2024-2027 Canadian Theatre Agreement

CTA

2024 - 2027

Canadian Theatre Agreement

2024-2027

Minimum fees for 2024-2025 shall apply from

June 24, 2024 to June 22, 2025

Minimum fees for 2025-2026 shall apply from

June 23, 2025 to June 21, 2026

Minimum fees for 2026-2027 shall apply from

June 22, 2026 to June 20, 2027

All minimum feess are specified in the 2024-2027

Canadian Theatre Agreement Fee Booklet

Table of Contents

CTA 2024-2027 | Page i

PREAMBLE 1

(A) Application of the CTA --------------------------------------------------------------------- 1

(B) Purpose ---------------------------------------------------------------------------------------- 1

(D) PACT ------------------------------------------------------------------------------------------- 1

(E) PACT and Equity Mutual Interest ------------------------------------------------------- 2

1:00 DECLARATION IN SUPPORT OF THEATRE 2

2:00 SCOPE 2

2:01 Statement of Intent and Principles of Interpretation -------------------------------- 2

2:02 Recognition------------------------------------------------------------------------------------ 2

2:03 Administration -------------------------------------------------------------------------------- 3

2:04 Determination of Adherence -------------------------------------------------------------- 3

(A) Past Practice Activities (see Definition in Article 18:00)----------------- 3

(B) New Activities ---------------------------------------------------------------------- 3

2:05 Joint Determination by PACT and Equity --------------------------------------------- 3

2:06 PACT and Equity Unable to Make a Joint Determination ------------------------- 4

3:00 EQUITY MEMBERSHIP AND AUTHORIZATION 4

3:01 Equity Members in Good Standing ----------------------------------------------------- 4

3:02 Authorization to Deduct Working Dues ------------------------------------------------ 4

(A) Equity Member --------------------------------------------------------------------- 4

(B) Non-Member ------------------------------------------------------------------------ 4

(D) Theatre Responsible for Basic Dues ---------------------------------------------- 5

3:03 Deductions ------------------------------------------------------------------------------------ 5

(A) Payment of Equity Working Dues --------------------------------------------- 5

(B) Equity Member Benefits --------------------------------------------------------- 5

(D) Exemptions from standard Equity deductions ---------------------------------- 5

3:04 Discounted Ticket Policies ---------------------------------------------------------------- 6

4:00 LAWS GOVERNING THE CTA 6

4:01 Provincial Jurisdiction ---------------------------------------------------------------------- 6

4:02 Statutory Conflicts --------------------------------------------------------------------------- 6

4:03 Canadian Statutes --------------------------------------------------------------------------- 6

4:04 Provisions Affected -------------------------------------------------------------------------- 6

5:00 RESPONSIBILITY OF THE ARTIST 6

5:01 Independent Contractor -------------------------------------------------------------------- 6

5:02 Equity Membership and Membership in Good Standing -------------------------- 6

5:03 Rules and Regulations --------------------------------------------------------------------- 6

5:04 Absences from the Theatre's Point of Origin ----------------------------------------- 7

5:05 Impairment ------------------------------------------------------------------------------------ 7

(A) Ability to Perform ------------------------------------------------------------------ 7

(B) Termination ------------------------------------------------------------------------- 7

5:06 Exclusive Service of the Artist ------------------------------------------------------------ 7

6:00 MANAGEMENT RIGHTS 7

6:01 Management Rights ------------------------------------------------------------------------ 7

7:00 EQUITY MEMBER'S OBLIGATION TO EQUITY 8

7:01 CTA Engagement Contract --------------------------------------------------------------- 8

7:02 Equity Constitution and Bylaws ---------------------------------------------------------- 8

7:03 Discipline of Members ---------------------------------------------------------------------- 8

Table of Contents

CTA 2024-2027 | Page ii

8:00 CANADIAN ACTORS' EQUITY ASSOCIATION -

SPECIAL PROVISIONS 8

8:01 Benefit Performances ----------------------------------------------------------------------- 8

8:02 Membership Meetings - Privilege of Artists to Attend ------------------------------ 8

8:03 Special Power to Act for Artist ------------------------------------------------------------ 9

(A) Authority ------------------------------------------------------------------------------ 9

(B) Consent ------------------------------------------------------------------------------ 9

8:04 Equity Liaisons and Authorized Representatives ----------------------------------- 9

(A) Equity Liaisons --------------------------------------------------------------------- 9

(B) Authorized Representatives ---------------------------------------------------- 9

8:05 Company Meetings -------------------------------------------------------------------------- 9

(A) Secret Ballot ------------------------------------------------------------------------ 9

(B) Alteration to the Standard CTA Engagement Contract ------------------ 9

(D) Determination of Executive Director of Equity --------------------------- 10

8:06 Auditions ------------------------------------------------------------------------------------- 10

Preamble ------------------------------------------------------------------------------------- 10

(A) Notice of Auditions -------------------------------------------------------------- 10

(B) Roles Previously Cast ---------------------------------------------------------- 10

(D) Audition Submission Prohibition --------------------------------------------- 10

(E) General Auditions---------------------------------------------------------------- 10

(F) Priority Scheduling -------------------------------------------------------------- 11

(G) Attendance ------------------------------------------------------------------------ 11

(H) Nudity ------------------------------------------------------------------------------- 11

(I) Casting Authority Present ----------------------------------------------------- 11

(J) Assignment of Casting Prohibited ------------------------------------------- 11

(K) Evening Auditions --------------------------------------------------------------- 11

(L) Audition Space Prohibitions --------------------------------------------------- 11

(M) Audition Facilities ---------------------------------------------------------------- 11

(N) Audition Space Accessibility Considerations ----------------------------- 11

(O) Venue Suitability ----------------------------------------------------------------- 11

(P) Individual Auditions ------------------------------------------------------------- 11

(Q) Requirement for Actors to Sign-in ------------------------------------------- 11

(R) Audition Information Sheet ---------------------------------------------------- 12

(S) Maximum Number of Calls ---------------------------------------------------- 12

(T) Participation in Another Actor’s Audition Call ---------------------------- 12

(U) Recording of Auditions --------------------------------------------------------- 12

(V) Self-Tape Submissions and Video Conferencing Auditions ---------- 12

(W) Requirement to Provide a Musical Accompanist ------------------------ 12

(X) Dance Surfaces ------------------------------------------------------------------ 13

(Y) Change Facilities ---------------------------------------------------------------- 13

(Z) Specifically Requested Material --------------------------------------------- 13

(AA) Requested Material Availability ---------------------------------------------- 13

(BB) Callback Auditions --------------------------------------------------------------- 13

8:07 Musical Theatre Auditions --------------------------------------------------------------- 13

(A) Groups for Dance Calls -------------------------------------------------------- 13

(B) Chorus Auditions ----------------------------------------------------------------- 13

Table of Contents

CTA 2024-2027 | Page iii

9:00 HARASSMENT AND DISCRIMINATION 14

Preamble -------------------------------------------------------------------------------------------------- 14

9:01 Not In OUR Space! Program ----------------------------------------------------------- 14

9:02 Harassment --------------------------------------------------------------------------------- 14

9:03 Reporting Harassment and Resolution Process ---------------------------------- 15

9:04 Requirement to Report ------------------------------------------------------------------- 15

9:05 Relief of Termination Payment --------------------------------------------------------- 15

9:06 Dispute Between Equity and the Theatre ------------------------------------------- 15

9:07 Discrimination ------------------------------------------------------------------------------ 15

(A) Discrimination Prohibition ----------------------------------------------------- 15

(B) Termination Due to Discrimination is Prohibited ------------------------ 15

(D) Discrimination Due to Pregnancy or Parental Status ------------------ 16

(E) Discrimination for Association Activity ------------------------------------- 16

9:08 Non-Disclosure Agreements and Reprisal ------------------------------------------ 16

10:00 ACCESS, INCLUSION, AND ANTI-OPPRESSION 17

10:01 Acknowledging Systemic Oppression and Exclusion ---------------------------- 17

10:02 Commitment to Anti-Oppression and Inclusion ------------------------------------ 17

(A) Joint Undertaking ---------------------------------------------------------------- 17

(B) Declared Actions: Anti-Oppression and Inclusion ---------------------- 17

10:03 Equitable Engagement Opportunities ------------------------------------------------ 18

(A) Inclusive Casting and Engagement ---------------------------------------- 18

(B) Cultural Integrity in Casting --------------------------------------------------- 18

(D) Inclusive Hiring in Theatre ---------------------------------------------------- 18

10:04 Respectful Consultation, Collaboration, and Representation ------------------ 19

(A) Respectful Consultation and Collaboration ------------------------------- 19

(B) Respectful Representation ---------------------------------------------------- 19

10:05 Resolution of Issues Related to Identity --------------------------------------------- 20

11:00 BREACHES 20

11:01 By The Theatre ----------------------------------------------------------------------------- 20

(A) Conditions ------------------------------------------------------------------------- 20

(B) Procedure ------------------------------------------------------------------------- 20

(D) Punitive Damages --------------------------------------------------------------- 21

(E) No Waiver of Rights ------------------------------------------------------------ 21

(F) Without Prejudice ---------------------------------------------------------------- 21

(G) Discipline -------------------------------------------------------------------------- 21

11:02 By The Artist -------------------------------------------------------------------------------- 21

(A) Absences -------------------------------------------------------------------------- 21

(B) Request for Absence ----------------------------------------------------------- 21

(D) Penalties for Other Claims ---------------------------------------------------- 22

11:03 Waiver or Release Not Permissible --------------------------------------------------- 22

11:04 Time Limit in Lodging Claims ----------------------------------------------------------- 22

12:00 DEFAULTING THEATRES AND ARTISTS 22

12:01 Theatre in Good Standing --------------------------------------------------------------- 22

12:02 Defaulting Theatres ----------------------------------------------------------------------- 22

(A) No Requirement to Work ------------------------------------------------------ 22

(B) List ----------------------------------------------------------------------------------- 23

(D) Interest Charge ------------------------------------------------------------------ 23

(E) Satisfaction of Claim ------------------------------------------------------------ 23

12:03 Defaulting Artists --------------------------------------------------------------------------- 23

(A) Disciplinary Procedure --------------------------------------------------------- 23

(B) Satisfaction of Claim ------------------------------------------------------------ 23

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CTA 2024-2027 | Page iv

13:00 PRODUCTION PROSECUTED/ CONTRAVENTION OF CRIMINAL

CODE 24

13:01 Defending the Artist ----------------------------------------------------------------------- 24

13:02 Offensive Material ------------------------------------------------------------------------- 24

13:03 Arrest of Artist ------------------------------------------------------------------------------- 24

13:04 Duty not to Contravene Criminal Code ----------------------------------------------- 24

13:05 Duty to Report Any Criminal Activity -------------------------------------------------- 24

13:06 Withdrawal from Contract Due to Contravention of Criminal Code ----------- 24

14:00 PRESENTED COMPANIES 25

15:00 COMPANY CATEGORIES 25

15:01 Company Category Calculation -------------------------------------------------------- 25

15:02 Formulae ------------------------------------------------------------------------------------- 26

(A) Single Productions, Not Part of a Series ---------------------------------- 26

(B) Series of Productions with Consistent Ticket Prices ------------------- 26

15:03 Supporting Documentation -------------------------------------------------------------- 27

15:04 Multiple Venues ---------------------------------------------------------------------------- 27

(A) Point of Origin -------------------------------------------------------------------- 27

(B) Differing Categories ------------------------------------------------------------- 27

15:05 Company Category for a Touring Production -------------------------------------- 27

(A) Box Office Method --------------------------------------------------------------- 27

(B) Guaranteed Fees Method ----------------------------------------------------- 28

15:06 Transfer --------------------------------------------------------------------------------------- 28

16:00 FEES 28

16:01 Legal Tender -------------------------------------------------------------------------------- 28

16:02 At the Point of Origin ---------------------------------------------------------------------- 28

(A) Payment by Cheque or Cash ------------------------------------------------- 28

(B) Payment by Direct Deposit ---------------------------------------------------- 28

16:03 On Tour --------------------------------------------------------------------------------------- 28

16:04 Time of Payment --------------------------------------------------------------------------- 29

(A) Payment by Cheque or Cash ------------------------------------------------- 29

(B) Payment by Direct Deposit ---------------------------------------------------- 29

16:05 Harmonized Sales Tax (HST) or Goods and Services Taxes (GST) -------- 29

16:06 Itemized Deductions and Payments -------------------------------------------------- 29

16:07 Agency Commissions --------------------------------------------------------------------- 29

16:08 Additional Services Reports ------------------------------------------------------------- 29

16:09 Unpaid Fees --------------------------------------------------------------------------------- 29

16:10 Partial Week of Engagement ----------------------------------------------------------- 30

(A) Consecutive ----------------------------------------------------------------------- 30

(B) No Hiatus -------------------------------------------------------------------------- 30

(D) Insurance Top Up---------------------------------------------------------------- 30

(E) Rider -------------------------------------------------------------------------------- 30

(F) Number of Pro-rated Days ---------------------------------------------------- 30

(G) Inclusion of Free day ----------------------------------------------------------- 30

(H) Failure of the Artist to Rehearse --------------------------------------------- 30

16:11 Supplementary ----------------------------------------------------------------------------- 30

(A) Additional Duties ----------------------------------------------------------------- 30

(B) Additional Engagement -------------------------------------------------------- 31

16:12 Term of Agreement ------------------------------------------------------------------------ 31

(A) Current ----------------------------------------------------------------------------- 31

(B) Contracts Spanning Two Fee Schedules --------------------------------- 31

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CTA 2024-2027 | Page v

16:13

Actor Point of Origin Minimum Fees -------------------------------------------------- 31

16:14 Production Registration ------------------------------------------------------------------ 31

16:15 Remittances --------------------------------------------------------------------------------- 32

16:16 Additional Services Fees ---------------------------------------------------------------- 32

16:17 Overnight Rest Period Infringement -------------------------------------------------- 32

17:00 CONTINGENT COMPENSATION ON WEEKLY GROSS -

NET RECEIPTS AND/OR PROFITS 32

18:00 DEFINITIONS 33

18:01 Access and Accommodations ---------------------------------------------------------- 33

18:02 Actor ------------------------------------------------------------------------------------------ 33

18:03 Artist ------------------------------------------------------------------------------------------- 33

18:04 Assistant Choreographer ---------------------------------------------------------------- 33

18:05 Assistant Director -------------------------------------------------------------------------- 33

18:06 Assistant Stage Manager ---------------------------------------------------------------- 33

18:07 Basic Dues ---------------------------------------------------------------------------------- 33

18:08 Bit Cover ------------------------------------------------------------------------------------- 33

18:09 Child Supervisor --------------------------------------------------------------------------- 33

18:10 Children -------------------------------------------------------------------------------------- 33

18:11 Children's Chorus-------------------------------------------------------------------------- 34

18:12 Choreographer ----------------------------------------------------------------------------- 34

18:13 Ensemble ---------------------------------------------- Error! Bookmark not defined.

18:14 Contractual Fee ---------------------------------------------------------------------------- 34

(A) Weekly Amount ------------------------------------------------------------------ 34

(B) Total Fee -------------------------------------------------------------------------- 34

18:15 Contractual Payment --------------------------------------------------------------------- 34

18:16 Cover ----------------------------------------------------------------------------------------- 34

18:17 Dance Captain ----------------------------------------------------------------------------- 34

18:18 D/deaf and/or Disabled------------------------------------------------------------------- 34

18:19 Director --------------------------------------------------------------------------------------- 34

18:20 Emergency Rehearsal -------------------------------------------------------------------- 35

18:21 Engagement Week ------------------------------------------------------------------------ 35

18:22 Extraordinary Risks ----------------------------------------------------------------------- 35

18:23 Extras ----------------------------------------------------------------------------------------- 35

18:24 Fight Captain ------------------------------------------------------------------------------- 35

18:25 Fight Director ------------------------------------------------------------------------------- 35

18:26 First Public Performance ---------------------------------------------------------------- 35

18:27 Free Day ------------------------------------------------------------------------------------- 36

18:28 Half-Hour Call ------------------------------------------------------------------------------ 36

18:29 Harassment --------------------------------------------------------------------------------- 36

18:30 Intimacy -------------------------------------------------------------------------------------- 36

18:31 Intimacy Captain --------------------------------------------------------------------------- 36

18:32 Intimacy Director --------------------------------------------------------------------------- 36

18:33 Joint Production ---------------------------------------------------------------------------- 36

18:34 Liaison ---------------------------------------------------------------------------------------- 36

18:35 Minimum Fee ------------------------------------------------------------------------------- 36

18:36 Musical Theatre Production ------------------------------------------------------------- 36

18:37 Opening -------------------------------------------------------------------------------------- 36

18:38 Overnight Rest Period -------------------------------------------------------------------- 36

18:39 Past Practice Activities ------------------------------------------------------------------- 37

18:40 Performance Day -------------------------------------------------------------------------- 37

18:41 Place of Residence ----------------------------------------------------------------------- 37

18:42 Point of Origin ------------------------------------------------------------------------------ 37

18:43 Production Stage Manager ------------------------------------------------------------- 37

18:44 Recordings Used for Future Opportunities ----------------------------------------- 37

18:45 Recording ------------------------------------------------------------------------------------ 37

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CTA 2024-2027 | Page vi

18:46

Rehearsal Day ------------------------------------------------------------------------------ 37

18:47 Rehearsals----------------------------------------------------------------------------------- 37

(A) Run-Through Rehearsal ------------------------------------------------------- 37

(B) Technical Rehearsal ------------------------------------------------------------ 37

(D) Costume Parades --------------------------------------------------------------- 37

(E) Dress Rehearsal ----------------------------------------------------------------- 38

(F) Replacement Rehearsal ------------------------------------------------------- 38

(G) Dance, Fight or Intimacy Call ------------------------------------------------- 38

18:48 Repertory ------------------------------------------------------------------------------------- 38

18:49 Resident Director -------------------------------------------------------------------------- 38

18:50 Revival ---------------------------------------------------------------------------------------- 38

18:51 Role -------------------------------------------------------------------------------------------- 38

18:52 Sector 1 --------------------------------------------------------------------------------------- 38

18:53 Sector 2 --------------------------------------------------------------------------------------- 38

18:54 Single Production -------------------------------------------------------------------------- 38

18:55 Single Set ------------------------------------------------------------------------------------ 38

18:56 Span of Day --------------------------------------------------------------------------------- 38

18:57 Specialty Assignment --------------------------------------------------------------------- 39

18:58 Stage Fighting ------------------------------------------------------------------------------ 39

18:59 Apprentice Stage Manager -------------------------------------------------------------- 39

18:60 Stage Manager ----------------------------------------------------------------------------- 39

18:61 Standby --------------------------------------------------------------------------------------- 39

18:62 Stock ------------------------------------------------------------------------------------------ 39

18:63 Supplemental Business ------------------------------------------------------------------ 39

18:64 Swing ------------------------------------------------------------------------------------------ 39

18:65 Theatre --------------------------------------------------------------------------------------- 39

18:66 Touring ---------------------------------------------------------------------------------------- 40

(A) Local (Not Overnight) Run-Outs --------------------------------------------- 40

(B) Overnight -------------------------------------------------------------------------- 40

18:67 Transfer --------------------------------------------------------------------------------------- 40

18:68 Underrepresented Groups --------------------------------------------------------------- 40

18:69 Performing Understudy ------------------------------------------------------------------- 40

18:70 Understudy ---------------------------------------------------------------------------------- 40

18:71 Walking Cover ------------------------------------------------------------------------------ 40

18:72 Working Dues ------------------------------------------------------------------------------- 40

19:00 POINT OF ORIGIN 41

19:01 Theatre's Point of Origin ----------------------------------------------------------------- 41

19:02 Change of Point of Origin ---------------------------------------------------------------- 41

(A) Change of Point of Origin for Rehearsals --------------------------------- 41

(B) Change of Point of Origin for Rehearsals and Performances ------- 41

20:00 DUTIES OF THE ACTOR 41

21:00 CHILDREN'S CHORUS 42

21:01 Children’s Chorus -------------------------------------------------------------------------- 42

21:02 Contracting ---------------------------------------------------------------------------------- 42

(A) Non-Members -------------------------------------------------------------------- 42

(B) Members --------------------------------------------------------------------------- 42

22:00 NON-MEMBERS 42

22:01 Non-Members ------------------------------------------------------------------------------- 42

(A) Requirement for a CTA Engagement Contract -------------------------- 42

(B) Requirement to Remit Filing Fees ------------------------------------------ 42

22:02 Touring Into the USA ---------------------------------------------------------------------- 42

Table of Contents

CTA 2024-2027 | Page vii

23:00 FREE DAY 43

23:01 Free Day ------------------------------------------------------------------------------------- 43

(A) Notice ------------------------------------------------------------------------------- 43

(B) Scheduling ------------------------------------------------------------------------ 43

(D) Duration ---------------------------------------------------------------------------- 43

24:00 REHEARSAL CONDITIONS 43

24:01 First Rehearsal Day Health and Safety Postings--------------------------------- 43

24:02 Access During the First Rehearsal Week ------------------------------------------- 43

24:03 Standard ------------------------------------------------------------------------------------- 43

(A) Beginning -------------------------------------------------------------------------- 43

(B) Continuous ------------------------------------------------------------------------ 43

(D) Overnight Rest ------------------------------------------------------------------- 44

(E) Free Day --------------------------------------------------------------------------- 44

(F) Posting of Calls ------------------------------------------------------------------ 44

(G) Calls on the Free Day ---------------------------------------------------------- 44

(H) Notice of Additional Rehearsal----------------------------------------------- 44

(I) Free Time Between Rehearsal and Performance or Performance

and Rehearsal -------------------------------------------------------------------- 44

(J) Dress Rehearsals --------------------------------------------------------------- 45

(K) Classes and Warm-Ups ------------------------------------------------------- 45

(L) Travel Between Locations ---------------------------------------------------- 45

(M) Work Prior to Beginning of Rehearsals ------------------------------------ 46

(N) Start of Day ----------------------------------------------------------------------- 46

(O) Wardrobe Pieces in Rehearsal ---------------------------------------------- 46

24:04 Standard Rehearsal ----------------------------------------------------------------------- 46

(A) Standard Hours ------------------------------------------------------------------ 46

(B) Shortened Days ------------------------------------------------------------------ 46

(D) Five Day Rehearsal Week ---------------------------------------------------- 47

(E) Reverting to a Six Day Rehearsal Week ---------------------------------- 47

24:05 Extended Rehearsal Days -------------------------------------------------------------- 47

(A) Single Production and Stock ------------------------------------------------- 47

(B) Repertory -------------------------------------------------------------------------- 48

24:06 Pro-Rated Rehearsal Schedule -------------------------------------------------------- 48

(A) Rehearsal Hiatus ---------------------------------------------------------------- 48

(B) Minimum Call --------------------------------------------------------------------- 48

(D) Insurance Premium ------------------------------------------------------------- 48

(E) Stage Management ------------------------------------------------------------- 49

(F) Pro-rated Rehearsal Options ------------------------------------------------- 49

24:07 Non-Continuous Rehearsal ------------------------------------------------------------- 49

(A) General Provisions -------------------------------------------------------------- 49

(B) Process ---------------------------------------------------------------------------- 50

(D) Insurance -------------------------------------------------------------------------- 50

(E) Conversion to Continuous Exclusive Services Contract -------------- 50

(F) Stage Management ------------------------------------------------------------- 50

24:08 Cancelled Performance ------------------------------------------------------------------ 50

24:09 Rehearsal on a Performance Day ----------------------------------------------------- 50

(A) Defined ----------------------------------------------------------------------------- 50

(B) Hours ------------------------------------------------------------------------------- 50

(D) Matinee Days --------------------------------------------------------------------- 51

(E) Stock and Repertory ------------------------------------------------------------ 51

Table of Contents

CTA 2024-2027 | Page viii

24:10

After First Public Performance - Exceptions to Standard Rehearsal

Conditions------------------------------------------------------------------------------------ 51

(A) During the First Fourteen (14) Days ---------------------------------------- 51

(B) Following the First Fourteen Days ------------------------------------------ 51

24:11 Rehearsal Hours for Extras ------------------------------------------------------------- 52

24:12 Understudy and Replacement Rehearsals ------------------------------------------ 52

24:13 Emergency Rehearsal -------------------------------------------------------------------- 52

(A) Prior Knowledge ----------------------------------------------------------------- 52

(B) Overnight Rest ------------------------------------------------------------------- 52

24:14 Revival ---------------------------------------------------------------------------------------- 52

24:15 Transfer --------------------------------------------------------------------------------------- 52

24:16 Notes ------------------------------------------------------------------------------------------ 52

(A) Stock and Single Productions ------------------------------------------------ 52

(B) Repertory -------------------------------------------------------------------------- 53

25:00 COSTUME FITTINGS 53

25:01 Hours ------------------------------------------------------------------------------------------ 53

25:02 Additional Fittings -------------------------------------------------------------------------- 53

25:03 Costume Fittings Before the Engagement Period --------------------------------- 54

25:04 Official Call----------------------------------------------------------------------------------- 54

26:00 PERFORMANCES 54

26:00 Preamble ------------------------------------------------------------------------------------- 54

26:01 Half-Hour Call ------------------------------------------------------------------------------- 54

26:02 Maximum Number of Services in a Performance Week ------------------------- 54

(A) Combination of Services ------------------------------------------------------- 54

(B) Excess Services in a Week --------------------------------------------------- 54

26:03 Maximum Number of Performances in a Day -------------------------------------- 54

26:04 Breaks Between Performances -------------------------------------------------------- 55

(A) Requirement ---------------------------------------------------------------------- 55

(B) Alternative ------------------------------------------------------------------------- 55

26:05 End of Performance Call ----------------------------------------------------------------- 55

26:06 Voluntary Talkbacks ----------------------------------------------------------------------- 55

26:07 Maximum Number of Performances in a Three-Day Period -------------------- 55

26:08 Free Day ------------------------------------------------------------------------------------- 55

26:09 Notice of Changes ------------------------------------------------------------------------- 56

26:10 Overnight Rest ------------------------------------------------------------------------------ 56

27:00 CLOTHES, MAKEUP, MUSICAL INSTRUMENTS AND PROPS 56

27:01 Provision of Costumes and Clothing -------------------------------------------------- 56

27:02 Personal Clothing and Hair Piece(s) -------------------------------------------------- 56

(A) Negotiated Terms of the Rental --------------------------------------------- 56

(B) Consent of Theatre -------------------------------------------------------------- 56

27:03 Makeup --------------------------------------------------------------------------------------- 56

27:04 Tattoo Coverage & Body Makeup ----------------------------------------------------- 57

(A) Tattoo coverage ------------------------------------------------------------------ 57

(B) Body Makeup --------------------------------------------------------------------- 57

27:05 Cleaning and Upkeep --------------------------------------------------------------------- 57

(A) Cost of Cleaning ----------------------------------------------------------------- 57

(B) Repairs ----------------------------------------------------------------------------- 57

(D) Undergarments ------------------------------------------------------------------- 58

(E) Sanitary & Dry Condition ------------------------------------------------------ 58

27:06 Kneepads ------------------------------------------------------------------------------------ 58

27:07 Understudies -------------------------------------------------------------------------------- 58

Table of Contents

CTA 2024-2027 | Page ix

27:08

Hair Style or Colour ----------------------------------------------------------------------- 58

27:09 Provision for Musical Instruments or Props ----------------------------------------- 58

(A) Musical Instruments ------------------------------------------------------------ 58

(B) Props ------------------------------------------------------------------------------- 58

27:10 High Heels ----------------------------------------------------------------------------------- 58

27:11 Identity Respect in Hair, Makeup, and Costumes -------------------------------- 58

28:00 WORKING ENVIRONMENT, HEALTH AND SAFETY 59

28:01 Dressing Rooms --------------------------------------------------------------------------- 59

(A) Dressing Rooms Provided to Artists --------------------------------------- 59

(B) Required Equipment ------------------------------------------------------------ 59

(D) Sanitary Toilets and Sinks ---------------------------------------------------- 59

(E) Open-Air & Tent Theatres ----------------------------------------------------- 59

28:02 Access to Theatre ------------------------------------------------------------------------- 59

(A) Outside ----------------------------------------------------------------------------- 59

(B) Stage Doors ---------------------------------------------------------------------- 59

28:03 Temperature, Air Circulation and Lighting ------------------------------------------ 60

(A) Dressing Rooms, Warm-Up Areas and Performance Areas --------- 60

(B) Booth or Calling Area ---------------------------------------------------------- 60

28:04 Fire Drill -------------------------------------------------------------------------------------- 60

28:05 Blackouts ------------------------------------------------------------------------------------ 60

28:06 Extraordinary Risks ----------------------------------------------------------------------- 60

(A) Responsibility of the Theatre ------------------------------------------------- 60

(B) Rider -------------------------------------------------------------------------------- 60

28:07 Stage Fighting ------------------------------------------------------------------------------ 60

(A) Requirement ---------------------------------------------------------------------- 60

(B) First Aid Equipment ------------------------------------------------------------- 61

28:08 Rakes, Safe Surfaces and Platforms ------------------------------------------------- 61

(A) Rehearsal or Performance ---------------------------------------------------- 61

(B) Dance ------------------------------------------------------------------------------- 61

(D) Platforms, Orchestra Pits and Traps --------------------------------------- 61

(E) Consultation ---------------------------------------------------------------------- 62

28:09 Cot --------------------------------------------------------------------------------------------- 62

28:10 First Aid Kits--------------------------------------------------------------------------------- 62

28:11 Permanent Dressing Rooms ----------------------------------------------------------- 62

28:12 Drinking Water ----------------------------------------------------------------------------- 62

28:13 Intercom System --------------------------------------------------------------------------- 62

28:14 Equity's Right to Inspect ----------------------------------------------------------------- 62

28:15 Tours ------------------------------------------------------------------------------------------ 62

28:16 Unsuitable Facilities ----------------------------------------------------------------------- 62

28:17 Scent Awareness -------------------------------------------------------------------------- 63

28:18 Threats to Safety -------------------------------------------------------------------------- 63

28:19 Hazardous Materials ---------------------------------------------------------------------- 63

28:20 Perceived Risk ----------------------------------------------------------------------------- 63

28:21 Consultation & Notification -------------------------------------------------------------- 63

28:22 Flying Set Pieces and Large Moving Scenery ------------------------------------- 63

28:23 Accident and Incident Reporting ------------------------------------------------------- 63

29:00 ARTIST’S HOUSING IN THE POINT OF ORIGIN 64

29:01 Theatre’s Responsibility to Provide Housing --------------------------------------- 64

29:02 Information Provided to Artist ---------------------------------------------------------- 64

29:03 Payment of Deposits ---------------------------------------------------------------------- 64

29:04 Accessibility of Housing ------------------------------------------------------------------ 64

29:05 Public Transportation --------------------------------------------------------------------- 64

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CTA 2024-2027 | Page x

30:00 TRANSPORTATION AND LUGGAGE 65

30:01 Air Transportation -------------------------------------------------------------------------- 65

30:02 Alternatives to Air Transportation ------------------------------------------------------ 65

(A) Negotiated Transportation ----------------------------------------------------- 65

(B) Contractual Specification ------------------------------------------------------ 65

(D) Reimbursement for Travel Insurance -------------------------------------- 65

(E) Overnight Travel ----------------------------------------------------------------- 65

(F) Ground Travel to and from Airport ------------------------------------------ 66

(G) Consecutive Engagements --------------------------------------------------- 66

30:03 Luggage -------------------------------------------------------------------------------------- 66

30:04 Transport Within Point of Origin -------------------------------------------------------- 67

30:05 Remote Location --------------------------------------------------------------------------- 67

31:00 NUDITY AND ACTS OF INTIMACY IN PRODUCTION 67

31:01 Sex Acts -------------------------------------------------------------------------------------- 67

31:02 Notification to the Actor------------------------------------------------------------------- 67

(A) Prior to Signing ------------------------------------------------------------------- 67

(B) Notice of Intimacy Rehearsal(s) --------------------------------------------- 67

(D) In the Performance Space ---------------------------------------------------- 67

31:03 Rider to the CTA Engagement Contract After Signing --------------------------- 68

32:00 PROPERTY, LOSS AND/OR DAMAGE TO 68

32:01 Reimbursement ---------------------------------------------------------------------------- 68

32:02 Reimbursement Limits -------------------------------------------------------------------- 68

32:03 Theatre's Liability -------------------------------------------------------------------------- 68

32:04 Personal Property -------------------------------------------------------------------------- 68

