At its meeting of January18, 2011, Council ap-proved the joint recom-

mendation of the Eastern,Central andWestern DevelopingTheatre Committees for changesto the Small Professional TheatreAgreement (SPT) that will runthrough June 7, 2015. Highlightsof the contract include a 3% in-crease in salaries in each year ofthe agreement; improvements inhousing, including high speed in-ternet access and more requiredinformation about the contents ofthe housing; a 1/6 tech weeksalary bump for Stage Man-agers; a minimum number ofChorus contracts in musicals;updates to the overtime rates;and a minimum guarantee of re-hearsal for replacement Actors.Additionally, provisions relating torehearsals, performances, con-secutive productions, and the de-

termination of a theatre’s catego-ry were added, reorganized orclarified to make the Rulebook amore accessible document.There are some expanded pa-rameters in the area of media,too, including an increase inwebsite footage from three min-utes to five minutes and the al-lowance of footage onEquity-approved non-embedda-ble third-party hosting sites.Health payments increase slight-ly in the first two years of theagreement, with payments in thefollowing three years to be deter-mined.The Small Professional

Theatre Agreement is apromulgated contract that isutilized by theatres seating 349or fewer that are not in officecities. Each Producer on an SPTnegotiates individually with aBusiness Representative to

establish terms based on theRulebook.A survey was conducted in

December 2009 in order todetermine the needs of themembership working on thiscontract. More than 4,700members were emailed, and1,202 responded. “The largenumber of responses to the

By Sandra KarasVITA Site Coordinator

As it rears its ugly headevery so often, the Hob-by Loss Rule – as it is

usually characterized – Section183 of the Internal RevenueCode, has resurfaced in earnestof late. The IRS, an agency thatregularly has to reinvent itself, orat least its methods of collecting

revenue, has been reviewing theforests of small businesses andindependent contractors to seehow much extra tax it can shakefrom the trees. So, woodlandfriends, let us review the Codeand see who qualifies.Internal Revenue Code §183

lays out several tests todelineate between ongoing, for-profit business people anddabblers or hobbyists. Bothmust report income from theirventures, less ordinary andnecessary expenses. The chiefdifference is that the individualsand businesses that spendmore than they bring in arerestricted from doing so morethan two years out of five. Thosethat report repeated losses aresubject not only to this Codeprovision, but to strict penaltiesif they overstate expenses. Ifyou don’t know where you standin this “business or hobby”minefield, here are thequestions the IRS asks you toanswer in making adetermination. The parentheticalquestions are mine:• Does the time and effort

put into the activity indicatean intention to make a profit?(Are you actively pursuing this ina professional manner?)• Do you depend on income

from the activity? (Are youearning your living – at least in

MARCH2011Volume 96Number 2

A Publication of Actors’ Equity Association • NEWS FORTHETHEATRE PROFESSIONAL • www.actorsequity.org • Periodicals Postage Paid at NewYork, NY and Additional Mailing Offices

Index

Mary McColl: An interview.........1

Your income tax .....................1

AEA members rally forworkers’ rights.......................2

History is made atGeva Theatre Center ................3

Final Curtain .........................7

National News .......................8

Letters ...............................12EQUI

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you imagine and at last youcreate what you will.”— George Bernard ShawEQUITYNEWS

(continued on page 2)

(continued on page 6)

Annual Membership Meeting isFriday, April 8, 2011

The Eastern, Central and Western Regions will be connected bytelephonic hookup for the Meeting in order that members in allRegions may be able to hear statements of candidates runningfor election to Council.

The statements will begin at 2:30 p.m. (Eastern Time)1:30 p.m. (Central Time) and 11:30 a.m. (Western Time)

The meeting in the EASTERN REGION will convene at 2 p.m.in the Council Room on the 14th Floor of the Equity Building,

165 West 46th Street, NewYork, NY

The agenda will also include the following:

• Presentation of the Rosetta LeNoire Award• Membership Discussion Period in accordance with the By-LawsA Sign Interpreter will be present on request. Equity’s TDDtelephone number—Telecommunications Device for the Deaf—is (212) 302-4306.

The meeting in the CENTRAL REGION will convene at 1 p.m.in the Member Center on the 1st Floor of the Equity Building,

557 West Randolph, Chicago, IL

The agenda will also include the following:

• 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 theWESTERN REGION will convene at 11 a.m.in the Bellamy Board Room on the 5th Floor of the Equity Office,

6755 Hollywood Blvd., Los Angeles, CA

The agenda will also include:

• Report of the Western Regional Vice President• Report of the Western Regional Director• Membership Discussion Period in accordance with the By-Laws

Your IncomeTax

DoYou Dabble?

Mary McColl,New Executive Director,Hits the Ground Running at Equity

CouncilApproves Changes to SmallProfessionalTheatre ContractMembers Surveyed to Determine Concerns

Mary McColl joined Ac-tors’ Equity Associa-tion on Tuesday,

January 18, 2011. Her first daywas a Council meeting whereshe had the opportunity to ob-serve Equity’s democraticprocess at work. In her first offi-cial interview as the new Execu-tive Director, Mary sat withEquity News to share some ofher views. Here is the interview:1) You began your career

as a dancer. How does thatexperience influence yournew role as ExecutiveDirector? Being a dancer, Ialways envisioned I would cometo NewYork and work onBroadway. Here I am! Notexactly dancing in a big musical,but that experience – that desire- has informed all of the work Ihave done in my career. Itcertainly informs my position asthe Executive Director. My loveof performing is what has ledme to work in artsadministration because Iunderstand what it’s like to train,to be driven. That kind oftraining - that mindset - hasbeen what has inspired me towork to ensure the best possibleenvironment for performers.2) You have a strong

background in artsadministration.Tell us a littleabout that and how ittranslates to being theExecutive Director of anational performing arts

union. After I realized dancewould not be my career, Iworked in a variety of positionsthat actually taught me what ittakes for a performing artsorganization to be successful. Ilearned from the ground up.Those learning experiencesallowed me to know everyaspect of a production. So as Icome on board as the ExecutiveDirector, I still consider myself

an arts administrator. I don’t seethe work I’ll take on in leadingthis Union as all that differentfrom what I have done in thepast. The reality is I know thereare business challenges forEquity similar to challengesfaced by other performing artsbusinesses. There are artisticand work related challenges forboth the membership and thestaff. My background gives me aunique perspective on how towork to meet those challengesand make it better for ourmembership.We’re in showbusiness and I believe that the“show” part should always bejoyful.3) You joined the staff in

January and have really “hitthe ground running.” In thesefew short weeks, whatchallenges do you see facingEquity? The change in theeconomy and how it impacts us- the Association, the life andwork of the membership, ourbargaining partners in theirability to employ us – is a verybig challenge.We are looking atjob opportunities, fundingchallenges for our bargainingpartners and how that impactsour members. The Productionand LORT contracts – two veryimportant job generators – aregoing to be negotiated in thenext twelve to fourteen months.Smaller contracts will be

(continued on page 2)

Mary McColl.

survey was gratifying,” saidCentral Regional DirectorKathryn V. Lamkey. “From theresults we now have a betterpicture of our members’ currentconcerns and the areas in whichthey wish to see improvements.”The largest number of

responses to the surveyindicated that salary increaseswere important, but respondentsalso recognized the recenteconomic downturn and didn’twant to see the theatres “hurt.”The second highest number ofrequests were for more rehearsaltime, which was addressed in thenew agreement with the additionof a provision that permits aProducer to buy additionalrehearsal hours under certainconditions.For the period January 2007

through December 2009, 12,075Equity contracts were issued bysome 250 SPT theatres.Research by staff indicated thatSPT has the third highestnumber of Equity workweeks(behind LORT and Production),the largest number of opencompanies per week (l61) andthe fourth highest earnings(behind Production, LORT andDisneyWorld). SPT theatres’seating ranges from 49 to 349with 172 as the median; averageticket prices range from free to$50 with $22.50 as the median.More than 60 Committee

members from across thecountry were involved in theprocess of drafting thesechanges, along with more than20 staff members, led by ChairJeff Williams and CentralRegional Director KathrynLamkey.

negotiated in the near futureand those are equally important.Another challenge is to makeEquity a truly national Union. Mygoal is to reach out to all regionsto create a viable relationshipwith each of our offices so thatwe can put into practice the bestthinking to help our members. Ialso want to identifyopportunities to help our futureemployers get on their feet inways that Equity hasn’t before -without decreasing ourcontracted terms and wages. Iam moved to do what we can forour members and to add value

to their lives and theiremployment.

4)What best practices willyou seek to implement thatwill address thesechallenges? By the time thisinterview goes to print, we willbe in the Plenary. Over severaldays I will hear from Equity’selected leaders what they thinkis important. I intend to take thatinformation and help devise astrategy and a set of bestpractices that will do threethings: strengthen the Union,create the best possible workingenvironment for our members,and give the staff the supportthey need to continue to do theincredible work they do onbehalf of the membership.

Throughout all of it, one of theguiding factors will be respectfor what this Union, itsmembership and staff stand for.5) How do you characterize

your approach? I think ofmyself as an honeststraightforward communicator.First, because it’s important toestablish trust-filledrelationships with the Officersand Council, and with the staffthat reports to me. Likewise, it’simportant to have a solidrelationship with our bargainingpartners in our negotiations andin our day-to-day exchangeswith them. I believe that thisdirect approach is the best wayto achieve the best outcome forour members and for the

industry. I intend to work hardfor our members and to do whatI and the staff can to ensure astable industry. That willtranslate into better careers andlives for our members and for astrong, viable Union.I also want to mention the

Centennial. I can’t think of amore exciting time to join Actors’Equity Association than at its100th Anniversary. This Unionstarted because a few actorswanted to make changes tobetter the lives of every actor.We continue to do that everyday. Its what this Union is allabout. For me, as a performer atheart, I am excited to be part ofEquity!

22 // EEQQUUIITTYYnews

(contin-

Mary McColl Continued from page 1

SPT AgreementContinued from page 1

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)Kevin McMahon (Western)

Liz Pazik (Central)Barbara Roberts (Western)Melissa Robinette (Eastern)

EQUITY NEWS (ISSN: 00924520) is published 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

New MSUA ContractFeatures Salary Increases,Media Package

Anew four-year MusicalStock/Unit Attraction(MSUA) Agreement

featuring salary increases anda media package, has been ap-proved by Council. The contractis used by Kansas City StarlightTheatre, the St. Louis Muny,Theatre of the Stars in Atlantaand Dallas Summer Musicals.Equity’s Chief Negotiator

was Central Regional DirectorKathryn V. Lamkey, assisted bySenior BusinessRepresentatives ChristineProvost, Russell Lehrer andBusiness Reps Ann Gordonand Jeffrey Bateman.The Negotiating Team was

led by Vice Chair Wally Dunnand included Bill Bateman,David Girolmo, Greg Hirsch,Rebecca Kim Jordan, MarkDavid Kaplan and SarahMarshall. Also assisting wereJeanne Lehman and Chair E.Faye Butler.Salary increases of 1%, 2%,

2% and 3% over the next fouryears were achieved, as wereincreases in per diem, the non-touring Dance Captainincrement, health, overtime,and all increments that are apercentage of minimum, sincethose amounts increase withthe increase in minimum

salaries. Members will also seethat the new agreementcontains the addition of one dayof unpaid bereavement leave, adirect deposit option for allemployment, a 1/6 tech weekbump for Stage Managers onUnit Tours, improvednotification of cast changeswhen a Swing goes on, anotherday of preproduction for the 1stAssistant Stage Manager,stricter guidelines for costumefittings, and high speed internetaccess in Actor housing. “I amvery pleased with the work ofour team and the passion andspirit they brought to thediscussion of all of the issues,”said Ms. Lamkey.The MSUA Agreement will

now contain a media package,allowing for greater capture offootage to publicize andpromote theatres’ productions.For this package, Actors willreceive, in addition to theirsalaries, no less than 2% of theprevailing Actor minimum eachweek, which may not be foldedinto overscale. The MSUA Contract

generated nearly 1,000workweeks in the 2009-2010season, with more than$900,000 in earnings that year.

