A Grand Dame - ACTRA Toronto

VOLUME 22 • ISSUE 1 • SPRING 2013 

A Grand Dame 

THE VERY FIRST MESSAGE 

THE ACTRA AWARDS 

IN TORONTO ARE COMING! 

AND A BETTER ONE 

IN REVIEW: 

• •

Contents 

New President’s Message... 3 

Ms. Shirley Douglas: A Grand Dame 

by Art Hindle... 4 

And the Nominees Are… 

by Chris Owens... 9 

Respect the Artist in review 

by Heather Allin... 12 

A new contract and a better one 

by Brian Topp... 16 

Delivering the Headshot 

by Art Hindle... 18 

Wired Workshops 

by Nicole St. Martin... 20 

Ask a Commercial Steward 

by Kelly Davis and Cathy Wendt... 23 

Ask Tabby and Tova: 

FAQs about Child Performers... 24 

Welcome New Members... 25 

Members News... 26 

Who’s Who at ACTRA Toronto... 28 

Can I Help You? 

by your Ombudsperson Shawn Lawrence... 29 

Lives Lived... 39 

“ I love what actors are. 

Only when one is an actor can 

one truly appreciate the depths 

of people that become actors.” 

— Shirley Douglas 

02 ACTRA TORONTO PERFORMERS 

Photo: Tim Leyes

New 

President’s 

Message 

David Sparrow 

ACTRA Toronto President 

We are performers in 

exciting times. Our industry has changed. 

e tools of production and of broadcast have never been less 

expensive and they’re in our hands. At no other time in 

history has a creative artist been able to reach such a wide and 

varied audience on her own dime. But, on the other side of that 

dime, lower barriers to production and an explosion of new 

forms of distribution have also fragmented audiences, 

increased competition and threatened both long-standing 

business models and the performers’ income that depend on 

them. As the paradigm continues to change, ACTRA must 

continue to adapt. 

We are self-employed performers in challenging times. We 

work as independent contractors for some of the largest and 

most powerful corporations in the world and, lately, their 

response to a changing economy has been to attack workers’ 

rights and the unions that defend them. Budgets are squeezed 

even as profits rise. I know I’m not the only performer who’s 

tired of hearing, “All we have is scale.” ACTRA must be vigilant. 

I have been a working actor for 23 years. I’ve been fortunate to 

work on hundreds of sets under nearly every contract ACTRA 

negotiates. I’ve changed in gas station bathrooms. I’ve eaten 

cold pizza at 1:00 AM. I’ve been asked to bend the rules. I’ve 

been asked to work non-union. And I’ve sat in cold and 

inhospitable holding areas listening to the even 

greater injustices, indignities and prejudices that my 

fellow performers have faced. 

ese experiences are what drove me to become involved with 

my union. It’s why I ran for ACTRA Toronto Council beginning 

in 2005 — to speak up for the brothers and sisters I work 

with now and for all those who will follow our generation. On 

Council I have met and been proud to work alongside many 

dedicated performers who choose to volunteer a piece of their 

career to making things better for all of us. Our Council gives 

ACTRA Toronto members voice, protects their rights and 

dares to imagine a better future where dignity, respect, career 

advancement and fair compensation are absolutes that all 

performers can take for granted. 

Unfortunately, we’re not there yet. at’s why I took the next 

step and ran for ACTRA Toronto President. I am both humbled 

and excited by the opportunity to serve. I have a simple plan; 

to keep fighting for what’s right, to work with my fellow 

Councillors to represent the interests of ACTRA Toronto at 

ACTRA’s national table, to defend the rights of our members in 

negotiations and to defend the future of our industry politically. 

For 70 years, men and women just like you have been defining 

what it means to be a Canadian performer, in an industry that 

projects Canada to the world. Your Council is part of that 

legacy, and they are part of its future. 

We have many challenges ahead. Perhaps none is as important 

as addressing the brave new binary world in which we perform. 

Conventional broadcasts will soon be a thing of the past and 

new media agreements will soon rule the day. at’s why we 

must be leaders and ensure that the “New Media Sub-committee,” 

a part of our successful IPA negotiations, meets to explore how 

we will be compensated in the future… for everything we do. 

We must be careful to avoid the traps of the past, like the 

unfortunate agreement that cost performers so much of the 

revenue from the then new and untested DVD technology. In 

2007 we launched the first strike in the history of our union to 

defend the new media portion of our jurisdiction. It is more 

important than ever that we defend our claim to our fair share 

of the revenue that our work will generate. 

We must also reach out to our industry partners and market 

the new, hassle-free, open-for-business, less-paperwork-moreperformance 

ACTRA Toronto to producers, studios and 

performers alike. Aer all, ACTRA itself has gone digital and 

all our forms are now available online. For producers, the 

union side of show business has never been simpler. 

Over the years, my time on Council has been dedicated 

to empowering our members to be creators and to expand 

and promote their skills. I have worked with my colleagues 

on Council to address inequity, and to build a stronger foundation 

on which the union can continue to grow. For you. For all of us. 

I don’t have all the answers. No single Councillor does. We’re 

performers just like you. But working together, I know we’ll 

find the answers we need. Why not make this the year that you 

lend a hand? Together we can make things better for ACTRA 

Toronto members and for artists across this country. 

In solidarity, 

David Sparrow 

ACTRA Toronto President 

Spring 2013 03

Ms. Shirley Douglas 

A Grand Dame 

By Art Hindle 

04 ACTRA TORONTO PERFORMERS

ACTRA Toronto’s 2013 Award of Excellence Recipient 

Shirley with Barboro (L) and Kate (R). 

Photos by Tim Leyes. Wardrobe by Thien LE. 

Shirley Douglas is both earthy and regal. She comes by the attributes 

honestly. A daughter of the man voted “e Greatest 

Canadian,” Tommy Douglas, and mother of post-production 

supervisor, Rachel Sutherland and actors Tom Douglas and 

Kiefer Sutherland, she belongs to perhaps the closest we come 

to a Royal Canadian Family. She would laugh off any such 

suggestion as she is her father’s daughter, learning the lesson 

early that privilege is only useful when shared. 

Shirley’s first real acting role was the lead in Rebecca of 

Sunnybrook Farm at the local community centre. “It was the 

first of many times someone asked me how I learn all those 

lines. en, as now, I have no answer. It was just a lot of fun.” 

She remembers, too, the schools being filled with opportunities 

to learn about music and drama. “e schools were very busy 

doing those things then and I can’t believe we’ve stopped doing 

them now when we’re so wealthy. We have all this money and 

we can’t get music programs going in our schools? We’re wasting 

so much talent!” 

When her father, Tommy Douglas, was elected Premier of 

Saskatchewan, the family moved to Regina. It was there Shirley 

fell under the influence of her first mentor and muse. Maybe 

the most exotic person Shirley had ever met, Rowena 

Hawkins, with striking red hair and green eye shadow, wanted 

Shirley for the play I Remember Mama and it proved to be an 

epiphany for the 15-year-old. “All the actors were equals - 

adults or children. I actually belonged with these people and 

they didn’t talk to me as a child, just as a fellow actor.” 

e next play Rowena mounted was Tomorrow the World with 

16-year-old Shirley playing the 7-year-old lead. She was so 

successful she won Best Actress and the play was picked to go 

to the Dominion Drama Festival in Fredericton, New 

Brunswick. is led to the opportunity to attend the Banff 

School of Fine Arts. Of Rowena, Shirley says, “e greatest 

good luck is to run into a good director early on. I found out 

later how good she really was!” 

Shirley arrived in Banff a 16-year-old, eager to learn. She 

immediately felt right at home because her friend, Vernon 

Agopsowicz, was there too. “A to Z” was his nickname but we all 

know him as the wonderful actor, John Vernon. Shirley’s “luck” 

was with her again as she fell under the tutelage there of one of 

the leading theatre couples of the day, Burton and Florence 

James. e Jameses had founded the progressive Seattle Repertory 

Playhouse with multi-ethnic performers and audiences. ey 

were mounting A Midsummer Night’s Dream at Banff and 

wanted Shirley for Hermia. Shirley told Burton she thought First 

Fairy would be fine but Burton said, “Shirley, you just have to get 

used to going for the bigger parts.” She played Hermia. 

In England, while attending and aer graduating from RADA, 

Shirley worked in television, theatre, and film. e first ever 

Spring 2013 05

Ms. Shirley Douglas A Grand Dame 

Shirley in her library with photo of father, Tommy Douglas, centre on shelf. 

BBC live televised two-hour play, Half-Seas Over by Roy Plomley, 

a milestone for the BBC, starred Shirley Douglas in the lead. 

She and Frances Hyland also got work on the anthology TV 

series, Douglas Fairbanks Jr. Presents. In the stage musical, 

Wonderful Town, she remembers Leonard Bernstein himself 

conducting opening night. A tour of army bases with To 

Dorothy, a son, by Roger MacDougall, followed. She developed a 

close relationship with Frederick Loewe at the time they were 

writing My Fair Lady; Shirley remembers Loewe asking her 

opinion of a new song he’d written: Oh Wouldn’t It Be Loverly. 

Aer the curtain came down on whatever show she was in, 

Shirley would rush over to another theatre playing a late-night 

show, The Jazz Train. She started working with the show’s 

creator, J.C. Johnson, whose songs have been sung by blues 

greats like Ella Fitzgerald. J.C. was impressed with Shirley’s 

voice and invited her to join him at the Cotton Club in New 

York with a show he was developing. Flattered and excited at a 

new opportunity and challenge she jumped at her chance for a 

bite of the Big Apple. 

