EQUITYNEWS —Audrey Hepburn€¦ · EQUITYNEWS Area Liaison Hotline system Call 877-AEA-1913...

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

“Nothing is impossible.The word itself says

I’M POSSIBLE.”

— Audrey HepburnEQUITYNEWS

Index

New Audition Center opens ........1

Bay Area is newestLiaison Area..........................1

Your income tax .....................2

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

Candidate statements ..............4

National news ......................10

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

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APRIL2013

Volume 98Number 3

New Audition Center OpensMember-Friendly Venue Includes New Features

Equity’s long-awaited andhighly-anticipated newAudition Center opened

for business on March 11, 2013on the 16th Floor of the EquityBuilding, 165 West 46th Street.

After more than threedecades of heavy usage, theoriginal second floor AuditionCenter (opened in June 1980)was long overdue for significantupgrades and member-improvements. When theopportunity arose to move to the16th Floor - at no cost to theUnion - Equity jumped at thechance.

From the outset, the goal wasto provide a superior, state-of-the-art facility so that members

could audition in a modern,comfortable and convenientspace. Council and theexecutives received suggestionsfrom members and, whenpossible, attempted to

incorporate these ideas in thefinal plans - including Wi-Fi. Thetwo new studios can

accommodate dramatic, singingand dancing auditions, and havewell-tuned Yamaha uprightpianos, sprung wooden floorsand sound attenuation (meaningthat members and personnel in

audition rooms won’t bedistracted by the sounds andvoices of people in the hallwaysand vice versa). There is also adancer-friendly warm-up space;ballet barres and full lengthmirrors; men’s and women’schanging areas; and amplebathroom facilities. Last, but notleast, there is plenty ofcomfortable seating throughoutthe bright space and easily-accessible bulletin boards withcasting information andcomplimentary theatre ticketoffers.

Members took to Twitterduring the inaugural week ofauditions with generous praisefor the new space declaring it,“classy,” “beautiful,” “stunning”and downright “awesome” fromfloor to ceiling.

The new Director of theAudition Center is Andrea

Equity Centennial HonoredAcross the Country

Following the 2012presentation of theSpecial Tony Award® by

the American Theatre Wing for100 years of professionaltheatre, Equity continues to behonored by the industry in itsCentennial year.

The top regional theatricalawards organizations havefollowed suit, bestowing specialrecognition to the Union. Thisspring alone, Equity will receiveprestigious honors from the LosAngeles Drama Critics’ Circle,Carbonell Awards (SouthFlorida), Helen Hayes Awards(Washington, DC), Elliot NortonAwards (Boston) and the SanFrancisco Bay Area TheatreCritics’ Circle. In February, theUnion received the ColumnAward (Dallas/ Ft. Worth) whichfollows last year’s presentationof the Henry Award (Denver),

the Ivey Award (Twin Cities), theJeff Award (Chicago), theGregory Awards’ Proclamation(Seattle), the B. Iden PayneAward (Austin), and the SuziBass “Spirit of Suzi” Award(Atlanta).

The industry awards anchor ayearlong commemoration for theUnion that began with thepublication of Performance ofthe Century (Applause Books)and continues with a specialepisode of NBC’s Smashfeaturing the Gypsy Robe® andthe upcoming website portallaunch for The Narrative Project,a personal history of AEAthrough the eyes of EquityMembers. Additionally, Membersacross the country will be invitedto celebrate with Equity atdesignated Area Liaison partiesand at the regional office galaevents scheduled in Chicago

(May 13), Los Angeles (June 3)and New York (June 17).

Equity Members who are ingood standing (make sure yourdues are paid up) will receivea commemorative AEACentennial gift.

For timely updates, followus on Twitter (@ActorsEquity)and like us onFacebook.com/ActorsEquity tojoin the #AEA100 social mediaconversation.

The Eastern, Centraland Western Regionswill be connected by

telephonic hook-up for the April12th Annual Meeting so thatmembers in all Regions maybe able to hear statements ofcandidates running for Council.Hook-ups will begin at 2:30 pm(Eastern Time), 1:30 pm(Central Time) and 11:30 am(Pacific Time).

The Eastern RegionalMeeting convenes at 2:00 pm(Eastern Time) in the Council

Room on the 14th Floor of theEquity Building, 165 West 46thStreet, NewYork, NY.

The Central RegionalMeeting begins at 1:00 pm(Central Time) in the MemberCenter on the 1st Floor of theEquity Building, 557 WestRandolph Street, Chicago, IL.

The Western RegionalMeeting starts at 11:00 am(Pacific Time) in the BellamyBoard Room on the 5th Floorof the Equity Office, 6755Hollywood Boulevard, LA.

Reminder

Annual Membership Meeting isFriday, April 12, 2013 in All Regions

(continued on page 3)

Bay Area is Newest Liaison Area

At its February meeting,the Council passed aresolution to make the

San Francisco Bay Area the27th and newest Equity Liaisonarea. The resolution was madebased on recommendationsfrom the President’s PlanningCommittee (PPC) and theWestern Regional Board.

The Bay Area, as it iscommonly referred to, joins avibrant network of Liaison cities.From its original name of BayArea Advisory Committee(BAAC), a new committee willbe formed and known as theBay Area Liaison Committee. Atthe upcoming membershipmeeting in April, the currentmembers of BAAC will beofficially rolled over onto theLiaison Committee and openseats will be filled through a

selection process.

As a result of the Bay Area’snew status, Liaison Committeemembers and all qualifiedmembers in the area are beingencouraged to join any regionaland national committee in whichthey have an interest.Thisprovides the opportunity formembers of the Bay Area to fullyparticipate in contractcommittees and provide valuableinsight and experience. A newcontract committee, called theBay Area Contract/CodeCommittee, has been formed tohear concession requests for theBay Area Theatre (BAT) andModified BAT agreements as wellas the Bay Area Per Performance(BAPP). Members in the BayArea can also utilize the newlyupdated Members Project Code.

Western Regional DirectorMary Lou Westerfield expressedher gratitude for the service ofall the members who have beenon the BAAC over the years,adding, “This is an importantnew opportunity for the BayArea and exciting that itbecomes our 27th Liaison areain Equity’s Centennial year.”

“We could not be morepleased to have the Bay Areajoin the Area Liaison community,allowing Equity to continue itspractice of direct outreach to itslocal membership,” said FloraStamatiades, National Director,Organizing and Special Projectsand Staff to the Committee onArea Liaison Affairs (CALA).

For more information, checkout the Bay Area Liaison pageon the Equity website, orcontact members of the newlyformed Liaison Committee orsend an email to BusinessRepresentative BethanyUmbach, [email protected].

Audition waiting area. (Audition Center photos: Stephanie Masucci)

Warm-up area.

Facebook.com/ActorsEquity

Editor: DICK MOORE

Associate Editor: HELAINE FELDMAN

Equity News Advisory CommitteeChristine Toy Johnson, Chair

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

Nicole Flender (Eastern)Bruce Alan Johnson (Eastern)

Stas’ Kmiec’ (Eastern)Kevin McMahon (Western)

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

Buzz Roddy (Eastern)

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

EQUITYNEWS

Area LiaisonHotline systemCall 877-AEA-1913

Equity has a National toll-freehotline system for members wholive in Area Liaison and officecities. The number is 877-AEA-1913 (honoring the year of Eq-uity’s founding). Each AreaLiaison city has its own exten-sion, where members can ac-cess news and information intheir region.

(1) Dial 877-AEA-1913

(2) Dial your city extension:

811 Atlanta

812 Austin/San Antonio

813 Boston

814 Buffalo/Rochester

815 Chicago816 Cincinnati/Louisville

817 Cleveland

818 Dallas/Fort Worth

819 Denver

820 Detroit

821 Florida – Central

822 Florida – South

823 Houston

824 Kansas City

825 Las Vegas

826 Los Angeles827 Milwaukee/Madison

828 Minneapolis/St Paul

829 Nashville

830 New Orleans

831 New York832 Philadelphia

833 Phoenix/Tucson

834 Pittsburgh

835 San Diego

836 San Francisco

837 Seattle

838 St. Louis

839 Washington DC/Baltimore

AEA’s 2013 Election isabout to getunderway. On

Monday, April 15, 2013, ballotswill be distributed by ElectionServices Solutions to all paid-up members.

There are three ways tovote:

1. Paper Ballot: Paperballots will be mailed out onApril 15. Fill out your paperballot and return it per theinstructions provided. If youvote by mail, you must tear offthe top portion of the ballot.

2. Paperless Balloting: Ifyou registered for E-votingprior to March 22, atapproximately 11:59 pmEastern Time on April 15, youwill receive an email fromElection Services Solutionswith instructions for voting

online. Make sure thismessage doesn’t get caught inyour spam filter.The email willcome [email protected] will notreceive a paper ballot.

3. Vote Online: Even if youdid not pre-register for E-Voting, you can still vote online.When you receive your paperballot, go to https://www.esc-vote.com/ae2013 and find thelink for online voting. Enter yourunique internet log-in number(from your paper ballot) andyour Member ID# (printed onthe front of your membershipcard) and follow online votinginstructions.

NOTE: All ballots must bereceived by 5 pm EasternTime on Wednesday, May 22,2013.