Council EstablishesNew Committee

Council has recently votedto establish a CredentialsCommittee to address

conflict of interest issues. Thestanding Committee is made upof three Councillors Emeritusappointed by the President andone representative elected an-nually from each RegionalBoard. The Committee, whichwill work in cooperation with Eq-uity’s legal counsel, is currentlybeing chaired by Councillor Mar-jorie Horne and has met once todiscuss its duties and proce-dures.

President Nick Wymanstates, “Handling conflict ofinterest issues with good senseand discretion is the sign of ahealthy organization. OurConstitution and By-Laws definewhat we mean by conflict ofinterest, and this Committee willbe able to help implement therules.” In addition to addressing

questions of conflict, theCommittee is authorized todevelop new explanatorymaterials to help membersunderstand their responsibilities.

In Madison,Wisconsin (photo,r) and New York City(l), AEA membersdemonstrate theirsupport for thecollective bargainingrights of publicsector workers inWisconsin and theirlegal right to berepresented by aUnion in thatbargaining. Seemore photos at actorsequity.org.

2011 Annual Election CalendarWednesday, March 9, 2011 Deadline for Candidates’

Statements for Equity News,Equity Website and BallotBrochure (Due in all threeRegional Offices by 2 p.m.Eastern Time). Lottery for BallotPlacement (National Office).

Thursday, March 24, 2011 Deadline for registration to voteelectronically. You must be paid upin dues through March 24 in orderto receive a ballot.

Friday, April 8, 2011 Annual National MembershipMeeting (All Regions viateleconference). CandidateSpeeches.

Monday, April 11, 2011 Distribution of ballots (fromballoting company).

Friday, May 20, 2011 Deadline for receipt of ballots.

Saturday, May 21, 2011 Tabulation Day.

AEA Members Rally for Workers’ Rights

(Photo: Stephanie Masucci) (Photo: David Girolmo)

MMAARRCCHH 22001111 EEQQUUIITTYYnews / 33

From thePRESIDENT

Things They Are A-Changin’at Equity

By Nick Wyman

In a dazzling scoop that hasleft the editors of the “Na-tional Enquirer” gnashing

their teeth, I am prepared toblow the lid off the Skull-and-Bones-like secrecy of Actors’Equity governance: the Swissbank accounts, the lavish bac-chanals, the cult of personality,the marble statues of PresidentWyman,… sorry, I drifted off fora moment there, where was I?Oh, yes, the governance ofAEA.

We have 75 Councillors andeight Officers. Almost all camefrom the NYC area until 20years ago when NationalRepresentation divvied themup among the three regionsaccording to percentage ofmembership. The Councillors ineach region meet once amonth as a Regional Board todiscuss local issues andconcession requests, and thenthe whole Council meets (viaphone hookup) once a monthto discuss national issues andpolicy.

Below this level of electedleadership meetings are 4,000committees (well, 93, but itseems like 4,000). Thesecommittees (usually chaired byCouncillors but most are open

to any member withincommuting distance of one ofour three office cities) dealwith budget, concessionrequests, develop contractproposals and makerecommendations to theRegional Boards and Council.

But why, you ask (in that B-movie cliché way you have),am I telling all this to you, aperfectly indifferent AEAmember? Because things arechanging —you have a newExecutive Director and a newPresident — and I want yourinput and your buy-in. Just as Isuggested to you in my“Mastering the Business ofActing” column that you shouldknow your strengths and planfor not just the next job, but thenext five or ten years, yourelected leaders need to assessAEA’s strengths and plan ourcollective future.

We are gathering all theOfficers, Councillors, non-Councillor Central RegionalBoard members and AreaLiaisons together in a nationalconference in New York Citythis spring to discuss the bigissues: how we providemember services, how wecommunicate with ourmembers, how we handlepublic policy, and how we

administer contracts. Toprepare for this, I have askedall of these folks to think aboutan AEA Mission Statement(What do we want to do?) andan AEA Vision Statement (Whodo we want to be now? In fiveyears? In ten?).

I am asking the same thingof you. If you have a good idea,send it to me(president@actorsequity.org).Regardless of whether youshare your ideas, be thinking ofyour version of Equity’s Missionand Vision when you look atthe candidate statements inthis spring’s election, and votefor those candidates whoreflect your vision (though takethose promises to halve yourdues and quadruple your jobopportunities with a grain ofsalt). We are a very democraticUnion: you get to vote for asignificant portion of yourleadership every year. You alsoget to join committees andplace your hands on thewheels and gears of theUnion’s workings. I wouldwelcome your participation andassistance in the tough job ofattempting to make the toughjob of our career a little easier.

By Pearl Brady, EasternEqual EmploymentOpportunity BusinessRepresentative

If you see a production ofOthello or Pacific Overtures,it probably doesn’t strike you

as odd if you see an AfricanAmerican man playing thetitular Shakespearean generalor an Asian American castsinging the glorious Sondheimscore. When it comes tocharacters who havedisabilities, though, rarely arethose performing the rolesActors with disabilities.Not so in the Geva Theatre

Center production of Over theTavern in Rochester, NY. TomDudzick’s autobiographical playabout a working-class family in1950s Buffalo has been aregional hit since its debut in1994, but only now has one ofits characters had his trueessence unlocked. One of the play’s characters,

Georgie, is based on Dudzick’sbrother, Michael, who was bornwith Down Syndrome. Never

before has the role been playedby an Actor with adevelopmental disability, butwhen Skip Greer came onboard to direct the Gevaproduction, authentic castingwas an easy choice. With thehelp of Assistant Director SusanWare, a teacher of theatre anddance who has worked withpeople with developmentaldisabilities for over 25 years,Greer was able to find his idealGeorgie in 16-year-old singer-actor Andrew Rondeau. “Andrew is a remarkable

young actor,” says Greer. “He isa very specific active listener,and brings a truth and heart tothe role that has proveninvaluable to the company.Andrew’s generous spirit helpedthe acting ensemble forge thePazinki’s family dynamics. He’sunforgettable, and the integrity

he brings to the role of Georgielifts the experience of all thosearound him. He’s taught all of usso much about the daily life ofthe Pazinski’s: their wearinessand their passion. Georgiebrings out the best in thefamily—he is a constantreminder of patience and joy.Andrew brings that to Georgieand, by extension, to all of us.”This will also mark the first

time in the Equity collectivememory that an Actor withDown Syndrome will be workingunder an Equity contract in aprofessional production. For many decades, Equity

has been at the forefront infighting for diverse and inclusivecasting. A particular challengethe Union has faced is in regardto the hiring of Performers withDisabilities, or PWDs. Thoughmulti-racial casting has becomean expectation of audiencesnationwide, the same has notcarried over as quickly forcharacters who usewheelchairs, have DownSyndrome, or have any number

of disabilities. Since 2008, AEA has been a

leading supporter of the I AMPWD (Inclusion in the Arts andMedia of People WithDisabilities) campaign, a tri-union effort to see PWDs fullyintegrated into the Americanscene depicted on stage andscreen. Eastern Regional Director

Rick Berg visited the productionduring rehearsals. “This is agroundbreaking casting choice,”says Berg. “Actors withdevelopmental disabilities havebeen almost entirely absentfrom our professional stages,and I’m thrilled to see Gevabreak this barrier. I think it willinspire other producers to moreseriously consider hiring Actorswith disabilities.”For more information:

www.gevatheatre.org.

History is Being Made atthe Geva Theatre Center:Authentic Casting in aHit Regional Play

I’ve been asked to work inthe United Kingdom orAustralia. What should I do?Call Actors’ Equity

Association directly. While wewill need to speak to theProducer as well, don’t assumethat the Producer will contact usvoluntarily. Also, don’t assumethat everything is fine justbecause the Producer tells youit is.What union covers this

work?The union in the United

Kingdom is known simply asEquity. In Australia, theappropriate union is the Mediaand Entertainment Arts Alliance,or MEAA. Occasionally, Actors’Equity may cover overseas workif it originates in this country. Forquestions about the specifics ofwork under these contracts, youshould contact the appropriateunion.Who will take care of me

while I’m overseas?Your first resource should

always be the union coveringthe work.My agent is negotiating on

my behalf, the Producer isoffering a good salary andhousing, and I will be on a

union contract – so whyshould I involve Actors’Equity? Actors’ Equity will make sure

that the compensation meetsappropriate minimums – morelike what you’re used to here.Additionally, under someagreements, you may be able toreceive Health, Pension or401(k) contributions. Finally, ifthere are outstanding issueswhen you get home, Equity canfacilitate the resolution of thoseissues with the hosting union.I can get Equity/League

pension and health benefitson an Equity contractoverseas, right?Unless there is an agreement

in place between the Producerand Actors’ Equity Associationthat covers the engagement,benefits cannot be paid on yourbehalf.I’ll be working in Canada.

Which union should cover thework – Canadian Actors’Equity, or Actors’ EquityAssociation?It depends on the

circumstances – call Actors’Equity to find out. If you aretraveling with a show that isalready on AEA contract, the

Producer will handle thearrangements. If you are goingas an individual to appear in ashow on a CAEA contract, youshould contact Canadian Actors’Equity, but always feel free tocontact us if you still havequestions.Will I have to join another

union? Will I have to pay duesto both unions?For questions about joining,

you should contact the unionthat will be covering the workand your dues will be paid tothat union. If you will be out ofthe country for a significantperiod of time, you can callActors’ Equity’s MembershipDepartment to find out if you areeligible to temporarily freezeyour dues obligations.Where, if at all, will I pay

taxes on my overseasincome?

In general, you will be liablefor taxes in both countries, butyou should consult a taxprofessional before committingto the engagement.For more information, contact

Flora Stamatiades, Equity’sNational Director, Organizing &Special Projects, (212) 869-8530, ext. 419.

Working Abroad: A Brief Primer

Andrew Rondeau (l) with Forrest Gertin in Over the Tavern at theGeva Theatre Center. (Photo: Ken Huth)

Central Region

StagesSt. LouisCelebrates25thAnniversary

Stages St. Louis opened in1987 with a staff of eightpart-time employees, a

season of 24 performances, abudget of $50,000, an actingcompany of seven and an audi-ence of 3,000. Today, it boasts of25 full-time staff members, 124performances each season, abudget of $3.7 million, an actingcompany of more than 50 and

an audience of over47,000, and in 2010, thetheatre provided 320workweeks for Equitymembers. In its 25-yearhistory Stages hasmounted 82 productionsfor over 2,600 perform-ances and played to au-diences numberingmore than 800,000.Along the way, it has re-ceived 20 Kevin KlineAwards, including threeawards for OutstandingProduction of a Musical. Ben Nordstrom, an

Equity member whoworks with Stagesfrequently, says: “It’s been anhonor and such a pleasure to bea part of Stages’ incrediblejourney. Stages has helped tocreate a wonderful family here inSt. Louis. I know that all of mymany brothers and sisters joinme in raising a glass to Michael[Hamilton, Artistic Director], Jack[Lane, Executive Producer], Ron[Gibbs, Managing Director] andeveryone to say Happy 25th

Anniversary.” Stages, a not-for-profit

company, has outgrown itspresent home and is in the midstof a capital campaign to buildThe Stages St. Louis PerformingArts Center and Academy. Planscall for a 730-seat main stagetheatre, a 200-seat secondstage and expansion room for afuture 299-seat theatre. Thetheatre has a gloried past and abright future.