J.C. had to drop out of the show in the middle of rehearsals and 

was replaced by another director. As Shirley puts it, “It was my 

first experience being chased around the piano and I wasn’t 

about to put up with that crap!” She returned to the friendly confines 

of her family home in Regina feeling tired and depressed. 

It was during this break from acting that she met her first 

husband, Timothy Sicks, and briefly moved to Calgary. His 

family was involved in the brewery business but he wanted to 

be a doctor. Short on sciences, he eventually found a school 

in London that accepted him and Shirley returned to London 

with him. After the birth of their child, Tom, Shirley found 

herself in an unhappy marriage. She started acting again 

after the divorce, working with Stanley Kubrick on the 

classic film Lolita. 

She was invited by a friend, Count Raphael Neville, to help 

build an artists’ colony on the Mediterranean island of 

Sardinia. She agreed to go for three months and stayed five 

years. She calls that period, “the time of my life in every kind 

of way,” sharing her time between Sardinia and Rome. During 

this time, while doing voiceover work in Rome, she met her 

second husband, Donald Sutherland. 

On the advice of director, Robert Aldrich, Shirley and Donald, 

their new twins and son Tom, moved to Los Angeles. On what 

would turn out to be a pivotal night in her life, Shirley attended 

a talk on Hollywood Boulevard given by e Black Panthers. 

ere she met one of the hosts of the event, well-known playwright/ 

lawyer, Donald Freed, and they had an instant and longlasting 

connection. at night the fundraising support group 

Friends of the Black Panthers was born with Shirley agreeing to 

act as Secretary. e group hosted brunches to bring understanding 

about the fight against racism to white communities. 

Her involvement in the anti-war and civil rights movements 

introduced her to legendary activists such as Dalton Trumbo, 

Jean Genet, Huey Newton, Bobby Seale, Geronimo “Ji Jaga” 

Pratt, Hakim Jamal, César Chávez and the United Farm 

Workers. She saw at close hand the extreme violence that black 

men were subjected to and the inspiring courage of men and 


Kiefer, Donald, Tom, Rachel and Shirley in California 1970. 

Photo credit: Co Rentmeester/Time Life Pictures/Getty Images. 

Shirley, Tommy and Irma Douglas (Toronto Star File Photo) 

women risking their lives to fight racism, war and exploitation. 

Shirley’s stories from this period alone could fill a book. She 

focused all her energies on activism, continuing only with 

voice work. e breaking point came when she was arrested 

and charged with conspiracy to possess explosives. Subsequently, 

it was proved that the charges were trumped up and, in fact, 

Shirley had only been buying second-hand cars to provide 

black workers with the transportation required to get to work 

in white homes and businesses on the outskirts of Los Angeles. 

Again, her “luck” played a part when she got a call from CBC 

Casting Director, Dorothy Gardner, in Toronto, offering her 

work at the same time as her marriage was unravelling and the 

authorities were denying her a work permit. 

Shirley “packed to stay,” leaving Los Angeles a “raggedy mess.” 

She arrived back in Canada with “100s of bags” and the children 

who were “thrilled Mom had a job!” Her parents met her 

and asked if she had any money. “Forty-seven dollars,” she 

replied and they found her and the kids an apartment. “at 

was my new beginning!” 

Since her homecoming 35 years ago, Shirley has worked in all 

mediums with the best people in the business from coast to 

coast including Stratford. She still receives letters from fans of 

the television series, Wind at My Back, in which she played the 

forceful but loving matriarch, May Bailey, for five seasons. 

More recently, she relished the opportunity to act onstage with 

son Kiefer in Tennessee Williams’ e Glass Menagerie at the 

Mirvish’s Royal Alexandra eatre and the National Arts Centre. 

She’s been nominated for and won numerous awards 

(see sidebar) and is an Officer of the Order of Canada. 

Her activism came home with her too. She got involved with 

Performing Artists for Nuclear Disarmament, and was active in 

community and municipal organizing with good friend, June 

Callwood. Shirley is one of the leading voices for Canada’s 

national healthcare system through her work with the Canadian 

Health Coalition. She has spoken out in support of ACTRA 

performers, for more Canadian Content on our networks, and 

ACTRA’s Respect the Artist and I Work ACTRA campaigns. 

She urges all artists and actors to get involved at whatever level 

they can, whether it be in the schools, the community, or 

municipal, provincial or federal political arenas. Shirley may 

well be as famous for her astounding and energetic activism as 

she is for her acting. 

Today, she has a beautiful home in a quiet, wooded section of 

Toronto. Of late, a spinal ailment has required her to scale back 

on performing and activism. 

“I love the actors here,” she 

says. “I love what actors are. 

Only when one is an actor 

can one truly appreciate the 

depths of people that become 

actors. I’ve been so 

lucky. All my life people 

have been so good to me.” 

And what a life! • 

Spring 2013 07

Ms. Shirley Douglas A Grand Dame 

Shirley as Oenone in Phaedra, Stratford, 1990. 

Photo: Edward Gajdel 

Photo of Shirley by V. Tony Hauser from his book, e Power of Passion. 

Filmography, 

Awards and 

Honours 

Selected Filmography 

Shadow Dancing – Lewis Furey 

Dead Ringers – David Cronenberg 

e Wars – Robin Phillips 

Lolita – Stanley Kubrick 

Selected Television 

Degrassi: TNG 

Corner Gas 

Robson Arms 

e Rick Mercer Report 

Made in Canada 

Wind at My Back – 5 Seasons – May Bailey 

Street Legal 

Alfred Hitchcock Presents 

Turning to Stone 

e Great Detective 

Selected eatre 

e Glass Menagerie – Amanda - 

NAC and Mirvish Productions 

Lettice and Lovage – Lotte – Arts Club 

Stone Angel – Hagar – Prairie Theatre/NAC 

e Miser – Frosine – Vancouver Playhouse 

Phaedre – Oenone - Stratford 

Cat on a Hot Tin Roof – Big Momma - Stratford 

reepenny Opera – Mrs. Peacham – Canadian Stage 

e House of Bernarda Alba – Bernarda – 

NAC/Centre Stage 

Who’s Afraid of Virginia Woolf? – Martha - NAC 

Blood Relations – Lizzy-Bridget - NAC 

Midsummer Night’s Dream – Hippolyta - NAC 

Bonjour, Là, Bonjour – Lucienne - NAC 

Awards and Honours 

ACTRA Toronto Award of Excellence 

Officer of the Order of Canada (2003) 

Honourary Doctorates: Ryerson University, 

Brandon University, University of Windsor, 

and University of Regina 

Star on Canada’s Walk of Fame 

Women in Film and Television’s 2009 Crystal Award 

ACTRA’s Bernard Cowan Award 

Variety Club’s Diamond Award for Volunteerism 

Alexander Gorlick Humanitarian Award 

Gemini Award – Shadow Lake 

Gemini nominations: Wind at My Back 

and Passage of the Heart 

Queen Elizabeth II Diamond Jubilee Medal 


...and the 

nominees 

are... 

The 11th 

Annual 

ACTRA 

Awards in 

Toronto 

Here are your fellow actors 

up for well-deserved awards. 

Female 

VIVIEN ENDICOTT-DOUGLAS: 

(e Shape of Rex) 

Series regular, Shoebox Zoo, e Line; 

other television credits include: Terry, e 

Lesson, How Eunice Got Her Baby, Cras$h 

& Burn, Rookie Blue, Murdoch Mysteries. 

“Working on e Shape of Rex was three 

of the most magical weeks of my life. I 

had never been to Saskatoon before and they found the most beautiful 

spots to shoot, it’s a very pretty place. In the evenings, aer filming, 

we took turns sitting on each other's balconies looking out at the 

prairie sun setting, sharing stories from the day. It was a process unlike 

any other I have experienced.” 

KIARA GLASCO: 

(Copper - e Hudson River School) 

Nominated in her television series debut; 

performed in concert with Peter Karrie; 

was last seen in Haven and will soon 

appear as Young Gracie in the movie I'll 

Follow You Down, with Rufus Sewell and 

Gillian Anderson. 

TATIANA MASLANY: (Picture Day) 

Born in Regina, Saskatchewan; alumna of 

the Canadian Improv Games; Gemini 

Award, Flashpoint; Gemini nomination, 

Renegadepress.com; Genie nomination, 

Grown Up Movie Star; Sundance Film 

Festival, Special Jury Prize, Grown Up 

Movie Star; recurring roles on 2030 CE, 

Instant Star, Heartland, Being Erica, World 

continued.... 

Spring 2013 09

NAOMI SNIECKUS MEG TILLY JONAS CHERNICK ENRICO COLANTONI SHAWN DOYLE 

Without End, Orphan Black; film appearances 

include: Ginger Snaps: Unleashed, Blood Pressure, 

e Vow; currently filming Cas & Dylan, 

opposite Richard Dreyfuss and Eric Peterson, 

directed by Jason Priestley. 

In an interview with Pamela Cowan 

(Leader-Post) Tatiana said, “I just want to 

keep doing cool, character-based projects. 

I'm working on a series right now that I'm 

really in love with called Orphan Black. It is 

bold and nothing like I’ve ever seen on television.” 

Her advice to young actors is not 

to compromise themselves. “It’s a really difficult 

industry for women, especially young 

girls. It’s really about knowing what kind of 

art you want to make, what kind of stories 

you want to tell.” 

