Social Security CardsRequired

If you use VITA services thiscoming season– bring yourSocial Security Card – or a

photocopy of it.You’ll need it in addition to your paid-up union card and a current photo ID. While we have requested these items in the past, we’ve made a few exceptions for those who seemed to struggle with this part of our IRS compliance. This year, however, we will no longer be able to assist taxpayers who do not present the three forms of valid ID: Paid-Up Union Card, Current Photo ID, and Social Security Card (or copy). This will be true, even if you have been assisted by a VITA program in the past. If you cannot locate your SS card, you may obtain another from the Social Security Administration by visiting an office or going on line towww.ssa.gov. These rules are the result of stricter enforcement of provisions of the Patriot Act, Homeland Security, the Privacy

Act, and many othergovernment measures designedto protect our identities,safeguard our personalinformation and prevent terroristactivities. And, until furthernotice, we will have to verifythese forms of identificationevery year at our VITA sites.

Your Forms Are On-Line!This season, with the help of

Equity’s IT and Communications Departments, the forms and worksheets (the IRS’s and ours) can be downloaded and completed from the privacy of your home! We’re on line with them in the hopes that you’ll save a trip (and for the out-of-towners – some postage and time!) and have things ready a little earlier. Just go to the Member Portal atwww.actorsequity.org/login/ and click on the VITA link.You’ll see instructions and the worksheets for the 2013 returns. Please take the time to read everything, follow the instructions and complete the forms before you

arrive to have your taxesprepared. If there is anythingconfusing, just call the office212-921-2548 during operatinghours and we’ll be happy to help.

What’s New?That there are changes to the

Code and new procedures to beimplemented for the filing ofyour taxes are the only thingsthat are not new. Every year, wegear up for the season with ourtraining and updates in thehopes that we can stay abreastof the whims of Congress andour myriad state taxingauthorities. This year, the

The 2014 Equity electionsare just around thecorner, and now is your

chance to step up and be a partof the action. Active memberslike you ensure that Actors’Equity continues to be a strongmember-driven union. Considerrunning for a seat on Council tohave a voice in representingyour fellow actors and stagemanagers!

16 Council Seats Open

Seats AvailableThere are a total of 16

Council seats open in thisyear’s election. In the EasternRegion Principal category thereare three seats for four-yearterms. Also in the East underthe Chorus category there arefour seats for four-year terms.There are two Eastern StageManager seats available thisyear, also with a term of fouryears. In the Central Region,there is one four-year Principalseat available. (There are noChorus or Stage Manager seatsavailable this year in the CentralRegion.) In the WesternRegion, there are four four-yearPrincipal seats, one one-yearPrincipal seat and one four-yearChorus seat. (There are noWestern Stage Manager seatsavailable this year.)

Candidate Qualifications

General Criteria: In order tobe eligible to run for and hold aseat on the Council, a membermust have been a member ingood standing for the two yearsprior to nomination, andcurrently be in good standing atthe time of the election.Candidates must be at least 18years old, and not be in aconflict of interest, or be underfine or suspension. Candidatesmust reside in the Region fromwhich they are seeking election,and must meet employmentcategory qualifications for theposition they seek.

Principal Councillor Criteria:In addition to meeting thegeneral criteria, a candidaterunning in the Principalcategory must be a member ingood standing who hasperformed Principal work underno less than two Equitycontracts or who has worked noless than one Equity contractperforming Principal work for noless than ten weeks.

Chorus Councillor Criteria: Inaddition to meeting the generalcriteria, a candidate running inthe Chorus category must be amember in good standing whohas performed Chorus workwithin five years preceding thenomination or appointment tooffice (for the 2014 election thisdate is June 1, 2009) providedthe member has not worked asa Principal performer for a totalof 52 weeks within two yearsprior to such nomination orappointment to office (for the2014 election, this date is June1, 2012).

Stage Manager CouncillorCriteria: In addition to meetingthe general criteria, a candidaterunning in the Stage Managercategory must be a member ingood standing who has workedas a Stage Manager five yearspreceding the nomination orappointment to office (for the2014 election this date is June1, 2009): (1) under Equitycontract for at least 30 weekssolely as a Stage Manager orAssistant Stage Manager; or (2)under no less than five Equitycontracts solely as a StageManager or Assistant StageManager.

Becoming a CouncillorAll nominations to hold a

seat on the Council shall be

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

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JANUARY/FEBRUARY2014

Volume 99Number 1

Index

Touring contract sparksdiscussion ............................12014 Annual Electiongets underway .......................1Your income tax .....................1From the President..................3National News .......................5Final curtain..........................8Letters.................................8

(continued on page 4)

(continued on page 2)

2014 Annual ElectionGets UnderwayWithNew NominatingProceduresAll MembersWishing to Run forCouncil Must Submit Petitions

In December, casting calls fortiered productions of KinkyBoots and Newsies, two

productions considered to beBroadway hits, sparked avibrant discussion about touringamong interested members.

The subject of touring hasbeen a large part of the Union’sdiscourse for nearly twodecades. Equity strives for moreand better work for its membersand began aggressivelyaddressing the problem as earlyas 1997, when the first hint ofthe changing landscape becameapparent. The economics oftouring shows changeddramatically in the late 1990sand the early 2000s. Long goneare markets saturated with thelarge national tours that wouldsit down in cities for weeks andmonths at a time. Instead, theindustry as a whole experienceda shift in how shows wereproduced and licensing to non-Equity producers started tobecome the norm. Companiesthat specialized in producingnon-Equity tours cropped upand, as presenters’ guaranteesremained low, opportunities

abounded for these shows inthe one-week market.

Non-union producers hadbroken into the one-week orlonger market, running theirtours in direct competition withEquity Production Contracttours. By 2004, nearly 40% ofthe one-week market had beenlost to non-Equity touringproductions. Membersdemanded the Union take backthe road and secure these jobsunder Equity contract. TheUnion conducted surveys andfocus groups in preparation forthe upcoming negotiations.Results showed members were“very or somewhat in favor” oftiered salary scales and back-end participation was a viableway to address the problem.

In the 2004 negotiations withThe Broadway League, tiers fortouring productions wereestablished with the expressintent to recapture the road andcontinue to provide employmentopportunities for Equitymembers. The contract wasratified by 96% of the votingmembers. In 2008, with theeconomics changing again,

Equity and The Leaguenegotiated the ShortEngagement Touring Agreement(SET) to further capture workweeks on the road. Equity’sefforts were successful. In theten years since tiers wereestablished, Equity recapturedthe majority of the work in theone-week markets.

Equity negotiated stronglanguage into the bargainingagreements that details how ashow would qualify to use a tier.The Union did this to ensurethat productions would meeteither specific criteria, or not beable to use the tiers at all. Equityis diligent in its review of eachrequest and, in a few instances,has denied the use of the tiersto productions. It’s alsoimportant to understand thatEquity’s bargaining agreementis with the producers, and notthe presenters.

