fabulous faces · 2013-09-26 · Young Toronto Our fabulous faces Seven films later, Saw still...

YoungTorontoOurfabulousfaces

Seven films later,Saw still makes the cut

Takingthe long viewYEAA shows you how totake the reins of your career

T.O.’sTransformationhow we becamea series town

KickingAssKari Matchett talks aboutworking on both sides of the border

Display until January 2011 $4.60

(FRONT COVER)Photo: www.mckennaphoto.com • Stylist:Kirsten Reader, Judy Inc.

(L-R)EvanWilliams: Jacket, Not Your Father's Suit, GotStyle $95; Henley, Sunday Rocks, GotStyle$95; Pant, American Apparel $67; Shoes,Aldo.

Charlotte Sullivan: Dress, Cat's Meow, www.thecatsmeowcouture.com $295; Necklace,Cat's Meow www.thecatsmeowcouture.com $295; Boots, Christian Louboutin, Davids.

Jasmine Richards: Dress, the Cat's Meow, www.thecatsmeowcouture.com $495; Earrings,Jenny Bird, www.jennybird.com; Cuff, the Cat's Meow, www.thecatsmeowcouture.com $195.

GenelleWilliams: Dress, Jonathan + Olivia presents Topshop $72; Necklace, Jenny Bird,www.jennybird.com; Shoes, Christian Louboutin, Davids.

Adamo Ruggiero: Bullet Hole Tee, Dutch Blonde, GotStyle $125; Pant, American Apparel $67;Bracelet, Jenny Bird, www.jennybird.com; Hat, Necklace, Shoes,Adamo's own.

Charlotte Arnold: Dress, Jonathan + Olivia presents Topshop $90; Necklace, Jenny Bird,www.jennybird.com; Shoes, Jimmy Choo, Davids.

Mpho Koaho: Blazer, Cold Method, GotStyle $375; Shirt, American Apparel $55;Pant, JohnVarvatos, GotStyle $185; Shoes,Aldo.

Cory Sevier: Sweater, Suit, GotStyle $179; Pant, Apolis Activism, GotStyle $179; Shoes, Davids;Watch, Cory's own.

(PHOTO on this page)

L - R

Charlotte Arnold:Tank, Jacob $30;

Necklace, Jenny Bird, www.jennybird.com

Mpho Koaho: Shirt, Diesel.

Charlotte Sullivan: Necklace, the Cat's Meow,www.thecatsmeowcouture.com $395;

Bracelet, Jenny Bird, www.jennybird.com.

Jasmine Richards: Necklace, Dean Davidson,www.deandavidson.com

GenelleWilliams:Snake Bracelets, Jenny Bird,

www.jennybird.com

Photo: www.mckennaphoto.comStylist:Kirsten Reader, Judy Inc.

The Face ofACTRATorontoTake a look at these smiling faces.If the names of these actors aren’tinstantly recognizable, well, wepredict that will change shortly.They’re young, talented and they’realready popping up, almost daily,on our television screens. Read ourarticle on page 5 to find out whatmakes these actors tick. Thesepeople are going places.Stay tuned.

(L - R) Corey Sevier, Charlotte Arnold, Evan Williams, Mpho Koaho, Charlotte Sullivan, Jasmine Richards, Genelle Williams, Adamo Ruggiero

contents

FALL 2010 3

PerformersThe magazine from ACTRATorontoVolume 19 • Issue3 • Fall 2010

[email protected]

EDITORChris [email protected]

STAFFWRITERChris [email protected]

EDITORIALCOMMITTEEHeatherAllin, Chris Faulkner, David Gale,ArtHindle, Chris Owens, Karl Pruner, BrianTopp.

DESIGN and LAYOUTErickQuerci / [email protected]

ADVERTISINGSALESKarenCowitz / [email protected] 416-461-4627

CONTRIBUTORSHeatherAllinJasonBlickerPaul ConstableChris FaulknerDavid GaleCaroline GillisLindaKashDanielMacIvorMonicaMcKennaLisaMininniJackNewmanChris OwensJeff PustilDavid SparrowBrianToppKarenWoolridge

PLEASEADDRESSEDITORIALCORRESPONDENCETO:Performersmagazinec/oACTRAToronto625 Church Street, Suite 200Toronto, ONM4Y2G1Fax: [email protected]

JOINTHETEAMIf you’re anACTRATorontoMember andwant towritean article or contribute original artwork or photos, we’dlove to hear from you. Send an email [email protected].

Printed in Canada by union labour atThistle Printing.

THENEXTCOPYDEADLINE ISNovember 26, 2010Themagazine invitesmembers to submit notices ofbirths, marriages, obituaries and letters to the editor.Article submissionsmust be sent via email [email protected] reserve the right to editor omit anymaterial for length, style, content or possiblelegal ramifications.

Performersmagazine is published three times a year byACTRAToronto.The views expressed in unsolicited andsolicited articles are not necessarily the views ofACTRAToronto, its council or this committee.

PublicationsMailAgreement number 40069134ISSN 1911-4974

www.actratoronto.com

(COVERPHOTO)Photo: www.mckennaphoto.comStylist: KirstenReader, Judy Inc.

Page 4President’s message by Heather Allin

Page 5Young Toronto by David Gale

Page 9The Young Emerging Actors Assembly by David Sparrow

Page 10Saw by Chris Owens

Page 14The re-invention of Toronto by Paul Constable

Page 18Ask an IPA Steward by Karen Woolridge

Page 19New Members

Page 20In Memoriam

Page 22Members’ News

Page 25ACTRA Toronto Who’s Who

Page 26An Interview with Kari Matchett by Chris Faulkner

Photo:www.mckennaphoto.com

This issue’s cover for Performers is really somethingto look at. Young Toronto, the exciting, talented,next generation of performers! These actors arealready a big part of ACTRA Toronto’s future andwe couldn't be more proud of everything they’veaccomplished.

We have a talent pool that competes and distin-guishes itself throughout the world. A key reason

for the resurgence of television production in this city is on thecover of this magazine. These amazing performers are the starsand guest stars of numerous home grown series and movies.They make strong shows with interesting stories that speak tous, pulling in huge audiences at home and abroad. So in thisissue we shine the spotlight on them. Their hard work is bring-ing more work to Toronto.

Diversity is our strength. We boast of skilled veteran performers,fresh young talent, aboriginal and culturally diverse members,performers with disabilities, gifted stunt performers and thelist goes on and on. Such diversity gives our membershipbreadth and depth. We can cast the world here in Toronto.

Recently American broadcasters, led by NBC, asked us to helpthem run an open casting call for ethnically and physically diverseperformers (check out the members news item on page 22).Though no specific roles were being cast, NBC, Fox, CBS andABC got a first hand impression of the amazing depth ofToronto’s remarkable talent pool. This open casting call was asmall, but crucial step first step in ensuring that theworldwe seeon our streets is that same one that appears on our screens. Butthere is still much to do on this file, especially right here at home.

In the issues to come, Performers magazine will continue tospotlight and celebrate ACTRA Toronto members’ amazingdiversity and the shared passion for work that unites us – thatand our common struggle to find it.

We need more jobs. That's why ACTRA fights for moreCanadian production, appropriate funding and regulation todevelop and nourish it. This is a necessary fight to expand thejob market for all Canadian performers. But we also need toexpand the union share of that market, because we don't justneed jobs. Performers need good jobs on safe sets with fair payand decent working terms and conditions. Union jobs. In thedays ahead,we'll beworking hard to strengthen our jurisdiction inconventional media and to firmly establish it in the emergingdigital frontier. Organizing is every member's responsibility.Find out what you can do and make a difference.

Finally, as I write, we are gearing up for the fall memberconference on September 25th. The member conference is agreat way to sharpen your skills as a performer, become in-formed about what’s happening in your industry and hearabout what your union is doing for you.

We are also preparing for Toronto’s mayoral election, lookinginto the art policies of each candidate with an eye towardsmaking recommendations about which candidates have artsfriendly polices. When your candidate knocks on your doorthis fall make sure you ask themwhat they are going to do forour industry and for the arts. They won’t be just campaigningfor your vote, but your future employment as well.

The website www.artsvotetoronto.ca is an excellentreference to help bring yourself up to speed on the candidate’sindividual policies.

Get involved, come out and help make sure Toronto remainsthe centre of film and television excellence.

Insolidarity,

HeatherAllinPresident,ACTRAToronto

President’sMessage

4 ACTRA TORONTO PERFORMERS

A bravenew world

Eric Peterson, Peter MacNeill and ACTRA Toronto president Heather Allin,lead the ACTRA contingent into the CNE grounds during the 2010 Labour Dayparade. Photo: Chris Faulkner

FALL 2010 5

Rising Starsby David Gale

YoungWhy would an in-demand, twenty-

something actor, with an IMDB pageas long as your arm, want to share thecover of Performers magazine? You'rekidding, right? Because they get it.

At the recent photo shoot in McKennaPhotography’s sunny, two-storey

studio in the heart of booming LibertyVillage, I was struck by just how muchthese eight young Toronto stars got it.No one asked them to leave their egosat the door, they did so instinctively.They were poised and confident and

yes, it's a Canuck cliche, but theywere all so nice!

Niceness may well be their secretweapon, for this youthful group of

performers has well over 75 years ofcollective experience in front of thecamera. Chatting with them indivi-dually I discovered they are not just

pretty faces. They are bright, thought-ful professionals with clear ideas about

their careers,present and future.

TorontoPhoto:www.mckennaphoto.comStylist:Kirsten Reader, Judy Inc.