NAOMI SNIECKUS: (Mr. D - Quiz Cup) 

Canadian Comedy Award, Best Female Improviser 

2010; alumnus of e Second City; 

founding member of three-time Canadian 

Comedy Award winning troupe, National 

eatre of the World; series regular, Mr. D; 

other television credits include: e Casting 

Room, Wingin’ It, e Listener, Alphas. 

“My favourite thing about this show is the 

banter I get to do with Gerry - to me that's 

golden. It feels like the easiest thing in the 

world to do. We have such amazing writers 

that really are constantly surprising us with 

lines...and then when we get on set, there's 

usually room to play a bit, which I love.” 

MEG TILLY: (Bomb Girls - Armistice) 

Oscar nomination, Golden Globe winner, 

Agnes of God; Leo Award, Bomb Girls; screen 

debut, Fame; retired from acting 17 years, 

moved to B.C., devoted herself to writing and 

raising a family; has published four novels; film 

credits include: e Girl in a Swing, Psycho II, 

e Big Chill, Valmont, e Two Jakes, Body 

Snatchers, Sleep with Me, Leaving Normal. 

“I love Lorna when she falls down, I love her 

when she picks herself up, I love her heroism, 

her strength and her weakness and the challenges 

that are inherent in her, her wrongheadedness, 

her mistakes. I love all of her, 

even though it’s hard sometimes. I worry for 

her, get disappointed in her, cheer for her, celebrate 

and grieve with her.” 

Male 

JONAS CHERNICK: 

(My Awkward Sexual Adventure) 

Gemini Award, ACTRA Award nomination, 

e Border; Best First Canadian Film at 

Toronto International Film Festival, Inertia; 

series regular: Living in Your Car, Degrassi: 

e Next Generation, e Eleventh Hour, e 

Border; other television credits include: e 

Listener, King, Haven, Being Erica, Little 

Mosque on the Prairie; wrote and produced, 

My Awkward Sexual Adventure. 

“Making this movie was the single greatest 

creative experience of my life. Most of that 

joy came from the collaborations. ose five 

weeks of shooting in Winnipeg - aer so 

many years of tireless effort to get this movie 

made - were the most validating and 

rewarding weeks of my career, to date.” 

ENRICO COLANTONI: 

(Flashpoint - Day Game) 

Graduate of e American Academy of Dramatic 

Arts and the Yale School of Drama; 

Gemini Award nomination, Flashpoint; 

Golden Nymph Award nomination, twice for 

Flashpoint; series regular: Just Shoot Me, 

Veronica Mars, ZOS: Zone of Separation, 

Person of Interest; film credits include: 

Galaxy Quest, A.I. Artificial Intelligence, 

Stigmata, Full Frontal, Contagion. 

Enrico is the official spokesperson for e 

Tema Conter Memorial Trust, an organization 

that helps first responders and other 

service personnel deal with Post Traumatic 

Stress Disorder. His brother was a policeman 

for 30 years. 

SHAWN DOYLE: (e Disappeared) 

Born in Wabush, Newfoundland; ACTRA 

Award for Outstanding Performance, Bury 

the Lead; Gemini Award for e Robber 

Bride; Gemini nominations for Eight Days to 

Live, A Killing Spring, Bury the Lead; series 

regular Endgame, Big Love, e Eleventh 

Hour, The City; other television credits 

include: 24, Desperate Housewives, John A.: 

Birth of a Country, Republic of Doyle, 

Flashpoint, Lie to Me; Dora Award, A Number. 

“I was asked to do this movie about six fishermen 

lost at sea. e entire film takes place 

in the middle of the ocean, in two small 

dories and it would be shot in 15 days. 

Filming on the open water was grueling and 

sometimes frustrating but being at the mercy 

of the elements seemed to add an urgency 

and energy to the film that was truthful.” 

LUKE KIRBY: (e Samaritan) 

Graduate of the National eatre School; 

Gemini nominations, e Eleventh Hour, Sex 

Traffic; Dora Award nomination, Geometry 

in Venice; television appearances include: 

Law & Order, Flashpoint, Cra$h & Burn, 

Slings and Arrows, Tell Me You Love Me; 

selected film credits: Mambo Italiano, Luck, 

e Stone Angel, All Hat, Shattered Glass, 

Labor Pains, Take is Waltz. 

Speaking with Bob ompson (National 

Post), Luke wasn’t sure what to make of his 

role in the beginning. “I was so perplexed 

and disturbed by Ethan when I first read the 

script, because I couldn’t grasp what his 

motive would be. en I realized he’s dealing 

with a great deal of loss, and not coping very 

well with having things taken away from 

him.” And working with Samuel Jackson? 

“He was playful and fun, but always ready to 

go. Every day I would walk away from the set 

with a big smile on my face, grinning at the 

absurdity of it all.” 


...and the 

nominees are... 

LUKE KIRBY 

ROSSIF SUTHERLAND 

ROSSIF SUTHERLAND: 

(Flashpoint - Team Player) 

Genie nomination, High Life; series regular, 

King; other television credits: ER, Being Erica, 

Living in Your Car, Flashpoint, e Listener; 

film appearances include: Timeline, Red 

Doors, Poor Boy's Game. 

“I was scared to play this guy. I had no 

barometer for how much would be too much. 

e character I was being trusted to create 

suffered from aphasia, the inability to speak 

the words associated with your thoughts. It 

was no holiday playing that character but 

Kelly Makin, the director, walked me 

through it and Anne Marie LaTraverse, Hugh 

and Enrico became fast friends who cheered 

me on. It was a challenging creative exercise.” 

Voice 

EMILIE-CLAIRE BARLOW: (Almost 

Naked Animals - Miss Surrounding Area) 

Jazz singer and voice actor; began her career 

at age seven; Gemini nomination, Best Performance 

in a Variety Program; National Jazz 

Award for Female Vocalist of the Year; Juno 

nomination, Best Vocal Jazz Album of the 

Year, four times; most recent album release, 

Seule ce soir; animation credits include: 

Fugget About It, Total Drama, Stoked, 6Teen. 

“What I love about Bunny is also what is challenging 

about voicing her - how she can flip 

from sweet as pie to completely incensed in a 

single line. She has a large range of dynamics. 

I'm oen sweating aer a record session!” 

PAT KELLY: (is is at - Episode 27) 

Comedian from Calgary, Alberta; trained at 

Loose Moose eatre; host for YTV; Second 

City mainstage alumnus; Canadian Comedy 

Award, Best Radio Clip or Program (with 

Peter Oldring); film credits include: Intern 

Academy, Crimes of Fashion and Twitches. 

“We are a small team. Week in and week out, 

three of us make the show. Because we are responsible 

for the writing, performing, editing 

and promotion the learning curve has 

been very big. We have a lot of fun but work 

our butts off too. In this hyper-competitive 

media landscape it is crucial to understand 

all of the elements of making a show.” 

SHANNON KOOK-CHUN: 

(Requiem for Romance) 

Born and raised in South Africa; series regular, 

Degrassi: e Next Generation, Baxter, 

Durham County; other television appearances 

include: Being Erica, e Border; recent 

film credits, Dirty Singles and the soon-to-bereleased, 

e Conjuring. 

“Our attachments to identity - I am this and 

you are that - build walls, barriers to acceptance, 

for love. Love is expression, expression 

is Art. And here, 'Love goes to war over Art' 

because it faces the denial for love of self, 

expression and one another. at is why I 

loved this story.” 

JULIE LEMIEUX: 

(Almost Naked Animals - Howie’s Pet Project) 

ACTRA Award for Outstanding Voice 

Performance, Spliced; extensive voice credits 

include: Max and Ruby, Sailor Moon, 

Busytown Mysteries, Harry and His Bucket 

Full of Dinosaurs, Rupert Bear, e Care 

Bears, Jacob Two-Two, e Amazing Spiez; 

currently working on a new Nelvana series, 

e Day My Butt Went Psycho. 

“Well, firstly Batty is a male, so that’s always 

a great challenge. He’s a tiny bat henchman 

with a French accent, who wears boxers with 

hearts on them, so not the toughest tough 

guy. He has an incredible innocence, even 

when he’s doing dastardly deeds.” 

JORDAN PETTLE: 

(Afghanada - Episode 97) 

Member of Soulpepper eatre Company; 

currently rehearsing Rosencrantz and 

Guildenstern are Dead; other theatre credits 

include: Zadie's Shoes, Generous, Goodness, 

Picasso at the Lapin Agile; appearances on 

Lost Girl, Rookie Blue, Murdoch Mysteries, 

is Is Wonderland; five seasons of 

Afghanada. 

“Playing a soldier in Afghanada while the war 

was going on, we all felt a responsibility to be as 

authentic as possible at all times. I always 

wanted Jakes to be a real guy doing his best to 

overcome his demons in an incredibly stressful 

situation. Never having been to war, we all had 

to make big, imaginative leaps into territory 

few of us will ever, thankfully, experience.” • 

EMILIE-CLAIRE BARLOW PAT KELLY SHANNON KOOK-CHUN JULIE LEMIEUX JORDAN PETTLE 

Spring 

2013 

11

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THE ARTISTBy Heather Allin 

We are the spark, the inspiration, the heartbeat. 