The tier contracts and theSET Agreement have createdmeaningful gains for members.In addition to regaining work formembers, Equity has steadilywon improvements in eachcontract cycle in wages fortouring contracts. In fact, wagesand per diem for tiered contractproductions have risen 19.5%since tiers were first introduced

Touring ContractSparks Discussion

(continued on page 2)

Your IncomeTax

VITA NeedsYour SS Card —and OtherTax Season NewsNew rates, new rules in effect By Sandra Karas, Director,VITA Program

made by petition on the OfficialEquity Nomination PetitionForm, which can be picked upin person at any Equity office,or is available for download atthe Equity website(www.actorsequity.org) beginning Wednesday, January 22, 2014 at 12:00pm Eastern Standard Time. If you wish to be nominated, you must obtain the signatures of 17 members in good standing from the Region in which you reside. In addition to the petition, you must submit all administrative forms found in the packet, as well as a letter of intent, requesting such consideration, to the Equity office in your geographic Region.Your letter of intent should state (1) you are a member in good standing resident in the applicable region; (2) you are eligible to run in accordance to the Constitution and By-Laws; and (3) if elected you will serve. Additionally, if you are a member who already holds Emeritus status on Council, you must indicate that you will be resigning that status in order to

stand for election.You mustsubmit your petition, signed byat least 17 members in goodstanding resident in theapplicable region, along withthe other administrative formsfound in your Candidate Packetby Friday, March 7, 2014 (by2:00pm Eastern StandardTime, 1:00pm CentralStandard Time, 11:00amPacific Standard Time). If adocument is mailed, emailed orfaxed, there will be nopresumption that it has beenreceived by the union before thedeadline. Therefore, thecandidate who chooses to mail,email or fax his/her NominatingPetition is urged to do so withsufficient time for receipt by theestablished deadline and tocheck with the appropriateoffice to ensure that theNominating Petition has beenreceived. Nominating Petitionsreceived after the deadlinewill not be accepted and theuntimely receipt of aNominating Petition willinvalidate the person’scandidacy.

For questions, contact Jenifer Hills, National Manager of Governance, at 212-869- 8530, ext. 356 orjhills@actorsequity.org.

Editor: DICK MOORE

Associate Editor: HELAINE FELDMAN

Equity News Advisory CommitteeChristine Toy Johnson, Chair

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

Nicole Flender (Eastern)Bruce Alan Johnson (Eastern)

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

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

Buzz Roddy (Eastern)

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

EQUITYNEWS

Area LiaisonHotline systemCall 877-AEA-1913

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

(1) Dial 877-AEA-1913

(2) Dial your city extension:811 Atlanta812 Austin/San Antonio813 Boston814 Buffalo/Rochester815 Chicago816 Cincinnati/Louisville817 Cleveland818 Dallas/Fort Worth819 Denver820 Detroit821 Florida – Central822 Florida – South823 Houston824 Kansas City825 Las Vegas826 Los Angeles827 Milwaukee/Madison828 Minneapolis/St Paul829 Nashville830 New Orleans831 New York832 Philadelphia833 Phoenix/Tucson834 Pittsburgh835 San Diego836 San Francisco837 Seattle838 St. Louis839 Washington DC/Baltimore

Election Underwaycontinued from page 1

2 / EQUITY news JANUARY/FEBRUARY 2014

2014 Annual ElectionCalendar

Friday, March 7, 2014 Deadline for Nominations byIndependent Petition (Materialsdue in all three Regional Officesby 2:00 pm Eastern StandardTime, 1:00 pm Central StandardTime, 11:00 am Pacific StandardTime)

• List of all NominatedCandidates will be available onEquity’s website by 5:30pmEastern Standard Time

Tuesday, March 11, 2014 Deadline to submit eligibilityprotests

Wednesday, March 12, 2014 Deadline for Candidates’Statements for Equity News,Equity Website, and BallotBrochure (Due in all threeRegional Offices by 2:00pmEastern Standard Time. 1:00 pmCentral Standard Time, 11:00 amPacific Standard Time)

Friday, March 21, 2014 Deadline for registration to voteelectronically

Friday April 11, 2014 Annual National MembershipMeeting (all regions viateleconference)

• Candidate Speeches

Monday April 14, 2014 Distribution of Ballots (fromballoting company)

Tuesday, May, 13, 2014 Deadline to request replacementpaper ballot from ballotingcompany

Wednesday, May 21, 2014 Deadline for Receipt of Ballots

Thursday, May 22, 2014 Tabulation Day

Thursday, June 5, 2014 Deadline to submit electionprotests

Additional information about the elections process, including candidate packets available for download, a complete copy of the election rules, and further information about how to run are all available at www.actorsequity.org.

and wages and per diem forSET tours have risen 18.7%since 2008. There is language inboth tiers and SET that stateany monies going to theproducer after the guaranteeand expenses are met will beshared with the Equity membersin the company; contractlanguage also stipulates thatwhen a production recoups itsinvestment, each Equitymember in the companyreceives a permanent minimumsalary increase of 17%. In thelast six (6) years an additional$143 million of memberearnings have occurred ontiered tours and the SETAgreement.

At press time, a Special TownHall Membership Meeting wasscheduled for January 27. Thepurpose of the meeting was todetail the history of touring, howthe foundation was establishedfor the Tiers and SET and togive members the opportunity todiscuss touring and askquestions.

Equity has a robustnegotiation procedure thatbegins with member input. Foreach contract, Equity surveysthe members who work on thecontract and the results gobefore the Proposal SelectionCommittee. Through the tirelessefforts of the committee and thestaff, proposals are createdbased on the top surveyresponses, taking into account

what will benefit the broadestmembership, and factualinformation gathered throughoutthe cycle of the contract.Proposals from othercommittees (Stage Managerand ACCA, for example) arealso sought. The negotiations forthe Production Contract will bein 2015 and preparations willbegin at the end of this year witha survey. With touring identifiedas an important issue, Equitywill hold focus groups of thosemembers who have worked onthe contract and tiered tours toensure we have a broad base ofunderstanding with which theProposal Selection Committeecan work.

The proposals are then givento the Council to be voted up ordown. Once completed, theCouncil then appoints theNegotiating Team. The strategyof all of our negotiations isfocused and disciplined, with theintent to gain the best outcomepossible for the membership.

In the next few months, abroader survey of the fullmembership will be conducted.Touring will be a large part ofthis survey and it’s important tohear from members across thecountry – from those who haveworked on these contracts andthose who would like furtheraccess to national contractualwork. The participation in thissurvey will be key as Equitycontinues its work on behalf ofthe 49,000 members of theAssociation.

Touringcontinued from page 1

Joseph Ruskin MournedLong-time Councillor, Western VPdies at 89

Joseph Ruskin, long-timemember of the WesternAdvisory Board (now the

Western Regional Board) andWestern Region Vice Presidentfrom 1976-1991 when he waselected to Council, died in SantaMonica, CA on December 28,2013. He was 89.

At the time of his death, Mr.Ruskin was in the second yearof a three-year Council term andhoping to “continue to activelyparticipate in Equity’s look to thefuture.” Over the years, Mr.Ruskin served on scores ofWestern committees, includingMembership Education,Constitutional Review, HouseAffairs, Election Procedures,Racial Equality, Hollywood AreaTheatre and LORT. He alsohelped to formulate Equity’sNational Representation Plan,which became effective in 1992.In addition, Mr. Ruskin servedas deputy under many Equitycontracts. In 2003, he receivedEquity’s Lucy JordanRecognition Award for his“lifetime commitment to thetheatre and, especially, helpingother theatre artists.” An equalopportunity volunteer, he also

served on the SAG and AFTRABoards.

Although he had 124television credits, includingMission: Impossible and fourdifferent Star Treks andappeared in 25 films includingThe Magnificent Seven andPrizzi’s Honor, Mr. Ruskinbegan and ended his career onthe stage. His first professionalappearances were at thePittsburgh Playhouse and theRochester Arena Stage. He alsoappeared at the Mark TaperForum, UCLA’s FreudPlayhouse and Theater 40. Hislast performance was this yearin The Crucible as a member ofthe Antaeus Company of LosAngeles.

Joseph Ruskin.

JANUARY/FEBRUARY 2014 EQUITY news / 3

From thePRESIDENT

Negotiations: “Yes” and “No”

By Nick Wyman

Ihave been involved in helpingnegotiate a lot of contractsover the course of my career.

I have assisted my agents innegotiating a variety of personalcontracts; I have served on anumber of contract negotiatingteams at Actors’ Equity. Amongthe questions I frequently askmyself are “What do I/we reallywant? What is necessary forme/us to feel okay about thiscontract? What problem(s) amI/we trying to solve?”