32:05 Insurance------------------------------------------------------------------------------------- 68

33:00 POSTING OF SECURITY 69

33:01 Maintenance of Satisfactory Security ------------------------------------------------- 69

(A) Requirement ---------------------------------------------------------------------- 69

(B) Liability ----------------------------------------------------------------------------- 69

33:02 Calculation of Amount -------------------------------------------------------------------- 69

(A) Standard and Peak Security Requirements ------------------------------ 69

(B) Peak Security --------------------------------------------------------------------- 69

33:03 Release --------------------------------------------------------------------------------------- 70

33:04 Cash Deposits ------------------------------------------------------------------------------ 70

33:05 Theatres in Arrears ------------------------------------------------------------------------ 70

33:06 Drawing Upon Security ------------------------------------------------------------------- 70

34:00 ENGAGEMENT CONTRACTS 71

34:01 Continuous Engagement ---------------------------------------------------------------- 71

34:02 Minimum Period ---------------------------------------------------------------------------- 71

35:00 CONTRACTS 71

35:01 Standard CTA Engagement ------------------------------------------------------------- 71

35:02 Run-of-the-Play CTA Engagement ---------------------------------------------------- 71

(A) Rider -------------------------------------------------------------------------------- 71

(B) Period ------------------------------------------------------------------------------- 71

(D) Fee ---------------------------------------------------------------------------------- 71

(E) Conversion to Run-of-the-Play Engagement ----------------------------- 72

(F) Notice ------------------------------------------------------------------------------- 72

35:03 Guaranteed Engagement ---------------------------------------------------------------- 72

(A) Rider -------------------------------------------------------------------------------- 72

(B) Period ------------------------------------------------------------------------------- 72

35:04 Requirement to File ----------------------------------------------------------------------- 72

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CTA 2024-2027 | Page xi

35:05

Execution and Filing of ------------------------------------------------------------------- 72

(A) Quadruplicate -------------------------------------------------------------------- 72

(B) Confidentiality -------------------------------------------------------------------- 73

(D) Electronic Contract Template Forms --------------------------------------- 73

35:06 Effective Date ------------------------------------------------------------------------------- 73

35:07 Changes and Alterations ---------------------------------------------------------------- 74

35:08 Execution of Engagement Contracts ------------------------------------------------- 74

(A) Issuing Of -------------------------------------------------------------------------- 74

(B) Signing Of ------------------------------------------------------------------------- 74

35:09 Roles Unassigned at Time of Contracting (Cast by Consent) ----------------- 74

(A) Prior Knowledge ----------------------------------------------------------------- 75

(B) Multiple Productions (Stock and Repertory) ----------------------------- 75

(D) Changes After Contracting ---------------------------------------------------- 75

(E) Assignment Changes After Opening --------------------------------------- 76

35:10 Concurrent Engagements --------------------------------------------------------------- 76

35:11 Exercising of Options --------------------------------------------------------------------- 76

(A) Specified Options ---------------------------------------------------------------- 76

(B) Written Notice for Productions Running More than Three Weeks -- 76

(D) Filing of Notice ------------------------------------------------------------------- 76

(E) Options on Guaranteed Engagements ------------------------------------ 77

(F) Options on Run-of-the-Play Engagements ------------------------------- 77

(G) Limitation to Holdover Option(s) --------------------------------------------- 77

35:12 Most Favoured Nations/Inclusive of Penalty Payments ------------------------- 77

35:13 Replacement Artist Rehearsal Hours ------------------------------------------------ 77

36:00 BINDING EFFECT OF AGREEMENT 78

37:00 PERFORMANCES AND/OR REHEARSALS LOST 78

38:00 TERMINATION 78

38:01 Notice Period ------------------------------------------------------------------------------- 78

(A) Two Weeks Minimum ---------------------------------------------------------- 78

(B) More Than Two Weeks -------------------------------------------------------- 78

38:02 Delivery of Notice -------------------------------------------------------------------------- 78

(A) Written ------------------------------------------------------------------------------ 78

(B) Methods For ---------------------------------------------------------------------- 78

(D) Timing ------------------------------------------------------------------------------ 79

38:03 Deductions ---------------------------------------------------------------------------------- 79

38:04 Termination Before Rehearsals -------------------------------------------------------- 79

(A) Notice By Artist ------------------------------------------------------------------- 79

(B) Notice By Theatre --------------------------------------------------------------- 79

38:05 After Beginning of Engagement ------------------------------------------------------- 79

38:06 During Rehearsals ------------------------------------------------------------------------ 79

(A) By Artist ---------------------------------------------------------------------------- 79

(B) By Theatre ------------------------------------------------------------------------ 80

(D) Extended Notice ----------------------------------------------------------------- 80

38:07 Termination After First Public Performance ---------------------------------------- 80

(A) Notice ------------------------------------------------------------------------------- 80

(B) Extended Notice ----------------------------------------------------------------- 80

38:08 Run-of-the-Play Contract ---------------------------------------------------------------- 80

38:09 Guaranteed Engagement Contract --------------------------------------------------- 80

38:10 Company Termination Before Opening ---------------------------------------------- 81

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CTA 2024-2027 | Page xii

38:11

Notice After Opening for a Production or Season ("Company Closing

Notice") --------------------------------------------------------------------------------------- 81

(A) Application ------------------------------------------------------------------------- 81

(B) Requirement ---------------------------------------------------------------------- 81

(D) Definition of Notice "Weeks" -------------------------------------------------- 81

(E) Timing------------------------------------------------------------------------------- 81

(F) Company Notice ----------------------------------------------------------------- 81

38:12 Extension of CTA Engagement Contract -------------------------------------------- 81

(A) Absence of Option --------------------------------------------------------------- 81

(B) Written Agreement -------------------------------------------------------------- 82

38:13 Payment Following ------------------------------------------------------------------------ 82

38:14 Absence due to Accidents Involving Extraordinary Risk ------------------------ 82

38:15 Absence Due to Illness or Accident --------------------------------------------------- 82

(A) Termination For ------------------------------------------------------------------ 82

(B) Payment ---------------------------------------------------------------------------- 82

38:16 Military Service or Jury Duty ------------------------------------------------------------ 82

38:17 Payment When Artist is Not Allowed to Work Out Notice ----------------------- 83

38:18 Rights After Giving Notice When Artist Secures New Engagement ---------- 83

38:19 Return Transportation Costs ------------------------------------------------------------ 83

(A) Termination by Theatre -------------------------------------------------------- 83

(B) Termination by Artist ------------------------------------------------------------ 83

38:20 Filing of Notice ------------------------------------------------------------------------------ 83

38:21 Consecutive Engagements -------------------------------------------------------------- 83

38:22 Re-Opening of Production --------------------------------------------------------------- 83

38:23 Bereavement Leave ----------------------------------------------------------------------- 84

38:24 Growth ---------------------------------------------------------------------------------------- 84

39:00 UNDERSTUDIES 84

39:01 Programs ------------------------------------------------------------------------------------- 84

39:02 Rehearsals and Performances --------------------------------------------------------- 84

(A) Line Rehearsal ------------------------------------------------------------------- 84

(B) Blocking Rehearsal-------------------------------------------------------------- 84

(D) Posting of List --------------------------------------------------------------------- 85

(E) Permission to Withdraw from Performance ------------------------------- 85

(F) Understudy and Replacement Rehearsals ------------------------------- 85

(G) Understudy Fight Rehearsal -------------------------------------------------- 85

(H) Understudy Intimacy Rehearsal --------------------------------------------- 85

39:03 Contracting of Understudies ----------------------------------------------------------- 86

(A) Requirement for Contract ------------------------------------------------------ 86

(B) Period of Understudy Assignment(s) --------------------------------------- 86

39:04 Maximum Number of Roles ------------------------------------------------------------- 86

39:05 Performing Understudies ---------------------------------------------------------------- 86

(A) Definition --------------------------------------------------------------------------- 86

(B) Weekly Compensation --------------------------------------------------------- 86

39:06 Swing ------------------------------------------------------------------------------------------ 86

(A) Definition --------------------------------------------------------------------------- 86

(B) Weekly Compensation --------------------------------------------------------- 86

39:07 Standby --------------------------------------------------------------------------------------- 87

(A) Definition --------------------------------------------------------------------------- 87

(B) Weekly Compensation --------------------------------------------------------- 87

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CTA 2024-2027 | Page xiii

39:08

Bit Cover ------------------------------------------------------------------------------------- 87

(A) Definition --------------------------------------------------------------------------- 87

(B) Payment Per Performance ---------------------------------------------------- 87

39:09 Walking Covers ---------------------------------------------------------------------------- 88

(A) Definition --------------------------------------------------------------------------- 88

(B) Fee ---------------------------------------------------------------------------------- 88

39:10 Specialty Assignment --------------------------------------------------------------------- 88

39:11 Supplemental Business ------------------------------------------------------------------ 88

(A) Definition --------------------------------------------------------------------------- 88

(B) Payment Per Performance ---------------------------------------------------- 88

39:12 Understudy Information for Stage Management---------------------------------- 89

40:00 CHANGES IN CAST AND REPLACEMENT OF ACTORS 89

40:01 Notice of Replacements ----------------------------------------------------------------- 89

40:02 Alternating Performances --------------------------------------------------------------- 89

40:03 Re-Engagement or Replacement of an Artist After Termination -------------- 89

40:04 Emergency Replacement --------------------------------------------------------------- 90

(A) Not Originally Under Contract ------------------------------------------------ 90

(B) Artist Under Contract ----------------------------------------------------------- 90

40:05 Riders ----------------------------------------------------------------------------------------- 90

41:00 PART CUT OUT 90

42:00 BILLING, DISPLAYS AND PROGRAMS 90

Preamble -------------------------------------------------------------------------------------------------- 90

42:01 General Provisions – Billing ------------------------------------------------------------ 90

(A) Publishing of Billing ------------------------------------------------------------- 90

(B) Billing Provisions ---------------------------------------------------------------- 90

(D) All Names Included on Website --------------------------------------------- 91

42:02 Breaches ------------------------------------------------------------------------------------- 91

42:03 Photographs -------------------------------------------------------------------------------- 91

42:04 Lobby/House Boards/Digital Screens ------------------------------------------------ 91

42:05 Artists Leaving a Production ------------------------------------------------------------ 91

42:06 Programs, Errors and Omissions ------------------------------------------------------ 92

42:07 Errors and Omissions, Directors and Choreographers -------------------------- 92

42:08 Program Notice ---------------------------------------------------------------------------- 92

42:09 Biographical Material in Programs ---------------------------------------------------- 92

(A) Artist’s Right of Approval ------------------------------------------------------ 92

(B) Biographies Not In Program -------------------------------------------------- 92

(D) Corrections ------------------------------------------------------------------------ 93

42:10 Billing – Stage Management ------------------------------------------------------------ 93

(A) Photographs and Biographies ----------------------------------------------- 93

(B) Billing Page ----------------------------------------------------------------------- 93

(D) Website Billing ------------------------------------------------------------------- 93

43:00 GENERAL PROVISIONS – PHOTOGRAPHS AND RECORDINGS 94

Preamble -------------------------------------------------------------------------------------------------- 94

43:01 Notice and Declared Use ---------------------------------------------------------------- 94

(A) Notice of Calls -------------------------------------------------------------------- 94

(B) Initial Declared Use ------------------------------------------------------------- 94

43:02 Scheduling of Calls ------------------------------------------------------------------------ 94

(A) Calls for Recordings ------------------------------------------------------------ 94

(B) Calls during a Rest Period ---------------------------------------------------- 94

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43:03

Other Conditions --------------------------------------------------------------------------- 95

(A) Nude Recordings ---------------------------------------------------------------- 95

(B) Alteration of Images or Footage --------------------------------------------- 95

(D) Use of Recorded Material in Joint Productions or Revivals ---------- 95

(E) Use of Recorded Material for Promotion of Canadian Theatre ------ 95

43:04 Identification of Photographs ----------------------------------------------------------- 95

43:05 Approval of Photographs ---------------------------------------------------------------- 95

43:06 Rights of the Photographer -------------------------------------------------------------- 95

43:07 Use of Recordings and Photographs by the Artist -------------------------------- 96

43:08 Social Media -------------------------------------------------------------------------------- 96

43:09 Social Media "Takeover" ----------------------------------------------------------------- 96

43:10 Capture of Material in Rehearsal or Backstage ------------------------------------ 96

(A) Capture During Rehearsal ---------------------------------------------------- 96

(B) Capture Backstage -------------------------------------------------------------- 96

44:00 NON-COMMERCIAL USE OF PHOTOGRAPHS AND

RECORDINGS 97

44:01 Declared Use ------------------------------------------------------------------------------- 97

44:02 Capture of Material for Promotional Use -------------------------------------------- 97

(A) Notice – Photographs ---------------------------------------------------------- 97

(B) Notice – Recordings ------------------------------------------------------------ 97

(D) Capture Backstage -------------------------------------------------------------- 98

44:03 Credit and Billing for Photographs and Recordings ------------------------------ 98

44:04 Use in Production -------------------------------------------------------------------------- 98

(A) Conditions for Recording ------------------------------------------------------ 98

(B) Recording Sessions ------------------------------------------------------------- 98

44:05 Artist Leaving a Production -------------------------------------------------------------- 99

44:06 Artist Engaged Solely for Recording -------------------------------------------------- 99

44:07 Concurrent Engagement, not in Production ---------------------------------------- 99

44:08 Live Recording in Production ----------------------------------------------------------- 99

44:09 Declared Use ------------------------------------------------------------------------------- 99

(A) Reference and Access --------------------------------------------------------- 99

(B) Publicity & Promotion for Current Productions ------------------------- 100

(D) Archives for Retaining a Permanent and Definitive Record of the

Production, and Preserving the History of Canadian Theatre ----- 100

(E) Playwrights’ Development Centres --------------------------------------- 101

(F) Current Affairs ------------------------------------------------------------------ 101

(G) Educational Use ---------------------------------------------------------------- 101

(H) Credit and Billing for Audio and/or Visual Recordings --------------- 102

44:10 Recorded Material Captured Prior to the 2012-2015 CTA -------------------- 102

45:00 COMMERCIAL USE OF PHOTOGRAPHS 102

Preamble ------------------------------------------------------------------------------------------------ 102

45:01 Notice --------------------------------------------------------------------------------------- 102

45:02 Merchandise and Publications ------------------------------------------------------- 102

(A) Written Authorization --------------------------------------------------------- 102

(B) Payment for Use of Image for Merchandise ---------------------------- 102

(E) Previous Production ---------------------------------------------------------- 103

(F) Books and Publications ------------------------------------------------------ 103

(G) Failure to Secure Prior Written Consent --------------------------------- 103

46:00 COMMERCIAL USE OF RECORDINGS 103

46:01 Scope --------------------------------------------------------------------------------------- 103

(A) Preservation --------------------------------------------------------------------- 103

(B) Broadcast ------------------------------------------------------------------------ 103

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46:02

Commercial Recording Rates --------------------------------------------------------- 104

(i) Actors ------------------------------------------------------------------------------ 104

(ii) Choreographers & Directors ------------------------------------------------- 104

(iii) Stage Management ------------------------------------------------------------ 104

46:03 Additional Rehearsals ------------------------------------------------------------------- 104

46:04 Scheduling Calls -------------------------------------------------------------------------- 104

46:05 Recording on Day with No Performance ------------------------------------------- 104

46:06 Two-Performance Days ----------------------------------------------------------------- 105

46:07 Recording after Production Closed/Artist Leaves Production----------------- 105

(A) Original Artist -------------------------------------------------------------------- 105

(B) Part Cut Out --------------------------------------------------------------------- 105

46:08 Artist Dismissed --------------------------------------------------------------------------- 105

46:09 Additional Payment ---------------------------------------------------------------------- 105

47:00 PROMOTIONAL APPEARANCES 105

47:01 Scheduling Promotional Appearances ---------------------------------------------- 105

47:02 Promotional Performances ------------------------------------------------------------- 106

47:03 Reimbursement and Payment -------------------------------------------------------- 106

48:00 ARTIST'S LEAVE 106

49:00 TOURING 106

Preamble ------------------------------------------------------------------------------------------------- 106

49:01 Travel Time--------------------------------------------------------------------------------- 106

(A) Travel Day Only ----------------------------------------------------------------- 106

(B) Rehearsal on a Travel Day -------------------------------------------------- 106

(D) Multiple Performance Day --------------------------------------------------- 107

(E) Prohibited Travel Time -------------------------------------------------------- 107

(F) Weekly Maximum -------------------------------------------------------------- 107

49:02 Fees ------------------------------------------------------------------------------------------ 107

49:03 Local and Overnight Touring ---------------------------------------------------------- 107

(A) Local Touring – Determination of Hours and Per Diem -------------- 107

(B) Overnight Touring -------------------------------------------------------------- 107

(D) Engagement of a Local Artist ----------------------------------------------- 108

(E) Touring to an Artist’s Place of Residence -------------------------------- 108

49:04 Free Day ------------------------------------------------------------------------------------ 108

49:05 Unpaid Hiatus on Tour ------------------------------------------------------------------ 108

49:06 Hotel Reservations ----------------------------------------------------------------------- 109

(A) Responsibility For -------------------------------------------------------------- 109

(B) Reduced Rate ------------------------------------------------------------------- 109

49:07 Travel ---------------------------------------------------------------------------------------- 109

49:08 Purchase of Travel Insurance --------------------------------------------------------- 109

(A) Requirement --------------------------------------------------------------------- 109

(B) Plan -------------------------------------------------------------------------------- 109

(D) Monthly Billing Reminder ----------------------------------------------------- 110

49:09 Health Insurance -------------------------------------------------------------------------- 110

49:10 Route Sheet -------------------------------------------------------------------------------- 110

49:11 Return to Point of Origin ---------------------------------------------------------------- 110

(A) Under Contract ------------------------------------------------------------------ 110

(B) After Contract -------------------------------------------------------------------- 110

(D) Application of Agreement During Return --------------------------------- 110

49:12 Travel by Artist Separate from Company ------------------------------------------ 110

49:13 Transportation Between Housing and Theatre ----------------------------------- 110

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49:14

Rehearsals While on Tour ------------------------------------------------------------- 111

(A) Arrival in a New Location ---------------------------------------------------- 111

(B) Sound Check in a New Location ------------------------------------------ 111

49:15 Break Between Calls -------------------------------------------------------------------- 111

49:16 Closing Away From Point of Origin-------------------------------------------------- 111

49:17 Luggage on Tour ------------------------------------------------------------------------- 111

(A) Transfer at Point of Origin --------------------------------------------------- 111

(B) Availability Of ------------------------------------------------------------------- 111

49:18 Air -------------------------------------------------------------------------------------------- 112

(A) Artist Unwilling ------------------------------------------------------------------ 112

(B) Calculation of Travel Time -------------------------------------------------- 112

(D) Cancelled Departure ---------------------------------------------------------- 112

(E) Charter Flights ------------------------------------------------------------------ 112

(F) Rest Period Before Departure ---------------------------------------------- 112

49:19 Rail Transportation ---------------------------------------------------------------------- 113

(A) Overnight Travel --------------------------------------------------------------- 113

(B) Sleeping Arrangements ------------------------------------------------------ 113

49:20 Ferry Transportation -------------------------------------------------------------------- 113

49:21 Commercial Bus Transportation (Non-Charter) ---------------------------------- 113

(A) Limitation on Excess Travel Time ----------------------------------------- 113

(B) Prohibited Travel Time ------------------------------------------------------- 113

(D) Rest Period Before Departure ---------------------------------------------- 113

(E) Unforeseeable Conditions --------------------------------------------------- 113

(F) Transportation between Destination and Hotel ------------------------ 113

49:22 Private or Charter Bus Transportation --------------------------------------------- 114

(A) Routing --------------------------------------------------------------------------- 114

(B) Theatre's Representative ---------------------------------------------------- 114

(D) Artist's Responsibility and Calculation of Travel Time --------------- 114

(E) Excess Travel Time ----------------------------------------------------------- 114

(F) Unforeseeable Conditions --------------------------------------------------- 114

(G) Breakdowns --------------------------------------------------------------------- 114

(H) Comfort Stops ------------------------------------------------------------------ 115

(I) Meal Stop ------------------------------------------------------------------------ 115

(J) Arrival at Destination and Travel to and from Theatre --------------- 115

(K) Rest Period Before Departure ---------------------------------------------- 115

(L) Prohibited Travel Time ------------------------------------------------------- 115

49:23 Use of Other Vehicles ------------------------------------------------------------------ 116

(A) Mechanical Certification ----------------------------------------------------- 116

(B) Seating --------------------------------------------------------------------------- 116

(D) Snow Tires ---------------------------------------------------------------------- 116

(E) Vehicle Maintenance --------------------------------------------------------- 116

(F) Drivers ---------------------------------------------------------------------------- 116

(G) Road Conditions and Weather --------------------------------------------- 117

49:24 Automobile Transportation ------------------------------------------------------------ 117

49:25 Disputes ------------------------------------------------------------------------------------ 117

50:00 OVERSEAS RIDER 117

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51:00 JOINT ADMINISTRATION OF THE CTA 118

51:01 Joint Administration Committee ------------------------------------------------------- 118

(A) Joint Administration Committee -------------------------------------------- 118

(B) Purpose of the Joint Administration Committee ------------------------ 118

(D) Process of the Joint Administration Committee ------------------------ 118

(E) Records of the Joint Administration Committee ------------------------ 118

51:02 Joint Interpretation ----------------------------------------------------------------------- 119

(A) Interpretation of the CTA ----------------------------------------------------- 119

52:00 DISPUTE RESOLUTION 119

52:01 Determination of a Breach of the CTA ---------------------------------------------- 119

(A) By the Theatre ------------------------------------------------------------------ 119

(B) By the Artist ---------------------------------------------------------------------- 119

52:02 Arbitration ----------------------------------------------------------------------------------- 120

(A) Demand --------------------------------------------------------------------------- 120

(B) PACT and Equity to Act for Members ------------------------------------- 120

(D) Appointment of Arbitrator ----------------------------------------------------- 120

(E) Hearings -------------------------------------------------------------------------- 120

(F) Expenses ------------------------------------------------------------------------- 120

(G) No Modification of Agreement ---------------------------------------------- 120

(H) Binding Nature of Arbitration ------------------------------------------------ 120

(I) No Recourse to Court of Law ----------------------------------------------- 120

(J) Artist's Failure to Comply ----------------------------------------------------- 120

(K) Theatre's Failure to Comply ------------------------------------------------- 121

53:00 MUSICAL THEATRE 121

53:01 Rehearsal Conditions -------------------------------------------------------------------- 121

(A) Breaks ----------------------------------------------------------------------------- 121

(B) Raked Stage --------------------------------------------------------------------- 121

53:02 Extended Rehearsal Days ------------------------------------------------------------- 121

(A) Single Production and Stock ------------------------------------------------ 121

(B) Repertory ------------------------------------------------------------------------- 122

53:03 After First Public Performance – Exceptions to Standard Rehearsal

Conditions ---------------------------------------------------------------------------------- 122

(A) During the First Fourteen (14) Days --------------------------------------- 122

(B) Single, Stock and Repertory Theatres ------------------------------------ 122

53:04 First Aid Availability ---------------------------------------------------------------------- 123

54:00 JOINT PRODUCTIONS 123

Preamble ------------------------------------------------------------------------------------------------- 123

54:01 Auditions ------------------------------------------------------------------------------------ 123

54:02 Information Letter ------------------------------------------------------------------------- 123

54:03 Conversion to a Joint Production ----------------------------------------------------- 123

(A) After Contracts are Issued --------------------------------------------------- 123

(B) Re-Negotiation of Contracts in Second Point of Origin--------------- 124

(D) Artist Elects Not to Continue ------------------------------------------------ 124

54:04 Replacement Artists --------------------------------------------------------------------- 124

(A) Changes in Cast ---------------------------------------------------------------- 124

(B) After the Conclusion ----------------------------------------------------------- 124

54:05 Actor Minimum Fees for a Joint Production --------------------------------------- 124

54:06 Housing ------------------------------------------------------------------------------------- 124

54:07 Contract Information --------------------------------------------------------------------- 124

54:08 Working In-Town and On Tour -------------------------------------------------------- 125

54:09 Transportation ----------------------------------------------------------------------------- 125

54:10 Free Day Between Points of Origin -------------------------------------------------- 125

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CTA 2024-2027 | Page xviii

54:11

Hiatus --------------------------------------------------------------------------------------- 125

(A) Cost of Transportation -------------------------------------------------------- 125

(B) Payment for Travel ------------------------------------------------------------ 125

54:12 Rehearsals--------------------------------------------------------------------------------- 126

54:13 Stage Management --------------------------------------------------------------------- 126

(A) Transfer of Responsibilities ------------------------------------------------- 126

(B) Engaged for Duration --------------------------------------------------------- 126

54:14 Breaches ----------------------------------------------------------------------------------- 126

54:15 Directors and Choreographers ------------------------------------------------------- 126

(A) Fees and Royalties ------------------------------------------------------------ 126

(B) Outside the Original Point of Origin --------------------------------------- 126

54:16 Fight and/or Intimacy Directors ------------------------------------------------------- 127

(A) Fees and Royalties ------------------------------------------------------------ 127

(B) Outside the Original Point of Origin --------------------------------------- 127

54:17 Transfer Rider ---------------------------------------------------------------------------- 127

55:00 THEATRE FOR YOUNG AUDIENCES 127

Preamble ------------------------------------------------------------------------------------------------ 127

55:01 Company Category Calculation for Theatre for Young Audiences --------- 128

(A) Non-touring Production ------------------------------------------------------ 128

(B) Touring Productions ---------------------------------------------------------- 128

(D) Supporting Documentation -------------------------------------------------- 130

(E) Multiple Venues ---------------------------------------------------------------- 130

(F) Transfer -------------------------------------------------------------------------------- 130

55:02 Minimum Fees ---------------------------------------------------------------------------- 130

(A) Actor Non-Touring and Local Touring ------------------------------------ 130

(B) Touring Overnight ------------------------------------------------------------- 130

55:03 Billing ---------------------------------------------------------------------------------------- 131

55:04 Recordings and Photo Calls ---------------------------------------------------------- 131

55:05 Recordings Used for Future Opportunities ---------------------------------------- 131

55:06 Company Rules -------------------------------------------------------------------------- 131

55:07 Work Week and Working Hours ----------------------------------------------------- 131

55:08 Number of Working Hours in a Week ---------------------------------------------- 131

55:09 First Call of the Day --------------------------------------------------------------------- 131

55:10 Span of Day for Local Touring -------------------------------------------------------- 131

55:11 Rehearsals--------------------------------------------------------------------------------- 132

(A) Allowable Rehearsal Hours ------------------------------------------------- 132

(B) Rehearsals on a Two or Three Performance Day -------------------- 132

55:12 Overnight Rest Period ------------------------------------------------------------------ 132

55:13 Free Day ----------------------------------------------------------------------------------- 132

(A) After First Public Performance --------------------------------------------- 132

(B) Tour ------------------------------------------------------------------------------- 132

55:14 Performance Provisions ---------------------------------------------------------------- 132

(A) Performance Hours ----------------------------------------------------------- 132

(B) Maximum Per Day ------------------------------------------------------------- 132

(D) Performances per Day ------------------------------------------------------- 132

(E) Number of Locations ---------------------------------------------------------- 132

(F) Intermission Length ----------------------------------------------------------- 133

(G) Running Time ------------------------------------------------------------------- 133

(H) Payment for Additional Performance Hours ---------------------------- 133

55:15 Notification of Schedule ---------------------------------------------------------------- 133

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CTA 2024-2027 | Page xix

55:16

Travel ---------------------------------------------------------------------------------------- 133

(A) Fees -------------------------------------------------------------------------------- 133

(B) Hotel Reservations ------------------------------------------------------------- 133

(D) Health Insurance --------------------------------------------------------------- 134

(E) Route Sheet --------------------------------------------------------------------- 134

(F) Return to Point of Origin ------------------------------------------------------ 135

(G) Travel by Artist Separate from Company -------------------------------- 135

(H) Transportation Between Housing and Theatre ------------------------- 135

(J) Air ----------------------------------------------------------------------------------- 135

(K) Rail Transportation ------------------------------------------------------------- 136

(L) Ferry Transportation ---------------------------------------------------------- 136

(M) Commercial Bus Transportation (Non-Charter) ------------------------ 137

(N) Private or Charter Bus Transportation ------------------------------------ 137

(O) Use of Other Vehicles --------------------------------------------------------- 137

(P) Automobile Transportation --------------------------------------------------- 139

(Q) Disputes -------------------------------------------------------------------------- 139

55:17 Outside Point of Origin ------------------------------------------------------------------ 139

(A) Meal Provided for a Run-out ------------------------------------------------ 139

(B) Per Diem -------------------------------------------------------------------------- 140

55:18 Return to the Point of Origin ----------------------------------------------------------- 140

55:19 Weeks with Local and Overnight Touring ------------------------------------------ 140

55:20 Additional Services ----------------------------------------------------------------------- 140

55:21 Overnight Rest ---------------------------------------------------------------------------- 140

55:22 Hours and Breaks ------------------------------------------------------------------------ 140

(A) Point of Origin ------------------------------------------------------------------- 140

(B) Touring, Local and Overnight ----------------------------------------------- 140

(D) Additional Services Fees for Stage Management --------------------- 141

(E) Notice ------------------------------------------------------------------------------ 141

55:23 Unpaid hiatus ------------------------------------------------------------------------------ 141

(A) Official School Break ---------------------------------------------------------- 141

(B) Artist’s Services ----------------------------------------------------------------- 141

55:24 Additional Duties -------------------------------------------------------------------------- 142

(B) Laundry and Maintenance Duties ------------------------------------------ 142

55:25 Set-Ups, Strikes, Load-Ins and Load-Outs ---------------------------------------- 142

55:26 Understudy Parts ------------------------------------------------------------------------- 142

55:27 Stage Management ---------------------------------------------------------------------- 143

(A) Requirement --------------------------------------------------------------------- 143

(B) Staffing ---------------------------------------------------------------------------- 143

(D) Additional Duties - Lights and Sound ------------------------------------- 143

(E) Fire and Emergency Procedures ------------------------------------------- 143

(F) Additional Duties after First Public Performance ----------------------- 143

(G) Replacements ------------------------------------------------------------------- 143

(H) Participation in Follow-Up Workshops ------------------------------------ 143

(I) Company Management Duties --------------------------------------------- 143

55:28 Non-Members ----------------------------------------------------------------------------- 144

55:29 Showcase Engagement Contract ---------------------------------------------------- 144

(A) Following Previous Production ---------------------------------------------- 144

(B) Presentation Prior to Premiere---------------------------------------------- 145

(D) Notice of Termination - Artist to Theatre or Theatre to Artist ------- 145

(E) Overseas Showcases --------------------------------------------------------- 145

55:30 Joint TYA Productions ------------------------------------------------------------------- 145

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CTA 2024-2027 | Page xx

56:00 TANGERINE PROJECTS 145

56:01 Defining the Phases of Production -------------------------------------------------- 146

(A) Phase 1: Creation/Investigation - With No Public

Reading/Performance -------------------------------------------------------- 146

(B) Phase 2: Development - May Include Public Reading/Performance

Element -------------------------------------------------------------------------- 146

(D) Phase 4: Production ---------------------------------------------------------- 146

56:02 Fees and Payments --------------------------------------------------------------------- 146

(A) Phase 1 -------------------------------------------------------------------------- 146

(B) Phase 2 -------------------------------------------------------------------------- 146

56:03 Membership ------------------------------------------------------------------------------- 147

56:04 Deductions --------------------------------------------------------------------------------- 147

(A) Members ------------------------------------------------------------------------- 147

(B) Non-members ------------------------------------------------------------------ 147

56:05 Engagement of Directors, Stage Managers, Choreographers, Fight Directors

and Intimacy Directors ------------------------------------------------------------------ 147

(A) Stage Manager ----------------------------------------------------------------- 147

(B) Director --------------------------------------------------------------------------- 147

56:06 Security Provisions ---------------------------------------------------------------------- 147

56:07 Working Conditions and Hours of Work ------------------------------------------- 148

(A) Non-traditional Model --------------------------------------------------------- 148

56:08 Termination Provisions ----------------------------------------------------------------- 148

(A) Notice of Termination - Artist to Theatre, or Theatre to Artist ------ 148

57:00 WORKSHOPS AND READINGS 149

(A) Workshops ---------------------------------------------------------------------- 149

(B) Readings ------------------------------------------------------------------------- 149