Young

Toronto

In person Charlotte Arnold has sparkling eyes. Nominatedfor a Gemini this year for playing Holly J. Sinclair on Degrassi,Arnold has been on the show since 2007 and acting since shewas seven. She has a head for the biz and a humanitarian heartas well. She recently volunteered with 12 of her Degrassi castmates to help build a school in rural India for the organizationFree The Children. Watch for the Much Music doc abouttheir altruistic adventure.

Currently hosting YTV’s The Next Star, Adamo Ruggiero isbig on managing his image. He brought the pink triangle pin heproudlywears in the cover shot to demonstrate his commitment togay rights and the LGBTQ community.

Genelle Williams has a glow reserved for expectant momsand heavenly bodies. They may be shooting around herpregnancy for the second season of Warehouse 13, but wejumped at the chance to feature the glamorous Williams andher potential future ACTRA member on our cover.

Despite his wildly busy schedule (he recently co-led a differentFree The Children school-building volunteer group to India)Evan Williams, the titular star of Baxter, has plans to run forACTRA Toronto council. No stranger to the world of unions,the personable Williams’ grandfather is former United SteelWorkers president Lynn Williams.

Recently included in Playback’s 2010 Ten toWatch,CharlotteSullivan is steaming up televisions in Rookie Blue and will soonbe steaming up history portraying Marilyn Monroe in TheKennedys. Usually cast as tough and complicated characters,Sullivan is sweet and self effacing in person and could not bestopped from doing the lunch dishes at the shoot.

Mpho Koaho, still beaming from his 2009 acting Gemini forSoul, kept cracking up the groupwith his enthusiasm andhumour.

Koaho has over a dozen years experience and an energyunparalleled in the biz. We predict a long career in the business,if he isn’t torn up by the Saw series of films first.

Recently featured with the Jonas Brothers in Camp Rock 2: TheFinal Jam, Jasmine Richards was the youngest performer inour group. Thinking ahead she brought a friend along to keepher company at the shoot. Richards was a real trooper, sittingin her pose for so long her leg fell asleep. She never complainedand throughout it all her smile remained honest. She’ll go far!

With a relaxed and easy manner Corey Sevier cuts a dashingfigure, but it’s his smile that lights up a room. It was no surpriseto learn that Sevier, who’s also been acting since he was seven,will play the god Apollo in the upcoming Mickey Rourke filmImmortals. Gods be praised.

Leaving the shoot itwas clear that George Bernard Shaw’s saying“youth is wasted on the young” was written by an old dude.

These emerging Toronto stars are obviously not waitingaround for their careers to happen. They are embracing theirstardom today. No wasted youth in this group. These stars areour present and our future.Watch them shine.

David Gale is the publisher of Performersmagazine. A multiple award-winning actor, host,writer and director, Gale is VP Communicationsfor ACTRAToronto, Co-chair of the ConferenceCommittee, an ACTRA National councillor andthe performers' representative for The Academyof Canadian Cinema and Television. He can beseen weekday mornings in reruns on Viva TVhosting his beloved grandmother’s cookingshow, Loving Spoonfuls.

Charlotte ArnoldWhat drives you to perform?I’m a Leo…but seriously, I enjoy the challenge ofit. It’s like playing a sport. I’m my own harshestcritic, so I like setting those private little goalsand trying to meet them.

What project do you havelined up next?We continue to film season ten of Degrassi untilNovember, and following that I’ll audition and goback to school to finish up my Journalismdegree at Ryerson University. Fingers crossedfor season 11 as well.

What is your proudestperforming moment?It’s difficult for me to pinpoint one moment ashaving been my proudest. I think I look forwardto the small victories that come every day on setwhen you manage to play a scene in a way thatfeels particularly authentic to you. There’s nofanfare, just the personal satisfaction of beinghappy with your work for that day.

Why do you likeworking in Toronto?It took a visit to L.A. when I about sixteen toreally appreciate the atmosphere of working inToronto. For me the size of the beast inCalifornia, the fame-seeking aspect of it, thecompetition and the fact that you can’t escapethe industry was all a little overwhelming.Maybe I’m just too laid-back, but I truly enjoythe big family feel of work in Toronto. It’s wheremy heart is.

Why do you work ACTRA?Growing up as a young actor, it was a necessity.I was really grateful to be a part of a union thathad my best interests in mind and could protectme and ensure that I created only the amazingmemories that I did. Now that I’m older, Iappreciate the caliber of work that I have thepotential to be a part of and the fact that ACTRA,obviously, recognizes and values acting as a seriousendeavour.

Selected Credits:Degrassi: The Next Generation, Naturally Sadie,Time of the Wolf

Mpho KoahoHow did you get into acting?I took an acting class taught by David Eisner, atthe Avenue Road Arts School. I started helpinghim run the class, he got me a meeting with myagent Larry Goldhar. Fourteen years later, herewe are.

What drives you to perform?I'm driven by the films I want to do, the roles Iwant to play, and the actors I want to work with.Greatness drives me, the desire to be great. I amgreat, and everyone needs to know that.

What project do you havelined up next?I'm proud to say I will be working on FallingSkies, a Stephen Spielberg produced TV seriesfor TNT. A post apocalyptic concept that takesplace six months after aliens have invaded earth.

What is your proudestperforming moment?My proudest performing moment would be mytwo Gemini nominations, and subsequent win forSoul in 2009.

What role would you like a crackat one day?I would like to play Nelson Mandela in a biopic,concentrating mainly on the years prior to hisimprisonment.

Why do you likeworking in Toronto?I love the opportunity to work on some of thegreat projects I have, without leaving my back-yard.

Why do you work ACTRA?Why wouldn't I work ACTRA!?

What are three random facts peoplewouldfind interestingaboutyou?1) My name Mpho, means a gift.2) I tore the ligaments in my knee playingbaseball when I was 17.3) I did Toronto Parks and Recreation talentshows growing up.

Selected Credits:Doomstown, Get Rich or Die Tryin’, Sci-Squad

Jasmine RichardsWhat drives you to perform?I think the ultimate thing that drives me to per-form would be my absolute love of the arts, be itsinging your heart out on stage or acting out ascene. I love being able to play a different char-acter and stepping into their shoes for awhile. Itgives me a chance to let go of ‘Jasmine’s life’and live someone else’s.

What project do you havelined up next?Right now I am currently working on a new ani-mated series called XU. It’s very exciting becauseI have never done animation before, so I feel likeI’m a fish out of water. But I am learning a lot asI go. Aside from that I am working in the studioon my music, I had the chance to be one of theopening acts for the season six American idolwinner,JordinSparks,whichwasanamazingexperience.

What is your proudestperforming moment?My proudest moment would be landing the roleof Peggy in the Camp Rock Disney movie andbeing able to play the character that has inspiredmany young girls to rise up against bullying andshow and love your true self.

What role would you like a crackat one day?I am a huge fan of action packed films! If I couldplay the female version of Shia Labeuf in Trans-formers I would be in heaven. Anything thatallows me to be in the middle of explosions androbots is good in my books,

Why do you likeworking in Toronto?Being home in Toronto working is probably thebest thing, I get to be close to my family at thesame time having the best job in the world.

Why do you work ACTRA?I have been fortunate to belong to the unionwhich opens up so many more opportunities forme. There are so many great actors in the unionand being among them inspires me to workharder.

Selected Credits:Camp Rock 2: The Final Jam, Naturally Sadie,Timeblazers

Adamo RuggieroWhat drives you to perform?I’d imagine the same thing that drives all artists,the love to perform itself. The thrill andsatisfaction I feel in front of a lens or on a stageis something I would feel incomplete without.For me, performance is bound up within who I amas a person.

What is your proudestperforming moment?Playing a straight, girl crazed, punk teenagestoner named Van in the play Dog SeesGod: Confessions of a Teenage Blockhead.I discovered parts of myself I didn’t know existed.

What role would you like a crackat one day?As an Italian boy, I’ve always wanted to take acrack at the dark, murderous, masculine ItalianMafioso character. Lately, I have this desire toconfront the challenge of commending attentionas a villain at 5 feet 4 inches. In a broader sense,I would love take on the director’s role sometimesoon.

Why do you likeacting in Toronto?I feel as if Toronto is my set. To leave this citywould alter who I am as an artist. Many ap-proach me with the question, “why haven’t yougone to Hollywood?” My response is always,“Toronto has been very good to me.” I’ve beenblessed to have a busy, challenging 10-year ca-reer as a Toronto actor. Also, Toronto welcomedme with open arms when I came out publicly asa gay performer in the effort to represent LGBTyouth in conjunction with my gay characterMarco on Degrassi. Hollywood would have turnedits back on me, but Toronto gave me a kids’ showon YTV.

Why do you work ACTRA?If Toronto is my set, ACTRA is my cast. For me,ACTRA is a community – a family. As a unitedgroup of artists, we represent our culture to ourcountry and the world. This mission becomes in-creasingly important as the American industrycontinues to commercially overshadow our workand flood our local broadcasters. I work ACTRAbecause I join the fight to represent our industry,our performers and our voice in the arts.

Selected Credits:Degrassi: The Next Generation, The Next Star,Being Erica

FALL 2010 7

“These emerging Toronto stars areobviously not waiting around for their careersto happen.”

o

Corey SevierWhat drives you to perform?I’d have to say my desire to create and exploredifferent characters has always been what’sdriven me to work in this business. I love theprocess of filmmaking and playing my part intelling interesting and entertaining stories. I’vealways felt very fortunate to be doing what I love.

What project do you havelined up next?I just wrapped four projects, two of which shothere in Canada. In Immortals, I play the Greekgod Apollo. In Conduct Unbecoming, I play a U.S.marine captain wrongfully accused of war crimesand placed on notification duty, the job of in-forming families when their loved ones havebeen killed in action.