With my personal contracts, Ihave sometimes felt exultant anddelighted — and sometimescrabby and bitter. By the end ofmost AEA contract negotiations,I may feel some delight or somebitterness but more frequently Ifeel exhaustion after the struggleto “get to yes,” to arrive at amutually acceptable result.(“Getting to Yes” is the title of abook of negotiating advice thatlays out methods and strategiesof arriving at a satisfactoryconclusion to the bargainingprocess. A key component of the“Getting to Yes” strategy is toknow your BATNA – BestAlternative To a NegotiatedAgreement. I’ll come back tothat.)

The beginning of our careers(and for many of us, most of ourcareers) is spent just trying tofind a job. We seek/ask for/hopefor the most compensation andthe best possible deal, but we’renot going to say “No.” At somepoint in your career, however,you are going to come upagainst a job offer that is notwhat you want, not what youneed and that doesn’t solve yourparticular problems.You aregoing to say “No.” It is a powerfulmoment.You may have secondthoughts.You may have anxiety.But you have struck a blow foryour self-esteem that willresound throughout the otherparts of your life and theremainder of your career. It isself-validation, a validationsecond only perhaps to receivingyour first job.

I want us as a union to feelthis validation, this self-esteem.And it may mean getting to “No”

– turning down work – if wedecide our BATNA is better thanthe proposed contract.Yet,figuring out if a contract isacceptable and the bestachievable is exponentially moredifficult for a 50,000-personmembership than for anindividual. Each member hasdifferent hopes, wants andneeds. What is a nice job for memight be totally unacceptable toyou and vice versa.

Your AEA negotiating teamswork to achieve the greatestgood for the greatest number.Your staff and your electedleaders know how much youwant to work. In discussions ornegotiations with our employerpartners, they are flexible andreasonable while remaining firmand tenacious in theircommitment to the needs andwell-being of the membership. Tobe effective, however, they needa membership that is the fistwithin this velvet glove, amembership that backs up theirtalk with action, a membershipthat is willing to turn down workthat doesn’t meet its needs andthat doesn’t solve its problems. Itmay mean that, as a union, wedecide that a certain level ofcompensation for someparticular work is not sufficientand if an employer cannot or willnot pay more than that, we won’tdo that work for them. We walkaway or we walk out. We say“No.”

Walking away or walking outare well down the list of optionsbecause what we really want isan acceptable contract. (I havebeen known to say to my agents“But don’t lose the job!”, thusrobbing them of the greatestweapon in their bargainingarsenal: walking away.) Part ofgetting to the “Yes” of anacceptable contract is saying“No” to the unacceptable andhaving the viable threat of anultimate “No.” This is not easy,particularly when so many of usare desperate for work and whenwe have a strong personal stakein the outcome.

I bring this all up because ofthe recent passionateconcern surrounding the posting

of casting notices for the tours oftwo successful Broadwaymusicals. The exact contract isnot yet set for these tours butthey are listed as Production TierC and Tier D – because our rulesstipulate that the casting noticesshould posit the lowest salary-level scenario. A number of vocalmembers on the internet andsocial media have faulted AEAfor allowing these shows to beproduced on anything less thana full Production contract. In theiropinion, we should say “No.” (Infact, we can’t say “No” nowbecause we are in the middle ofa contract, a contract negotiatedby members-at-large as well asCouncillors and voted on andapproved by all those memberswho had worked the Productioncontract in the previous twocontract cycles.)

Our “Yes” actually dates backto 2004, when we made acalculated decision to “Tier” theProduction Contract in order toprevent more shows from goingout non-Equity and to win backthe one-week touring market,40% of which we had lost in theprevious four years. Those effortswere successful: 90% of the one-week market is now Equity.Yet,there is considerable frustrationthat so many shows takeadvantage of the tiers (or of theSET Agreement) and that so fewgo out full Production. Ipersonally am absolutelyconvinced that, if we had said“No” in 2004, we would not havegained any significant number offull Production tours; the vastmajority of those tier and SETAgreement shows would be non-Equity, and we would havecreated the monster of a thriving,dominant non-Equity touringmodel.

But I am always looking for abetter “Yes.” We have reachedout to members and set upspecial meetings to explain thesituation and to solicit ideas forfuture bargaining strategy. Thecurrent Production Contractruns until September 27, 2015.We will be negotiating the newProduction Contract in thesummer of 2015. Let’s see whatsort of a “Yes” we can get to.

What Region Are You In?Eastern Region Central Region Western RegionAlabama – AL Arkansas – AR Alaska – AKConnecticut – CT Illinois – IL Arizona – AZDelaware – DE Indiana – IN California – CADistrict of Columbia – DC Iowa – IA Colorado – COFlorida – FL Kansas – KS Hawaii – HIGeorgia – GA Kentucky – KY Idaho – IDMaine – ME Louisiana – LA Montana – MTMassachusetts – MA Michigan – MI New Mexico – NMMaryland – MD Minnesota – MN Nevada – NVMississippi – MS Missouri – MO Oregon – ORNew Hampshire – NH Nebraska – NE Texas – TXNew Jersey – NJ North Dakota – ND Utah – UTNew York – NY Ohio – OH Washington – WANorth Carolina – NC Oklahoma, OK Wyoming – WYPennsylvania – PA South Dakota – SDRhode Island – RI Wisconsin – WISouth Carolina – SCTennessee – TNVirginia – VAVermont – VTWest Virginia – WVCanada

Equity Foundation AwardsGrants to 120 Non-ProfitTheatres Nationwide

75 Years AgoJanuary/February, 1939• Equity and the Screen

Actors Guild end an agreemententered into in 1934 providing forpreferential treatment ofmembers of each organizationwhen transferring to thejurisdiction of the other.

• Council establishes rules forworking conditions at the NewYork World’s Fair.

• Members of Chorus Equityvote to amend the organization’sConstitution to allow ChorusEquity members to be eligible forelection to the Council of Actors’Equity.

50 Years AgoJanuary/February, 1964• Equity endorses efforts by

the League of New York Theatres(now The Broadway League)and others to obtain licenses forbars in theatres.

• Equity President RalphBellamy testifies before the U.S.Senate urging passage of the

Administration Tax Bill, whichincludes income averagingprovisions which would behelpful to actors and others withwidely varying incomes fromyear to year.

• A Special MembershipMeeting is convened on January6 to discuss the waiver ofpayment to casts for twoperformances cancelledfollowing the tragic assassinationof President John F. Kennedy.The 483 members at themeeting adopt a resolutiondisapproving Council’s actionwaiving salaries withoutconsultation with affected partiesand asking instead that Councilfind some other suitable meansof expressing the feelings ofEquity and its membership. At itsmeeting the following day,Council passes a resolution tothe effect that all companies thatsuffered two cancelledperformances, waive theircontractual salary for one of thetwo performances andcompanies that lost oneperformance be paid in full.

25 Years AgoJanuary/February, 1989

• Equity begins planning for theUnion’s 75th Anniversary.

• Council votes to expand itsopen meeting policy—allowingrank-and-file members toobserve at two meetings permonth, rather than one.

• Rosetta LeNoire is the firstrecipient of Equity’s new award

named in her honor, whichrecognizes a person or institutionwho has made a significantcontribution to advance the“universality of the humanexperience in American theatre.”

10 Years AgoJanuary/February, 2004• Equity and the Society of

Stage Directors and

Choreographers (now StageDirectors and Choreographers)pledge solidarity in the fightagainst non-union tours. TheSSDC also prohibits its membersfrom working on non-Equitytours.

• Council approves the new,streamlined Business Theatreand Events Agreement aimed atregaining work weeks in thismarket.