57:01 Workshops and Readings Registration -------------------------------------------- 149

57:02 Minimum Fees ---------------------------------------------------------------------------- 149

(A) For Workshops with No Public Presentation(s) ------------------------ 149

(B) For Workshops with Public Presentation(s) ---------------------------- 149

(D) For Readings with Public Presentation(s) ------------------------------- 149

57:03 Working Conditions ---------------------------------------------------------------------- 150

57:04 Rider for Workshop Contracts -------------------------------------------------------- 150

57:05 Stage Management --------------------------------------------------------------------- 150

(A) Requirement -------------------------------------------------------------------- 150

(B) Finished Production or Prompt Book not Required ------------------- 150

57:06 Public Presentation ---------------------------------------------------------------------- 150

57:07 Workshops and Readings as part of Standard Engagement Contract ---- 151

(A) Original Contract --------------------------------------------------------------- 151

(B) Addition to Original Contract ------------------------------------------------ 151

(D) Repertory Theatres ----------------------------------------------------------- 151

(E) Workshops and Readings Registration ---------------------------------- 151

57:08 Notice of Termination - Artist to Theatre, or Theatre to Artist ---------------- 151

57:09 General Provisions ---------------------------------------------------------------------- 152

(A) Security --------------------------------------------------------------------------- 152

(B) Full Productions ---------------------------------------------------------------- 152

(D) Engagement Week ------------------------------------------------------------ 152

(E) Equity Liaison ------------------------------------------------------------------- 152

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CTA 2024-2027 | Page xxi

(F)

Engagement Contracts ------------------------------------------------------- 152

(G) Workshops Outside the Theatre’s Point of Origin --------------------- 152

(H) Content Advisory --------------------------------------------------------------- 152

57:10 Touring -------------------------------------------------------------------------------------- 152

57:11 Insurance ----------------------------------------------------------------------------------- 152

58:00 SECTOR 2 THEATRES 153

58:01 Application of the CTA ------------------------------------------------------------------ 153

58:02 Breaches by the Artist ------------------------------------------------------------------- 153

(A) Discipline by the Theatre ----------------------------------------------------- 153

(B) Missed Performance ---------------------------------------------------------- 154

58:03 Auditions ------------------------------------------------------------------------------------ 154

(A) Compensation, Number and Schedule ----------------------------------- 154

(B) Replacement Auditions ------------------------------------------------------- 154

58:04 Applicability of Point of Origin Minimum Fees ------------------------------------ 154

58:05 Minimum Fees ----------------------------------------------------------------------------- 155

(A) Actor Point of Origin ----------------------------------------------------------- 155

58:06 Per Diem ------------------------------------------------------------------------------------ 155

58:07 Additional Services Fees --------------------------------------------------------------- 155

(A) Overnight Rest Infringement ------------------------------------------------ 155

58:08 Extended Rehearsal Days - Single Production and Stock --------------------- 155

58:09 Emergency Rehearsal ------------------------------------------------------------------- 155

58:10 Calls on the Free Day ------------------------------------------------------------------- 155

58:11 Dance Captain ---------------------------------------------------------------------------- 155

58:12 Fight Captain ------------------------------------------------------------------------------ 155

58:13 December 25 ------------------------------------------------------------------------------ 156

58:14 Costume Fittings -------------------------------------------------------------------------- 156

(A) Hours ------------------------------------------------------------------------------ 156

(B) Additional Fittings -------------------------------------------------------------- 156

58:15 Luggage ------------------------------------------------------------------------------------- 157

58:16 Run-of-the-Play Engagement Contracts ------------------------------------------- 157

(A) Period ------------------------------------------------------------------------------ 157

(B) Fee --------------------------------------------------------------------------------- 157

58:17 Guaranteed CTA Engagement Contracts ------------------------------------------ 157

58:18 Photo Calls --------------------------------------------------------------------------------- 157

58:19 Closing Notice for Open-Ended Contracts ----------------------------------------- 157

58:20 Resident Director ------------------------------------------------------------------------- 157

(A) Engagement of Resident Director ----------------------------------------- 157

(B) Terms and Conditions --------------------------------------------------------- 157

58:21 Promotional Recording, Publicity and Commercials ---------------------------- 158

(A) Promotional and Publicity Recordings Non-Broadcast --------------- 158

(B) Application to Equity for Other Uses -------------------------------------- 158

58:22 Opening Night of A-2 Productions --------------------------------------------------- 158

58:23 Promotional Appearances for A-2 Productions ----------------------------------- 158

58:24 Director Minimum Fees and Royalty ------------------------------------------------ 158

58:25 Multiple Assignments -------------------------------------------------------------------- 159

58:26 Choreographer Minimum Fees and Royalty --------------------------------------- 159

58:27 Stage Management Requirements for A-2 Productions with:----------------- 159

58:28 Stage Management Covering for Personal or Sick Leave

for A-2 Productions ----------------------------------------------------------------------- 159

(i) Initial Engagement Period ---------------------------------------------------- 159

(ii) Applicable Minimum Fee ----------------------------------------------------- 159

(iii) Rehearsal and Performance ------------------------------------------------ 159

(iv) Engagement on a Daily Basis ----------------------------------------------- 159

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CTA 2024-2027 | Page xxii

(v)

Span of Engagement --------------------------------------------------------- 159

(vi) Engagement on a Weekly Basis ------------------------------------------- 159

(vii) Standard Engagement ------------------------------------------------------- 159

58:29 Assistant Stage Manager Calling the Show Upgrade Fee -------------------- 160

58:30 Workshops and Readings - Sector 2 Theatres ---------------------------------- 160

(A) Fees ------------------------------------------------------------------------------- 160

(B) Hours of Work ------------------------------------------------------------------ 160

(D) Public Presentation------------------------------------------------------------ 160

(E) Notice of Termination - Artist to Theatre or Theatre to Artist ------- 160

(F) General Provisions ------------------------------------------------------------ 161

58:31 Tripartite Agreement -------------------------------------------------------------------- 161

58:32 Touring A-2 Productions --------------------------------------------------------------- 161

58:33 Personal Leave --------------------------------------------------------------------------- 161

58:34 Maternity & Parental Leave ----------------------------------------------------------- 162

58:35 Betterment in A-2 Productions ------------------------------------------------------- 162

58:36 Concurrent Engagement in A-2 Productions ------------------------------------- 162

58:37 Fight Directors and Intimacy Directors --------------------------------------------- 162

58:38 Training and Professional Development ------------------------------------------- 162

59:00 CHILD PERFORMERS 163

Preamble ------------------------------------------------------------------------------------------------ 163

59:01 Provincial Legislation ------------------------------------------------------------------- 163

59:02 Guardian Meeting ------------------------------------------------------------------------ 163

59:03 Categories of Engagement ------------------------------------------------------------ 163

59:04 Supervision of the Child Performer in the Workplace -------------------------- 164

(A) Child Supervisor --------------------------------------------------------------- 164

(B) Ratios ----------------------------------------------------------------------------- 164

(D) Consistency --------------------------------------------------------------------- 165

(E) Indemnification ----------------------------------------------------------------- 165

(F) Child Supervisor Communication Responsibility ---------------------- 165

59:05 Dressing ------------------------------------------------------------------------------------ 165

(A) Changing Facilities ------------------------------------------------------------ 165

(B) Quick Changes ----------------------------------------------------------------- 165

59:06 Tutoring of Child Performers ---------------------------------------------------------- 165

(A) Requirement for Tutoring ---------------------------------------------------- 165

(B) Parental Responsibilities ---------------------------------------------------- 165

59:07 Conditions of Engagement ------------------------------------------------------------ 166

(A) Double Casting ----------------------------------------------------------------- 166

(B) Joint Productions -------------------------------------------------------------- 166

59:08 Extended Rehearsal Days ------------------------------------------------------------- 166

59:09 Scheduling Parameters ---------------------------------------------------------------- 166

59:10 Notification of Accidents---------------------------------------------------------------- 166

59:11 Parental Contact ------------------------------------------------------------------------- 166

60:00 DIRECTORS 167

60:01 Director Minimum Fees----------------------------------------------------------------- 167

(A) Payment Schedule ------------------------------------------------------------ 167

(B) Applicable Minimum ---------------------------------------------------------- 167

60:02 Free Day ----------------------------------------------------------------------------------- 167

60:03 Duties of a Director ---------------------------------------------------------------------- 168

(A) Rehearsals ---------------------------------------------------------------------- 168

(B) Meetings and Consultations ------------------------------------------------ 168

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CTA 2024-2027 | Page xxiii

60:04

Direction After Opening ----------------------------------------------------------------- 169

(A) Work After Opening ------------------------------------------------------------ 169

(B) Director Giving Notes During the Performance Run ------------------ 169

60:05 Right to Negotiate Billing --------------------------------------------------------------- 169

60:06 Director's Royalty ------------------------------------------------------------------------- 169

(A) Requirement For ---------------------------------------------------------------- 169

(B) Amount Of ------------------------------------------------------------------------ 170

60:07 Custom of the Trade --------------------------------------------------------------------- 171

60:08 Termination--------------------------------------------------------------------------------- 171

(A) By Director ----------------------------------------------------------------------- 171

(B) By Theatre ----------------------------------------------------------------------- 171

(D) Rehearsal Postponed --------------------------------------------------------- 171

(E) Illness or Accident -------------------------------------------------------------- 172

60:09 Special Category ------------------------------------------------------------------------- 172

(A) Short Performances ----------------------------------------------------------- 172

(B) Summer Stock ------------------------------------------------------------------ 172

60:10 Artistic Director ---------------------------------------------------------------------------- 172

60:11 Multiple Assignments -------------------------------------------------------------------- 172

60:12 Assistant and/or Associate Directors ------------------------------------------------ 172

(A) Scope of Work ------------------------------------------------------------------ 173

(B) Assistant Directors ------------------------------------------------------------- 173

(D) Artist Engaged for Professional Development -------------------------- 173

(E) Auditing the Rehearsal Process -------------------------------------------- 173

(F) Billing ------------------------------------------------------------------------------ 173

60:13 Training and Professional Development ------------------------------------------- 173

61:00 FIGHT DIRECTORS 174

Preamble ------------------------------------------------------------------------------------------------- 174

61:01 Requirement for a Fight Director ----------------------------------------------------- 174

61:02 Engagement Contract ------------------------------------------------------------------- 174

(A) Fight Directors ------------------------------------------------------------------- 174

(B) Concurrent Engagement ----------------------------------------------------- 174

61:03 Pre-production Meeting ----------------------------------------------------------------- 175

61:04 Fight Director Minimum Fees ---------------------------------------------------------- 175

(A) Payment Schedule ------------------------------------------------------------- 175

(B) Hourly ------------------------------------------------------------------------------ 175

61:05 Engagement Contract ------------------------------------------------------------------- 175

(A) Multiple Productions ----------------------------------------------------------- 175

(B) Non-continuous Engagement ----------------------------------------------- 175

61:06 Travel ---------------------------------------------------------------------------------------- 175

61:07 Understudy and Replacement Rehearsal ------------------------------------------ 175

61:08 Changes ------------------------------------------------------------------------------------ 175

61:09 Director Clauses -------------------------------------------------------------------------- 176

(A) Director’s Royalty --------------------------------------------------------------- 176

(B) Recorded Productions - Minimum Fees ---------------------------------- 176

61:10 Fight Captain ------------------------------------------------------------------------------ 176

(A) Requirement --------------------------------------------------------------------- 176

(B) Responsibilities ----------------------------------------------------------------- 176

(D) Authority -------------------------------------------------------------------------- 176

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CTA 2024-2027 | Page xxiv

62:00 CHOREOGRAPHERS 176

62:01 Preamble ----------------------------------------------------------------------------------- 177

62:02 Special Category ------------------------------------------------------------------------- 177

62:03 Association Status ----------------------------------------------------------------------- 177

(A) Terms and Conditions -------------------------------------------------------- 177

(B) Consideration of Equity Members ----------------------------------------- 177

62:04 Choreographer Contractual Minimum Fees -------------------------------------- 177

(A) Payment Schedule ------------------------------------------------------------ 177

(B) Hourly, Daily and Weekly Rate for a Non-Musical -------------------- 178

(D) Free Day ------------------------------------------------------------------------- 178

(E) Completion of Contract ------------------------------------------------------- 178

(F) Choreography Altered Without Consultation --------------------------- 178

(G) Additional Work After Opening --------------------------------------------- 178

62:05 Duties of a Choreographer ------------------------------------------------------------ 179

62:06 Billing ---------------------------------------------------------------------------------------- 179

62:07 Choreographer's Royalty -------------------------------------------------------------- 179

(A) Requirement For --------------------------------------------------------------- 179

(B) Amount Of ----------------------------------------------------------------------- 179

62:08 Termination -------------------------------------------------------------------------------- 180

(A) By Choreographer ------------------------------------------------------------- 180

(B) By Theatre ----------------------------------------------------------------------- 180

(D) Rehearsals Postponed ------------------------------------------------------- 181

(E) Illness or Accident ------------------------------------------------------------- 181

62:09 Dance Captain ---------------------------------------------------------------------------- 181

(A) Requirement -------------------------------------------------------------------- 181

(B) Responsibilities ----------------------------------------------------------------- 181

(D) Authority -------------------------------------------------------------------------- 181

62:10 Assistant and/or Associate Choreographers ------------------------------------- 182

(A) Scope of Work ------------------------------------------------------------------ 182

(B) Assistant Choreographers --------------------------------------------------- 182

(D) Artist Engaged for Professional Development ------------------------- 183

(E) Auditing the Rehearsal Process ------------------------------------------- 183

(F) Billing------------------------------------------------------------------------------ 183

62:11 Training and Professional Development ------------------------------------------- 183

62:12 Choreographer’s Royalty for Reuse of Work ------------------------------------- 183

63:00 STAGE MANAGEMENT 184

Preamble ------------------------------------------------------------------------------------------------ 184

(A) Employment Status ----------------------------------------------------------- 184

(B) Employment Standards Act ------------------------------------------------- 184

63:01 Equity Stage Management ------------------------------------------------------------ 185

63:02 Production Rights Agreements Requiring Playwright's Prior Approval ---- 185

63:03 Contractual Obligations Requiring Stage Manager's Assistance ----------- 185

63:04 Consultation on Selection of Stage Management Personnel ---------------- 185

63:05 Stage Management Staffing ---------------------------------------------------------- 185

(A) Requirements ------------------------------------------------------------------- 185

(B) Repertory ------------------------------------------------------------------------ 185

(D) Size and Complexity of Production --------------------------------------- 186

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CTA 2024-2027 | Page xxv

63:06

Pre-production Preparation Time ----------------------------------------------------- 186

(A) Original Stage Management Personnel ---------------------------------- 186

(B) Replacement Stage Management Personnel --------------------------- 187

63:07 Minimum Fees ----------------------------------------------------------------------------- 188

(A) Sector 1 --------------------------------------------------------------------------- 188

(B) Joint Productions --------------------------------------------------------------- 188

(D) Workshops and Readings ---------------------------------------------------- 188

(E) Sector 2 Productions ---------------------------------------------------------- 189

63:08 Benefits -------------------------------------------------------------------------------------- 189

(A) Additional Benefits ------------------------------------------------------------- 189

(B) Vacation Pay -------------------------------------------------------------------- 189

63:09 Statutory Holidays ------------------------------------------------------------------------ 190

63:10 Responsibility of an Assistant Stage Manager ------------------------------------ 190

63:11 Apprentice Stage Manager ------------------------------------------------------------ 190

(A) Registration ---------------------------------------------------------------------- 190

(B) Maximum Number -------------------------------------------------------------- 190

(D) Hours of Work for an Apprentice Stage Manager --------------------- 190

63:12 Prohibited Duties ------------------------------------------------------------------------- 191

(A) Fulfilling Duties of Union Members ---------------------------------------- 191

(B) Fulfilling Duties of Theatre Management --------------------------------- 191

(D) Building Maintenance --------------------------------------------------------- 191

(E) Payroll ----------------------------------------------------------------------------- 191

(F) Serving Meals ------------------------------------------------------------------- 191

(G) Understudying and Performing --------------------------------------------- 191

63:13 Duties and Responsibilities of Stage Management ----------------------------- 191

(A) Discretion in Organization of Work ---------------------------------------- 192

(B) Delegation ------------------------------------------------------------------------ 192

(D) Scheduling Rehearsal Calls ------------------------------------------------- 192

(E) Scheduling Set-Ups, Strikes, Load-Ins and Load-Outs -------------- 192

(F) Photo Calls ----------------------------------------------------------------------- 192

(G) Co-ordination and Communication ---------------------------------------- 192

(H) Scene Change Rehearsals and Cueing Sessions --------------------- 193

(I) Prompt Book --------------------------------------------------------------------- 193

(J) Maintenance of Artistic and Technical Intentions ---------------------- 193

(K) Show Reports ------------------------------------------------------------------- 193

(L) Record-Keeping ---------------------------------------------------------------- 193

(M) Health and Safety -------------------------------------------------------------- 193

(N) Physical Welfare of Company Members --------------------------------- 194

(O) Dressing Area ------------------------------------------------------------------- 194

(P) Backstage Area ----------------------------------------------------------------- 194

(Q) Security --------------------------------------------------------------------------- 194

(R) Sound Operation in Rehearsal---------------------------------------------- 194

63:14 Other Duties-------------------------------------------------------------------------------- 194

(A) Supervision of Animals ------------------------------------------------------- 195

(B) Laundry Duties ------------------------------------------------------------------ 195

(D) Props Repair and Purchasing ----------------------------------------------- 195

(E) Running Props/Purchase and Preparation ------------------------------ 195

(F) Operating and/or Maintaining Pyrotechnics and Practical Guns --- 195

(G) Other Stage Management Staff -------------------------------------------- 195

(H) Typing Scripts ------------------------------------------------------------------- 195

(I) General Office Duties --------------------------------------------------------- 195

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CTA 2024-2027 | Page xxvi

63:15

Additional Duties ------------------------------------------------------------------------- 196

(A) Lights and Sound -------------------------------------------------------------- 196

(B) Additional Productions ------------------------------------------------------- 196

63:16 Production Meetings -------------------------------------------------------------------- 196

(A) Production Meetings Prior to the Contract Start Date ---------------- 196

(B) Production Meetings Within Contractual Dates ------------------------ 196

63:17 Stage Management Work Day ------------------------------------------------------- 197

(A) Stage Management Working Day ----------------------------------------- 197

(B) Preparation Time -------------------------------------------------------------- 197

63:18 Stage Management Overtime -------------------------------------------------------- 198

(A) Approval -------------------------------------------------------------------------- 198

(B) Reporting ------------------------------------------------------------------------ 199

(D) Excess Rehearsal, Cueing, and Scene Changes --------------------- 199

(E) Excess of Span ----------------------------------------------------------------- 199

(F) Overnight Rest ----------------------------------------------------------------- 200

(G) Meal Break ---------------------------------------------------------------------- 200

63:19 Free Day ----------------------------------------------------------------------------------- 200

63:20 Touring -------------------------------------------------------------------------------------- 200

(A) Preparation Time -------------------------------------------------------------- 200

(B) Travel and Performance on the Same Day ----------------------------- 200

(D) Strike and Load-Out Following a Performance ------------------------ 201

(E) Overnight Rest ----------------------------------------------------------------- 201

63:21 Vehicle Use -------------------------------------------------------------------------------- 201

63:22 Replacement of Crew Members ----------------------------------------------------- 201

63:23 Emergency Replacement -------------------------------------------------------------- 201

63:24 Stage Management Understudy Assignment ------------------------------------ 202

63:25 Stage Management Email Addresses and Use of

Personal Computers and Phones --------------------------------------------------- 202

(A) Email ------------------------------------------------------------------------------ 202

(B) Computer Access -------------------------------------------------------------- 202

(D) Payment -------------------------------------------------------------------------- 202

63:26 Stage Management in Wardrobe ---------------------------------------------------- 202

63:27 Personal Leave for Stage Managers ----------------------------------------------- 203

64:00 INTIMACY DIRECTORS 204

Exclusions --------------------------------------------------------------------------------- 204

64:01 Requirement for an Intimacy Director ---------------------------------------------- 204

(A) Intimacy -------------------------------------------------------------------------- 204

(B) Violent Intimacy ---------------------------------------------------------------- 204

64:02 Pre-production Meeting ---------------------------------------------------------------- 205

64:03 Intimacy Director Minimum Fees ---------------------------------------------------- 205

(A) Payment Schedule ------------------------------------------------------------ 205

(B) Hourly ----------------------------------------------------------------------------- 205

64:04 Engagement Contract ------------------------------------------------------------------ 205

(A) Multiple Productions ---------------------------------------------------------- 205

(B) Non-continuous Engagement ---------------------------------------------- 205

(D) Contractual Fee ---------------------------------------------------------------- 205

64:05 Travel --------------------------------------------------------------------------------------- 205

64:06 Understudy and Replacement Rehearsal ----------------------------------------- 205

64:07 Intimacy Direction Altered Without Consultation--------------------------------- 206

Table of Contents

CTA 2024-2027 | Page xxvii

64:08

Director Clauses -------------------------------------------------------------------------- 206

(A) Director’s Royalty --------------------------------------------------------------- 206

(B) Recorded Productions - Minimum Fees ---------------------------------- 206

64:09 Intimacy Captain -------------------------------------------------------------------------- 206

(A) Requirement --------------------------------------------------------------------- 206

(B) Responsibilities ----------------------------------------------------------------- 206

65:00 PARAGRAPH HEADINGS 206

66:00 TERM OF AGREEMENT 206

SCHEDULE "A" 207

APPENDIX I INTENT OF CLAUSE 11:02 RE: DIRECTOR OR

CHOREOGRAPHER'S CONTRACTUAL FEE 207

APPENDIX II SIDE LETTER RE: THE APPLICATION OF

CLAUSE 63:08 207

APPENDIX III SIDE LETTER RE: DYNAMIC PRICING PILOT PROJECT 207

1:00 Formulae for Dynamic/Variable Pricing --------------------------------------------- 207

(A) For Dynamic Pricing on Single Productions, Not Part of a Series - 207

(B) For Dynamic/variable Pricing for Production Within a Series ------- 207

2:00 Compensation Changes Resulting from Dynamic/Variable Pricing --------- 208

(A) Retroactive Payments to Artists -------------------------------------------- 208

(B) Company Category Continuance ------------------------------------------ 208

3:00 No Lowering of Company Category ------------------------------------------------- 208

4:00 Pricing Adjustment Documentation -------------------------------------------------- 208

APPENDIX IV SIDE LETTER RE: PERFORMING ARTS LODGE

BENEFIT PERFORMANCE 208

APPENDIX V SIDE LETTER RE: INFORMATION PROVIDED TO

NON-EQUITY ARTIST BY THE THEATRE 208

APPENDIX VI SIDE LETTER RE: ELECTRONIC STATEMENTS 209

APPENDIX VII PAST PRACTICE ACTIVITIES 209

APPENDIX VIII SIDE LETTER RE: TOURING -

SECTOR 2 PRODUCTIONS 209

APPENDIX IX DECLARATION OF PARENT OR LEGAL GUARDIAN IN

THE ENGAGEMENT OF CHILD PERFORMERS 210

APPENDIX X APPOINTMENT AND CONSENT OF CHAPERONE 211

APPENDIX XI EMERGENCY MEDICAL AUTHORIZATION FORM 212

APPENDIX XII SIDE LETTER RE: SCOPE 213

APPENDIX XIII EDUCATIONAL RECORDINGS 213

APPENDIX XIV SIDE LETTER – COMMUNITY ENGAGED ACTIVITIES 213

APPENDIX XV COMMUNITY ENGAGED CONTRACT 214

APPENDIX XVI SIDE LETTER RE: THEATRE FOR YOUNG AUDIENCES 216

APPENDIX XVII OCCASIONAL STAGE MANAGERS 216

CTA 2024-2027 | page 1

PREAMBLE

This Canadian Theatre Agreement (hereinafter called "CTA") made between Canadian Actors’

Equity Association (hereinafter called "Equity") and the Professional Association of Canadian

Theatres (hereinafter "PACT").

(A) Application of the CTA

The CTA shall apply to all Artists engaged by Regular, Sector 2 and Associate members

of PACT in the preparation and presentation of a theatrical production in any venue and,

to the extent provided for in the CTA, the recording (preservation) of the audio or visual

aspects of such productions in whole or in part. The CTA shall apply to all regular and

associate members of PACT. PACT will provide Equity with a membership list of

Regular, Commercial, and Associate members which shall be maintained and updated

on a regular basis.

(B) Purpose

The purpose of this preamble is to set out the philosophic tenets of our relationship which

we agree to apply to our relationship generally and also to the CTA which follows.

We agree that Equity exclusively determines its own mandate and that PACT exclusively

determines its own mandate.

Equity is the professional association of performers, Directors, Choreographers, Fight

Directors, Intimacy Directors and Stage Managers in English Canada who are engaged

in live performance in theatre, opera and dance.

Recognizing that the arts are vital to life and artists make an invaluable contribution to

our society, the association supports the creative efforts of its members by seeking to

improve their working conditions and opportunities.

The business of Equity is to negotiate and administer collective agreements, provide

benefit plans, information and support, and act as an advocate for its membership.

Equity strives for fairness, integrity and compassion in all its endeavours.

(D) PACT

PACT is the national service and trade association for professional Anglophone theatre

in Canada.

PACT exists to:

(i) gain recognition and support for professional theatre in Canada from all levels of

government;

(ii) support the development of Canadian theatre companies by sharing resources

and knowledge;

(iii) develop working standards and relationships with theatre professionals through

their associations;

(iv) inform and connect theatres across Canada through a communications network.

PACT was incorporated federally on December 24, 1976 with the following aims

and objectives;

(i) to promote the general welfare of professional theatre in Canada and to promote

community interest in, and support of, theatre in Canada;

(ii) to gain increased recognition and support for theatre from federal, provincial and

municipal governments and their agencies, and from the corporate and private

sectors;

(iii) to encourage and promote communications and harmonious relations between

and among theatres in Canada, theatres and the media, and theatres and the

public.

CTA 2024-2027 | page 2

PACT believes:

(i) theatre makes an essential contribution to Canadian life on every level - cultural,

social and economic;

(ii) the experience of theatre should be readily accessible to Canadians;

(iii) theatre companies should be as diverse as the Canadian society they reflect; and

(iv) theatre professionals deserve supportive working environments - structured

enough to provide security, but flexible enough to encourage creativity, afford risk

and accommodate change.

(E) PACT and Equity Mutual Interest

In order to accomplish these objectives PACT and Equity agree to work together on

issues of mutual interest.

Equity is a signatory to the CTA. PACT membership includes being a signatory to the

CTA. The requirements of adherence to the CTA by PACT and Equity members are set

out in the CTA.

The CTA reflects our shared interest in flexibility and standards. It is a joint CTA. Its

interpretation and application are joint responsibilities. The mechanisms of

communication and resolution are also joint responsibilities.

PACT and Equity agree to recognize each other as the exclusive representatives of their

respective members for the purpose of orderly collective bargaining pertaining to

activities set out in the CTA.

1:00 DECLARATION IN SUPPORT OF THEATRE

PACT and Equity affirm our strong mutual interest in the support of artistic creation, and

methods of work leading to artistic creation, which are current theatre practice. We also

recognize the need to respond to the evolving nature of this work, and are committed to

mechanisms for dealing with change. These mechanisms will respect our long and rich

history, and will ensure that present standards, terms, and conditions of work, as

manifested in the CTA, are not eroded or lost. These commitments are reflected in our

respective mandates, and are vital to both organizations.

The development of artists, audiences, new works, theatre companies, and financial

resources are, and will be, of benefit to both organizations, and (to) our respective

memberships.

The nature of work that develops artists, audiences, new works, theatre companies, and

financial resources is such that it may fall outside the CTA. If so, that determination will

be made according to the Adherence Article. Both PACT and Equity agree to reflect the

spirit of the commitments outlined above when determining Adherence.

2:00 SCOPE

2:01 Statement of Intent and Principles of Interpretation

This Article reflects the understanding between PACT and Equity for determination of

adherence to the CTA by members of PACT.

This Article respects the status quo for historical practices by PACT members. It is not

intended to be used to reduce the minimum standards and conditions under which

Equity members are engaged.

2:02 Recognition

A Theatre wishing to undertake an activity outside of the CTA must make an application

to PACT.

(A) The Theatre recognizes Equity as the exclusive representation of all Artists

engaged under the Canadian Theatre Agreement

(B) Equity recognizes PACT as the exclusive representative for the administration of

the Canadian Theatre Agreement on behalf of its Regular, Associate, and Sector

2 members.

CTA 2024-2027 | page 3

2:03 Administration

This agreement sets out the terms and conditions of engagement of all Artists while

signed to a CTA Engagement Contract, for the preparation of a performance of a

theatrical production, and to the extent provided for in the CTA, the recording

(preservation) of the audio or visual aspects of such productions in whole or in part.

2:04 Determination of Adherence

(A) Past Practice Activities (see Definition in Article 18:00)

In order to determine adherence to the CTA, PACT will consider whether the

activity is an historical practice or new. All historical practices will be undertaken

under the historical contracting arrangements that pre-existed this Agreement,

and reflecting the spirit of this Article.

PACT will notify Equity of a past practice activity including the name of the

Theatre, name of the activity, the nature of activity and the names of the Equity

members in the activity. In the event that Equity does not agree that the activity is

past practice, Equity may refer the matter to the Joint Administration Committee

(JAC) for consideration. Past practice activities will maintain past practice for

contracting arrangements.

(B) New Activities

For new activities, PACT and Equity will forward the Theatre’s application to the

Joint Administration Committee (JAC) for consideration. The committee will

determine if the activity may be contracted under the principles of similar past

practice activities.

Community Engaged Activities are permitted and do not require an application to

PACT. Community Engaged Activities involve sustained collaboration and

exchange between a Signatory Theatre, Equity Artists and an identified

community, defined by shared interests, experience or identity.

Community Engaged Activities are dynamic relational processes that place

communities at the centre, using professional artistic practices for a range of

social outcomes and mutual benefits.

It is understood that the nature and process of the activity may evolve over the

term of the project, and it is therefore the intention of these provisions to remain

flexible and responsive to the needs of the community and Artists involved.

For Community Engaged Activities resulting in public presentations in a Signatory

Member’s venue, the fee for Equity members for each performance will at least

meet the venue’s applicable CTA minimum fee on a weekly or pro-rata basis for

the duration of the performances.

(i) When engaged by a PACT Theatre, Equity members will be signed to a

Community Engaged Activities Contract.

(ii) Recognition of a Community Engaged Activity and any Equity Artist

involved will be given in any printed or online programs under the control of

the Theatre.

2:05 Joint Determination by PACT and Equity

When PACT and Equity consider a proposal for such activity, the determination will be

based on past practice, historical parallels of other PACT Theatres, the rationale for the

activity and the ongoing process of developing a body of practice.

Body of practice refers to the accumulation of adherence experiences including past

practices, PACT-approved activities prior to the 2015-2018 CTA, PACT-Equity approved

activities, disputed activities and unresolved issues under this Article. It will be used by

PACT and Equity to guide the decision-making process under this Clause.

Once PACT and Equity have made a determination under this Clause, PACT and Equity

will notify the Theatre in writing of the decision. Determinations in favour of the activity

proceeding outside the CTA will be facilitated by Equity where required, including the

issuance of contract forms other than CTA Engagement Contracts.

CTA 2024-2027 | page 4

2:06 PACT and Equity Unable to Make a Joint Determination

If the Joint Administration Committee (JAC) is unable to make a joint determination, the

activity may proceed during the period of the dispute and the matter may be referred by

PACT or Equity to the process for resolution as stipulated in Clause 52:02. Equity

acknowledges that it may be required to release forms of contract other than CTA

Engagement Contracts or make other allowances which otherwise fall within its sole

purview so that the activity may proceed as proposed by the Theatre. However, other

Theatres may not undertake similar activities until the resolution of the matter has been

reached.

3:00 EQUITY MEMBERSHIP AND AUTHORIZATION

3:01 Equity Members in Good Standing

As a condition of engagement, all Equity members shall be members in good standing

during the entire term of their engagement. The Equity member has authorized Equity

to act on their behalf with reference to the specific matters set out in the CTA.

At the time of contracting, the Theatre must confirm the Artist’s membership status

using the Equity/PACT Portal via the following steps:

1. Go to: https://new.caea.com/pact/

2. Log In

3. Search by member number or by first and/or last name.

4. Once the Artist is found, make a record of the page (screenshot, PDF, or other) to

include the date & time stamp, membership status, and Artist name.