What is your proudestperforming moment?I feel very fortunate and proud to have playedmany interesting characters and been a part ofmany wonderful stories. My time working onLassie:The Series when I was young will alwaysbe special to me, not only because it was my firstlead in a series, but because of the wonderfulpeople involved and the demands the role re-quired of me over the four seasons we filmed inMontreal. I was honoured to receive a Gemininomination for my work on the show.

Why do you likeworking in Toronto?First and foremost, it’s close to my family.Secondly, you often get to see many familiarfaces on the cast and crew, which always makesfor a great working environment. And lastly, themore work in Toronto, the more it will showcaseour city and all it has to offer.

Why do you work ACTRA?Being Canadian and having gotten my start as ayoung actor in Canada, being an ACTRA memberhas always been a privilege and an importantpart of my life. I still remember working towardsgetting all my credits to gain eligibility as a kidand the drive it gave me.

Selected Credits:North Shore, Zoe Busiek: Wild Card,The Lost Future

Charlotte SullivanHow did you get into acting?When I watched Edward Scissorhands for thefirst time my heart exploded. I had to sew myaorta back together with knitting needles. Itmade me fall in love with film. I had never seensomething so beautifully twisted in all my life. Iballed my eyeballs out.

What drives you to perform?I often ask myself "What would Debbie Harry orDavid Bowie do?”

What project do youhave lined up next?I'm currently playing Marilyn Monroe in TheKennedy's which will air on The History Channelsometime next year and then I'm getting ready toshoot the second season of ABC's Rookie Blue.

What is your proudestperforming moment?I've been doing this for a painfully long time andsadly I've never had to research a role before thisyear. I'm currently working with this incrediblevocal coach by the name of Eric Vetro. He's beenhelping prepare for Marilyn's Happy Birthdaysong. The first time I stood in front of his pianowas also the first time I felt like a real actress.

What role would you likea crack at one day?The role of Sarah in an opium induced hallucino-genic re-imagination of Labyrinth.

Why do you likeworking in Toronto?This city breeds ridiculously talented humanbeings. It's like a factory of brilliant mutantfreaks. I heart Toronto!

What are three random facts peoplewouldfind interestingaboutyou?1) I once lied to a director. I told her I was a biblethumping Christian to get out of doing a nudescene.2) I wear a retainer.3) I met my husband-to-be in a graveyard.

Selected Credits:Rookie Blue, M.V.P.,Across the River to Motor City

Evan WilliamsWhat drives you to perform?An acting teacher told me once that it is the actorsquest to ‘expose their savage heart.’ I lovedhearing that. Great actors draw the audience inby opening up their hearts, their hopes, dreams,and deepest fears, for everyone to see. Thesacrifice makes the audience empathize and thestory becomes personal. The drive for me is infiguring out how to tell the stories better, deeper,clearer. It doesn’t matter if it’s a comedy or atragedy, big budget or low-budget. The storieswe share bring humanity together and teach usabout each other, that’s the point.

What project do youhave lined up next?Firstly, I'll be playing the role of Lloyd in theupcoming feature film Lloyd the Conqueror,which is set to begin filming in late Septem-ber in Calgary. Also, a horror film I shot a fewyears ago in Montreal entitled A Flesh Offeringwill be premiering in Toronto, on October 22nd,as part of the imagineNative Film + Media ArtsFestival.

Why do you work ACTRA?I work ACTRA because there is strength innumbers. Especially in a time when media ischanging, we’re stronger together than we areapart. We demand a certain quality in our work-place and wage, and in turn, we guaranteequality in our work. The alternative is a race to-ward whoever is willing to work for the leastwages, until eventually nobody can afford to liveas an actor, in which case the stories aren’t madeand everybody loses.

What are three random facts peoplewouldfind interestingaboutyou?1) I am the third of four siblings, all of whomhave brown eyes except me; green.2) I once had a job as Beemo the Bear at theToronto Raptors games.3) I’ve composed music for the piano, the guitar,a 12-piece orchestra (once), as well as variousforms of theatre, and have intentions of scoringfor movies in the future.

Selected Credits:Baxter, Degrassi: The Next Generation,The National Tree

Genelle WilliamsHow did you get into acting?I got into acting during high school. A supplyteacher, who happened to be with my presentagency, saw a musical that my drama teacher,Ms. Farmer, put on. I was lucky enough to havebeen apart of that musical. She saw me andthought that I should really pursue a career inacting. I gave her a photo of myself and the restis history!

What drives you to perform?I guess the reason that stands out the most arethe emotions that go through me every time I getthe chance to perform. From auditions, to actu-ally being on set everyday; the excitement,nervousness, eagerness, and knowing thatsomeone out there is going to appreciate andlove what I do. It’s just such a great feeling asmuch as it can be terrifying!

What is your proudestperforming moment?I believe my proudest performing moment wouldbe working on Doomstown. It was the first timewe had filmed anything like that in Canada and Iwas honoured to have been a part of it.

Why do you likeworking in Toronto?Besides the obvious reason that Toronto is myhome, I love working in Toronto because we haveone of the greatest cities in the world!! The menand women that make up our crews arephenomenal. I have yet to work on a set where Iwas unhappy to go to work. Toronto is the best!

Why do you work ACTRA?ACTRA is a union that genuinely cares andrespects their actors and industry. You alwaysfeel safe knowing you have them fighting behindyou. I couldn't imagine not working ACTRA. Its ascary thought!

Selected Credits:Warehouse 13, The Latest Buzz, The Line


“They were poised and confident and yes,it's a Canuck cliche, but they were all so nice!”

FALL 2010 9

Call them Generation - A (A for ACTRA) - a group of enthu-siastic, business savvy, young performers who want to beinvolved in shaping the future of their work and their industry.Issues like copyright, Canadian content, net neutrality andunion solidarity don't scare them. They want long, successfulcareers and recognize that the sooner they become familiarwith the business and politics of entertainment, from the offi-cials who set the policy to the producers who sign the cheques,the better prepared they'll be for the long haul.

But this new committee within ACTRA Toronto representseven more than that, as I learned by talking to the twomemberswho spearheaded this initiative,Eli Goree (Pure Pwnage,Da Kink in My Hair), who was recently elected to the ACTRAToronto council and Bryn McAuley (Franklin,Caillou).

"YEAA is a non-competitivemeeting place," says McAuley,"where ACTRA memberswho can play between 18and 27 can meet each otherand learn about the businessfrom performers with aproven track record." Goreeadds, "We look at YEAA asa catalyst for our careers, tomove them to the nextlevel."

With input from members,YEAA has been built aroundfour pillars to strengthen thecareer path for young perform-ers. The committee will pro-vide RESOURCES, championDIVERSITY, maintain anON-LINE PRESENCE and promoteSTAR POWER. Those mem-

berswho choose to attendYEAA sponsored functions can expecta focus on unity, community, diversity and publicity. "This is anopportunity for those who know a little to learn more and forthose who know a lot to share it with others," says Goree.

McAuley has been an ACTRA member since age six andrecognizes how the work of union members in years past hasbenefited her. "The changes made to how actors are treated onset and the very fact that I was 'forced' to put money away forretirement with AFBS are really positive things, yet someACTRAmembers don't knowwhy these things exist. We payour dues, it's our responsibility to be informed and that's partof what YEAA hopes to do."

Goree decided to become more involved after attending hisfirst ACTRA Toronto conference. "To be fair, I came tothe conference for a chance to meet the producer of Flashpoint,but when I saw all that was going on it sparked my interest. Iattended a council meeting and soon identified that the youthin ACTRA needed a stronger voice. Young people live on theedge of modern technology, and our industry is changing sorapidly in terms of technology andglobalization, now is the time foremerging actors to build a strongfoundation."

Both Goree and McAuley havebecome successful working actorsin their young careers and bothexpressed a desire to give back tothe union and the communitythat has been fighting for them forso long. "YEAA feels that helpingyoung actors to appreciate wherethey stand in the business and thedepth of experience that sur-rounds them will allow them toavoid pitfalls and steer towardvictory." says McAuley.

"It's our turn," says Goree. "Weinvite all young ACTRAmembersand apprentices who play 18 to 27to visit the YEAA page on theACTRA To r on t o web s i t e(www.actratoronto.com/members/committees/yeah.html)and encourage them to come out to our next event. ACTRA isyour union and we want to hear your voice."

With passionate advocates like McAuley and Goree gettingactively involved in ACTRA and working to meet the needsof their fellow performers, the future of our union and thedefense of the arts in Canada seems secure.

David Sparrow (Little Mosque on the Prairie,She's the Mayor) is the VP of MemberServices for ACTRA Toronto and sits on boththe Toronto and National councils. Davidsurvives this crazy business with theadages Trying is succeeding and Your resultsmay vary.

ACTRA says YEAA!to young performers.

The Young Emerging Actors Assembly.

Bryn McAuley

Eli Goree


HELLO, I WANT TO PLAYA GAME

Dyingto workby Chris Owens

You wake up in a large, grimy, disusedbathroom chained at the ankle to somepipes. On the other side of the room is aman you've never seen before. He too ischained. Between you lies a bloodycorpse, its head blown apart by a gun-shot wound. In your pocket you dis-cover a tiny audio tape and from thetape you learn that you must kill theother man by six o'clock or you'll loseyour family and be left to die. You'regiven a rusty hacksaw but it's not strongenough to cut through the chains. It isthen you realize the only way to escapeis to saw off your own foot.

This is the opening of Saw, the brain-child of Australian director James Wanand screenwriter Leigh Whannel. In2003, the two young film students flewto Los Angeles armed with a five minuteteaser which they used to pitch for a fea-ture. In the air on their way back to Ozthey were told they had a deal. The firstSawwas shot in 18 days in a large ware-house on a budget of one million dollars.It earned more than 100 times that at the

box office. Six sequels later, Saw is themost successful horror franchise inmovie history having earned more than$750,000,000 worldwide. Not tooshabby when you consider that the totalbudget for the first six films was lessthan fifty million.