A Look Back

The Actors’ Equity Foun-dation awarded 120 the-atre grants totaling

$76,750 in 2013. Distribution wasto non-profit theatres across thecountry—73 theatres in the East-ern Region, 28 in the Central Re-gion and 19 in the Western Re-gion—and is based on thenumber of Equity members resi-dent in the Region. Eligible the-atres have a current 501(c)(3)tax status, an established artisticand administrative track record, ahistory of fiscal responsibility andhave worked to improve the stateof the theatre in their community.

“The Foundation is proud tocontinue its tradition of awardingtheatre grants and recognizing

and assisting the theatres’ effortsto provide employment for Equityactors and stage managers,” saidArne Gundersen, FoundationPresident.

Started in 1962, the EquityFoundation continues to grow asa result of estate bequests andindividual donations. For informa-tion on how you can help yourfellow performers and live theatrethrough a bequest or donation,contact Comptroller JosephDeMichele at Equity, 212-869-8530, ext. 348. Or, you may senda donation by check to: The Ac-tors’ Equity Foundation, 165West 46th Street, New York, NY10036. All contributions are tax-deductible.

4 / EQUITY news JANUARY/FEBRUARY 2014

highlights affecting ourmembers are as follows:

1. New tax rates are ineffect for 2013:

2. Affordable Care Act(ACA): See my article outliningthese highlights in theDecember, 2013 issue ofEquity News. Most of ourmembers will only be affected,if at all, by the additionalMedicare Tax of 0.9% on wagesand self-employment incomethat exceeds $200,000 (single);$250,000 (married joint);$125,000 (married separate).Those who are required topurchase health insurance mayhave penalties to pay for non-compliance.

3. Maximum Capital GainsRate rises for 2013 from 15%to 20% for some taxpayers.

4. Medical and DentalExpenses must now exceed10% of your Adjusted GrossIncome (AGI) – up from 7.5%.NOTE: If you are over 65, yourthreshold is still 7.5% of AGI.

5. Same-Sex Marriages arenow recognized federally, butmight not be recognized in thestate in which you live. See myearlier article on the partialrepeal of DOMA. Marriedcouples may only file asmarried joint or marriedseparate on their federalreturns for 2013 and goingforward.

6. Ponzi-Scheme TheftLosses have some new rulesfor claiming these losses. Youknow if this happened to you.Get the proper documentationof the transactions and losses.

7. Home Office Deduction

still has the simplified methodof reporting for directors,designers, choreographers,composers, writers and otherswho are hired underindependent contractorarrangements and receive 1099or similar income reporting. It’s$5/square foot for the officespace utilized. There is nodepreciation of the homeallowed with the simplifiedmethod and no recapture ofdepreciation when you sell thedwelling. The old method ofcalculating the ratio of office tototal home space andapportioning the costs of thehome accordingly, plusdepreciation if applicable, is stillavailable. We have found thatthe newer method does notalways result in a largerdeduction, but because it is soeasy, many taxpayers prefer it.Check with your preparer tosee if it can work for you.

8. Standard Mileage Ratesincrease for 2013. Businessmileage is now at $.56.5/mile;Medical and Moving mileage isnow at $.24/mile; Charitablemileage is now at $.14/mile. Beaware that in 2014, the rates forbusiness, medical and movingwill decrease by $.5/mile.

Congress has figured thatgasoline costs less now andhas approved the decreaseddeduction for next year.

9. Social Security Taxcontributions increase for 2013,as expected. The new wage

base is at $117,000, up fromlast year’s $113,700. The ratestays the same at 6.2%.

Some Provisions Expiredas of 12/31/13 but can beincluded on the upcomingreturns for the 2013 year:

A. Cancellation of debt thatwas secured by your mainhome (your principal residence)can be excluded from incomeprovided it was completedbefore the end of 2013. Goingforward, if you default on suchdebt, the amount forgiven willbe included as taxable income.

B. Educators’ above-the-line deduction of $250 (for K-12teachers) who qualified for thisdeduction is still in effect for2013, but is gone thereafter.

C. Charitable donationsfrom IRAs. Those taxpayersover 70 ½ who made directcontributions of their IRA tocharities, thereby excluding theincome from taxation have lostthis mechanism as of 12/31/13.Henceforth, the requiredminimum distribution will betaxable as usual, regardless ofwhether or not it is donated to aqualifying charity.

D. Energy Credits. Thosepopular tax credits for installingnew windows, doors, furnaces,

insulation materials and otherenergy-saving improvements toyour home are no longeravailable as of 2014. So claimthem this year if you qualify.

E. Depreciation limits aredecreasing in 2014 – and mostof you won’t notice it – fordeducting an item in the year ofpurchase. Called “expensing,”this first-year tax deduction isclaimed by most taxpayers inour industry on items ofequipment used in theproduction of their income. Beaware that you may only claim100% of the cost if there is nopersonal use of the item.Otherwise, you must apportionthe business deduction to theamount you use the item inyour work.

F. State and Local SalesTax Deduction is gone for2014 and subsequent years.This was a boon to those wholive in states where there is nopersonal income tax. Enjoy itthis year if you can.

G. Tuition and FeesDeduction above-the-line isalso not available after 2013.However, tuition and othervaluable education creditsremain for taxpayers whoattend college and pay out- of-pocket. See which method isbetter for you this year.

H. Interest on MortgageInsurance Premiums will nolonger be an itemizeddeduction in 2014 and beyond.If you’re paying them, don’tforget to tell your preparer toinclude them this year.

Identity TheftThis continues to be a

problem for many individualswhose personal information isused to create new identities,

bank accounts and credithistories. We, at VITA,safeguard your personalinformation and do not give it toany third parties, except, withyour permission, to the IRS andthe state agencies with whichyou file. And that information issecure in transmission andretention. Non-governmententities and private companiesmay compromise your name,social security number and dateof birth, often without intendingto do so. Be vigilant with yourpersonal information andchange passwords and othersecurity measures frequently.You may also check your creditrating for free once a year atannualcreditreport.com. Sincethere are three reportingagencies (TransUnion, Equifaxand Experion), you shouldcheck them at varying intervalsduring the year to obtain yourfree report from each one.

We’re Here to Help

If you have any questionsabout these or other taxmatters, stop in your nearestVITA office. The New York officeis located on the 14th Floor ofthe Equity Building, 165 West46th Street (temporary entranceat 1560 Broadway). Hours are10:30am-4:00pm, Mondays,Wednesdays, Thursdays andFridays (no Tuesdays).Telephone: 212-921-2548.Other VITA Programs are inOrlando at the Equity office andin Los Angeles at The ActorsFund.

Sandra Karas is Director ofthe VITA Program, Secretary-Treasurer of Equity and a NYLocal Board member of SAG-AFTRA.

Your Income Taxcontinued from page 1

Filing Status 10% 15% 25% 28% 33% 35% 39.6% Single $0 $8,926 $36,251 $87,851 $183,251 $398,351 $400,001Married Joint $0 $17,851 $72,501 $146,401 $223,051 $398,351 $450,001Married Separate $0 $8,926 $36,251 $73,201 $111,526 $199,176 $225,001Head of Household $0 $12,751 $48,601 $125,451 $203,151 $398,351 $425,001

S T. L O U I S

S A N D I E G O

A Tale of Two CitiesIn the report of Centennial parties held in Liaison cities in the December issue of Equity News, the photos attributed to San Diego

are actually from St. Louis. Here are photos from the San Diego party, along with the photos from St. Louis.

