjue: Proud thatActors and StageManagers havebeen an integralpart of theAmerican LaborMovement.#unionmember@ActorsEquity@SAG-AFTRA

Schyler Conaway@schylerconaway:Loving the@ActorsEquitytweet-a-thonhappening thisweekend! Proudand THRILLED tobe a #unionmember.Happy Labor Day!!

Ethan Angelica@EthanAngelica: Feelingvery proud to be a#unionmember of@ActorsEquity. Thanks for thehealth insurance, overtime,days off and sprung dancefloors!

Matt DeAngelis@mattdeangelis22: In theface of anti union sentimentacross the country I am a veryproud theatre professional and@ActorsEquity #unionmember#LaborDay

Bostin Christopher @bostin:I’m a working actor this holidayweekend in tech for Of Mice &Men at @PersevTheatreAK.Proud #unionmember@ActorsEquity Happy LaborDay!

FINAL CURTAIN

“Were I to die and go to heaven and find it populated by actors,

I would not be unhappy.”— Playwright Ben Hecht

Reported between 1/5/12 and 4/11/12

Elizabeth AbbassiIan AbercrombiePhillip Richard AllenSheila AllenRussell ArmsDimitra ArlysJohn C. AttleRobert BainesDavid BeckettMarilyn BernardZina BethuneEtel BilligJohn BisomShirley BodtkePhillip BrunsGeorge ByrneMaureen BaileyDavid BanksPeter BreckChris CallowayLeonardo CiminoStafford Clark-PriceAdrienne J. CooperSam CoppolaLee CotterellTed D’ArmsHeidi Helen DavisKibibi DillonWilliam DuellJames FarentinoBen GazzaraRichard GibsonCharles HudsonKatherine HullJohn HallowDavid JonesWalter Kattwinkel

Patricia E. KennedyWendell KindbergPatrick A. KmiecBryant LanierRussell Patrick LathamCarol-Jean LewisMichael LiptonGary LonakRalph LoweThelma LeeLaurie MainTheodore MannLeo McNamaraHazel J. MedinaPatricia NewayJohn F. NolaMarilyn O’ConnorIvory OceanLee PavesAl RaymondDavid E. RossowHarriett K. Stallings-SalisburyDeborah SolomonRichard StackSue Jane StokerCharles SchneiderFelix ShumanBuddy VestMichael WagerSullivan H. WalkerStan WeinsteinRobert WexlerDavid Findley WheelerKenneth WhiteDick Anthony WilliamsMarjorie WoodNicol Williamson

Equity Members JoinLabor Day Tweet-a-thon

COCABRAGHAULBOHRRONAPARSEEPATHAMERKERSON

CEOADARENTHAUBREYSMITHSHARCANEOTRAFEMALBJNASALMURRAYABRAHAM

CASTEMAOALPSTGIMOARSTLEORICHARDNASHADO

ORTHOROSSOMERSETMAUGHAMEVERYMEALROBETANSSSTSEWER

AEA Meets AFM

Equity’s Secretary-Treasurer Sandra Karas meets AmericanFederation of Musicians’ National Secretary-Treasurer SamFolio (r) on the set of her production of Cabaret at the Merry-

Go-Round Playhouse in Auburn, N.Y. on September 4, 2012.Joining them is Ed Sayles, the theatre’s Producing Artistic Director.Ms. Karas, still in costume and makeup, plays Fraulein Schneider inthe production.

Answer to the puzzle on page 8.

Credit WhereIt’s Due

Credit for the Gypsy Robephotos on page 6 of theJuly/August 2012 issue ofEquity News should go to WalterMcBride.

Aaron Holland loves his Equitycard.

Joshua Quinn is a proud Equity member.

Vivienne Cleary receives herEquity card in the mail.