The premise of the Saw movies is thatterminal cancer patient John Kramer,played by Tobin Bell, tests his victimsand awakens their fight to live by trap-ping them in games filled with physicaland psychological torture. His philoso-phy is that “those that don’t appreciatelife, don’t deserve life” and so in hismind he is empowering his victims,helping then learn to live. Kramer claimsnever to have murdered anyone because“the decisions they make are up tothem.” A small jigsaw piece is cut out ofeach victim who fails the test as asymbol that the subject was missingsomething, a vital piece of the humanpuzzle, the survival instinct. Hence, JohnKramer becomes known as Jigsaw.

All of the Saw sequels have been shotright here in Toronto so the franchisehas provided steady work and terror formany of our brethren. If you're in a Sawmovie and you hear the phrase: “Hello,I want to play a game,” you, my friend,are in big trouble. I guarantee there willbe no easy way out and the odds areyou will die a gruesome death.

The Saw films are all the more disturb-ing because the mechanical traps usedare real objects, not CGI. Accordingto writer Marcus Dunstan theywere designed to be safe for actorsbut to appear horrific and men-acing. “It’s built to functionthere on the day and it works,”he says. “So if there’s a scalp-ing chair - then there reallywas a chair with workinggears to grind and pullyour scalp back.”

So what about all those politeToronto actors forced to play adeadly game with the dreadedJigsaw? It must’ve been tortureto shoot, right? Let's hear fromsome of the victims:

Mpho Koaho – TimSaw III

His trap: Modelled somewhat on DaVinci's Vitruvian Man, Tim is standingupright, his arms and legs spread andencased in metal, his head held in a steelcage. The framing is hooked up to allsorts of pulleys and toothy cogs. Themachine is designed to slowly twist hislimbs and neck, one by one until theybreak.The reality:Mpho was in the contrap-tion for five days.The result: “I would do it again in aheartbeat. One of the most memorableexperiences I'll ever have on a showbecause I'll probably never get an op-portunity to do something quite like thatagain. The crew were there for me forwhatever I needed. It was fun!”

Debra Lynne McCabe - DanicaSaw III

Her trap: Danica is chained naked be-tween two poles with her arms aboveher head in a large meat locker whereice-cold water is sprayed on her at ran-dom intervals. Before she can be saved,she freezes solid and dies.The reality: It took two days to shoot.With Debra’s permission they actuallyused cold water because it worked bet-ter with the dry ice to create the effectof frozen mist.The result: “It was the freest peak I'veever allowed myself to reach as an actor.It was a crazily beautiful experience andI'm actually very grateful for it.”

Barry Flatman -Judge HaldenSaw III

His trap: The Judge is chained by histhroat to the floor of an abattoir while itis filled with maggoty rotten evisceratedhog guts.The reality: “I'm chained to a plate onthe cement floor of a deep vat whilethey spew latex body parts, slime andglycerine over me for fourteen hours andI scream at the top of my lungs.”The result: “Probably the hardest phys-ical day of my career and I was veryproud to keep focus and get through that.I loved it. The cast and crewwere fantas-tic. These were committed people.”

FALL 2010 11

“I would do it again in aheartbeat. One of the mostmemorable experiences I'll everhave on a show”- Mpho Koaho – Tim (Saw III)

Photo: Steve Wilkie, courtesy of Twisted Pictures


Saw is the most successfulhorror franchise in moviehistory having earned morethan $750,000,000 worldwide.

Peter Outerbridge –William Easton (Saw VI)

Noam Jenkins - Michael (Saw II) Billy Otis - Cecil Adams (Saw IV)

AllPhotos:SteveWilkie,courtesyofTwistedPictures

Billy Otis - Cecil AdamsSaw IV

The trap: Cecil is strapped to a chairwith blades that cut deeply into hiswrists if he struggles. The only way torelease the straps is to push his facethrough eight razor-sharp hinged knives.With the knives slicing into his face, thetrap collapses, freeing Cecil who blindlylunges at the sidestepping Jigsaw andfalls into a tangle of razor wire where heflails until he is dead.The reality: It took two days to filmthe scene and because it was better forthe camera, Billy had to make his lastdesperate lunge with his weaker hand.“I said to myself, ‘I'm going to see if I canbring some humour to this, make itfunny' and sure enough when my palssaw it in New York they said 'when youcharged him and fell, you cracked up thewhole theatre.’”Fun fact: Drug addict Cecil Adams wasJigsaw's first victim.

Noam Jenkins - MichaelSaw II

The trap:Michael awakens to find twohalves of a spike-filled helmet lockedaround his neck. A videotape informshim that the key to the trap has been im-planted behind his right eyeball. Fortu-nately, a rusty scalpel is within reach.The gag: “Does the guy have the co-jones to cut out his own eye to savehimself?”The fans: “We were in the Saw signingroom at a bizarre convention near Philly.They supplied me with an array of pho-tos of myself in different torturous posi-tions with blood and goo all over me. Isat with a bunch of other Saw guys - itwas basically victim’s row with all ourtortured photos in front of ourselves. Butthe thing is, they had the trap that Iwore in the scene and you could getyour photo taken in the trap for a fee, ifthat’s what you were into.”

Greg Bryk - MallickSaw V

The trap: After enduring several deadlytraps, two survivors enter the final roomof a house to discover a machine fittedwith circular saws. Inside the machine isa beaker. To open the door, they mustfill the beaker with ten pints of theirown blood.The reality: “When they built the trapthere were three operational saws andtwo dummy blades. When the machinegot going you really wanted to makesure you stuck your hand in the rightone.”Motivation: “You’re watching peopledie all around you, it’s human nature to

freak out. You’re always 30 secondsaway from death in that movie.”I’d rather be sailing: “I had a greattime but I don't like scary movies - I sawTexas Chainsaw Massacre and that didme in for about a decade.”

Naomi Snieckus - NinaSaw 3D

The trap: Nina has a key in her stom-ach attached to a string. It must be re-moved in order to free her but if shescreams a machine is set off that piercesher throat.The reality: “For two days I wasstrapped to a chair. The crew wasamazing. The Saw family really lookedafter us. I'm not into horror films but asan actress you think: when else am Igoing to get to do something like this?”The departure: “I'm a Second City galand I have my own improv company,The National Theatre of the World, butinstead of trying to make it funnier, thiswas about seeing how gross and bloodywe can make it.”The spice of life: “I was doing a voicefor a children’s show called Franklin theTurtle and I printed my sides out on re-cycled paper. On one side I had the dia-logue for Aunt Turtle and on the other Ihad the script from Saw 3D. My life is sodiverse, I love it!”

Peter Outerbridge – William EastonSaw VI

A true fan: “All through the 80's, andwhen I was in theatre school, my guiltypleasure was slasher flicks. When I washired to do Saw, I watched them all backto back in one day. It was like a wave ofagony and blood and wincing. I felt overthe moon to be part of that dark magic.”Watch closely: “The entire Saw fran-chise is interwoven and through theflashbacks you see that all of the clueswere there. The writers have very clev-erly shown that if you're paying atten-tion you're going to get it. It’s a brilliantfranchise for the horror industry.”The method: “We shot all the trapstuff chronologically. It was physicallyexhausting but it’s an actor’s dream be-cause your motivation is so clear.”Three strikes: “The reason the serieshas been so successful is because ofTobin Bell. He’s a journeyman actor whoapproaches everything as if it's impor-tant. His voice drops an octave whenhe’s playing Jigsaw. I asked if he everuses it and he said, ‘Only on my kids’ lit-tle league team if they’re losing...”

FALL 2010 13

A big splash: “More blood is spilled in a Sawfilm than the human body actually has.”A winning formula: “Culturally there is a fan-tastic tradition in scaring people. People like tobe scared. They love being scared in safety.”

As fate would have it, I was part of a loop troopdoing background voice for Saw 3D.

There I sat on the floor of a screening room at10am, coffee in hand, watching a table saw cut awoman in half over and over again. Now, truthbe told, I’m not a horror fan, but here I was beingasked to bear witness and react to what I wasseeing. The extreme situation demanded that westep out of our comfort zone to vocalize our re-actions. In the end, I think we were proud to dis-cover what we were capable of doing.

In speaking with actors about working on Saw,it was intriguing how each felt empowered bythe experience. To face a fictional death and riseto the physical and emotional challenge requiredtook courage and commitment. I guess the jokeis on Jigsaw: for Toronto performers the invita-tion to ‘play a game’ may be just what we’relooking for.

Chris Owens is the editorof Performers Magazine.He is currently working onthat screenplay. And lookingforward to hockey season.

The Jigsaw puppet Photo: Steve Wilkie, courtesy of Twisted Pictures


There-invention

of TorontoYou’re shooting a-what

WHERE now?by Paul Constable

Back at the turn of the 21st century, if you were to talk to aworking actor in the city of Toronto, chances were they wereshooting a Movie of the Week, or a MOW as they are moreaffectionately known. However, by 2003, thanks to a risingCanadian dollar, tougher security measures, an outbreak of SARSand other unforeseen circumstances, more and more foreignproduction companies were looking elsewhere to set up shop.Things were looking bleak. A strike in 2007 did not make anyonefeel there was much hope for the industry.

And yet, slowly but surely, changes started to happen. Amodern,state of the art studio, known first as FilmPort before finallybeing reborn as Pinewood Toronto, was built and started toattract attention. Tax credits were overhauled and made moreattractive (at least, as attractive as you can make something calleda tax credit). FilmOntario, a privately funded industry wideconsortium, was created to help market the province abroad andlobby local governments for important industry friendly changes.And, Toronto residents elected a mayor who supported andpromoted the arts.