5. Issue the CTA Engagement Contract within five (5) business days of membership

confirmation and consistent with the terms of Clause 35:08.

6. Save the record page on file for future reference.

Upon confirmation from the Equity/PACT Portal that a member is in good standing then,

for the purposes of issuing the CTA Engagement Contract, the member shall be deemed

to be in good standing. Should the member fall into arrears between the issuing of a

CTA Engagement Contract and the end of the CTA Engagement Contract, it is the

member’s sole responsibility to rectify the situation directly with Equity.

At the time of the Theatre’s checking the Equity/PACT Portal, should the member be

found to be not in good standing, or should Equity be unable to confirm that a member

is in good standing then the Theatre may withdraw any contract offer without recourse

by the member or Equity.

3:02 Authorization to Deduct Working Dues

(A) Equity Member

By the signing of a CTA Engagement Contract, the Equity member assigns to

Equity such amounts for Working Dues, initiation fees, and other assessments as

may be certified to the Theatre by Equity to be due to Equity from the Equity

member. The Equity member authorizes and directs the Theatre to deduct such

amounts from their weekly fees and remit same to Equity, which authorization and

direction shall be effective and irrevocable for the term of the CTA Engagement

Contract.

(B) Non-Member

When a non-member signs a CTA Engagement Contract, the non-member

assigns to Equity such amounts that are equal to the deductions taken from a

member’s Contractual Fee. The non-member authorizes and directs the Theatre

to deduct such amounts from their weekly fees and remit same to Equity, which

authorization and direction shall be effective and irrevocable for the term of the

CTA Engagement Contract.

CTA 2024-2027 | page 5

With the exception of the conditions detailed in Clause 3:02 (D), the Theatre will

not be responsible for the deduction and remittance of Basic Dues.

Notwithstanding the above, if an Equity member is not in good standing at the

beginning of their CTA Engagement Contract, both the Artist and the Theatre will

receive a notice from Equity informing them of this. The Equity member may then

submit a request in writing to the Theatre to deduct Basic Dues from their

contractual fee and remit such to Equity, provided that the Theatre agrees to the

request and has adequate time to process this request per the Theatre’s payroll

schedule. The Theatre must detail that this payment to Equity is for the Artist’s

Basic Dues on the support documentation provided with their remittances. A

Theatre is relieved of this responsibility if the request is not received from the Artist

prior to the final two (2) weeks of the CTA Engagement Contract.

(D) Theatre Responsible for Basic Dues

A Theatre is responsible for the payment of Basic Dues if:

(i) a Theatre fails to check the Equity/PACT Portal at the time of

contracting and issues a CTA Engagement Contract to an Artist not in

good standing, or;

(ii) a Theatre is unable to provide proof that an Artist was in good standing

at the time of contracting when requested by Equity and has engaged

an Artist whose current membership status is in not in good standing.

In such cases, Equity shall issue a notice to the Theatre and the Artist for the

Artist’s Basic Dues which will subsequently be billed on the Equity invoice for the

production.

3:03 Deductions

(A) Payment of Equity Working Dues

The Theatre agrees to deduct Working Dues as directed by Equity from the Artist's

Contractual Fee and remit same to Equity in accordance with, and subject to, the

terms and conditions of payment outlined in Clause 16:15, Remittances.

When the Artist is on tour the working dues deduction shall be applied to the

Contractual Fee only, and not to the per diem.

(B) Equity Member Benefits

Equity provides benefits to its members, including but not necessarily limited to

the provision of insurance and a group RRSP plan. In order to facilitate this, the

Theatre will deduct from fees payable to the Artist, and remit to Equity in

accordance with Clause 16:15, such amounts as directed by Equity. These

amounts are to be established at the commencement of the CTA, and may be

modified on not less than 120 days’ notice to PACT.

Any deduction in addition to the Working Dues deduction, initiation fees,

remittances in accordance with Clause 5:01, or member benefits as set out in this

Clause 3:03, shall be subject to a five-dollar ($5.00) processing fee payable by

the Artist for each additional requested deduction.

(D) Exemptions from standard Equity deductions

The following monetary amounts are the only exemptions from standard Equity

deductions: per diem, mileage, reimbursement of expenses, rental fees paid to

the Artists for the use of their personal items and ESA overtime for Stage

Management personnel.

Unless otherwise noted, all fees and royalties are subject to standard Equity

deductions.

CTA 2024-2027 | page 6

3:04 Discounted Ticket Policies

The Theatre shall inform Equity of any discounted ticket policy when it files its Company

Category Calculation.

The Theatre will also make its best efforts to provide and inform Artists of discounted

ticket policies, subject to ticket availability and inclusive of the Theatre’s standard

discounted ticket policies.

4:00 LAWS GOVERNING THE CTA

4:01 Provincial Jurisdiction

Except as provided hereinafter, the CTA shall be subject to and construed by the laws

of the province in which the Theatre has its Point of Origin.

4:02 Statutory Conflicts

If the provisions of any statute applicable to the contract of engagement are in conflict

with the contract, then the contract of engagement shall be deemed to be modified so

as to comply with the statute.

4:03 Canadian Statutes

Any Clauses contained herein illegal in Canada, or any province, territory or municipality

thereof shall not be binding therein. Any illegality in any Clause or of the CTA shall not

affect any other Clause of the CTA.

4:04 Provisions Affected

If any provision of the CTA shall be held invalid or unlawful by any tribunal of competent

jurisdiction, the remaining provisions shall not be affected thereby, but shall remain

severally valid, binding and in full force and effect.

5:00 RESPONSIBILITY OF THE ARTIST

5:01 Independent Contractor

The Artist, with the exception of those defined as employees elsewhere in the CTA,

acknowledges that they are an independent contractor and are responsible for all federal

and provincial taxes and other government requirements with respect to all fees payable

to the Artist under their CTA Engagement Contract and all riders attached thereto.

At the request of the Artist and as directed by the Artist, the Theatre will make such

remittances on their behalf from fees payable to the Artist.

5:02 Equity Membership and Membership in Good Standing

It is the responsibility of the Equity member to maintain membership in good standing

with Equity, to inform management of the Theatre that they are in good standing, and to

furnish evidence to the Theatre and the elected Liaison when requested. If, after a CTA

Engagement Contract has been issued by the Theatre, an Artist fails to remain in good

standing, the responsibility of returning to good standing lies solely with the Equity

member.

5:03 Rules and Regulations

The Artist agrees to abide by all reasonable rules and regulations of the Theatre which

are not in conflict with the provisions of the CTA, any CTA Engagement Contract or the

rules of Equity. Any such special rules and regulations must be posted by the Theatre

on the notice board at the theatre and rehearsal hall.

CTA 2024-2027 | page 7

5:04 Absences from the Theatre's Point of Origin

This Artist must make themself available during the term of the Artist’s CTA Engagement

Contract to perform the services of the contract. This includes ensuring that the Artist

resides or has temporary residence within the immediate vicinity of the Theatre’s Point

of Origin. The Artist agrees to request the Theatre's written permission to absent

themself for a period of time from the immediate vicinity of the Theatre's Point of Origin,

or to locate their lodging for the duration of the CTA Engagement Contract outside of

the Theatre's Point of Origin, such request to be stated in writing. The Theatre agrees

to post its policy outlining specific time and distance limitations for which permission is

not required.

While on tour, the Point of Origin as it applies to this Clause 5:04 shall refer to the

immediate vicinity of the performance venue.

5:05 Impairment

(A) Ability to Perform

If the Artist is unable to rehearse or perform due to intoxication or similar

impairment, the Theatre may determine that the Artist shall not rehearse or

perform. The Theatre undertakes to report all such occurrences to Equity

immediately. In the case of such intoxication or impairment, the Theatre may

terminate the Artist's contract under the provisions of Article 38:00 of the CTA.

(B) Termination

In the circumstances outlined above, the Theatre may request relief from the

provisions of Article 38:00, Termination, in order to terminate without further

payment. Equity may grant such relief when it has been satisfied that the Artist

was intoxicated or similarly impaired. Additionally, if a rehearsal or performance

is cancelled as a result of the above circumstances, the Theatre may request the

Executive Director of Equity to decide if the Artist shall be liable for any loss

incurred.

5:06 Exclusive Service of the Artist

Except as otherwise provided for in the CTA Engagement Contract, the Artist shall not

accept any concurrent engagement from the date of beginning of rehearsal, and until

said CTA Engagement Contract is lawfully terminated, without the written consent of the

Theatre. The Theatre shall make every effort to accommodate the Artist's request.

In the case where an Artist has received permission to accept a concurrent engagement,

they shall fulfill all the terms and conditions of the original contract, particularly as

regards rehearsal and performance provisions, unless permission for the Artist's

absence is specifically described (dates, times) and agreed to by the Theatre in advance

in writing.

Failure to comply with these terms may result in the original Theatre requiring the Artist

to terminate the concurrent engagement immediately.

6:00 MANAGEMENT RIGHTS

6:01 Management Rights

Except as, and to the extent specifically modified by the CTA, all rights and prerogatives

of management are retained by the Theatre and its management.

CTA 2024-2027 | page 8

7:00 EQUITY MEMBER'S OBLIGATION TO EQUITY

7:01 CTA Engagement Contract

Nothing contained in any CTA Engagement Contract signed by any member of Equity

shall be construed so as to interfere with the carrying out of any obligation which a

member owes to Equity by reason of their membership therein. The Theatre shall not

request or require any member to do anything forbidden by the Constitution and Bylaws

of Equity or by such rules made by Equity or its authorized representatives which are

not in conflict with the CTA.

Each of the parties to the CTA shall file with the other changes to its Constitution, Bylaws

and rules made by the Council of Equity or the Board or Executive of PACT, on the date

that such changes become effective.

7:02 Equity Constitution and Bylaws

If the Constitution, Bylaws, rules and regulations of Equity as they now exist or as they

may hereafter be amended, are in conflict with the fulfilment of the provisions of the

CTA, then the provisions of the CTA shall prevail.

7:03 Discipline of Members

However, notwithstanding the above, nothing herein contained shall be deemed to limit

the right of Equity to suspend, expel or otherwise discipline any member or refuse to

admit any non-member pursuant to the Constitution, Bylaws, rules and regulations of

Equity.

8:00 CANADIAN ACTORS' EQUITY ASSOCIATION - SPECIAL PROVISIONS

8:01 Benefit Performances

Artists may rehearse for and play in benefits without remuneration only for The AFC

(formerly known as the Actors' Fund of Canada). There shall be at least one (1) benefit

performance per season for The AFC. Alternatively, the Theatre may organize another

activity (such as curtain speeches designed to solicit individual donations from the

audience) to benefit The AFC.

A benefit performance is a regularly scheduled performance, or one in addition to the

regular schedule of performances, for which the proceeds are donated to The AFC. A

Theatre may, with a minimum of two (2) weeks' notice to the Artists which shall be copied

to Equity, schedule an extra performance, that is to say a ninth performance in a regular

Engagement Week, or a performance on a normal free day, as a benefit performance

for The AFC. In such performances, Artists will take part without additional remuneration.

Provided that a benefit performance for the AFC has been scheduled for that season,

the Theatre may schedule other benefit performances with the prior written approval of

Equity.

8:02 Membership Meetings - Privilege of Artists to Attend

Provided that Equity shall have given the Theatre two (2) weeks' notice in writing, the

Theatre shall not require the services of the Artist for rehearsals (except in cases of

dress rehearsals, or rehearsals on an opening date or on the seven (7) consecutive day

rehearsal period after opening) at any time when a regularly called meeting of Equity is

being held within a reasonable distance of the city where the Artist is being engaged.

Time off for this purpose shall not be counted as part of that day's rehearsal period.

Such time off shall only be made up during the seven (7) days preceding and/or following

the meeting, but not more than two (2) extra hours per day.

CTA 2024-2027 | page 9

8:03 Special Power to Act for Artist

(A) Authority

Whenever it is provided in the CTA or in any CTA Engagement Contract that

something may be done by an Artist:

(i) at the option of, or with the consent of, or at the request of Equity;

(ii) on the demand of, or with the consent of such Artist, then:

Equity, representing the Artist, has, and is given, authority to act for, and in the

place of, the Artist, and to assert their position, or make their request or demand,

as the case may be, with all of the power and authority of the Artist themselves

without liability to itself.

(B) Consent

In all cases where the consent or approval by Equity is required to modify or limit

the rights of any Artist said action will be taken on behalf of Equity in writing by

the Executive Director or an authorized delegate only. Such consent or approval

will be at Equity's sole discretion.

Equity may represent Artists in any dispute which may arise with the Theatre, and

Equity may, at all times, represent Artists in relation to any matter arising out of

the CTA or any CTA Engagement Contract. When any act or request or consent

of any such Artist is provided for in such contract, the request, consent, or

approval of Equity shall, for all purposes, be deemed the consent, request,

approval or act of the Artist.

8:04 Equity Liaisons and Authorized Representatives

(A) Equity Liaisons

Equity Liaisons shall be elected for each production.

In repertory theatre, the election of the Liaison need not be on the first day of

rehearsal, but at the earliest opportunity within the first week, and at a rehearsal

to which a majority of the Equity Artists are called. An Artist may be the Liaison

for more than one (1) production, provided that the Artist has been engaged for

each production.

(B) Authorized Representatives

Authorized representatives of Equity shall have free access to all Artists at all

times, inclusive of rehearsals or performances. However, there shall be no

interruption of work in progress except where deemed essential in order to meet

an emergency situation.

Equity representatives shall notify the Theatre in advance of such visits, whenever

possible.

8:05 Company Meetings

(A) Secret Ballot

At all meetings of the Equity company called by the Liaison, voting shall be by

secret ballot.

(B) Alteration to the Standard CTA Engagement Contract

Should any situation arise where the Theatre wishes the company to consider any

alterations to the standard CTA Engagement Contracts, or to the provisions of the

CTA, it shall first approach Equity for a concession. Equity shall then arrange a

meeting of the company at which neither the Theatre nor its representative shall

be present. Any action proposed by the Equity company shall not however, be

binding without the written approval of Equity.

Attendance at meetings of the Equity company shall be restricted to the Artists

contracted for that production.

CTA 2024-2027 | page 10

(D) Determination of Executive Director of Equity

The determination of the Executive Director of Equity as to any issue arising under

the provisions of Clause 8:05 shall be final and binding upon the Theatre and each

Artist insofar as such determination does not contravene or conflict with any of

the terms in the CTA.

8:06 Auditions

Preamble

For the purpose of this Clause, an audition may constitute meetings, readings from a

given text, presentations of prepared pieces, improvisations and call backs in relation to

an Actor seeking engagement with the Theatre.

Each Theatre shall declare its inclusive casting and engagement policy including

detailed information about the accessibility of the audition, rehearsal and performance

venues in casting notices and breakdowns.

(A) Notice of Auditions

To promote the dissemination of casting opportunities to the broadest spectrum

of artistic talent, all casting notices for all publicly announced auditions shall be

posted through Equity’s e-Drive with language provided by the Theatre including

information regarding productions that are being cast including but not limited to

any requirement for an Actor to make changes to their hair, to use makeup in

excess of basic stage makeup or to cover visible tattoos.

The Theatre will notify Equity at least two (2) weeks in advance of all publicly

announced auditions.

For all open call, un-vetted auditions, the Theatre will make best efforts to

distribute the notice at least four (4) weeks in advance so that interested

performers may make arrangements to attend.

(B) Roles Previously Cast

Once the season has been announced, the Theatre will, when posting for an

audition, other than general auditions, state any roles that have already been cast.

The Theatre will also advise the Actors, at the time audition appointments are

made, of any roles that have been cast.

When a role to be cast depicts a character with a specific disability, the Theatre

shall include this information in all casting notices, so that artists with similar

disabilities may be informed of the opportunity to audition.

(D) Audition Submission Prohibition

The Theatre shall not require an Actor to disclose their age or weight on an

audition submission.

(E) General Auditions

In order to facilitate the engagement of new voices and talent, and with particular

consideration for advancing opportunities for historically underrepresented and

marginalized identities, where the needs of the Theatre dictate, or where the

Theatre produces more than two (2) productions in a season, the Theatre will offer

a minimum of two (2) days of auditions at least once per fiscal year in a major

centre or in the Theatre’s point of origin. It is not necessary for the two (2) days to

be consecutive and the Theatre may schedule these days at their convenience.

These auditions may be general in nature in order to review available talent.

These auditions shall be attended by the Artistic Director or another senior

representative of the Theatre who works in a casting capacity.

Every other fiscal year, the Theatre shall add at least one (1) additional day of

auditions which shall be an un-vetted open call.

To fulfill the requirements noted above, Theatres may hold joint auditions where

multiple Theatres participate in the audition process. Theatres not required to hold

general auditions are nonetheless encouraged to participate in these joint

auditions whenever possible. These join auditions need not be for Theatre

engaging under the same agreements or policies.

CTA 2024-2027 | page 11

Theatres are required to provide PACT with the dates of their fiscal year and the

date(s) on which they held their General Auditions that year. PACT shall compile

and submit a report with the information to Equity no later than February 28

each

year on behalf of their members.

(F) Priority Scheduling

At open call auditions, Equity members will be given the opportunity to be seen

prior to non-members. At all other auditions, priority will be given to Equity

members for scheduling audition times.

(G) Attendance

No Actor shall be auditioned unless there are at least two (2) persons other than

the auditionee(s) present in the audition room.

(H) Nudity

Nudity is prohibited during the entire audition process.

(I) Casting Authority Present

The Director, Music Director, Choreographer, Composer, Choral Director or an

appropriate representative of the Theatre with casting authority must be present

at all auditions.

(J) Assignment of Casting Prohibited

The assignment of casting for a production exclusively to a casting agent or talent

representative is strictly prohibited.

(K) Evening Auditions

Whenever possible, the Theatre will make provision for evening auditions as part

of its audition schedule in order to provide an opportunity for those Actors who

are working during the day.

(L) Audition Space Prohibitions

An Actor shall not be auditioned in any place that is not an accepted place of

business including, but not limited to, a hotel room.

(M) Audition Facilities

Whenever auditions are held the Theatre agrees to provide audition rooms,

change rooms and waiting rooms which are properly lighted, ventilated, cooled

during hot weather to not more than thirty degrees Celsius (30°C) and heated

during inclement or cold weather to at least twenty degrees Celsius (20°C). Best

efforts shall be made to ensure that the space is scent and allergen free.

(N) Audition Space Accessibility Considerations

For an Artist with accessibility needs, the Theatre will make all reasonable

accommodations to facilitate access, which may include providing interpreters,

accessible facilities, and advanced access to audition materials.

(O) Venue Suitability

Where Equity receives a complaint regarding an audition venue, Equity shall be

given the opportunity to inspect the venue and, if deemed unsuitable, an alternate

suitable venue shall be found at the expense of the Theatre.

(P) Individual Auditions

Except for un-vetted, open calls, Actors shall be called to audition at specific times

and shall not be called in groups unless necessary for dance calls, improvisation

or voice blending.

(Q) Requirement for Actors to Sign-in

When the Theatre is auditioning more than six (6) Actors in a single day, each

Actor shall be required to sign-in on a sheet to be provided to the Theatre by

Equity.

The Theatre shall provide a copy of the completed sign-in sheet(s) electronically

to Equity within fourteen (14) calendar days after the audition.

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(R) Audition Information Sheet

The Theatre will post and make available a one page information sheet supplied

by Equity when the Actor signs in for a general audition or open call. The

information sheet, approved by PACT and Equity, will outline the responsibilities

of the Theatre and the Actor that apply to that audition. Individual information

sheets will be available for plays, musical theatre and Sector 2 auditions.

(S) Maximum Number of Calls

For a non-musical, auditions shall be limited to three (3) calls of a maximum of

one (1) hour each per Actor for each production.

For a musical, the total audition time inclusive of initial auditions, group calls and

callback auditions shall not exceed four (4) hours for each production or repertory

season.

For audition calls in excess of the limits above the actor shall be compensated at

the rate of one-eighth (1/8) of the minimum weekly fee of the applicable Company

Category in which the production will be presented.

At all times all breaks and rest periods shall be observed.

(T) Participation in Another Actor’s Audition Call

An Actor engaged to participate in another Actor’s audition shall be paid the fee

as specified in the current CTA Fee Booklet.

This clause shall not apply to those circumstances where an Actor who is already

cast is asked to participate in the auditions for a character to assess suitability.

(U) Recording of Auditions

The presence of cameras or other recording devices at auditions is strictly

prohibited. With the Actor’s agreement, the Theatre may take a photograph of the

Actor during the audition.

However, in some cases it may not be possible for all persons with casting

authority to be present at the in-person audition or the production includes on

camera performance. In such a situation, the Theatre may record or live video

conference the audition with notice to the Actor at the time of scheduling the

audition, provided that all video recordings are destroyed at the end of the casting

process. In all cases at least one (1) person with casting authority must be

physically present at the time of audition.

(V) Self-Tape Submissions and Video Conferencing Auditions

While it is agreed that it is in the best interests of the Theatre, Artists and the

process of live performance for auditions to be held in person, if a Theatre wishes

to audition an Actor who is unable to attend in-person, the Theatre may accept

self-tapes or arrange for video conferencing. The Theatre may also choose to

audition Actors by digital means should that be necessary because of the remote

location of the Theatre or Artist, or for reasons of public health as determined by

the local or provincial public health authority. The Theatre shall provide the Actor

with clear instructions regarding the submission of videos, including technical

requirements. Submissions must not be publicly distributed by the Theatre and

shall be destroyed at the end of the casting process.

Requests for self-tapes must be made by the Theatre at least five (5) days prior

to submission deadline.

Theatres and Artists should reference the Best Practices Advisory available on

both the PACT and Equity websites, identifying key elements for consideration

when requesting self-tape submissions or auditioning Artists by digital means.

(W) Requirement to Provide a Musical Accompanist

The Theatre shall provide an accompanist for all musical auditions involving

singing, except where the Actor wishes to self-accompany or is required in the

production to sing without musical accompaniment.

In the case of a non-musical production where the singing will be accompanied

by live music, an accompanist must also be provided at the audition.

CTA 2024-2027 | page 13

(X) Dance Surfaces

When an Actor is participating in a dance audition, the audition must be conducted

on an appropriate dance surface. Actors shall not be required to dance on

concrete or marble floors or any other surface which may cause injury to an Actor.

(Y) Change Facilities

Suitable change facilities for all dancers shall be made available. In situations

where the available audition space does not have adequate facilities, Equity and

all Actors being auditioned shall be made aware no less than twenty-four (24)

hours before the scheduled audition time.

(Z) Specifically Requested Material

After the initial audition, when Actors are requested by the Theatre to prepare

specific material, they shall be given the opportunity to perform all said prepared

songs and/or text during the audition slot. In no case, shall the prepared material

exceed more than ten (10) minutes of material per role for which the Actor is being

considered.

(AA) Requested Material Availability

When an Actor is required to audition with specifically requested material that is

not readily available, the Theatre shall provide such material to the Actor. In the

case of singing auditions, this material must be provided to the actor no less than

forty-eight (48) hours prior to the audition call.

(BB) Callback Auditions

When an actor is required for a callback audition on the same day as the initial

audition, the callback audition shall take place within a one-and-a-half (1-1/2) hour

time period or the actor shall be given an opportunity to return at a later date or

time to be mutually decided upon by the Theatre and the Actor.

8:07 Musical Theatre Auditions

For musical theatre auditions the following provisions shall apply in addition to the

Clauses above.

(A) Groups for Dance Calls

Dancers need not be called at individual times. The Theatre has the opportunity

to audition Dancers/Chorus in a group as long as dance or movement ability is

the prime consideration of the audition. The principal skill for these calls is

dancing.

(B) Chorus Auditions

For Chorus auditions, Actors shall be given the opportunity to audition in their

principal skill of either dance or singing.

At no time shall an Actor be required to prepare and perform their own

choreography. The Actor shall only perform such dance as taught by the

Choreographer, associate choreographer, Assistant Choreographer or Dance

Captain at an audition call.

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9:00 HARASSMENT AND DISCRIMINATION

Preamble

The PACT and Equity are committed to the pursuit of respectful workspaces and support for

those who have experienced or witnessed toxic behaviours and as such have partnered to

develop the Not In OUR Space! program. Therefore, all PACT members agree to participate in

the joint anti-harassment Not In OUR Space! program as outlined below.

9:01 Not In OUR Space! Program

Participation in Not In OUR Space! requires the Theatre to post the Not In OUR Space!

poster in all of their rehearsal spaces and any performance spaces they own or use, for

the duration of the production. The Theatre shall make best efforts to ensure the poster

shall always be stocked with the appropriate bookmarks from Equity. Furthermore, the

Theatre shall make copies available of the Not In OUR Space brochure as required on

each production.

Equity’s Respectful Workplace Policy shall be posted next to the Not In OUR Space!

poster. Further, every Theatre shall have and shall make available in an easily

accessible place, their own processes and procedures for filing a complaint and this

information shall be communicated to all Artists no later than the first day of their

engagement.

A representative from the Theatre and a representative from Equity shall present the

“Respectful Workplace Statement” at the beginning of the first day of rehearsals and

again in the theatre, should the Artists request it.

9:02 Harassment

“Harassment” is engaging in a course of vexatious comment or conduct against a person

in a workplace that is known, or ought reasonably to be known, to be unwelcome or

offensive.

Harassment is prohibited on the grounds as defined by legislation in the jurisdiction in

which the Theatre has its Point of Origin. However, harassment is generally understood

to be:

Sexual Harassment: Engaging in a course of vexatious comment or conduct because of

sex, sexual orientation, gender identity or gender expression, where the course of

comment or conduct is known or ought reasonably to be known to be unwelcome or

making a sexual solicitation or advance where the person making the advance is in a

position to confer, grant or deny a benefit or advancement and that person knows or

ought reasonably to know that the solicitation or advance is unwelcome.

Harassment: Harassment means engaging in a course of vexatious comment or conduct

that is known or ought reasonably to be known to be unwelcome. For the purpose of this

policy, harassment includes comment or conduct initiated by one person towards

another, which causes humiliation, offence or embarrassment, or which has the purpose

or effect of unreasonably interfering with the person’s work and/or creating an

intimidating, humiliating, hostile or offensive environment. Ordinarily, repeated comment

or conduct is required to demonstrate harassment, however single acts of sufficient

severity may also constitute harassment.

Bullying: Bullying is a distinct form of personal harassment and may include, but is not

restricted to, some of the following: loud, abusive behaviour, unjustified criticism,

shunning behaviours (including withholding information, ganging up, deliberate isolation

from colleagues or exclusion from joint activities), repeated delegation of demeaning

tasks.

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9:03 Reporting Harassment and Resolution Process

PACT and Equity acknowledge that there are a number of possible methods by which a

complaint of harassment or discrimination can be made including:

(a) Directly addressing the alleged harasser and advising that the behaviour is

unwelcome and must cease;

(b) The complaint policy set out in a Theatre’s policy; or,

The parties agree that a complaint made to a Theatre is to be investigated. Equity agrees

that it shall advise a Theatre of any complaint made to Equity that involves a member of

management. Equity and PACT agree that it is the responsibility of a Theatre to conduct

an investigation into any complaint made to a Theatre or a complaint made that involves

a member of management.

PACT and Equity support the principles of human rights legislation including the principle

that a complainant cannot be subject to a reprisal for the filing of a good faith complaint.

PACT and Equity agree that an investigation should be conducted in a confidential

manner.

9:04 Requirement to Report

If a complaint is brought forward by an Equity member, at the specific request of a non-

member, or if a complaint is made against an Equity member, the Theatre shall

immediately advise Equity that an investigation is under way. Upon written consent of

the Equity member, the Theatre shall share with Equity a summary report of the actions

and findings.

9:05 Relief of Termination Payment

When the results of an appropriately conducted investigation have determined that

harassment has taken place and the Theatre wishes to terminate the Artist’s CTA

Engagement Contract, the Theatre may request relief from the provisions of Article

38:00, Termination, in order to terminate an Artist's CTA Engagement Contract without

further remuneration. Equity may grant such relief, provided it is satisfied that such

termination of the Artist's contract is the appropriate resolution.

9:06 Dispute Between Equity and the Theatre

If the Theatre and Equity are in dispute with respect to any matter arising from the

application of this Article, either party may refer the dispute to the dispute resolution

procedures of Article 52:00.

9:07 Discrimination

(A) Discrimination Prohibition

There shall be no discrimination against any Artist or applicant for a role or

position on the basis of any grounds protected by federal or provincial human

rights legislation. Any breach of this Clause by the parties to the CTA may be

referred to the appropriate human rights authority.

(B) Termination Due to Discrimination is Prohibited

When it is alleged that an Artist's engagement has been terminated due to

discrimination as described above, the matter may be submitted to the dispute

resolution provisions of Article 52:00.

An Artist shall not be required to render any services to the Theatre in any theatre

or any place where it has been determined that discrimination as described in this

Article is practised against any person. Where there is a dispute as to whether

such discrimination has taken place, the Artist will continue to render their services

until final determination has been made under the provisions of Article 52:00.

CTA 2024-2027 | page 16

(D) Discrimination Due to Pregnancy or Parental Status

An Artist's pregnancy or parental status shall not prevent the Artist from enjoying

full and equal audition and engagement opportunities. Under no circumstances

shall an Artist's pregnancy be considered grounds for termination, unless it

impinges on the artistic integrity of the production, to be determined by the

Theatre.

(E) Discrimination for Association Activity

(i) Prohibition of Discrimination

The Theatre shall not dismiss or otherwise penalize any Equity member for

fulfilling their duties or obligations as a Liaison, elected officer, or member

of Equity.

(ii) Claims

Any Equity member who claims that the Theatre has given them notice or

otherwise penalized them for fulfilling their duties as an Equity member,

may present their case to the Executive Director of Equity who shall give

the Theatre the opportunity to be heard. If the Executive Director of Equity

is satisfied that such activities are the real cause of dismissal or of any

penalty, it shall have the power to determine the character and the amount

of a penalty to be assessed against the Theatre. Should the Theatre

disagree with the Executive Director's decision or with the assessed

penalty, it may appeal through arbitration according to the further provisions

of Article 52:00.

(iii) Equity Liaison's Contract Terminated

In the event the engagement of a Liaison is terminated, the Theatre will

furnish the reason for this termination to both the Liaison and Equity

simultaneously and in writing. Whenever an Equity Liaison is dismissed or

otherwise penalized, Equity shall investigate the reasons for such dismissal

or penalty. If Equity is satisfied upon investigation that said Liaison was

dismissed or otherwise penalized for fulfilling their duties or obligations as

a Liaison, their case shall be presented to the Executive Director of Equity

of who shall give the Theatre the opportunity to be heard if it desires to avail

itself of this opportunity. After said hearing, where the Executive Director of

Equity determines that the Liaison has been dismissed or otherwise

penalized for fulfilling their duties or obligations as a Liaison, Equity shall

have the power to determine the character and the amount of a penalty to

be assessed against the Theatre. Should the Theatre disagree with such

determination by the Executive Director of Equity or with the assessed

penalty, it may appeal through arbitration according to the further provisions

of Article 52:00.

(iv) Failure to Pay Penalty

Should the Theatre fail to pay a penalty assessed against it, Equity agrees

that it will not attach the Theatre's bond for payment of such penalty prior

to sixty (60) days from the date of the final assessment of such penalty.

9:08 Non-Disclosure Agreements and Reprisal

Following the investigation of any complaint or incident, the parties recognize that there

are statutory obligations under the appropriate legislation and under no circumstances

can one party obligate the other to a non-disclosure agreement or retaliate against the

other party.

Both parties acknowledge and understand that there are remedies in the event of

demonstrable reprisal.

Artists engaged on a CTA contract may request support and assistance from Equity.

PACT Theatres may request support and assistance from PACT.

CTA 2024-2027 | page 17

10:00 ACCESS, INCLUSION, AND ANTI-OPPRESSION

10:01 Acknowledging Systemic Oppression and Exclusion

PACT and Equity acknowledge that Canadian theatre, and the Canadian Theatre

Agreement, evolved from a patriarchal, Eurocentric tradition that have long contributed

to the widespread discrimination and exclusion of a range of people and practices. PACT

and Equity are committed to redressing systemic exclusion in our shared theatre

ecology, and to expanding engagement opportunities for Artists who identify with

Underrepresented Groups (see 18:68), so that the practice of theatre honours and

reflects the wide diversity of performance styles, processes, bodies, and identities that

exist in society.

