It’s a wrap! The VolunteerIncome Tax Assistance (VITA)program had a banner 2011

tax season, which wrapped onFriday, April 27, 2012 at VITA’sNew York headquarters. AEA’sSecretary-Treasurer/VITADirector Sandra Karas reported

that the New York volunteersprepared over 5,000 federal,state and city tax returns for morethan 1,500 AEA and SAG-AFTRA members in a 12-weekperiod. In other locations, VITAprepared more than 100 returns

for members in Los Angeles andover 50 returns each formembers in Seattle and Orlando.

“With the support of ourunions and the AEA, AFTRA andSAG Foundations, our combinedVITA programs save membershundreds of thousands of dollars

every year that they would havehad to spend in additional taxesand in preparing their ownreturns” says Ms. Karas. “Ourdedicated volunteers are theheart and soul of this program,without whom none of these

services would be so generouslyand expertly provided, so thebiggest thanks should go out tothem.”

Ms. Karas also notes: “All ofour VITA sites need volunteers tocontinue the services tomembers. If you are interested incommitting time during taxseason as a tax preparer or adesk receptionist, contact the sitenear you (NY – Equity Building;LA – The Actors Fund; Orlando –Actors’ Equity; Seattle – SAG-AFTRA at the AFTRA Building).The time to start is now to beginto prepare for next season.Yourfellow members will thank you.”

Volunteers not pictured:Sandra Berrios, Tobias Blackwell,Iris Delgado, Magie Dominic,Scott Gordon, Brian Hargrove,Darrie Lawrence, Patricia Mas-ters, Michael McKenzie, GeoffreyMergele, Jody Prusan, SusanSigrist, David Sitler, Mary J.Slusser, Nancy Slusser, GordonStanley, Mary Lou Westerfield,Joe Zaloom.

In 2012, there is even more tocheer about when the annualTony Awards ® are

presented. Equity has received aSpecial Tony acknowledging theUnion’s Centennial and thecontributions of Equity Membersto the American theatre.Congratulations, too, to all of theMembers who have beenrecognized this year.

BEST PERFORMANCE BY ANACTOR IN A LEADING ROLEIN A PLAYJames Corden, One Man, TwoGuvnorsPhilip Seymour Hoffman,Death of a SalesmanJames Earl Jones, Gore Vidal’sThe Best ManFrank Langella, Man and BoyJohn Lithgow, The Columnist

BEST PERFORMANCE BY ANACTRESS IN A LEADINGROLE IN A PLAYNina Arianda, Venus in FurTracie Bennett, End of theRainbowStockard Channing, OtherDesert CitiesLinda Lavin, The LyonsCynthia Nixon, Wit

BEST PERFORMANCE BY ANACTOR IN A LEADING ROLEIN A MUSICALDanny Burstein, FolliesJeremy Jordan, NewsiesSteve Kazee, OnceNorm Lewis, The Gershwins’Porgy and BessRon Raines, Follies

BEST PERFORMANCE BY ANACTRESS IN A LEADINGROLE IN A MUSICALJan Maxwell, FolliesAudra McDonald, TheGershwins’ Porgy and BessCristin Milioti, OnceKelli O’Hara, Nice Work If YouCan Get ItLaura Osnes, Bonnie & Clyde

BEST PERFORMANCE BY ANACTOR IN A FEATURED ROLEIN A PLAYChristian Borle, Peter and theStarcatcherMichael Cumpsty, End of theRainbowTom Edden, One Man, TwoGuvnorsAndrew Garfield, Death of aSalesmanJeremy Shamos, ClybournePark

BEST PERFORMANCE BY ANACTRESS IN A FEATUREDROLE IN A PLAYLinda Emond, Death of aSalesmanSpencer Kayden, Don’t Dressfor DinnerCelia Keenan-Bolger, Peter andthe StarcatcherJudith Light, Other Desert CitiesCondola Rashad, Stick Fly

BEST PERFORMANCE BY ANACTOR IN A FEATURED ROLEIN A MUSICALPhillip Lamar Boykin, TheGershwins’ Porgy and BessMichael Cerveris, EvitaDavid Alan Grier, TheGershwins’ Porgy and BessMichael McGrath, Nice Work IfYou Can Get ItJoshYoung, Jesus ChristSuperstar

BEST PERFORMANCE BY ANACTRESS IN A FEATUREDROLE IN A MUSICALElizabeth A. Davis, OnceJayne Houdyshell, FolliesJudy Kaye, Nice Work If You CanGet ItJessie Mueller, On A Clear DayYou Can See ForeverDa’Vine Joy Randolph, Ghostthe Musical

REGIONAL THEATRE AWARDThe Shakespeare TheatreCompany,Washington, DC

ISABELLE STEVENSONAWARDBernadette Peters

SPECIAL TONY AWARDActors’ Equity AssociationHugh Jackman

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

“I’ve missed more than9,000 shots in my career. I’velost almost 300 games. I’ve

failed over and over and overagain in my life and that

is why I succeed.”—Michael JordanEQUITYNEWS

Index2012 Election results ...............1

From the President..................2

National News .......................3

Centennial countdown ..............4EQUITYNEWS

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JUNE2012

Volume 97Number 5

President Nick Wyman ledthe slate of Officerselected to three-year

terms in Equity’s 2012 NationalElection. In addition, 17members—10 from the EasternRegion, one from the CentralRegion and six from the WesternRegion—have been elected toCouncil.

Ballots were tabulated on May

24, 2012. There were 5,827 totalvalid ballots cast, of which 2,181were cast electronically.Following are the results:

OFFICERSPresident: Nick Wyman

(incumbent)First Vice President: Paige Price

(incumbent)Second Vice President: Rebecca

Kim Jordan (incumbent)Third Vice President: Ira Mont

(incumbent)Secretary/Treasurer: Sandra

Karas (incumbent)Eastern Regional Vice President:

Melissa RobinetteNot elected: Kate ShindleCentral Regional Vice President:

Dev Kennedy (incumbent)Western Regional Vice

President: Doug Carfrae(incumbent)

EASTERN REGION

Principal Five-Year TermChristine Toy Johnson

(incumbent)

David SitlerIra Denmark (incumbent)Margot Moreland (incumbent)James Moye (incumbent)Not elected: Paul V. Ames,

Douglas Leland, BarbaraCallander, Matt DeAngelis.