Because of all this we now have more television shows shootingin and around Toronto than any other time in recent history. Wehave gone from being an industry that relied on foreign producedMOWs to come in and give us work, to one that has seen anexplosion of domestic series in production.

FALL 2010 15

TVINTOMissy Peregrym, as rookie cop Andy McNally on Rookie Blue,mistakenly arrests undercover officer Ben Bass.© 2010 7093438 Canada Inc. All rights reserved.

This is not something to be taken lightly. As Kevin Costnerfound out in the late eighties, “if you build it, they will come.”One successful show attracts another, like moths to a flame,or actors to a free lunch. By building a strong industry wherecompanies feel like they can hire talented actors and techni-cians and come out with a successful end product, it is in-evitable that other companies will follow suit.

Two such shows are feeling this effect. Rookie Blue, which firstaired in late June, was picked up for a second season after onlythree episodes. Another show, She’s the Mayor, is slated to hitthe airwaves this fall and already has enough industry buzzthat people feel a second helping is on the menu.

Rookie Blue is a joint venture between Canwest BroadcastingSystem and ABC. In February of 2009 Canwest ordered 13episodes of the series, then called Copper, and productionbegan in July of that same year. The show was co-created byMorwyn Brebner, Ellen Vanstone and Tassie Cameronand it follows the lives of rookie police officers fresh out of thetraining academy.

Vanstone, co-creator and co-executive producer, explains whythey chose to shoot the show in our city. “The show was cre-ated in Toronto, and ordered by Canwest Global here, so itmade sense. Another big reason for us to stay put is that we re-searched the show with a number of local police officers, andhave developed an ongoing, invaluable relationship withthem. Their help is crucial in grounding our dramatic stories inthe reality of policing in Toronto. Add to that a slew of excel-lent local writers, crew and Canadian cast, and it doesn't makesense to go anywhere else.”

Vanstone went on to rave about shooting in Toronto, the thrillshe receives from seeing “the CN tower in our aerial shots...hearing real street names like Bloor, Jarvis, Gerrard, and soforth.” She added that, “shooting Rookie Blue in Toronto hasbeen a colossally positive experience. We are so proud of our

city and the people who live here. We are incredibly lucky tolive in such a great town.”

When asked why other producers should think of bringingtheir productions to our city, she was very concise in her re-sponse. “The more people shoot here, the more every pro-duction will benefit from experienced professionals...both infront of and behind the camera.”

She’s the Mayor is the brainchild of Min Sook Lee, JenniferHolness and Sudz Sutherland. Lee was working on a docu-mentary about Toronto mayor David Miller’s first days in of-fice, Hogtown: The Politics of Policing, when the idea for a sitcomabout similar events came to her. She teamed up with Holnessand Sudz to help flesh out her ideas and a TV show was born.

The show stars Janet Laine-Greenwho plays the newmayorof Fairfax, a mid-sized town that has fallen on hard times. Sheis joined by Scott Wentworth, Tonya Lee Williams andColin Mochrie to help round out an all-star cast. The interiorscenes were shot at Downsview Park Film Studios, with exte-rior shots being filmed in and around Hamilton.

The show will run on VisionTV, which held an open call fordramedy series proposals, looking to reflect Canada’s diversityand appeal to their core demographic of female viewers aged50-plus. From the 280 submissions received, Mayor was theone they chose to develop further.Having strong, older female characters was important to theshow's producers. “TV is not kind to older women. Too muchof it caters to Britney Spears or preteen vamps,” Lee said. “(Themayor) is someone who has guts, a brain —some balls. Shecan mix things up.”

Playing the part of Scott, assistant to the mayor, is none otherthan Colin Mochrie, an actor who has experience working onboth sides of the border. He was full of praise for working inthe city he calls home. “Besides the convenience of shooting in


The cast of She’s the Mayor(L - R: Colin Mochrie, Joseph Motiki, Denis Akyama, Janet-Laine Green,Tonya Lee Williams, Scott Wentworth.) Photo: Ben Mark Holzberg.

the city where I live, I love being exposed to the talent we havehere on both sides of the camera. Whether it was the maincast, the day players or the crew, everyone brought 100% tothe production in talent and commitment. It’s nice to be re-minded of what we have here.”

He went on to talk about changes he has seen regarding pro-ductions shooting in Toronto over the last decade. “I do enjoythe fact that we seem to no longer make a big deal of shootingToronto as Toronto, as opposed to making it Chicago, NewYork or whatever. Of course we can still impersonate US cites,but when movies such as Chloe or shows such as Flashpointmake the city a character in their productions, I love it.”

For him, shooting on She’s the Mayor was an incredibly re-warding experience. “The entire process was positive, but es-pecially working with the cast and crew. Most of the cast I’dnever worked with before and to a person they were a joy.”

When pressed about how to let others know of how great it isto work in this city, Mochrie had this to offer. “There is a lotto be gained, whether you are a new restaurant, a fringe playor a production centre, by generating good word of mouth.People tend to follow the recommendations of those whoseopinions they trust. Getting the reactions of productions thathave shot here out to their peers could generate a positiveword of mouth that would have folks clamouring to film inToronto.” As a final thought, Mochrie adds, “We should alsodevalue our dollar and offer an unlimited supply of Tim Hor-ton gift certificates.”

While it is good news that lots of TV series are being shot inToronto, the question still remains, is it enough? The harshtruth is that Canadian television companies still spend more

money on foreign programs than they do on home-grown ven-tures. And while certain governments have stepped up tomake it more attractive to film in and around the GreaterToronto Area, more could still be done. The federal govern-ment trimmed $60 million to various arts programs, and yetwas able to find over a billion dollars to spend on securitymeasures for a weekend summit in Toronto.

Series shooting in Toronto can be successful. Flashpoint andRookie Blue have found their own audiences south of the bor-der. Little Mosque has received international attention and ac-colades.

It’s time for us to ask ourselves ‘How do we as actors want tosee Toronto?’ As a place where you can pick up two or threelines in a movie of the week, or where you can be seen weekin and week out in an original series?

We have the talent, we have the experience, and we have thefacilities. Let’s let the world know about it.

What’s shooting in TorontoFlashpoint • Sheʼs the Mayor • The BorderBeing Erica • The Listener • Warehouse 13Degrassi: TNG • Little Mosque on the PrairieMurdoch Mysteries • Rookie Blue • The Ron James ShowDan for Mayor • The Line • The Bridge

Paul Constable plays the role of Stanley onShe's the Mayor. This past year he has beenseen in Dan for Mayor, The Ron James Show,Connor Undercover and Little Mosque on thePrairie. He is co-chairman of the ACTRAToronto conference committee.

FALL 2010 17

TVINTO

Q: What are someof the upgradesthat a BackgroundPerformer can get?A: There are severaldifferent types of up-grade. A BackgroundPerformer could be up-graded to Special Skill,Group Dancer, Actoror Risk Performance,to name a few. If aBackground Performeris choreographed in adance, they should beupgraded to a Dancercategory. An upgradeto Special Skill does

not qualify as a credit toward membership because it is still abackground category. Some examples in the IPA of a specialskill are waterskiing, driving a boat, driving a vehicle requiringa chauffeur’s license, and any sport. Sometimes a BackgroundPerformer will be offered an upgrade to Special Skill, thoughthe work they are being asked to do is not considered a specialskill. This kind of offer is really an above-minimum offerwhich is equivalent to the rate of a Special Skill backgroundperformer. It might be offered by the production, for example,to acknowledge an exceptional background performancewhich falls short of an upgrade.

Q: How are travel times determined?A: The IPA allows ACTRA and each production to come to anagreement on a standard travel time between cities. The travel

time between Hamilton and Toronto is usually 45minutes each way. To determine a travel time to

other cities, an online mapping tool is used. Youshould be aware that the travel time does notaccount for traffic conditions.

Q: What should I say when I’m asked to do somethingphysically risky?A: Ask to speak to the Stunt Coordinator. If you are concernedthat you could be hurt or that you don’t have the skill to dothe action safely, no amount of money is worth sustaining aserious injury to your instrument, your body. You can say, “I’msorry, I’m not comfortable doing that”. If the action issomething you feel you can execute safely, and it’s somethingthat would otherwise be performed by a Stunt Performer, theIPA says that you should negotiate an additional fee, which isnot less than the rate paid to a Stunt Performer. In this case, itis called a Risk Performance. You might say, “I think I could dothat safely, but I’ll need to get an additional Risk Performancecontract.” For example, when you are squibbed (rigged with asmall explosive device), an additional Risk Performance con-tract is required.

Q: My friend wants to cast me asthe lead of his low-budget movie but hedoesn’t have the money to pay me. Can I do it?

A: Every time youagree to work for nomoney, you break thepromise you made toyourunion, thepromiseyoumadetoyourfellowperformers and youunderminethesacrifices

made by all those who came before you. ACTRA performersare professionals, not hobbyists and deserve to be fairly com-pensated for their work. You might be told that you will berecompensed in fame or promotion. But we don’t know of anylandlords who take the rent in fame. Ask your friend to call usand we’ll talk to him about our low-budget agreements.

Ask a steward welcomes all yourquestions. Please email them [email protected].

Karen Woolridge is a steward in the IPAdepartment. She can be found [email protected].