Get Ready toVotefor Councillors

By Sandra KarasDirector, VITA Program

Where Do We Fit In?At VITA, we are often asked

how the average actor’s tax returncompares with the average“civilian” who files a 1040 andclaims deductions. First of all,that’s assuming there is such athing as an average actor! Then,there’s the assumption that actorscan compare with regular folk whofile and pay taxes every year.Twoassumptions that beg thequestion(s) indeed! But, we canreview the figures assembled bythe IRS and others who compileinformation for the U.S.Treasuryand see where actors might fit intothe mix.To give you an idea, wemust review statistics fortaxpayers claiming itemizeddeductions.We aren’t looking atindependent contractors or self-employed people, as thosestatistics aren’t available. Itemizeddeductions are the deductionsthat include medical expenses,state and local taxes, real estatetaxes, mortgage and investmentinterest, charitable contributions,employee business expenses andcosts related to job search.Whenit comes to an actor’s returns, thelast two categories loom large.Every taxpayer is allowed tochoose between claiming thestandard deduction or itemizeddeductions.The governmentallows you to take whichever isthe higher of the two and mostpeople opt for itemized deductionsif their totals exceed the standardamount. Statistics are available forthe first four categories (medical,taxes, interest and charity), but notfor the category that includesbusiness and job searchexpenses (otherwise known asmiscellaneous itemizeddeductions). Just because theycall them miscellaneous doesn’tmean they’re an afterthought onour returns! Here are some statsfor you to consider:

As noted, there are no stats formiscellaneous itemizeddeductions in this chart, but you’ll

notice that medical expenses canaverage as much as 51% of totalincome on the lowest earners and15% of total income on thehighest earners. Charitable givingaverages around 13% of totalincome at the lowest incomelevels and about 7% of totalincome at the highest. Makes youthink, right?

Now, where are we in all ofthis? It’s hard to say exactlybecause there are no stats for

people who constantly look forwork and who also incurcontinuing expenses even whenthey are gainfully employed. AtVITA, we find our average earnertakes in between $30,000-$33,000 per year and spendsanywhere between $2,000-$5,000on ordinary and necessary showbiz expenses.The higher thetheatrical income, the greater theagents’ commissions as well, sothese figures can grow quicklydepending on the source of thewages. Some of our membersspend a third or more of theirgross earnings on maintainingtheir skills, promoting themselvesand slicing off 10%-25% ofeverything to their agents andmanagers.Those who work out-of-town or on tour spend morethan those who stay at home, butmost have per diem allowances tooffset some of those travelexpenses.

So, how do we compare, if wecompare at all to our fellowAmerican taxpayers who itemizedeductions? The most startlingstatistic is that theatrical artistsspend between 10%-15% of theirgross earnings on miscellaneousitemized deductions, whereasmost Americans do not haveexpenditures in this category atall. Add our show biz expenses tothe other categories and you canimagine that there are some of uswho are spending largepercentages of their gross incomeon staying healthy, paying taxes,helping a few charities and mostlykeeping up with the constant jobsearch and skills maintenance.The figures are sobering; thededication to the craft is laudable;the spirit is indomitable.

So, the next time you considerwhere you fit into the world of theU.S. taxpayer, consider that you’renot just helping yourself andpaying your fair share, but you’reaiding many other businessesthrough your efforts. And you’redefinitely not filing the average taxreturn! But then, you’re notaverage, are you?

Leaving home? Don’t forgetto send money!

A recurring problem forperformers who work outside oftheir usual tax home is that, whenthey come back and file taxes,they find they owe their homestate some money.While it’s not abig surprise to most actors whotravel or work a number ofregional gigs each year, it’s stilldifficult for many to come up with

Your IncomeTax

Actors,Average?We Don’tThink So!

Total Income Medical Taxes Interest Charity$15,000-30,000 $7,783 $3,184 $8,434 $2,048$30,000-50,000 7,028 3,943 8,699 2,274$50,000-100,000 7,269 6,247 10,133 2,775$100,000-200,000 9,269 11,069 13,456 3,888$200,000-250,000 21,599 18,524 17,572 5,947$250,000 or more 38,149 48,317 25,527 18,488

the money at tax time to make upthe difference in the tax thatwasn’t withheld in their homestate.What’s a traveler to do? Onesolution is to request that thepaymaster be kind enough towithhold and send state tax backto your home state. Some willactually do this for you. For thosewho can’t or won’t do it, there’sthe quarterly estimated taxsystem that you can use to sendsome tax money home everyquarter (April, June, Septemberand January).You’ll need a littleadvice from your tax advisor, butit’s an easy method to employ toensure that you won’t be hard hitnext April. Another option is tosimply save 5% of your wages inan account that you won’t touchuntil next April.When your taxpreparer tells you the amount ofthe home state bill, you’ll havemoney saved to pay it.The onlydownside to this method is thatyou may still incur what is calledan underpayment penalty.That isa fee assessed for not paying inenough tax as the year goes on.We’re all expected to be on a“pay-as-you-go” system. If youwait until you file your taxes to paythe bulk of your liability, you riskpaying a premium to do so. Again,discuss this with a tax expert soyou can make an informeddecision. And enjoy your timeaway!

And UnemploymentCan Raise the Bill, too!Speaking of owing your state

additional tax, consider that youmight be in the same boat, evenif you don’t leave home. If youfinish a gig and can’t findanother for a while, you’llprobably apply forunemployment benefits in thestate you qualify in. Some stateswill withhold state tax (NY is oneof them), but the amount isnever sufficient enough to coverthe liability, so be prepared toowe additional tax just when youcan least afford it! If you can

squirrel away some extra fromeach check, you’ll be able tooffset some or all of any balancedue when you file. Get goodadvice ahead of time if you needto, so you’re not blindsidedwhen you file.

Affordable Care ActWe don’t have much to discuss

on the Obamacare front as mostof us are covered under multi-employer plans (through collectivebargaining), but the unions arelooking at how this will affect us inthe coming years.What we cantell you is that there are sometaxes associated with the new lawand they affect higher incomeearners primarily (Medicare taxesincrease on incomes over$200,000). By 2016, theAffordable Care Act requires mostAmericans who don’t buyinsurance to pay a penalty of$695 for each uninsured adult inthe household, or a percentage ofhousehold income, (2.5 percent ofthe amount of income over the taxthreshold).This penalty will likelyappear on the tax return to beadded to the total tax liability. It’scomplicated and arcane and thelatest Congressional budget battleis putting some of it back on thetable, so stay tuned for even morechanges that might affect us lateron.

VITAIf you have questions about

these or other tax topics, consultyour tax advisor or stop to in yournearest VITA office.The VITAoffice in NewYork is located onthe 14th Floor of the EquityBuilding. Hours are: 10:30 am –4:00 pm, Mondays, Wednesdays,Thursdays and Fridays (noTuesdays).Telephone: 212-921-2548.VITA sites are also locatedin Los Angeles at the Actors Fundand in Orlando at Actors’ Equity.

Sandra Karas is Secretary-Treasurer of Actors’ EquityAssociation and a member ofSAG-AFTRA.

2 / EQUITY news APRIL 2013

https://www.escvote.com/ae2013

https://www.escvote.com/ae2013

mailto://[email protected]

APRIL 2013 EQUITY news / 3

By Nick Wyman

An interviewer last weekasked me why I becamean actor and why I was

doing a show in Albany, NY. Theglib answer to the first is that theHarvard English Departmentmade it clear they didn’t thinkmuch of my plans to be anEnglish professor, and theobvious answer to the second is“Hey, who wouldn’t jump at thechance to spend February andMarch in Albany?” Much as I liketo be glib and obvious(#Wymanactingstyle), I thoughtI’d drill a little deeper for you andcreate a corollary to my otherpiece on Theatre: “The Case forAnalog Entertainment in aDigital Age”(www.newcentennialtheater.org.)

I am an actor because I enjoythe challenge of creating acharacter, of figuring out whypeople do what they do and howbest to tell an author’s story. Ilike creating recognizablehuman behavior(#Wymanepicfail), but mostly Ilike the interaction, theconnection with people.

When I do a play, I becomepart of a family. This family —frequently less dysfunctionalthan most — works together totell a story. We develop ourcharacters and our relationshipsorganically in a rehearsal lastingsometimes only a week or two(hello, summer stock!) butusually four, five or more weeks.I learn about my character,about the play, about myself andabout the other actors. I solveproblems: how to get the truthout of a fellow character, how tocon another character, how toreassure an anxious juvenile,how to stop boring the rest of

the cast. I grow. I grow as anactor and as a person. With luckI am a better actor and a betterperson at the end of theprocess.

When I do television or film,rehearsal/development time ismeasured in minutes not weeks.Depending on the size of myrole, I may get to know either aportion of that television/filmfamily — or a tiny portion of thatfamily. Indeed, our interaction isfrequently so brief that I neverbecome part of their family; I aman acquaintance, a transientvisitor. The roles I play in thesemedia are usually too small tohave an arc in the script; theirdrive-by relationships with theleading players reflects myfamily visitor status. SometimesI just serve up the exposition theleading players eschew. I do myscenes two to ten times,focusing primarily on hitting mymarks and maintainingcontinuity with previous takes.

Sometimes I feel I’ve nailedit, sometimes — not so much.Whichever way it went, there isnever another chance toimprove it or try something new:it’s done. Sometimes I feel great,only to be disappointed when Isee the end result. In Planes,Trains and Automobiles, as alawyer who jacks up the price ofallowing Steve Martin to take mycab while John Candycommandeers said cab, Ithought my cool, stone-facedsmugness in the face of SteveMartin’s importuning would begreat. Perhaps it was. In theedited movie when Steve Martintalks, you see a close-up ofSteve Martin, not my reaction.Indeed, half the time when NickWyman talks, you see SteveMartin’s face. The ticket buyers

were coming to see Steve, notNick.

This brings me back to theidea of acting as interacting withpeople. In the theatre, if I amonstage, an audience memberhas the option to ignore thegood acting and focus on mycheap and vulgar histrionics.When I do movies or television,I have no control over whetherthe audience gets to see myperformance. Indeed, I have norelationship with the audiencewhatsoever — and vice versa. Ihave no idea whether they lovewhat I am doing or if they can’tstand it; and no matter howexcited or bored or moved theaudience gets, my performancenever alters.