Principal One-Year TermKristen Beth Williams

Chorus Five-Year TermAl BundonisRoger Preston Smith

(incumbent)Not elected: Stas’ Kmiec’

Stage Manager Five-Year TermLisa Dawn CaveJohn M. Atherlay (incumbent)Not elected: Dan Zittel, Bernita

Robinson, Erin MaureenKoster

CENTRAL REGIONPrincipal Five-Year TermDavid C. Girolmo (incumbent)

WESTERN REGION

Principal Five-Year TermMichele Lee (incumbent)Stephen PawleyHeather LeeVernon Willet (incumbent)Not elected: Barbara N. Roberts

Principal Three-Year TermJoseph Ruskin (incumbent)

Chorus Five-Year TermMichael Dotson (incumbent)

All Officers Reelected;17 Elected to Council

Congratulationsto Equity and OurTony Award®

Nominated Members

VITA Has Big Season

Centennial BeginsMessages from our President, Executive Director and

three former Presidents.(See pages 4 and 5.)

VITA volunteers: (back row, l to r) John LaGioia, Linda Carol Young,Yvette Heyliger, Tony Paccione, Nneoma Nkuku, Mark Irish; (middlerow) Betsy DiLellio (Elizebeth Failla), Sandra M. Bloom, Carol Emshoff,Betty Hudson, Carla Torgrimson (seated), Marchand Odette, LaurelLockhart, Elizabeth Flax, Bernadette Cancelliere; (front) JoannaMyers, Sandra Karas, Leonard Garbin, Mohamed Abbassi.

From thePRESIDENT

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

2 / EQUITY news JUNE 2012

Work, Art and “Work”By Nick Wyman

First of all, thank you for re-electing me President . Iam proud of you for

resisting the siren lure of Noneof the Above, the blandishmentsof What Election, and EmptyChair’s cynical campaignpromise to provide everymember with work. I only wish Icould provide every memberwith work. I not only can’tprovide good-paying work toevery member, I can’t providelow-paying or even non-payingwork to every member. Andthereby hangs a column.

What is work? In Sondheim’sSunday in the Park with George,Franz says “Work is what you dofor others, liebchen. Art is whatyou do for yourself.” None of us,not even your jaded, mercenary

President, chose this vocationbecause we thought it was asurefire way to financial comfort.We do it for ourselves, for Art –for Love, as Morales sings in AChorus Line. We do it becausewe are junkies and we need ourfix. Many of us would do it forfree. That attitude is lousyleverage when it comes tonegotiating contracts. And that’swhere a Union comes in handy.

AEA’s job is to allow us to dowhat we do for Love withoutturning ourselves into floozies.AEA says “No” on behalf of49,000 Ado Annies. Our job isfrequently not to protect Actorsfrom unscrupulous producersbut to protect Actors fromthemselves. And yet…. And yetActors want to act. There aren’tenough decent-paying jobs to

go around — not even close toenough. So how can we/AEAallow Actors the freedom to dowhat they love to do – forbasically no money —withoutundercutting the marketplace?

AEA currently strives toaccommodate our members byallowing them to volunteer theirservices, to work for Creativity,Career or Community evenwhen there is little hope forCash or (Health) Coverage. Wehave disparate rules across thecountry to allow members towork for free or all but free:Showcase Code, 99-SeatTheatre, Members’ ProjectCode, Staged Reading, BayArea Project Policy, NYMF,Fringe Festival. It is not a levelplaying field, and as the Councildevelops a long-range strategic

CRB to Fill SixNon-Councillor Seats

As per Equity’s By-Laws, the Central Region will beelecting six non-Councillors for seats on the CentralRegional Board for the 2012 election. Only members

living in the Central Region are eligible to run and to vote forthese positions.

The following two-year terms are available: four Principal,one Chorus, and one Stage Manager.

All candidates must meet the same eligibility requirementsas the Councillors in their category. The Nominating Committeethat was seated for the Council election also serves as theNominating Committee for these Central Regional Boardpositions. If you wish to be considered for any of the seats,submit your candidacy according to the following schedule:

Monday, July 2, 2012 Deadline for NominatingCommittee report to theCentral Regional Board.

Wednesday, July 11, 2012 Deadline for nominations byIndependent Petition.Materials due in ChicagoOffice by 3 PM (CDT).

Monday, July 16, 2012 Deadline for all candidatestatements and photos to bereceived in the Chicago Officeis 3 PM (CDT).

Monday, August 6, 2012 Deadline for mailing ofballots.*

Tuesday, September 4, 2012 Deadline for return of ballotsto Chicago Office by 2:30 PM(CDT).

Wednesday, September 5, 2012 Tellers’ Committee picks upor Thursday, September 6, 2012 ballots and tabulates results.Monday, September 10, 2012 Report of Tellers’ Committee

to the Central Regional Boardand seating of new Boardmembers.

* In accordance with the Equity By-Laws, should there be noindependent nominations for these non-Councillor CentralRegional Board seats, and therefore no contest, there shall beno balloting. Those uncontested members chosen by theNominating Committee will be deemed elected and will beseated at the September 10, 2012 meeting of the CentralRegional Board.

For a submission form, contact Christine Provost in theChicago Office at cprovost@actorsequity.org 312-641-0393,ext. 232.

75 Years AgoJune 1937

• Equity and other theatricalunions fight to save the FederalTheatre Project of the WorksProgress Administration (WPA).Representatives meet withmembers of the SenateAppropriations Committee toprotest cuts in funding, saying:“The purpose of WPA is toprovide jobs for those willing andable to work and needingemployment just so long asprivate industry does not providefor them. The responsibility ofproviding employment formillions of unemployed rests withCongress and Congress must,therefore, make availableadequate appropriations for WPAespecially so for those who aretrained in the various branchesof the theatrical profession.”

• A suggestion is advanced ata session of the AmericanTheatre Council, and supportedby Equity, that unsold theatreseats (and even standing room)should be made available at nocharge to Equity members.

50 Years AgoJune 1962

• Meetings with AGMAregarding merger resume.

• A committee is formed toexplore ways of commemoratingEquity’s Golden Anniversary,May 1963.

• The New York City Board ofEstimate approves a $25,000appropriation to help bring freeperformances of Shakespeare toProspect Park in Brooklyn.