JANUARY/FEBRUARY 2014 EQUITY news / 5

The cast and crew of AChristmas Carol at Ford’sTheatre raised $77,413.42 forCovenant House Washingtonfrom a donation drive during theholiday season. Dr. MadyeHenson, President and CEO ofCovenent House Washington,gratefully accepted. This is thefifth year that Ford’s Theatre has

partnered with a local non-profitduring its run of A ChristmasCarol, raising more than$375,000 for local charities,including Martha’s Table,Miriam’s Kitchen, So OthersMight Eat (SOME) and Breadfor the City. The funds helpthousands in the DC area whostruggle with hunger and

homelessness.Pictured here areAEA membersCarolyn Agan,Michael Bunce,Felicia Curry,William Diggle,Edward Gero,Rick Hammerly,Helen Hedman,Kellee KnightenHough, JamesKonicek, GregoryMaheu, AmyMcWilliams,Stephen F.

Schmidt, Bobby Smith, VishalVaidya and Bligh Voth, alongwith non-AEA young companymembers Holden Brettell, ColinBrowne, Cheyenne Cummings,Ella Gatlin, AlexandraUnderwood and HarrisonWright. The donations werecounted nightly by the stagemanagement team of TarynFriend, Corey Williams, StaciBlu and Craig A. Horness.(Photo: Carolina Dulcey)

A new member reception,hosted by the Central RegionOutreach and EducationCommittee, was held in mid-

December in the Chicagooffice. Pictured left to right are:Central Regional Director SeanTaylor; new members Dave

Hiltebrand, Aaron Wheeler,Ron Butts; guest speakers (andmembers) Penelope Walkerand Alden Vasquez; newmember Paul Helm; stafferSusan Cramm and Committeechair Ariane Dolan.

NATIONALNEWSNATIONALNEWS

Topping the agenda at theJanuary 10, 2014 EasternRegional Membership Meetingwas the presentation of the St.Clair Bayfield and Joe A.Callaway Awards.

The Bayfield Award for thebest performance in asupporting role by an actor in aShakespearean play in the NewYork metropolitan area, went toTina Benko for her performanceas Titania in Shakespeare’s AMidsummer Night’s Dream. Thisproduction was directed by JulieTaymor as Theatre for a NewAudience’s inaugural productionat its new home in Brooklyn.

Ms. Benko was not able toattend the meeting butdesignated 2011 Bayfieldrecipient Nick Westrate (Love’sLabour’s Lost at the PublicTheater) to accept on herbehalf. He called her an “actor’sactor,” lauded her talent andperformance and read a poemshe had written for the occasionto express her gratitude:

“The Bayfield Award is indeed aDream

“I’m humbled you hold me insuch esteem

“Methinks it is an honor trulygreat

“To be listed with actors likeWestrate

“Shakespeare gives minds abuzz and hearts a lift

“And to get to speak Will’swords is a rare gift”The Callaway Award

honoring the best performancein a professional production of aclassic play (one written prior to1920) in the New Yorkmetropolitan area went toJonathan Cake and J. Smith-Cameron.

Cake, cited for hisperformance as Benedick in theTheatre for a New Audienceproduction of Shakespeare’sMuch Ado About Nothing, alsowas unable to attend themeeting. Arin Arbus, director ofthe production, accepted forhim. She spoke of Cake’sintelligence and sense of humor,and of his “movingperformance,” saying he was “allthings Benedick.” Cake sent astatement saying he was“deeply honored” by the award.

J. Smith-Cameron wasrecognized for her performancein the title role of the IrishRepertory Theatre’s productionof Sean O’Casey’s Juno and thePaycock. Her husband,playwright Kenneth Lonergan,made the presentation. He saidshe was “inspiring to watch onstage” and, as both husbandand colleague, recounted somefunny personal anecdotes.Smith-Cameron, in turn, saidshe was the “happiest actress inNew York when working at theIrish Rep.”

Administered by the Actors’Equity Foundation, both theBayfield and Callaway Awardsinclude a check and a crystalplaque for each recipient.

The Judges’ Panel was JoeDziemianowicz, Daily News;Adam Feldman, Time Out NewYork; Susan Haskins, TheaterTalk; Harry Haun, Playbill; andDavid Rosenberg,NYTheaterScene.com.

New York

Bayfield, Callaway Awards Presented at Eastern Regional Meeting

Chicago

New Members Meet

New York

Actors Fund Holds Seminars on Housing,Teaching AdultsThe Actors Fund will hold a

seminar on Monday, March 3,2014 from 5-7pm at its office onthe 10th Floor at 729 SeventhAvenue to help participants findaffordable housing options. Theseminar discusses eligibilitycriteria and presents tips forsearching for opportunities andpreparing to make applications.

This seminar is presented throughout the year so check the website,www.actorsfund.org, for updated information. Reservations not necessary.

Hear from entertainmentindustry professionals who havedeveloped successful sidelineand parallel businesses as

teachers of adults, both inacademic settings and ascoaches and trainers in suchfields as fitness, nutrition,communications skills and lifecoaching. An Actors Fund-sponsored seminar will be heldon Thursday, February 20, 2014from 5:30-7pm. at AFM Local802, 322 West 48th Street.

Most theatres make appealsto their audiences during theannual Broadway Cares/EquityFights AIDS Week fundraisingdrive across the country. Thecast of Portland Center Stage’sproduction of Fiddler on theRoof chose instead to put on ashow of their own. “The entirecompany jumped into action to

put on a cabaret we called ToLife,” said Equity member AndyGale, who played the role ofAvram. To Life raised $4,683shared between BC/EFA andOur House of Portland, a localagency providing health care,housing and other vital servicesto Oregonians living withHIV/AIDS.

Portland, OR

“To Life” Helps Save Lives

Washington, DC

Ford’s Theatre Helps Homeless

Kenneth Lonergan andJ.Smith-Cameron.(Photo: Stephanie Masucci)

6 / EQUITY news JANUARY/FEBRUARY 2014

Guest stars joined more than250 gypsies in the 25thanniversary edition of BroadwayCares/Equity Fights AIDS’ Gypsyof the Year on December 9 and10, 2013 at the Minskoff Theatre.Fifty-six participating Broadway,Off-Broadway and nationaltouring companies raised$4,343,234 in six weeks offundraising.The grand total wasannounced to a sold-out crowdby surprise guest Daniel Craig,who joined Cherry Jones, IanMcKellen and Patrick Stewart toshare the exciting news.

(1) Disney’s The Lion Kingtook honors for the Best OnstagePresentation for a dancechoreographed by Ray Mercer.(2) The cast of Newsies wasPresentation runner-up as 16young men from the show took tothe air with explosive leaps in adance piece choreographed bycast members David Guzman,Jacob Guzman, Jess LeProtto,Julian DeGuzman and EvanKasprzak.

In 1989, the first Gypsy of theYear was hosted by Tyne Dalyand Jonathan Hadary, whowelcomed the show onto thestage at the St. James Theatrejust days after they opened therevival of Gypsy. This year, (3)Daly and Hadary returned andjoined Sirius XM Radio host andEquity member Seth Rudetsky,

who was hosting his sixthconsecutive Gypsy of the Year.

(4) The opening numberfeatured Klea Blackhurst as EthelMerman comparing gypsies ofher day with 18 high-kicking,modern-day gypsies in a numberdirected and choreographed byDevanand Janki and RobertTatad, with lyrics and script byRudetsky and arrangements andmusic direction by Ben Cohn.

(5) Desmond Richardson andBahiyah Hibah from Broadway’sAfter Midnight were joined by T.Oliver Reid and Daniel J. Watts in

a tribute to Cotton Clubperformers of the past then “toobrown for Broadway but too greatto be forgotten cool.”

The gypsies of Chicagoperformed an original dancenumber; (6) Avenue Q paidhomage to the 1990 productionof Grand Hotel and the lateMichael Jeter.The show alsofeatured performances by theBroadway companies of FirstDate; Kinky Boots; Mamma Mia!;Once; Pippin!; Spider-Man:TurnOff the Dark; Twelfth Night andRichard III; Off-Broadway’sDisaster!; Dancers Responding to

AIDS; a number choreographedby Shea Sullivan honoring thenational tours, and there wereappearances by Brian J. Smith,Celia Keenan-Bolger, ZacharyQuinto and Cherry Jones fromThe Glass Menagerie.