PACT and Equity further recognize that D/deaf and Disabled Artists (see 18:18) have

been excluded from and underserved in Canadian theatre. Both associations

acknowledge their respective obligations to support and provide Accommodations (see

18:01) in accordance with Federal and Provincial Human Rights legislation.

PACT and Equity additionally acknowledge that theatre in Canada is practiced on the

traditional lands of First Nations, Inuit, and the Métis Nation, and that settler artists and

institutions have benefitted from colonial structures and systemic racism to the detriment

and exclusion of Indigenous artists and art practices. PACT and Equity further commit

to building respectful relationships with Indigenous communities through listening,

learning, collaboration, and the meaningful sharing of resources.

10:02 Commitment to Anti-Oppression and Inclusion

(A) Joint Undertaking

PACT and Equity recognize that measurable progress towards truly inclusive

participation in our theatre ecology requires urgent, systemic, and sustainable

shifts in both practices and infrastructures. Both associations are committed to

ongoing training and dialogue with their respective memberships to advance

inclusion, and to engaging with Underrepresented Groups to redress systemic

oppression, exclusion, and accessibility barriers.

The Joint “Article 10 Committee” exists to collaborate on joint anti-oppression

initiatives and to monitor the ongoing effectiveness of this article and other CTA

clauses relevant to anti-oppression and inclusion. This committee will:

(i) Be comprised of 3 to 5 representatives from each association,

with a co-chair from each association; committee membership to

be confirmed within 60 days of the ratification of this Agreement.

(ii) Serve for the term of the Agreement, meeting at least 3 times per

year.

(iii) Establish a shared Library of Resources to support the work of

Theatres and Artists in advancing social justice; this living

resource will be made publicly available by January 1

, 2025,

and will be regularly updated to reflect new learning, available

resources, and evolving information.

(B) Declared Actions: Anti-Oppression and Inclusion

In the spirit of a shared commitment to sectoral change, and to foster the

development of safe, respectful, and accessible work environments:

(i) The Theatre will annually articulate their organizational actions addressing

anti-oppression and inclusion, according to their needs and circumstances.,

These actions will be shared with PACT and Equity at the time of submitting

their first Production Check List for the season (per Clause 16:16). These

actions will be publicly posted at the Theatre and made available to the

Artist upon request prior to contracting. Questions or concerns about a

Theatre’s Declared Actions shall be brought to the Joint Article 10

Committee for review or attention, as required.

CTA 2024-2027 | page 18

(ii) PACT and Equity will articulate the actions they are undertaking as

organizations to support and advance the principles of this article. These

actions will be updated annually and shared publicly on each organization’s

respective website.

The Joint Article 10 Committee may follow-up with the Theatre, PACT and/or

Equity to review and support progress in these endeavours.

10:03 Equitable Engagement Opportunities

PACT and Equity are committed to the practice of equitable engagement opportunities,

to expanding inclusion, and to eliminating discrimination in theatre. To this end, with due

respect for the requirements of and suitability for a job – and with the understanding that

there can be no interference with the contractual rights or artistic discretion of the

playwright, Director, or Choreographer – PACT and its Theatres reaffirm their

commitment to non-discrimination and the practice of Inclusive Casting and

Engagement, and Integrity in Casting.

(A) Inclusive Casting and Engagement

Inclusive Casting is defined, for the purposes of this Agreement, as the casting of

Artists who self-identify with Underrepresented Groups in roles where identity

characteristics are not prescribed. This practice shall extend to all roles in a

production, including principal and ensemble roles.

Application of the principle of Inclusive Casting will extend to the engagement of

all Artists governed by the terms of the CTA, including but not limited to Directors,

Choreographers, Stage Managers, Fight Directors and Intimacy Directors.

(i) Notice of Inclusive Casting and Engagement Policy

The Theatre will articulate its inclusive casting and engagement policy in all

postings for casting notices and other CTA engagement opportunities.

(ii) Distribution of Notices for Casting and Other CTA Engagement

Opportunities

As per Clause 8.06(A) Notice of Auditions and to promote dissemination of

casting and other work opportunities to the broadest spectrum of talent, all

notices for casting and other CTA engagement opportunities will be posted

on the Equity e-Drive, and any additional channels the Theatre deems

appropriate.

(B) Cultural Integrity in Casting

Notwithstanding the foregoing, PACT and Equity acknowledge that included in

the commitment to create and maintain a safe, respectful, and inclusive ecology

is the recognition of the importance of Integrity in Casting. It is understood that

casting against the indicated or implied ethnicity of a culturally-specific role, or

outside the lived experience of a character with a disability or underrepresented

gender identity, may have a discriminatory or distressing impact on those artists

and communities. When casting such roles, the Theatre will make best efforts to

audition and engage Artists of appropriate background or identity.

The Theatre commits to identifying and removing barriers that might hinder the

equitable participation of D/deaf and/or Disabled Artists, and to embracing a

creative, responsive, and flexible mindset to improve accessibility. Artists are

encouraged to discuss with the Theatre any accessibility needs, requests, or

requirements at any point in the process, from auditions through to the end of the

contracts.

(D) Inclusive Hiring in Theatre

PACT and Equity encourage the active solicitation and participation of

Underrepresented Groups in all areas of theatre creation and production.

CTA 2024-2027 | page 19

10:04 Respectful Consultation, Collaboration, and Representation

(A) Respectful Consultation and Collaboration

It is understood that all Artists bring their identity, history, and experience to the

creative process, and that radical inclusion is a source of richness and strength

for a production and the broader theatre ecology. That said,

(i) Where a production involves identity-specific content, or characters outside

the lived experience of the creative team, the Theatre shall make best

efforts to consult with appropriately knowledgeable Elders or individuals

from those cultures or communities to ensure informed and respectful

choices relating to representation. Such consultation should be conducted

with sufficient lead time to enable useful integration of any learning into pre-

production, rehearsal, production and relevant administration. By mutual

agreement, such external consultants be compensated and credited for

their contributions.

(ii) Where an Artist engaged on a production is solicited by the Theatre or

Director to assume a role of formal consultancy or to provide broad

expertise related to their culture or identity beyond the customary

parameters of their contracted duties in the production, the Artist and

Theatre will negotiate mutually agreeable terms for credit and financial

compensation for those services. These terms will be ridered to their

contract, and will be payable by the Theatre at a rate not less than indicated

in Clause 16:16 Additional Services upon submission of an invoice. This

payment is not subject to Clause 3:03 Deductions.

(B) Respectful Representation

Artists who identify with Underrepresented Groups hold a range of opinions about

how aspects of their identity may or may not intersect with the story, characters,

or aesthetics of a production. Timely and transparent discussions with the Artist

regarding any use or treatment of their identity are vital to ensure informed and

ongoing consent. Such consultation is equally important in works with no implied

identity-specific content, where the direction/production seeks to reflect elements

of an Artist’s culture or identity in the work.

(i) When engaging Artists who identify with Underrepresented Groups, the

Theatre will have a discussion with the Artist prior to contracting and

maintain communication throughout the engagement, to understand their

specific needs and desired supports related to identity. The Theatre and

Artist will jointly determine what information will need to be communicated

to the Director, Stage Manager, cast, creative collaborators, company staff

and/or appropriate theatre personnel. The Theatre and Artist will jointly

outline any specific agreements related to any needs and supports, and

with the consent of the Artist, such agreements may be ridered to the

Artist’s CTA engagement contract.

(ii) Artists who identify with Underrepresented Groups will be actively

consulted regarding their hair, makeup, wardrobe or the use of culturally-

or identity-specific items in the production. These conversations must be

anti-racist and non-discriminatory in language and tone, observe privacy

and confidentiality and provide the Artist with agency and support to

achieve respectful self-representation.

CTA 2024-2027 | page 20

(i) Where the content of a production involves Underrepresented Groups

or deals with issues of violence or trauma, or where it may be

reasonably anticipated that an Artist’s identity may intersect with or

reinforce harmful or demeaning stereotypes, the Theatre will make

every effort at the time of offer to provide Artists – regardless of

background or identity – with all available information about the

production’s concept and/or context so that the Artist may make an

informed decision about acceptance of the offer.

(ii) Upon request, the Theatre will facilitate communication between the

Performer and Director to discuss intentions and expectations related

to culture or identity.

10:05 Resolution of Issues Related to Identity

(A) Where issues arise related to the Artist’s underrepresented identity, in rehearsal

or production, the Theatre will act promptly and transparently to resolve the issue.

The Artist should not be left to independently navigate or resolve their own harm

or oppression, and all parties commit to protecting the Artist from any overt

retribution for identifying harmful behaviour.

(B) Upon request by the Artist and by mutual agreement, the Theatre will welcome a

third-party advocate to provide support for the Artist or facilitate resolution of the

issue. Where such an advocate is not an agent, a representative of Equity, or

otherwise paid representative, the Theatre will assume costs or appropriate

compensation.

11:00 BREACHES

11:01 By The Theatre

(A) Conditions

Should Equity and/or any Artist claim that a Theatre:

(i) has breached the CTA; or

(ii) has breached any CTA Engagement Contract; or

(iii) has made any false statement in connection with any engagement

agreement or standard CTA Engagement Contract form tendered to the

Artist; or

(iv) has engaged any Artist for duties which fall within the scope of the CTA

under any form of contract other than a standard form; or

(v) is in default under any CTA Engagement Contract, or is in breach of any

such CTA Engagement Contract; or

(vi) has knowingly engaged or continued to engage subsequent to notice by

Equity any Equity member who is not a fully paid-up member in good

standing of Equity; or

(vii) has failed to give or deposit security at the time and in the form and amount

required by the CTA; then,

Clauses (B) through (G) below apply.

(B) Procedure

Equity will, within thirty (30) days of a breach occurring, or within thirty (30) days

in which Equity ought reasonably to have known of the breach, but in any event

no later than ninety (90) days of the occurrence, provide the Theatre and PACT

with full details of the complaint in writing. Upon final determination that such

breach(es) has/have occurred, the Artist may with the consent of Equity

immediately terminate their engagement.

In addition, the Theatre agrees that it will pay the Artist immediately in full for all

services rendered by the Artist not already paid for, plus any other sum to which

the Artist may be entitled by the CTA or their CTA Engagement Contract.

CTA 2024-2027 | page 21

(D) Punitive Damages

Should PACT or Equity claim punitive damages, all such claims shall be

considered and determined by the Joint Administration Committee, under the

provisions of Article 51:00. The Committee will use the standards of the CTA and

penalty payments for similar infractions in determining the amount of punitive

damages. In no case may the damages exceed two weeks' fee.

(E) No Waiver of Rights

Should any breach be claimed neither the giving of any performance by the Artist,

nor any omission of any act by the Artist, or Equity shall be or act as a waiver of

any of the rights of either the Artist or Equity.

Should it finally be determined that a breach has occurred, Equity is hereby given

authority without prejudice, and without penalty to itself, to intervene and require

the Artist to perform, or otherwise act, not to perform, or not to take advantage of

any such breach, said requirements to be made by Equity under such terms and

conditions as it may in its sole discretion consider just and equitable.

(F) Without Prejudice

All of the foregoing is without prejudice to any other or any further rights given to

the Artist or Equity by the CTA or their CTA Engagement Contract.

(G) Discipline

PACT agrees to consider any request from Equity to discipline a member theatre

of PACT for breaches of the CTA.

11:02 By The Artist

(A) Absences

If the Theatre alleges an Artist has breached the CTA Engagement Contract

during the engagement period due to any of the following, and that the Artist does

not provide a reasonable explanation, the Theatre may impose the following

penalties, upon written notification to the Artist (copied to Equity and PACT), and

provided the Theatre has fulfilled its obligations under Clauses 5:04 and 24:03(F),

to be deducted from the contractual payment:

(i) for each call missed, an amount equivalent to the sum of the rate stipulated

on line one (1) of Schedule "A" in the current CTA Fee Booklet per hour of

the missed call, to a maximum of one-sixth (1/6) of the Contractual Fee;

and/or

(ii) leaving town without permission, one-sixth (1/6) of the Contractual Fee (this

permission will not be unreasonably withheld); and/or

(iii) where the Artist has received a prior written warning regarding late arrival

to a call, twenty-seven dollars and eighty-one cents ($27.81) for each

subsequent infraction.

(B) Request for Absence

It is the essence of this Clause that the Theatre will make every effort to

accommodate an Artist's request to be absent from a call or the Theatre's Point

of Origin. Inability to secure permission in the event of a family emergency will not

constitute a breach of this Clause by the Artist.

Notwithstanding the foregoing, Equity has the right to dispute the alleged breach

and the Theatre agrees to reimburse the Artist should the dispute be settled in the

Artist's favour. If the dispute can be settled prior to the termination of the Artist's

contract, no deduction shall take place until a determination is reached.

CTA 2024-2027 | page 22

(D) Penalties for Other Claims

Furthermore, should a Theatre claim that an Artist:

(i) has breached the CTA in any other way; or

(ii) is in breach of any part of their CTA Engagement Contract; or

(iii) has made any false statement in connection with any engagement

agreement; or

(iv) is in default under any CTA Engagement Contract with any member of

PACT; then:

the Theatre will, within thirty (30) days of a breach occurring, or within thirty (30)

days in which the Theatre ought reasonably to have known of the breach, but in

any event no later than ninety (90) days of the occurrence, provide Equity and

PACT with full details of the complaint in writing, after which Equity's hearing

procedures, as outlined in Equity's Constitution and Bylaws, will be followed. If the

matter is not resolved to the satisfaction of the Theatre, including appropriate

compensation, the Theatre shall have recourse to the dispute resolution

procedures of the CTA, Article 52:00.

11:03 Waiver or Release Not Permissible

With regard to any claim by the Artist arising from any alleged breach of the CTA or any

individual CTA Engagement Contract, no receipt, waiver or release or adjustment by the

Artist is of any validity whatsoever, unless Equity consents in writing. The Theatre, by

agreeing to this Clause, agrees that it will not seek or solicit any such waiver, release or

settlement, nor offer the same in any arbitration or any proceeding in court, unless Equity

specifically consents in writing. In no case shall claims of Artists under CTA Engagement

Contracts be handled or enforced by agents or attorneys of Artists unless same are

consented to by Equity in writing.

11:04 Time Limit in Lodging Claims

Should the Artist deem that they have any claim against the Theatre under their contract,

they shall present the same in writing to the Theatre, or to Equity within four (4) weeks

after the time when such claim shall have arisen unless they shall give to Equity or to

the arbitrator, or to either of them a good and sufficient reason for any delay after such

period of four (4) weeks.

12:00 DEFAULTING THEATRES AND ARTISTS

12:01 Theatre in Good Standing

Any Theatre engaging any Artist represents that such Theatre is not in default with

respect to any payment or penalty required by the CTA (or any other Agreement with

Equity) or any CTA Engagement Contract, or required by the interpretation or arbitration

of this Agreement or any CTA Engagement Contract. The Theatre further represents

that no breach of the CTA or any CTA Engagement Contract remains unsettled. The

subject matter of a dispute for which an unresolved claim has been presented or which

is in arbitration or for which notice of arbitration has been given shall not be deemed an

unsettled breach.

12:02 Defaulting Theatres

(A) No Requirement to Work

Without the written consent of Equity, no Equity member shall work for any

Theatre or be required by any Theatre to work for any person, co-partnership,

corporation, enterprise or group:

(i) which has failed to abide by any settlement or arbitration award; or

(ii) which through failure to meet past obligations to Equity or its members, has

been placed on Equity's Defaulting Theatres List.

Additionally, without the written consent of Equity, no Equity member shall work

for, or be engaged by, anyone who is, or has been connected with any defaulting

Theatre so specified either as an individual proprietor, general partner, associate

producer, corporate director, or officer, or active stockholder.

CTA 2024-2027 | page 23

(B) List

Should Equity place any Theatre on the Defaulting Theatres List, and should the

Theatre wish to contest this designation, then the matter may be submitted to the

arbitration procedures of the CTA.

When it has been finally determined that a Theatre is in default, Equity and PACT

agree to maintain jointly a list of Defaulting Theatres.

No Artist shall work for, or be required to work for, or continue in the engagement

of any Theatre, should the amount of security deposited or arranged with Equity

be insufficient to satisfy the terms of Article 33:00 of this Agreement and/or

insufficient security for the payment of any outstanding claim.

(D) Interest Charge

Once it is agreed by Equity and PACT that the Theatre is in default of fees or other

monies due to any Artist, or when a settlement or arbitration award has been

finally determined, the Theatre agrees to pay one (1%) percent per month interest,

beginning thirty (30) days from the date the claim was due and ending when the

claim is paid. Such interest shall be added to and payable as part of said claim.

(E) Satisfaction of Claim

Upon satisfaction of the above-mentioned claim by the defaulting Theatre, no

individual employed by or associated with that Theatre shall be penalized or

discriminated against by Equity.

12:03 Defaulting Artists

Any Artist entering into a CTA Engagement Contract with a Theatre represents that they

are not in default with regard to any payments or penalties required by the CTA or any

CTA Engagement Contract, or required by the interpretation, or arbitration of the CTA

or any CTA Engagement Contract. The Artist further represents that no breach of the

CTA or any CTA Engagement Contract remains unsettled.

The subject matter of a dispute for which an unresolved claim has been presented, or

which is in arbitration or for which notice of arbitration has been given, shall not be

deemed an unsettled breach.

(A) Disciplinary Procedure

Once it is agreed by Equity and PACT that an Artist is in default of termination

payments or other monies due a Theatre, or where it has finally been determined

that an Equity member has failed to fulfil any settlement or arbitration award,

Equity agrees that it will use the disciplinary procedures in its Constitution and

Bylaws to ensure fulfilment of the Artist's obligations to the Theatre.

(B) Satisfaction of Claim

Upon satisfaction of the above-mentioned payments, settlements, awards or

penalties by the Artists, no Theatre shall penalize or discriminate against any such

Artist.

CTA 2024-2027 | page 24

13:00 PRODUCTION PROSECUTED/ CONTRAVENTION OF CRIMINAL CODE

13:01 Defending the Artist

Should the production in which the Artist is engaged be complained of as being in

violation of any statute, ordinance, or law of Canada or any province, territory, or

municipality thereof, and should claim or charge either civil or criminal be made against

the Artist on account of them being engaged in such production the Theatre shall defend

the Artist at its own expense, or shall pay any and all reasonable charges laid out or

incurred by the Artist in their defence, and any financial losses which they may suffer on

account of being engaged in such production.

13:02 Offensive Material

The language, business and costuming of the play are under the control and direction

of the Theatre and author, who, according to custom, can at any time delete, change or

amend the scenes and lines, and that, consequently, the Artist has no certain method

of knowing during rehearsals whether, in its final presentation, the play is susceptible to

being considered immoral, or indecent, or pornographic. Therefore, the Theatre

represents to the Artist that the play as produced shall not violate any law or give offence

which is punishable by any law, and expressly agrees that should they or the author be

arrested or summoned on such charges, the Artist may (Equity consenting) end and

terminate the engagement immediately. Upon termination, the Theatre shall pay to the

Artist immediately all sums due under their agreement plus the normal compensation

for the termination of the engagement as specified in the CTA.

13:03 Arrest of Artist

This Clause shall not apply to any case or any set of conditions where its enforcement

is illegal.

In the case of an arrest because of the nature of the play or its production, the Theatre

shall immediately furnish bail for the Artist, and in the event of its failure to do so, shall

provide for payment to the Artist for any expenses incurred by the Artist in this regard.

After an arrest, the Artist may demand a suspension of performance pending the

outcome of legal proceedings, and such suspension shall not terminate or otherwise

affect the terms of the CTA Engagement Contract.

13:04 Duty not to Contravene Criminal Code

The Theatre has a duty to all Artists to see that they are not required to be in any place

where the Criminal Code of Canada and/or the Controlled Drug and Substances Act is

being contravened. Similarly, all Artists have a duty to the Theatre not to contravene the

Criminal Code of Canada and/or the Controlled Drug and Substances Act while on

Theatre premises.

13:05 Duty to Report Any Criminal Activity

Where an Artist is in any place where they are required to be because of their contract

and they have good reason to believe that any other person is committing any criminal

act in that place, then the Artist shall report their reasons to the Theatre and the Theatre

shall investigate the report. If the Theatre believes that a criminal act is occurring or has

occurred, it shall take whatever further action it deems necessary to protect the Artist(s)

from any liability or involvement.

13:06 Withdrawal from Contract Due to Contravention of Criminal Code

Where it has been agreed by Equity and PACT that a Theatre has failed to comply with

the requirements of Clauses 13:04 and 13:05, then the Artist may withdraw from their

contract without liability and shall be entitled to their contractual compensation, as if the

contract were terminated by the Theatre. Where it has been agreed by Equity and PACT

that any Artist has failed to comply with the requirements of Clause 13:04 their contract

may be terminated immediately without further payment.

CTA 2024-2027 | page 25

14:00 PRESENTED COMPANIES

Presentations are not intended to decrease the amount of work for Equity member

artists.

PACT and Equity acknowledge that a Theatre may want to partner with, collaborate on,

or present another company’s production to expose audiences to voices and practices.

PACT and Equity further acknowledge that in some instances a presented company’s

working terms and conditions may vary from those stipulated in the CTA.

Notwithstanding the above, productions that have been produced under the CTA must

continue to be produced under the CTA when being present by another PACT Regular

member.

The presentation contract is a matter between the producer and the presenter only and

is outside of the purview of both PACT and Equity and is not subject to the CTA.

The presenting company will ensure that the applicable health and safety provisions of

the CTA as well as the conditions of Not In OUR Space! shall be adhered to for the

duration of the presentation contract.

Where the presentation includes non-Equity member artists, the form of contract for

those non-Equity member artists will be determined without interference from either

association. Where the presentation includes Equity Artists, the form of contract for

those Equity member Artists only will be determined by Equity after discussion with the

producer.

A presented company working under the terms of the ITA will continue to be bound by

the terms and conditions of that agreement.

This Clause does not prevent a non-Equity artist from independently and voluntarily

pursuing membership in Equity at any time.

PACT and Equity agree to meet at least every six (6) months during the term of this

Agreement to review information about presented productions and to discuss and review

any unintended results of this Article. Meeting participants shall be composed of persons

involved in the negotiation of this Article. On mutual agreement, other participants may

be invited to participate in the meeting.

15:00 COMPANY CATEGORIES

15:01 Company Category Calculation

The Company Category is arrived at by calculating the weekly box office potential

according to the formulae following.

The Theatre must provide Equity and PACT with a completed Company Category

Calculation before the beginning of each season, prior to issuing CTA Engagement

Contracts.

In addition, the Theatre agrees to furnish Equity and PACT with a completed Company

Category Calculation in advance of altering ticket prices and/or altering the seating

capacity of the theatre or theatres under its control and/or mounting a production in a

new venue for the Theatre.

In instances where the Theatre offers one (1) Pay What You Can performance during a

week, the value of each seat for that performance shall be calculated at twelve dollars

and fifty cents ($12.50).

CTA 2024-2027 | page 26

15:02 Formulae

(A) Single Productions, Not Part of a Series

Calculate the full value of all seats in each ticket price category (i.e. the price of

ticket to purchaser) to derive the box office potential for each performance. Select

the maximum number of performances given in any one (1) week (i.e. a Monday

to Sunday period as defined in Clause 18:21) and add their total potential together

to derive the gross weekly box office potential.

The price of the ticket to purchaser is the full non-discounted price for the seat.

However, where the Theatre advertises a discount for seniors and students, the

Theatre may subtract an amount equal to ten (10%) percent from the gross weekly

box office potential. Theatre for Young Audiences companies which submit

Company Category Calculations in accordance with Article 55:00, for productions

that do not contain a touring element, may use the student ticket price for

performances beginning before 4:30 p.m. For performances beginning after 4:30

p.m., the calculation will be based on half the available seats at the full adult non-

discounted ticket price, and the remaining half of the available seats at the

children’s or student ticket price.

Subtract Entertainment Tax (if any), Goods and Services Taxes or Harmonized

Sales Tax (hereinafter called GST or HST), ticket services charges (such as those

imposed by recognized third party ticketing services) and capital improvement

fund surcharges (hereinafter called CIF) to derive the net box office potential (the

deductions shall also apply to Pay What You Can performances). The Theatre

will be required to supply PACT and Equity with a copy of any third party

agreement upon request. (PACT members may apply to PACT and Equity for the

exclusion of capital improvement fund ticket surcharges and other venue

surcharges from the price of the ticket. This application should be made prior to

preparing the Company Category Calculation.)

Compare the net box office potential to the table as specified in Clause 15:01 of

the current CTA Fee Booklet to establish Company Category.

(B) Series of Productions with Consistent Ticket Prices

Complete a Company Category Calculation for each venue or series separately.

Calculate the full value of all seats in each ticket price category (i.e. the price of

ticket to purchaser) for each performance in the series (including previews), to

derive the gross box office potential per performance.

The price of ticket to purchaser is the full non-discounted price for the seat.

However, Theatre for Young Audience companies which submit Company

Category Calculations in accordance with Article 55:00, for productions that do

not contain a touring element, may use the student ticket price for performances

beginning before 4:30 p.m.

Subtract Entertainment Tax (if any), GST or HST, ticket services charges (such

as those imposed by recognized third party ticketing services), and CIF (the

deductions shall also apply to Pay What You Can performances). The Theatre

will be required to supply PACT and Equity with a copy of any third party

agreement upon request. (PACT members may apply to PACT and Equity for the

exclusion of capital improvement fund ticket surcharges and other venue

surcharges from the price of the ticket. This application should be made prior to

preparing the Company Category Calculation.)

Add the box office potential for all performances of each production in the series,

to derive the series gross box office potential.

If the series of productions is on subscription the Theatre may subtract an

additional amount equal to thirty (30%) percent of the total subscription revenue

from the last comparable series, resulting in the series net box office potential.

Calculate the total number of performance weeks for the series. For the purposes

of this calculation, a performance week is any week in which five (5) or more public

performances are presented. For weeks in which fewer than five (5) performances

are given, each such performance is counted as one-eighth (1/8) of a week.

CTA 2024-2027 | page 27

Divide the series gross box office potential (or, if the series is a subscription series,

divide the series net box office potential), by the total number of performance

weeks in the series and compare to the table as specified in Clause 15:01 of the

current CTA Fee Booklet to establish Company Category.

(i) The Theatre offers one (1) or more productions outside the series; and/or

(ii) One (1) or more productions in the series is at a different venue; and/or

(iii) One (1) or more productions in the series has different ticket prices from

the majority of the productions to be given in the series.

Please contact PACT or Equity for clarification of the calculation.

15:03 Supporting Documentation

A Theatre with subscription sales must support its figures with detailed box office

statements.

If requested, the Theatre shall also submit to PACT and Equity copies of its detailed

calculations for the season's box office potential.

The Theatre shall also submit to PACT and Equity copies of its season brochure or

similar documentation showing its regular ticket prices for its season or production.

No Theatre may change in Company Category as a result of Article 15:00 without the

prior written consent of Equity, which shall not be unreasonably withheld, and written

notification to PACT.

15:04 Multiple Venues

(A) Point of Origin

Where a Theatre occupies more than one (1) performance venue in its Point of

Origin, the Company Category applicable to a production presented exclusively

in a particular performance venue shall be determined by the potential weekly box

office gross of that venue.

(B) Differing Categories

When a Theatre occupies more than one (1) venue with differing Categories, any

Artist engaged for more than one (1) venue shall be paid at no less than the

minimum fee applicable for the venue possessing the highest Company Category

for the duration of their engagement at each venue, unless the Artist is engaged

under a separate contract for their engagement at each venue.

15:05 Company Category for a Touring Production

The Company Category for a production that tours to a venue, or multiple venues,

outside the Theatre’s point-of-origin shall be calculated in one of the following ways,

excluding productions engaged under the provisions of Article 55:00.

Please note: For Engagement Weeks in which fewer than five (5) performances are

given, each such performance is counted as one-eighth (1/8) of a week.

(A) Box Office Method

In circumstances where the Theatre receives box office revenue and box office

statements, the Theatre shall calculate the total box office potential for the total

number of performance weeks and divide the total amount of potential box office

revenue by the number of performance weeks. For the purposes of this

calculation, a performance week is any Engagement Week in which five (5) or

more public performances are presented. In the circumstances where the touring

company’s production is part of a subscription series, the gross potential box

office calculation for that part of the tour would be discounted by the pro-rated

amount of the host venue’s subscription discount from the last comparable series.

CTA 2024-2027 | page 28

(B) Guaranteed Fees Method

To determine the applicable company category for touring productions which

receive guaranteed fees using the guaranteed fees method, the Theatre shall

divide the total guaranteed fees provided to them by all the presenting venues on

the tour by the number of performance weeks. For the purposes of this calculation,

performance weeks shall be calculated as in Clause 15:02(B). The Theatre is

required to verify guaranteed fee amounts to Equity, by providing the appropriate

page of the presenting contract indicating the total guaranteed fee from that

presenter.

To determine the applicable company category for touring productions using this

method – in which the Theatre receives a guaranteed fee, as well as a percentage

of the Box Office from the presenter – the Theatre shall calculate their percentage

take of the box office potential for the total number of performance weeks, add

their guaranteed fees revenue for the total number of performance weeks, and

divide the total combined potential revenue by the number of performance weeks.

In the circumstances where the touring company’s production is part of a

subscription series, the gross potential box office calculation for that part of the

tour would be discounted by the pro-rated amount of the host venue’s subscription

discount from the last comparable series. The Theatre is required to verify

guaranteed fee and box office percentage amounts to Equity, by providing the

appropriate page of the presenting contract indicating the total guaranteed fee

and box office percentage from that presenter.

Stage Management staffing requirements may remain consistent with the initial

run of the production unless the new venue conditions dictate otherwise.

15:06 Transfer

Should the box office potential at the new venue after a Transfer result in a different

Company Category in accordance with Clause 15:02, the minimum fee for Artists

engaged for the transfer will be adjusted accordingly.

16:00 FEES

16:01 Legal Tender

In Canada, all payments required to be made by the Theatre to the Artist shall be in legal

tender of Canada. All minimum rates of compensation set forth in the CTA, all other

rates of compensation set forth in the CTA, and all other rates of compensation set forth

in every individual contract between the Theatre and the Artist, must be paid in legal

tender of Canada.

16:02 At the Point of Origin

(A) Payment by Cheque or Cash

Payments of fees, etc., at the Point of Origin may be made by company cheque,

except that Equity has the right to require payment by cash or certified cheque

where security arrangements as required by Article 33:00 have expired, or are

insufficient to cover the Theatre's outstanding liabilities in addition to the

requirements of Article 33:00, or where there have been problems with payments

to Artists.

(B) Payment by Direct Deposit

The Theatre may offer the choice of payment of fees, etc. at the Point of Origin

by direct deposit. The options available to the Artist must be stated in a rider to

the Artist’s CTA Engagement Contract. The Artist, on reasonable notice, has the

right to revert to payment by cheque in accordance with Clause 16:02(A) at any

time at their sole discretion. Should the Artist elect payment by direct deposit

under these provisions, the Theatre must provide an itemization of payments and

deductions in accordance with Clause 16:06.

16:03 On Tour

The Theatre will advise Equity of its pay arrangements on tour. In any case, the per diem

shall be paid at least one (1) week in advance of the week for which it is applicable.

CTA 2024-2027 | page 29

16:04 Time of Payment

(A) Payment by Cheque or Cash

Payment by company cheque must be delivered or made available to the Artists

no later than 8:00 p.m. each Thursday. If Friday is a bank holiday, company

cheques, cashable on Thursday, must be made available to the Artists no later

than 8:00 p.m. on Wednesday.

(B) Payment by Direct Deposit

Payments made by direct deposit must be deposited into the Artist’s bank account

by the start of banking each Friday. If Friday is a bank holiday, the deposit must

be made by the start of banking on Thursday.

16:05 Harmonized Sales Tax (HST) or Goods and Services Taxes (GST)

In addition to the payments required by the CTA, HST or GST (where applicable) shall

be paid to registered Artists.

16:06 Itemized Deductions and Payments

The Artist shall be provided with an itemized statement of their Contractual Fee, outlining

all deductions made from the Artist’s fee as well as any additional services payments,

GST/HST if applicable, and any other amounts, with their contractual payment. In the

case of payment by direct deposit, the Theatre shall provide the itemized statement no

later than 8:00 p.m. on the day of payment. If Friday is a bank holiday, the Theatre shall

provide the itemized statement no later than 8:00 p.m. on Wednesday.

16:07 Agency Commissions

In no event shall agency commissions be a permitted deduction from the Artist's

Contractual Fee. The Artist shall be directly responsible for the payment of such

commissions.