FYI—

AskAnIPAStew

ard


Ask an IPA stewardMaking sense of life on setby Karen Woolridge

FYI—

ACTRATorontoN

ewMem

bers

FALL 2010 19

Heather Marie AnnisLaurence AnthonyAndre AnthonyGeoffrey AntoineLuke AquilinaJ. P. BaldwinShanice BantonSam BarringerTanya BevanLina BlaisJonathan BrassAbayomi 8.0.1.7.3.5 BroomesStacy-Ann BuchananRemy BusettoAura CarcuevaCyndi CarletonBrendan CarmodyScott CavalheiroGraham ChittendenDevan CohenBrendan CoxCamille A Cresencia-MillsLori CullenShannon CurrieMelissa D'AgostinoKirsten Dahlin NolanTimothy DaugulisRichard R DavisNoa May Dorn

Megan DunlopScott EdgecombeAli EisnerEvrenElla FarlingerJohn FiliciNadia FosterDail P FoyerScott FreethyAngela FroeseDarrel GamotinGil GarrattAjay GautamRiley GilchristCorey GorewiczBrooks GrayEvert HoustonJordan ImrayAmy IsnorStephan JamesGalen JohnsonTerry JonesKaya Joubert-JohnsonJames KarrelValeri KayDaniel E KellyQasim KhanSarah KitzEmily Klassen

Sanford KongTroy LebaneRyan J LindsayMichael LomendaBrandon LudwigConrad LukaneDaniel LupetinaMatt MacdonaldAlex MandelTina MannBrittany MccannJordan MccloskeyAlex MccooeyeDanielle MeierhenryKaelan MeunierRebekah MiskinKristina MiyasakiEmilie MoverMatt R MurphyJack MurraySteve NewburnRobyn NewmanEdelyn OkanoBeth OotesAlex PerronDarryl PintoNykeem ProvoBrendan QuinnSabrina Rahaman

Victoria RobertsonDonovan RoossienMarley RoozNatalie RoyIrene Carl SankoffTee SchneiderMarika SchwandtHarnoor SekhonGenny SermoniaCaesar SinclairScott SmithPatrick B SmithSusannah SpearinPeter StacySimone Gabrielle SteaneKatie StrainKarissa StrainSarah SurhMitra SuriSarah SwiftTroy TaylorKendra TimminsAdam TomlinsonMichael TorontowDavid TsangBradley Van RooiCarlos VarelaLinden Valdimar VopnfjordOlivia Yung

Welcomenew members!

INMem

oriam


In Memoriam We share our sadness at the passingof our beloved colleagues

Kathryn Albertson • Michael DuhigRobert Aemilius Jarvis • Patricia LeeWilliam George Meek • Billie MurrayAnn Francis Oakes • Sheila ShottonPalmyra M Williams • Slava Ziemelyte

Maureen Forrester1930 – 2010

Here’s what she taught me; that success is basedon whether or not an engager asks you back.That there’s no sense getting a swelled head, be-cause there’s always someone coming behindyou who is equally if not more compelling,which was not true in regard to her own ex-traordinary talent. That to feel lucky is to belucky. And that regret is for the birds. She alsotaught my sibs and I never to look at the rightside of the menu. Order what you want. If youdon’t like it, you don’t have to finish it.

We never lived in a home more than three years,because once mom had applied the hardwood,installed the cabinetry and grass papered the li-brary it was time to move again. And again, therewas tearful genuflecting from grateful landlordswho had barely tolerated five screaming kids anda tightly wound violinist husband, 18 years hersenior. Because, as ‘Scotty’ the mover would packup the last box of Baccarat crystal, those Rosedaledoors would close behind an aesthetic so elegant,warm as it was regal, that one could only hope tobehold from a twelve dollar magazine.

There were always friends, some of whomwouldcoordinate their vacation plans aroundmom’s per-forming schedule. They didn’t just love her. Theydevoured herwith adoration. And she gave it back.Parties full of food and drink and parlour games.Theatrical characters, bigger than life. Flamboyantartists, who threw their heads back with laughterandwhose show tunes around the piano blew theroof off till the wee hours.

I loved my mom with a private devotion. I trulythought she was perfect. I miss her with an achethat I know now has shaped my entire creativelife. I mother my children and love my partner,family and friends using all the skills I emulate,while compensating for those she was incapableof teaching. Her only flaw, in retrospect, was herinability to ask for help, to show weakness andadmit despair. These are human traits we all feel.But she came from a generation of ‘cope-ers’.“Carry on bravely” was a phrase I often heard.And so, regrettably, she muddled through hardertimes behind closed doors and shared her painwith Mahler alone.

Her illness over the last decade and a half is muchtoo hard to describe right now. Ironically her de-mentia became my most influential teacher. Thecontrast in persona was so unbearably great, socruelly unfair. So I prefer to skip that chapter andrelish in a time when music, laughter, and feath-ery couture was the order of the day. When lifewas celebrated in all its craziness and grandeur.When my underwear was ironed and Santa out-did herself year after year. I remember mom thenfor now and I am a very lucky girl.Linda Kash

Gerry Salsberg1949 - 2010

Gerry Salsberg was a wonderful person, belovedby all his colleagues in the film and acting com-munity. Everyone who knew him felt he was agood friend, a great actor and a sensitive friend. Iremember seeing him as Tevye in Fiddler on theRoof at the Leah Posluns Theatre. His perform-ance was great, expansive and very generous.People still remember him fromGodspell and Sec-ond City. His resume is impressive. He was a re-markable comedy talent.

But most of all we remember howmuch he lovedlife, loved to laugh, loved people and how heloved his kids. Gerry had many trials in his life,but always faced them with courage.

If you visit the Steeles Memorial Chapel condo-lences page you will be bowled over at the vol-ume of loving tributes to Gerry. Like everyone, Iloved Gerry and I will miss him and his laugh.Jack Newman

Tracey Wright1959 - 2010

Walking throughCentral Parkwith Tracy a few years agowe got a little lost and while we were trying to get our-selves back on the right track Tracy saidwith impeccabletiming and a perfectly bratty tone, "Nice park." Shemademe gut laugh.

Tracey’s humour and intelligence shone through inboth stage and screen with an acting style that wastruly unique. Her choices as an actress were never pre-dictable and she had a relaxed confidence onstage, com-bined with an electricity that felt like she could takeyou anywhere. This was evident in her powerful cre-ations with the Augusta Company, which she foundedwith Daniel Brooks and her future husband, DonMcKellar, as well as many other productions includ-ingDaniel MacIvor's A Beautiful View, in which I washonoured to be her co-star.

Her magnetic performances in films like, Last Night,Meand You and Everyone We Know and Monkey Warfareshowed she was the kind of actress who made you un-able to imagine anyone else in the role.

Tracey was a formidable force and the commitment sheapplied to her work extended to any endeavour shepursued, from learning to speak French, as well as signlanguage, to acquiring her black belt in Tae Kwon Do.She wasn't shy about her opinions and would at timestake you on a glorious 'rant' (her word) about some in-justice that would often leave you weak with laughter.

Above all though Tracy was kind and caring and deeplyloyal to the people she loved. She was always there foryou through the good days and the bad, and in times oftrouble she would walk right into the eye of the stormwith you. Even through her own illness her first in-stincts were always to make sure that everyone elsewas alright. A truly generous spirit.

During The Lorca Play some years ago, Tracy's charac-ter threw herself against the wall in an inspired bit ofchoreography that she came up with, and in the finalperformance she actually broke through the wall whenshe hit it, leaving an indelible imprint of Tracy Wrightbehind. Anyone who knew her bears this imprint.Doll, you will be missed by all who loved you.Caroline Gillis

FALL 2010 21

We were both close friends ofMaury Chaykin, having methim five years apart but in sim-ilar circumstances – on a filmset on location away fromhome. We quickly learned thatMaury loved to do three things:eat, laugh, and work. If hecould eat in a scene while mak-

ing people laugh, he was ecstatic. We could relate, and ended up spend-ing many hours eating, laughing and working together. Working withMaury was always exciting, because no matter howmany times you re-hearsed, you never knew how he would play it on the day.

People would recognize him wherever he went and although he alwaysgot a kick out of it, he would humbly try to play it down. The worstthing a stranger could say to himwas “What have I seen you in?” Ratherthan having to recite his resume, he thought it was their responsibilityto figure it out. His sense of humour and fun was immeasurable. He wassometimes dark, but always funny. He had a sensitive, innocent qualitythat made him vulnerable and accessible both on and off camera.

He loved spending time with good friends and family, and enjoyed hear-ing about the lives of his nieces and nephews as well as our own kids andwhat they were up to. It wasn’t until he and Susannah had their owndaughter, Rosie, that he was finally able to experience the joy of being afather for himself.

Maury was a man of many roles, embodying a variety of memorablecharacters in his long and illustrious career. He leaves behind his im-pressive body of work as his legacy for his daughter Rosie, and theknowledge that the role of father to her was his greatest achievement.

An amazing talent and a wonderful friend, we miss you buddy.Jeff Pustil & Jason Blicker

Maury Chaykin1949 - 2010

BlueFor Tracy and Mauryby Daniel MacIvor

A roomwith no walls or ceiling or floor. It seems to besurrounded by sky. But it may be something else. It isblue. TracyWright is sitting, waiting. Maury Chaykinenters. He says, “Oh hi, how are you?” Tracy shrugsand smiles. Maury says, “Oh yes, I guess that’s astrange question, considering.” Tracy says, “I’m good,I’m fine.“ Maury asks, “What are you doing?” Tracysays, “Waiting”. Maury asks, “How long have youbeen waiting?” Tracy says, “A month or so.” Maurywrinkles his face. Tracy says, “But it’s actually fine. It’sgood.” Maury asks, “Do you knowwhat you’re wait-ing for exactly?” Tracy says, “Reassignment.” Mauryasks, “Who chooses?” Tracy says, “We do. We alldo.” Maury asks, “What are you going tochoose?” Tracy says, “I was thinking maybe a house-fly. Or a moth. Something that doesn’t have a hugetime commitment.“ She looks at Maury, he is consid-ering something. Tracy asks him, “What will youchoose?” Maury says, “Perhaps a tulip. Can I choosethat?” Tracy says, “Oh yeah, or the scent of a tulip, ona particular day, to a particular person.” Maury is in-trigued, “Really?” he says. He thinks a moment. “Ormaybe …” he continues “… two lips. A kiss. Ormaybe something said. A word. A good word.” Tracylikes this, “Nice one”, she says. They sit quietly a mo-ment, thinking. Maury looks away at the blue thatmight be sky, he looks back at Tracy. “I always likedyou” he says. Tracy looks at Maury, “I always likedyou too.” Maury says, “I saw you a lot in that crazymovie they played all the time on TV.” Tracy smiles“Oh yeah, on Showcase.” Maury says “Yeah, thatmovie was crazy. But in a good way.” Tracysmiles. After a moment she looks at Maury and says“I always had a soft spot forMyCousin Vinny.” Maurynods “Me too.” They smile and look off at what mightbe sky. Maury says “This is was. Right?” Tracy says“I guess so.” Maury looks off at the blue. He asksTracy “Is that sky?” She says “I think it might beocean.” Maury looks carefully at the blue, “Or maybeit's just blue.” he says. Tracy says "Was blue". Maurylaughs. Tracy smiles.