The top fundraiser was KinkyBoots with $377,301. Other topBroadway fundraisers includedWicked with $273,940, followedby The Book of Mormon with$209,943.The 3rd Runner-Up forBroadway fundraising was a tiebetween Newsies and ThePhantom of the Opera. The GlassMenagerie brought in the highest

Broadway Play total with$161,218 and Avenue Q took thetop Off-Broadway spot with$27,066. Wicked’s Munchkinlandtour was the top national tour with$333,086. The Book of Mormon’sLatter Day and Jumamosi toursraised $314,133 and $296,279,respectively.

The show was directed byKristin Newhouse with ValerieLau-Kee serving as ProductionStage Manager leading a teamof ten.

For a complete story, morephotos and highlights video, go tobroadwaycares.org.

2 3

New York

25th Annual “Gypsy of the Year” Raises $4.3 Million for BC/EFA1

65

The Central Region StageManager Committee has createdthe Stage Management BoothSeries in which members visitlocal Equity theatres to tour thefacilities and meet the staff.Theatres have included SilkRoad Rising, The GoodmanTheatre and New Theatre.

Here, visiting Silk RoadRising, are (l to r) Sarah Luse,Central Regional Director SeanTaylor and Amber Johnson. Farright is Donald Claxon, whostage managed at Silk Road andwas instrumental in working withthe theatres and stage managersto make this series a success.

Chicago

Stage Managers Visit Local TheatresNew York

Credit Union SetsAnnual Meeting

Actors Federal Credit Unionwill hold its Annual Meeting onFriday, February 21, 2014 from3:30-5:30pm in the 14th FloorCouncil Room in the Equity

Building, 165 West 46th Street(entrance on Broadway, between46th and 47th Streets). Theagenda will include Board andCredit Committee elections andthe state of the union address byActorsFCU President JeffRodman. Refreshments will beserved and more than $500 indoor prizes will be awarded.

If you were born between1946 and 1964 when a “babyboom” occurred following WorldWar II, check out The ActorsFund’s Boomer Boot Camp, asupportive bi-weekly meeting,every other Tuesday through April29, to explore the next steps inyour career. Meetings are heldfrom 1:30-3pm at The Fund,Suite 400, 5757 Wilshire Blvd.

The Fund has many new andcontinuing workshops, groups,classes and seminars toinvestigate. Visit actorsfund.orgfor information.

The Western EqualEmployment OpportunityCommittee will celebrate BlackHistory Month on Mondayevening, February 24, 2014 witha series of readings entitled ThePlay’s the Thing: DiverseCasting from a BlackPerspective—Variations. The

event begins with a reception at 6:30pm in the Bellamy Board Room on the fifth Floor at the Equity Office, 6755 Hollywood Boulevard, followed by the readings at 7. Check the website, www.actorsequity.org, for updates and parking information.

Have you ever consideredproducing your own one-personshow? Learn how at Riding theSolo Express, the thirdinstallment of the SoloPerformance Workshops beingpresented by the Central MemberOutlook and EducationCommittee on Saturday, March29, 2014 from 10am-1pm at theEquity Building, 557 W. Randolph.The event is free, but space islimited. RSVP to centralrsvp@actorsequity.org or by calling312-641-0393, ext. 240.

Los Angeles

Actors Fund HostsBoomer Boot Camp

Los Angeles

EEO Committee Schedules BlackHistory Month program

Councillors, staff, PresidentNick Wyman, Executive DirectorMary McColl, friends and familygathered at a local LA restauranton January 8th for a fun-filledfarewell to Western RegionalDirector Mary Lou Westerfield,who stepped down from thatpost at the end of 2013, and isreturning to New York asResearch Specialist,Governance, Policy and Supportfor Equity through May, 2014.There was a lot of camaraderie,reminiscences, speeches (fromWestern Regional Vice PresidentDoug Carfrae and Ms. McColl),laughter and tears among theguests. “To have my husband,Ernie, my best friend from highschool and my brother andsister-in-law with me, along withso many wonderful colleagues

and friends, was fabulous. Theflattering words offered to mewere humbling and I am sograteful to everyone for theirkindness,” said Ms. Westerfield.At a separate, informal surprisegathering, the Western Regionstaff presented Mary Lou with amembership at the MetropolitanMuseum of Art for herself andhusband Ernie and a giftearmarked for a dance class.They also presented her with agoing away sash signed by thewhole staff.

Pictured here at the January 8gathering are: (l to r) CouncillorMichele Lee, friend DeniseChilcote, Mary Lou, Ernie, andfriend Audry Kapelinski. Otherspecial guests included MaryLou’s brother, Gerry, and sister-in-law Julie.

Los Angeles

Westerfield Feted at Farewell

Chicago

Solo Performancesare Subjectof Workshop

4

Since its founding on Febru-ary 10, 2012 and first pro-duction in August of that

year, Dark & Stormy Productionshas become an important the-atre company in the Twin Cities.The group is committed to creat-ing theatre that is relevant, excit-ing, thought-provoking, and ac-cessible to everyone. Dark &Stormy focuses on creating new,unusual ways for currenttheatregoers to experience theart form, and seeks to foster newaudiences, with an emphasis onreaching the18-35 demographic.In order to achieve these goals,D & S strives to not only nurtureand sustain live theatre audi-ences, but also to support thecommunity of professional the-atre artists in the Twin Cities.

The Founding Artistic Directorof the company, Sara Marsh, isan Equity member and wantedan Equity theatre from the start.So, on January 21, 2013, Dark &Stormy became an Equity SPT 1(Small Professional Theatre)venue and since has producedtwo shows: Speed-the-Plow byDavid Mamet, with a three-per-son Equity cast, and The Recep-tionist by Adam Bock, with a fullEquity four-person cast plus Eq-uity stage manager.

“Dark & Stormy’s goals arethree-fold,” says Marsh, “to fosterthe next generation of theatrego-ers; to engage current audiencesby offering them new and excit-ing ways to experience excellentmaterial designed, directed andperformed by the top talent in theTwin Cities; and to help sustain

our incredible artistic communityby offering collaborative, high-quality opportunities to our pro-fessional artists. We are so en-couraged by the response to ourwork thus far, proud to be anSPT theatre this early in our ex-istence, and grateful for all thesupport we have received fromdonors, patrons, volunteers,artists, the press and other pro-fessional theatres in the TwinCities community.”

Equity member Bill McCallumappeared in Dark & Stormy’sproduction of Speed-the-Plow,and then joined the company asAssociate Artistic Director.“When I saw the work Dark &Stormy Productions was doingwith their inaugural production,presenting interesting and en-gaging material with fantastic ac-tors in intimate and unconven-tional performance spaces, Iknew I wanted to be a part of thecompany,” he says. “Dark &Stormy provides an opportunity

for professional actors who areused to working on big stages intown to step outside their comfortzone and play on a much smallerand more intimate scale. There isno place to hide in a D & S pro-duction. There is only the storyand the performances. The resultis an extraordinary immediacy ofconnection between actor andaudience.”

“Dark & Stormy’s work is bothincredibly fresh and yet quite

simple forthe samereason,” saysEquity mem-ber Cather-ine JohnsonJustice, whoappeared intheir inaugu-ral produc-tion, OutsideProvidence,a regionalpremiere ofEdward AllanBaker’s work.“They are fo-

cusing on the performers and theaudience above all else. As anactor that has meant being val-ued as a storyteller and an artist,creating an intimate and visceralconnection between the play, theother performers and the audi-ence. As a Twin Cities actress Ialso relished the opportunity towork on stage with D & S in astrong Equity ensemble along-side other actresses. This issomething that should not be sorare in our community, but so of-ten women’s roles continue to be

limited to the token one or twocharacters. Dark & Stormy is theperfect cocktail of edgy and funperformance work blended withthe unparalleled joy of perform-ing alongside other talented ac-tresses.”