Theatre is Community — andnot just the family that puts atheatre piece together. There isCommunity between those of uswho do it and those for whomwe are doing it. It is actually acollaborative effort. We getconstant feedback with laughter,applause, and that mostprecious of audience reactions,utter breath-holding silence.

That immediate reward isvery gratifying. Television andfilm have their rewards as well,and I am always very happywhen those rewards come in themail. I am a big fan of makingmoney with my acting (see “TheFive C’s”), and Theatre is rarelyas financially rewarding as TVand film. But, just like the rest ofyou, I didn’t go into thisbusiness to make money. At theend of my life, the important tallywill not be how much money Imade but rather how many livesI improved or eased withlaughter, with entertainment,with connection. And that’s why Ido Theatre.

From thePRESIDENT

Why I Do Theatre

2013 Annual Election CalendarFriday, April 12, 2013 Annual National Membership

Meeting (all Regions viateleconference) Candidatespeeches

Monday, April 15, 2013 Distribution of ballots(from balloting company)

Wednesday, May 22, 2013 Deadline for receipt of ballots is5 pm Eastern Time

Thursday, May 23, 2013 Tabulation Day

New Audition Center Openscontinued from page1

Murray, who, throughout hercareer, has worked with a widerange of artists—actors,classical musicians and otherperformers. Robin Welchremains as Assistant Directorand Tim Try is theAudition CenterAssociate. Morethan 30 Monitors,some new andsome familiarfaces, will behandling theauditions as part-time staffmembers.

A specialmembers’ openhouse will bescheduled closer to the MayCentennial anniversary.

Equity looks forward to

welcomingmembers tothe AuditionCenter andhearing moreenthusiasticresponses inthe comingmonths.

Editor’sNote: Whileconstructioncontinues atthe building,the line-up for

auditions is at the Times SquareVisitor Center on SeventhAvenue between 46th and 47thStreets (between the PalaceTheatre and McDonald’s). Line-up begins at 6 am each audition

day and there is clear signageat the Visitor Center withinstructions.

By Scott Guthrie

(In the last issue of EquityNews, we explored the auditionprocess from Scott Guthrie’sperspective as a monitor and areader. In this installment, welook at it from a director’sviewpoint.)

In the past year, I waspresented the opportunity todirect for the first time. Part

of the reason I was excited to dothis was to cast the project. Itwould be the first time I wouldbe behind the table that I had asay. Now I would take theperspective I had gained as areader and monitor to the nextlevel.

First thing I noticed was howyou present yourself. We are inthe business of selling ourselves(no, not hookers!) andeverything from ourheadshot/resume to what shoeswe wear is part of that package.The show I was casting wasabout four classy guys who singa lot and wear snazzy dinnerjackets. That being said, I sawmore guys in sneakers, jeansand un-tucked button up shirts.It’s one thing to be talented inthis outfit, but right away, itsends the wrong message:Youdon’t care.

The question I wasconstantly asking myself was,“Now what?” I can tell right away

if you can sing or act. The issuethen became a matter of whatset you apart from the rest. Didyou have special skills? Had youworked with someone I knew?Had you done the show before?Once I established whether ornot you were callback material, Ihad moved on. There is only somuch I can play with you whenyour slot gives you two minutes.Now this brings up somethingthat as an actor used to driveme crazy.

Once I figured out how to useor not use you, I would oftenconfer with the table. This is themoment when you are actingyour heart out and notice thetable isn’t paying attention toyou. Guess what, we really are.You have answered a questionof ours and we are lining upwhat to do with you now. This is

a good thing. So many times, asactors, we read into thesemoments with a sense ofinsecurity. I challenge you to notlet this deter you in the future. Ifwe want something, we will askyou for it. Just come in and dowhat you do best and let usfigure out where to put you.

I watched over a week and ahalf as people came in for unioncalls, non-union calls, agentappointments and callbacks.From two minute slots to fullcallback sessions, the one thingthat I wanted to impart toeveryone was to do two things.One, take your time; when yourush through your audition, wedon’t get a sense of who youare or what you can do. I knowyou may be number 67, but youstill have your two minutes, sobreathe life into them! Two, take

a chance. So many come in andjust play it safe, not reallymaking any choices. Come inand do what you do best,definitely, but make a choice. Myacting teacher used to tell me,“Dare to be hot pink in a sea ofbeige.” I truly understood thisafter having to cast a project.Beige is safe, comfortable andpredictable. Pink, thoughsometimes wrong, is memorableby contrast.

I look forward to being backin the audition room, in whatevercapacity it may be. This form ofjob procurement is definitely oneof the strangest in all industries.But once you figure out whatyou do and don’t have controlover in the room, it will changeyour experiences and give you anewfound sense of freedom. Soget out there and audition!

An Actor Behind the Table –Part II: The Director

Studio B.

Studio A.


EASTERN REGIONPrincipal Five-Year TermVote for no more than six

By Petition

JONATHAN BRODY (INCUMBENT)(Residence: New York, NY)Contracts worked: Production (Broadway & Tours), SpecialProduction, Off-Broadway, LORT, Dinner Theatre, CAT,Workshop, Business Theatre, COST, CORST, Guest Artist,LOA, SPT, Cabaret

Thank you for electing me to Council three yearsago. I’m proud to have been involved in important decisions like hiring ourExecutive Director, approving the beautiful new audition center in NY, andthe purchase of the new Western Region office building. Under MaryMcColl’s leadership we’ve also developed an efficient negotiationstrategy that has brought important gains to our contracts and improvedour relationships with our employers and negotiating partners.

We’ve been moving forward, sometimes slowly, but sensibly –especially in this tough economy. There’s still much to be done. I’m veryopen minded, well informed, a good listener and all I want to do isimprove the lives of our members. Above all, I’ll continue to fight for morejobs, better salaries and keeping live theatre vital.

I work in every region, under a wide variety of contracts, plays andmusicals, principal and chorus, I have an agent but get most of my workfrom EPA’s and ECC’s. These many variables in my career give me anunderstanding of the situations our members face across the country.

I know there’s dissatisfaction in the membership. Things can aways bebetter. I urge folks to get involved, join committees, even run for Council.Most importantly, please vote! It’s your Union, your Council. Have a say inwho makes the decisions that affect us all. I feel like I’ve got a lot more tocontribute and hope you’ll give me the opportunity to continue being yourvoice in our Union’s governing body.

By the Nominating Committee

JEFF WILLIAMS (CURRENT CHORUS COUNCILLOR)(Residence: New York, NY)Contracts worked: Production, LORT, COST, SPT, Cabaret,Business Theatre, Guest Artist, LOA, ANTC

For the past 11 years it has been my honor toserve as a Chorus Councillor. This year I have beennominated for the first time as a Principal but while

my employment category may have changed, the challenges I face areexactly the same. I have to work just as hard to secure every possibleaudition opportunity and end up using all the means available to me;agent appointments, self-submissions, EPA’s and Chorus Calls. When Ido find work I am still absolutely dependent upon the protections andminimums negotiated into our contracts.

In the past decade I have worked on a dozen negotiating teams(Production, SETA, LORT, SPT and Off-Broadway) always fighting toimprove conditions for all actors and stage managers. Audition access isunder fire in every negotiation and one of my priorities has always beennot only to maintain our current rules but to expand upon them. Innegotiations it is also vital to continually strive to improve salaries so thatwe all might have the possibility of earning a living in the theatre andultimately of being able to retire with dignity. These battles are far fromwon and I am ready to keep fighting.

Serving on Council has been a highly educational and occasionallyfrustrating experience. What keeps me going is the knowledge that thetime I spend in meetings and negotiations results in improvements for allof us. I would appreciate your vote so that I can continue to do this work.

By Petition

JEANNE LEHMAN (INCUMBENT)(Residence: New York, NY)Contracts worked: Production (Broadway, Disney, NationalTour, Bus and Truck), Off- Broadway, Special Production,LORT, Stock Jobbing, Stock Unit, CORST, URTA, MSUA,RMTA, Dinner Theatre, Business Theatre, LOA, SpecialAgreement, Guest Artist, SPT, Mini-Contract, Showcase,Staged Reading, Canadian Theatre Agreement

(Engagement Contract), Independent Theatre Agreement Engagement Contract(Canada)

Committees: ERB, Vice-chair: Production Contract, Stock, Off-Broadway, Membership Education, Business Theatre and Events,Stephen Falat Holiday Basket. AGMA Merger (chair), ConstitutionalReview, Film, Recording & Pay TV, Developing Theatre, Guest ArtistAgreement, Touring Issues (ad hoc), Deputy, Agency, President’sPlanning Committee (alternate), Workers’ Comp/Safety.

Negotiation Teams: Production Contracts (vice chair), Off-Broadway,Business Theatre, URTA (chair), CORST, MSUA.

Other union affiliations: SAG-AFTRA, AGMA, CAEA.An AEA member since 1970, I have lived and worked on both coasts,

toured extensively across the nation, and have great respect for theconcerns and opinions of our members nationwide. A constant in mymany years of dedicated participation on Council and in committees, ismy passion for this industry and for the people who strive to preserve itsprofessional integrity.

100 years ago, our union was formed to: “promote, foster, advance,and protect the welfare and interests of its members; prevent and abolishabuse; assist in the security of just and equitable contracts andpayments; lobby for appropriate legislation; insure a high standard ofwork and conduct; improve the theatre in general.” That is the platform onwhich our union was established, and the platform on which I run asincumbent for Principal Councillor as we face current challenges.

Working together, guided by strong leadership and memberparticipation, we can become a positive and dynamic force in the industryand in our culture. It has been an honor serving the membership, and ifelected, I will serve with renewed commitment, determination, andgratitude.