16:08 Additional Services Reports

The Artist will submit an invoice to the Theatre for any Additional Services within one (1)

week of the additional services being rendered. Upon receipt of the invoice, the Theatre

will pay the Artist’s Additional Services invoice on the next regularly scheduled pay day.

For the purpose of ensuring the Theatre receives accurate invoices from Equity and

ascertaining whether there is a discrepancy between the amount invoiced and the

amount paid to the Artist by the Theatre, the Theatre agrees, upon request, to provide

a detailed breakdown of its payment to the Artist and/or Equity.

Additional services fees not disputed by the Theatre and in arrears of more than one (1)

month are subject to a one (1%) percent late charge per month.

16:09 Unpaid Fees

When Equity or an Artist claims that fees, including additional services fees, remittances

to Equity (see Clause 16:15), goods and services taxes and transportation costs of the

Artist to the Point of Origin and return, have not been paid, or have only partially been

paid when due, Equity shall have the right to require the Theatre to immediately pay ,

on behalf of the Artist, such sums as are claimed to be outstanding.

Should the Theatre dispute such claim(s) it shall have recourse to the arbitration

procedures of the CTA. Where the Theatre does not pay the outstanding sums claimed

by Equity for non-payment or partial payment as outlined above, the Artist shall have

the right to terminate immediately their contract with the Theatre, Equity consenting.

However, upon application by the Theatre, Equity may grant a grace period not to

exceed seven (7) days. Equity shall have an alternative right to pay to the Artist their

Contractual Fee or other monies owing to them out of any security deposited by the

Theatre. The Theatre agrees to replenish the security deposit upon receipt of a request

from Equity. Should it finally be determined that the Theatre was not liable for payments

claimed by Equity or monies paid to the Artist from the security deposit, then Equity shall

be liable for the repayment of such monies to the Theatre on behalf of its members.

CTA 2024-2027 | page 30

16:10 Partial Week of Engagement

The Theatre may engage the Artist for less than a full Engagement Week at the

beginning and/or the end of the engagement period on the following terms:

(A) Consecutive

Such period must be consecutive except as provided for elsewhere in this

Agreement.

(B) No Hiatus

Such period must immediately precede or follow a full Engagement Week with no

hiatus in between except as provided for elsewhere in this Agreement.

Payment for each such pro-rated day, including the Free Day, must be not less

than one-sixth (1/6) of the Artist's Contractual Fee per day.

(D) Insurance Top Up

For every day not worked in an Engagement Week an additional fee per day as

specified in the current CTA Fee Booklet for the applicable Company Category to

a maximum of five (5) such days shall be paid to the Artist. For the purposes of

this Clause a week shall be considered to be six (6) days.

A full weekly insurance premium shall be deducted from the Artist by the Theatre

and remitted to Equity for all partial weeks of engagement.

(E) Rider

All pro-rated days must be specified in a rider to the Artist's CTA Engagement

Contract.

(F) Number of Pro-rated Days

The Artist may be engaged for any number of days in the first week and/or last

week of the engagement.

(G) Inclusion of Free day

In any event the Artist may not be required to work for more than nine (9)

consecutive days, including the pro-rated days as provided for above, without a

Free Day. Should the pro-rated period include a Free Day, that day must be paid

for on a pro-rated basis.

(H) Failure of the Artist to Rehearse

Should the Artist fail to rehearse at the beginning of the engagement through no

fault of the Theatre, then said Artist's fee may also be pro-rated as above.

16:11 Supplementary

(A) Additional Duties

The Artist will not perform any additional duties that are not specified in their

contract unless they negotiate additional compensation to their satisfaction which

shall not be less than as specified in the current CTA Fee Booklet. Such additional

duties and compensation shall be specified in a rider and attached to their contract

and shall constitute part of the Artist's Contractual Fee subject to Clause 3:03.

Additional duties include, but are not limited to playing additional parts or

undertaking additional Understudy assignments not specified in the Artist's

contract at the time of its signing. An additional duty fee shall be negotiated per

Role added to the Artist’s performing or understudy assignment(s), and shall

apply to the Artist’s engagement for the duration of that production.

Notwithstanding the provisions of Clause 40:03, the negotiated additional

compensation for an additional duty not related to a performing or Understudy

assignment shall only apply for the stipulated duration of the additional duty.

CTA 2024-2027 | page 31

(B) Additional Engagement

Where the Theatre offers the Artist engaged for a single production, a subsequent

engagement which requires the Artist to rehearse for the subsequent engagement

whilst performing in the single production, the Artist shall have the right to

negotiate compensation for such an additional engagement to their satisfaction.

All such arrangements shall be contained in a rider to be attached to the contract

and signed by both the Theatre and the Artist with copies sent to Equity.

Where the Artist is signed to a new and separate contract with the same Theatre

for a subsequent engagement, then that Artist may be required by the Theatre to

fulfil both contracts fully as though the two (2) contracts were for two (2) different

Theatres, particularly as regards rehearsal hours and Free Days.

16:12 Term of Agreement

(A) Current

Minimum fees and other monetary amounts for 2024-2027 as expressed in the

current CTA Fee Booklet herein shall apply from June 24, 2024 to June 20, 2027;

for 2024-2025, from June 24, 2024 to June 22, 2025; for 2025-2026, from June

23, 2025 to June 21, 2026 and for 2026-2027 from June 22, 2026 to June 20,

2027.

(B) Contracts Spanning Two Fee Schedules

Where the term of an individual CTA Engagement Contract extends into or spans

the next fee schedule, as detailed in Clause 16:12, the Artist's CTA Engagement

Contract must bear a rider stating that the Artist has notice and details of any

change in the minimum fees, as set forth in Clauses 16:13, 39:06, 39:07(B), 39:08,

39:09, 39:10(B), 39:11, 49:03(B)(i), 49:03(B)(ii), 54:05, 54:16, 55:02, 55:29,

56:02, 57:02, 58:25, 58:26, 58:28, 58:30, 58:37, 60:01, 61:04, 62:04, 63:07 and

64:03.

Where the term of an individual CTA Engagement Contract extends beyond the

end of the current CTA, such individual contract shall remain in force until

completed or terminated according to the provisions of the CTA. Any individual

CTA Engagement Contract which begins after the expiry of the CTA shall be

considered null and void, unless a new Agreement is in place, or Equity and PACT

have mutually agreed to extend the CTA. When a new Agreement is in place, all

individual CTA Engagement Contracts shall be subject to the terms and

conditions of the new Agreement as of the date when the new Agreement comes

into effect.

16:13 Actor Point of Origin Minimum Fees

A+ rates shall apply to Company Category A companies operating in municipalities with

a resident population in excess of two million and two hundred thousand (2,200,000)

and in theatres with more than eight hundred and seventy-four (874) seats.

The Point of Origin minimum weekly fees for 2024-2025, 2025-2026, and 2026-2027

shall be as specified in the current CTA Fee Booklet.

16:14 Production Registration

The Theatre will, no later than fifteen (15) business days prior to the first date of

engagement for a production, supply PACT and Equity with a list of all Artists contracted

for the production, each Artist's Contractual Fee and dates of engagement. The

information provided on the production registration t must be the most up to date and

accurate information available at the time of filing. In the event that there are changes

in the participants engaged for the production, Contractual Fees, or engagement dates

the Theatre will be required to file another production registration with the amendments

reflecting the changes.

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16:15 Remittances

Every second Thursday after the commencement of work by the first Artist on any

production, is designated as the remittance date. The Theatre will remit to Equity a

cheque for those amounts deducted from the Artist’s fees in accordance with Clause

3:03.

The remittance shall include a list of all Artists contracted for the production and each

Artist's Contractual Fee. Additionally, the information provided by the Theatre to Equity

shall include any riders or documentation that may not have been included with the

original paperwork submitted to Equity. In the event that Equity is unable to reconcile

the Theatre’s remittances with the documentation previously provided by the Theatre,

the Theatre, upon request from Equity shall submit any supporting documentation.

Remittances which do not reach the Equity office by the second Thursday following the

remittance date will be assessed a two (2%) percent interest charge, compounded

monthly. Equity will send to the Theatre a monthly statement of outstanding balances.

16:16 Additional Services Fees

For services not anticipated at the time of negotiation, or in excess of the limits in the

CTA, the parties have agreed to the additional fees set out in Schedule "A" in the current

CTA Fee Booklet. Except as otherwise specified in this Agreement, the applicable rate

for additional services shall be that specified on line one (1) of Schedule "A" in the

current CTA Fee Booklet.

Except for as provided for elsewhere in the CTA, additional services are to be provided

only at the request of the Theatre or the Theatre's designated representative and must

be detailed in a rider to the Artist’s CTA engagement contract. All additional services

fees are subject to standard Equity deductions unless otherwise exempted in this

Agreement.

16:17 Overnight Rest Period Infringement

The Artist shall not be required to rehearse and/or perform during the overnight rest

period defined in Clause 18:38. Rehearsal and/or performance during the overnight rest

period specified in Clauses 24:03(D) and 24:05(A) may only take place with the consent

of the Artist. If the Artist agrees to rehearse or perform or otherwise provide any

additional services during the overnight rest period, the Artist shall invoice the Theatre

at the rate stipulated on line three (3) of Schedule "A" in the current CTA Fee Booklet.

17:00 CONTINGENT COMPENSATION ON WEEKLY GROSS - NET RECEIPTS

AND/OR PROFITS

No CTA Engagement Contract shall be entered into by the Theatre or Artist where in

whole, or in part, the compensation is contingent upon weekly gross or net receipts

without the prior written consent of Equity, which consent will not be unreasonably

withheld. In no case shall compensation be less than the established minimum fee in

accordance with the terms of the CTA.

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18:00 DEFINITIONS

The following terms, wherever used in the CTA unless otherwise provided, shall be

defined as follows:

18:01 Access and Accommodations

Access refers to the ability of individuals from Underrepresented Groups to obtain and

enjoy resources, services, and opportunities on an equal basis with others. This includes

eliminating barriers and ensuring that all individuals have the same opportunities to

participate and succeed.

Accommodations involves making adjustments to environments, practices, and policies

to ensure that individuals from Underrepresented Groups can fully engage and benefit

from resources and opportunities. Accommodation may include providing additional

support, modifying practices, and creating and maintaining inclusive spaces to promote

equal access and participation.

18:02 Actor

The term "Actor" shall refer to and include all Artists signed to CTA Engagement

Contracts, as Performers, including but not limited to Principals, Chorus, Extras,

Singers, Dancers, Mimes and Narrators.

18:03 Artist

The term "Artist" shall refer to and include all persons who are engaged by the Theatre

under CTA Engagement Contracts including: Actors and other Performers; Production

Stage Managers; Stage Managers; Assistant Stage Managers; Directors; Assistant

Directors; Fight Directors; Intimacy Directors; Choreographers; Assistant

Choreographers; Dance Captains; Fight Captains; Intimacy Captains.

18:04 Assistant Choreographer

An “Assistant Choreographer” is the person engaged to assist the Choreographer in

matters related to the choreography of the production.

18:05 Assistant Director

An “Assistant Director” is the person engaged to assist the Director in matters related to

the direction of the production.

18:06 Assistant Stage Manager

"Assistant Stage Managers" shall work under the direction of the Production Stage

Manager or Stage Manager, assisting in the stage management of productions in

rehearsal and performance.

18:07 Basic Dues

“Basic Dues” refers to annual dues Equity members pay to be in good standing as a

member of Canadian Actors’ Equity Association. Basic Dues are set by Equity and shall

be paid by the member to Equity.

18:08 Bit Cover

A “Bit Cover” is the performance of a chorus role, or part of a chorus role, which appears

in one (1) or two (2) scenes in a performance. A Bit Cover may involve lines in up to a

total of eight (8) exchanges with other characters, or a monologue of not more than one

(1) minute, and appear in a scene in which the Artist would not otherwise appear as part

of their Role in that performance.

18:09 Child Supervisor

A "Child Supervisor" is a competent person who is at least eighteen years of age who

has undergone a Police Record Check or the provincial equivalent; engaged by the

Theatre for the purpose of care and supervision of the child performer(s); with an

adequate knowledge (or training by the Theatre) of backstage etiquette, the Theatre’s

policies and procedures, and the facilities available for the child performer(s); and who

is not an Artist otherwise engaged in another capacity on the production.

18:10 Children

A “Child” is a person aged fifteen (15) or younger.

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18:11 Children's Chorus

A "Children's Chorus" is a group of children in a production who appear as part of an

ensemble.

18:12 Choreographer

A “Choreographer” is an Artist engaged for the purpose of devising and setting

recognizable and accepted techniques of dance and repeated specialized movement in

a play or musical.

18:13 Contractual Fee

The "Contractual Fee" comprises the fee negotiated between the Artist and Theatre for

an engagement (which shall not be less than the applicable minimum fee) specified on

the face of the contract and all benefits arising from the CTA, as well as Additional Duty

Fees and any other amounts so defined.

For the purpose of Clauses 35:02(D), 35:02(E), 35:03(C), and 58:16(B) only,

"Contractual Fee" shall be limited to the fee specified on the face of the contract.

(A) Weekly Amount

For an engagement as an Actor, Extra, Production Stage Manager, Stage

Manager, and Assistant Stage Manager, the Contractual Fee shall be defined as

a "Weekly Amount".

(B) Total Fee

For an engagement as a Director or Choreographer, the Contractual Fee shall be

defined as the “Total Fee” the Artist receives for their services completed at the

end of the day of the official opening, unless specified otherwise.

In the case of “Workshops and Readings” where the Artist is not engaged at a

weekly rate, the Contractual Fee shall be defined as the amount specified on the

face of the contract as the Total Fee. Otherwise, the Contractual Fee shall be

defined as the weekly fee negotiated between the Artist and the Theatre.

18:14 Contractual Payment

The "Contractual Payment" is the instrument (cheque, cash, etc.) with which an Artist is

paid the net amount of their Contractual Fee delivered in accordance with Clauses

16:13, 39:06, 39:07, 39:08, 39:09, 39:10, 39:11, 54:05, 54:16, 55:02, 55:29, 56:02,

57:02, 58:25, 58:26, 58:28, 58:28, 60:01, 61:04, 62:04, 63:07 and 64:03 as applicable.

18:15 Cover

"Cover" shall mean to understudy.

18:16 Dance Captain

A "Dance Captain" is an Actor engaged in a production who is assigned to monitor and

maintain dance choreography for the duration of the production.

18:17 D/deaf and/or Disabled

D/deaf includes but is not limited to individuals who are culturally Deaf or deaf, hard of

hearing, or experiencing hearing loss. Disabled includes but is not limited to individuals

who are blind, partially sighted, or deafblind, and/or individuals with chronic illnesses,

learning disabilities, mental health conditions, neurodiversity, physical disabilities, and

sensory impairments. Disabilities or impairments may be long-term, temporary or

fluctuating, can be multiple, and may or may not be apparent or have diagnosis.

D/deaf and/or Disabled Artists may experience discrimination and disadvantage as a

direct result of an impairment, and/or due to social, policy, or environmental barriers.

Definitions intended to represent groups and/or communities of individuals referenced

in the CTA are not exhaustive and may change as terminology and the world evolves.

For a more complete and current list of definitions, please refer to the Article 10 Library

of Resources.

18:18 Director

A "Director" is an Artist who has been engaged by the Theatre to oversee the mounting

of a production (or activity) by unifying the various aspects of the production.

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18:19 Emergency Rehearsal

An "Emergency Rehearsal" shall mean a rehearsal necessitated by the inability of an

Artist to perform their full duties due to sickness or injury or other cause, when the

Theatre did not have adequate prior knowledge of the emergency in order to schedule

a regular replacement rehearsal.

18:20 Engagement Week

An "Engagement Week" shall be defined as being from Monday through Sunday

inclusive.

18:21 Ensemble

A member of the "Ensemble" is an Actor who appears in a dramatic play or musical

production as part of a singing or dancing group or ensemble, and whose part is

essentially that of a member of such group or ensemble, and is in no way individual in

its character.

Notwithstanding the definition of Ensemble any member of such group or ensemble may

speak a few lines, sing solo, do a dance routine alone, or portray a character known by

a special name, provided that such solo work is only incidental to the group or ensemble

work and further provided that the part does not call for a performance substantially

different from the performances given by the others of the group or Ensemble.

18:22 Extraordinary Risks

"Extraordinary Risks" are defined as the performance of acrobatic feats; suspension

from trapezes, wires, or like contrivances; the use of or exposure to weapons, fire,

dangerous chemicals, or pyrotechnical devices; stage fighting; the taking of dangerous

leaps, falls, throws, catches, knee drops or slides; the handling of unusual live animals

(including birds, fish, reptiles); work on a rake where the incline is greater than one (1)

in twelve (12) inches; work on a raked stage for a performance run in excess of thirteen

(13) weeks. Within the sphere of dance, the execution of choreography or staging which

departs from those accepted techniques of movement and support used in

contemporary theatre dance (classical ballet, modern, cultural, or jazz) is also defined

as an Extraordinary Risk.

Prior to the first day of the engagement, the determination as to what may constitute

Extraordinary Risk(s) shall be made by Equity in consultation with the Theatre. (See

Clause 38:14, Absence Due to Accidents Involving Extraordinary Risk; and Clause

28:21).

Beginning the first day of the engagement, the determination as to what may constitute

Extraordinary Risk(s) shall be agreed to between the Artist(s) involved in the action(s)

and the Theatre, in consultation with the Stage Manager.

18:23 Extras

An "Extra" is an Actor engaged to provide atmosphere and background in a production.

Notwithstanding the definition above an Extra may speak in omnes (in unison) and play

one-line parts. An extra may not perform as a Chorus Dancer or Chorus Singer.

However, an extra may perform in limited song and dance sequences and go on tour

with prior written approval of Equity.

18:24 Fight Captain

A "Fight Captain" is an Artist engaged to monitor stage fights for the duration of the

production.

18:25 Fight Director

A “Fight Director” is the person engaged for the purpose of choreographing a fight

sequence(s) in a production. A Fight Director must have valid certification at the time of

contracting for the production.

18:26 First Public Performance

"First Public Performance" shall be considered the first performance to which the public

is admitted, except by invitation only.

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18:27 Free Day

A "Free Day" shall mean a period of time during which the Artist shall not be required to

travel or perform any services or obligations for the Theatre whatsoever. The start and

end times for the Free Day are articulated in Clause 23:01 (D) of this Agreement.

18:28 Half-Hour Call

A “Half-Hour Call” is a period of time immediately prior to the beginning of the

performance to be used solely for the Actor to prepare themself for the performance.

18:29 Harassment

“Harassment” is engaging in a course of vexatious comment or conduct against a person

in a workplace that is known, or ought reasonably to be known, to be unwelcome or

offensive.

18:30 Intimacy

“Intimacy” may include but is not limited to: prolonged kissing, heavy petting, implied

genital contact, acts of a sexual nature, physical contact between a minor and an adult

as determined in consultation with the parent/legal guardian, instances or direction

where an Actor feels that additional consideration is required, and may also be an

element in certain scenes of violence.

18:31 Intimacy Captain

An “Intimacy Captain” is an Artist engaged to monitor scenes and/or moments of

Intimacy for the duration of the production, for the intention of maintaining the specificity

of movement, the artistic integrity of the scene, and to be a possible advocate for each

Actor(s) involved in cases where there are further concerns.

18:32 Intimacy Director

An “Intimacy Director” is the person engaged for the purpose of choreographing a

scene(s) and/or moment(s) of Intimacy in a production.

18:33 Joint Production

A "Joint Production" is two (2), three (3) or four (4) theatres in more than one (1) location

presenting the same production with the same cast and using the same set in their

respective points of origin, except that the third and fourth Point of Origin locations shall

be considered to be on tour for purposes of fees (Clauses 16:13, 49:03(B)(i), and

49:03(B)(ii) shall apply).

18:34 Liaison

A “Liaison” is an Equity member who is elected to serve as a link between Equity and

all other Artists engaged on a CTA contract for the term of the production. The Liaison

may speak to Equity and/or the Theatre on behalf of the Artists regarding issues such

as CTA terms and conditions, health and safety concerns and respectful workplace

practices.

18:35 Minimum Fee

A "Minimum Fee" is the minimum rate of compensation for which an Artist may be

engaged by the Theatre. (See Clauses 16:13, 39:06, 39:07, 39:08, 39:09, 39:10, 39:11,

54:05, 55:02, 55:29, 57:02, 58:26, 58:28, 58:30, 58:37, 60:01, 61:04, 62:04, and 63:07)

18:36 Musical Theatre Production

A "Musical Theatre Production" is a production which incorporates song and dance, or,

song or dance with importance equal to the spoken word.

18:37 Opening

“Opening” (or a variation thereof such as Open, or Opens, or Opened) refers to a

singular performance, selected by the Theatre, after which no further changes to the

production can be made.

18:38 Overnight Rest Period

The "Overnight Rest Period" shall mean a period of time between the end of one day's

work and the beginning of the next day's work in which the Artist shall not be required

to perform any services or obligations for the Theatre except as provided for in touring -

Article 49:00 and 55:00. See also Clauses 26:10 and 24:03(D).

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18:39 Past Practice Activities

“Past Practice Activities” are defined as activities that previously occurred under Clause

2:04 or Appendix VII of the CTA. Past Practice Activities are activities that have

previously occurred under different contracting arrangements than are required by, or

provided for, in this agreement and will continue to be permitted under the same

contracting arrangements as were previously used.

18:40 Performance Day

A "Performance Day" shall be a day on which at least one (1) performance is given.

Rehearsal activities may occur on a Performance Day within the allowable provisions of

this Agreement.

18:41 Place of Residence

The term "Place of Residence" shall mean the Artist's home or usual place of residence

which shall be stipulated on the Artist's CTA Engagement Contract.

18:42 Point of Origin

A Theatre’s “Point of Origin” shall be defined as the forty (40) kilometre radius from the

Theatre’s primary place of business address.

18:43 Production Stage Manager

A "Production Stage Manager" is responsible for and oversees the operation of the

Stage Management department and provides support and assistance in maintaining the

standards of the department as it relates to the Theatre. The Production Stage Manager

may take on any of the duties and responsibilities of the Stage Manager(s) or Assistant

Stage Manager(s) whom they oversee.

18:44 Recordings Used for Future Opportunities

“Recordings Used for Future Opportunities” are recordings of an of actual performance

or rehearsal for the express purpose of demonstrating the nature of its work, and the

work of the Artist(s), for promotion to potential sponsors, donors, funders, group booking

agents, and potential performance presenters.

18:45 Recording

A “Recording” is the preservation of the audio and/or visual aspects of a theatrical

production in whole or in part through the use of any and all devices now in existence

and yet to be developed.

18:46 Rehearsal Day

A "Rehearsal Day" shall be a day on which no performance is given and on which the

Artist may be required to rehearse in accordance with the terms of the CTA.

18:47 Rehearsals

The term "Rehearsal" shall include, but not be limited to, such related activities as giving

notes, blocking, music and dance rehearsals, the staging of concerted movements,

read-throughs, and shall be regarded as rehearsal-time.

(A) Run-Through Rehearsal

A "Run-Through Rehearsal" is defined as a rehearsal where the intent is to

perform a play in its entirety.

(B) Technical Rehearsal

A "Technical Rehearsal" is defined as a rehearsal in which any three (3) of the

following four (4) elements are all present or when all four (4) are present: lighting,

sound, scenery (props), stage hands.

A "Technical Dress Rehearsal" is defined as a technical rehearsal during which

costumes and/or makeup and wigs are used, and must not be attended by an

audience, other than production and theatre staff and others specifically invited

by the Theatre.

(D) Costume Parades

"Costume Parades" are calls where the Artist, wearing costumes to be worn in a

production, is paraded before the Director and/or designers. These costume

parades shall be deemed to be a rehearsal call.

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(E) Dress Rehearsal

A "Dress Rehearsal" is defined as a complete rehearsal with the full company of

Artists using full dress (including costumes, hair/wigs, makeup, etc.), and all

technical elements with the intention to complete a non-stop run-through of the

entire play or musical.

There shall be no paying audience and/or general public present at a dress

rehearsal.

(F) Replacement Rehearsal

A "Replacement Rehearsal" is defined as a rehearsal necessitated by an Artist

replacing another Artist.

(G) Dance, Fight or Intimacy Call

A "Dance, Fight or Intimacy Call" is defined as a rehearsal(s) immediately prior to

the Half-Hour Call which is monitored by the applicable Captain, and where the

Artists involved in dance, fight and/or intimacy rehearse choreography, timing,

technique and reaffirm consent.

18:48 Repertory

A “Repertory” Theatre is a Theatre that engages Artists for a performance pattern

consisting of a series of productions introduced at intervals throughout the season, some

or all of which are maintained and repeated during the season.

18:49 Resident Director

A “Resident Director”, an individual who is not the Director, is the person who may be

engaged for the purpose of maintaining the Director’s artistic intentions, and to rehearse

understudies and replacement Actors, during the run of the production.

18:50 Revival

A "Revival" is defined as a production which, once closed, is remounted using the Stage

Manager's copy of the prompt script and either of the following elements: the original set

and costume designs and/or at least fifty (50%) percent of the speaking roles (five (5)

lines or more) are played by Artists engaged for the previous production. A production

is classified as a revival for a period of two (2) years from the previous production's first

performance. Clause 38:22 applies to this Clause.

18:51 Role

The term "Role" shall mean the part or parts an Actor plays in a performance, or the

"track" that an Artist follows in performance. The Artist may agree to participate in scene

changes and/or supplemental business as part of their originally contracted Role.

18:52 Sector 1

A “Sector 1” Theatre shall be defined as any organization doing business as a not-for-

profit corporation, association, partnership or proprietorship, engaged in the creation

and production of theatre in Canada.

18:53 Sector 2

A “Sector 2” Theatre shall be defined as any organization doing business as a for-profit

corporation, association, partnership or proprietorship, engaged in the creation and

production of theatre in Canada.

18:54 Single Production

An Artist shall be deemed to be in a “Single Production” when the Artist has been

engaged by the Theatre to rehearse and perform in only one (1) production.

18:55 Single Set

A “Single Set” is one where only props and/or set dressing may move on or off.

18:56 Span of Day

An Artist’s “Span of Day” is the continuous length of time, including all breaks, that an

Artist is allowed to work each day before Overnight Rest is required.

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18:57 Specialty Assignment

A “Specialty Assignment” is an essential moment or effect which is integral to the plot

and/or the Artistic integrity of the production. A Specialty Assignment includes the similar

parts performed by multiple Artists which generally meet the following criteria: same

scene, similar blocking, and do not involve a significant new skill. Any given Specialty

Assignment may not involve appearing in more than three (3) scenes.

18:58 Stage Fighting

A "Stage Fight" is a co-ordinated series of moves with violent intent, requiring specific

timing and skill, involving either unarmed combat, or the use of weapons or props used

as weapons. For the purposes of this Clause the movement of Artists in possession of

weapons that would normally be construed as blocking is not to be construed as stage

fighting.

18:59 Apprentice Stage Manager

An "Apprentice Stage Manager" is a person who is seeking specific training in the theatre

and who intends to make a career in the professional theatre as a stage manager. This

person shall not be a member of any professional performing artists' association or

union.

18:60 Stage Manager

"Stage Managers" shall work under the direction of the Production Stage Manager

and/or the Director and be responsible for duties as outlined in Article 63:00.

18:61 Standby

A ‘Standby’ is a non-performing Artist who has been contracted for a production to

understudy one or more roles or tracks, with fifty (50%) percent or more roles or tracks

being principal tracks and the remainder ensemble or chorus tracks up to a maximum

of eight (8) tracks in total. The Artist shall not have a regular onstage or offstage role or

track in the production.

18:62 Stock

A "Stock" Theatre is a Theatre that engages a company of Artists for a season to

participate in a series of consecutive productions of different plays not in repertory with

no lay-off or hiatus period between productions.

18:63 Supplemental Business

“Supplemental Business” is a non-essential (not necessary to the continuity of the plot)

moment or bit which does not involve specific lines or dialogue and could be cut from a

production but is kept for artistic reasons. Supplemental Business may also include the

movement of a prop or set piece which is otherwise part of another Role that has been

cut from the performance, and which does not result in a significant change to the Artist’s

blocking or in the Artist performing in a scene in which they would not otherwise appear

as part of their Role.

18:64 Swing

A "Swing" is a non-performing Artist who has been contracted for a production to cover

more than one (1) role or track with the majority of roles being ensemble or chorus

tracks. Notwithstanding the above the Artist may provide atmosphere and background

in the production provided the actions can be cut without replacement. They may speak

in unison or have unscripted lines and perform limited song and dance sequences in a

crowd scene but may not move a prop or set piece outside of understudy tracks.

Additionally, a Swing may be required to sing offstage. An Artist who has been

contracted as a Swing may be contracted to understudy up to ten (10) Roles or tracks

per production with no more than four (4) principal tracks, to a maximum of fourteen (14)

Roles per engagement.

18:65 Theatre

The term "Theatre" shall mean a PACT member with which the Artist negotiates the CTA

Engagement Contract for services rendered.

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18:66 Touring

(A) Local (Not Overnight) Run-Outs

A "Run-Out" is any circumstance where the Artist leaves from, and returns to, the

Theatre's Point of Origin on the same day for the purpose of rehearsing or

performing, and where no housing is required.

(B) Overnight

Whenever the Artist, while engaged by the Theatre, is required by the Theatre for

any reason to be away from the Point of Origin for ten (10) or more consecutive

hours, the Artist shall be considered to be on an “Overnight” tour.

18:67 Transfer

A "Transfer" is defined as a production which is remounted by the Theatre in a different

venue in the same Point of Origin at any time within a period of eight (8) weeks from the

final performance of the run of performances in the first venue, using the Stage

Manager's copy of the prompt script, fifty (50%) percent of the Artists engaged for the

original production, and/or all of the original design elements.

The Theatre may contract an Artist under a single CTA Engagement Contract for both

venues, or if a transfer is unanticipated at the time of contracting the Theatre may add

a rider to the existing CTA Engagement Contract providing for the transfer.

18:68 Underrepresented Groups

Underrepresented Groups denotes identities and/or communities underrepresented in

the theatre ecology, or significant subsectors within it. This term may include but is not

limited to Indigenous, Black, People of Colour; D/deaf and/or Disabled (see 18:18),

Gender, LGBTQ2S+, Neurodiverse, and other intersections of identities.

It is acknowledged that terminology is continually evolving and that other terms may be

in use or familiar (for example: BIPOC, ethnic or visible minority, equity-priority, global

majority, marginalized, oppressed, racialized, underserved, etc.). It is further

acknowledged that identities are not always visible and that these groups are not

mutually exclusive; the intersectional nature of social identity means individuals may

identify as belonging to more than one group, resulting in layers of discrimination or

oppression.

Underrepresented Groups is an umbrella term intended to be broadly interpreted for a

diverse spectrum of peoples who have experienced varying degrees of disadvantage

and barriers to full and equitable participation in the industry.

18:69 Performing Understudy

A "Performing Understudy" is an Artist who regularly performs their own role or track in

the production and is contracted for a production to learn the role or track of another

Artist, and perform it when such Artist is unable to perform. .

18:70 Understudy

The term “Understudy” shall include Performing Understudy, Standby, Swing and

Walking Cover.

18:71 Walking Cover

A “Walking Cover” is an Artist who has been contracted for a Non-Musical production to

cover up to four roles or tracks. The Artist shall not have a regular onstage or offstage

role or track in the production.

18:72 Working Dues

“Working Dues” refers to a percentage of the Equity member's earnings while on

contract. Working Dues are in effect only for the duration of an engagement contract.

Such percentage is set by Equity and deducted by the Theatre to be remitted to Equity.

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19:00 POINT OF ORIGIN

19:01 Theatre's Point of Origin

Once designated, the Point of Origin shall remain the same for the life of the Theatre,

but the Theatre has the right at the close of a season to move its headquarters.

Where the Theatre moves its headquarters, it shall file notice of change of Point of Origin

with Equity and PACT.

19:02 Change of Point of Origin

Notwithstanding Clause 19:01, there may be the following exceptions:

(A) Change of Point of Origin for Rehearsals

A major centre other than the Point of Origin may be designated as a Point of

Origin for rehearsals only, and only when such an arrangement accommodates

at least sixty (60%) percent of the Artists in the company by allowing them to

remain in their places of residence during said rehearsals.

For those Artists for whom the major centre in question is not their place of

residence, the nature and cost of housing shall be guaranteed in a rider to the

Artist's contract, and the Theatre agrees to pay any costs of housing which exceed

said guaranteed costs.