• A membership meeting atNY’s Edison Hotel draws 398members. Discrimination incasting is a hot topic. Twohundred members attend a

meeting in Hollywood wherethere is heated debate on theHollywood Area Contract.

25 Years AgoJune 1987

• Council approves arecommendation from theCommittee to Fight AIDS thatThanksgiving week of each yearbe designated as Equity FightsAIDS Week.

• The minimum weekly salaryfor Actors under the ProductionContract is $740; for StageManagers (Dramatic), $1030and SMs (Musical), $1200. Thehealth insurance contribution is$55.15 per Actor per week.

10 Years AgoJune 2002

• Sixty-two percent ofmembers voting in a nationalmail referendum approve anincrease (the first in 12 years) inBasic Dues from $78 to $98, andto $118 in 2002. Working duesincrease from 2% to 2.25%.

• Council approves a new fiveyear contract for SmallProfessional Theatres withhigher salaries, clearer languageand improved non-traditionalcasting and non-discriminationprovisions.

AlienCommitteeRenamed

At its meeting on May 15,2012, Council approved arecommendation of the AlienCommittee that the name of theCommittee be changed toInternational Actors Committee.The Committee felt the newname embraces and reflects thegrowing global theatrecommunity. Council agreed.

plan, we will be taking a look atwhether we should level it.

As Actors and as a Union,the ultimate power we have isthe ability to say “No.” Saying“No” risks losing us the job orthe contract, but we won’t getmore money if we say “Yes” toless money — or no money.Sometimes we have to say “No”to “work” in order to get realwork, work for pay. That littlecard in your wallet says you area professional. Professional,according to my dictionary,means “following an occupationas a means of livelihood or forgain.” We may not all be able tosecure “a means of livelihood”from acting or stage managing,but I think we all want to do it“for gain.” Your re-elected andnewly elected leadership isstriving to maximize both theamount of gain from the workand the number of opportunitiesto do the work. And although weare not being paid for it, we areproud and happy to dothis “work.”

A LOOK BACK

JUNE 2012 EQUITY news / 3

NATIONALNEWSNATIONALNEWS

Atlanta

Liaison Committee HelpsLocal Home Meal ProviderBy Karen Howell, Liaison Committee Chair

The Atlanta LiaisonCommittee recently partneredwith The Alliance Theatre,The New AmericanShakespeare Tavern, TheAtlanta Lyric Theatre, AuroraTheatre, ART Station,Georgia Ensemble Theatre,Stage Door Players, and theAtlanta Ballet to raise fundsfor Open Hand Atlanta. OpenHand, which recentlycommemorated its 24th yearof service and the delivery ofits twenty millionth meal, hasgrown to become the nation’slargest community-basedprovider of home-deliveredmeals. Open Hand prepares,packs and delivers more than5,000 meals every day across17 north Georgia counties.

It is the only non-profitorganization providingComprehensive NutritionCare™, which combinesnutritious, medicallyappropriate meals withnutrition education, therapyand coaching for homeboundseniors and underservedindividuals struggling withchronic, critical or terminalillness.

Bill Murphey, LiaisonCommittee member,coordinated the drive.Committee members, Atlantamembers, and the casts andcrew of the runningproductions, collected moneyafter shows. The generouspatrons of these theatrescontributed an amazing$11,029.39 for this wonderfuland deserving organization.

New York

Derwent, Seff Awards PresentedEquity’s Clarence Derwent

Award for most promisingfemale and male performerson the New York metropolitanscene, and the Richard SeffAward honoring a veteranfemale and male characteractor for the best performancein a supporting role in aBroadway or Off-Broadwayproduction, have beenpresented. Both awards areadministered by the Actors’Equity Foundation andinclude a check and a crystalplaque.

The Derwent Award hasgone to Susan Pourfar for herrole in the Off-Broadwayproduction Tribes, at theBarrow Street Theatre, and toFinn Wittrock for hisBroadway debut as HappyLoman in the Broadwayrevival of Death of aSalesman.

The Derwent Award,named in honor of ClarenceDerwent, who served asEquity President from 1946-

1952, is the oldest award onBroadway, having been givenfirst in 1945.

The Richard Seff Awardhas gone to Laila Robins andPatrick Page. Ms. Robins wascited for her performance inthe Signature Theatreproduction of Edward Albee’sThe Lady From Dubuque. Mr.Page was acknowledged forhis role as NormanOsborn/Green Goblin inSpider-Man: Turn Off theDark.

Named for Equity memberRichard Seff, who has fundedit since 2003, this awardrecognizes veteran characteractors and long-timeMembers of Equity.

The Judges’ panel for bothawards includes JoeDziemianowicz, Daily News;Adam Feldman, Time OutNew York; Susan Haskins,Theater Talk; Harry Haun,Playbill; and DavidRosenberg, Back Stage.

Los Angeles

Diversity Program Stirs the PotOn April 30, 2012, the

Western Region EqualEmployment Opportunity (EEO)Committee presented Stirringthe Pot, a mixed abilities readingof selected scenes from originalworks by blind playwright andactor Lynn Manning at theFountain Theatre in Hollywood.

The two plays representedwere Ochre & Onyx (TheLangston Hughes Project) andThe Last Outpost. Both playshad premiere productions byWatts Village Theater Companyand The Last Outpost wascommissioned by The New YorkShakespeare Festival.

Both plays are set in LosAngeles and speak to thediversity of the city. Ochre &Onyx, circa 2008, examinesBlack and Latino relations. In theLast Outpost cocktail lounge inLA’s Wilshire District, circa 1998,

“bar fly” regulars feel undersiege by an ever-expandingKorean community, which leadsto both unexpected alliancesand unsettling confrontations.

Neither play was writtencontaining a character with adisability, but a performer with adisability can easily play certaincharacters in both plays. Thisreading demonstrated how thatis successfully done and theplays themselves also providedthe opportunity for showcasing atruly diverse cast of characters.

The cast included: RobertDavid Hall, Bruce Beatty, Eric B.Anthony, Keiana Richard,Francisco Garcia, Debra Armani,Vanessa Sapien, Tené Carterand Jennifer Chang. BarbaraRoberts directed the reading,with stage managementprovided by John Freeland Jr.