SEPTEMBER 2012

First Folio Theatre’s cast ofThe Merchant of Venice usedthe final week of their record-

setting run to support Season ofConcern, the Chicago areacharity which provides

compassionate care to those inthe theatre industry who areexperiencing the effects ofcatastrophic illness, includingHIV/AIDS. With a post-showappeal from Equity actors

Michael Goldberg(Shylock) andMichael JosephMitchell(Antonio), thecast raised$1,209.62. FirstFolio Theatre,located in OakBrook, Illinois,has beencollectingannually forSeason ofConcern sincethe theatre wasfounded in 1997.

10 / EQUITY news SEPTEMBER 2012

NATIONALNEWSNATIONALNEWS

San Francisco

“Mixed Relief ” Reading Showcases Members, Labor-Event Benefits Actors Fund

The Bay Area AdvisoryCommittee (BAAC) developedand hosted a staged reading ofMixed Relief as part of Laborfeston July 23, 2012. Presented atThe Lorraine Hansberry Theatrein San Francisco, proceeds fromthe event went to The ActorsFund.

The script, provided free bySupport Women Artists Now(SWAN) and directed by AEAMember Phoebe Moyer,combined actual reporting witha fictional accounting of womenartists of the WPA and theimpact of government fundingon arts and women. Characters,primarily women, includedEleanor Roosevelt, DorothyWest, Anzia Teezierska andWendy Wasserstein, amongothers.

The cast, crew, designersand house staff were all Equitymembers and the reading byBAAC was the first of what ishoped to be many showcaseopportunities for members in theBay Area.

“The purpose of the eventwas not only to participate in alabor event but also to providemembers with outlets to practicetheir craft and be seen in this

time of downsizing and limitedperformance opportunities,” saidKelly Ground, Councillor,member of the WesternRegional Board and Chair of theBay Area Advisory Committee.“Members were able to performfor the public as AEA artists(often overlooked) and in turnraise funds for a good cause.Laborfest, as the only labor-typeevent held annually in the SanFrancisco Bay Area, was ameans to be pro-active andshow Equity in a positive light tofellow labor unions and thegeneral public. Informational

materials for Equity and TheActors Fund were available inthe lobby during the reading andat the mixer reception followingthe performance.”

In its first ever endeavor andwith limited time, all elementsdonated (including the theatre),BAAC and the local memberswere able to raise $720 for TheActors Fund. BAAC hopes toprovide more such showcaseopportunities for Members in thefuture and is developing aSpring New Works Event forWomen’s History Month.

Chicago

“Merchant” is Concerned

Whitefield, New Hampshire

Weathervane Theatre Rededicated;Celebrates 47th Anniversary

The Weathervane Theatre iscelebrating its 47th anniversaryin 2012 in a restored andrededicated facility. A fire onOctober 10, 2011 destroyed theoriginal structure, most recentlyused for dressing rooms,storage and the Scene Shop. Ina letter, Equity President NickWyman acknowledged therededication as a time tocelebrate. “The story of the fireand how everyone pulledtogether to rebuild and keep theWeathervane Theatre alive andflourishing is inspirational,” he

wrote. Equity also issued aproclamation congratulating theWeathervane, the onlyprofessional alternatingrepertory theatre in the countryproducing seven rotatingproductions in an eight weekseason, “on the occasion of therededication and in honor of its47 years of theatrical andcultural contributions.” Equityalso paid tribute “to theextraordinary members of thecommunity who made thislandmark rededication andseason possible.”

The cast of theGoodspeed OperaHouse production ofCarousel in EastHaddam,Connecticut raised$700 for BroadwayCares/ Equity FightsAIDS with a bakesale at the matineeand evening perform -ances on August 15,2012. The event wasin celebration of the 100thanniversary of the birth of chefJulia Child. Led by Equitymembers Ronn Carroll (theStarkeeper) and James Snyder(Billy Bigelow), the cast invitedaudiences to “Have a Real NiceCake-Bake” in honor of Ms.Child’s centennial whilepromising to “bake our buns off”for BC/EFA. Ms. Child herself

(looking a bit like Mr. Carroll)made an appearance at theintermission of both shows,encouraging audiences to tastean incredible assortment ofgoods, indeed some from hercookbook. “We think Juliawould have been proud,” Mr.Carroll said. “Even at 100 shestill provides fun and inspirationfor us all.”