Travel insurance will be placed in accordance with Clause 49:08 when the Artists

are required to travel between the two (2) points of origin.

(B) Change of Point of Origin for Rehearsals and Performances

A major centre, other than the Point of Origin, may be designated as the Point of

Origin for the rehearsals and performances of a production and only when such

an arrangement accommodates at least sixty (60%) percent of the Artists in the

company by allowing them to remain in their place of residence during said

rehearsals and performances. In such a circumstance, if such a production is

moved from said major centre, even if it is moved to the Theatre's regular Point

of Origin, it shall be considered as a production on tour, and the per diem provided

for in Clauses 49:03(B)(i) and 49:03(B)(ii) shall also apply. For those Artists for

whom the major centre in question is not their place of residence, the nature and

cost of housing shall be guaranteed in a rider to the Artist's contract and the

Theatre agrees to pay any costs of housing which exceed said guaranteed costs.

Furthermore, a production mounted under the provisions of this Article is subject

to Clause 38:22.

While rehearsing in, or performing at, the designated Point of Origin, in-town

conditions shall apply; while rehearsing in, or performing at, any other location,

touring conditions shall apply.

20:00 DUTIES OF THE ACTOR

The Actor agrees to be prompt and punctual at rehearsals, costume calls/fittings, and to

attend all rehearsals as required; to appear at the theatre no later than the Half-Hour

Call; to pay strict regard to stage makeup and stage dress; to perform their services as

reasonably directed, and to conform to the language of the script to the best of their

ability; under the instruction of the Stage Manager, to maintain the original intent of the

Director throughout the run of the show (see Clause 63:13(J)); to learn their lines within

the time period set by the Director, but, in any case, at the very latest by the first dress

rehearsal; to properly care for their costumes and props; to use, when required by the

Theatre, safe electronic equipment, and to respect the physical property of the

production and Theatre.

If the Theatre feels that serious infractions of this Article have occurred, an Equity

member may be subject to disciplinary proceedings, in accordance with the Constitution

and Bylaws of Equity, or termination of contract by the Theatre. See also Article 5:00,

Responsibility of the Artist.

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21:00 CHILDREN'S CHORUS

21:01 Children’s Chorus

A Children’s Chorus shall be composed of six (6) or more children for a non-musical

production or ten (10) or more children for a musical production. No child in a Children’s

Chorus shall be over the age of fifteen (15). These children shall appear as a part of an

ensemble where their role is essentially that of a member of the ensemble and is in no

way individual in its character or necessary to the continuity of the plot. Persons in a

Children’s Chorus may speak a few lines, sing or do a dance routine.

21:02 Contracting

The Theatre shall submit a list of Children in the Children’s Chorus with the Production

Registration. This list shall include the Child’s affiliations if any and age.

(A) Non-Members

Non-members engaged as a Children's Chorus shall not be required to be

engaged under CTA Engagement Contracts.

(B) Members

Equity members engaged as a Children’s Chorus shall be signed to an insurance-

only form of contract.

22:00 NON-MEMBERS

22:01 Non-Members

(A) Requirement for a CTA Engagement Contract

Except where provided for elsewhere in the CTA, all non-members of Equity shall

be signed to CTA Engagement Contracts. A non-member may sign an unlimited

number of CTA Engagement contracts and either voluntarily join Equity, or remain

a non-member.

Members of other Unions or Associations:

Individuals who are not members of Equity, but who are members of ACTRA,

Union des Artistes (hereinafter called UDA), or any other performing artists'

association or union, shall be signed to CTA Engagement Contracts.

(B) Requirement to Remit Filing Fees

Where a non-member is engaged under a CTA Engagement Contract, the

Theatre shall deduct and remit to Equity the amounts as set out in 3:02(B).

A Theatre will provide information supplied by Equity, which outlines the full

benefits of being a member of Equity, to non-members.

22:02 Touring Into the USA

A non-member engaged under a CTA Engagement Contract, that includes touring into

the USA, shall be offered a limited membership in Equity that will extend for the duration

of the CTA Engagement Contract.

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23:00 FREE DAY

23:01 Free Day

There shall be at least one (1) Free Day during each Engagement Week. A Free Day

must occur within the Engagement Week of which it is a part. Once a Free Day has been

designated, it may be changed only upon giving the Artist at least seven (7) days' notice

of such change. In the case of the five (5) day work week (see Clause 24:04(D)), the

additional Free Day shall be designated by the Theatre with a minimum of twenty-four

(24) hours’ notice.

(A) Notice

A company notice posted on the call board prior to the end of rehearsals, or by

the Half-Hour Call for the evening performance on the eighth day prior to the

originally scheduled Free Day, will serve as written notice to the Artist. Should the

Theatre fail to provide proper notice of a change in the Free Day, the Artist shall

invoice the Theatre at the rate stipulated on line one (1) of Schedule "A" in the

current CTA Fee Booklet for services provided on the originally scheduled Free

Day.

(B) Scheduling

(i) Free Days shall have no more than nine (9) working days between them.

The first working day is day one (1) of the nine (9) working days allowed.

This option shall not be applied consecutively; and

(ii) There must always be a Free Day within six (6) days prior to the day of the

first public performance of a production.

Once in each production, the Theatre may schedule one (1) Free Day which need not

occur within the Engagement Week to which it applies, provided that it is scheduled in

the prior or subsequent week in addition to the regular Free Day in that week.

In addition to the regular Free Day, as stipulated above, December 25 shall be

free of rehearsals. There shall be no rehearsals after 6:00 p.m. on December 24.

(D) Duration

In the Point of Origin, the period of time shall commence at 12:00 midnight and

end at 9:00 a.m. the following day. If the performance immediately prior to a Free

Day runs beyond 12:00 midnight, the Artist may not be called during the

subsequent thirty-three (33) hours after the final curtain in the Point of Origin; or

the subsequent thirty-two (32) hours after the final curtain outside the Point of

Origin.

24:00 REHEARSAL CONDITIONS

Note: All rehearsal provisions apply to the individual Artist.

24:01 First Rehearsal Day Health and Safety Postings

The Theatre shall provide to each Artist and/or post the Theatre’s harassment policy,

emergency procedure policy and its scent awareness information no later than the first

rehearsal day of a production.

24:02 Access During the First Rehearsal Week

At Equity’s request, the Theatre shall schedule fifteen (15) minutes during the first

rehearsal week for an Equity and Theatre representative to provide an information

session.

24:03 Standard

(A) Beginning

Rehearsals begin on the date specified on the face of the Artist's CTA

Engagement Contract.

(B) Continuous

Rehearsals shall be continuous from the beginning of rehearsals to the date of

the first public performance as stated on the face of the Artist's CTA Engagement

Contract. After that date they need not be continuous.

CTA 2024-2027 | page 44

The length of breaks in a rehearsal day must total at least five (5) minutes for each

hour of rehearsal.

(D) Overnight Rest

During the rehearsal period there must be twelve (12) hours clear between the

end of one day's rehearsal (or performance if that is later) and the call to work on

the next day.

The company in consultation with Equity may decide by secret ballot to agree to

reduce this period by one (1) hour for an individual production. Should the Artist

consent to provide additional services during this period at the request of the

Theatre, the Artist shall invoice the Theatre at the rate stipulated on line three (3)

of Schedule "A" in the current CTA Fee Booklet.

(E) Free Day

Free Days are provided for in Clause 23:01. Also, there must always be a Free

Day within six (6) days prior to the day of the first public performance of a

production.

(F) Posting of Calls

The rehearsal call for the next day must be provided to an Artist not less than

eleven (11) hours prior to the next call.

If an Artist has been dismissed before the end of the rehearsal day, it is their

responsibility to find out when their next call will be.

(G) Calls on the Free Day

For any rehearsal called on a scheduled Free Day, the Artist shall invoice the

Theatre at the rate stipulated on line five (5) of Schedule "A" in the current CTA

Fee Booklet. The minimum call for rehearsal on a Free Day shall be four (4) hours.

Twenty-four (24) hours notice must be given of a rehearsal on a Free Day.

Nevertheless, the Artist may only be called on their Free Day with their agreement.

(This does not apply to emergency rehearsals; see Clauses 18:20 and 24:13.)

(H) Notice of Additional Rehearsal

The Theatre agrees to provide the Artists with as much advance notice as

possible of rehearsal hours in excess of the hours provided elsewhere in the CTA.

Notice of planned additional rehearsal hours must be given in the daily schedule.

(This does not apply to emergency rehearsals; see Clauses 18:20 and 24:13).

Additional rehearsal hours will be paid at the rate on Line 1 of Schedule ‘A’ of the

current CTA Fee Booklet.

(I) Free Time Between Rehearsal and Performance or Performance and

Rehearsal

(i) Break

Except in the case of emergency rehearsal, there shall be no less than one-

and-a-half (1-1/2) hours free before the Half-Hour Call during which the

Artist may not be called upon to perform any service whatsoever for the

Theatre.

(ii) Reduction by Unanimous Consent

Except in the case of emergency rehearsal there shall be no less than one-

and-a-half (1-1/2) hours free between the final curtain and a call for

rehearsal. This may be reduced to one (1) hour with the unanimous consent

of all Artists in the production.

(iii) Payment for Additional Services

If the break between rehearsal and performance or performance and

rehearsal is less than provided for in (i) or (ii) above, the following provisions

shall apply:

(a) For additional services provided during the first half-hour or part

thereof, the Theatre shall provide and pay for a full dinner for the

Artist, or the Artist invoice the Theatre at the rate stipulated on line

six (6) of Schedule "A" in the current CTA Fee Booklet.

CTA 2024-2027 | page 45

(b) For additional services provided during the second half-hour or part

thereof, the Artist shall invoice the Theatre at the rate stipulated on

line six (6) of Schedule "A" in the current CTA Fee Booklet in addition

to the Theatre providing the meal in (a) above.

part thereof (excluding the Half-Hour Call), the Artist shall invoice the

Theatre at the rate stipulated on line six (6) of Schedule "A" in the

current CTA Fee Booklet in addition to (a) and (b) above.

(J) Dress Rehearsals

(i) For all dress rehearsals (defined in Clause 18:47(E)) there must be a

minimum Half-Hour Call which shall be considered to be part of rehearsal

time.

(ii) No dress rehearsals with invited audiences will be permitted after the first

public performance except where necessitated by cast replacement, and/or

major script revision.

(iii) Dress Rehearsal Requirement

There shall be a minimum of one (1) dress rehearsal prior to the first public

performance.

(K) Classes and Warm-Ups

(i) Voluntary

Artists may not attend voluntary classes or voluntary warm-ups which

involve the rehearsal of material from the production. Attendance at so-

called "voluntary" rehearsals (including readings) is strictly prohibited. Such

rehearsals must be contracted and paid for according to the provisions of

the CTA, as provided for elsewhere.

(ii) Contractual

(a) Artists may be required to attend classes in specific skills which fall

within the applicable rehearsal hours provided that attendance at

such classes is stipulated in a rider to the CTA Engagement Contract.

(b) Actors may be required to attend warm-ups which fall within the

applicable rehearsal hours or prior to performances. However, such

warm-ups must not invade the required break between rehearsals

and performances (see Clause 24:03(I)) or the Half-Hour Call and

may not exceed one (1) hour in length. Such warm-ups must be

stipulated in a rider to the CTA Engagement Contract.

and/or intimacy sequences immediately prior to the Half-Hour Call.

All Artists who participate in a stage fight must rehearse said fight

before each performance. Any exception shall be at the discretion of

the Fight Captain, and initially in consultation with the Fight Director.

Similarly, all Artists who participate in scene(s) and/or moment(s) of

Intimacy must rehearse said scene(s) and/or moment(s) of Intimacy

before each performance. Which scenes and/or moments to be

rehearsed shall be determined by the Intimacy Director, in

consultation with the Actor(s) involved. Any exception during the run

shall be at the discretion of the Intimacy Captain. The Artists must,

prior to the fight and/or intimacy rehearsal, receive the break

specified in Clause 24:03(I) or Clause 26:04, whichever applies.

(L) Travel Between Locations

Whatever time is required by the Artist to move from one rehearsal or performance

location to another will be considered as rehearsal time and must be paid for as

such.

If public transportation is not available, transportation must be provided by the

Theatre if the distance is more than one-and-a-half kilometres.

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(M) Work Prior to Beginning of Rehearsals

(i) Learning Lines or Music

The Artist may not be required to learn lines, music, or choreography prior

to the beginning of rehearsal in order to accommodate the rehearsal

schedule.

In the event that an Artist is requested to learn lines or music prior to the

beginning of rehearsal, the Artist will be paid a one-time fee of an additional

amount of not less than fifty (50%) percent of their contractual weekly fee.

This arrangement must be included in a rider to the Artist’s CTA

Engagement Contract and will be considered as part of the Artist’s

compensation.

(ii) Playing a Musical Instrument

When an Artist is required by the Theatre to play a musical instrument and

learn more than one (1) song in a musical or non-musical production prior

to rehearsal, the Artist shall be paid a one-time fee of an additional amount

of not less than fifty (50%) percent of their weekly Contractual Fee to

familiarize themselves with the instrument. However, based on the musical

complexity required, in consultation with the Artist and with the agreement

of Equity, the additional fifty (50%) percent may be reduced to not less than

twenty-five (25%) percent.

The negotiated compensation must be included in a rider to the Artist’s CTA

Engagement Contract and shall be considered part of the Artist’s

compensation.

The Artist shall not be required to have any of the musical material

performance ready on the first day of rehearsal.

(N) Start of Day

When an Actor provides a service prior to 8:00 a.m., the Actor shall be paid the

amount stipulated on line one (1) of Schedule “A’ in the current CTA Fee Booklet

from the beginning of the service to the end of the service, including all travel time.

(O) Wardrobe Pieces in Rehearsal

The donning or removal of any wardrobe piece(s) for a rehearsal shall be included

within the allowable rehearsal hours.

24:04 Standard Rehearsal

Standard rehearsals are those that take place before the first public performance of a

production, when no member of the company is also performing at the Theatre.

(A) Standard Hours

The Artist shall not be required to rehearse more than seven (7) out of eight (8)

consecutive hours per day, with a meal break of at least one (1) hour after a

maximum of four (4) hours of rehearsal. The Theatre may elect to schedule one-

and-a-half (1-1/2) hour meal breaks, thus expanding the length of day to eight-

and-a-half (8-1/2) consecutive hours. Notice of this change will be provided to the

Artists no later than on the daily schedule.

(B) Shortened Days

The rehearsal day may be reduced to only one (1) continuous call of five (5) hours.

The requirements for breaks in Clause 24:03(C) or 53:01(A) do not apply. One

thirty (30) minute break must be scheduled at the mid-point of the rehearsal.

Prior to the start of rehearsals, the Theatre may elect to schedule shortened days

provided the schedule appears in a rider to the Artist’s CTA Engagement Contract.

After the start of rehearsals, this option may be exercised by the Theatre, or the

Director. Notice of this change will be given to the Artists no later than on the daily

schedule.

CTA 2024-2027 | page 47

For continuous rehearsal in excess of four (4) hours as mentioned above, and for

more than seven (7) hours of rehearsal in a standard rehearsal day or for

extending the span of the day, the Artist shall invoice the Theatre at the rate

stipulated on line one (1) of Schedule "A" in the current CTA Fee Booklet. (See

also the special case in Clause 24:09(C), Mixed Company.)

(D) Five Day Rehearsal Week

Notwithstanding any of the above, the Theatre may operate on a five (5) day

rehearsal week basis.

The Theatre reserves the right with a minimum of twenty-four (24) hours notice to

designate the additional Free Day.

(E) Reverting to a Six Day Rehearsal Week

Furthermore, either the Theatre or the Director has the right to revert to a six (6)

day rehearsal week after the conclusion of any five (5) day week. Notice of such

a change must be given by the end of the last rehearsal day in the week prior.

Except with the agreement of the Theatre, this option is not available in Theatres

operating in repertory, or mixed companies, nor does it apply to the production

week.

24:05 Extended Rehearsal Days

(A) Single Production and Stock

During the last ten (10) days of rehearsal prior to the first public performance of a

single production or any production in a stock season, there may be a total of four

(4) days where either:

(i) Ten Out of Twelve Hours

The Artist may be called to rehearse ten (10) out of twelve (12) consecutive

hours per day provided that the Artist receives no fewer than two (2) one

(1) hour meal breaks within the twelve (12) hour span. Each meal break

must occur after no more than four (4) hours of rehearsal.

Alternatively, the Artist may be called to rehearse ten (10) out of twelve (12)

consecutive hours per day with a meal break of at least two (2) hours after

a maximum of five (5) hours of rehearsal. This break may be reduced to

one-and-a-half (1-1/2) hours if the span of the day is reduced to eleven-

and-a-half (11-1/2) hours. These four (4) days must involve on-stage,

technical or dress rehearsals.

Or:

(ii) Nine Out of Eleven Hours

The Artist may be called to rehearse for up to two (2) days in the rehearsal

hall for nine (9) out of eleven (11) consecutive hours per day provided that

the Artist receives no fewer than two (2) one (1) hour meal breaks within

the eleven (11) hour span. Each meal break must occur after no more than

three (3) hours of rehearsal.

Alternatively, the Artist may be called to rehearse for up to two (2) days in

the rehearsal hall for nine (9) out of eleven (11) consecutive hours with a

meal break of at least two (2) hours after a maximum of five (5) hours of

rehearsal. This break may be reduced to one-and-a-half (1-1/2) hours if the

span of the day is reduced to ten-and-a-half (10-1/2) hours. The remaining

days are governed by the provisions of (i) above (and must involve on-

stage, technical or dress rehearsals).

There shall be a minimum of twelve (12) hours between the end of one

day's work and the call to work on the next day. Should a call continue for

longer than five (5) hours without the required meal break, the Artist shall

invoice the Theatre at the rate stipulated on line one (1) of Schedule "A" in

the current CTA Fee Booklet.

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(B) Repertory

During the last ten (10) days of rehearsals prior to the first public performance in

a repertory season, there may be up to two (2) days for each production during

which the Artist may be called to rehearse ten (10) out of twelve (12) consecutive

hours per day provided that the Artist receives no fewer than two (2) one (1) hour

meal breaks within the twelve (12) hour span. Each meal break must occur after

no more than four (4) hours of rehearsal.

Alternatively, during the last ten (10) days of rehearsals prior to the first public

performance in a repertory season, there may be up to two (2) days for each

production during which the Artist may be called to rehearse ten (10) out of twelve

(12) consecutive hours per day with a meal break of at least two (2) hours after a

maximum of five (5) hours rehearsal. This break may be reduced to one-and-a-

half (1-1/2) hours if the span of the day is reduced to eleven-and-a-half (11-1/2)

hours. There shall be a minimum of twelve (12) hours between the end of one

day's work and the call to work on the next day. At least one (1) such day must

involve on-stage, technical or dress rehearsals. Should a call continue for longer

than five (5) hours without the required meal break, the Artist shall invoice the

Theatre at the rate stipulated on line one (1) of Schedule "A" in the current CTA

Fee Booklet.

24:06 Pro-Rated Rehearsal Schedule

PACT and Equity acknowledge that in some cases the nature of the work may benefit from a

pro-rated rehearsal schedule. It is understood that a standard rehearsal week allows for a

maximum of forty-two (42) rehearsal hours to be scheduled. Pro-rated rehearsal schedules

are an alternative to the standard rehearsal week and are only applicable to full Engagement

Weeks. Should a Theatre wish to schedule a partial week of engagement at the beginning of

the rehearsal period, Clause 16:10 applies.

The Theatre may use the following pro-rated rehearsal schedule model.

(i) all Artists are contracted for a minimum of eighty-four (84) total hours of rehearsal,

including those hours scheduled in any pro-rated weeks, and;

(ii) a minimum of three (3) Engagement Weeks of rehearsal have been scheduled, not

including extended rehearsal days, and;

(iii) a minimum of twenty-one (21) hours of rehearsal are scheduled in each pro-rated

week.

(A) Rehearsal Hiatus

The Theatre may schedule up to one (1) Engagement Week of unpaid hiatus

during the rehearsal process. It must be a whole engagement week, Monday to

Sunday.

(B) Minimum Call

The minimum daily call under a pro-rated schedule must be four (4) hours of

rehearsal.

Artists shall be informed of the Theatre’s intentions to use a pro-rated rehearsal

schedule at the point of initial contact with an Artist or in the audition posting.

Both the detailed rehearsal and payment schedules must be outlined in a rider to

the Artist’s CTA Engagement Contract.

(D) Insurance Premium

The insurance premium deducted from an Artist’s weekly Engagement Fee for

Artists rehearsing under this Clause shall be reduced in proportion to the amount

that Artist’s Weekly Fee is reduced according to Clause 24:06 (F). The Theatre

shall top up the insurance premium to cover the balance remaining on the

premium for each pro-rated week, on the Artist’s behalf, by the amount specified

in the current CTA Fee Booklet.

CTA 2024-2027 | page 49

(E) Stage Management

Weekly contractual fees for Stage Management may be pro-rated for personnel

engaged for a production under this Clause, however, allowable prep time shall

be reduced to one (1) hour per rehearsal day.

In a week where the Theatre has elected to have a hiatus, the Stage Manager

shall be engaged for no less than one (1) prep day in that week at a rate of not

less than one quarter (1/4) of their weekly contractual fee.

The Stage Manager must receive one (1) full week of preparation time at the full

contractual fee prior to the commencement of rehearsals.

(F) Pro-rated Rehearsal Options

The Theatre may pro-rate up to six (6) Weekly Contractual Fees equally over a

period of up to seven (7) Engagement Weeks and the maximum rehearsal hours

shall be distributed evenly over the total number of Engagement Weeks for

purposes of determining when additional services payments may be due.

Rehearsal hours under this Clause may fluctuate from week to week, provided

rehearsal hours scheduled in excess of the maximum allowed in each pro-rated

week per the chart below will be paid at the rate on Line 1 of Schedule ‘A’ in the

current CTA Fee Booklet.

Number of Weekly

Contractual Fees

Pro-rated Over

Number of

Engagement Weeks

Total Allowable

Rehearsal Hours

Maximum Hours

per Week before

Additional

Services

Payments

1 week’s fee

2 weeks

42 hours

21 hours

2 weeks’ fee

3 weeks

84 hours

28 hours

3 weeks’ fee

4 weeks

124 hours

31 hours

3 weeks’ fee

5 weeks

125 hours

25 hours

4 weeks’ fee

5 weeks

165 hours

33 hours

4 weeks’ fee

6 weeks

168 hours

28 hours

5 weeks’ fee

6 weeks

210 hours

35 hours

5 weeks’ fee

7 weeks

210 hours

30 hours

6 weeks’ fee

7 weeks

252 hours

36 hours

24:07 Non-Continuous Rehearsal

Non-continuous rehearsals are PACT and Equity’s response to the creative needs of

certain productions as well as to the needs of Artists.

(A) General Provisions

(i) Non-continuous rehearsals are those that take place before extended

rehearsals or the start of the continuous rehearsal period.

(ii) Clause 34:01 Continuous Engagement does not apply.

(iii) Clause 5:06 Exclusive Service of the Artist does not apply to the non-

continuous rehearsal period.

(iv) With the exception of Clause 24:03(B), all other standard rehearsal

conditions will apply to non-continuous rehearsals.

(v) The minimum rehearsal period under the Clause is three (3) weeks not

including the extended rehearsal period.

(vi) The rehearsal period prior to the extended rehearsal period must be

concluded within a twelve (12) week span.

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(B) Process

The non-continuous rehearsal model will be used where it is decided that it works

to the benefit of the Artists’ schedules or the nature of the work. The following

conditions will apply:

(i) The Theatre will inform the Artist either at the audition or when approaching

the Artist that the schedule for the production will be non-continuous.

(ii) The Theatre will provide the Artist a rehearsal schedule upon offer of a

contract. After being issued, this rehearsal schedule can only be amended

by mutual agreement.

(iii) The weeks in which there no scheduled rehearsals shall be unpaid hiatus

weeks.

Prior to continuous rehearsal or technical rehearsals, all rehearsal weeks shall be

paid at no less than one-hundred and twelve (112%) percent of the applicable

minimum fees.

(D) Insurance

The Theatre shall remit to Equity the total applicable Insurance Premium for all

unpaid hiatus weeks in addition to regular insurance deductions for weeks where

the Artist provides service.

(E) Conversion to Continuous Exclusive Services Contract

The date on which the non-continuous period of the rehearsal process ends shall

be stated in a rider to the Artist’s CTA Engagement Contract. From this date,

exclusive services engagement conditions and standard minimum fees shall

apply.

(F) Stage Management

The Stage Management team shall be engaged for the standard pre-production

preparation time required elsewhere in this Agreement prior to the

commencement of rehearsals.

In weeks where there is a return from hiatus, the Stage Manager shall be engaged

for no less than one (1) day of preparation at a rate of not less than one-quarter

(1/4) of their weekly Contractual Fee.

24:08 Cancelled Performance

When a performance is cancelled, Artists may be required to rehearse for a period of

time not to exceed the length of the performance, including the Half-Hour Call, if such

rehearsal is after the first fourteen (14) day period following the first public performance.

Such rehearsal shall be in addition to the weekly total of hours provided for in Clause

24:09(B).

Should a performance be cancelled with less than one-and-a-half (1-1/2) hours notice

before the Half-Hour Call, except through failure or inability of an Artist to perform, the

Artist in the production will be deemed to have performed and the performance will be

included in the maximum number of performances allowed per week.

24:09 Rehearsal on a Performance Day

(A) Defined

Rehearsals on a performance day are rehearsals of a production (other than those

stated in Clause 24:08) that take place while at least one (1) Artist in the

production is also performing in a production for the Theatre.

(B) Hours

(i) Continuous Five Hour Call

The Artist may be called to rehearse for one (1) continuous call of five (5)

hours provided this call does not begin before 11:00 a.m. subject to the

provisions of Clause 24:03(D), Overnight Rest.

(ii) Additional Rehearsal Services

For rehearsals in excess of the provisions of (i) above, the Artist shall

invoice the Theatre at the rate stipulated on line one (1) of Schedule "A" in

the current CTA Fee Booklet.

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On a day when at least one Artist rehearsing a production is also performing at

the Theatre, then all Artists in the production may be called for a continuous five

(5) hour rehearsal call. Those Artists who are not also performing may be

rehearsed for an additional two (2) hours after an appropriate meal break (See

Clause 24:04) for a total of not more than seven (7) out of eight-and-a-half (8-1/2)

hours per day.

(D) Matinee Days

No Artist who is scheduled to perform at the Theatre may be called to rehearse

on a two-performance day, unless they are on separate contracts for the rehearsal

and the performance.

(E) Stock and Repertory

The following conditions apply only to Artists engaged in stock and repertory

productions.

(i) Prior to the Free Day

An Artist may not be called for rehearsal after 6:00 p.m. on a single

performance day immediately prior to the Free Day.

(ii) After the Free Day

An Artist may not be called to rehearse on the day following the Free Day

except after 1:00 p.m. for one (1) continuous call of up to five (5) hours.

24:10 After First Public Performance - Exceptions to Standard Rehearsal Conditions

The following exceptions to standard rehearsal conditions will apply from the date on

which the production has its First Public Performance. The date of the First Public

Performance is considered day one (1) of the first fourteen (14) days:

After the first public performance of the last production of a stock or repertory season,

or after the first public performance of a single production in which the Artist is appearing,

rehearsals for the Artist in these circumstances shall be limited to:

(A) During the First Fourteen (14) Days

During the first fourteen (14) days after the first public performance, seven (7)

days of rehearsal can be scheduled on the same terms as stipulated in Clauses

24:09, Rehearsals on a Performance Day or 24:04, Standard Rehearsal,

whichever is applicable.

(B) Following the First Fourteen Days

(i) Single Productions

Following the first fourteen (14) days after the first public performance, as

specified above, rehearsals shall be limited to a total of eight (8) hours per

week and there shall be not more than two (2) rehearsal calls, not to exceed

four (4) hours each in any one (1) week.

Such rehearsals shall take place on a day when there is not more than one

(1) performance and shall not take place on the day immediately following

the Free Day.

Additionally, such rehearsal may not be scheduled on the day following two

consecutive two performance days, unless there is no performance on that

day.

(ii) Stock and Repertory

In stock and repertory, following the first fourteen (14) days after the first

public performance, as specified above, rehearsals shall be limited to a total

of eight (8) hours per week and there shall be not more than two (2)

rehearsal calls, not to exceed four (4) hours each in any one (1) week.

Such rehearsals shall be scheduled in accordance with Clause 24:09(E),

and may not be scheduled on the day following two consecutive two

performance days, unless there is no performance on that day.

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The Artist shall invoice the Theatre at the rate stipulated on line one (1) of

Schedule "A" in the current CTA Fee Booklet for any rehearsal calls in excess of

the maximum hours stipulated in this Clause 24:10.

24:11 Rehearsal Hours for Extras

If an Extra is called for rehearsals during the first two (2) weeks after the opening, they

shall invoice the Theatre at the rate stipulated on line one (1) of Schedule "A" in the

current CTA Fee Booklet for such rehearsals.

24:12 Understudy and Replacement Rehearsals

The total weekly rehearsal time for understudies and replacements may not exceed the

normal weekly maximum set forth in Clauses 24:04, 24:05, 24:06, 24:08, 24:09, and

24:10 and all such rehearsal time must be deducted from the normal rehearsal hours

allowed during the week in which the rehearsals take place.

24:13 Emergency Rehearsal

(A) Prior Knowledge

Emergency rehearsals shall only be allowed when the Theatre did not have

adequate prior knowledge of the emergency in order to schedule a regular

replacement rehearsal. Such emergency rehearsal may be in addition to regular

rehearsals, and emergency rehearsals shall in no case exceed four (4) hours.

(B) Overnight Rest

Emergency rehearsals must be scheduled in accordance with the provisions of

Clause 16:19, Overnight Rest Infringement, but the overnight rest period may be

reduced by one (1) hour by the full company by secret ballot.

When an emergency rehearsal must be called on a Free Day, then the Artist shall

invoice the Theatre at the rate stipulated on line four (4) of Schedule "A" in the

current CTA Fee Booklet. The minimum call for such rehearsal shall be four (4)

hours.

24:14 Revival

Standard rehearsal conditions as defined by Article 24:00 may apply to a revival which

opens after a period of eight (8) weeks from the final performance of the previous

production (see Clauses 60:06(C) and 62:07(C)).

24:15 Transfer

A transfer will be allowed a maximum of one (1) week's rehearsal prior to the first public

performance comprised of six (6) days of rehearsal for seven (7) out of eight-and-a-half

(8-1/2) hours. The provisions of Clauses 60:06 and 62:07 shall apply.

24:16 Notes

(A) Stock and Single Productions

Following the first public performance, and up to and including the official opening,

the Artist may be called for notes following a performance to a maximum of thirty

(30) minutes, up to three (3) times per production or one (1) call of one (1) hour

and one (1) call of thirty (30) minutes per production.

Subsequent to the official opening, the Artist may be called for thirty (30) minutes

per week per production.

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(B) Repertory

Following the first public performance, and up to and including the official opening,

the Artist may be called for notes following a performance to a maximum of thirty

(30) minutes, up to three (3) times per week or one (1) call of one (1) hour and

one (1) call of thirty (30) minutes per week.

Once per production, and during the first fourteen (14) days after the first public

performance, one (1) of the permitted note sessions to a maximum of thirty (30)

minutes may be scheduled on a two (2) performance day, in which case sixty (60)

minutes will be deducted from the Artist’s next rehearsal call (per Clause

24:16(C)). All Artists called to this note session must receive at least twenty-four

(24) hours’ notice. Under no circumstance shall any Artist be called to two (2) note

sessions in a single day.

Subsequent to the official opening, the Artist may be called for thirty (30) minutes

per week.

The following conditions shall apply to the note calls referred to in (A) and (B)

above:

(i) Notice

(a) up to and including the official opening, they may take place on fifteen

(15) minutes' notice, in which case the time taken for the call will be

deducted from the Artist's next rehearsal call; or

(b) the time taken for the call may be deducted from that day's rehearsal

call for the Artist, in which case twenty-four (24) hours notice will be

given.

notice of a note call must be given, and the time taken for the call will

be deducted from that day's rehearsal, if there is one (1), or,

otherwise, the Artist's next rehearsal call.

(d) There shall be no note call on a two-performance day.

(ii) Scheduling

(a) Note calls must begin fifteen (15) minutes after the final curtain.