Denver

Equity TheatresSalutedBy Shelly GazaChair Denver LiaisonCommittee

The Denver Liaison Committeesalutes the following theatrecompanies that have expressedinterest in using Equity contracts intheir 2012-2013 seasons: VintageTheatre Company, LOCAL TheatreCompany, Theatre Works, LakeDillon Theatre Company, Toto TooTheatre Company, Cherry CreekTheatre Company, AbsterProductions, Vision Box, and LoneTree Arts Center. These theatresare all part of the LiaisonCommittee’s AmbassadorProgram, which has the missionof fostering communicationbetween the Union and theatresthat are new to, or newlyinterested in, exploring the useof Equity contracts.

In addition to our contract withemerging theatres, theAmbassador Program also servesas a supportive presence for thetheatres in our area that havealready been using Equitycontracts for some time. Theseinclude: The Denver CenterTheatre Company, The ArvadaCenter, Creede Repertory Theatre,The Colorado ShakespeareFestival, Curious Theatre, AuroraFox, Theatre Aspen, and TheLittle Theatre of the Rockies—allof which remain steadfastsupporters of our Members.

Thanks to all these wonderfulcompanies—old and new—fortheir commitment to producingprofessional theatre in Colorado.

New York

Broadway Show LeagueKicks Off

Equity, the reigning champs of the2011 Broadway Show League season, istrying to repeat its success this year.Cheering on the team are (l to r) SamRobards, Brooke Martino, Angel Wuellner,Rebecca Stavis, Councillor Joanne Borts,Erin Holms and Jimmy Burke! Yea, team!! (National News continued on page 7)

(From l) Bill Murphey, Jeff Carrico of Open Hand Atlanta, andKaren Howell.

Participants in Stirring the Pot are (l to r) Lynn Manning, RobertDavid Hall, Bruce Beatty, Tené Carter, Debra Armani, JenniferChang, Francisco Garcia, Keiana Richard, Eric B. Anthony and(c) Vanessa Sapien.

OUR UNION IS BORN

THE NARRATIVE PROJECT: LET YOUR VOICE BE HEARD

BEHIND THE CURTAIN MOBILE EXHIBIT

Actors’ Equity came into being on May 26, 1913, when 112 Actors met at the Pabst Grand Circle Hotel in New York City, and decided action had to be taken to protect Actors from often appalling work conditions.

The early defining moment of AEA, however, took place in August 1919, when Equity members resolved not to work for producers unless they recognized AEA and used a standard contract cover-ing wages and work rules. This dispute led to a month-long strike, which captured the public’s imagination and galvanized the Union, growing the membership from 2,777 to 14,000 when the strike ended.

The Standard Minimum Contract was adopted, and professional theatre became a reality.

Join a personal and lasting multimedia history of professional American theatre seen through the eyes of Equity Members and others across the country. Share your personal story as an Actor or St age Manager by posting on www.facebook.com/aea100

Behind The Curtain is a 53-foot cargo trailer converted into a state-of-the-art travelling theatre exhibition. This digital theatre experience will visit cities across the country with memorabilia, interactive technology and activities for audiences of all ages.

of the

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ACTORS’ EQUITY ASSOCIATION

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10

0 YEARS OF

ACTORS’ EQUITY ASSOCIATION

AND THE RISE OF PROFESSIONAL AMERICAN THEATER PERFORMANCE OF THE CENTURY FIND YOUR STAGE, PLAY YOUR PARTAnnouncing…

A fascinating story of when Actors grabbed the headlines and kick-started professional theatre in America told in a 200+ page photo-filled book with behind the curtain stories and a history you won’t believe. Due out in September. Keep reading Equity News and visit actorsequity.org soon to learn how to order with a Member discount.

To keep up with everything surrounding the Actors’ Equity Association Centennial Celebration, visit www.facebook.com/aea100

Nick Wyman PRESIDENT

The first 100 years are the hardest (or so my agent keeps telling me), so I am looking forward to the cushy times ahead for Actors’ Equity after May 26, 2013. Yet, whatever rough patches we may have had over the past ten decades, like a show with a rocky dress rehearsal, Equity always pulls through.

CONTINUED ON PAGE 6

Mary McColl EXECUTIVE DIRECTOR

What a remarkable run! Who would have expect-ed a Union representing Actors to make it to 100? Looking back we see 100 years of American theatre history. But at our core, AEA is a labor union with a mission of ensuring safe working condi-tions with pay and benefits to protect and serve our membership.

CONTINUED ON PAGE 6

Mark Zimmerman PRESIDENT 2006–2009

In the 20 plus years I served as a Councillor and Officer at Equity I was able to see many times how appropri-ate our motto, “All for one, and one for all”, is.

CONTINUED ON PAGE 6

Theodore Bikel PRESIDENT 1973–1982

I am an Actor; I am a labor union member; and I have a commitment to both. Some people choose to see a contradiction between these two commitments. I do not.CONTINUED ON PAGE 6

Ellen Burstyn PRESIDENT 1982–1985

I was elected President of Equity in 1982, a single mother with some acting awards on the mantle, a rambling old house with a meditation room, a hefty mortgage and still fighting every day for a career. CONTINUED ON PAGE 6

LOGOS IN PMS 293 OR REVERSED WHITEWITH CALL LETTERS UNLESS APPROVED OTHERWISE

BY STATION MANAGERS

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........ . . . . . . . . . . . . . . . . . . . . . . . . .

CENTENNIAL COUNTDOWNCELEBRATE 100 YEARS OF PROFESSIONAL AMERICAN THEATRE 1913-2013

“COME I NOT TO SPEAK AT EQUITY’S FUNERAL, BUT AT HIS BIRTH” Brandon Tynan, performing a customized version of Marc Antony’s funeral oration from Julius Caesar during the benefit for the strike, August 18, 1919

PHOTO COURTESY NEW YORK UNIVERSITY

Equity thanks the American Theatre Wing and the Broadway League for awarding it a Special Tony in honor of our Centennial.

EQUITY news / 54 / EQUITY news JUNE 2012

Nick WymanIt is brutally difficult

(sometimes seeminglyimpossible) to earn a living in thisbusiness; and logic would dictatethat an Actor’s approach wouldbe one of cut-throat, dog-eat-dogself-interest. Instead, Actorsband togmer for the commongood, with a motto of “One for alland all for one.”