We are the touchstone between what is and what 

can be. We capture imagination and magic and 

harness it to the practical and everyday. Respect is 

a powerful place, sitting in reverence of what we 

do. I assert that humanity intrinsically seeks 

respect - self-respect, respect for others and respect 

for the world in which we live. Artists remind 

humanity of the basic truth that we are all connected 

to each other and to the elements of our 

world. ese are loy notions and dreams. Yet 

they are what captured our hearts, minds and souls 

as children and set us on the path of artistry. It is 

what sustains us in darkness and fear, and raises 

us up when brilliance shines forth. 

Labour Day Parade, 2012. All photos: Lisa Blanchette 

ACTRA Toronto’s Respect the Artist campaign is how your 

council crystalized the route to raising the awareness, 

opportunities and livelihoods of our members this year. We 

wanted to reach out and tap that resonance. Our campaign 

rollout included a banner to rally around and lead the charge 

for respect. It was the branding of the fall conference. It’s 

the argument we took to Queen’s Park. It is the principle we 

took to the bargaining table. It’s the standard we carry forward 

into our next Annual General Meeting, Awards and future 

rounds of municipal, provincial and federal elections. It speaks 

of the values we take with us into the future: respect for 

ourselves and for what we contribute. 

Spring 2013 13

RESPECT THE ARTIST 

Labour Day Parade, 2012. All photos: Lisa Blanchette 

The campaign was officially launched at the Labour Day 

Parade. We were 400 strong marching behind the Respect the 

Artist banner. It’s a powerful feeling when you experience the 

support of your fellow members and the strength of your union 

behind you, celebrating with other unions the gains for 

working people - raising the standard of living, even for those 

not in a union. Solidarity is Power. We kept that powerful 

energy alive asking key activists in our union and some 

leading members to join us at Queen’s Park to meet with 

Members of Provincial Parliament, first at a reception where 

many came and talked with us for hours, and later in smaller 

meetings. We pressed for Status of the Artist legislation on 

multiple fronts: urging provincial politicians to support Peter 

Tabuns’ Private Member’s Bill: An Act to Regulate Labour 

Relations in the Industries of Film, Television, Radio and New 

Media, to confirm that a labour contract is a contract, and 

should be treated as such under the Ontario Labour Relations 

Act; and supporting federal legislation to provide income tax 

averaging for artists and a Québec-modeled plan to shelter a 

portion of residual earnings from tax. ough the Provincial 

government has been prorogued, this is a message we will 

continue to take to all parties as they head toward 

another election. 

Bargaining was next. ACTRA Toronto and ACTRA National’s 

teams were joined by observers from UBCP-ACTRA and some 

40 Toronto members and industry friends. Across the table 

were an equal number of employer representatives from 

reality, animation, film, TV, new media, and the Hollywood 

studios. Our lead negotiator opened with: Performers are the 

fundamental connection between an audience and a story. We 

asked for preservation of the value of the contract and some 

key issues laid out in eight well-supported chapters. They 

responded with: We are having tough times and are looking 

for incentives (read rollbacks) in virtually all categories: 

session fees, benefits and residuals. For me, one of their most 

insulting salvos was when they said our Canadian industry 

grew because it was cheap. 

You can imagine how we reacted (and that was our inside 

voice). 

We fought and WE GOT A DEAL! A detailed story of 

bargaining is elsewhere in this issue, but I declare here, I am so 

proud of your bargaining team, proud of the members who 

came out both in Toronto and Montreal who found common 

ground on so many issues. I am proud of the terms of 

this settlement. at is Respect – respectful of our work and 

respectful of performers as artists. 

ere are some things we were unsuccessful in achieving – this 

time. But we took the cover off those issues, educating 

the employers and each other. 


on the state of the industry for women, and calls us to make 

our own projects, tell our stories, and speak in our voices. It is 

the first of a two-part project. e second part is a series of 

workshops on how to do just that. Watch for the video release 

at the Winter Conference plenary and workshops, Awards, and 

come out to the TAWC Salons, which re-launch this spring. 

We can never stop lobbying and fighting for our rights. 

Government elections are imminent. Respect the Artist will 

carry on as we call on all political parties to respond by 

including Status of the Artist measures in their election 

campaign platforms and in their governance policies. And we 

must continue to hear each other and build on our strengths, 

building the power of our union. Solidarity truly is Power and 

we can and must leverage that power to gain Respect for the 

Artist, so we can each do the thing we most love: perform. 

With your voice, with all our voices in unison, we will be 

heard.• 

Forever yours, 

Respect the Artist is also the driver behind the Toronto 

ACTRA Women’s Committee initiative called GET 

WOMEN WORKING! On a stormy Sunday in December, 38 

women made a union advocacy video that shines a harsh light 

Heather Allin 

Past-President 

Spring 2013 15

BARGAINING 

A new contract 

and a better one 

By Brian Topp 

In early January of this year, ACTRA 

announced that 99 per cent of our members 

voted “yes” to approve the ratification of the 

next Independent Production Agreement 

(IPA). at is, to understate, a pretty high 

“yes” vote by any measure. But then, we’ve 

pulled off something pretty unusual in this 

round of bargaining. At a time when 

unions all around the world are being 

compelled to accept wage and benefit rollbacks, 

and oen to make things even worse 

through new “two-tier” wage systems that 

slash compensation for younger members 

by up to 50%, ACTRA achieved a 6% 

across-the-board pay increase and some 

other helpful improvements with no pay 

rollbacks at all, and very little other cost. 

Not bad at all. 

ACTRA Toronto’s bargaining team was led by past-president 

Heather Allin. She was joined in this work by newly-elected 

ACTRA Toronto president David Sparrow, Vice President 

David Gale, and a strong team of leading ACTRA Toronto 

members including Clé Bennett, Catherine Disher, Sarah 

Gadon, Athena Karkanis and Eric Peterson. 

is story started last winter with a round of focus groups and 

consultations with ACTRA Toronto members (and a similar 

consultation by other branches across the country). The 

message came through loud and clear – our members would 

take no rollbacks on pay in this time of growth and relative 

prosperity in our industry. Members wanted us to work for 

gains, but weren’t expecting miracles in this brutal bargaining 

environment for unions. “Don’t tread on us” was the basic idea. 

ACTRA Toronto council and our bargaining team developed 

a set of proposals and pitched them to the national union in 

the spring, getting ready for scheduled bargaining in June. 

And then the Canadian Media Producers’ Association (CMPA) 

called us and pushed the dates, having hired a new employer 

negotiator – Reynolds Mastin. e CMPA is the employer 

group we negotiate with, along with the APFTQ, their sister 

organization in Quebec. Mr. Mastin is a well-respected, civil 

and professional negotiator – all of which was a refreshing 

change. So we all welcomed his appointment and accepted his 

request for the talks to be pushed to November to give him 

time to find his legs. 

IPA negotiations finally started that month. 

ey started, but did not start well. e employer opened with 

proposals for deep pay cutbacks on the majority of the work 

shot in Canada. is led, as they say in diplomatic language, to 

some frank exchanges in sidebar. 

But the inevitable tensions inherent in collective bargaining 

shouldn’t be allowed to obscure the result. 

In 10 days of bargaining, we arrived at an agreement that increased 

pay by six per cent; strengthened our contract’s harassment and 


IPA Bargaining Team at work 

diversity provisions; incrementally improved working 

conditions on set; included stunt coordinators in the residuals 

pool (a long-standing request from these members); provided 

voice performers with a new residuals tier (a 200% prepayment 

for a longer 10-year Use period, also a long-standing 

request from these members); and protected our new media 

gains, won during our 2007 strike. All of the rollbacks came off 

the table. e industry got three years’ stability and a return to 

a focus on improving Canadian content and cultural policies – 

issues producers and unions and guilds can work together on 

in our common interest. 

Did we pay anything for this? Yes we did. 

ere won’t be a “substantial snack” for actors if none of the 

crew get one – that will occur on some sets and not on others. 

And the meal penalty was reduced a bit to bring it more in line 

with meal penalties in other union and guild contracts. 

Did we have proposals we would have liked to have made more 

progress on? Yes we did. 

But that 99 per cent “yes” vote for ratification tells us 

our bargaining committee called this negotiation correctly. 

Collective bargaining is what ACTRA does. We fielded 

an excellent team during this round, dodged some pretty ugly 

proposals and made some helpful gains. 

But as I write, we weren’t quite done yet on bargaining in the 

film and television industry. 

Our sister branch in British Columbia, UBCP-ACTRA, 

operates under a separate provincial contract. And despite our 

national gains, in late January engagers were refusing to drop 

steep rollbacks they continued to demand in that B.C. contract. 

We’re not done until we’re all done, and so this work will 

continue until the UBCP Master Production Agreement has 

been successfully concluded. • 

Lead negotiator, Stephen Waddell (L) with Mimi Wolch, Director of 

Independent and Broadcast Production (R) during bargaining. 

Brian Topp, Executive Director of 

ACTRA Toronto. Photo: Jag Gundu 

Spring 2013 17

Delivering 

by Art Hindle 

thehead shot 

In boxing, the head shot delivers a telling impact. So 

too does it in the acting world, perhaps more so than 

the résumé. e question is: what kind of headshot delivers 

what agents and Casting Directors are looking 

for? 

A healthy discussion about headshots arose at a recent 

ACTRA Toronto members conference, so Performers 

magazine asked yours truly to survey agents and Casting 

Directors and collect their tips on headshots to 

pass on to you. 

General guidelines: 

*Keep it real. A perfect headshot is one that looks just like the ‘you’ that walks 

into the room. Nothing upsets Casting more than if you walk in a room and 

don't look anything like your photo. A great photo that doesn't look like you 

will just lead to auditions where they decide you're not what they want before 

you’ve even read the scene. 