By Petition

TOM HELMER(Residence: Willingboro, NJ)Contracts worked: LORT, LOA, NEAT, CAT, SPT, GuestArtist, TYA

Principal Councillor from 2004 – 2009, 2011-2012, Chair of Philadelphia Liaison Committee from1998 – 2005, 2009 to present. Present Committees:

Developing Theatres, Eastern Regional Chair of Committee on AreaLiaison Affairs. Previous committees: Organizing, StrategicAlliance/Merger, National Public Policy. Working actor and stage managerfrom Vermont to Virginia, Massachusetts to Illinois.

My service began many years ago by learning, then activelyparticipating in what AEA is all about, whether it is our contracts, auditionaccess, organizing, communication with staff concerning Philadelphiaarea theatres and with fellow members through annual meetings, Socialsand our Philadelphia AEA Yahoo e-mail group.

I have been part of the Liaison Committee’s effort to craft a Code andcreate a Equity presence at the Philadelphia Fringe Festival in the late1990’s which years later has led to AEA contract work (SpecialAgreement, Guest Artist, LOA) for area members in the Festival .

Regional theatre and our Area Liaison system of dedicated volunteerswho serve Liaison area members are an important part of what makesActors’ Equity at 100 years a vital national presence.

Candidates for National Election Submit Statements


What should the next century bring? It certainly must start with thegoal of sustained growth of members working under strong contracts.AEA must also continue to be a conscience of the American theatre in itsadvocacy for the actor, chorus member and stage manager in theworkplace and for society in general.

Vote for increased regional representation on the National Council. It iswhy I continue to serve our membership.


LINDA CAMERON (INCUMBENT)(Residence: New York, NY)Contracts worked: Production, Off-Broadway, LORT, COST,MSUA, SPT, LOA

Committees: EPA (Chair), LORT, DevelopingTheatre, Agency. Negotiating Teams: LORT, Off-Broadway, COST, URTA, TYA. I’ve had the privilege

of serving you on Council for fifteen years. I’ve always been committed toimproving and guaranteeing access to jobs for all our membership,through the EPA’s and Chorus Call’s. Equity’s audition system, which isused by members from Broadway veterans to beginners, is one of theonly benefits we offer our members, whether or not they’re working undercontract. To that end, I was a key figure in negotiating EPA’s and self-submissions for LORTs, sides for LORT-on-Broadway, refining auditionrequirements for SPT’s and LOA’s, and enforcing local auditions fortheatres outside office cities. I was involved, through the AgencyCommittee, in creating Agent Access Auditions for our unrepresentedmembers. With changes in the New York Auditions Department - newDirector, monitors, and Audition Center - I believe I can provide thehistory and continuity to assist in a smooth transition, while workingforward to improve access. Our next goal is to build a stronger rapportwith Casting Directors and Producers to make Equity’s auditions a vitaland effective part of their casting process. I, also, firmly believe in thenecessity of development and organizing. There are still many non-Equityvenues that can be brought into the fold, and we need to encourage themto join us. I believe it’s our duty to get as many members working as wecan, for livable salaries and benefits. I’d appreciate your vote.


BUZZ RODDY (INCUMBENT)(Residence: Bronx, NY)Contracts worked: Off-Broadway, LORT, COST, CORST,URTA, SPT, Guest Artist, Dinner Theatre, SpecialAppearance, TYA

Thanks for entrusting me with my first term. I’vebeen showing up and doing the work. Don’t just

take my word for it. Did you know paid-up AEA members may observe aCouncil meeting? Come check up on me. But until you do, here’s asampling: I’ve been endeavoring to bring Equity into the 21st centurytechnologically. We now have new media provisions in most contractswhich are becoming the industry standard and are providing additionalmonies for our members. I am working to bolster our relevance andpower as a labor union in an anti-labor climate. I’ve been helping tobridge the gap between our sister unions as well as Big Labor. We arealready saving thousands of dues dollars with our Green ElectionsInitiative and we are on the path to making our elections meaningful toyou. Making sure that we negotiate and enforce strong contracts is onlypossible if we have an informed membership – this is what brought me tounion service in the first place; trying to make life better for Actors andStage Managers. That, and seeing that theatres outside office citiesrecognize the talent and professionalism in their own back yards. TheActors on stage and Stage Managers in the booth should look likeAmerica. Most in our profession have little concept of our power–individually or collectively. I would be honored to serve you for anotherterm. We still have a lot to do. Questions? Comments? Email me:[email protected] & www.buzzroddy.com/aea.htm

By Petition

MARK ZIMMERMAN(Residence: New York, NY)Contracts worked: Production, Off-Broadway, LORT, COST,MSUA, Guest Artist

In the 20 years I devoted to AEA from 1989 to2009, I helped create the 401(k) program, I chairedtwo Production Contract negotiations, and I served

as a trustee for Pension & Health. While serving as president, I wasalways mindful of the need to provide the best possible workingenvironment for all members, and I was always insistent that ouremployers treat Actors with respect. Having been away from unionactivities for the last three years, I now find myself wanting to participateagain in the process of guiding our union into its second century. I believethat I still have much to contribute to AEA, and I ask for your support andyour vote.

By Petition

SCOTT McGOWAN (INCUMBENT)(Residence: Maplewood, NJ)Contracts worked: LORT, COST, CORST, Dinner Theatre,Guest Artist, Cabaret, TYA, SPT, LOA, SpecialAppearance, Showcase

I became a member of AEA 25 years ago, andhave been a Councillor for 15 years. Over the years,

the climate has changed in our theatre world, as well as in my ownpersonal life. Keeping pace with technology and using social media toremain relevant and accessible is key to our future. As a father andhome-owner, I have grown even more aware of the need for such basicsas fair wages, health insurance and pension, things people in otherprofessions take for granted.

I am the chair of the TYA committee, and vice chair of the DevelopingTheatres, Cabaret, Guest Artist and Membership Education committees.I care deeply about finding ways to support smaller theatres in buildingrelationships with AEA, which is vital to our efforts to find jobs for ourmembers not living in the three major office cities. As an active memberof the New Jersey theatre scene, I’m familiar with issues that arise insmaller regions and with developing theatres across the country.Membership Education is designed to help younger members learnabout our union, grow in our craft and get connected to valuableresources. My belief in the importance of these areas is what firstprompted me to join Council. I will continue to advance these agendas sothat all members can feel confident and proud of the union thatrepresents us.

Please allow me to continue to fight for what I believe is best for ourfuture.

Don’t forget the Shoe Fund.


DIANE NICOLE(Residence: New York, NY)Contracts worked: Production, LORT, TYA, Stock Jobbing,Stock Unit, Dinner Theatre

Nominated for Principal Councillor 5 year term.I was thrilled to get my Equity card in 1973,

because being a union member exemplifiedprofessionalism. I became active on committee work in 1974 and later,ran for Council. I was privileged to serve as a Councillor for 15 years.During that time I was active on many committees, negotiating teams,campaigns to save the theatres, and involved in the purchase of ourbuilding.

Today, I am proud to say that I have been an active member of ourunion for almost 40 years. Although I took time off while rearing mychildren, I supported myself and my family by working in Arts Educationand Management mentoring many on the importance of being union, andwhat that stands for.

I believe a union is only as strong as its weakest member. I believe inmember participation on every level, I believe in high standards ofcommunication both from and to members.

I am available, willing and able to serve, listen, brainstorm and build onwhat has become Equity Policy over the last hundred years in order to


move forward into our next century, serving members with peerlessquality. I believe we, as a union, in solidarity can perform great things forour future and the future of those we will serve for years to come.

It will be an honor and privilege to serve on Council again. Diane Nicole


KRISTEN BETH WILLIAMS (INCUMBENT)(Residence: New York, NY)Contracts worked: Production, LORT Tier D, Off-Broadway,MSUA, Guest Artist, URTA, SPT, 29-hr Reading

This year, Actors’ Equity turns 100! One hundredyears this union has been working for actors andstage managers - fighting for higher wages, better

working conditions, pensions, health insurance. Fighting for art as aprofession. This year is a milestone, a time to celebrate how far we’vecome and decide where we want to go. It is the stepping stone for ourfuture.

What are we going to do with our next hundred years? And where dowe start?

Last year, I ran for Council because I wanted to be a “voice” (from you,to Council, and from Council, to you). You elected me because weneeded that voice, and now, we need that voice to go further. “Where dowe start?” We start with the thousands of kids graduating from musicaltheatre and drama programs every year. We talk to them about this union- what it does, what it can do. We answer their questions and arm themwith knowledge; we get them interested and involved, so that when theydo become members, they know what they’re doing and why.

We start with our future.And by “we,” I mean you. And me. All of us. The more we, as

individuals, are informed and involved in our union, the stronger ourunion is. AEA’s future is in our collective hands.

There is much to do, and I’m ready to get to work! I would greatlyappreciate your support and your vote.


RICHARD TOPOL(Residence: New York, NY) Contracts worked: Production, LORT, Off-Broadway, COST,ANTC, LOA, SPT, Special Appearance, Showcase

As a member of the 2012 Off-Broadwaynegotiating team I helped us achieve the largestwage increases in over a decade, stopped an

attempt by producers to reduce MRE benefits, and achieved work rulechanges to benefit ASMs. Being on that team is what has inspired me torun for Council. I love being a stage actor and I’m a relentless, energetic,passionate, intelligent man who will fight for what I believe in. For Equity,I’ll work tirelessly to strengthen our Union and our brand, expandopportunity for all, increase our wages and our security, and make iteasier to obtain health insurance.

Over the last 25 years, I have often been Equity deputy, always lookingto make the working experience a better one, whether by pushingproducers to behave more responsibly, bringing actors together toresolve a problem or trying to forge a better partnership between actorsand management.

As a teacher of young actors for the last dozen years I appreciate thechallenges of starting a career, especially getting a foot in the door.

As a middle-aged actor I understand the difficulties of balancing familyand career, seeking security amidst the ups and downs, and planning forretirement.

I humbly thank the Nominating Committee for supporting a fresh voicefor the Council.