New York

Free Health Fair, Flu Shots PlannedA free Health Fair sponsored

by Better Wellness and You(BWAY) and The Actors Fundwill be held from 10 am to 3 pmon Thursday, October 11, 2012in the Council Room on the 14thFloor of the Equity Building, 165West 46th Street. There will befree flu shots (Members mustregister by 2:30 pm), plus

screenings and bodywork alongwith information on healthinsurance and nutrition. Freemammograms for uninsuredwomen age 40 and older will beprovided at a later date by theProject Renewal Scan VanProgram. To make anappointment for a mammogram,call 800-564-6868.

Ronn Carroll and James Snyder inCarousel.

The cast of Mixed Relief: (front, l to r) Daniel Olson, ValerieWeak, Ray Renati, Brian Herndon, Cassidy Brown, NancyMadden, Aaron Wilton; (rear) Kelly Ground, Lauren Bloom,Cathleen Riddley, Marie Shell, Terresa Byrne, Susan Soriano,Safiya Fredericks, Jessica Powell and Dawn L. Troupe.

Cutting the ribbon on the site where the original building joinsthe new lobby and dressing room/greenroom/wardrobe wing.

East Haddam, CT

“Carousel” Cast HoldsReal NiceCake-Bake

Dancers Responding to AIDS returned to theFire Island Pines for an 18th year on July 20-22,2012 with its signature event, Fire Island Dance

Festival.Performing were 32

members of 11 dancecompanies, includingBallet Hispanico,MOMIX and ParsonsDance, as well asAustralian Balletprincipal artist YosvaniRamos, tap dancerJared M. Grimes and(1) a host of Equitydancers appearing ina special performanceof Plain Gold Ring,created for the Festivalby Tony Award-winningchoreographer RobAshford.

Ashford’s contemporary dance, featuring eightBroadway Equity members: Helen Anker, MartyLawson, Mayumi Miguel, (2) Tony nominee Karine

Plantadit, Charlie Sutton,Ryan Watkinson, (3)Charlie Williams andSamantha Zack,highlighted the programperformed on an outdoorstage set against the sunlitwaters of the Great SouthBay.

The three sold-outperformances drew arecord-breaking crowd ofmore than 1,000 andraised $374,000 for DRA,bringing the cumulativeevent total over the last 18years to $2.9 million. Hats(and shirts) off to (4) the extraordinary Equitydancers who participated in what The New YorkTimes called “one of the twelve best events of theyear.”

For more information about Dancers

New York

Dancers Respond to AIDS at Fire Island Festival1

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New York

Back 2 Back, Baby!!By Kim TravisManager,Equity Softball Team

Thursday, August 23, 2012turned out to be a beautiful dayto win a championship. That’sright. Equity, your BroadwayShow League team, has wonthe League championship—again.

Undefeatedthrough theplayoffs, andneeding onlyone win for asecondconsecutivetitle, Equity’smotto became“One andDone!” Thesechampionsepitomize theword Team.Dog fight or walk in the park,they stick together. They pickeach other up, cheer for, worryover and genuinely care aboutone another. From the players to

the coaches to the cheerleadersand the fans, this grouprepresents AEA with dignity,honor and true sportsmanship.

The championship game wasan absolute thriller. Tied 5/5going into the bottom of the 8th,and knowing Jujamcyn had thetop of their line-up coming up,we knew we had to score someruns. We strung four hits

together to go up 8 to 5. Then, inthe top of the 9th, with stellardefense and perfect pitching byGreg Salata, we shut themdown. When we got the last out,pure joy and mayhem ensued.

Everyonewatchingagreed, thiswas one ofthe mostexciting finalsin recent BSLhistory. Andwe are thrilledto bringanotherchampion shiphome toActors’ Equity.