Originally the site of theSecond Church ofChrist Scientist, the

three-acre property is now thehome of freeFall Theatre, operat-ing under Equity’s Small Profes-sional Theatre Agreement andone of two theatres in St. Peters-burg, Florida to produce Equitytheatre year-round. “As soon as we saw the

space in November 2009, weknew that our vision—to offerauthentic and daring dramaunlike anything else in ourregion—would find a home here,”said Kevin Lane, ProducingDirector and co-founder of thetheatre with Eric Davis, whoserves as Artistic Director.The property offers a 150-

seat studio theatre, which hasbeen completely renovated byfreeFall, as well as a 300-seattraditional sanctuary space andan ample education center(formerly the Christian ScienceReading Room). “We’ve reallyfocused on a rich audienceexperience,” notes Mr. Lane.“We’ve installed museumwindows in our outdoor lobby;we’ve tripled our women’slavatories; we’ve ensured

comfortable and easy access toall services; and we haveretained 160 parking spaceswhile beautifying the completelot.”“The first night we stood on

the newly renovated stage of abrand new theatre, raised ourhands and sang, ‘Gods of thetheatre, smile on us,’ is amoment none of us will everforget,” says Becca McCoy, anEquity member appearing infreeFall’s first production, TheFrogs (music and lyrics byStephen Sondheim, adaptedfrom Aristophanes by BertShevelove and more freelyadapted by Nathan Lane), andwife of freefall Theatre’sTechnical Director, ThaddeusEngle. “As we watch so many ofour cherished theatricalinstitutions close their doors, it isthrilling to see one open theirs,especially with such a focusedvision and integrity,” she adds.freeFall opened its door on

February 4, 2011. As part of theopening festivities, there was areception on February 15 withMayor Bill Foster, featuringwelcoming remarks fromcommunity leaders.

44 // EEQQUUIITTYYnews MMAARRCCHH 22001111

Western Region

A Win-WinSituation inSouthernCalifornia

The MainStreet The-atre Company, aresident Equity

Theatre For Young Audi-ences Company at theLewis Family Playhouse inRancho Cucamonga, Cali-fornia, draws its talent fromthe Southern California areawhile introducing children to thewonder of live theatre. It’s a win-win situation. “Many TYA companies tour,”

says Equity member MichaelFaulkner, who played Mr. Salt inMainStreet’s recent productionof The Gingerbread Man. “Atthe MainStreet TheatreCompany, they bring 536 kids tothe theatre twice a day,teaching future generations thatthe theatre is a communityevent. And for us actors, thereis no more rewardingexperience than 536 laughing,screaming kids.”School children come from a

40 mile+ radius to morningperformances during the week,and family audiences fill out the

nine show a week schedule onthe weekends at the City-ownedand-operated venue. They’veproduced 14 shows to date,mostly based on children’sliterature.The company’s first show

was Miss Nelson is Missing! byJeffrey Hatcher, directed byMark Rucker. Other productionshave included the U.S. premiereof Dreams of Anne Frank byBritish author Bernard Kops,and the Los Angeles areapremiere of The GingerbreadMan by David Wood. The2010/2011 season will end withAnne of Green Gables, withmusic by Nancy Ford and bookand lyrics by Gretchen Cryer.“TYA contracts sometimes havea stigma about them as beingless than other contracts,” says

Equity memberGary Lamb.“But I was inawe of theproductionvalues of theshows that I’dseen here andmade it mymission to getcast. It’s beenone of the bestoverallexperiences inmy 30 years oflive theatre.”“We’re pretty

proud of the fact that wecontinually produce top-notchproductions using a unioncontract and have done sosince the day we opened ourdoors five years ago,” saysproducer (and Equity member)Mireya (Murry) Hepner. “We aregiving thousands of kids theirfirst taste of live, professionaltheatre, and as a producer Itake that responsibilityextremely seriously. As a formerstage manager, I alsounderstand first hand the valuewe get by using union membersin our productions, and I knowthat our performers are a hugepart of helping us nurture ouraudiences, who are theaudiences—and perhaps theartists—of the future.”

Eastern Region

Small Professional Theatre Reclaims Three-Acre Site inSt. Petersburg, FL

75 Years AgoMarch 1936

�• Faced with a growingnumber of “amateur theatres”using professional actors withoutpaying for their services, Councilon March 3 rules that “when anamateur theatre wishes toengage Equity members asactors, it must report to thenearest Equity office and satisfythat office that it is a non-profit…Such theatres will be placed in aspecial permitted classificationby the Equity office. Equitymembers who work at theatresin this classification are to bepaid at least the Equityminimum.” According to anEditorial in the Equity publicationof March 1936: “There wasnothing in the Council resolution,or in its mind, to prohibit theactor from obtaining more thanthe minimum salaries, but it isnot willing that they should work

for less” and “all theatres otherthan those in this permittedclassification must remain eitherentirely amateur or becompletely professional.”• On March 31, Council

adopts the first contract coveringsummer stock. Salaries, roomand board rates, regulation of asummer stock season andclassification of theatres arecovered in the agreement.

50 Years AgoMarch 1961

• The Equity Library TheatreChildren’s Theatre, a paidemployment project of Equity’sshowcase theatre group, hasthree shows available forbookings, employing 30 Equitymembers.• Equity lists nearly 150

summer theatres—dramatic andmusical—that have postedbonds for the upcoming season.

25 Years AgoMarch 1986

• The landmarking ofBroadway theatres is a hotissue. Gerald Schoenfeld,Chairman of The Shubertorganization is against it; JackGoldstein, then director of SaveThe Theatres, Inc. (an outgrowthof Equity) and currently Equity’sDirector of Governance Policyand Support, presents theargument in favor. (The Neil

Simon, Ambassador andVirginia (now the August Wilson)theatres are landmarked inDecember of that year. All butthree of the remainingBroadway theatres follow suit.)• Equity joins with AFTRA

and SAG in a rally organized bythe AFL-CIO to protest SouthAfrica’s policy of apartheid.• The Trustees of the Equity-

League Pension and WelfareFund approve a change in namefrom “Welfare” to “Health” Fund.

10 Years AgoMarch 2001

• Equity executives and staffmeet with the Immigration andNaturalization Service to discussthe alien advisory process—specifically, poor communication,inconsistent rulings andenforcements problems.Thecurrent regulations, Equitycontends, can lead to a loss ofemployment for American actors.

A Look Back@Equity Milestones

Participating in the ribbon cutting for the new freeFall Theatreare (beginning fourth from l in front) Artistic Director Eric Davis,Producing Director Kevin Lane, Mayor Bill Foster and ExecutiveDirector Emilie Kuperman. (Photo: Barry Dingman)

Ben Nordstrom and Brandi Wootenperform at Stages St. Louis.

In MainStreet’s production of Treasure Island are (lto r) Larry Reinhardt-Meyer, Jeremy Lelliott,Andrew Ross Wynn, Mark McCracken, MichaelManuel and Matthew Henerson.

By Deborah Jean Templin

Aproduction is like a build-ing, you have to preparethe plans, lay down the

base and from there you canbuild it up. But first you have tohave a great subject and strongmotivation. Here’s how I becamethe architect of my own produc-tion. While covering seven roles in

the national tour ofStone/Yeston’s Tony Awardwinning musical Titanic from1998 to 2000, I experiencedbeing in the shoes of survivors. Iknew the lines, lyrics, blockingand choreography, but beyondthe script I was performing, therewas more I needed to discoverabout the women I wasportraying. My research took meto the Astor Cottage in Newport,the Widener Library at Harvardand Molly Brown’s home inDenver, as well as to the nation’spublic libraries. I looked, I felt, Iread, I took notes, I absorbed. The next stage was the

writing, or the beginning of it.Each morning I would do three

pages, about a character or setof characters. Eventually thesenotes led to monologues with aparticular point of view. Graduallyit became clear—there would benine different women in ninescenes. My show, UnsinkableWomen, was beginning to takeshape.The mentors in my work

included the late Walter Lord.There are Titanic and movie

buffs who consider A Night toRemember (based on Walter’sbestselling book of the samename) as the most accurate ofall of the many film versions,including the Clifton Webb-Barbara Stanwyck Titanic andJames Cameron’s blockbuster of1997. I was having troublefinding information on third classpassengers who survived.Waltersaid, “Use your imagination,” andI came up with the idea of thecharacter of “Nora.” She wouldbe a performer, and a friend ofWallace Hartley, Bandmaster ofthe Titanic Orchestra—just a

MMAARRCCHH 22001111 EEQQUUIITTYYnews / 55

Women are Unsinkable(A Women’s History Month Feature)

woman of a certain age lookingfor gainful employment travelingin steerage. I took all the facts Ihad gathered and did preciselywhat Walter suggested.Suddenly Nora, a cockneyvaudevillian, was born. Of thenine characters in the play, sevenare real people includingMargaret Tobin Brown (theUnsinkable Molly herself), theheiress Madeleine Astor andShip Stewardess Violet Jessop.My journey started at the YorkTheatre Company in New York in2000 when Jim Morgan invitedme to be part of theirdevelopmental musical series.The production, Unsinkable

Women: Stories and Songs fromthe Titanic, has since beenperformed in conjunction withwomen’s health fairs and as afund raising tool for libraries andlocal charities, such as domesticabuse shelters, throughout thecountry. At the Walnut StreetTheatre in Philadelphia, theproduction, directed by Nancy

Robillard with musical directionby C. Colby Sachs, ran for amonth to sold out houses. AtOpen Stage of Harrisburg, theshow was used as a tribute for alocal supporter of the arts.Audiences as diverse as SeniorCitizen residences to elementaryschool children have enjoyed notonly the performance, but theQ&A following.With the input ofteachers in schools fromKetchikan, Alaska to Louise,Virginia, study guides have beencreated.While serving on the

Nominating Committee forActors’ Equity I became aware ofthe use of the Memorandum ofUnderstanding, a component ofthe Business Theatre and EventsContract. Several members ofthe Committee had used the new

contract and I listened and tooknote. At that time I had tenweeks’ work performing insummer stock and needed twomore to qualify for healthinsurance. Putting my programunder the Memorandum ofUnderstanding enabled me toget the two weeks ofemployment I needed which,added to the ten weeks I had,gave me the requisite 12 weeksand six months of healthinsurance.The important thing was to

get the work itself and the taskwas not easy in this economy. Ihad to have a realistic businessplan and know my own limits—both physically and mentally. Asa self-produced artist I wearmany hats. I have takencomputer training classes at TheActors Fund and its Actors WorkProgram, as well as seeking thecounsel of retired businesspeople through SCORE (anorganization providing freebusiness counseling, mentoring,and training for smallbusinesses), attended ArtsPresenter Conferencesthroughout the country andlearned the basics of emailmarketing. As a performer, your objective

is to tell the story. As a businessperson you have to make sure allthe elements are in place to tellthat story well. The professionalson the staff of Actors’ Equityhave helped me to understandthe need for a paymaster andliability insurance.I look forward to bringing

Unsinkable Women to newaudiences this season and forthe 100th anniversary of theTitanic in 2012. My advice: ifyou’re thinking about creatingyour own show, choose a subjectyou love, have a good story totell, and know that your union isthere to help you.(Deborah Jean Templin has

been a member of Equity,AFTRA and SAG since 1977.She has been in five NationalTours (Annie, Baby, The Passionof Dracula, Titanic and MammaMia!) and has performed inregional theatre and stock. Sheis a recipient of Philadelphia’sBarrymore Award for BestActress in a Musical and theRichard Burton Award in Actingfrom the Los Angeles ArtsCouncil.)

The Memorandum ofUnderstanding works forStage Managers, too.Councillor Marjorie Hornewrites: “A few years ago Ifound myself working as aStage Manager exclusivelyin business theatre: galas,business conferences,awards presentations, etc. Ialso found myself workingwithout any AEA contractsand, thus, not receiving anyhealth coverage,contributions towards mypension or establishing abasis for unemploymentclaims. I started using theMemorandum ofUnderstanding when it firstbecame available. I have afew jobs that are yearlycontracts and am able towork with the producers tosign the Memorandum andmake my checks out to myPaymaster. I have beenusing the Memorandum forabout four years now and Iam able to have six monthsof health care each year,apply for unemployment andI am also building up mypension.”