I will search for creative ways to solve problems.I will always keep an open mind and a willing heart. I hope you’ll vote for me so I can stand up for you.

Chorus Five-Year TermVote for no more than three

By Petition

SCOTT WATANABE(Residence: New York, NY)Contracts worked: Production, LORT, CORST, WCLO,Casino (PHANTOM), Guest Artist, LOA, ELA (CanadianEquity - Livent)

Committees: Production, LORT, STOCK, ACCA,Casino, Midsize, Deputy, EPA, Monitor, EEO,

Membership Education. Contract Negotiation Teams: 2009PHANTOM–Las Vegas / 2000, ’04 & ‘08 Production / 2005 LORT / 2005MSUA

Our Association is only as strong as an individual’s active participationand in the working knowledge of the contracts and agreements thatgovern our involvement in live theatre. I have participated in manysuccessful contract negotiations in North America. I have lived andworked in Los Angeles, New York, Las Vegas, Canada and toured citiesin the US as an actor, chorus member, opera singer and stage managerand understand the differences and issues important to diverse regionsand jobs. As a former Councillor, I have had the opportunity to listen tothe concerns of our membership and to address these issues incommittee and in Council.

Participating in Membership Education, I’ve been active in promotingeducation seminars, welcoming new members and, with the EPA andEEO committees; I worked at providing employment opportunities andaccess.

I believe in promoting professionalism in our industry and making livetheatre an exciting, necessary, vital and important part of our culture in afiscally responsible manner.

I will work to provide protection of our contracts and the promotion ofdignity in our profession. I ask for your support as I resume service to ourmembership and be an advocate for our mutual benefit.

Thank you for your kind consideration.


ALLYSON TUCKER (INCUMBENT)(Residence: New York, NY)Contracts worked: Production, LORT, Workshop, MSUA,LOA, URTA, Guest Artist

It has been an honor to serve these past 5 yearsas a Chorus Councillor. Thank you for your trust andsupport.

As a proud working member of Equity for 25 years, I have performedon a variety of contracts as chorus, principal, understudy, swing, deputyand dance captain.

For over 15 years, I have served on the Production Contract andBusiness Theatre Committees. I’ve served on the ACCA, EEO, NationalPublic Policy, Family, Election Procedures, Nominating & Joint OfficersNominating Committees. I have served on the past four Productioncontract negotiating teams and the off-Broadway negotiating team.

I will continue to fight for competitive salaries, health benefits, parityamong contracts and increased number of work weeks. I will be a voicefor:

-Continued improvement of understudy, swing and dance captainconditions. From proper rehearsal time to costumes, it’s about propercompensation and respect for the jobs that we do;

-Online sign up for auditions. It’s time to find a fair and secure path tomake this a reality;

-Access to auditions for everyone;-Increase the number of chorus contracts nationally (it’s worth

repeating);-Greater member participation. Our strength comes from hearing as

many opinions as possible so that Council can make informed, inclusivedecisions. I help find options to better reach members;

-Fiscally responsible decisions that streamline and strengthen ourunion.

There is more work to be done. I ask for your support again as Icontinue to work to preserve our Union and our dignity.


By PetitionSTAÉ KMIEÉ (INCUMBENT)(Residence: New York, NY)Contracts worked: Production, COST, MSUA, DinnerTheatre, LOA, Special Appearance, Special Agreement

I’m honored to have been twice elected and tohave served on Council for the past 4 years. Mypassion and commitment are clear inasmuch as I

attend every meeting, support communications efforts, boost BroadwayCares/EFA, and seek new ways to better represent and engagemembers.

We are a cherished profession – serving as Councillor is anopportunity to ensure that we’re viewed as a national treasure, not as acommodity.

I offer experience, commitment and perspectivePerspective:• Gain appreciation of performers as a respected and valued asset• Open new job opportunities in Theater Development and throughstrong, protective contracts• Strengthen union voice through unification of Western, Central, andEastern regions• Increase diversity and non-traditional prospects• Enhance membership engagement through increased communicationsprocedures Experience:• Actively serve on 11 Committees since 1997 • Deputy, Dance Captain, Swing, Fight Captain• Member 1987; Experience in four unions: AEA, AGMA, SAG-AFTRA,SDC• AGMA Board of Governors (former), Negotiating Committee –Metropolitan Opera Dancers• Public Relations and Strategic Communications credentialsCommitment:• Eastern Regional Board, National Council, Plenary/NationalConference, special, emergency and, long range planning meetings • Interaction one-on-one with members, attend membership meetings,as well as AEA events and awards, and Gypsy Robe ceremonies

Please vote! I appreciate your support!


MARK ALDRICH (INCUMBENT)(Residence: Astoria, NY)Contracts worked: Production, Special Production, LORT,MSUA, RMTA, LOA, Guest Artist, Off-Broadway, Cabaret,CORST, COST, SPT

Our goal must always be to increase workopportunities for members. However, these must be

quality opportunities delivering a decent standard of living - paying fairsalaries and carrying appropriate benefits. As we continue to reclaim theroad, that’s our challenge. We must be proactive, anticipating rather thanreacting to changes in the marketplace. Greater cooperation with oursister unions is essential.

We must also be proactive in our approach to communication andtechnology. It’s time for us to be firmly rooted in the 21st century. Weshould utilize social media effectively to spread our message to ourmembers and to the public. As Chairman of the Membership Educationcommittee, I have worked to do that and create community amongmembers through seminars, classes and events.

We must also reconsider our system of EPA’s and Chorus Calls.Producers are following the letter of our rules but not the spirit, so wemust tighten loopholes to ensure that members who put in the effort arebeing seen for actual jobs, not to fulfill a requirement.

I lived and worked regionally for years before coming to New York andbring a unique perspective that takes into account our members in theregions as well as those in office cities. That experience is valuable as wemove toward true national representation. My goal as a deputy and incommittees has always been to ensure that we receive the protectionand respect we deserve and have earned. Thank you for being involvedand voting.


BEN LIEBERT(Residence: Astoria, NY)

Chorus One-Year TermVote for no more than one


JEFF APPLEGATE(Residence: Cranbury, NJ)Contracts worked: SETA, LORT, COST, URTA, SPT,Business Theatre

Before serving for a year as a Chorus Deputy ona SETA contract, I thought the position was largelyadministrative: something of an ‘Equity Cop’

watching out for transgressions and filing reports. And I’ll confess that tosome degree that perception extended to our union as a whole. It was theentity to which we paid dues, and from which we expected workopportunities and great contracts.

But then my fellow deputies and I found that our role included being amore active link between our members and Actors’ Equity. After a coupleyears on a challenging schedule, our company had an earful they wantedto share with The Union. Together, we were able to take a great deal ofangst and turn it into constructive feedback intended to help improve acontract.

I discovered in the process that deputies can be a far more critical partof an effective union. I found that the highest levels of our Associationwere more than interested in listening and working with us to try toimprove that contract. And in agreeing to serve on the SETA NegotiationTeam this fall, I learned firsthand the challenges and tradeoffs that arefaced in hammering out an agreement.

With the encouragement of my fellow cast and negotiating teammembers, I am running for Council in hopes of continuing to be an activelink between The Union and our members, facilitating communication andunderstanding on both sides to make us stronger and get things done.

CENTRAL REGIONPrincipal Five-Year TermVote for no more than one


RICHARD SHAVZIN(Residence: Chicago, IL)Contracts worked: Production, CAT, SPT, Guest Artist,Business Theatre

Brother and sisters:It’s been 10 years since I was first elected to the

Central Regional Board, and I now ask your supportto continue my work on your behalf on Council. While our primaryfunction remains fighting for the best possible working conditions,salaries, and benefits so that we can earn a dignified living in our chosenprofession, organizing has joined the top of the priority list. My personalorganizing goals include bringing more theaters under AEA contract,partnering with our existing smaller theaters to help them increase workweeks, and recapturing live industrials as covered work. (Of course,health care stays of particular concern, especially in light of theuncertainty surrounding the Affordable Care Act.

In pursuit of these goals I currently chair the CAT Contract and CentralBusiness Theatre committees, am 3rd Vice-Chair of the NPPC, and serveon the Strategic Alliance/Merger, Production, Agency, and Midsizecommittees. I was a member of the 2011 Production Contract negotiatingteam, and the last three CAT negotiating teams.

CS


Unfortunately, trade unionism has been the target of cripplinglegislation and unprecedented smear campaigns by corporate interests inmany state legislatures, as well as the US Congress. It has never beenmore important to be strong, articulate ambassadors of labor, and theprofessional performers of AEA are uniquely positioned to do just that.

I believe I have contributed to these efforts in my time on the CRB, andI ask your help to continue forwarding our interests as a Councillor.

By Petition

LIZ PAZIK(Residence: Chicago, IL)

WESTERN REGIONPrincipal Five-Year TermVote for no more than three


ABNER GENECE(Residence: San Diego, CA)Contracts worked: LOA, Guest Artist, Special Agreement,99-Seat Theatre Plan, Staged Reading

Thank you for this opportunity to serve the unionI love. We’re at a key moment in our hundred-yearhistory; with the undermining of labor in general,

and the arts specifically, we need strong, composed, creative, leadershipin key positions. In contributing to the effectiveness of our team, I believeI can provide such a voice.

Our country is also changing demographically; in the way that we, asartists, reflect our world, we as a union must not only reflect, but strive forgreater diversity and inclusiveness. In being an advocate for diversity, andfor the inclusion of perspectives outside of Los Angeles, I believe I canprovide such a voice.

As Area Liaison I’ve served on several committees, where I’veengaged in increasing awareness with regard to diversity (notably thenomination of Mo’olelo Performing Arts Company for the Ivy BethuneDiversity Award (winner); I’ve engaged in and adopted concepts such asthe annual Tony Awards Viewing Party; I’ve observed contractnegotiations, and engaged in measures to protect and improveconditions for our members.