Not content with looking outfor our fellow Actors and StageManagers, we have taken standsto help those oppressed byracism (in our efforts todesegregate the NationalTheatre in Washington, DC), bypolitical witch-hunts (in our standagainst McCarthyism and theblacklist), by disease (in theheroic efforts of Equity FightsAIDS), and by discrimination (inour ongoing battle for marriageequality).

Reflecting on our 100 yearhistory fills me with pride. I amproud to be a Union member andvery proud to be a member ofthis particular Union. I hope youare proud of AEA as well. We aredetermined to use the next yearto burnish that pride byspreading the word about Actors’Equity and raising its profile.Help us celebrate the past 100years; but more importantly –just as when a show closes, weturn to look for the next job –help us plan for an even moreglorious next 100 years.

Mary McCollOur history is rich and varied,

making contributions to our

communities as well as ourindustry. From Broadway to LosAngeles, from Las Vegas toMinneapolis, Actors live andwork, creating art and economicgrowth. If there is a lit theatre intown the heart and the soul (theart) and the infrastructure (taxrevenue) of the community isenriched. Jobs are created,parking lots are full, restaurantsare cooking and audiencesdream.

Our first 100 years havecreated a firm foundation andnow it is time to look ahead. Weface challenges, some of whichhave been seen before. Laborunions are under attack andAmerican workers are suffering.There is a need for better (andmore accessible) health care; ademand for equality; an outcryfor education and a hope for acommitment to the brighterfuture that the arts bring toevery community.

As we have throughout ourhistory, AEA intends to play arole in that bright future. Ournext 100 years will be spentbeing responsive to thechanging needs of our diversemembership and the changingenvironment of ‘show business.’AEA is the membership andworking together we can facethe challenges ahead.

Theodore BikelYes, we are in the first

instance artists; the quality ofour work is of paramountimportance to us. And yes, wedo work for hire and we are —not nearly often enough —

salaried employees. But whatdistinguishes us from workers inother walks of life is that we arepassionate about what weproduce and about theinstitutions that make our workpossible, for reasons far beyondself-interest. To be sure, allworkers take pride in what theydo.

But I know of no factoryworker who worships theautomobile he or she produces,or the computer chip, or therailroad ties. We, on the otherhand, are hopelessly devoted tothe art of theatre, to text, tomusic and to dance. Because ofthis passion we are alsovulnerable to exploitation. Actorswould rather act than eat. Thatattitude, while admirable, is alsofrustrating in the extreme. Timeand again, as President ofActors’ Equity, I had to stress toemployers and Actors alike thatfollowing a noble calling andinsisting on adequatecompensation is nocontradiction. Clearly, we had toprotect Union members not onlyfrom exploitation by employersbut often from themselves aswell.

But, make no mistake, eventhough we came together almost100 years ago to improve theconditions in the workplace andensure that artists areadequately paid for what theydo, we are still first and foremostmen and women the fruit ofwhose labor is made of thegossamer fabric of dreams, ofpoetry, of dance and of melody.There is joy in that. We will

continue the struggle tomorrow,as we must, but today WECELEBRATE.

Ellen BurstynIn retrospect, I don’t think I wasprepared for the workload and,truth be told, the drama of whatI had been told was largely aceremonial position.

Being President of Equity putme at the table with zoninglawyers, theatre owners,architects and communityactivists, all vying over whetherthe historic Broadway theatreswould survive for the nextgeneration of Actors andaudiences.

I recall standing on the emptystage of the Brooks AtkinsonTheatre, where I had doneSame Time, Next Year yearsbefore, trying to identify thedead spot in the orchestra that Iknew existed and thinking: thisfight over the Broadway theatresisn’t about architecture. It’sabout people understandingwhat we as Actors and StageManagers do, our hearts, ourminds, our voices. Telling thetruth about that was really myjob as President and it was aprivilege to serve.

Mark Zimmerman

I was a newly-electedCouncillor when the MissSaigon incident happened. Iconsider that to be the mostimportant moment in our Union’spush towards color blind casting.

I was serving as First VicePresident on 9/11/01 whenEquity faced a moment thatcould have brought us to our

knees. Instead, under theleadership of our ExecutiveDirector, Alan Eisenberg, andour President, Patrick Quinn, weworked together with producersand our sister Unions to findsolutions to keep theatres openand to secure the welfare of ourindustry.

My fondest and saddestmemory was when I becamePresident. I had just beenreelected to a third term as FirstVice President when ourPresident, Patrick Quinn, died ofa heart attack. Patrick was aboutto become the new ExecutiveDirector of Equity and his deathleft the Union without both aPresident and an ExecutiveDirector. The first thing theCouncil did was to appoint meas President. Then we had tonavigate through the next sixmonths as we searched for anew Executive Director. Thestaff, Officers and Council wereremarkable at that time. Egoswere set aside as all workedtogether to make sure we gotthrough the crisis. It’s a momentin my service to Equity that I willalways remember proudly.

Whenever our Union hasfaced a challenge, we havestood together in finding ways tosolve the problems confrontingus through innovative solutionsand compromise. That is whatmakes me most proud to belongto AEA—that over the last 100years, we’ve given Actors andStage Managers anenvironment that instillscreativity while ensuring thewelfare and safety of ourmembers. We do, indeed, live upto our motto, “One for all, and allfor one.”

6 / EQUITY news JUNE 2012

CENTENNIAL COUNTDOWN continued from center

“Summer Stock” or “StockTheatre” brings to mind mustybarns, moonlit nights and strawhats, immortalized on the silverscreen by Judy Garland andGene Kelly. It used to describethe kinds of shows that weredone in summer resorts near theshore, lakes or mountains awayfrom New York City, Chicago orother cities: chestnut musicals,boulevard comedies, or favoritetitles with sets and costumespulled from “stock.”

Now, with many StockTheatres presenting worldpremieres, it defines a way ofproducing, not what theyproduce. Stock theatres havelimited rehearsal periods andmust operate in continuousproduction — unlike LORTtheatres — so with fewexceptions, they must alwayseither have a production inrehearsal or performancethroughout their season. Stocktheatres all have provisions for

resident company members(Actors or Stage Managersperforming one show whilerehearsing the next).

Equity has five contracts thatcover this type of work, which isnot always limited to the summer– some theatres operatethroughout the year. Thefollowing information was culledfrom AEA’s website(www.actorsequity.org), so besure to check out these contractsonline in our Document Library.