New Members in New WorksBy Sean Grady

“Script is the kind of wordthat sounds edible,” mymother has said, “like

you can bite right into it.” Growingup in a performing family, mymother an actress and my fathera ballet dancer, I have alwaysbeen surrounded by constructive,artistic situations. Eventually, newworks were something I wasdrawn to like a raccoon to theshiny objects in the rubble.New works are indeed shiny:

new, fresh and untouched by an-other actor’s stamp.This is thekind of script that is mostbitable—not some revival of TheKing and I with Yul Brynner ex-pectations. No, we are perform-ing a show that has not been in-terpreted by actors before. It is anartistically appetizing opportunityfor any actor.However, it is important to

keep your business hat on as yousplash around in your new char-acter’s colors. Know your rightsand demand your rights. As Equi-ty members, it is imperative thatwe have a contract or agreementsigned and read thoroughly be-fore we begin rehearsals. It isperfectly fine to sit at a friend’shouse and read the second draftof their script over coffee withoutdoing this, but if you are in a rent-ed studio with an invited audi-ence, you should probably knowbetter.“Why is this important?” you

might ask. One reason—artisticintegrity.You yourself have helpedshape this show. In the two origi-nal musicals I was part of, I wasthe first actor to speak some linesand sing some songs, giving thewriters a clearer idea of who

these characters are in the flesh,not abstract.The first was on aBAT (Bay Area Theatre) contract,and the show was performed inSan Francisco and in Sacramen-to. A “right of first refusal,” or theoption for the actor to join thecompany for a subsequent pro-duction before the show’s ownersoption a third party, is typical inthis situation.But, when the show moved to

New York for a reading, I foundthis was not the case.The pro-ducer only retained one originalcast member; according to thecontract at that time, he had nolegal binding to offer the rest ofus our original roles. (At the timeof this writing, due to my and myother cast mates’ feedback onthe BAT contract survey, the BATcontract has been re-negotiated.As a result of that important feed-back that loophole has beenclosed.)Frustrated, especially since

the show’s writer found one of myWest-Texan line readings so fun-ny that he had asked me to reciteit at parties, I still let it go. Howev-er, having vested interest as adance captain and keeper of theshow’s bible, I learned my lesson.At the very least the producersshould have offered me the op-

portunity to audition, which didn’thappen for me or my original castmates.When cast in my next new

work, produced under a NewYork Showcase Code, I did myhomework due to my previouslesson learned. I confirmed thatthere was a clause of first rightsrefusal. A regional theatre inNorthern California subsequentlyproduced the show.When hear-ing this, I contacted the show’swriters, expressing my interest. Iwas told that they were “goingethnic” with my role. I was con-fused. I had played the role; therewas nothing in the script to speci-fy him to be of any particular eth-nic origin.When I responded withthis, I did not receive a messageback. Ultimately, because I hadsigned the Code, Equity was ableto pursue a claim against the the-atre and made sure that I got theappropriate buy-out.In the end, it seemed that the

show’s creators had already of-fered the role to another actor.However, due to my staying busi-ness-minded, I ended up withseveral weeks of pay for the pro-duction that I was completely en-titled to. It was payment for help-ing create; my character, only re-ferred to as “Man 1” with littleback story, was now much moredefined and specific, and wouldnot have been had I not beenpart of the New York premiere.It’s nice to leave your stamp

on a role; the bite you took out ofthat crisp script tastes twice asgood.

Sean Grady joined Equity in2005 and currently lives in NewYork City.You can follow him ontwitter@ActorSeanGrady.

Deborah Jean Templin and her cast of characters.

Sean Grady.

Deborah Jean Templin as“Nora” in Unsinkable Women.

66 // EEQQUUIITTYYnews MMAARRCCHH 22001111

part – from this business orprofession?)• Have you changed

methods of operation toimprove profitability? (Haveyou assessed what works andwhat doesn’t, focusing on theformer and reducing oreliminating the latter?)• Do you have the

knowledge needed to carry onthe activity as a successfulbusiness? (Are you maintainingand improving your skills tokeep up with changing trends inthe industry?)

Have you made a profit insimilar activities in the past?(What are your experiences andincome patterns in theentertainment industry?)• Does the activity make a

profit in some years? (Here’sthat two out of five rule of profit-making. Are you spending moreon your show biz expenses thanyou’re actually earning in thebusiness and do these lossespersist?)• Do you expect to make a

profit in the future from theappreciation of assets used inthe activity? (Huh? This onedoesn’t apply to performingartists, obviously, but it’s one ofthe IRS’s FAQs. This applies tobusinesses that own assetssuch as real property, businessvehicles, business equipment,office furnishings, etc. essentialin the production of theirincome.)The following represent

questions I have gathered fromIRS audit examinations, fromcolleagues, and our members’experiences in audit situations.• Do you maintain a

separate bank account foryour business income andexpenses? (This isn’t arequirement, but it always helpsto keep personal andprofessional records separateand it impresses the auditors.)• Do you advertise? Do you

hold yourself out to the publicas a professional? (Duh! Ofcourse, you do! You’re notbuying those headshots for yourparents, are you?)• Do you maintain careful

records, including financialdata, industry contacts,instructors, agents,managers, etc? (Again, hello?Of course, you have your lifeorganized accordingly or youwould have to pay a whole lotmore in taxes!)• Do you see yourself as an

artist and conduct yourbusiness in that manner? Doyou see your work in theindustry as your primary workor as a side line or part-timeendeavor? (This trap has beensuccessfully set by manyexaminers who view theatricalemployment as an enjoyablesideline, but not really a long-term career choice.)• Do you rely on someone

else to support you while youpursue this profession? (If

your earnings do not exceedyour show biz income and yourparents, your squeeze or lastyear’s lotto winnings areunderwriting your activities inthe entertainment industry year-in and year-out, you might besubject to a denial of some or allof your business expensedeductions.)So, what happens if you’re

examined and the Hobby LossRule is trotted out? Thequestions noted here are not allinclusive, nor are they the onlydetermining factors, but they goa long way toward arguing thatyour occasional business lossesare incurred by a true showbusiness professional. So, gothrough them and ask yourself.Have you met the burden?Could you satisfactorily argueyour position? Would you likelybe spared the hobbyistmoniker? Let’s hope that, inspite of the vagaries of our worklives, we have taken all stepsnecessary to qualify ourselvesand be treated as theprofessionals we are. If you show the requisite

profit motive and earn morethan you spend, you’re in goodstead. If not, you may wonderwhat happens to thoseexpenses you incurred in yourlosing activity? If you reportlosses in more than two yearsout of five, your business maybe deemed a “hobby” and theexpenses will have to be limitedto the income you earn in thatbusiness or profession. In otherwords, if you earn $30,000 inthe theatre and spend $35,000

three years in a row, you maydeduct the expenses in full inthe first two years, but you mayonly deduct up to your earningsin the third and subsequentyears.Q: How long do I have to

save this? A: it depends…The question arises every tax

season by individuals who aredesperate to clean out theirapartments and garages, orthose who simply want to shredevery piece of paper they can inorder to rid themselves of theadditional clutter. The answer,however, can be involved and alittle bit annoying, because itrequires you to do some carefulsorting of your documents. Hereare the key timetables:Q: How long must I save

my tax returns: A: Forever! Yes,you should retain copies of yourreturns until you have absolutelyno possible reason to have toprove that you worked and paidincome tax on your earnings.Before you say that you’re totallyover your tax returns as soon asyou file them, let me suggestthat the Social SecurityAdministration might have a fewodd numbers on file for you, orsome missing numbersaltogether.We have seen manytaxpayers who start theapplication process for SocialSecurity only to find the SSAhas incorrect or non-existentearnings in a few or many years.The only way to fix this problemis to bring copies of tax returnsand wage statements to theSocial Security office and havethem enter the correct

information which will result inreceiving the federal annuitythat reflects your actualearnings history. There are otherapplications these records canaffect such as retirementplanning, death benefits, andskilled nursing care, amongothers.Q: How long must the

expense records be kept? A:Expenses associated with yourfederal and state tax returnsgenerally must be retained forthree years from the date youfile your returns, with a few, butimportant, exceptions.Long-term Assets such as

your house, other real property,stocks, mutual funds and similarinvestments: retain all purchaserecords for as long as you ownthe house, building, investmentasset, etc., up to and includingthree years from the date youfile the return that reports thesale or other disposal of theasset. In other words, don’tthrow out the paperwork ofanything that you still own thatmight have an impact on yourtaxes down the road. (This ruleis similar to the “don’t throw outyour tax returns” rule becauseyou may need to provesomething many years fromnow, in this case, the value orpurchase price when youoriginally acquired the asset.)Equipment and Business

Assets such as yourcomputers, audio/visual, office-related equipment: retain thesereceipts for five years (or longerif your accountant tells you thebusiness asset is being

depreciated over a longer periodof time). In the case of businessreal property (such ascommercial or residentialrentals), see the long-term assetrule and consult with youraccountant before tossing thosereceipts.Other Documents such as

your Last Will and Testament,Divorce Decree, Power ofAttorney, Health Care Proxy, LifeInsurance and other insurancepolicies that are still in effectshould be retained until youeither replace them with newones or they are no longer ineffect. If it still applies to your lifeor circumstances, hang on to it.For most of you, the three-

year receipt rule will apply, butattach extra importance to thoselong-term documents andassets.While you may not needthem to prove income or survivean audit, they might be crucial indetermining something equallyas vital many years from now.So, before you oil the teeth ofyour shredder, organize whatcan go and what should be keptin a safe place.The VITA office is open

Mondays, Wednesdays,Thursdays and Fridays (noTuesdays) from 10:30 to 4 onthe 14th floor of the New YorkEquity building. Telephone 212-921-2548. Sandra Karas is SiteCoordinator of VITA, Secretary-Treasurer of Equity, a memberof SAG and AFTRA andsomeone who saves copiousamounts of receipts.

Your Income TaxContinued from page 1

Sutton CrawfordBy Sutton Crawford

I joined Actors’ Equity onSeptember 16, 2010 after beingcast as “Constanze” by BrookeWetziel in Northern Stages’ pro-duction of Amadeus. Since thevery beginning, life has been afamily affair. So, of course, I hadmy New York grandparents intow when signing my member-ship papers. My grandpa, actorand artist, Ron Crawford, aproud Equity member himself,along with my many familymembers and friends have beenmy greatest inspirations, andare always helping me on this

path of following my crazydreams. I am here because ofmy family: my family of friendsand the family of actors I havearound me from my first highschool theatre days, to now. Soit is only appropriate now to sayhow thrilled and proud I am tojoin the oldest and most influen-tial family of performing artiststhat is and ever was.(Proud grandpa Ron Craw-

ford sketched Sutton as shesigned her application to joinEquity. Contract Associate Kar-lene Laemmie accepted the ap-plication.)

Here is another in ournew series of excerptsfrom The Broadway Mu-

sical Quiz Book by LauraFrankos, published by ApplauseTheatre & Cinema Books andreprinted with permission. Thisone’s about composer/lyricist Eq-uity member Jerry Herman (Hel-lo, Dolly!, Mame, La Cage auxFolles), a Kennedy Center hon-oree in 2010.1. Jerry Herman’s songs first

attracted attention in two revues,Nightcap (a late show in a sup-per club) and Parade (1960, Off-Broadway).Who sang in bothshows and remained a lifelongfriend of Herman’s?A. Kenneth NelsonB. Dody GoodmanC. Estelle ParsonsD. Charles Nelson ReillyE. Phyllis Newman2. 1964’s Hello, Dolly! ran for

1,844 performances and won arecord ten Tony Awards. Do youknow which song was cut afterthe New York opening?A.The overtureB. “Love, Look in My Window”C. “World, Take Me Back”D. “You’re a Damned Exasper-

ating Woman”E. “Come and Be My Butterfly”3. While Hello, Dolly! and

Mame ran for years, 1969’s DearWorld (based on Jean Girau-doux’s The Madwoman of Chail-

lot) managed just a couple ofmonths.What is the CountessAurelia, the Madwoman, lookingfor?

A. A nine-foot-long feather boa

B. An imaginary dog calledDickie

C. Radioactive water

D. A stone gargoyle thatopens a trap door

E. Pearls

4. The Grand Hotel (1979)was a tale of a Jewish refugeeand an aristocratic, anti-SemiticPolish Officer making their waythrough Nazi-occupied France toEngland.Who came in and doc-tored the show in San Francisco?