Equity member Harry WatersJr. (The Receptionist) speaks foranother “minority” that has foundwork at D & S—the older actor.“Working with Dark & Stormyhas been an unexpected joy. Asa professional who has been inEquity since 1976 (yes, thatlong!), I am always gratefulwhen I get to use my craft atsuch a high and intense level.Dark & Stormy gave me a wholenew breath of life. Thanks toSara Marsh for taking a risk onthe old man. It was a once in alifetime gift.”

Equity actor Kris L. Nelson(Speed-the-Plow): “What I reallyappreciate about Dark & Stormyis its insistence on intimacy. It’snot unusual at times for the audi-

ence to be closer to you thanyour fellow actor. It’s a chance toput aside so many of the tech-niques and skills developed overthe years to fill larger space andstrip yourself down to the pureimpulse, to respond honestlywithout concern for how thathonesty is perceived.”

Equity stage manager KatieHawkinson (The Receptionist)calls working with Dark & Stormythe opportunity “to build a com-pany and a show from theground up, the epitome of livingthe dream.”

Equity actor Alayne Hopkins(Outside Providence) says herexperience at D & S was“thrilling. Both as an actor and atheatregoer, I think this companyfills a hole in our theatrical com-munity with its strong missionand message of accessibilitycombined with absolutely top-notch performances.”

It’s not only the performerswho have embraced Dark &Stormy. The community has, aswell. Speed-the-Plow was hon-ored as one of the top ten pro-ductions of 2013 by Twin Citiestheatre critic Rohan Preston(Star Tribune), and The Recep-tionist was featured as one of thetop ten productions of 2013 bytheatre critic Ed Huyck (CityPages). Cherry and Spoon, apublication of “theatrical musingsin Minnesota and beyond,” hadthis to say: “Dark & Stormy Pro-ductions is not like the theatreyou probably are familiar with. It’sraw, real, and intimate, happen-ing all around you. It really feelslike eavesdropping on a conver-sation [and that] makes for somepretty amazing, unique theatre—exciting, immediate, and enter-taining, short and intense and tothe point. Mission accomplished.”

JANUARY/FEBRUARY 2014 EQUITY news / 7

Central Region

Dark & Stormy Gets Off to aStartThat isAnything But…

Chuck Patterson, whoserved on Council for15 years—from 1977-

1987 and 1988-1993—died onDecember 23, 2013 at the ageof 68. During his tenure, heserved as Chair of the EthnicMinorities Committee (later theCommittee for Racial Equalityand now the EqualEmployment OpportunityCommittee), and on theAgency, LORT, Off-Broadwayand Production Committees,among others.

Mr. Patterson’s acting careerspanned nearly 40 years withperformances on Broadway,Off-Broadway, in films and onTV. He is widely credited ashaving helped to pave the wayfor African-American actors onBroadway when, in 1975, hewas cast by actor/directorGeorge C. Scott as theneighbor’s son, Bernard, in

Scott’s Tony-nominatedproduction of Death of aSalesman. This is a role thatprevious had been played bywhite actors. In addition toacting, Mr. Patterson alsodirected at the EnsembleStudio Theatre and NewFederal Theatre.

Chuck Patterson DiesServed on Council for 15 years;Chaired Committee on Racial Equality

• Dallas Theater Center’sProject Discovery has receivedthe National Arts and HumanitiesYouth Program Award from FirstLady Michelle Obama.The awardrecognizes exemplary after-school and out-of-schoolprograms from across thecountry and is the highestnational honor awarded to suchprograms.Through ProjectDiscovery, students attendregular evening performances,alongside adult patrons, of eachmain stage production during theschool year.This free programintroduces students who havelittle or no experience withtheatre to the art of theatre-making—from playwriting tosword-fighting—and gives themthe confidence and experience toperform before their peers and beat home in the theatre. Since1986, Project Discovery hashelped over 265,000 studentsand teachers experience live,professional theatre.

• Michael Price, who has ledGoodspeed Musicals for 45

years, will retire from the positionof Executive Director at the endof 2014, but will remain activewith Goodspeed in advisory andfundraising roles through 2016.As the longest serving artisticdirector in American theatre,Price has produced more than235 musicals, 75 worldpremieres, transferred 19 showsto Broadway and transformedGoodspeed Musicals into aninternationally recognized homefor American musical theatre.

• In another change ofleadership, Bucks CountyPlayhouse has selectedAlexander Fraser and RobynGoodman to assume the roles ofProducing Director and ExecutiveProducer, respectively.Theyreplace Jed Bernstein, who isnow President of Lincoln Centerfor the Performing Arts.

• Physician Volunteers forthe Arts (PVA) provided 5,000free seasonal flu vaccinationsthis fall and winter to theBroadway and Off-Broadwaycommunity.This annual free flushot program, now in its 16thyear, is sponsored by Equity andfunded by Broadway

Cares/Equity Fights AIDS with agenerous grant of $55,000. Dr.Barry Kohn, Medical Director ofPhysician Volunteers for the Arts,made “house calls” to Broadwayand Off-Broadway shows, not-for-profit theatre companies andmany of the theatrical unionoffices to provide the flu shots.Equity also arranged andscheduled open dates for PVA toprovide free flu shots to allmembers of the theatrecommunity on a walk-in basis atEquity’s New York office inSeptember, October, Novemberand December as well as on twoopen dates at Equity in LosAngeles.

• Equity member JoeStockdale, who joined Equity in1960 and recently published amemoir, Stages—A Life in theTheatre, reports a correction tomaterial in the Brief Notescolumn of the December 2013issue of Equity News. His tenureat Purdue University ended in1975 when he became Dean ofTheatre and Film and then fullProfessor at the School of theArts, SUNY Purchase, until hisretirement in 1990.

brief notes

Poster for Outside Providencewith (l to r) Catherine JohnsonJustice, Alayne Hopkins, RyanLindberg and Sara Marsh.(Photo: John Eastman; Design; Kevin Cannon)

Sally Wingert (l) and Sara Marsh in a scene fromThe Receptionist. (Photo: Melissa Hesse)

Chuck Patterson.

8 / EQUITY news JANUARY/FEBRUARY 2014

Letters received from paid-up members on subjects of concern to Equity members will be consideredfor publication in Equity News, provided that they are no greater than 175 words in length. Lettersselected for publication may be edited for space requirements. Actors’ Equity Association reserves theright to decline to publish letters at its sole discretion. When multiple letters on the same topic aresubmitted, the Editor may decide to select a smaller number of representative letters for publication.Letters must be signed and must provide preferred contact information for verification purposes, butnames may be withheld from publication in certain limited circumstances, at a member’s request.Opinions expressed in Letters to the Editor are not necessarily those of Actors’ Equity Association.

U.S.Postage

49Letters to The Editor

How I Got My

Equity CardCarletonCarpenter

By Carleton Carpenter

The day! Either December27, 1943 or January 3,1944. Bus from

Bennington, Vermont to Albany,New York. Train to NYC. Arrivedabout 1pm. Checked bag atGrand Central Station. Walkedover to St. James Hotel on 45thStreet. Bought Actors Cue (fivecents) and went to lunch atChild’s (mac and cheese). Read

they were looking for 16-17 yearold boys for a play called BrightBoy. Thought I’d go over to theMansfield Hotel, 44th Street, topfloor and get a part. Really coldso I was wearing my new Xmasheavy coat. Elevator up to topfloor. Could hear voices in oneroom. Opened door and sawplace was jammed with guys. Aman with a clipboard came overand said, “You’re too old.” I

started out the door and a guygrabbed my coat tail and said,“He told me that six months agoand I’m still reading for a part.”Off came my coat. Scruncheddown behind him and a couple ofothers, lit a cigarette and waited.After 35 or 40 minutes the sameclipboard guy came over andsaid, “Okay, you’re next.”