*e shot has to be arresting in some way. It's usually in the eyes. Is there a 

presence to the expression, something that grabs the viewer, a depth in your 

eyes so we can see a little bit about who you are? What is that special quality 

that you bring to your work? Is it your strength, your openness, your sense of 

humour, your intelligence, etc.? 

*Your photo isn’t an answer to, “Can you play a lawyer?” It is an answer to, “In 

the law firm, which lawyer are you?” e more specific you can be about your 

character type and the types of roles you can play, the better. 

*Go for natural-looking shots, fairly close, with very little makeup and glamour. 

If you're young, make sure the makeup doesn't make you look too old as 

being young is an advantage in this business. 

*Head-and-shoulders only for your primary shot – your secondary shot can 

be waist-up. 

*Colour. No black and white. 

*Because shots are sent via the casting websites these days, they're only viewed 

on the other end as thumbnails so the larger the face appears the better. 

*No hands around the face. Shots oen get cropped for various sites which 

means you end up with hands and no arms leading to them which can look 

odd. 

*Your name should be at the bottom of the photo, in a simple font such as 

Arial. 

*You don't want the border to draw attention away from you, so a simple border 

or no border is best. 

*Change your headshot every few years. 


Your photo isn’t an answer to, “Can you play a lawyer?” 

It is an answer to, “In the law firm, which lawyer are you?” 

e more specific you can be about your character type and the 

types of roles you can play, the better. 

Different looks: 

*Having more than one headshot, especially for actors at the 

beginning of their careers, can be very beneficial. 

*One shot can be more edgy, straight-ahead, dramatic and serious. 

is is your TV & FILM shot. Another can be warmer, 

smiling, friendlier, more open. is is your COMMERCIAL 

shot. 

*Capitalize on what might be considered your 'bread-and-butter' 

look. Your secondary photo can help you break into a new 

area. 

e process of acquiring photos can be a minefield. ere are 

unscrupulous people out there waiting to prey on actors needing 

headshots. Good headshots shouldn’t cost more than $300- 

$600, in my opinion, and of course you want to look through 

the photographer’s portfolio of actors’ headshots, normally 

available on their website. Do the subjects look relaxed and 

comfortable? You should also get an agreement with the photographer 

which outlines what you get for your money. 

Come well-rested to the photo session. Bring several wardrobe 

changes but keep it simple. Nothing too seasonal, trendy, or 

loud in colour. e clothes should suggest the ‘look’ but not 

draw the eye. Go for upscale casual, classic and clean, no distracting 

jewellery. Too dressed-up looks like you're trying too 

hard. It’s pleasing when the background or a wardrobe piece 

picks up your eye colour. It makes your eyes jump off the page. 

Decide whether you need a makeup artist, and if so, whether 

you’ll use one of your choosing or one who works with the 

photographer. 

Once you get the results, consult with your agent before making 

the final choice. • 

You look fabulous, darling! 

Art’s Film/TV serious headshot. Art’s friendlier commercial headshot. Art’s first headshot. 

Spring 2013 19

Wired workshops 

for Members only 

By Nicole St. Martin 

ACTRA class for young performers at Members Conference. Photo: Jag Gundu 

Nearly 500 members attended our one-day, youth-focused fall 

conference, and many of them were pint-sized powerhouses! 

ese 7-17 year-olds were coached in the morning by highly 

esteemed coaches Michael Caruana and Nicola Correia- 

Damude and then got to strut their stuff in the aernoon for 

casting directors Larissa Mair and Krisha Bullock Alexander. 

Their parents, some seasoned professional actors themselves, 

were surprised at how much they learned about 

the handling of their offspring's money in the “Whose 

Money Is It Anyway” session. "Only for the business" is 

the rule of thumb in a parent or guardian's spending of 

any minors' earnings. 


CONFERENCE HIGHLIGHTS 

Wendy Anderson led a full-day session in web series creation 

and le participants raving that it was the best conference session 

they’d ever attended. “I le feeling educated, curious and 

empowered!" wrote one member. Asked to name the “Oprah 

moment” members walked away with, Wendy says: “I would 

have to say the notion of taking their audience-building, 

marketing and monetizing into account before they put pen 

to page. A great idea doesn't make a successful web series — 

the successful marketing of a great idea makes a successful web 

series. You need to get your Klout Score up there and get fierce 

to win at this game!” 

If you’d ventured to the upstairs lecture rooms you’d have been 

wowed by the green screen technicians’ transformation of the 

room into a playground for actors to test their chops, transporting 

them digitally to other mystical places and times as 

well as multiplying them ad infinitum. Attendees got to see the 

wizard behind the curtain. 

Don't be fooled by the one line audition! Tell-it-like-it-is casting 

director, Millie Tom, put members’ one-line readings to 

the test. Did you make character choices? Are the questions 

you ask smart and relevant? Are you really listening to your 

reader/director/casting director? A one-liner is still acting and 

requires skill and preparation. 

Talking about skill, you should have heard Michael Riley. e 

award-winning actor and CFC acting instructor spoke about 

the cra of acting and his approach to the work, all the while 

waxing philosophical. Whether we are on stage or on screen, 

we require skill and commitment. His love of the cra resounded 

and inspired. 

"What can I do for you?" asks Donna Messer when she shakes 

your hand, and she means it. Donna served as inspiration and 

matchmaker at the Networking session. She advised that most 

people are enthusiastic to help others if they can. Don’t just 

focus on what you have to offer as an actor, start recognizing 

what else can make you valuable to others. You’d be surprised 

to learn what somebody else needs that you have in spades. 

Make connections in surprising ways. 

Get ready for the Winter Conference! 

We will be entering the digital wonderland of video games - an 

industry with growing opportunities for actors. Toronto is a 

hotbed for game makers. Find out from lead actors and gaming 

industry experts how you can be a part of that world. 

How can you tell the difference between American and 

Canadian actors, eh? Learn from casting directors and dialect 

coaches what producers need from you in order to cast 

Canadians as Americans. 

Find out how some of our members got their Big Break! Hear 

their stories and meet the casting directors who brought them 

in, then get up and perform that life changing scene 

with them! • 

Nicole St. Martin is the Chair of the Conference committee and a sitting councillor. 

Heather Allin says adieu 

to a standing ovation at 

Members General Meeting. 

Photo: Jag Gundu 

Michael Riley interviewed by David Gale, Members Conference. 

Photo: Jag Gundu 

Our fall plenary saw a few laughs and a few 

tears as Heather Allin addressed the 

attendees at her final conference as President. 

Many expressed their gratitude at the mics 

following her rousing and gracious address. 

Spring 2013 21

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Belynda Blyth 

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Bus: 416-699-9292 

Cell: 416-371-3717 

bblyth@rogers.com 

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Actra member since 1985 

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2237 Queen Street East, Toronto, ON M4E 1G1 

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JOIN 

TODAY 

ONLINE! 

michaeldaymondcasting.ca 

Representing 

Background Performers 

in Film & Television 

905.469.6996 

e: michaeldaymondcasting@gmail.com 


Ask a 

Commercial 

Steward 

Top Two FAQs 

How do I get paid for my callback? 

As the decision makers are not usually at the initial audition, Performers are 

oen “called back” for a second audition (also known as an audition recall or 

callback). e audition sign-in sheets are to be completely and legibly filled in 

and initialled for each audition. e casting director submits the sign-in sheets 

to the Producer and to the union. ese forms are used to generate payments so 

it is very important to fill in the blanks to ensure payment. Once the sign-in 

sheets are received and verified by the commercial staff, Performers are paid by 

ACTRA Toronto within five days. e Producer remits the total payment within 

a month of receiving the forms from the casting director. 

It works a little differently if the commercial is produced here for use in the 

United States. If a SAG performer is working on the spot, SAG rules apply and 

ACTRA Performers are not paid until the third audition. If only ACTRA Performers 

have been engaged, then the second audition is payable. 

It is very important to keep a record of your audition recalls and please call us 

if you have not been paid within a reasonable time. 

My friend saw me in a commercial but I worked as a Background 

Performer. Do I get an upgrade to Silent-On-Camera? 

Not necessarily. ere are two important components for your performance to 

qualify as a Silent-On-Camera (SOC) role. You must be clearly recognizable for 

at least 2/3 of a second (not just your profile and not blurry/fuzzy) and you must 

react to or illustrate the commercial message. You can be one or the other and 

remain as a Background Performer (BP). For example, you have been booked 

as a BP for a fast food chain commercial. You are directed to sit at a table eating 

a food item. However, the commercial message features a different food item 

that is being highlighted in the spot. You meet the “recognizable” criteria but do 

not meet the “reacting/illustrating the message” criteria. No upgrade for this 

spot. However, if you are eating the food item that is being advertised and you 

are clearly recognizable – you would qualify for an upgrade. Remember, upgrades 

from BP to SOC are determined by the final Edit of the spot. If you feel 

you might qualify for an upgrade, be sure to contact us within a few days of the 

shoot to discuss. • 

Cathy Wendt 

Kelly Davis 

Cathy Wendt and 

Kelly Davis are 

ACTRA Toronto’s 

Commercial Stewards. 

If you have a question or 

concern about your work 

on a commercial, call our 

general line, 416-928-2278, 

and ask to speak to a 

commercial steward. 