Whitefish, Montana

Montana’s Alpine Theatre Raises Funds For BC/EFAThe Alpine

Theatre Project’sproduction of LittleShop of Horrors inWhitefish, Montanaraised $2,200 forBroadwayCares/EquityFights AIDS with aone-night-onlycabaretperformancespearheaded byEquity memberNicholas Ward, the“voice” of the plant,Audrey II. “To behonest,” said Nicholas, “we weredrinking at one of the local barson a Monday night and thoughtit would be great to put togethera fundraiser for BC/EFA ratherthan just hangin’ around.Everyone got really excitedabout it.” With the help of astrong social marketing push,Alpine’s 500-seat theatre wassold out! Cast membersautographed and sold showposters, adding to the evening’s

grand total. “We were so proudto do something that was biggerthan ourselves,” said Nicholas.Artistic Director and Equitymember Betsi Morrison agreed,“When my husband (and LittleShop director) Luke Walrath andI moved to Montana from NewYork ten years ago, BC/EFA wassuch a big part of our lives. Itwas very special to be a part ofit all again here!” Localaudiences gave rave reviews.

“$2,200 may not be a lotcompared to shows in biggertowns,” said Mr. Ward, “but for asmall theatre in Montana it’spretty amazing. We were all veryproud of ourselves and happy tohelp such a fantasticorganization.” BC/EFA funds twoAIDS service organizations inMontana: Lewis and ClarkCountry AIDS Project in Helenaand Open Aid Alliance inMissoula.

The San Francisco Bay AreaFall Membership Meeting will beheld on Monday, October 22,2012 at Berkeley Repertory

Theatre. The doors will open at6 pm for a reception and mixer,with the meeting to begin at6:30. Visit the Equity website,

www.actorsequity.org, forinformation on the agenda andguests.

New York

Equity Member Wins Week of FreeCar Rental in Union Plus Contest

Equity member Sierra Reinof New York City is one of fivelucky winners of a week of freecar rental with Union Plus. Shewas randomly selected frommore than 12,600 participants inthe Union Plus Car Rentalcontest.

Sierra says she has a fewtrips in mind to use her prize.“We may take an Anniversarydrive outside of the city and getaway from it all for a day. I’malso in a vocal group, MarqueeFive, and we sometimes needtransportation to out-of-towngigs. This prize might help lowerour travel costs,” she says.

Union Plus gives Unionmembers several options tosave, such as on car rentals.“We sometimes forget that ourUnions give us premiere accessto savings we never thoughtwere possible and Union Plus isa good place to start,” Sierrasays. For my fellow actors, thiscan mean savings to go towardstheir career materials, training,health and general peace ofmind.”

Union members are eligiblefor a Union Plus discount of upto 25% on car rentals. To takeadvantage of the best ratesunder this program, reserveonline at UnionPlus.org/CarRentals. AEA members inNew York City and Hoboken, NJcan also visit this website tolearn about savings with theConnect by Hertz car sharingprogram For information on allUnion Plus programs, visitwww.UnionPlus.org.

San Francisco

Membership Meeting Set for October 22

SEPTEMBER 2012 EQUITY news / 11

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Sierra Rein.

The cast of The Merchant of Venice.

Equity’s championship softball team.

Greg Salata on the mound.

(Pho

tos:

Ros

alee

O’C

onno

r)

Cuddlycanines andfurry felinesfilled ShubertAlley on July14, 2012 withthe return ofBroadwayBarks, theannual petadoptionevent thatbenefits NewYork City’sanimal shelters while spreadingthe message of the importanceof spaying and neutering. Barksfounders (1) BernadettePeters and Mary TylerMoore welcomed dozensof fellow Broadway starsand thousands of animallovers to the 14th edition ofthe event, which isproduced by BroadwayCares/Equity Fights AIDS.