CORSTCouncil of Resident Stock

TheatresN a t i o n a l A g r e e m e n tThe CORST (Council of

Resident Stock Theatres)Agreement covers ResidentDramatic Stock and is used bycommercial and not for-profitproducers. Four salarycategories (Actor Minimums,$545 - $849) are based onpotential weekly box office gross.A resident company of fiveprincipal Actors and one StageManager must be maintained inall but two productions. Except inthe highest category, no morethan 50% of the performanceweeks may be for musicalproductions. Touring is notpermitted.

Used by: Barnstormers (NH),Flat Rock (NC), Maine StateMusic Theatre (ME), MountainPlayhouse (PA), Old Log Theater(MN), Peninsula Players (WI),Peterborough Players (NJ), StMichael’s Playhouse (VT), TotemPole Playhouse (PA),Williamstown Theatre Festival(MA)

COSTCouncil of Stock Theatres N a t i o n a l A g r e e m e n tThe COST (Council of Stock

Theatres) Agreement coversNon-Resident Dramatic orMusical Stock and contains fivetiers with different salaryminimums (Actor minimumsrange from $632 -$905). It maybe used by commercial or not-for-profit theatres, and must havea season of not fewer than twoconsecutive productions, or, inthe case of a unit tour, perform attwo or more Stock Theatres fornot fewer than two consecutiveweeks. There may be up to fourweeks of rehearsal and up toeight weeks of performances perproduction in one location.Touring is permitted either onconsecutive stock jobbing or unitcontracts.

Used by: Cape Playhouse(MA), Casa Manana (TX), Live

Events @ North Shore MusicTheatre (MA), McCoy –Rigby(CA), Ogunquit Playhouse (ME),Olney Theatre (MD), OrdwayCenter for the Performing Arts(MN), Paper Mill Playhouse (NJ)

RMTAResident Musical Theatre

AssociationN a t i o n a l A g r e e m e n tThe RMTA (Resident Musical

Theatre Association) Agreementis used by both commercial andnot-for-profit stock theatres formusical seasons. A residentcompany of no fewer than fourprincipal Actors and one StageManager and one AssistantStage Manager must bemaintained for all but twoproductions. The entire Chorusmust be on Equity contracts.Actor minimum is $983.00

Used by: California MusicTheatre, Pittsburgh Civic LightOpera.

MSUAMusical Stock/Unit

AttractionN a t i o n a l A g r e e m e n tThe MSUA (Musical

Stock/Unit Attraction) Agreementwas originally designed for use invery large outdoor amphitheatresbut now also includes someindoor operations. Sometimes

these theatres produce their ownshows which they may present attheir own theatres and/or tour ona Unit Attraction Agreement orconsecutive stock jobbingcontracts; sometimes they serveas stops on Stock or Productiontours. Because outdooramphitheatres can present onlyevening performances, suchoutdoor theatres are permitted toperform seven nights per week.With only minor exceptions, theentire company must be onEquity contracts.

Used by: The MUNY (MO),Kansas City Starlight (KS),Theatre of the Stars (GA)

WCLOWestern Civic Light Opera W e s t e r n A g r e e m e n tThe WCLO agreement is

used in Western Regioncommunity non-profit musicaltheatres. Touring is permittedbetween WCLO theatres and,under certain circumstances, intotheatres that are not signatoriesto the WCLO agreement. Perdiem is required when the actorperforms overnight tours awayfrom the theatre. Actor minimumis $983.

Used by: Fifth Avenue Theatre(Seattle, WA), Theatre Under theStars (Houston, TX)

*Equity Equinyms

EQUiTYEQUINYmSQ*

JUNE 2012 EQUITY news / 7

Los Angeles

May Day Play Reading Event Tests Cold Reading Skills

Justice was served in LosAngeles on May 1, 2012 when areading of Twelve Angry Jurorscame to life in the BellamyBoardroom of the Equity offices.

The Western MembershipEducation Committee issued asummons to local Members for aMay Day Play Reading andwelcomed an eager and diversegroup of Actors game to test theircold reading skills and hear aclassic drama. The evening’sdocket began with a bit ofdramaturgy on the history of theplay and the context in which it waswritten—the McCarthy era.

There was tension in the air asnames were drawn for the castingof the Judge and Jury for Act One.Gender-neutral casting heightenedthe charged atmosphere of theSherman L. Sergel stageadaptation of Reginald Rose’soriginal teleplay (and later film),Twelve Angry Men. The Actorswere empanelled around the

Boardroom table where they foundthe Dramatic Publishing Companyscripts and brief descriptions oftheir character. Those waiting theirchance to read formed the galleryaround the room. Names weredrawn for new jurors after eachintermission.

Members presented convincingevidence of their talent in each act,some who had performed thepiece before and some who hadnever encountered the play.Spirited conversations sprang upduring both intermissions, helpingto strengthen community andcreate new friendships among theplayers. Scripts were raffled asdoor prizes at the end of theevening. The verdict wasunanimous: More readings!

Thanks to Committee MembersMaggie McCollester, Robert Guidi,Ray Singh, Ned Schmidtke, CindyMarty, Chair Jennie Ford, andstaffers Maura Murphy-Barrosseand Richard Ostlund.

New York

Eastern Region ObservesAsian Heritage Month

On Monday, May 21, 2012, in celebration of Asian HeritageMonth, the Eastern Region Equal Employment OpportunityCommittee presented a concert reading of Gold Mountain (book,music and lyrics by longtime AEA member Jason Ma), directed byChristine Toy Johnson at Hunter College’s Lang Recital Hall. Thecast featured members Raymond J. Lee, Ali Ewoldt, Alan Ariano,Marc DelaCruz, Steven Eng, Whitney Kam Lee, Paolo Montalban,Councillor Buzz Roddy, David Shih, Joshua Dela Cruz, Daniel J.Edwards, Andrew Eisenman, Brian Jose and Jake Manabat.Production design was by Bruce Alan Johnson.

New York

Weathervane Theatre AlumsHold Benefit to Rebuild

The Weathervane TheatreAlumni Association presenteda night of song entitled Raisethe Roof! Recover, Rebuild,Rejoice! at Joe’s Pub in NewYork on April 30, 2012. Thefundraising event was held tobenefit the rebuilding efforts of

the Weathervane Theatre,whose historic 19th centurybarn located in Whitefield, NewHampshire was destroyed in afire last season. “Losing theOld Barn was a great loss, bothto our theatre in NewHampshire and to our extended

Weathervane family in NewYork City,” said Artistic DirectorJacques Stewart. “We typicallyhire our company of 11 actorsfrom New York’s large pool ofunion talent. When our AlumniAssociation heard about thefire, the response wasimmediate.”