A. Gower Champion

B. Gene Saks

C. George Abbott

D. Peter Stone

E.Tommy Tune

5. Working with director ArthurLaurents and librettist HarveyFierstein, Herman helped createthe first musical with gay leads.La Cage aux Folles opened in1983 and ran for 1,761 perform-ances. When did Albin (GeorgeHearn) and Georges (Gene Bar-ry) take their memorable walk onthat sandy beach?

A. September

B. October

C. June

D. May

E. August

Answer on page 12

Musical Quiz

How I Got My Equity Card

MMAARRCCHH 22001111 EEQQUUIITTYYnews / 77

By Philip Dorian

Despite severe weatherconditions, about 100members of the Ameri-

can Theatre Critics Association(ATCA) from around the countryassembled in NYC for a week-end in February, highlighted bythe annual “Luncheon with theStars” at Sardi’s.Nine actors from six shows

each addressed a questionposed by one of the host critics.Their comments included careerinsights, comments on theircraft, and more than a dash ofhumor.

André De Shields (TheWitch of Edmonton) began by

expressing pride in his volunteerwork on behalf of “my union,”AEA, and its 48,000 members.(He’s a former long-time Councilmember.) Asked about his owncareer, he told how playing WillyLoman in Buffalo had expandedhis song-and-dance man image.“Shed your skin as often as youcan,” he said. “Re-inventyourself.”Paxton Whitehead (The

Importance of Being Earnest)told the group that he alwaysreads reviews, a habit heformed while Artistic Director ofthe Shaw Festival in Ontario.“Anyone’s opinion could bevaluable” drew laughter, as didhis self-deprecating suggestionthat he gives “exactly the sameperformance in different roles.”Stacy Keach (Other Desert

Cities) also reads reviews,especially from the Regionals.“Those critics best reflect their

area’s particular sensibilities,” hesaid.Linda Lavin’s Other Desert

Cities character sleeps on stagefor ten minutes. Besides fightingreally falling asleep (“I’d be soooembarrassed”), she said shelearned how to pretend-sleep inthird grade when the nunsenforced a nap in exchange forextra play time. (One neverknows what one might use, doone?)Lily Rabe (The Merchant of

Venice) always dreamed ofplaying Portia. She said shesees the character and Shylockas equal intellects, with Shylockbrought down by the nature of

the times. She also noted thatthe production’s month-longlayoff and re-opening allowedfor refreshed rehearsals, a “realluxury.”Dan Lauria (Lombardi) is a

champion of new playwrights. “Ionly do new plays,” he said.Asked about the differencebetween playing fictional andreal-life characters, he said thereal isn’t more difficult, but it’s adifferent discipline. Whentempted to change a particularreaction in his play, for example,he realized he couldn’t. “That’show Coach Lombardi did it.” (Itwas the day before the SuperBowl. “Coach will be lookingdown on a Packers win,” Lauriaassured us. Righto.)

Judith Light (also Lombardi)was asked how she chose herroles. "I don't ask 'what's next,'"she offered. "I let the universedecide." Based on back-to-back

Emmy Awards, slews ofrecurring TV roles andacclaimed stage performancesas Dr. Vivian Bearing (Wit) andMarie Lombardi (opposite Mr.Lauria), the universe has beenvery good to Ms. Light. Dana Ivey (Earnest), an

Equity Councillor, was askedwhat brought her into theatre asa vocation. “The language,” shesaid, “and tiaras.” The formerpassion she said she inheritedfrom her speech-pathologistmother. (As for the tiaras: justconsider how regal she lookswearing one.)Jeffrey Wright was asked if

there was a common thread that

attracted him to a play. “Theroles all tell something aboutme,” he said, noting thesignificance of his recent A FreeMan of Color. He shared somekey advice from George C.Wolfe, who directed him as thegay nurse who’s forced to carefor the homophobic Roy Cohn inthe original Angels in America(for which Wright and Wolfereceived Tony Awards). “Wedon’t want to watch and think‘what a great actor he is,’” Wolfetold him, “but what a bastardRoy Cohn was.”If this critic were to

generalize about our ATCAguests, it would not be to statethe obvious, what great actorsthey are; but instead, whatterrific luncheon guests theywere. Thank you to them all.(Philip Dorian is a former

Equity member, now asyndicated theatre critic.)

Actors and Critics: Perfect TogetherAt least at the ATCA luncheon… E-Voting Sign-Ups

Nearly Double;Registration Deadlineis March 24What’s green, fast and

cheap? E-Voting in AEA’supcoming 2011 Elections.Equity’s E-Votingcampaign has nearlydoubled the number of E-Voters, but we still have along way to go. If you arenot registered, log-on tothe Members Only sectionof AEA’s website(www.actorsequity.org) and click on the green E-Voting iconbefore March 24, 2011. You must be paid up in dues throughMarch 24 in order to receive a ballot.

FINAL CURTAIN

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

I would not be unhappy.”—-Playwright Ben Hecht

Darwin R. Apel

Barbara Billingsley

Tom Bosley

Blake Brown

Jean Bruno

Marcia Lewis Bryan

Richard Buck

Frederick Charles

Canada

P.L. Carling

Beatrice Carroll

Dominic Castino

Genevieve Bierman

Chase

Chao-Li Chi

Jill Clayburgh

James J. Cordes

Geraldine Court

John Crawford

Robert Crest

Tony Curtis

Camille D’Ambrose

Sylvia Davis

Joan Decker

Vincent F. Dowling

Ron Doyle

Robert Ellenstein

Gloria Evans

Gene Fanning

Jan Gillory

Charles E. Goff, Jr.

Randal

Goldsborough

Joseph M. Hamer

Martha Hawley

Norman Heidinger

Providence

Hollander

Susan Hufford

Kay Kellogg

John William

Kingsbury

James MacArthur

James Maloney

Joe Mantell

Art Martinson

Evie McElroy

Bob Mesrobian

George D. Mozer

Lou Nardi

Ralph Newman

Michelle Nicastro

Darrell Notara

Betty O’Neil

William Arnold

Ostroff

Maurice Andrew

Ottinger

Deirdre Owens

Jane Pesci-

Townsend

Addison Powell

Moira Rankin

Mary Lou Reiner

GB Riche

Doug Robinson

Marilyn Rodgers

Sachi Shimizu

Jean Simmons

Robert L. Snook

Theodore Sorel

Pat St. James

Richard Stadelmann

Sharlie Stuart

Steven Sutherland

Shannon Tavarez

Tom Thornton

Andrea Tobey

James Wall

Carroll C Wayham

Diana Webster

Jennie Welch

Elvin Whitesides

Dolores Wilson

Midsize AgreementExtended

On February 15, 2011,Council voted to ac-cept the recommenda-

tion of the three regionalMidsize Contract Committeesand to extend the Agreementfor one year with a 2% in-crease to the minimum salaries

and all associated financialterms. The current four-yearcontract expires on April 29,2011.The Midsize Theatre

Agreement is designed fortheatres seating up to 699outside of office cities.

(L to r from top): André De Shields, Paxton Whitehead, Stacy Keach, Linda Lavin, Lily Rabe, DanLuria, Judith Light, Dana Ivey, Jeffrey Wright. (Photos: Edward Rubin)

Spring is a busy time in theSan Francisco Bay Area and thisyear is no exception. Members ofthe Bay Area AdvisoryCommittee (BAAC) areorganizing several events opennot only to local AEA members,but to those who may be inresidence at any of the five localLORT theatres, on tour or justpassing through the area.If you are new to the area or

have just decided it’s time to joinin, contact BAAC Chair KellyGround, kground@gmail.com, orFirst Vice Chair Steven Pawley,Swpaws@mac.com. “AEAmaintains a member’s privacy atall times and does not releaseyour contact info to local chairs.So it’s up to you to let us knowyou are here.We’d love to getyou onboard,” says Ms. Ground.

Save the DatesThe Bay Area General

Membership Meeting: April 25,2011, 6 p.m. at the Ashby

Theatre, 1901 Ashby Avenue, atMartin Luther King, Jr. Way, inBerkeley. Free parking available.The agenda will include electionsfor the BAAC.There are sevenseats available: four three-yearterms, one two-year term andtwo one-year terms forAlternates. For more information,contact Kelly Ground or StevenPawley.Stage Manager/Production

Manager Speed Dating:Monday, March 28, 2011, 4-8p.m. at ACT’s Geary Theatre, 415Geary Street, San Francisco.(See separate story, page 11)Bay To Breakers:Centipede

Walkers Needed. The historic100th Anniversary of the Bay toBreakers 12K footrace is Sunday,May 15, 2011 from 7 a.m. to 12Noon. All finishers receivecommemorative medalsrepresenting the anniversary.For information, contact BAACmember Brian Herndon,bherndon@earthlink.net.San Francisco Bay Area

Theatre Critics Circle: The 35thAnnual Award Ceremony,sponsored by Actors’ Equity,celebrating excellence in theatrefor 2010 will be held Monday,April 4, 2011. Doors open at 6p.m., ceremony begins at 7:30 atPalace of Fine Arts TheatreLobby, 3302 Lyon Street, SanFrancisco.Tickets are $20.Parking is free.This is the thirdyear that Equity is a proudsponsor of the Awards. For more information on any

of these events, contact KellyGround or Steven Pawley or visitthe Equity website,www.actorsequity.org.

By Irene AdjanSouth Florida EquityLiaison

South Florida held its GeneralMembership Meeting on January24, 2011 at the Crest Theatre inDelray Beach. Before themeeting, the Liaison Committeehosted a Healthcare Seminarpresented by Renata Marinaro ofThe Actors Fund.“I learned more about the new

healthcare reform in one hourthan I had in all the articles I hadseen in publications,” said WayneLeGette. John Felix added, “Ithought the seminar veryworthwhile. . . It was wellpresented, informative and clear,and Renata had a nice lighttouch, leavened with humor, thatkept a potentially dull bullet pointpresentation from being tedious.”“I cherish having her as a contactwhen things get crazy or hard tounderstand. I now know I can callRenata and she can explain it tome,” said Margot Moreland.Renata’s experience in socialwork and her passion for thissubject make her an invaluableresource for informationregarding healthcare andparticularly how it pertains toartists. If you can get her tospeak in your area, I highlyrecommend it.After the Seminar, we had a

meet-and-greet for members andour guests, Assistant ExecutiveDirector/Eastern RegionalDirector, Rick Berg, and

Business Representative,Matthew Summersgill. Localissues were discussed, not theleast being the elimination of theSoutheast TravelingRepresentative position and thereassignment of Doug Truelsen.It is a matter that has affectedthe Southeast tremendously. Mr.Berg addressed our concernsand explained the decision, andthe reasoning behind it, in muchdetail. He then spoke about theupcoming Plenary, thenegotiation of the COSTcontract, the deputy call-inmeetings, the upcomingProduction Contractnegotiations, the Centennial, theprogress of the PWD (PersonsWith Disabilities) campaign, andthe arrival of our new ExecutiveDirector, Mary McColl.Matthew Summersgill told

members that with theelimination of the SoutheastTraveling Rep position, he wouldbe coming to Florida to visit ourtheatres with more regularity. Inaddition to attending ourmeeting, he stayed the week andmet with members of our LiaisonCommittee, as well as visitingfive of our theatres –GableStage, Caldwell TheatreCompany, Palm BeachDramaworks, Mosaic Theatre,and Actors’ Playhouse.A Q&A session followed and

there was discussion of “newmedia” and the challenges andquestions it raises. Someexamples of where this has

caused some confusion werebrought up. Since the rulesregarding archival and B-rolltaping are ever-changing, it wassuggested that a sheet beplaced in the Deputy packets forSPT/LOA companies, clearlyspelling out what was allowedunder that specific agreement.Thanks to guests, Rick Berg

and Matthew Summersgill, andmy fellow members of the SouthFlorida Liaison Committee fortheir hard work and inputthroughout the year. They are:Barbara Bradshaw, OscarCheda, Dave Corey, John Felix(Secretary and HotlineCoordinator), Terry Hardcastle,Wayne LeGette, Amy London,Margery Lowe, Margot Moreland(Councillor), Marjorie O’Neill-Butler, Barbara Sloan, LauraTurnbull, and Tom Wahl.