I’ve also served local members in a variety of ways: we’ve developedvarious workshops and panel events; we’ve worked with otherorganizations, such as the Actors Alliance of San Diego; and we’vedeveloped a Facebook page and quarterly newsletter. Perhaps mostimportantly, I’ve served as a recognized link to Equity in the community.Your vote will allow me to broaden my service to Equity. Thanks!


ROBIN GAMMELL (INCUMBENT)(Residence: Los Angeles, CA)Contracts worked: Production, LORT, SPT, Off-Broadway,Staged Reading, Guest Artist

Committees: LORT, Developing Theatres,Membership Education, 99 Seat, HAT, Merger, LATheatre.

Where do we go from here? I love the history, the romance of thisunion. I love being able to look down from the AEA building on the statueof George M. Cohan who tried to snuff us 100 years ago and to celebratethat we succeeded.

But where do we go from here? We facilitate work, we protect work, wedon’t make work, but we innovate. We innovated with the SETA contractto protect the road. Where do we go from here? We facilitate gettingBroadway shows into the regional movie houses ala the MetropolitanOpera. How do we get the Non Pros under our wing? Non Pro is for

experience AEA is for life. In Los Angeles I’d like to bridge the gapbetween the 99 Seat Plan and the other contracts. I’d like to see theexpanded use of video. Before merger with the recording unions we mustmerge with the other performing unions.

I would like to continue my involvement with LORT: I have been part ofthe last 5 negotiations and chaired three of them.

I offer and ask to serve.

By Petition

AARON WILTON(Residence: Concord, CA)Contracts worked: SPT, LORT, LOA, BAT, MBAT, GuestArtist

Communication is the key to a healthy andprosperous future for AEA. As an elected memberof the Bay Area Advisory Committee coming into

my fourth year, I excel at using available tools of communication tomobilize and inform members of my region and I hope to apply theseprincipals to a national scale. Technology is available and growing at anexponential rate and we still mail in our deputy reports. Why not add anonline forum to the Equity website to connect all regions together fornational discussions? Invest in computer classes for members unfamiliarwith today’s technology? Implement a simple program where relevantEPAs are emailed to us instead of us searching for them? I’ve organizedmembers to volunteer at a local high school theatre festival as judgesrepresenting Equity, and supported the local PBS pledge drive, thecounty food bank and the Actor’s Fund Benefit for Laborfest 2012, allmade possible through methodized communication. When CAAssemblyman Mike Gatto attempted to raise taxes on theatre ticket saleslast April, I mobilized California members and supporters through socialmedia to strike down the bill; days later I received a personal note fromhim informing me he “pulled back the bill” due to overwhelmingopposition. This is what we can do on a national scale if we harnesscommunication: address important issues (gay rights, health care,fighting Right to Work, etc.) with a powerful voice and implement realchange. Thank you for your consideration. Always up for communicating:[email protected].


JOSHUA M. BOTT (INCUMBENT)(Residence: Hollywood, CA)

Thank you for the honor of serving, in a freshmanterm, these past five years.

As your Councillor, I have raised my voice onissues of Job Creation by supporting contracts andinitiatives that build bridges within our professional

theatre community and also protect our hard-won health, pension, andsalary levels.

I have voted in favor of contracts and initiatives that foster thedevelopment of New Work, both Regionally and Nationally. I have alsovoted in favor of long range fiscal decisions, such as the acquisition ofbuildings to house Equity offices in Chicago and Los Angeles, with aneye toward our continued professional presence as an influential NationalUnion for the next hundred years.

As we move forward, I will continue to take on issues of Branding toraise positive public awareness, respect, and value for the quality ofartistry and professionalism that Equity members represent and embodyin live stage work.

I will join the conversation in New Media and Membership Education tourge movement and initiatives that balance and enhance respect for ourtraditions of the stage with innovative market visibility, to reach the nextgeneration of audiences. I will continue my work with the EqualEmployment Opportunity Committee to shape cultural norms throughexperience and awareness.

Active Equity member since 2000, based in Los Angeles, Committees:99 Seat Code, Developing Theatres, WCLO, LORT, EEO and ProductionContract.

“With tradition in our right hand and legacy in our left, let’s chart newterritory on the live stage.”


By Petition

DeBORAH SHARPE-TAYLOR(Residence: Hollywood, CA)Contracts worked: Production, LORT, COST, LOA, andSpecial Appearance

Western Region is where I reside. I’ve been anEquity member since 1977 working over 15 Equitycontracts to date. I have toured with Harry

Belafonte, The Supremes and others covering a spectrum of work instudio and on stage, most of my life. My union involvement over the yearshas included AEA (parent) SAG, AFTRA, and AGVA. I know howimportant it is to create parameters that protect the performer, and tocreatively generate work. I was there when my now departed husband,Ron Taylor, worked with Equity to create a new contract offering thatallowed 3 Theatre Companies to join forces to produce the pre-Broadwaytour of his show, It Ain’t Nothin But The Blues (4 Tony Nominations).

I am running as a Voice for all. I am willing to work with our Union toencourage compromise where needed taking the initiative to influenceaction towards change. I currently serve as 1st vice chair of the WesternRegion’s EEOC.

I hold a BS in Communications, and my MBA. I would use these tools,to enhance my involvement with AEA utilizing current technology,regularly updating communication solutions between members and ourunion. I will be a liaison for change both with Contracts, andCommunications, incorporating appropriate safeguards as we developexponential remedies to more effectively reach union members, while wemaintain privacy, ensuring that every voice is heard.

By Petition

NANCY DALY(Residence: Los Angeles, CA)

“We take care of our own.”That’s the foundation of all my union leadership

work. In my five years on Council, it was my honorto speak up for my fellow union members andprovide forums for building awareness, education

and community.As Chair of the Western EEO Committee, I spearheaded many

symposiums, including in 2005 “When the Best Man for the Part Can Bea Woman” focusing on cross dressing, and in 2007, Equity’s first LatinoTheatre Symposium “Somos Todos Familia.” In 2008, I brought themotion to Council to join the international IAMPWD campaign, increasingawareness of performers with disabilities.

In 2011, I founded and am the National Captain of Actors Unite to EndAlzheimer’s- now a national team building compassion, awareness andcommunity for anyone touched by the tragedy of Alzheimer’s. The team isrecognized by Equity and SAG-AFTRA and marched in four cities raisingnearly $50,000 so far!

In addition to continuing this work, I want to bring more tours,companies and theatres under the protection of Equity contract and tomake sure that Equity continues its advances in New Media. We are anational union and I applaud and support the inclusion of members fromall regions in service on Equity committees.

100 years of service and solidarity- I am so proud to be an Equityactor! The motto of Actors Unite is “When actors unite, the world canshift,” and sure enough, it does. Thank you so much, and as we Irish say— Slainte!

Stage Manager Five-Year TermVote for no more than two


JAMES T. McDERMOTT (INCUMBENT)(Residence: Los Angeles, CA)Contracts worked: LORT, Production, Special Production,Off Broadway, HAT

The past five years as a Councillor has proven tobe exciting, time-consuming, frustrating, interesting,fraught with heartaches and hard work. I serve or

have served on many committees including; Stage Managers, LORT,URTA, Election Procedures, LA Initiative, House Affairs, Entry to Equity,Nominating, Joint Officer Nominating, Search committee for theExecutive Director, Western Regional Director and Eastern RegionalDirector, LORT and Casino negotiating teams. I serve as chair or vice-chair of many committees, including the Western Regional Board.

I joined AEA many years ago as a Stage Manager, and have stagemanaged consistently since. As a stage manager, I am obviouslyconcerned with issues directly related to stage management. However,every issue that affects an actor affects the stage manager. Therefore, Iam concerned and work hard for all members AEA.

It is healthy to question and disagree. Then, and only then, do youhear all sides of an issue. As a Councillor it is very important to keep anopen mind; weighing all the questions, disagreements, and arguments,then coming to a conclusion. Occasionally some members do notwelcome these conclusions. One must think of the overall picture andwhat it is best for the entire membership, its growth and strength.

I feel, in my terms as a Councillor, I have heard and I have been heard.Hopefully a difference has been made, small or large - one that hasmade a better life for all of my family in Actors’ Equity Association.

Thank you for your consideration.


LINDA M. TROSS (INCUMBENT)(Residence: Los Angeles, CA)Contracts worked: WCLO, Guest Artist, SPT, HAT, TYA,Dinner Theater

I have learned a great deal about our Unionthese past 5 years on Council and I am very excitedto work for our members while continuing to learn.

As a working, regional stage manager, I know first hand the financialissues and concerns that we all face.

I believe that we must continue our positive association with I.A. andthe Musicians Unions and look for more ways that we can work togetherfor the mutual benefit of our members; continue the education andbranding of the AEA logo; persist in the education of producers regardingthe need of the assistant stage manager on more contracts; and thepromotion of more union contracts.

I currently serve on the Stage Manager, LORT, Developing Theatres,EEOC, WCLO Committees, and was on the Negotiating Team for theWLCO and Peep Show (Vegas) Contracts. I began my stagemanagement career in Chicago, and know and understand their needsas well, keeping a national perspective. I believe that we can be in apositive partnership with producers to create the best possible workingconditions and wages for all our members. Please let me continue towork for you on these and other issues both regional and national, and Irespectfully ask for your vote.

(Placement of candidates’ names on ballot,within each category, was determined by lottery.)


NATIONALNEWSNATIONALNEWSEMC Events HostedAround the CountryBy Tom Miller, Coordinator,Equity MembershipCandidate Program

The Fall and Winter seasonsfound Equity MembershipCandidate (EMC) events andgatherings throughout thecountry. Through interaction withEquity Actors and StageManagers, the EMC programprovides an opportunity in whichcandidates experience thestandards, responsibilities andtraditions of professionalism.Events were held in Albany,Atlanta, Chicago, Dallas,Denver, Detroit, Los Angeles,

New Orleans, New York City,Phoenix, Pittsburgh, SanFrancisco, Seattle, San Diegoand Washington, DC.