Performing in the fundraiserwere: Saycon Sengbloh,Bryonha Marie Parham, AnikaLarsen, Charlie Alterman, KellyMcCreary, Josh Tower, AndrewKober, Kevin Smith Kirkwood,Nicole Lewis and TallySessions.

The Weathervane Theatrepremiered its first season in1966 and remains the nation’sonly alternating repertorysummer theatre—offering adifferent show every night.

To help the Weathervaneopen its doors for a 47thsummer season in 2012 andbeyond, contributions to theWeathervane Theatre AlumniAssociation’s Raise the Roof!fundraising campaign can stillbe made atwww.razoo.com/story/Wvaa.

The San Francisco Bay Areawas busy this Spring. Memberswelcomed AEA President NickWyman to the Spring GeneralMembership Meeting,volunteered at the KQEDpledge drive and Alameda FoodBank, and attended the openingof a new venue, 3 Girls Theatre.Members were also honored atthe Bay Area Critics’ CircleAwards and the Theatre BayArea 35 Faces Gala. Upcomingevents include SF AIDS Walk2012 and a LaborFest stagedreading of the play, Mixed Reliefto benefit The Actors Fund (seeseparate story, page 8).

Spring MembershipMeeting

On April 23, Membersconvened at the Exit Theatre inSan Francisco for the SpringMembership Meeting. Over 50Members were on hand,including Western RegionalCouncillors Kelly Ground (BayArea Advisory CommitteeChair), Cindy Marty and GregNorth and Western Regionalstaff Mary Lou Westerfield andBethany Umbach, along withspecial guest President NickWyman.

The election of newmembers of BAAC topped theagenda. Candidates werenominated and given time tospeak from the floor. Elected tothree-year terms were BrianHerndon, Aaron Wilton, LaurenBloom and Kelly Ground, and toone-year alternate terms,Teressa Byrne and MeganKilian Uttam.

BAAC thanks outgoingMembers Rod Gnapp, Cassidy

Brown and Michael PatrickGaffney for their time anddedication to the San Franciscomembership.

Mark your calendars: TheFall Membership Meeting isscheduled for Monday, October22, 2012 at the BerkeleyRepertory Theatre.

KQED Pledge NightAEA Members once again

donated their services oncamera and on the phones toassist TV station KQED duringits annual pledge drive, whichraised $64,008, with 403pledges taken. TV cameraspanned the Equity volunteersproudly wearing their AEA T-shirts.

Alameda Food BankBay Area AEA Members

again volunteered at theAlameda County Food Bank.Participating were WilliamElsman, Julian Lopez-Morillas,Jessica Powell, WandaMcCaddon, Tiiu Eva Rebaneand Donna Davis. The AC FoodBank’s mission is to alleviatehunger by providing nutritiousfood and nutrition education topeople in need, educating thepublic, and promoting publicpolicies that address hungerand its root causes.

3 Girls Theatre CompanyMembers of the BAAC’s

Women’s subcommitteeattended the opening Gala of 3Girls Theatre Company at ThickHouse in San Francisco. Thenew company’s opening seasonof two full productions, threestaged readings and threedevelopmental readings at Thick

House focuses on the work ofwomen playwrights and aims tosupport female voices of allages and viewpoints, includingAEA Actresses, who wereprominently featured in itsproductions and readings. If youare interested in joining theWomen’s subcommittee,contact Chair Lauren Bloom atlabloom@hotmail.com.

Theatre Bay AreaIn celebration of 35 years of

Theatre Bay Area, TBA honoredlocal AEA members, includingBAAC Chair and NationalCouncillor Kelly Ground at their“35 Faces” AnniversaryCelebration. Kelly was honoredfor her contributions tocommunity and professionaldevelopment, as she not onlyserves on behalf of AEA, butalso is vice-chair of theIndividual Services Committeeof TBA. Other AEA Membershonored were: Julia Brothers,Cassidy Brown, Velina BrownColeman Domingo, LisaMallette and Valerie Weak.

AIDS Walk Coming UpThe 2012 San Francisco

AIDS Walk is Sunday, July 15in Golden Gate Park. EquityMembers, MembershipCandidates, family and friendsare encouraged to participate.To join the AEA team, go towww.aidswalk.net/sanfranand select Team #2435. Theteam name is Actors’ EquityAssociation – SF Bay Area. Forquestions or assistance, contactteam leader Stephen Pawley atswpaws@mac.com.

San Francisco

Members Meet, Volunteer

Aftermath of the fire at the Weathervane Theatre.(Photo: Mark Winter)

The Gold Mountain curtain call with (l to r) Daniel J. Edwards,Raymond J. Lee, Ali Ewoldt, Whitney Kam Lee, AndrewEisenman, Councillor Buzz Roddy and Musical Director MichaelLarsen.

(Seated, l to r) Eileen Mary Butler, Debra Armani, Cathy Chang,Dorothy J. Morrison, Robert Guidi, Ivy Bethune; (standing) ArnoldWeiss, Clyde Sacks, Brice Harris, Darryl Semira, Daniel Frick,Kathryn Mayer, Steve Keyes, Robert Trebor, Nicholas Lewis,Maggie McCollester, Mel Hampton, Cynthia Marty and KarenChristie. Not pictured: Guerin Barry.

NATIONAL NEWS continued from page 3

ARTICLE APPRECIATEDDear Editor:

The article, “The Struggle forVisibility is a Fight for Equal Op-portunity,” in the March EquityNews was very appreciated. Myson is a Japanese American Eq-uity Actor. When he decided hiscollege major would be acting,there was a groan from my hus-band and me. Would he everland a part? For his college per-formance in Busy Body, as amain character, his photo wasnot on the programs where otherwhite actors were featured.

The Asian race has produced

many beautiful artworks, theatri-cal plays, music and spiritual dis-ciplines in acting, yet they cannotbe visible in American media andtheatre. If there were more mediaand theatrical visibility of AsianAmericans, I believe we wouldnot be perceived as alien.