Went into another room. Along table with three peoplebehind it. Arthur Beckhard(producer and director), HelenShields (wife of the author whowas then in the Navy), and DavidMerrick (a young lawyer from St.Louis, who was to be associateproducer). I reeled off myexperience (high school BigHearted Herbert, Iolanthe, et al).Big question: How old are you?Seventeen, I said. When will yoube 18? July 10, I said. I read fivedifferent roles. Mr. B. handed mea script. “Go in there and readthis,” said he. I did. Took about anhour and he opened the doorand said to come out. I did. Heasked what I thought of the play.Told him it was the best thing I’dever read. All three of themsmiled. He then said, We’ve

decided we want you for theshow, but didn’t know which partyet and could I come back at10am tomorrow. Said I would.Picked up my suitcase at thetrain station and took the D Trainto Brooklyn and my mother’ssecond cousin’s, who was justheaded up his steps when Iarrived. He said, “You backagain?” (I’d stayed with him ayear before when I came downto see my first Broadway show,Lady in the Dark.) “Yep. I’m back.Think I’ve got a Broadway show.”“That’s nice,” said he.

Next day I arrived back at theMansfield a bit early. First thingMr. Beckhard said, “What partdid you see yourself in?” “Shake,”I said. (Tittman was his name.Shakespeare was his nickname.)

“So do we,” they all said. Thepart was described as a tall,lanky blond boy who wants to bean actor.

We all shook hands and Isigned a contract for $57.50 aweek and headed straight for theEquity office.

Carleton Carpenter startedsinging and dancingprofessionally at age four and at

age nine toured with a carnivalduring the summer working as amagician. He made hisBroadway debut in Bright Boy in1944 and later appeared inThree to Make Ready with RayBolger, John Murray Anderson’sAlmanac and Hotel Paradiso withBert Lahr and Angela Lansbury.Other stage appearancesinclude Hello, Dolly! oppositeMary Martin (which touredVietnam during the war) and theCity Center revival of Kander andEbb’s 70, Girls, 70.

For MGM, he appeared in,among others, the films SummerStock with Judy Garland, Fatherof the Bride with Spencer Tracyand Three Little Words and TwoWeeks With Love with DebbieReynolds, which included theduet “Aba Daba Honeymoon”that sold five million copies andwas the first soundtrackrecording to become a NumberOne hit. In addition, he haswritten scripts for films andtelevision, guest starred onnumerous radio and TV showsand written popular songs. In the1970s and ’80s he was also abest-selling mystery novelist.

FINAL CURTAIN

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

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

(Reported between 10-04-13 and 01-09-14)

Sylvia AmundsenJames L. AveryDana BateJim BelkJoseph H. BellHal BennettG. James BeyerMarc BreauxAlison BrunellMary CarverChris ChaseLou CiullaAndrew ClarkRobert ColstonRobert CowellHenry E. CrossenJerry Owen CunliffePhilip CusackKeite DavidWilliam DoddsIna Jo DonovanMary DrydenJeffrey D. EicheGeorge K. EmchMitchell EricksonJim FargoFranz FazakasJoan FontaineBonnie GallupAvner GarbiErnesto GonzalezBick GossBabs GrayWilliam GrothHenry GuettelKim HamiltonSam HarknessMarta HeflinRonald HunterBob JollyMort KroosJeffery KurzGertrude Chiger Lazarus

Steve LiebmanNeveen MahmoudTerence William MarinanLisa MayoEllen McCownDonald F. MillerJuanita MooreByron NeasePeter O’TooleEleanor ParkerLazaro PerezRob PetersNicole PotterLouise QuickShane RadfordCarline RayJohn RaymondGeorge ReinholtTerry RhoadsJay RobinsonRonald RostonAl RuscioJoseph RuskinLucian RussellRick SandovalAugust SchellenbergEda SeasongoodLenny SingerVirginia StevensJames StevensonMorgan E. StockJune Eve StoryKevin A. TraxlerJenny TurnerVirginia VincentMarcia WallaceTravis WaltersJerry WardDon WeissmullerChristopher Evan WelchRichard WendleyKate WilliamsonWalt Witcover

UNFAIRDear Editor:

I stand with Prudence WrightHolmes (in her letter to the Editor,October/November 2013). I thinkthe casting of men in roles writtenfor women is not only unfair, but itputs a strange slant on what theauthor originally intended. What’sthe point? Does it make the playbetter, funnier, more valid, or is itjust a strange gimmick to improvethe work? Macbeth doesn’t needany help and neither do the otherplays in which this is done. But,the main issue here is women,especially “mature” women,would like to have the rolesoriginally written for them.Theyare few and far between as it is. Iencourage all women playwrightsto write more roles for theirgender, and keep our creativeworld balanced and interesting.

Glory Kissel, Brookfield, IL

WHAT HAVE YOU DONE?Dear Editor:

Every performer should readactor Louis Zorich’s book, WhatHave You Done?, available at theDrama Book Shop. It includesover 400 unusual audition stories.Contributors include Louis’ wife,Olympia Dukakis; Richard Herd,Malachy McCourt; and the lateAllen Swift.

I once got a $500 jobauditioning on the phone.Treasure Island was being castfor TV. I called the casting directorand asked if Long John Silverwould have a parrot on hisshoulder. She said, “Yes.” I asked,“Is the parrot going to talk?” “Yes.”I told her I can do a parrot’s voice.

She said, “Let me hear it!” I went,“Squawk. Pieces of eight,squawk!” and got the job.

President Nick Wyman wrotethat sometimes actors have tomake their own breaks. In anupcoming book of adages, Iwrote one relating to that. “Beaware of all that happens aroundyou; opportunity may be justpassing through.” I did, and it paidoff.

Next time a casting directorasks, “What have you done?” Myreply will be, “To whom?”

James Yoham

IN MEMORIAMDear Editor:

Dana Bate died of pneumoniaon July 29, 2013 in Bristol, PA.

We shared the same agent,Lewis Chambers. Dana made afair amount of money for Lew. Ididn’t.

Thanks to Mark Wilson, in1995 I worked with Dana in RayCooney’s Funny Money inBlowing Rock, NC. In a scenefraught with double entendre,Dana would cause me to corpse,much to Allen Lewis Rickman’schagrin.

Dana was a mentor to me. Hisblog (Vagabond Journeys) ispacked with gems about actingand life.

Bruce Springsteen says it bestfor me, Dana: “They say you can’ttake it with you/But I think thatthey’re wrong/Cuz all I know’s Iwoke up this morning/Andsomething big was gone.” Adios,amigo.

George Millenbach

Dear Editor:I am writing with the sad news

that David R. McDaniel, an Equitymember for over four decades,has passed away. He died onJune 29, 2013 after a shortillness.

David was a highly creativeperson with a career thatspanned nearly all aspects of thearts. He appeared on Broadwayin No, No Nanette and ThePirates of Penzance. As amember of the cabaret actGotham, he recorded albumsand appeared at the KennedyCenter, Carnegie Hall, LincolnCenter and nightclubs around theworld. After a long break from thebusiness during the 1990s, hebegan working again in Off-Broadway plays, independentfilms and on the TV series,Rubicon. He was also anaccomplished artist whosepaintings have been exhibitedfrom Oregon to Israel; his work isin the permanent collection of theMuseum of the City of New York.

Most importantly, David was awonderful colleague and friend toall who knew him. Hisprofessionalism was matchedonly by his generous spirit andkind heart.

Raul Reyes

Office ClosingAll Equity offices will be

closed on Monday, February17, 2014 in observance ofPresidents’ Day.