Spring 2013 23

Frequently Asked Questions about Child Performers 

Theresa Tova and Tabby Johnson Photo: Tricia Clarke 

Ask 

Tabby 

and Tova 

Q: My child is still in kindergarten. How good are the on-set tutors once she is older and 

in middle and high school? 

Tabby: Actually, we pride ourselves on the great teams of educators permitted to teach on set. 

All on-set tutors must be certified teachers in good standing with e Ontario College of 

Teachers and qualified to teach your child in the program in which s/he is enrolled. Many 

students find themselves ahead of their homeroom class, and that, due to the small class 

sizes, deeper work can be accomplished. 

Tova: It is up to you though, as the parent, to speak with your home school and provide the 

tutor with the assignments and homework. So as long as you keep communication flowing 

in a timely manner, there should be no issues. 

Q: What if my child has an allergy to certain foods that may be on set? 

Tabby: Remind your agent and it is likely that the production will ensure that there are 

alternative foods on set. But, as in life, you need to teach your child what s/he can eat and 

monitor what they eat on set. Bring back-up foods. 

Tova: Don’t forget to be a parent! 

Q: What if we’re stuck in traffic and running late for an audition? 

Tabby: Call your agent. 

Tova: Make sure to leave earlier next time. 

Q: How do I help my child develop their skills between auditions? 

Tabby: Get references for good coaches in, for example, dialogue/accent, movement/dance, 

or children’s acting classes. Workshops in other disciplines bring enrichment to an actor's 

choices when working on set. Above all: no sideline coaching from parents unless you have 

your own Oscar or Canadian Screen award. 

Tova: A well-rounded child with a wealth of experiences is more capable of reflecting 

reality and truth. Even so, some kids just have what it takes. Others may wait years to 

find their talents. Your only job is to make sure the journey is safe and fun. • 

For more information on Child Performers please go to our website, click on Members and then 