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NATIONALNEWSNATIONALNEWS

South Florida

Members Updated on AEA Activities; Hear from Actors Fund on Healthcare

The call for artists has begunfor the 2011 Live Arts Festivaland Philly Fringe. Visit thewebsite www.pafringe.com/how-to-participate.cfm for details. The AEA Philly Fringe Code

is available for AEA members’use in the “Philly Fringe” portionof the Festival.Producers who are

interested in using AEAmembers in the “Theatre”

section of either the “Live Arts”or “Philly Fringe” portions of theFestival must be signed to anappropriate (SPT, Guest Artist,Special Appearance, etc.) AEAcontract.Contact the Philadelphia

Liaison Committee atphlliaisoncommittee@yahoo.com for more information.Application deadline is April 1,2011.

Philadelphia

Live Arts Festival, Philly FringeGet Underway

Malvern, PA

Panto in PA Helps BC/EFA

People’s Light & TheatreCompany’s production of TheThree Musketeers (The LaterYears): A Musical Panto inMalvern, Pennsylvania raised$23,186 in 65 performances attheir 365-seat house. Castmembers appealed to audiencesnot only from the stage, but oftenin character one-on-one in thelobby—hard work that resulted inthis incredible total. Chris Faith,who played the role of Athos,kept the appeal lighthearteddespite the seriousness of thecause. “I would include a joke ortwo so that, even though theaudience knew we were going toask for their help, it would be an

easy transition from the comedyof the show to the sincerity of theappeal,” Chris said. “I would say‘King Huey has decided to makeyou all Musketeers. In the spirit offriendship and brotherhood,please give as valiantly and ashonorably as you can so we canvanquish this villain together.’The‘all for one and one for all’mentality especially influencedthe children in the audience whooften asked their parents for cashso they could interact with thecast,” he added. “The audiencereception was great and it gaveus a chance to keep it fun anddownplay the gravity of what wewere trying to do.”

San Francisco

Busy Times Ahead in the Bay AreaSouth Florida members with (seated center) Eastern Regional Director Rick Berg and BusinessRepresentative Matthew Summersgill.

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Laughter, longing andliberation combined withsongs of love filled theLongacre Theatre onFebruary 7, 2011 for the6th edition of BroadwayBackwards, a star-packed benefit raising$281,243 for BroadwayCares/Equity FightsAIDS and the Lesbian,Gay, Bisexual &Transgender CommunityCenter of New York.The only Broadway

event custom-made forthe gay and lesbiancommunity, friends andfamilies, BroadwayBackwards 6 featured anall-star castreinterpreting songs ofmusical theatre withwomen singing songs originallywritten for men and men singingsongs written for women.(1) Bebe Neuwirth returned to

her Chicago roots, this timetaking on the role of scheminglawyer Billy Flynn in “All I CareAbout is Love;” (2) Tony Yazbekperformed a recreation of thecomplete “Music and the Mirror”song from A Chorus Line: (3)

Alan Cumming plunged into amilitary-themed version of “Don’tTell Mama” from Cabaret, theshow that garnered him a Tony,and (4) Lillias White shared arousing arrangement of “SomeEnchanted Evening.”The evening also included

Tony Award winners HintonBattle, Len Cariou, Debra Monk,Denis O’Hare and Karen Oliva;

Academy Award winner, F.Murray Abraham, in addition toAmerican Idol runner-up ClayAiken, Farah Alvin, BrooksAshmanskas, Ward Billeissen,Tituss Burgess, Dan Butler,Robin De Jesús, ColmanDomingo, Mandy Gonzalez, JoseLlana, Jan Maxwell, BrianCharles Rooney, Bobby Steggert,Jason Tam and Kirsten Wyatt.

New York

BC/EFA Fills the Longacre With Love and Laughter

Washington/Baltimore

Equity Auditions Celebrate Tenth AnniversaryBy Gregory Gorton

Our Nation’s Capitol isfrequently defined by itsinconsistencies. The weather. TheRedskins. And, of course,Congress.But there is one constant. It is

found in our theatre communityand that is theWashington/Baltimore Equity LiaisonAuditions.This year was the tenthanniversary of our auditions,which have continued to grow inpopularity.The idea grew from a yearly

membership meeting featuringsome of the area’s casting andartistic directors as guestspeakers. After lively discussion,it was agreed that moreemployment opportunities wouldbecome available if the castingpeople saw more of the manytalented Equity members in thepool of Washington actors at aprofessional audition setting.This was in November of

2000. The then members of theEquity Liaison Committee set thetarget goal of January, 2001. Withan enormous amount of work bythe Committee, many dedicatedvolunteers, the supportive andgenerous people at the OlneyTheatre (and a little bit of luck),the auditions became a reality inthe first week of January, 2001.Chair Emeritus Ilona Dulaski

was truly a driving force behindthese auditions. They becameher passion, and her dedicationand determination helped inspirethe rest of us, as well as piqueingthe interest of the auditors who

would be attending. Sheremembers, “We all decided todo an outreach to our auditorsand to all of the theatres we wereinviting.” Ilona divided thetheatres into groups andshepherded the rest of us incontacting and arranging theiravailability. “We reached out totheatres in West Virginia,Pennsylvania, Delaware and allof the region’s theatres. We evencontacted The PittsburghPlayhouse.”Looking back, many of the

people involved remembered wellhow the pieces came together.Liaison Chairman Carl Randolphrecalls, “I first worked on theauditions as a volunteer. Now, asChair, I have had the honor tohost the 10th annualDC/Baltimore Equity Auditions.Well, by host, I mean, to let mypredecessors who created themcontinue to do the fabulous workthey do.”Lynn McCune, who now lives

in New York, says, “It wasimportant that we provide anopportunity for our local Equityactors without detracting from thewell established League ofWashington Theatres Auditions.Hence, the January time frame.We used those auditions as atemplate for ours.”Laura Gianarelli, continuing a

decade of providing culinarydelicacies, reprised her role asthe Contessa of the kitchen. Sherecalls that first year, “We set upin the Green Room of Olney’sGudelsky Theatre. At every break

the auditors would load theirplates like seniors at an early birdbuffet.”Since our move in 2007, the

Equity Auditions have been heldat The Round House Theatre inSilver Spring, Maryland. Thirtytheatres, as well as castingdirectors and associates, were inattendance this year. Over 200AEA and EMC members had theopportunity to audition.Unfortunately, due to a

rehearsal commitment, ourmusical accompanist of the pastnine years, Chris Youstra, wasunable to join us. We were verylucky, however, to have DougLawler this year.Many thanks to the

Committee members who helpbring these auditions to life: BillLargesse, Ilona Dulaski, LynnMcCune, Jim Brady, GregoryGorton, Barbara Pinolini, TerriPrice, Laura Gianarelli, Peter Gil,Maureen Kerrigan and the manyother members and volunteers.“The tenth year was a huge

success,” says Chair CarlRandolph. “More AEA membersand EMC members were seen .The auditions continue to be astaple for our regional community.The current committee and Ihumbly thank those who startedthese auditions and those whohelp to keep them going.”So raise your glass to a

tradition well met, and to the nextten years that await us yet.(Gregory Gorton is a regular

contributor to Equity News fromthe Wahington/Baltimore area.)

New York

Credit Union Fleet of Fee-Free ATMsis Ranked Fifth NationwideContinuing to lead just about

every bank in New York City,ActorsFCU’s ATM fleet of morethan 230 machines is nowranked fifth among credit unionsnationwide in ATM deployment(ranking by Callahan andAssociates, 2011).“With more than 230 ATM

locations throughout the fiveboroughs, Yonkers and NewJersey, our members have morefree access to ATMs in the NewYork City metro area than thecustomers of just about everyother bank in the city. Thatincludes Bank of America, TDBank, HSBC and CitiBank,” saysCredit Union President JeffRodman. “We’ve rankedconsistently in the top 50 for thepast nine years with Callahanand Associates, and this is oursixth year in the top ten. Ourranking speaks for itself:ActorsFCU members enjoy thebenefits of an ATM fleet rivaledby few.”CO-OP Network, the nation’s

largest credit union ATMnetwork, provides credit unionmembers with access to morethan 28,000 fee-free ATMsthroughout the United Statesand Canada. This includes6,000 ATMs at participating 7-Eleven stores across thecountry. “The Credit Union hasalways aimed to meet thespecial needs of our members,

many of whom are bi-coastal ortour the country, to havewithdrawal and depositoryaccess that matches theirmobility.We’ve tried to servicetheir needs so they’re notburdened by the often oneroussurcharge fees imposed bybanks,” continued Mr. Rodman.“The 28,000 fee-free ATMsavailable through CO-OPNetwork save our members theexcessive fees incurred by bankcustomers.” Members can locateone of the 28,000 CO-OP ATMsby calling 1-888-SITE-CO-OP orby visiting the ATM locator onthe website, actorsfcu.com.There is also a CO-OP LocatorApp available for iPhones.Complementing the ATM

fleet, ActorsFCU also offersmembers access to more than160 deposit-taking NYC CheckCashiers that are part of thePayNet Deposit Network.Members make more than $1.3million in deposits monthly atthese participating check casherlocations. This program givesmembers deposit capabilitiesseven days a week, includingearly morning and late eveningsthroughout the five boroughs.“PayNet locations provide ourmembers with deposit accessthat not only competes withwhat banks are offering, butprovides even great access,”says Mr. Rodman.

Ann Arbor, MI

Audiences Happy to Assist at “The Drowsy Chaperone”

Co-founded by the MichiganEquity Theatre Alliance, ThePerformance Network of AnnArbor raised $1,586 over fiveperformances during theclosing week of their sold outrun of The Drowsy Chaperone.Equity member Naz Edwards,who played the title character,said, “This piece is sowonderful, it left audiences veryhappy and feeling verygenerous.” Company memberstook turns making the nightlyspeech and were astounded tobring in so much in such ashort time. “Ann Arbor is a

savvy theatre town andaudiences also understood thegood work we could dotogether with these appeals.They loved the show andwanted to help,” Naz said. Sincemany of the company’sperformers come from the localUniversity of Michigan, Nazsaid that she and othercompany members make surethe younger performers areconstantly made aware of theimportance and responsibilitiesof Equity membership andaffiliate organizations likeBC/EFA.”

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Chicago

ActorsFCU Opens Office inChicago Equity Building Actors Federal Credit Union’s

newest branch—in Chicago—isopen for business and servingMidwest members. The office,open from 9-5 weekdays, islocated on the first floor of AEA’snew home at 557 WestRandolph Street. The Grand Opening

celebration on January 13, 2011kicked off with 21 new accounts.“AEA Central Region’s CreditUnion Committee promised useager support for a branch in theChicago area,” said ActorsFCUPresident Jeff Rodman, “andtheir instincts were right on themoney. I’m happy to say weplayed to a packed house.”

Members of the Committeereceived engraved pens (“OneTeam – One Family”) as thanksfor their efforts to bring theCredit Union to Chicago. “Ourstrength lies in the loyalty andsupport of our members andtheir spreading the word.Wecouldn’t be more grateful to ourChicago members,” added Mr.Rodman.The opening festivities were

capped with a drawing for aniPad. The lucky recipient, out ofmore than 60 entrants, wasEquity member Ron Keaton.For more information on

Actors Federal Credit Union,visit the website: actorsfcu.com.

Minneapolis, MN

“Fully Committed” to the CauseEquity

memberNathanKeepers,performingin the one-man showFullyCommittedraised over$3,000 forBroadwayCares/EquityFights AIDSat the Jungle Theatre inMinneapolis during the holidaydrive. After each of 12performances, Nathanappealed to audiences to givewhat they could. “People werevery generous,” he said, “and Iassume by their generosity thatthey knew that even though

times are hard, it’s also a timeto give when you can.” Nathanand his stage manager JohnNovak organized the appeal.Members of the crew andtheatre management alsocontributed, making sure thatBC/EFA can help as manypeople as possible.