(2) Broadway legendAngela Lansbury helpedkick-off the festivities bypraising the impactBroadway Barks has hadover the years. “Thanks to

your generosity, over the last 14years forever homes have beenfound for hundreds andhundreds of wonderful dogs and

cats,” Ms. Lansbury toldthe crowd. “Together,Bernadette and Maryand all of you havemade an enormousdifference in the lives ofso many oncehomeless New YorkCity animals. Andbecause of that thereare also many luckypeople now sharingtheir homes and heartswith these sweet

creatures.”Surrounded by

tents and tablesfrom 27 New Yorkarea shelters, morethan 40 actorscurrently appearingon Broadwayserved as specialpet escorts for theafternoon as theyintroducedadoptable andadorable dogs andcats. Among those lending ahand were Bebe Neuwirth;Andrew Rannells and RoryO’Malley (The Book of Mormon);

Audra McDonald andNorm Lewis (TheGershwins’ Porgy andBess); Megan Hilty andAngelica Huston (TV’sSmash); Jeremy Jordan(Newsies); AdamChanler-Berat, CeliaKeenan-Bolger and MattSaldivar (Peter and theStarcatcher); MichaelMcGrath and Judy Kaye(Nice Work If You CanGet It) and dozens ofothers.

(3) Steve Kazee, Tonyrecipient as leading actor in amusical for Once, said it had

been a lifelong dream of his tohelp out at Broadway Barks.“When I was doingSpamalot right there at theShubert, I’d come out between

shows and watch,” said Kazee.“I’m so happy I get to finally be apart of this wonderful afternoonand help out.”

“I’m so happythat the BroadwaycommunityembracesBroadway Barkseach year,” saidBernadette Petersat the end of theevent. It is a sweetday for us all, butespecially for the (4)animals that findwonderful homes,

many of them with folks workingright here on Broadway!”

For a full story, more picturesand a list of participating sheltersgo to broadwaycares.org

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New York

“Broadway Barks 14” Finds Forever Homes For Furry Friends1

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Letters received from paid up members on subjectsof concern to Equity members will be consideredand published as soon as possible. The Editorreserves the right to limit letters to 175 words andto select one or two representative letters whenmany similar letters are received. Letters mustbe signed, but names will be withheld on request

for those letters which may affect members’employment. Signatures will not be withheld on letters antagonistic or accusatory, either

implied or expressed, against other members. Opinions expressed in Letters to the Editor are notnecessarily those of Actors’ Equity Association.

12 / EQUITY news SEPTEMBER 2012

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IN PRAISE OF THEACTORS FUND

Dear Editor:I’d like to take a moment to

recognize an employee of TheActors Fund, Amy Wilder, anda member of Equity’sWashington, DC/BaltimoreLiaison Committee, BarbaraCallander, for their amazingefforts at obtaining financialassistance after mydevastating injury.

Over the years, I had heardof the work of The Actors Fundand never imagined that Iwould become a recipient of itsgenerosity. Rest assured thatyour contributions to TheActors Fund go to anextremely worthy cause—namely, helping fellow actorsaround the country who findthemselves in distress.

With respect andappreciation,

Monica Lijewski

IN MEMORIAMDear Editor:

Doris Faye, a talentedventriloquist, entertainer,comedienne, musician, TVproducer, accomplished singerand Aunt extraordinaire,passed away on July 3, 2012.

She frequented the Equityoffice in midtown, alwaysenjoying meeting and greetingfriends there. She brought joyto many children in the 1950sand 60s producing the Bozothe Clown Show (also creatingthe character of PrincessTicklefeather), Wonderamaand the Johnny Jelly BeanShow. Ms. Faye entertainedthe troops in WWII and as aventriloquist, she appeared onthe Paul Winchell Variety Showwith her beloved “Sunflower,”was cast as Mazeppa in thefirst National Tour of Gypsyand appeared on Broadway inHellzapoppin’.

A beautiful red-head, shewas a spiritualist, philosopherand a very gentle and lovingsoul. Her joy when she wouldplay piano and sing was greatfun and inspiring to everyonewho was in her presence. Shehad a wonderful outlook onlife—believing in peace,prosperity, perfect health andpositive thinking. The heavensbecame a little brighterbecause another star is amongthem.

Susan Edwards MartinLos Angeles, CA

Letters to The Editor

(Photos: Jam

es Zielinski and W

alter McB

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