Child Performers: http://www.actratoronto.com/members/childperformers.html 


New 

Members 

JAMIE ABRAMS 

ADALINE 

ANDREW AHMED 

KATHRYN ALEXANDRE 

REBECCA AMZALLAG 

HANNAH EMILY ANDERSON 

JAMES ANDREWS 

EZE ANGIUS 

FRANCISCO ARELLANO 

JIM ARMSTRONG 

NITASHA ASNANI 

AMANDA BACKAL 

BART BADZIOCH 

JOSHUA BAINBRIDGE 

ELLA BALLENTINE 

ASH BANGA 

DAVE BARCLAY 

LORI BASSARAB 

IAN BATT 

SANDRA BECKLES 

DOUG BEDARD 

COLTON BELLEY 

CHEMIKA BENNETT-HEATH 

PAUL BERNER 

ANDRÉ BHARTI 

TOBY BISSON 

CORINA BIZIM 

EVAN BLAYLOCK 

PAULA BOBB 

KRISTINA BODNARYUK 

ADAM BOGEN 

NICOLE BOIVIN 

STEVE BOLTON 

TROY BOUDREAU 

BRODY BOVER 

ALISON BROOKS 

DEVON BROWN 

TYLER BRUCE 

LAUREN BULLIVANT 

ALDRIN BUNDOC 

MATT BURKHART 

BAUSTON CAMILLERI 

DEMO CATES 

CARLY CHAMBERLAIN 

ROSEN CHONGARSKI 

AALIYAH CINELLO 

SIMON CLARKE-OKAH 

TIM CODY 

KATIE FRANCES COHEN 

SARAH COLFORD 

ASHLEY COMEAU 

MIYA CONTRERAS-SHELTON 

TATJANA CORNIJ 

EMILY COUTTS 

BRENT CRAWFORD 

OWEN CUMMING 

NATASHIA CUNNINGHAM 

TYLER CURNEW 

AIDAN CUSSON 

DAVIDE D'IZZIA 

NATALIE DALE 

REBECCA DAVEY 

LAYSLA DE OLIVEIRA 

LUCY DELAAT 

KIRSTEN DELACRUZ 

COLETON DÉNOMMÉ 

DALTON DEREK 

CALVIN DESAUTELS 

SARAH DI IORIO 

ADRIANNA DI LIELLO 

LARRY DICKISON 

CHATTRISSE DOLABAILLE 

PAUL DOLGOV 

SCARLETT DOVEY 

PIERRE DUONG 

DION DUPORTE 

CHRISTINE EBADI 

SARAH EMES 

JACK ETTLINGER 

NATALIE FAGNAN 

MEEGWUN FAIRBROTHER 

DANIELLE FALCO 

CLAUDIA FERREIRA 

ALEX FIDDES 

KADEN FIELD 

KOLBY FIELD 

JORY FINKELSTEIN 

ADAM J. M. FISHER 

SARAH P H FISHER 

GRADY FOX 

MAX FRIEDMAN-COLE 

JACK FULTON 

STEVE GAGNE 

CYNTHIA GALANT 

CARSON GALE 

GREG GALE 

SUZANA GARCIA 

SHAILENE GARNETT 

HAILEY GARROD 

JOEL GELEYNSE 

KIRA GELINEAU 

MICHAEL GIEL 

JACK GIFFIN 

ROCKY GILLETT 

ERROL GILMOUR 

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TERESA GORYS 

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TARA GRAMMY 

MACKENZIE GRANT 

KATHRYN GRECO 

SHAWNA GREENSPAN 

ANGELA GUAN 

KYLE GUBAREV 

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DAVID HARCOURT 

RYAN HARKINS 

DEVON HEALEY 

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TRISZTAN HORVATH 

KEVIN HOWE 

KYLON HOWELL 

RYAN F. HUGHES 

JASON HUSKA 

JAMIE INGRASSIA 

JOHN IWASIN 

DILLON JAGERSKY 

JAZZMIN JAMES 

ROBERT JAMES 

LAURA JEANES 

JLYNN JOHNSON 

CHRISTOPHER M JOHNSTON 

DARYN JONES 

CLIFTON LEROY JOSEPH 

STEVAN JOVANOVICH 

STEVEN KADAS 

SEAN KAUFMANN 

JENNA KAWAR 

ALEX KEETON 

ADAM G. KENNEDY 

TAI KEOV 

ADAM KLYMKIW 

ALEXIS KOETTING 

JESSICA KRISTY 

DEREK KWAN 

CLAYTON LABBE 

JOEL LACOURSIERE 

ETHAN LAFLEUR 

TONY LAI 

TERTIA LAMB 

CHANELLE LAROCQUE 

ANGELICA LAURIN 

SU JIN LEE 

ZION FORREST LEE 

JACQUELINE LEGERE 

INGA LEKHANOVA 

DOUG LENNON 

SHANNON LEROUX 

LINDSAY LEUSCHER 

SHAQUAN LEWIS-BECKLES 

JONATHAN LLYR 

AARON LOMAS 

ADAM LOPAPA 

JUSTIN LOPES 

STEVEN LOVE 

GREGG MARSHALL LOWE 

JEANA LOWES 

DANIEL LUCIFORA 

ALLAIN LUPIEN 

SAHARA MAC DONALD 

MEGAN MACKENZIE 

JUSTIN MACKIE 

PETER MADORE 

KRISTA MARCHAND 

TANNER MATTHEWS 

WILLIAM MATTHEWS 

JENNIFER MATTHIES 

SARAH MATTON 

MICHAEL MCCRUDDEN 

ZOE MCGARRY 

SCOTT J MCLEOD 

BRENDAN MCMURTRY-HOWLETT 

KIERAN MCNALLY-KENNEDY 

LEAH MCPHERSON 

ANDY MCQUEEN 

GEOFF MEECH 

RILEY MEEKIN 

SYDNEY MEYER 

LEANNE MILLER 

APRIL MIRANDA 

MALAK MOGDADI 

MARINA MOORE 

JESSE MORRISON 

MEYSAM MOTAZEDI 

JEFF MOULTON 

BARRY MOYLE 

SHECHINAH MPUMLWANA 

WADE MUIR 

LINDSAY MULLAN 

COURTNEY V. MURIAS 

MIKE MUTO 

ABIGAIL NADEAU 

CARRIE-LYNN NEALES 

EVAN NEMES 

JAEDEN JOSEPH NOEL 

JAMIE O'LEARY 

BRANDON OAKES 

NANCY OHKI 

SYLVIA OSEI 

SAMY OSMAN 

MCKENNA OTTER 

RIEL PALEY 

STEF PAQUETTE 

AARON PARRY 

JOSH PATTYNAMA 

SHAMIT PAUL 

TREVOR PEASE 

STEPHANIE PITSILADIS 

CHRISTINA PITTS 

MARINA POLEZAEV 

CLINTON LEE PONTES 

CHRISTIAN POOLE 

ALLISON PRICE 

GANNON RACKI 

NATASHA RAMCHARAN 

REED RAMSDEN 

FREYA RAVENSBERGEN 

CARSON REAUME 

JESSICA REYNOLDS 

REGAN REYNOLDS 

DEVON RICHARDS 

RACHEL RILEY 

MIGUEL RIVAS 

JIM ROBINSON 

STEPHANIE LYNN ROBINSON 

MICHAEL RODE 

KIRA-JADE ROEBUCK 

RONNIE ROWE 

ROB ALLEN ROY 

DIANE SALEMA 

MARK SAMUELS 

SUSANNA SAPIENZA 

LAUREN SEGAL 

STEPHANY SEKI 

SAGINE (GG) SEMAJUSTE 

JOHN SEQUEIRA 

DAVID SHIN 

WARREN BENTLEY SHORT 

SERGEY SHPAKOVSKY 

OLGA SIRAZHDINOVA 

LEVON SMITH 

MARC ANDREW SMITH 

NICOLE LEE SMITH 

NICK STEAD 

GORAN STJEPANOVIC 

PAUL STURINO 

LIAM SULLIVAN 

MEGHAN SWABY 

RONALD TANG 

MATTHEW TAPSCOTT 

JENNIFER TAYLOR 

JANE TCHOULMIAKOVA 

BARBARA TEBBS 

LELAND TILDEN 

JENNIFER TOCHERI 

IRINA TORINA 

KIERSTEN TOUGH 

ARBA TSAKIRIDIS 

VITALIE URSU 

SAAMER USMANI 

AZRA VALANI 

MARNI VAN DYK 

COURTNEY VAN WIRDUM 

SARAH VANCE 

PATRICK VANDENBERG 

DIMITRI VANTIS 

GABRIEL VARGA-WATT 

KRISTI VERRIAN 

JOSH VOKEY 

CHARSANDA WALL 

MARLA WALTERS 

RICHARD WALTERS 

MAIKO WATSON 

ROMY WELTMAN 

GAVIN WILLIAMS 

GEORGE T WILLIAMS 

ALLISON WILSON-FORBES 

ABIGAIL WINTER-CULLIFORD 

ALEXANDER WONG 

REBECCA R WOOD 

JOSEPH WOODS 

JACK YANG 

HANI ZAKARIA 

HUNTER ZEPP 

ZOO 

SPIRO ZOUPAS 

Spring 2013 25

MEMBERS NEWS 

Ferne Downey: ACTRA National and FIA President 

YEAA members Elana Dunkelman, Clara Pasieka, Richard Young and Rebecca Applebaum attended 

the Toronto Animation Arts Festival International. 

■ Leadership: Ferne Downey, FIA Prez 

Could it be any more awesome that ACTRA Toronto actor and 

ACTRA National President, Ferne Downey, is now President of 

the largest umbrella group of performer unions and guilds in 

the world: e International Federation of Actors! Ms. Downey 

also recently graduated from the Harvard Trade Union Leadership 

Program. Watch this woman go! 

■ Visibility: YEAA networks 

ose YEAA folks NETWORK! Representatives from the 

Young Emerging Actors Assembly (YEAA) attended the 

Toronto Animation Arts Festival International last year, 

providing a visible ACTRA Toronto presence at the event and 

networking with producers in the process. Networking is 

central to YEAA’s raison d’être and they continue to program 

meet-and-greet events with graduating filmmakers. Get 

involved! Check them out at yeaa.ca 

■ Kudos: 

ACTRA Toronto congratulates our members awarded a spot 

at the CFC Actors Conservatory this year: Diana Bentley, 

Natalie Krill, Alexandra Lalonde, Alexandra Ordolis, and 

Supinder Wraich. 

26 ACTRA TORONTO PERFORMERS 

Top Row: Diana Bentley, Natalie Krill, Alexandra Lalonde, 

Bottom Row: Alexandra Ordolis, and Supinder Wraich.

Natasha Semone Vassell attends the Diversity Go-See at ACTRA Toronto. 

Photo: Lisa Blanchette 

■ Breaking down the closed door: 

e Diversity committee sponsored another Diversity Go- 

See last year. Well attended by Casting Directors and Producers 

alike, the event introduced approximately 125 

diverse performers to the folks who could hire them. 

■ Charles Dickens’ 

A Christmas Carol 

On December 10, ACTRA Toronto’s 

Act Your Age Group (AYA) presented 

Charles Dicken’s abridged 

reading version of A Christmas 

Carol, the version Dickens himself 

used for his own readings, together 

with seasonal music. e proceeds 

from the $10 cover charge went to 

Actors Fund of Canada and Performing 

Arts Lodge Canada. Act 

Your Age is a supportive community of “well-seasoned” 

ACTRA members who meet regularly to flex their acting 

muscles through workshops, readings, scene study and 

coaching. 

Sue Milling’s influence was felt strongly in the areas of women’s, 

youth, diversity and stunt issues and with the expansion of our 

education initiatives. She built strong relationships with producers 

and members alike. Here she is seen between Sari Friedland, 

Producer (le) and Tabby Johnson, actor, singer and councillor 

(right). Photo by Tricia Clarke. 

■ Hello and Goodbye 

Sue Milling, who has served as the Director of Independent and 

Broadcast Production in the Film and TV department at 

ACTRA Toronto from 2010 to 2012, has returned to her 

position at the United Steelworkers. Sue had been on extended 

secondment to ACTRA Toronto as a part of ACTRA’s Strategic 

Alliance with the United Steelworkers. She is succeeded by 

Mimi Wolch who has served in senior positions with other 

affiliated unions and industry groups including the Directors 

Guild of Canada, IATSE and FilmOntario. Ms. Wolch is a veteran 

of the film and TV industry and began her career as a script 

supervisor. A fond “Au Revoir” to Sue and a warm welcome to 

Mimi! 

■ Stunt Honourees 

Matt Birman, Branko Racki, and Alison Reid will be honoured 

this year with Awards to acknowledge their Outstanding 

Contribution to the Stunt Community. e presentation will be 

made at the Plenary/Annual General Meeting at the Members 

Conference on ursday, February 21, 2013. 

Spring 2013 27

Connect 

With 

US 

ACTRA Toronto Council 

Who’s Who 

PRESIDENT David Sparrow dsparrow@council.actratoronto.com 

PAST PRESIDENT Heather Allin hallin@actratoronto.com 

ACTRA NATIONAL PRESIDENT Ferne Downey fdowney@actra.ca 

VICE-PRESIDENT, FINANCE David Macniven dmacniven@council.actratoronto.com 

VICE-PRESIDENT, INTERNAL AFFAIRS Theresa Tova ttova@actratoronto.com 

VICE-PRESIDENT, EXTERNAL AFFAIRS Art Hindle ahindle@council.actratoronto.com 

VICE-PRESIDENT, COMMUNICATIONS David Gale dgale@council.actratoronto.com 

VICE-PRESIDENT, MEMBER SERVICES 

EXECUTIVE MEMBER-AT-LARGE Wendy Crewson wcrewson@council.actratoronto.com 

Shereen Airth sairth@council.actratoronto.com 

Kirsten Bishopric kbishopric@council.actratoronto.com 

K.C. Collins kcollins@council.actratoronto.com 

Richard Hardacre rhardacre@actra.ca 

Karen Ivany kivany@council.actratoronto.com 

Taborah Johnson tjohnson@council.actratoronto.com 

Don Lamoreux dlamoreux@council.actratoronto.com 

Jani Lauzon jlauzon@actratoronto.com 

Colin Mochrie cmochrie@council.actratoronto.com 

John Nelles jnelles@council.actratoronto.com 

Jack Newman jnewman@council.actratoronto.com 

Eric Peterson epeterson@council.actratoronto.com 

Leah Pinsent lpinsent@council.actratoronto.com 

Chris Potter cpotter@council.actratoronto.com 

Nicole St. Martin nstmartin@council.actratoronto.com 

Spirit Synott ssynott@council.actratoronto.com 

Caucus chairs, member advocates and Ombudsman: 

Shereen Airth, Apprentice Advocate sairth@actratoronto.com, ext. 6621 

John de Klein, Additional Background Performer Chair jdeklein@actratoronto.com 

Taborah Johnson, Children’s Advocate tjohnson@actratoronto.com 

Jani Lauzon, Diversity Chair and Advocate jlauzon@actratoronto.com, ext. 6618 

Shelley Cook, Stunt Committee Chair scook@actratoronto.com 

Shawn Lawrence, Ombudsman slawrence@actratoronto.com, ext. 6604 

ACTRA Toronto Staff 

is here for YOU 

ACTRA Toronto 

General contact information 

Tel: 416-928-2278 or toll free 1-877-913-2278 

info@actratoronto.com 

www.actratoronto.com 

625 Church Street, 2nd Floor, Toronto, Ontario, M4Y 2G1 

Commercial Agreement Interpretations 

Judy Barefoot, Director, Tel: 416-642-6705 

Kelly Davis, Steward, Tel: 416-642-6707 

Cathy Wendt, Steward, Tel: 416-642-6714 

Commercial Audition Callback Inquires 

Tammy Boyer Tel: 416-642-6739 

Commercial Cheque Inquiries 

Nicole Valentin, Examiner, Tel: 416-642-6721 

Lyn Franklin, Examiner, Tel: 416-642-6730 

Brenda Smith, Examiner, Tel: 416-642-6729 

Commercial Payment Inquiries 

Tereza Olivero, Coordinator, Tel: 416-642-6731 

Laura McKelvey, Coordinator, Tel: 416-642-6728 

Communications and Organizing 

Karl Pruner, Director, Tel: 416-642-6726 

Karen Woolridge, Public Relations Officer, Tel: 416-642-6710 

Janesse Leung, Public Relations Officer - Web, Tel: 416-642-6747 

Finance and Administration 

Karen Ritson, Director, Tel: 416-642-6722 

Independent Production Agreement (IPA), CBC TV & Radio, 

CTV, City-TV, Global, TVO, VisionTV Agreements 

Mimi Wolch, Director, Tel: 416-642-6719 

Indra Escobar, Senior Advisor, Tel: 416-642-6702 

Erin Phillips, Steward: IPA, CityTV, CTV, VISION, TIP, Documentaries, Industrials, 

Reality TV, Tel: 416-642-6738 (Maternity Leave) 

Gail Haupert, Steward: Audio Code, CBC, CFC, Documentaries, Industrials, 

Student Films Tel: 416-642-6709 

Barbara Larose, Steward: IPA, CFC, Co-op, Student Films, UAP. 