The Central Stage ManagersCommittee recently hosted twodays of CPR training in the newEquity Building Member Center.Stage Managers from theCentral Region came to eitherthe Monday, January 24 orMonday, January 31, 2011session to get certified in bothAED/CPR and First Aid by theChicago Red Cross. Due toweather conditions, the firstMonday was sparsely attended,but a big turn out on the secondMonday made up for it. Chicagostaff also participated, but theirswas a re-certification fromtraining last year. The CentralStage Managers Committee

thanks the Chicago Red Crossfor its help with planning theevent, the AEA staff for settingup the rooms and tearing them

down two weeks in a row, andall those that participated in thetraining. This will now become ayearly event, so mark yourcalendars now for Monday,January 30, 2012 for your re-certification.

Chicago

SMs Receive CPR Training

This is the second installmentof an article about FranchisedAgency Seminars that have beenheld in New York and LosAngeles.The Los Angelesseminar, hosted by the WesternRegion Member EducationCommittee (Chair: Jennie Ford),was held in December, 2010.The participants were VictoriaMorris and Jacole Kitchen, bothof Kazarian Spencer, Rushkin &Associates; Gerry Koch, TheGage Group; Steven Dry,Schiowitz, Connor, Ankrum andWolf; and Dave Sector of DanielHoff. The moderator wasNational Director of MembershipJohn Fasulo.Here are some highlights of

the LA Seminar:What is the best way to get a

meeting with you?“Through referrals from a

manager, a casting director orsomeone who can vouch for yourtalent: someone who has workedwith you or has seen your work.”Are you looking for new talent

and is there a best time of year

to get an agent? How would youprefer submissions?

The answer to new talent wasa resounding YES, agreeingthere is not a time of year that isbetter. Most said they prefer hardcopy submissions and reiteratedthat a referral is helpful.Is Los Angeles casting only

the land of the young andbeautiful? What advice wouldyou give to a youthful lookingearly 50 year old with significantstage presence?Experience, credits and

seeing the actor in a show are allimportant. “The selling point isyou are an actor in an age rangewhere we don’t get a new facevery often.You have 30 years’experience over a 20 year oldand that makes you special.” Do you feel that LA theatre

credits take a backseat to a NewYork City credit?A question that is often raised,

it was clear that the LA theatrescene is respectable, healthyand thriving. “If someone camewith a credit from Reprise or

Cabrillo, I can see they areworking regularly and that has alot more pull.” “The bottom line isthat there is talent in LA that isjust as good as NY.”Should I seek agencies that

rep me across the board orconcentrate on theatre?Film and television work play

a large role in the lives of actorsbased in LA. Not every agencyrepresented works solely withstage actors. “If you also have afilm and television career, youdon’t want to be away duringpilot season.The ideal career issomeone who can do film andTV and go back to the theatre asoften as possible.”With LA theatre paying so

little, how can an LA actor makemoney for you?Agents agreed that theatre is

an important part of an actor’sresume and encouraged takingstage roles. “We think it’simportant for our clients to getback to the stage as often asthey can.” One agent believes“There are great theatres likeSouth Coast with a lengthiercontract. As long as you arebranching out and climbing thetheatre ladder in LA, there ismoney to be had.”How should a client

respectfully inform his/her agentabout roles for which they arehoping to be submitted?Everyone agreed that goodcommunications is key. It doesn’thurt to let the agent know youare interested in a role, but berespectful in how you approach it– never sound like you arequestioning their job.What about working with a

personal manager?Not all agents think there is a

need for a personal manager,while others think a personalmanager could be helpful or ahindrance. “We are verymanager friendly if they are hard-working and team oriented.” “It’snot about the concept ofmanagers as much as whetherthey are trying to be an agentwithout a franchise.” One agent

Los Angeles

Actors Meet Agents – Part II

(continued on page 11)

Are you on the fence with lifein the industry? If so, The ActorsFund has a group for you. OnWednesdays, April 6-May 25,2011 from 10:30 a.m. to 12:30p.m. at The Fund office, Suite400 at 5757 Wilshire Boulevard,a group will be exploring theemotional, spiritual and practicalissues of continuing a career inthe entertainment industry. Thiseight week program is free andconfidential, but an initialinterview is required forparticipants. For information,contact Tracey Downs at (323)

933-9244, ext. 20 or via email attdowns@actorsfund.org. The Fund is also sponsoring

a group on managing cash flowfor artists. This four weekworkshop will meet onThursdays from March 10-May31, 2011, 2:30 p.m. to 4 p.m. atthe Fund office. For informationcontact Linda Zimmerman at(323) 933-9244, ext. 30 or atlzimmerman@actorsfund.org. For a full schedule of Actors

Fund workshops, groups andseminars visit the websiteactorsfund.org.

Los Angeles

Fund Slates Spring Seminars

New York

Fund Sets March MeetingsThe Actors Fund has

scheduled several special groupsto meet during March. OnWednesday, March 16, 2011from 5:30 p.m. to 7 p.m. in theEquity Council Room on the 14thFloor at 165 West 46th Street, agroup of entertainment industryprofessionals will discuss how tobe successful in teaching,training and coaching.Thespeakers have all developedsuccessful sideline and parallelcareers in these areas. Forinformation, contactblevinson@actorsfund.orgOn Mondays, March 14 to

May 23 from 2:30 – 4 p.m. at TheFund offices, 729 Seventh

Avenue, will be a workshop onmanaging anger along the roadto recovery for professionals inrecovery from drug and alcoholaddiction. For information, call(917) 281-5914 or emailrgilbert@actorsfund.org.A six week support group for

entertainment industryprofessionals over age 62 willmeet on Wednesdays, March 23-April 27 from 3-4:30 pm. at theFund offices. A pre-attendanceinterview is required. Forinformation, call (917) 281-5990or email:asurette@actorsfund.org.For a full schedule of Actors

Fund events, visit actorsfund.org.

At the opening of the AFCU office in Chicago are: (back row, l tor) Gil Rogers, Dev Kennedy, Lisa Gordon, Liz Pazik, StevenSobotta; (front) Ron Keaton, Ann Gordon, Jeff Rodman.

Participants in Stage Managers’ CPR training. (Photo: Cynthia Hanks)

On Tuesday, April 5, 2011 at 6:30 p.m., theEastern Region Equal Employment OpportunityCommittee will present an exploratory reading ofInternal Bleeding by Christine Toy Johnson,starring Daryl “Chill” Mitchell (television’s Brothers,Ed and The John Laroquette Show) directed byRobert McQueen. The reading will be theculmination of a short workshop exploring casting

an actor with a disability (Mr. Mitchell) in a rolethat is written as both disabled and non-disabled.Afterwards, there will be a panel discussion aboutthe results of the workshop. The event will takeplace in the second floor Audition Center of AEA,165 West 46th Street. RSVP to Pearl Brady at(212) 869-8530, ext. 346 oreeo@actorsequity.org.Internal Bleeding is made possible in part with

public funds from the Manhattan Community ArtsFund, supported by the New York City Departmentof Cultural Affairs and administered by LowerManhattan Cultural Council. Additional fundinghas been made possible by the Puffin Foundation.

MMAARRCCHH 22001111 EEQQUUIITTYYnews / 1111

said: “We only take 5% forrehearsals, 10% for shows and ithurts me to think the PM isgetting 15% without havingplayed a role in the submissionor negotiations.”There seem to be a lot of

agent/casting director workshopsin LA. How do you feel aboutactors paying to meet castingdirectors and agents?The panelists agreed it could

be worth participating, but with acaveat. “It helps if you are goingto see the casting director or theassociate. If you are paying tosee the assistant, that is notgoing to get you anything most ofthe time.”What are your thoughts on

photos? Black and white vs.color?“It’s important that it looks like

you, but the body of work onyour resume is important.“ “A

good photographer can get youfive looks – five different waysthat I can market you.” Color isthe way to go. What is the best way to “break

up” with an agent to go toanother one? How do you feelabout freelancing vs. signing?“If you feel that your agent is

not working with you, then youneed to figure that out becauseyou may be 50% of that.” “Youneed to break that connection inorder to even start a relationshipwith me.” All agreed they don’tfreelance.Should a theatrical resume be

different from film/TV?Each agent has a different

answer. For one, there is aresume style that has beendeveloped for that office whileothers prefer to have the theatrecredits at the top. But it wasagreed that its how one writesthe resume credits. For theatreit’s the role, while for film/TV it’sthe “lead, co-star or supporting.”

Actors Meet AgentsContinued from page 10

San Francisco

Stage Managers Set Networking EventThe BAAC (Bay Area

Advisory Committee) StageManagement Subcommitteeheaded by Chair Heath Beldenhas set a speed-dating stylenetworking event for StageManagers and ProductionManagers/hiring managers tobe held on Monday, March 28,2011 from 4-8 p.m. in Fred’sLower Level Lobby at ACT’sGeary Theatre, 415 GearyStreet in San Francisco. This isan opportunity for StageManages to provide resumesand get a few minutes of facetime, thus easing the interviewprocess when future jobopenings arise.

Stage Managers will sign upfor a “rotation hour” during whichthey can meet for a shortinterview with each theatrerepresentative in the room. Atpress time, companies includingACT, Theatreworks, Cal Shakesand Marin Theatre Companywere planning to participate.Stage Managers attendingshould plan on bringing at least10-15 resumes to exchange.Contact Heath Belden at

BASMnetwork@gmail.com tobe added to the participant list.Check the Equity website,www.actorsequity.org for furtherinformation.

Boston

NEAT Contract TopsAnnual Meeting AgendaBy Michael Dell’OrtoGreater Boston AreaLiaison

The Greater Boston Areaheld its annual membershipmeeting at Boston Playwright’sTheatre on November 15, 2010with National staffers SeniorBusiness RepresentativeRussell Lehrer and BusinessRepresentative Melissa Colganin attendance.The primary focus of the

meeting was the upcomingnegotiation for the New EnglandArea Theatres (NEAT) contract,which covers 15 small-to-medium size theatres within a100-mile radius of downtownBoston. Prior to the start of theGeneral Meeting there was aStage Managers’ Caucus todiscuss and receive feedbackon issues relative to stagemanagement in the NEATagreement, specifically theseparately negotiated

compensation for extra duties.Recommendations coming outof this Caucus, as well assuggestions made during theGeneral Meeting, will beincorporated as proposals in thenegotiations scheduled to beginin April in Boston.The Reps from New York

read remarks from EasternRegional Director Rick Berg;gave information about how tosign up for e-voting for theupcoming election; and reportedon the newly-revised SPTAgreement, changes to theHealth Plan, the LORT 401(k)plan, the latest on Equity’scentennial celebration plans andthe arrival of Mary McColl asEquity’s new Executive Director.Selected by acclamation to

serve another three years onthe Liaison Committee wereMichael Dell’Orto (Chair), EllenColton, Peter Haydu, DawnSaglio and Kippy Goldfarb.

New York

Workshop, Reading, Panelto Explore Creative Castingof Actors With Disabilities

VITA (theVolunteer Income TaxAssistance program)held a ribbon-cuttingceremony for itsnewly-renovatedheadquarters in NewYork on Friday,February 4, 2011.

Sandra Karas,Equity’s Secretary-Treasurer and VITAsite coordinator,welcomed guests andacknowledged VITA’sCo-Founders:Michael Enserro,Conard Fowkes andSchorling Schneider.