These gatherings werehosted by Area Liaisons,Councillors, committeemembers and Equity staff witheach reflecting the uniquepersonality of the members andthe city in which it was held.EMCs networked and talkedabout Equity and the businessin general.

For the complete story,including event highlights, visitthe Equity website:www.actorsequity.org.

Atlanta

Equity Opens Hearts for Open HandHundreds of underserved and

chronically ill people in Atlantahave healthy meals on theirtables thanks to local Equitymembers, as more than 400AEA members who live in MetroAtlanta are now activelyengaged in the mission of OpenHand Atlanta, a non-profitorganization with deep roots inthe community.

The AEA Atlanta LiaisonCommittee, which firstapproached Open Hand with theidea to raise funds to support thework of the organization in 2011,partnered with several localtheatre companies for selectperformances during the holidayseason. Included were TheAlliance Theatre, The AtlantaLyric Theatre, Aurora Theatre,ART Station, and GeorgiaEnsemble Theatre. After eachperformance, AEA members,along with the casts and crewsof those productions, collecteddonations and shared OpenHand’s story with audiencemembers.

“Everyone was genuinelytouched and inspired,” saidCommittee member BillMurphey, who coordinated theevent. “In 2011 and 2012 alone,the generous patrons of thesetheatres contributed an amazing$27,137.52 for this verydeserving organization.”

Open Hand, which will sooncommemorate its 25th year of

service and the delivery of its 25millionth meal, has grown tobecome the nation’s largestcommunity-based provider ofhome-delivered meals andnutrition services. Open Handprepares, packs and deliversnearly 5,000 meals every dayacross 17 north Georgiacounties to homebound seniorsand underserved individualsstruggling with chronic or criticalillness.

“Aurora Theatre is alwayslooking for ways that we cancontribute to the community,”says Ann-Carol Pence,Associate Producer. “When themembers of Actors’ Equityapproached us aboutparticipating, we welcomed theopportunity to support OpenHand Atlanta. For many unionactors, the decision to live andwork in Atlanta has everything todo with their connection to thisregion. It comes as no surprisethat our local professional actorswant to go the extra mile forthose in need of this criticalsupport.”

“We simply couldn’t be morethankful for the efforts of theAEA Liaison Committee and theparticipating theatres,” declaresMatt Pieper, Executive Directorof Open Hand Atlanta. “Thesame passion they give to theircraft is evident in the supportthey give to their community andto our mission.”

New York

AFCU OfficesMove Up

Changes are taking placeat the Actors Federal CreditUnion offices as constructioncontinues at the EquityBuilding. The offices ofAFCU previously located onthe 4th Floor have moved upto the 5th. These includeLending Services,Collections, InvestmentServices and other backoffice spaces. The new andpermanent location of AFCUis on the 5th floor right nextto the elevators. You can’tmiss it! Banking continues tobe on the 14th Floor.

Philadelphia

Reminder re:FringeArts Festival

The application processcontinues for the FringeArtsFestival, formerly known as thePhiladelphia Live Arts Festivaland Philly Fringe. Forinformation, visit www.livearts-fringe.com/festival/fringe-artists.cfm.

This is a reminder that iftheatres or producingorganizations are interested inhiring Equity members for theirproductions in the FringeArtsFestival, they must sign you toan appropriate AEA agreement(LOA, SPT, Guest Artist, SpecialAppearance, etc.).

AEA members who areinterested in self-producing theirown projects under the newly-named AEA FringeArts FestivalCode should get in touch assoon as possible with thePhiladelphia AEA LiaisonCommittee. The Committeeencourages members to askquestions early in the processand not wait until the summer orwhen the project is already inrehearsal. For furtherinformation, contact theCommittee at:[email protected] or call 877-232-1913, ext. 832.

Horse Cave, KY

Kentucky Cave ClosesKentucky Repertory Theatre,

long known as Horse CaveTheatre, closed its doors onFebruary 27, 2013 after 36years in operation. Theeconomic downturn, decliningaudiences and the loss of majordonors were cited as the cause.“Located in a Hart County townof a little more than 2,000people, it was something a lot of

larger cities, includingLexington, had not been able topull off: a professional theatreaffiliated with Actors’ Equity,” thelocal newspaper reported.Founded in 1977 as the HorseCave Theatre, the name waschanged to Kentucky RepertoryTheatre in 2004 to assert itselfas one of the major theatres inthe state.

Billing is EverythingIn the March 2013 issue of Equity News, there wasa photo spread of happy new members receivingtheir Equity cards. The members were notidentified. Here they are (clockwise from upperleft): Lisa Helmi Johanson and Kyle E. Baird,Lauren Noll, Jose Angel Sepulveda and BritneyColeman, Matthew Cohn and Eric William Love,Carolina Reiter and Kate Garfield, William Walker-Johnson. (Photos: Stephanie Masucci)

Area Liaison Karen Howell (l) and Jean Goffaux from Open HandAtlanta (r) hold the check presented by Equity to Open Hand asArea Liaison Committee members hold awards given to theCommittee by Open Hand.

EMCs in San Francisco.

www.liveartsfringe.com/festival/fringeartists.cfm



By Gloria Van Deweel

“I got my Equity card inMarch, 1952 when I was 19and chosen for the cast ofWish You Were Here. I hadcome to New York fromCleveland with $100 in mypocket and a dream—to be anactress and a model. I movedinto the Barbizon for Womenand monitored newspapersand trade publications foracting jobs. The New YorkJournal American had anopen call for Josh Logan’sBroadway show, Wish YouWere Here and I went to theaudition. I had to take a cabbecause I didn’t know wherethe theatre was and when wegot there, I almost chickenedout, but the cabbie promptedme to give it a try. Of the5,000 who tried out, 14 wereselected. After just threeweeks in the Big Apple, I hada job on Broadway. It was avery exciting time in my life. Iwas a member of the chorus,where I sang and danced,

twirled the baton and played abathing beauty. I was making$85 per week. Josh liked mylegs so much that he alsochose me as the show’s‘poster’ girl. That poster wasthe show’s trademark, and I,along with John Perkins, wason posters, the program, andthe curtain painting, plus wehad our own curtain call. I wasalso an understudy for LeilaMartin, who had one of theleading roles, and got toperform her role for twoweeks. My salary jumped to$135 per week. I’m very proudof my Equity card. “

Gloria Van Deweel wasborn in Cleveland but grew upin Burton, Ohio, population950. She took advantage ofthe limited opportunities thereto perform—high school plays,joining the drama club andbeing a majorette andcheerleader. After graduationshe returned to Clevelandwhere she became an Arthur

Murray dance instructor. Herperformance and the posterfor Wish You Were Herebrought her a great deal ofattention. Noted columnistEarl Wilson picked her asone of America’s Six MostGlamorous Girls (for “BestNew Figure”) putting her inthe same company asMarilyn Monroe. She wasregularly mentioned in WalterWinchell’s syndicated gossip

column as well. She appearedas a guest on TV Shows withEd Sullivan, Jackie Gleason,Joe Franklin, Steve Allen andJohnny Carson and wasEsquire Magazine’s MissOctober in 1954. She didscores of commercials, wason album and magazinecovers and Playboy offeredher $10,000 to be acenterfold, which she promptlyrejected: “I was horrified. Whatwould my parents havethought?”

Gloria is now living inMaricopa, Arizona with herthree dogs: Paco Vakos, aChihuahua, and twoPomeranians, Georgie Porgieand Cora Jane; a Siamesecat, Paws; and threeparakeets, Peeperonie,Cukkoo and Lulu. Asked if sheconsidered herself retired, sheemphatically answers no.“Once an actress, always anactress,” and given theopportunity, she would love todo more TV commercials.

100 YearsAgo

April 1913• Salary is irregular and

uncertain in its arrival. Payday is any day the managerhappens to get around toit—if he does.

• During certain weeks,notably the week beforeChristmas, Holy Week,Election Week and in someinstances the first two andlast two weeks of theseason, half salaries arepaid regardless of business,which might be excellent.

• Very few theatres havedressing rooms which areproperly heated and lighted,or provided with runningwater and adequate closetspace.

• Contracts contain a“Satisfaction Clause.” Underthis clause the actorundertakes to play his part ina manner satisfactory to themanager, who is the solejudge in this matter. When amanager decides that anactor’s work is no longersatisfactory, the actor is

asked to leave. There is no Equity.

75 Years AgoApril 1938

• Minimum salary forChorus goes to $35 perweek in New York and $40on the road.

• The Federal TheatreProject is adding 300 moreactors to its rolls.

• Equity and the Leagueof New York Theatres arenegotiating a new basicagreement and astabilization of producingconditions in return for theLeague’s inauguration of acampaign to control the saleand distribution of theatretickets by which speculationcan be abolished orcontrolled.


• The April issue of theEquity Magazine lists 170Summer Stock theatres: 126Dramatic and 44 Musical.

• For the first time in

Equity’s history, a pension

plan is included in stock

contracts negotiated with the

Association of Civic Musical

Theatres (ACMT), the

Council of Stock Theatres

(COST) and the Council of

Resident Stock Theatres

(CORST).


• Los Angeles membersapprove a new Actors’ 99-Seat Theatre Planmandating such items asrehearsal and performancerestrictions, safe andsanitary places ofemployment, expensereimbursement andcomplimentary tickets tocast members.


• Equity becomes the firstactors’ entertainment unionto offer online voting whenthe 2003 election ballots aresent to eligible members.

• Council endorses theconcept of a proposedconsolidation of AFTRA andSAG. (It fails.)