The media and theatre havethe power to enlighten Americato accept and include ethnicity byvisibility for the acceptance andtolerance one day. Keep up yourgood work.

Karen KidoTaylorsville, Utah

Opera ($144,899);and FourthRunner-up: How toSucceed inBusiness WithoutReally Trying($144,179). Thetop nationaltouring showaward waspresented toWicked – EmeraldCity ($280,504);First Runner-up:Wicked –Munchkinland

($166,434); Second Runner-up:Les Miserables ($158,816);Third Runner-up: American Idiot($141,661); and Fourth Runner-up: Mamma Mia! ($128,033).

The top fundraising award fora Broadway play went to OtherDesert Cities ($71,965), withspecial recognition to the topOff-Broadway fundraiser, Rent($38,265) and First Runner-up:Avenue Q ($30,094).

8 / EQUITY news JUNE 2012

Letters to The Editor

Roof-raising gospelrevivals, a dancing diva ina motorized scooter, and

even a shipboard parade ofpooches helped make theBroadway Cares/Equity FightsAIDS 26th Annual Easter BonnetCompetition a memorablespectacle, raising $3,677,855and celebrating the generosityand creativity of the theatrecommunity.

The grand total wasannounced on April 24, 2012 atthe second of two Easter Bonnetshows at the Minskoff Theatrefeaturing original presentations,songs, dances and 18 elaboratecustom-made bonnets from 51Broadway, Off-Broadway andnational touring companies thatparticipated in six weeks offundraising.

Since the Easter BonnetCompetition began in 1987, theevent has raised more than $49million for BC/EFA.

(1) Disney’s The Lion Kingtook top presentation honors.

Runner-up for presentationwas Mary Poppins. (2) Theaward for bonnet design wasgiven to Mamma Mia!

An afternoon of highlightsincluded (3) the company ofChicago poking fun at theirreputation for employing olderdancers with a side-splittinggeriatric version of “All ThatJazz;” (4) “Phantom Abbey”from the company of ThePhantom of the Opera; (5)

“Easter Bonnet Competition” Brings in $3,677,855 for BC/EFA

New York

AFCU Citedon 50thAnniversary

Actors Federal CreditUnion is celebrating its 50thanniversary in 2012. Theoccasion was marked by aproclamation from New YorkCity Council SpeakerChristine Quinn. ActorsFCUChairwoman Denise Nolin,flanked by CEO Jeff Rodman (r)and Marketing Director StevenSobotta show off theproclamation.

Founded in 1962, ActorsFCUnow serves over 19,500members from 165 relatedgroups and has assets of $160million.

Members of the Bay AreaAdvisory Committee (BAAC) willpresent a benefit performanceof Mixed Relief, a play aboutwomen writers of the WorksProgress Administration (WPA),as part of LaborFest 2012 at7:30 PM on Monday, July 23,2012 at the Plumbers UnionHall, 1621 Market Street, SanFrancisco.

Mixed Relief, which contraststhe stories of three womenwriters of the WPA with those of

contemporary theatre artists, ispresented as a benefit for TheActors Fund. It is directed byEquity Member Phoebe Moyerand the cast includes EquityMembers Lauren Bloom,Cassidy Brown, Teressa Byrne,Michael Patrick Gaffney, KellyGround, Brian Herndon, NancyMadden, Jessica Powell, RayRenati, Cathleen Riddley, MarieShell, Susan Soriano, Dawn L.Troupe and Valerie Weak. Techsupport will be provided by

Members Stephen Pawley, Bertvan Aalsburg and MiltCommons.

Celebrating the women ofthe WPA, this play is a way toremind the public that there wasgreat artistic development whenthe Federal Government madea commitment and investmentin arts jobs in the 1930s, andthat labor unions are critical inthe U.S. today.

NewShoe Theatre Group,NYC, created this play forSupport Women Artist NowDay/SWANN Day 2010, aprogram of Women Arts. ©NewShoe 2010-All RightsReserved.

San Francisco

Equity Supports LaborFest 2012

• The Fantasticks, theworld’s longest-runningmusical, turned 52 on May 3,2012. The original production,which opened on May 3, 1960at New York’s Sullivan StreetPlayhouse, played 17,162performances. Since then therehave been over 11,000productions in more than 3,000U.S. cities and towns and in 67countries, from Afghanistan toZimbabwe. The show has beenperformed at The White Houseand has survived 11 U.S.Presidents beginning with

President Eisenhower. It hasalso been translated intonumerous languages, includingPashto, Dari, Icelandic, Arabic,Hebrew, Magyar and Mandarin.

• Local residents andshopkeepers had anopportunity to perform withEquity Actors in the inaugural“Shakespeare in the Streets”event in St. Louis this spring.The one-hour play, The NewWorld, was loosely based onThe Tempest, and waspresented by ShakespeareFestival St. Louis.

• Minnesota’s ChanhassenDinner Theatres, the nation’slargest professional dinnertheatre company, and theUniversity of Minnesota-Duluth(UMD) have announced thecreation of The ChanhassenDinner Theatres and the UMDDepartment of TheatreEducational and ProfessionalAlliance. This collaboration isan effort to provide aprofessional training programfor UMD theatre students, tostrengthen ties with Duluth andthe surrounding communities,and to preserve the art form ofmusical theatre in the state andlocal communities.

BRIEF NOTES

Spider-Man: Turn Off the Darktaking aim at their own storiedmishaps with “Kiss of theSpider-Man”; a special paradefeaturing an intricately designedtrio of bonnets from Once,Death of a Salesman and TheGershwin’s Porgy and Bess,Jersey Boys, Anything Goes,The Book of Mormon and Off-Broadway favorites Avenue Q,featuring (6) Q alumni Ann

Harada, and The Awesome 80sProm.

Ray Mercer’s presentationrepresenting DancersResponding to AIDS and asalute to the national tourschoreographed by DavidMarquez filled the stage withmovement.

This year’s Easter BonnetCompetition was directed byKristin Newhouse and made

possible by an army ofvolunteers, including an Equitystage management team led byValerie Lau-Kee Lai.

This year’s top fundraisingaward went to The Book ofMormon ($286,725). FirstBroadway Runner-up wasSpider-Man: Turn Off the Dark($231,997); Second Runner-up:Wicked ($204,777); ThirdRunner-up: The Phantom of the

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