Staff Liaison: Minors, Background Performers, Tel: 416-642-6712 

Noreen Murphy, Steward: IPA, Animation, Dubbing, New Media, Pilots, Series, 

Video Games. Staff Liaison: Digital, Voice Performers, Tel: 416-642-6708 

Richard Todd, Steward: IPA, Features, Series, NFB, TVO, Global. 

Staff Liaison: Health and Safety, Stunts, Tel: 416-642-6716 

Clare Johnston, Steward: IPA, Features, Series. 

Staff Liaison: YEAA, Puppeteers, Tel: 416-642-6746 

Cindy Ramjattan, Steward: IPA, Animation, CityTV, CTV, 

TIP, Reality, VisionTV, Tel: 416-642-6738 

Toronto Indie Production 

Tasso Lakas, TIP Coordinator, Tel: 416-642-6733 

Member Training Intensive & Gordon Pinsent Studio Bookings 

Stephanie Stevenson, Administrative Assistant, Tel: 416-642-6735 

Membership Department Dues & Permit Payments 

Contact: Membership Department Tel: 416-928-2278 

Karl Pruner, Director 


Advertisement 

Can I 

Help You? 

My name is Shawn Lawrence and I am your 

Ombudsperson for ACTRA Toronto. For the benefit 

of new members, let me give you some background 

on myself and what the position entails. I have 

been an ACTRA member for over 30 years and 

have served on both the National Board and the 

Toronto Council, but I am not now a sitting 

councillor. I am a working actor. As I've had many 

years of experience with ACTRA and understand 

how our Council and staff function together, I 

was appointed to this position about 10 years ago. 

In this position, I serve as a problem solver, an 

educator and a sometime mediator. I deal with all 

kinds of issues, questions and complaints, 

including background performer issues. If you feel 

you have cause for complaint about the service you 

have received from ACTRA Toronto staff or 

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best to investigate, answer your questions and work 

toward a resolution. All of the issues I deal with are 

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Yours, 

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Email: slawrence@actra.ca 

Voicemail: 416-642-6604 

Corrections and Omissions 

Anna Leber is also a member of 

the ACTRA Additional Background 

Performer Committee. 

RENT should only 

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Fifteen years ago I bought a house in Toronto. 

They said: “You can’t afford it... You’re an actor!” 

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Talk to me - let’s do it! 

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11 

THE th 

ANNUAL 

ACTRA 

AWARDS 

IN TORONTO 

Sat. Feb 23 

The Carlu, 

College Park 

444 Yonge Street, 7th floor 

DRESS YOUR BEST! 

ATTENDANCE IS FREE 

to ACTRA Toronto members. 

Space is limited so please register early. 

THIS EVENT WILL SELL OUT! 

Spring 2013 29

Lives Lived 

Bernard Behrens 

Rummy Bishop 

Florence Maud Clews 

Frank Donaldson 

Bill Haslett 

Phil Robert Hughes 

Nina Klowden 

Marc Laroque 

Eileen Lehman 

Larry Palef 

Begum Syeda 

Terrence Slater 

John Stockfish 

Bernard "Bunny" Behrens 

Aer a very extended run, 

Bernard "Bunny" Behrens, a 

consummate C anadian 

theatre, television, film, and 

every-moment-of-the-day 

actor, completed his final act 

on this stage at 8:45 pm on 

Wednesday, September 19 in 

Perth, Ontario, just shy of his 

86th birthday. His passing to 

the next stage was peaceful 

and it app ears that the 

audit i o n for his next role 

was successful. 

Bunny, as he insisted on being 

called, was married to 

Canadian actor Deborah Cass, who sadly passed away in 2004, 

and was father to three sons: Mark, Matthew, and Adam and 

grandfather to Taylor, Spenser, and Kate. As a boy in 

Depression-era London, Bunny dreamed from the age of 

seven of being a Hollywood actor, and escaped the privations 

of poverty when he sneaked into movie theatres to live out the 

fantasy world of Cary Grant, Jimmy Stewart, Irene Dunne, and 

Myrna Loy, a world he eventually immersed himself in for 

more than half a century, one of the few individuals who can 

say they had a good life as a working actor. As a child evacuee 

during the Second World War, Bunny was forced to live by his 

wits with a foster family, an experience he never forgot and 

which oen haunted him throughout his life. 

His path took him from the Bristol Old Vic to Canadian Players 

Tours in the 1950s and 1960s, CBC TV and Radio in their 

golden age, Toronto's Crest eatre, Halifax's Neptune (where 

he, along with Debbie, were founding members under the 

direction of Leon Major), e Stratford and Shaw Festivals, 

and a decade in Hollywood, where his appearances in 1970s 

TV series from Starsky and Hutch and Bionic Woman to 

Columbo and Marcus Welby, MD, among many others, still 

grace late night TV. Bunny, a Gemini Award winner for Coming 

of Age and Saying Goodbye, appeared in hundreds of films and 

TV shows, and always generously shared humorous anecdotes 

about his work with folks in the business. 

Diagnosed with dementia four years ago, Bunny's final gigs 

were the much-loved Young Farley in the Shaw Festival 

production of Belle Moral, along with a brief appearance in the 

TV program Living in Your Car. His final years were spent in 

Niagara-on-the-Lake and, for the past year, in Perth, Ontario, 

where he met the actors and enjoyed a performance at the 

Classic eatre Festival, run by his daughter-in-law Laurel 

Smith. e last show he attended was a production of Mary, 

Mary in Perth, in which he starred 50 years ago in the 

Canadian première at the Neptune eatre. Bunny's picture 

(alongside of fellow Canadian actor Ted Follows), graced the 

Festival lobby throughout the summer. 

When Bunny suffered a major stroke in August, an attendant 

who recognized him asked if Bunny used to be an actor. 

Despite difficulty talking and moving, Bunny responded, with 

his trademark tongue and attitude, "I still AM an actor!" 

Donations in Bunny's memory may be made to the Classic 

eatre Festival (www.classictheatre.ca). 

Matthew Behrens 


CONTRIBUTORS 

Heather Allin 

Performers 

Volume 22 * Issue 1* Spring 2013 

PUBLISHER 

David Gale 

dgale@council.actratoronto.com 

Kelly Davis 

EDITOR 

Chris Owens 

editor@actratoronto.com 

STAFF EDITOR 

Karen Woolridge 

kwoolridge@actratoronto.com 

Art Hindle 

EDITORIAL COMMITTEE 

Heather Allin, David Gale, Art Hindle, Chris Owens, Karl Pruner, David Sparrow, 

Brian Topp, Karen Woolridge 

DESIGN and LAYOUT 

Erick Querci 

Creative Process Design 

Tabby Johnson 


Chris Owens 

ADVERTISING SALES 

Karen Cowitz 

kcowitz@rocketmail.com 416-461-4627 

CONTRIBUTORS 

Heather Allin 

Kelly Davis 

Art Hindle 

Tabby Johnson 


Chris Owens 

Nicole St. Martin 

Brian Topp 

Theresa Tova 

Cathy Wendt 


ADDRESS EDITORIAL CORRESPONDENCE TO: 

Performers magazine 

c/o ACTRA Toronto 

625 Church Street, Suite 200 

Toronto, ON M4Y 2G1 

Fax: (416) 928-2852 

editor@actratoronto.com 

JOIN THE TEAM 

If you’re an ACTRA Toronto Member and want to write an article or contribute original 

artwork or photos, we’d love to hear from you. Send an email to editor@actratoronto.com. 

Nicole St. Martin 

Printed in Canada by union labour at Thistle Printing on 50% recycled paper. 

NEXT COPY DEADLINE IS: April 15, 2013 

The magazine invites members to submit notices of births, marriages, obituaries and letters 

to the editor. Article submissions must be sent via email to editor@actratoronto.com. 

We reserve the right to edit or omit any material for length, style, content or possible 

legal ramifications. 

Brian Topp 

Performers magazine is published three times a year by ACTRA Toronto. The views 

expressed in unsolicited and solicited articles are not necessarily the views of ACTRA 

Toronto, its council or this committee. The presence of an advertisement in Performers 

Magazine does not imply ACTRA Toronto’s endorsement of the advertised company, 

product or service. 

Publications Mail Agreement number 40069134 

ISSN 1911-4974 

Theresa Tova 


Cathy Wendt 

Cover Photo: Tim Leyes 

(www.timleyesactors.com) 


Spring 2013 31

Baby it’s 

cold outside... 

but at our Winter Conference you can cozy up with 

Tantoo Cardinal and Zoie Palmer, get sweaty doing 

ACTRA Toronto’s 

3-Day Winter 

MEMBERS’ CONFERENCE 

February 20 to 22, 2013 

stunts with the pros, and heat up the casting room 

with hot celebrity scene partners and, of course, your 

smokin’ skills. Childcare will be available upon 

request, see website for details. 

Tantoo Cardinal 

Zoie Palmer 

For more information, check out 


ACTRA Toronto Performers 

625 Church Street, 2nd floor 

Toronto,ON 

M4Y 2G1 

Canada Post Corporation 

Publication Mail Agreement No. 

40070196 

Printed in Canada

A Grand Dame - ACTRA Toronto

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