2009 – 2010 audited financialstatements now available onlineWe were only $17K off our targeted budget! On the incomeside rising domestic film and television production and a solidlevel of commercial production kept us afloat. Investment in-come projections were not met due to low market returnsand some capital losses. We were able to control most ex-penses except for legal costs and finish the year with an op-erating deficit of $260,258, compared to a budgeted operatingdeficit of $243,592.

Industry revenue is up by a total of $566 thousand includingsignificant increases in work dues, permit revenue, and adminfees. Investment income is down by a total of $391 thousanddue to lower returns on bonds and capital losses on securi-ties of $114 thousand. Total revenue is up by $175 thousandcompared to budget.

Salaries across all departments are up by a total of $81K dueto year-end vacation accruals. This liability will be reducedas staff use up their vacation days. We had an increased levelof legal activity last year resulting in an increase in legal feesof $75K. Total expenses are up by $192K compared to budget.

We are now required to adjust our investments to marketvalue at year end. The unrealized paper gains resulting froma rising market show up as a mark-up of $684,992 creating atotal net gain of $424,734.

Should you have any questions or would like further information about ourfinancials contact Austin Schatz, ACTRA Toronto’s Vice President ofFinance, at [email protected].

You can also visit www.actratoronto.com to view ACTRA Toronto'sAuditors Report and the Audited Financial Statements for the fiscal yearending February 28, 2010.

American studiossee local diversityIn August representatives from all four major American broad-casters set up shop in Toronto for two days to hold an open-ing casting call. What set this casting call apart was that thebroadcasters were specifically seeking actors from ethnicallydiverse groups, including but not limited to aboriginal per-formers, culturally diverse actors and other peoples of colour.Performers with physical disabilities were also sought out. Thecasting call was designed to add diverse, new faces to potentialproductions which might shoot in Toronto as well as expandthe local film and television talent pool. The response to thecasting call was overwhelming. Armed with their resumes,headshots and demo reels, performers lined up as early as 3:30am in order to ensure they would be seen by the Americancasting representatives. Although the preference was to receivedemo reels, over 100 actors who did not have reels were calledback in the afternoon for an on camera audition. Although thecasting call was organized by the broadcasters, members of theACTRA Toronto diversity committee were on hand to helpsuccessfully facilitate the event, ensuring that upwards of 500people were seen over the course of the call. The large turnoutand the depth and breadth of Toronto’s diverse talent base seenby the US networks made the event a huge success, drawingfront page press and an impressive amount of televised newscoverage.

For more information about diversity issues contact Jani Lauzon, theACTRA Toronto Diversity Chair, at [email protected]. Actorsfrom diverse communities are also encouraged to register for ACTRAToronto's diversity talent directory located at www.castingdiversity.ca.

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ACTRA Toronto members line up for the NBC open casting call, searchingfor ethnically and physically diverse performers.

Photo: Janesse Leung

FALL 2010 23

TIP at TIFFOnce again, Toronto Indie Production (TIP) made a splash atthe 2010 Toronto International Film Festival (TIFF) line-up.This year three TIP shorts and one feature were showcased inthe 35th anniversary of this world renowned festival. You AreHere, the successful feature entrant, is comprised of intercon-nected mini-narratives where the film’s characters are trappedin bizarre social experiments of their own making. While thisyear’s short film entrants, Above the Knee, The Old Way and, TheCamera and Christopher Merk come from a trio of skilled direc-tors who have all seen their previous productions on TIFFscreens before. Equally as important as the number of TIP pro-ductions that played at TIFF this year is the number of pro-ductions attached to former TIP alumnae featured in many ofthe festival offerings. It’s clear ACTRAmembers’ investment inthe Toronto independent filmmaking scene is paying signifi-cant dividends. The fact is that over 25% of the 100 featuresproduced in the TIP program have been shown in limited the-atrical release. This speaks highly to the quality of the TIP fea-tures made in the past 8 years.

For more information on TIP check outwww.actratoronto.com/produce/TIP.htmlor contact TIP coordinator Tasso Lakas at [email protected].

TAWC has legsThe Toronto ACTRA Women’s Committee (TAWC) was re-constituted two years ago. The committee generated a spec-tacular launch, kicking off the 2009 February conference, andcontinued with ‘gender-bender’ casting workshops and TheWomen Fully Clothed directing sessions with Gail Harvey. Atthe Women in the Directors Chair session members expressedtheir desire for TAWC to step up to their wo-mandatecommitment to female performers with a TAWC studio, aplace to work out, meet each other and share our work anddreams. Our wildly successful inaugural TAWC studio salondebuted on June 8th. The ACTRA Toronto boardroom wasfilled to overflowing with talented and willing participants in-cludingWendy Crewson, ACTRA national president, FerneDowney, ACTRA Toronto president Heather Allin andTAWC co-chairs Cayle Chernin and Tabby Johnson. Authorspresented original scenes and the cold reads sizzled. A followup evening with Gail Harvey happened in August.

Check out theTAWCFacebook page for details, photos and information aboutupcoming events.The TAWC studio salon continues by popular demand.

Cayle Chernin

Creative Arts, Growing StrongCreative Arts Savings & CreditUnion is on quite a roll. Member-ship continues to grow, and thecredit union’s assets are up to $14million – loans,mortgages and linesof credit, plus liquidity investmentsto protect members’ capital.

Part of the surge in interest comesfrom this year’s launch of an ex-citing new promotional cam-paign, featuring appetizing Offersof the Month such as No-FeeChequing and candid member

testimonials from Peter Keleghan and Adamo Ruggiero.New additions to the website are the Knowledge Bank, wheremember education pieces likeHow to Improve Your Credit Ratingare archived, along with Featured Product, which covers inno-vations like the Audition Loan to re-make your appearance andthe Artscape Loft Mortgage which enables qualifying artists topurchase municipally supported work/ living spaces in down-town Toronto.

For more information about what’s new atCreative Arts visit www.creativeartscu.comor contact the credit union directly at416.642.6749 or [email protected].

Some of the cast of The Camera and Christopher Merk,L – R, Alastair Love, Heather Ferguson and Lexa Edelstein.Photo courtesy of Film Forge Productions Inc.

Members of TAWC do a cold table read at arecent studio salon session.Photo: Lisa Mininni

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PurchaseRenew

RefinanceActorsHelpingActors

[email protected]

JohnAndrewRobinsonMortgage Agent

lic.# M08007880

ACTRA Member since 1985

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yourgoals

ACTRATorontoCouncilWho’sWho

Heather Allin [email protected] Pruner [email protected]

Ferne Downey [email protected] Schatz [email protected], ext. 6607

Theresa Tova [email protected], ext. 6605Art Hindle [email protected] Gale [email protected] Sparrow [email protected]

Wendy Crewson [email protected]

Cayle Chernin [email protected] Goree [email protected] Hardacre [email protected] Ivany [email protected] Jai [email protected] Johnson [email protected] Lamoreux [email protected] Lauzon [email protected] Lucescu [email protected] Mochrie [email protected] MacKenzie [email protected] Macniven [email protected] Nelles [email protected] Newman [email protected] Peterson [email protected] Robson [email protected]

Shereen Airth, Apprentice Chair [email protected], ext. 6621Jim Usatis, Additional Background Performer Chair [email protected] Johnson, Children’s Advocate [email protected] Lauzon, Diversity Chair [email protected], ext. 6618Eric Bryson, Stunt Committee Chair [email protected] Lawrence, Ombudsman [email protected], ext. 6604

Tel: 416-928-2278 or toll free [email protected] • www.actratoronto.com625 Church Street, Toronto, Ontario, M4Y 2G1

Judy Barefoot, Director, Tel: 416-642-6705Kelly Davis, Steward, Tel: 416-642-6707Cathy Wendt, Steward, Tel: 416-642-6714

Claudette Allen Tel: 416-642-6713

Terri Black, Examiner, Tel: 416-642-6744Lyn Franklin, Examiner, Tel: 416-642-6730Brenda Smith, Examiner, Tel: 416-642-6729

Tammy Boyer, Coordinator, Tel: 416-642-6739Tereza Olivero, Coordinator, Tel: 416-642-6731

Karl Pruner, Director, Tel: 416-644-1506Chris Faulkner, Public Relations Officer, Tel: 416-642-6710Janesse Leung, Public Relations Officer, Tel: 416-642-6747Norm MacAskill, Organizer, Tel: 416-642-6711Laura McKelvey, Organizer, Tel: 416-642-6728

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

Sue Milling, Director, Tel: 416-642-6719Indra Escobar, Senior Advisor, Tel: 416-642-6702Clare Johnson, Steward: IPA, Audio Code, Documentaries, Industrials, Reality TV, TIP,Tel: 416-642-6746Barbara Larose, Steward: IPA, Canadian Film Centre, Co-op, Student Films.Staff Liaison: Minors, Background Performers, Tel: 416-642-6712Noreen Murphy, Steward: IPA, Animation, Dubbing, Digital Media.Staff Liaison: Voice Performers, Tel: 416-642-6708Richard Todd, Steward: IPA, CBC, Global, NFB, TVO, Digital Media.Staff Liaison: Stunts, Tel: 416-642-6716Karen Woolridge, Steward: IPA, City-TV, CTV, VISION.Staff Liaison: Diversity, Puppeteers Tel: 416-642-6709

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

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

Contact: Membership Department Tel: 416-928-2278Karl Pruner, Director

ACTRATorontoPeopleYouShouldKnow

FALL 2010 25

ACTRATorontoStaff is here

for YOU.


