In addition to specific requirements outlined in other sections, Engagers should consider the following provisions to ensure they provide safe, respectful, and compliant working conditions under the Canadian Theatre Agreement (CTA).
Working Conditions and Provisions
Apprentice Stage Managers
Equity’s Apprentice Stage Manager program serves two important purposes:
- Supporting the Stage Management team throughout a production
- Providing relevant, on-the-job training for future Stage Managers
As Apprentice SMs gain valuable experience across all phases of production, it’s essential that they are engaged from Prep to Performance.
To learn how Apprentice Stage Managers are evaluated and the skills they are expected to learn on the job, please refer to the Apprentice Stage Manager Feedback Form.
Cast by Consent
Article 35:09 of the CTA speaks to Cast by Consent or roles that are unassigned when contracting. These may be non-speaking, unnamed or smaller roles, or the use of Artists to populate the world on stage or support the narrative in handling transitions.
Prior knowledge
Although it may be difficult to assign these roles or actions when contracting, the Engager must still make every effort to provide Artists with any information that would help inform their decision to accept the contract. This is especially important when a production deals with issues of violence or trauma, or may intersect with an Artist’s identity in a way that could be difficult.
Understudy assignments
Understudy assignments can be Cast by Consent only if the assignment is indicated on the original contract. Understudy roles/tracks must be designated in a rider later than 14 days after the first public performance or 3 days following the official opening, whichever comes first.
If the Engager fails to meet the deadline, an Artist can accept the assignment and would be paid Additional Duties fees.
Changes after contracting
Productions can evolve throughout the process. It happens. Respecting the intention of this provision, it’s essential that the Engager be committed to timely and transparent communication. It’s the best way to maintain a safe and respectful workplace.
Child Performers
Artists who are 15 years old or younger, are considered Child Performers.
If you are engaging a Child Performer, you should consult Article 59:00 (Child Performers) carefully to understand all of your responsibilities.
Engagers should also review Ontario’s Guideline for Child Performers working in the live entertainment industry. Regardless of where your production takes place, the guideline provides important information about industry standards.
You are required to hold a meeting with the parent/guardian to discuss a number of important issues, including medical history and allergies, rehearsal schedule, tutoring, travel, meals, and more.
When the time comes to issue your contracts, everything agreed to in this meeting should appear in a rider for the Child Performer.
Other important sections of the CTA to consult and complete are:
- Appendix IX — Declaration of Parent or Legal Guardian in the Engagement of Child Performers
- Appendix X — Appointment and Consent of Chaperone
- Appendix XI — Emergency Medical Authorization Form
Extraordinary Risks and Stage Fighting
Article 28:00 of the CTA speaks to Extraordinary Risks in a production.
This includes:
- Working at heights
- Stage fighting
- Pyrotechnics
- Work on a steep rake
- Activities that seem riskier than usual
Every Artist involved in the Extraordinary Risk must have a rider, describing the nature of the risks and what efforts are being taken to mitigate the risks.
Nudity and Acts of Intimacy
Article 31:00 of the CTA speaks to Nudity and Acts of Intimacy in a production.
Notifying the Artist
Artists must be advised in writing before they audition if a role requires nudity or acts of intimacy. The detailed requirements should also be presented in a rider before the Artist signs the contract.
Rehearsal of intimacy
An Actor or Director can reasonably request an Intimacy Director be available during rehearsal of scenes of intimacy. A Director, Intimacy Director, or Intimacy Captain must be present for the rehearsal of scenes of nudity or intimacy.
Since scenes with nudity or intimacy are considered choreography, they should be recorded in detail in the Stage Manager’s prompt book.
Changes
If the requirement for nudity or intimacy arises or changes in the course of rehearsal and the Artists give their consent, the detailed requirements should be added to the rider to the contract.
Recordings
The CTA includes conditions for what is and is not allowed regarding recordings.
New content recordings
Engagers cannot ask Artists to record new content for social media promotion or other purposes. New content includes scripted or staged content that is not a rehearsal or performance of the production.
Creating new content for social media falls outside the scope of a contract under the CTA. Engagers must consult with ACTRA to produce this kind of material.
Other recordings
Engagers may make recordings during rehearsal or performance, provided that all of the following conditions are met:
- The Artists received notice of the recording and the specific declared use (See Declared Uses below).
- The recording does not take place during the Half-Hour Call.
- The recording does not involve or include Minors without parental consent.
- The Theatre has provided appropriate notice in accordance with the CTA.
Recordings may only include footage of rehearsal, backstage activity, workshops, readings and/or performance. This is the work an Artist is being paid to do under a CTA contract.
Engagers may only record backstage or in dressing rooms with the Artist’s express permission.
Declared uses
Recordings may only be made for the following declared uses:
- Reference and access for the maintenance of choreography, stage fighting and special business, or for understudies. No understudy may be given a copy of the recorded material until after their onstage runthrough rehearsal
- Accessibility needs, such as interpreters and translators.
- Publicity and promotion for current productions, up to a maximum of ten (10) minutes finished running time. Recorded material can be edited. Marketing for future opportunities, including use for funders, sponsors, donors, etc., subject to Right of First Refusal or additional payment to the Artist
- Archival recordings
- Playwrights’ Development Centres
- Current affairs, such as news coverage
- Educational use
Archival recordings cannot be shared with Artists to help them learn their role or understudy track.
The Engager is responsible for ensuring the appropriate use and distribution of the recorded material.