Los Angeles, New York

New Members to MeetCongratulations on joining Equity! New members are

invited to join colleagues, friends and staff for refreshmentsand an informational Q&A about benefits, services, andmore. New Member Receptions are scheduled for:

Los Angeles – Friday, April 12, 2013

New York – Monday, April 15, 2013.

For more information and to RSVP: www.actorsequity.org.

New York

Dancers Set SeminarsCareer Transition For

Dancers has scheduled threefree seminars in April: ameeting of the DiamondGroup, a session featuring aLife/Career Coach and aCareer Conversation ondance medicine careers.

The Diamond Groupmeeting on Thursday, April11, 2013 from 11 am-1 pmwill enable older dancers tomeet and discuss commonissues relating to careerdevelopment, work-relatedskills, finances, health andother aspects of theirprofessional lives. RSVP [email protected] to Dana at 212-764-0172.New members are welcome.

Life/Career Coach JimArnoff will work with aninteractive small group tomaximize your options,capitalize on your dancecareer, get clarity about yourcareer direction and breakthrough the walls that havebeen holding you back on

Tuesday, April 16 from 12:30– 2 pm. Space is limited to15 participants so RSVP onlyif you are sure you canattend:http://revupyourcareerapril2013.eventbrite.com or callDana, 212-764-0172.

A workshop to explore thewide array of career optionsin dance medicine, includingphysical therapy, athletictraining, podiatry andresearch will be held onThursday, April 18 from 5:30-7:30 pm. This event is co-hosted by the HarknessCenter for Dance Injuries.Dancers do not have to beCTFD dancer-clients toattend. The workshop is opento pre-professional, currentand former professionaldancers. RSVP:http://carconnycapril2013.eventbrite.com/.

All events will be held atthe Equity Building, 165 West46th Street.

A Look Back@Equity Milestones

How I Got My

Equity Card

Gloria Van Deweel

New Member Reception in New York.


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 175 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.

U.S.Posttage

466

George Ives Dies; FormerCouncillor, Regional Director

George Ives, a member ofthe Equity Council from1954-1959 and again

from 1961-1966, who served asWestern Regional Director andAssistant Executive Secretaryfrom 1990-1997 died in LosAngeles on February 22, 2013.He was 87. For many years, Mr.Ives was also President ofTheatre Authority West.

Mr. Ives, an Equity membersince 1943, was a 50-year

veteran of movies, theatre, radioand TV before joining the Equitystaff in 1968. He returned towork as an actor following hisretirement. At his finalmembership meeting as anEquity executive on April 4,1997, he spoke of how muchEquity meant to him, saying ofthe three professional performerunions he belonged to, Equitywas the one that representedfamily.

“Ilove the Aurora! It’s truly aspecial place to play. A realtreat for an actor.Talk about

intimacy, the connection with theaudience is like no other theatre,”says Equity member Gabe Marinabout the 150-seat Aurora TheatreCompany in downtown Berkeley,California.

Equity member Julia Brothersalso loves “working at Aurorabecause of the intimate setting. Itis a thrust stage so no one in theaudience is more than 20 feetaway from you. It requires you tobe completely present, completelyhonest and completely open in

your dialogue with the audience.Anything less reeks of a lack ofauthenticity and bad acting. ArtisticDirector Tom Ross is a wonderful

director: He knows the space, hisaudience, his actors and hiswriters well. He is a perfect conduit

for talent to expressitself fully.Managing DirectorJulie Saltzman andthe rest of the staffmake you feel likeyou came home toa big familyreunion. It is awonderful place towork and I considermyself very lucky tobe part of theAurora family.”

Since it openedmore than 20 years ago, Aurora’smission has been to provide “anurturing environment for theatreartists and artisans to produce and

develop plays that place a highvalue on substance, intelligence,and craft [and to] strive to enrichthe lives of our audience byproducing high-quality, thought-provoking work that shines in anintimate setting.” And it has donejust that, as evidenced by the 37awards it has received from theBay Area Theatre Critics Circle foracting, directing, ensemble andcostume work. It also received thecoveted $25,000 WallaceAlexander Gerhbode FoundationAward in 2000 for new playproduction and was namedOutstanding Bay Area Theatrecompany by the San FranciscoWeekly, among other awards.

“Twenty-one years ago, whenAurora Theatre Company wasforming, our founding ArtisticDirector Barbara Oliver stated thatshe wanted it to be an Equitycompany,” says Tom Ross.“Barbara herself was a member ofActors’ Equity and she wanted tohire her friends, many who hadacted with her at BerkeleyRepertory Theatre. I was a littledubious about creating an Equitycompany in a small room thatcould seat only 67 people a night.However, from day one the qualityof work we were able to create in

Western Region

Aurora Theatre Company: Up Close and Personal

TTHHEEAATTRREE

SPOTLIGHT

that small room was impressiveand we sold out the majority of ourperformances.Twelve years ago,when we moved into our current150-seat space, we retained theoriginal configuration of our firstspace, with the audience sittingaround a deep thrust stage soclose to the actors you canactually see them think, I like tosay.We call ourselves TheUltimate Intimate TheatreCompany—primarily because ofthe extraordinary acting talent onegets to watch up close—and oh,so personal.”

Aurora Theatre Company offersacting opportunities for Equitymembers in the Bay Area. Itoperates under an Equity Tier 4Bay Area Theatre contract (BAT)and proudly proclaims: “More than

one-third of the budget is allocatedto acting salaries.” It produces bothclassics, from Shaw andTennessee Williams, to worldpremieres by Mark Jackson andAllison Moore, among others.Thefirst production, in the 1991-1992season was Dear Master byDorothy Bryant and the 2011-2012season included Edward Albee’s ADelicate Balance. (Mr. Albeeattended opening night andrewarded the production with astanding ovation.)

Equity member Stacy Ross isanother fan: “I like the Aurora andthink it’s a vitally important theatreand a great place to work.TheAurora has been, from itsinception, a theatre thatacknowledges and serves thecommunity of which it is a part—and I mean audience and theatreartists alike. It is inclusive and yetremains challenging. Add to thatthe great vibe there—I always feelpart of a team that is workingtoward the best possible outcome,but never at the expense of amember of that team.”

In addition to a five-playperformance season, Auroraconducts a number of otherrelated activities, including freepreview performances for low-income seniors, an EducationProject in collaboration with theBay Area public schools, theAurora Script Club and The GlobalAge Project, a nationally renownedannual new play developmentfestival.

Time(line) Marches OnThe Equity Timeline (originally published for the Union’s

90th Anniversary) has been updated and will be appearing asa regular Centennial feature for the Union’s 100th birthday.The Timeline begins with “The First Years,” 1913-1919 andthen includes highlights in the world and in Equity through thenew century and up to 2013. Check it out atwww.actorsequity.org.

Centennial Feature Resumes in May

Candidates’ statements have preempted the colorcenterfold celebrating Equity’s Centennial which has beenappearing in Equity News since the June 2012 issue. Theseries will resume in the May issue. Watch for it!

Julia Brothers and AnneDarragh in Anthony Clarvoe’sOur Practical Heaven. (Photo: David Allen)

Gabe Marin with Carrie Paff,Aldo Billingslea and AmyResnick in Allison Moore’sCollapse. (Photo: David Allen)

Stacy Ross with Patrick Russell, SorenOliver and Heather Gordon in The HappyJourney to Trenton and Camden. (Photo: Jessica Palopoli)

Letters to The Editor

IN MEMORIAMDear Editor:

Veteran character actor JerryGrayson died March 3, 2013 inNYC from heart disease. Hewas 74.

Jerry’s long careerencompassed stand-up comedyas well as major roles on and offBroadway. At the final preview ofOn the Waterfront, he had anon-stage heart attack, and wassaved by one of several doctorsin the house. Jerry especiallyloved acting opposite MarianSeldes at the WilliamstownTheatre Festival in The RoyalFamily, and winning unanimousraves for the role of “Diamond”in Lincoln Center’s The Lights.

Film audiences willremember him from his comic“creamed corn” scene with VingRhames in Striptease. Heworked with Sidney Lumet,Robert Redford and, mostrecently, the Coen Brothers. HisTV work included TheSopranos, 100 Centre Street,Law & Order and NYPD Blue,among numerous others.

Jerry is survived by twocousins, Neal and Rick Lavon.

In lieu of flowers, the familysuggests a donation to TheActors Fund:www.actorsfund.org/support-fund/tributes-memorials.

Dianne Busch


Ted Kazanoff arrived at UCBerkeley in the Fall of 1954 asan instructor in the Departmentof Dramatic Arts.

He cast me in his productionof Desire Under the Elms andTed’s inspiring direction and theplay’s success gave me theconfidence to fulfill my dream ofbecoming a professional actor.

After graduation in January1955, I was on the plane to NewYork City where I’ve lived eversince and had a wonderful life inthe theatre. Thank you, Ted.

I send my sincerecondolences to Ted’s family andfriends.

Patricia O’Grady


George Ives was my friend. Iloved him and mourn hispassing. George was a

wonderful man who careddeeply for our Union and itsmembers. Throughout my timeon Council and as Chair of theWestern Region LORTCommittee, I spent many hourswith George, in committeemeetings and on trips to NewYork, especially when we werenegotiating the LORT Contract.He was, by the way, a greatadvocate. One of my proudestvotes as a Councillor camewhen I helped George becomethe Western Regional Director.

Our friendship continued overthe years with regular phoneconversations, in which wewould share what we weredoing, talking about his LALakers, but never about politics.Since he had a sweet tooth andloved chocolate, he alwayslooked forward, at Christmas, toreceiving his stash of Turtles,made by my sister-in-law fromFlorida. I was happy to share myChristmas present with him. Iwill miss him very much, in spiteof having more Turtles to eatmyself, and I celebrate his life.

Rod LoomisFair Oaks, CA

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