CF:When we last spoke to you in 2005 you were getting readyto start shooting the sci-fi thriller Invasion. Since then you’vebeen working pretty steadily on both sides of the border. Thatmust give you a unique perspective on both the American andCanadian film and television industries, what’s your take onthe state of the Canadian industry?

KM: Well, I’m really excited about the success of some ofthe shows here like Flashpoint and Rookie Blue. There’s a lotof shows that Canadians are really excited about right now,not only in the industry, but outside of the industry. And Ithink that’s a beautiful progression. I don’t think that’shappened for a little while, to actually hear civilians talkingabout shows that are Canadian. The thing that I don’t like,at all, is that I feel that the actors are, for the most part,being treated appallingly, not only American shows but byCanadians ones too, by the level of pay they’re getting rightnow. In the old days, if you were paid for a day, it’s becauseyou only had a day on a show. Now I know they do it dayby day, even depending on your stature in the show, if youwork one day, they’ll only give you minimum. It just seemslike that’s the way it’s gone. Everybody is trying to get

more for less. And I see actors suffering for it and it reallyupsets me. I mean, I know people who work a lot and theyare having so much trouble making their rent or payingtheir mortgage. It’s really upsetting to me.

CF: Why did you decide to make a go of it down south?

KM: Well there’s a big part of me that just said ‘why not,let me try.’ Initially I came to Toronto for the same reasons,I’m from Saskatchewan and Alberta. For me, although it’sa different country, it’s not a different pursuit to go wherethe work is. It was really the same instinct, to get work.

CF: Let’s take a step back, how did you first become interestedin acting? What motivated you to follow this as a career path?

KM: I was always doing something creative. I was goingto be an artist. Then, I was going to be a dancer. Then, Iwas going to be a singer. I was going to be all those thingsthat kids often do. And then, when I was 12, I was ab-solutely obsessed with a book called The Outsiders by S.E.Hinton. I read it and read it and read it. I was really addicted

FALL 2010 27

KariMatchett

Q&A

I feel that the actors are, for the most part,being treated appallingly, not only by Americanshows but by Canadians ones too,by the level of pay they’re getting right now.

style

An interviewwith oneofCanada’s busiest actors

to how it made me feel. I cried and I laughed and I felt theinjustice of what they were going through. Then I pickedup a Teen Beat magazine and it said that Francis FordCoppala was making a movie about The Outsiders and I hadan epiphany. There was a click in the universe for me atthat moment. I just knew that I wanted to be an actor. Andthat was that. I never looked back

CF:What has been your favourite role to date?

KM: Well I loved playing my alien character in Invasion. Iloved the deep quiet internal conflict that was going on inthat character. I felt that they gave me lots of room to ex-plore that. Nobody rushed me through that process. And Ifeel like I got to do what I do best. And I had this greatopportunity, when I lived in Toronto, to do this series calledNero Wolfe with the late, great Maury Chaykin and TimHutton. I got the opportunity to play thirteen differentcharacters over two seasons.

CF: Do you have any remembrances of your time on set withMaury?

KM: Well Maury had this incredible deadpan delivery thatwas part of his genius. And I remember just watching himand studying him and thinking ‘how do you do that, wheredoes he get that strange sensibility to just pull things out ofthe ether, layered with all this truth and heart? How do youdo that?’ I remember just being enthralled and amazedwatching him. And you know, he would just always saylittle funny things. Or say nothing for an hour and come upwith little funny quips. And I’m horrible for rememberingexactly what they were, but they would just put me institches. Another thing I remember about Maury is how

much he loved Susannah and his daughter Rose. And Ithought that was just a beautiful thing.

CF: What are your passions outside of acting, do they in-fluence your work as an actor at all?

KM: I have done yoga for years and I feel like I would bea different human being, on all levels, if I didn’t do yoga.Yoga has put me in my body in a bigger way then I evercould be through any sport I ever did. Yoga just brings ahigher level of body awareness into my life. That absolutelyserves me as an actor. Because nerves are always part of thedeal, first day on set or going in for a meeting with some-body, or whatever. And learning how to control it to thebest of my ability is key and yoga has been really helpfulfor me with that, keeping me calm on all levels. I’m alsodoing this fight training right now. They teach it to theIsraeli army. It’s called krav maga. It sort of fell into my lapand I fell in love with it. That also really helps me in thecurrent role that I’m playing. She’s kind of bad ass, hard-core; deep in her soul. She used to be a CIA operative.There’s just kind of a steeliness deep in your being youneed in order to do that. And for some reason I feel thatkrav maga, on a psychological level, is giving that to me.

CF: Let’s talk a little about your most recent project, CovertAffairs, what’s it all about? What drew you to this show?

KM: Well, one of the huge things is that it was shootinghere. I thought it would be heaven to be able to shoot a se-ries in Toronto. So, that was huge. And, I hadn’t been a spybefore. I always wanted to be a spy.

CF: Do you get to do all sorts of James Bond-y type stuff?


Q&A

Try not to fall into the trap of doing whatyou imagine they want you to do in theaudition room. Really try to do what you feel isright for that character and what your take is on it.

KM: No, I don’t. I hoping next season will give me that.I’m more of an M in this series. It’s a cool role but I wouldlove to get out there and kick some ass.

CF: What one thing do you want new actors, that are juststarting out, to be aware of that you wish you had known?

KM: Try not to fall into the trap of doing what youimagine they want you to do in the audition room. Reallytry to do what you feel is right for that character and whatyour take is on it. Because I feel that’s all you really have asan actor. If you want to have a filling creative life allyou really have is what your original take is on thing. Andyou really have to trust that the right things will come toyou. But that’s easier said than done, especially if you workthrough a string of time when you fell like you’re notgetting work. I feel like the right work and the good workcomes when you do that.

Chris Faulkner is a Public Relations Officer atACTRA Toronto and the staf f wr i ter onP e r formers magazine. He plays ultimatefrisbee in Toronto. He can be reached [email protected].

KariMatchettSelected film and television credits

Covert AffairsCrashERHeartlandStudio 60 on the Sunset Strip24InvasionPlague City: SARS in TorontoBlue MurderA Nero Wolfe MysteryCube 2: HypercubePower Play

FALL 2010 29

Christopher Gorham and Kari Matchett asAuggie Anderson and Joan Campbell,on the set of Covert Affairs.Photo: Steve Wilkie/USA Network.

Kari Matchett and Peter Gallager play Joan and ArthurCampbell, key CIA operatives in the hit series Covert Affairs,which was recently renewed for a second season.Photo: Steve Wilkie/USA Network.


2010 ACTORS’ FUNDfilm & television charitychallenge underway!Get the charity challenge happening on your set! Thechallenge is an opportunity for members of the film andtelevision community to unlock their formidable creativ-ity and raise money for the Actors’ Fund of Canada.

Past events have ranged from collecting donations at awrap party to throwing a community barbeque or hold-ing an auction. Some of the more popular ideas havebeen to hold a 50/50 draw on set with half the proceedsgoing to the Actors’ Fund, encouraging cast and crew tosign up for the Reel Friends voluntary payroll donationplan or passing the hat on set.

Dream House, a feature starring Daniel Craig andRachelWeisz was the first production to join this year’schallenge, followed by the CTV series Flashpoint.

The Actors' Fund of Canadais the lifeline for Canada's entertainment industry.It’s not just for actors: both performers and thosewho work behind the scenes in film and television,theatre, music and dance can benefit.

Are you interested in…• Developing original stories for screen,

• Hands-on set experience, and

• Working with other creative individuals, in a

• Professional, yet safe learning environment?

Then why not participate in the upcoming session ofWomen in the Director’s chair (WIDC), run by the CreativeWomen’s Workshop Association. The deadline to apply tothe session as a performer has been extended toNovember 30, 2010.

Applications and criteria are available at:www.creativewomenworkshops.comor by emailing [email protected]

WOMENin the Director’s chair

For more ideas and updates on thechallenge please visit

actorsfund.ca/charitychallenge.

ACTRAToronto Fall member conference

Saturday,September 25, 2010

The ACTRA Toronto memberconferences have returned!

The focus of our September conferenceis Comedy. So laugh until your sides splitwith the casts of Dan for Mayor andConnor Undercover. Or attend theGreat Women of Improv session hostedby Linda Kash.

There’s something for everyone at themember conference, includingworkshops for parents and kids.

The conference will be held at the TedRogers School of Management, locatedjust west of Yonge and Dundas.

ACTRA Toronto Performers625 Church Street, 2nd floorToronto,ONM4Y 2G1

Canada Post CorporationPublication Mail Agreement No.

40070196

Printed in Canada

For more information, check outwww.actratoronto.com

Come see and hearDan For Mayor hit TV series co-stars Paul Bates, Fred Ewaniuck,Mary Ashton and Benjamin Ayres.... and so much more!

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