“In 1976, MichaelEnserro, AEA Councillor, activecommittee person and veteran ofmany contract negotiations,thought he could find yet anotherway in which he and his unioncould serve his fellow members.The Internal Revenue Servicehad just started a volunteeroutreach program to encouragethose who had the knowledge ordesire to learn to assist thosewho were unable to availthemselves of professional taxpreparation.The VolunteerIncome Tax Assistance (VITA)Program seemed to Michael likea program that was tailor-madefor performing artists and hestarted Equity’s VITA site. Alongthe way, he enlisted the help oftwo other Councillors and activeunion members, SchorlingSchneider and Conard Fowkes.The three of them learned taxpreparation from the IRS andprepared returns for workingactors, operating out of a storage

closet at 1501 Broadway.Schorling demonstrated thatthere was no limit to the kinds ofreturns VITA would take on andConard, who was also a memberof the AFTRA Board, solicitedthe help and support of bothAFTRA and SAG in supportingthe program. Thus was VITAnurtured and expanded to offerfree tax assistance to membersof the three unions.What beganas an effort to help actors andstage managers better navigatethe waters of the IRS has grownto a year-round, free service thatincludes not only the members’federal and home state filings,but all states and localities inwhich our members haveworked.VITA is unique becauseit provides advocacy along withfriendly, helpful and supportivevolunteers who understand ourmembers.What these founderscreated lives on and thrives intheir memories.”

Among those attending theribbon-cutting were: Actors’Equity Foundation President andAEA VP Emeritus ArneGundersen; Equity ExecutiveDirector Mary McColl; SAGFoundation Board member/SAGNY Division VP RebeccaDamon; AFTRA Board memberand New York VP JanetteGautier; and Actors FundDirector of Planned Giving andSecretary of the Edith MeiserFoundation Wallace Munro.Executives, staff and Boardmembers from Equity, ScreenActors Guild and AFTRA andmembers from the threeFoundation Boards also werepresent.On Monday, February 7, the

new office opened for businessand a long line began formingbefore dawn, as it does everyyear, with members eager tohave their tax returns prepared.

New York

CTFD to Host Conference on Career DevelopmentCareer Transition For Dancers

presents the 2nd annual“Stepping into Hope andChange: A Free CareerDevelopment Conference forDancers” on Thursday, April 7,2011 in the Equity AuditionCenter, 2nd Floor, 165 West 46thStreet, and via streamingwebcast:www.ustream.tv/user/ctfd.The free all-day conference

begins at 10 a.m. with a

presentation followed bybreakout sessions. Free lightbreakfast, lunch and wrap-upparty will be provided.Theafternoon sessions begin at 2p.m. with a keynote speakerfollowed by a resource fair andadditional breakout sessions,ending at 4:45 p.m.All dancers—whether still

dancing; staying in the dancefield; preparing for a transition;already transitioned; or exploring

other industries, next steps andcareer paths—are invited. RSVPto:steppingintohopeandchangenyc.eventbrite.com or call KaylenRatto at (212) 764-0172, ext.232.You may stay for the entireprogram or choose individualsessions. Check the CTFDwebsite:www.careertransition.org formore information.

At the VITA ribbon-cutting are (l to r) Rebecca Damon (SAG Foundation);Equity’s Sandra Karas, VITA Site Coordinator; Wallace Munro, The ActorsFund; Equity Executive Director Mary McColl; Equity Foundation PresidentArne Gundersen; Janette Gautier (AFTRA Foundation) and Cly Fowkes,daughter of the late Conard Fowkes. (Photo: David Lotz)

New York

VITA Ribbon-Cutting Ceremony HonorsCo-Founders and Supporters

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New York

AEA Observes Women’s History MonthWith Panel on Gender-Neutral CastingThe Women’s Committee of

the Eastern Equal EmploymentOpportunity Committee ishosting a panel discussion ongender-neutral casting calledLimitless Casting: Could theBest Man for the Part Be aWoman?, on Tuesday, March29, 2011 at 6 p.m. in the CouncilRoom on the 14th Floor of theEquity Building, 165 West 46thStreet. In an age when men indrag are commonplace intheatre, why are women playingmale roles so rare? Confirmed

for the panel at press time are:Rebecca Patterson, ArtisticDirector, The Queen’sCompany; Joanne Zipay, ArtisticDirector, Judith ShakespeareCompany; Terry Berliner,Director; and RichardSchechner, NYU Department ofPerformance Studies.Refreshments will be served.

For more information, contactPearl Brady atpbrady@actorsequity.org or(212) 869-8530, ext. 346.

The Central Stage ManagersCommittee is hosting an “EMCMentor Night” forum and panel,with Alden Vazquez asModerator, on Monday, March28, 2011. This event isespecially for MembershipCandidates who wish to work asStage Managers. They will be

able to meet working AEA StageManagers and ASMs, askquestions and, perhaps, requestan AEA Mentor to help themtransition to the professionalEquity workforce. Visit the Equitywebsite: www.actorsequity.orgfor time and other details.

Chicago

Stage Managers to HostEMC Mentor Night

Musical QuizAnswers to Musical Quiz (page 6)1. D2. E3. A4. E5. A

San Francisco

It’s Always Holiday Time at ACTThe cast and crew of San

Francisco’s AmericanConservatory Theatre appealedto audiences over sevenperformances during the run ofA Christmas Carol in December,raising over $9,631. VeteranEquity actor Steven AnthonyJones, who portrayed the Ghostof Christmas Present, spokedirectly to the audiences,explained the work and all thehelp that BroadwayCares/Equity Fights AIDS

provides in San Francisco, andasked them to open their heartsto contribute. “I was so honoredto make the speech every night,”he said. “The audience appealshave become a Holiday traditionat ACT. They bring us back towhat is important about thattime of year and the ACTaudiences are alwayssupportive and generous. Theyremind us that that time of yearis about more than just thecommercial benefits.”

Former Councillor MichaelTolan died on January 31,2011 at the age of 85.

A member of Equity since1953, Mr. Tolan’s careerspanned theatre, film and TV,including appearances onBroadway in Will Success SpoilRock Hunter?, A Hatful of Rain,Romanoff and Juliet and AMajority of One. He joined theCouncil as a replacement inDecember 1960 after havingplayed a significant role on the

1960 Negotiating Committee,which, after a 13 day strike,resulted in the establishment ofEquity’s first pension plan. Hewas elected to a five-year termin 1961, saying in his electionstatement: “I believe Equity’smain task now is to take stepstoward expanding the workingpossibilities of its members.” Tothis end, he was one of thefounders, in 1963, of theAmerican Place Theatre.

Michael Tolan Mourned

Letters received from paid up members on subjects of concern to Equity members will be considered andpublished as soon as possible. The Editor reserves the right to limit letters to 150 words and to select oneor two representative letters when many similar letters are received. Letters must be signed, but nameswill be withheld on request for those letters which may affect members’ employment. Signatures will notbe withheld on letters antagonistic or accusatory, either implied or expressed, against other members.Opinions expressed in Letters to the Editor are not necessarily those of Actors’ Equity Association.

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4444Letters to The Editor

ABOUT “SPIDER-MAN”Dear Equity News,I’m writing this letter in re-

sponse to the concern manymembers have expressed re-garding safety issues at Spider-Man. I am one of the deputieson the show and have nothingbut praise for our staff and ourstage managers who haveworking diligently since re-hearsals began in July. This pro-duction has been sailing inuncharted waters since its in-ception not only because of thestagecraft involved but becausemany of the creators are new toBroadway. Our creative teamand producers have sought toput on a production the likes ofwhich has never been attemptedbefore. To ensure the safety ofthe company, staff and stagemanagement have worked tire-lessly guiding the creative teamand advising them when some-one was put in a potentially dan-gerous position.We have suffered two injuries

in rehearsal (a broken toe andtwo broken wrists) as well asone extremely serious injury inperformance. The Departmentof Labor and OSHA cancelledperformances until they couldreview our safety protocolswhich they had previously ap-proved. They instituted addition-al measures and allowedperformances to resume. Equitystaff (led by Louise Foisy, Kim-berly Rimbold and Keith Sklar)said to our stage managers thatEquity would not sign off untilstage management felt thatthey’d had enough time to workthe additional safety measuresinto the show. This resulted inanother cancellation and lostrevenue of over $250,000. Ourproducers were not pleased butrecognized that it was for thehealth and well-being of all.Anyone who has ever worked

on a Broadway musical knowsthat they are potentially danger-ous. The stagecraft employedand the number of people work-ing in very tight spaces often re-sult in accidents and injuries. Allof these elements that make upa musical (including budgets)have been magnified greatly atSpider-Man.What has remained a con-

stant in this, my ninth Broadwayshow, is the high level of com-mitment and professionalism ex-hibited by our aforementionedstaff and especially our seven(yes, seven!) stage managers.They are Randall White, KatPurvis, Sandy Franck, JennySlattery, Michael Wilhoite, DrewNeal and Theresa Bailey. I go towork eight times a week contentin the knowledge that I have ateam like this watching my back.

Michael Mulheren

AN AMAZINGEXPERIENCE

Dear Editor:I just got back from Madison,

WI, where thousands of unionmembers and supporters aremarching to support the State’spublic sector workers andoppose Governor Walker’sproposal to strip them of theircollective bargaining rights.This really was an amazing

experience, and one I will keepwith me for a long time. Thefeeling of camaraderie andaccomplishment, the feeling ofbelonging to something biggerthan just Equity, the show ofreal emotion and intellectualvigor was a breath, no ahurricane, of fresh air. To usean overused word: AMAZING.Kudos to Executive Director

Mary McColl, our terrific andenergetic new leader, whohustled to meet as many of ourmembers as she could whileconnecting with other laborleaders. I was very proud ofher.Mary and I were joined by

Councillors David Girolmo, DanMooney and John Atherlay andmembers of a touring show, aswell as AEA members from theMilwaukee area. Led by SEIU,we marched down WisconsinAvenue towards the Capitolwith local IATSE stagehands,firefighters (includingbagpipes), cops, nurses, sheetmetal workers and the head ofthe State AFL-CIO.We chanted on the street

and into the building as wecrowded into the Rotunda tohear some firebrand speeches.It was protest at its best:spirited but civil, rooted inpeace and serious as can beabout not letting our rights bestripped away. And fun andinspiring!Thanks to those who

participated. Today, I am oneproud Union member, andespecially proud of Actors’Equity Association.

Dev Kennedy, CentralRegional Vice President

PLEASE HELPTo the Editor:

I recently packed up(almost) all of my theatre booksto give to a little village libraryon Cape Cod—The MarstonMills Public Library. Since Ihave been a teacher as well asan actress, my collectionincludes not only scripts, butalso books on theatre history,voice, make-up and more.Maybe you have some

books (they don’t need to benew) that you could give to thiswonderful library, too. If not, feelfree to send a donation to help

them put together programs forthe community and its schools.

Library director ReneeVoorhees says: “We would liketo become the Cape Codresource library for drama andthe arts and to invitecommunity theatre groups,drama students, scholars, andpatrons of the arts toexperience the collection.”

If you have some books,please call me at The DramaBook Shop. 212-944-0595 ext.3. Your contributions are taxdeductible. Or contact thelibrary directly: Marstons MillsPublic Library, 2160 MainStreet, P. O. Box 9, MarstonsMills, MA 02648, 508-428-5175rvoorhees@clamsnet.org

Nancy Reardon

IN MEMORIAMDear Editor:My mother Anne Diamond

Brownstone passed away onJanuary 29, 2011. She starredin hundreds of radio showsopposite every major starincluding John Wayne andJimmy Stewart, did screendubbing for foreign films andwrote and starred on early TVin Dragnet, Burns and Allen,The Nurses, TombstoneTerritory and others. Well-known in Hollywood as aleading actress at ThePasadena Playhouse, sheplayed opposite JamesWhitmore, Claire Trevor andRobert Redford; on Broadway;regionally, in stock, and in oneseason at Arena Stage starredalongside Philip Bosco,Claudette Nevins, RobertProsky and Alan Oppenheimeras Lady Britomart, MajorBarbara; Charlotta Ivanovna,The Cherry Orchard; Cora, TheIceman Cometh; Lady India,Ring ‘Round the Moon; Gloria,Three Men on A Horse. Knownto Equity as Assistant toPresidents Theodore Bikel,Ellen Burstyn and ColleenDewhurst, that role allowed herto raise three children when herhusband, stage and companymanager Joseph Brownstone,died. She was granted aLifetime Membership in Equityfor her devotion to actors andthe Union, but her acting careerwas equally an achievement.

Diana Brownstone