(b) A note call may not extend past 12.30 a.m.

25:00 COSTUME FITTINGS

25:01 Hours

The Theatre is granted a total number of free hours for costume fittings which cannot

exceed two (2) hours for each play per season per Artist. The Theatre shall not require

the Artist to perform this duty on the Artist's Free Day or during meal breaks. A costume

fitting may not be scheduled outside of the allowable rehearsal hours on an extended

rehearsal day. However, in the event of an unforeseen circumstance which necessitates

a costume fitting outside of the allowable rehearsal hours on an extended rehearsal day

the Artist may be called for up to one (1) additional hour and paid at not less than the

additional service rate stipulated on line four (4) of Schedule A in the current CTA Fee

Booklet.

Travel to and from fittings shall constitute part of the costume fitting time.

25:02 Additional Fittings

Should the Artist be required by the Theatre for costume fittings in excess of the hours

provided for in Clause 25:01, such calls shall either be scheduled during the Artist’s

allowable rehearsal hours or the Artist shall invoice the Theatre at the rate stipulated on

line one (1) of Schedule "A" in the current CTA Fee Booklet.

For the purposes of this Clause, a costume fitting shall not be considered a rehearsal.

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25:03 Costume Fittings Before the Engagement Period

Should the Artist, at the request of the Theatre, attend costume fittings before the

engagement period for which they are contracted, the Artist shall invoice the Theatre at

the rate stipulated on line one (1) of Schedule "A" in the current CTA Fee Booklet

(minimum one (1) hour) for the actual time of the fitting, if the fitting takes place in the

Artist's place of residence, or if the fitting takes place at a location other than the Artist's

place of residence, but the Artist is not required to travel to said location specifically for

the fitting.

When the Artist is requested by the Theatre to travel to a location outside their place of

residence for a costume fitting, they shall be compensated at a rate of one-seventh (1/7)

of the applicable minimum fee (plus their per diem, if applicable) and shall be reimbursed

for travel and meal expenses incurred.

25:04 Official Call

The Artist must consider a costume fitting as an official call and must present themselves

as required, unless said fitting invades their meal break or overnight rest period.

If the Artist is late for or fails to attend a scheduled costume fitting, the provisions of

Clause 11:02 shall apply.

26:00 PERFORMANCES

26:00 Preamble

All performances or rehearsals for which admission is charged (except bona fide

benefits permitted by the CTA) are to be counted and considered as performances for

which the Artist is to be paid.

26:01 Half-Hour Call

All performances must include a Half-Hour Call.

Notes may not be given to the Actor during the Half-Hour Call or any intermission except

by Equity Stage Management or under the supervision of Equity Stage Management

where the note concerns health or safety.

At the Theatre's discretion, the "Half-Hour Call" shall be deemed to be either thirty (30)

or thirty-five (35) minutes. The Theatre shall advise the Artist which Half-Hour Call it is

using.

26:02 Maximum Number of Services in a Performance Week

(A) Combination of Services

Once in a production, the week’s work may consist of not more than eight (8)

performances, or a combination of performances, Dress rehearsals and Run-

Through Rehearsals, as defined in Clause 18:47(A), not to exceed eleven (11) in

total.

Thereafter, a week's work shall consist of not more than eight (8) performances

or a combination of performances, Dress Rehearsals and Run-Through

Rehearsals, as defined in Clause 18:47(A), which shall not exceed nine (9) in

total.

(B) Excess Services in a Week

For each performance, Dress Rehearsal or Run-Through Rehearsal in excess of

the allowance stated in Clause 26:02(A), the Theatre shall pay each Actor and

each stage management personnel a sum equal to two-eighths (2/8) of their

weekly Contractual Fee.

26:03 Maximum Number of Performances in a Day

If more than two (2) performances are given or begun on any one (1) day, each

subsequent performance on that day shall be counted as an extra performance and shall

be paid for at the rate of two-eighths (2/8) of the Artist's Contractual Fee, even though

the total number of performances given during the week is eight (8) or less.

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26:04 Breaks Between Performances

(A) Requirement

The break between performances shall be no less than one (1) hour (excluding

the Half-Hour Call). But if the break is less than one (1) hour, excluding the Half-

Hour Call the following provisions shall apply:

(i) Additional Services Provided During the First Half-Hour

For additional services provided during the first half-hour or part thereof,

the Theatre shall provide and pay for a full dinner for the Artist or the Artist

shall invoice the Theatre at the rate stipulated on line seven (7) of Schedule

"A" in the current CTA Fee Booklet should the Artist choose.

(ii) Additional Services Provided During the Second Half-Hour

For additional services provided during the second half-hour or part thereof,

the Artist shall invoice the Theatre at the rate stipulated on line seven (7) of

Schedule "A" in the current CTA Fee Booklet in addition to (i) above.

(B) Alternative

However, as an alternative to the above, the Theatre may apply the following

provisions:

On a two-performance day when the time span between the Half-Hour Call for the

first performance and final curtain of the second performance is four-and-a-half

(4-1/2) hours or less (five (5) hours or less when both performances contain at

least a fifteen (15) minute intermission), only a one (1) hour break, inclusive of the

Half-Hour Call for the second show, is required and the above-mentioned (Clause

26:04(A)) meal penalty will not apply. For additional services provided during the

one (1) hour break, the Artist shall invoice the Theatre at the rate stipulated on

line eight (8) of Schedule "A" in the current CTA Fee Booklet.

For additional services provided in excess of either the four-and-a-half (4-1/2)

hour or five (5) hour time span, the Artist will invoice the Theatre at the rate

stipulated on line one (1) of Schedule "A" in the current CTA Fee Booklet.

26:05 End of Performance Call

On a performance day the Theatre will endeavour to include fifteen (15) minutes at the

conclusion of the curtain-call to allow Actors to remove costumes/makeup. In no case

shall the Theatre provide less than five (5) minutes for this purpose. The time provided

to remove costumes/makeup shall be considered part of the performance call.

26:06 Voluntary Talkbacks

The Theatre may request an Artist to participate in a talkback following a performance.

The Theatre acknowledges that the participation of an Artist is completely voluntary,

therefore, an Artist cannot be compelled or required to take part in a talkback.

26:07 Maximum Number of Performances in a Three-Day Period

No more than five (5) performances and dress rehearsals combined (excluding technical

dress rehearsals) may be given in any three (3) consecutive day period, unless that

Artist is paid an additional two-eighths (2/8) of their Contractual Fee for each

performance in excess of five (5) combined performances and dress rehearsals

(excluding technical dress rehearsals) in any such three (3) consecutive day period.

26:08 Free Day

There shall be no performances on the Free Day, except as provided for in Clause 8:01.

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26:09 Notice of Changes

The Theatre will advise the Artist, to the best of its knowledge, the anticipated

performance schedule at the time of negotiation of the Artist's contract, and further

advise if the performance schedule may be subject to change at some point during the

run of the production.

The Artist will be notified at least twenty-four (24) hours in advance of any change in the

performance schedule, and, whenever possible, forty-eight (48) hours notice will be

given.

However, the cancellation of a performance on less than twenty-four (24) hours notice

shall not constitute a breach of this Clause.

26:10 Overnight Rest

There shall be a minimum of twelve (12) hours between the end of one day's work and

the call to work on the next day. During this overnight rest period, the Artist shall not be

required to perform any services or obligations for the Theatre except in accordance

with the provisions of Clauses 16:19, 18:38 and 24:03(D).

27:00 CLOTHES, MAKEUP, MUSICAL INSTRUMENTS AND PROPS

27:01 Provision of Costumes and Clothing

The Theatre shall furnish and pay for all costumes and clothing necessary and

appropriate for performance as well as wigs, hairpieces, hats, footwear, accessories and

properties. All footwear shall be in good condition and properly fitted in respect to

comfort and safety (e.g., dance, fight scenes, etc.).

When a costume requires specific undergarments, the Theatre shall furnish and pay for

them.

27:02 Personal Clothing and Hair Piece(s)

(A) Negotiated Terms of the Rental

No Artist shall be required to provide any wardrobe or hair piece(s) to a Theatre

for use in any production unless the terms of the rental, including a negotiated

rental fee (which cannot be zero), are stated in a rider to the Artist’s CTA

Engagement Contract. The rental fee must be paid by the Theatre to the Artist

with the Artist’s Contractual Fee payment.

(B) Consent of Theatre

If an Artist requests to wear their own hair piece(s), clothes and/or shoes instead

of those supplied by the Theatre, they may do so only with the consent of the

Theatre.

In the case of (A) and (B) above there must be a rider to the Artist's contract

executed which clearly stipulates the replacement value of the Artist's wardrobe

item in the event of loss or damage, and the agreement of the Theatre to

reimburse the Artist for that amount should such loss or damage occur pursuant

to the provisions of Article 32:00.

27:03 Makeup

The Actor is required to provide only a basic stage makeup kit consisting of

foundation/base, waterproof mascara, eye pencil, eyebrow pencil, neutral lip and cheek

colour, and application tools as needed. Where applicable, this kit will also include

supplies to cover tattoos if the needs of the production require that they be covered. All

other makeup shall be provided by the Theatre with appropriate consideration for the

Artist’s skin tone and features.

At the time of contracting, it is the responsibility of the Artist too notify the Theatre of any

allergies and/or sensitivities to makeup, as well as any visible tattoos. The Artist will be

actively consulted regarding their hair and makeup in accordance with Clause 10:04 (B).

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27:04 Tattoo Coverage & Body Makeup

(A) Tattoo coverage

Should the Actor be required to cover visible tattoos, and the Theatre advised

them of this at the time of contracting, it will be the responsibility of the Actor to

provide the products and supplies required for such coverage.

(B) Body Makeup

Where the needs of the production require the Actor to wear body makeup, the

Theatre will provide the necessary makeup, supplies, and facilities to apply and

remove the makeup. The Actor must give the Theatre notice if they require

specialized makeup due to sensitivities or allergies at the time the Theatre

discusses such design elements with the Actor.

Suitable bathing facilities must be available if the Actor is required to use body

makeup. Where such facilities are not available, the Actor may agree to wear body

makeup on condition that they are provided with protective clothing which the

Theatre shall be responsible for cleaning.

If the Actor’s personal clothing requires cleaning due to body makeup, the Theatre

will arrange for cleaning at its expense or reimburse the Actor for such costs on

presentation of receipts.

If the Actor is required to use body makeup or cover visible tattoos, the Theatre

shall launder towels daily for removal of such makeup.

27:05 Cleaning and Upkeep

(A) Cost of Cleaning

The Theatre agrees to reimburse the Artist for the cost of cleaning such article of

the Artist's personal wardrobe or hairpiece used in the production, upon

presentation of a receipt. As an alternative, the Theatre may, at its own expense,

clean the Artist's personal wardrobe or hairpiece. The Theatre and the Artist may

agree upon the number of cleanings required (no less than provided for in (C) and

(D) below), and this shall be included in the rider required by Clause 27:02(A)

above.

However, during the last week of an Artist's engagement, the Theatre shall pay to

the Artist a sum equivalent to the prevailing rate for cleaning the article and a

receipt need not be presented by the Artist to the Theatre.

For the purposes of this Clause, an article shall be defined as an element of

costume and clothing as defined in Clause 27:01, and shall additionally include

hairpieces.

(B) Repairs

The Theatre further agrees that any article of apparel from the Artist's personal

wardrobe used in the production will be repaired or replaced if damaged during

production.

Costumes worn by the Actor are to be cleaned or kept sanitary at the Theatre's

expense at least once every two (2) weeks or more often if necessary, and in any

case within one (1) week before the show goes on a tour of two (2) weeks or

longer.

Beards and hairpieces furnished by the Theatre shall be freshly cleaned when

delivered to the Actor and cleaned thereafter whenever necessary but at least

every three (3) weeks. Lace in all beards, moustaches and hairpieces will be

cleaned daily.

No Actor shall be required to use a wig or hairpiece, including a facial hairpiece,

which has been worn by another Actor until the hairpiece or wig has been

thoroughly cleaned and properly fitted. After cleaning, hairpieces must be dried

and aired prior to issue to the Actor.

This provision may be waived in the case of an emergency.

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A schedule of such cleaning shall be maintained by the Liaison and Stage

Manager.

(D) Undergarments

Stockings, shirts, and other "skin parts" of costumes and/or clothes supplied by

the Theatre shall be laundered daily by the Theatre.

(E) Sanitary & Dry Condition

The Theatre shall not require the Artist to wear any costume, clothing, hat or

footwear that is not in a thoroughly sanitary and dry condition.

27:06 Kneepads

The Theatre shall furnish kneepads when necessary for rehearsal and/or performances.

27:07 Understudies

Except in the case of emergencies, the Understudies must be furnished with clean

costumes when called upon to perform. In any event, the Theatre must provide the

Understudies with properly fitted shoes.

27:08 Hair Style or Colour

No Actor may be required to change the colour and/or style of their hair or shave their

head or grow or shave their beard unless a rider outlining these requirements is

negotiated, signed and appended to the CTA Engagement Contract. The Theatre shall

pay for the expense of changing the colour and/or style and of its up-keep during the run

of the engagement and of the restoration to the original colour and/or style at the close

of the engagement.

Should it prove impossible, for any reason, for the hair to be restored to its original

colour, and/or style or should the Artist suffer any permanent loss or damage to their

hair as a result of a required change in colour and/or style in the first place and/or of its

subsequent restoration provided that restoration of the style is not simply a matter of the

hair growing back to its original length, then the Theatre shall continue to pay the Artist

their Contractual Fee until the hair and/or its former colour is restored, but for a period

not to exceed fifty-two (52) weeks beyond the termination of their individual contract.

When the Artist is required to shave their head, the Theatre shall provide a wig

satisfactory to the Artist for their personal use.

For particular considerations regarding the hair of Artists who identify with

underrepresented racial groups, the provisions of Article 10:04(B)(ii) shall apply.

27:09 Provision for Musical Instruments or Props

(A) Musical Instruments

When an Artist agrees to provide their own musical instrument the negotiated

rental fee (which cannot be zero), insurance coverage/replacement cost and

agreed upon reimbursement costs for consumables (reeds, strings, etc.) shall be

included in a rider to the Artist’s contract. Additionally, the negotiated fee shall

reflect the market rental fee for a comparable instrument at the time of the rental.

(B) Props

When an Artist agrees to provide a prop for use in a production the negotiated

rental fee (which cannot be zero), and insurance coverage/replacement cost shall

be included in a rider to the Artist’s contract.

27:10 High Heels

When an Artist is requested by the Theatre to wear footwear with a heel that is

significantly higher than the toe (such as court shoes or stilettos) due to production

design, proper risk assessments shall be done to determine the needs of the Artist and

identify any safety risks. The footwear shall be provided as early in the rehearsal process

as possible. Upon the Artist’s request, accommodations and/or alternative flat footwear

shall be provided.

27:11 Identity Respect in Hair, Makeup, and Costumes

Per Article 10:04(B)(ii), Artists identifying with Underrepresented Groups will be actively

consulted regarding hair treatment, makeup, and costuming, with consideration for

textured hair, skin tone, body type, and any other needs or supports related to identity.

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28:00 WORKING ENVIRONMENT, HEALTH AND SAFETY

The Theatre agrees to provide the Artist with safe and sanitary places of engagement.

The Theatre further agrees that it is subject to the health and safety standards

established by the province in which it is located. In the absence of provincial guidelines,

the Theatre agrees that the "Safety Guidelines for the Live Performance Industry in

Ontario" provide a basis of acceptable health & safety standards, by which the provisions

of this Article are to be interpreted.

28:01 Dressing Rooms

(A) Dressing Rooms Provided to Artists

(i) Appropriate Dressing Rooms

The Theatre shall provide appropriate dressing rooms for all Artists. Stage

Management personnel will have access to dressing rooms when they are

required to be in costume.

(ii) Dressing Room Access

During performances, the dressing rooms shall be maintained for the

exclusive use of the Artists. At times other than during performances when

the Artists' use of the dressing rooms is not possible, the Stage Manager

shall be notified in writing twenty-four (24) hours in advance. In such a

circumstance, the Theatre shall provide a secure storage space for the

Artists' personal effects.

(B) Required Equipment

Dressing rooms shall have lights, mirrors, shelves and wardrobe hooks for the

Performers' makeup and personal clothing and table space for each Performer. A

sink with hot and cold running water shall be available in, or reasonably

convenient to, the dressing rooms.

If the auditorium is air conditioned, all dressing rooms shall be air conditioned. If

the auditorium is not air conditioned, the Theatre shall provide mechanical devices

(Canadian Standards Association approved) in dressing rooms to ensure proper

ventilation and the circulation of fresh cool air. Similarly, in cold or cool weather,

the Theatre shall provide devices (Canadian Standards Association approved) in

dressing rooms where heating is deficient, to ensure the maintenance of a

comfortable temperature.

(D) Sanitary Toilets and Sinks

Toilets and sinks will be clean and sanitary, and will be separate facilities from

those provided for the audience. They must be maintained in good working order

at all times, and shall be provided with toilet paper, soap and towels. (See Clause

27:04 regarding body makeup).

(E) Open-Air & Tent Theatres

In all open-air and tent theatres, the Theatre shall make available covered

rehearsal space meeting the requirements of this Article.

28:02 Access to Theatre

(A) Outside

Unless the Artist is reasonably protected from the elements, the Artist may not be

required to go outside the theatre building during the course of a performance and

runways between dressing rooms and the theatre shall be covered and paved or

boarded.

(B) Stage Doors

Access to stage doors of the theatre shall be safe, clean, and properly lighted.

In all arena theatres, there shall be no riser which is not part of the set placed

between the runway and the stage, unless a ramp or other levelling device is

provided.

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28:03 Temperature, Air Circulation and Lighting

(A) Dressing Rooms, Warm-Up Areas and Performance Areas

The Theatre agrees to maintain dressing rooms, dance warm-up areas, and

places where the Artist is required to rehearse or perform indoors, at a reasonable

and constant temperature, said temperature to be no less than eighteen (18°C)

degrees Celsius and no more than thirty (30°C) degrees Celsius. The provisions

of this Clause will have been satisfied if the temperature at floor level measured

one-half (1/2) hour before the commencement of rehearsals and/or performance,

is eighteen (18°C) degrees Celsius to thirty (30°C) degrees Celsius. However,

minimum temperature in the dressing rooms must be achieved at least two (2)

hours before curtain time.

(B) Booth or Calling Area

Any booth or room from which the Stage Manager must call cues shall be

equipped and maintained for air circulation, proper lighting, and must be safely

accessible.

Weather conditions will affect open air and tent theatres. If weather conditions

constitute a threat to the health and safety of the Artists, the Stage Manager,

Equity Liaison, and Theatre's designated representative shall jointly decide how

to proceed.

28:04 Fire Drill

The Theatre shall arrange at least one (1) fire drill per production in each location in

which Artists are working under CTA Engagement Contracts. The Theatre shall provide

Stage Management with a Fire Procedure List for all said locations. A copy of the Fire

Procedure List will be prominently posted in each of those locations by the first day of

rehearsals.

28:05 Blackouts

In all theatres, the Stage Manager shall ensure that any areas which may be affected

by blackouts shall be adequately illuminated with guide lights and/or delineated with

phosphorescent tape.

28:06 Extraordinary Risks

(A) Responsibility of the Theatre

The Theatre accepts responsibility for the safety of the Artists in the training and

execution of Extraordinary Risks. The Theatre shall engage qualified individuals

for the purpose of instructing the Artists in the performance of the following

Extraordinary Risks:

(i) the performance of acrobatic feats; suspension from trapezes, wires, or like

contrivances;

(ii) the use of or exposure to weapons, fire, dangerous chemicals, or

pyrotechnical devices;

(iii) stage fighting; and

(iv) the handling of unusual live animals.

(B) Rider

An Artist shall not be required to perform an Extraordinary Risk unless said Risk

is stipulated in a rider to the contract.

28:07 Stage Fighting

(A) Requirement

If, in accordance with Clause 28:06(A) and Article 61:00, the Theatre engages a

Fight Director, and if that person is not engaged for the duration of the production,

the Theatre, in consultation with the Fight Director, shall assign a "Fight Captain"

to monitor the stage fight(s) for the duration of the production.

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(B) First Aid Equipment

First aid equipment shall be readily available at all rehearsals and performances

involving stage fighting.

28:08 Rakes, Safe Surfaces and Platforms

(A) Rehearsal or Performance

Artists shall not be required to rehearse or perform on a surface which is unsafe.

The Stage Manager and Liaison will consult with the Theatre if it appears that a

surface is unsafe. The Stage Manager, Liaison and Theatre's representative shall

jointly decide whether the rehearsal or performance can take place, or what steps

can be taken to proceed safely.

(B) Dance

Artists shall not be required to dance or warm up on any surface which is unsafe,

or may be the cause of an injury to an Artist, including but not limited to concrete,

marble, wood or on any other substance laid directly over such a floor which does

not provide an air space of at least one and five-eighths (1-5/8) inches between

the structural floor and the dancing surface. The Stage Manager and the Equity

Liaison will consult with the Theatre or the Theatre's representative if it appears

that the performing surface or warm-up area does not conform with the above.

The Stage Manager, Liaison, and the Theatre's representative shall jointly decide

whether the rehearsal or performance can take place. A Dancer chosen by the

Dancers to represent them or the Dance Captain will participate equally in the

consultative process described above, and shall have the authority to request

adapted footwear and/or choreography in order for the rehearsal or performance

to proceed in a safe manner.

Where a raked stage is used in a production an Artist shall not be required to

rehearse choreographed movement on said stage more than four (4) hours per

day on a seven-and-a-half (7-1/2) hour day (or five (5) continuous hours when

such a call is the only call of the day).

If the first rehearsal call on which the Artists are required to rehearse on the raked

stage is an extended rehearsal day, rehearsal of choreographed movement shall

be limited to four (4) hours. Nevertheless, the remaining rehearsal hours may be

used for non-choreographic rehearsal purposes.

In all cases the Artist shall have access to an unraked or counter-raked surface.

The Theatre and Equity agree to consult with PACT in order to arrive at a decision

to protect the physical safety of the Artists involved if it appears a raked stage is

unsafe or may cause injury to an Artist. For the purposes of this Clause, an unsafe

rake shall be considered to be one that exceeds an incline of one (1) inch in twelve

(12) inches.

Prior to the construction of any raked stage where the rake will be greater than

one (1) inch per twelve (12) inches, the Theatre shall promptly notify Equity of

such plans and provide such information as Equity may reasonably request.

When a Theatre is utilizing a set from a prior production, said notice may not be

possible and the Theatre agrees to notify Equity as soon as a determination is

made that such set will be utilized.

(D) Platforms, Orchestra Pits and Traps

The edges of platforms and raised stages must be clearly delineated. Where a

portable stage is used, platforms must be securely fastened together and evenly

joined. Should the joins cause an uneven surface, the stage must be completely

covered to ensure a safe and level surface.

Orchestra Pits or traps not in use shall be netted or covered to ensure the Artists’

safety.

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(E) Consultation

For the purposes of this Clause, whenever consultation with the Theatre's

representative is required and the representative is not present, every reasonable

effort will be made to contact the Theatre and effect such consultation and take

any necessary action before work resumes.

28:09 Cot

The Theatre shall provide a cot for any Artist who may become ill during a rehearsal or

performance.

28:10 First Aid Kits

First aid kits, stocked with adequate supplies, shall be available and easily accessible

at all times to dressing rooms and rehearsal areas. First aid kits must meet or exceed

the applicable Provincial standards requirements.

28:11 Permanent Dressing Rooms

Dressing rooms (except quick-change booths) shall be of a permanent type, and shall

not be only under canvas.

28:12 Drinking Water

Ample, pure, cool drinking water shall be provided wherever the Artist is required to

rehearse or perform.

28:13 Intercom System

A program sound system between the stage area and dressing rooms shall be installed

in all resident theatres, unless the Theatre, Stage Manager, and Liaison agree that the

dialogue from the stage is clearly audible in the dressing rooms. In the case of a

disagreement, the Liaison shall notify Equity and the Theatre shall notify PACT.

28:14 Equity's Right to Inspect

The Theatre agrees that Equity's representatives shall have the right to inspect its

facilities to determine whether the safe and sanitary requirements set forth in the

preceding Clauses have been complied with. Except in the case of any emergency,

Equity will endeavour to provide twenty four (24) hours notice to the Theatre in advance

of any inspection. The representative shall report any deficiencies to Equity in writing,

and shall also furnish the Theatre with a copy of their report. Upon receipt of the report,

Equity will notify the Theatre, in writing, to correct the deficiencies. Unless the Theatre

then either corrects the deficiencies or gives Equity assurance satisfactory to it that such

deficiencies will be promptly corrected, the Executive Director of Equity may certify the

facilities as unauthorized for rehearsals, for performances, or for both, as the Executive

Director of Equity may determine. Upon such certification and until correction of the

deficiencies or the giving of assurance satisfactory to Equity that the deficiencies will be

corrected within a reasonable time, Equity may require its members to refrain from

rehearsing and/or performing in the Theatre's facilities.

28:15 Tours

There may be occasions while on tour when performances occur in a facility other than

a theatre, where the conditions of Article 28:00 cannot be met, in whole or in part. In

such circumstances, and provided that the company manager, Stage Manager and

Equity Liaison agree that the actual physical safety of the Artists is not in jeopardy, the

performance shall take place as scheduled.

The company manager and/or Stage Manager and the Equity Liaison shall be

responsible for consulting with the Theatre and Equity whenever possible prior to the

decision to proceed or not to proceed.

28:16 Unsuitable Facilities

The Theatre agrees to notify Equity and PACT of all facilities deemed unsuitable for

rehearsals and/or performances. These facilities shall not be used for rehearsals and/or

performances by PACT Theatres until the deficiencies are remedied and the standard

of the facility accords with the provisions of Article 28:00.

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28:17 Scent Awareness

The Theatre and the Artists are encouraged to be sensitive to the needs of their

colleagues with respect to scents. For the workplace, an individual is encouraged to use

only unscented personal hygiene products (e.g., shampoo and conditioners,

deodorants, soaps, lotions, creams) and to avoid wearing perfumes, fragrances,

aftershaves or colognes.

If an individual is concerned about scents or perfumes used by another individual in the

workplace, they are encouraged to discuss their concerns directly with that individual in

a sensitive and discreet manner. If such a one-to-one discussion is not possible, the

Artist should bring their concern to a Theatre representative. Once the matter is brought

to the attention of the Theatre’s representative it is the Theatre’s responsibility to attempt

a resolution.

28:18 Threats to Safety

In a situation where there is a threat to the safety of the Artist or place where the Artist

is required to be, by reason of fire, acts of God, acts of the public enemy, and similar

causes, the Artist may immediately cease all work and remove themselves to a place of

safety. They may not return until they have been assured to their satisfaction that the

appropriate public authority (e.g., police, fire department, health authorities) has dealt

with the situation and has authorized the continuation of work.

28:19 Hazardous Materials

The Theatre will abide by the applicable provincial health and safety legislation with

regard to the use of hazardous materials. To the best of its ability, the Theatre will ensure

that chemical ingredients used to create special effects for a production will not be

harmful to the Artist. Should an Artist develop a medical problem as a result of exposure

to said special effect, they shall report this matter to the Theatre and shall consult a

physician as soon as possible. Upon written advice of the physician to the Theatre, said

Artist may cease rehearsing and/or performing. If the use of the chemical ingredient

continues, and/or the Artist is unable to continue their engagement, the contract of the

Artist may be terminated in accordance with Clause 38:14. The Theatre and the Artist

will promptly notify Equity. However, the Artist must be reinstated upon recovery if they

so desire, on terms no less favourable than their original contract.

28:20 Perceived Risk

With respect to Article 28:00, whenever the Artist perceives a risk to their health and/or

safety, the Artist shall immediately report said risk to the Stage Manager and the Liaison.

The Artist shall not be required to proceed with any work involving said risk until such

time as the situation is resolved, or until the Stage Manager, Liaison and Theatre jointly

have deemed that no such risk exists.

28:21 Consultation & Notification

Should any circumstances arise in respect to health and safety which require

consultation among the Stage Manager, Liaison and Theatre, then the Liaison shall

notify Equity and the Theatre shall notify PACT as soon as possible.

28:22 Flying Set Pieces and Large Moving Scenery

In productions utilizing flying set pieces and large moving scenery, the Stage Manager

and Liaison, in consultation with the Theatre's technical staff, may insist on a walk-

through rehearsal in work light conditions, to acquaint the Performers with the movement

and timing of the scene changes during which one or more Performers will be on stage

for some or all of the scene change.

28:23 Accident and Incident Reporting

When an Artist is involved in an accident or incident that results in, or may potentially

lead to, time off or modified work, and the Theatre is informed of the accident or incident,

the Theatre shall file a report. The Theatre will file a copy with Equity of any provincial

public agency reports or any accident or incident report generated by the Theatre or

Stage Manager. Reports need not be filed in the case of common illness or minor

injuries.

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29:00 ARTIST’S HOUSING IN THE POINT OF ORIGIN

29:01 Theatre’s Responsibility to Provide Housing

It shall be the Theatre’s responsibility to locate and reserve suitable housing.

When the Theatre is not providing housing, the Theatre will furnish the Artist with an up-

to-date list of available housing. The list will comprise no fewer than three (3) available

housing options in different price ranges. Should the Artist refuse a choice of reasonable

housing within the provisions of this Clause, the Theatre shall be relieved of any further

obligation with respect to housing.

Where the Theatre is providing housing at no cost to the Artist, the Theatre shall not be

required to provide housing options. In the event that an Artist declines the Theatre’s

offer to provide housing at no cost to the Artist, the Theatre is then required to provide

the list of three (3) available housing options.

The Theatre will arrange to either have the Artist met on their arrival in the town, or to

instruct them in advance where to go on arrival.

29:02 Information Provided to Artist

The Theatre warrants and guarantees that the housing for the Artist will be clean, safe,

secure, sanitary and accessible if required. The Theatre will inspect the housing that it

is making available to the Artist prior to supplying information about the housing.

The Theatre will supply the Artist with detailed and accurate information regarding

housing as soon as possible, but in no event no later than six (6) weeks prior to arrival,

including:

(i) Description and photographs of the housing including furnishing and appliances

that will be available. (e.g., TV, bedding, dishes, internet, etc.)

(ii) Whether smoking is permitted

(iii) Whether pets are permitted or present

(iv) Lease conditions

(v) Size of housing

(vi) Distance to the rehearsal hall performance venue or public transportation

(vii) Security deposit information

(viii) Whether housing may be shared and the names of the other tenants, if known.

29:03 Payment of Deposits

Should the Theatre be requested in writing to make a reservation on behalf of the Artist

and a deposit is required in advance, the Theatre will provide the deposit and then

deduct the amount from the Artist’s weekly Contractual Fee.

29:04 Accessibility of Housing

It is the Artist’s responsibility to inform the Theatre of any accessibility and/or health

needs prior to housing being arranged. The Theatre will accommodate accessibility

needs and undertake best efforts to reasonably accommodate other health needs.

Accessible housing will be of the same standard as housing for the other Artists engaged

on the production. Further, the Theatre agrees to pay the difference between the

average cost of the housing options provided per Clause 29:01 and the cost of

accessible housing as required.

29:05 Public Transportation

In all cases where housing is not within two (2) kilometres of the Theatre’s rehearsal or

performance venue by a safe, normal transportation route, or within one (1) kilometre of

accessible public transportation, the Theatre shall furnish reasonable, safe

transportation. For those Artists who identify the need for transportation assistance with

regards to any disabilities or concerns of personal safety, the Theatre will make

appropriate arrangements.

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30:00 TRANSPORTATION AND LUGGAGE

30:01 Air Transportation

The Theatre shall, at its own expense, transport the Artist from their place of residence

to the Theatre and return transportation shall be by Y-class airfare, or by train or coach

if air travel to the Theatre's Point of Origin is not available, unless otherwise negotiated

between the Artist and the Theatre, prior to the signing of the contract.

The use of the least expensive, yet reasonable form of transportation (especially as

regards air travel) is the spirit and intention of Clause 30:01.

30:02 Alternatives to Air Transportation

(A) Negotiated Transportation

Should transportation other than Y-class airfare be negotiated, it must be

negotiated after all the other terms of the contract have been negotiated. The

Theatre shall offer to the Artist such alternative forms of transportation and related

schedules (to a maximum of three (3) alternatives) as are available. These may

include reduced fare air travel, rail travel, commercial bus or private vehicle. The

Theatre and the Artist shall then negotiate the mode and schedule of

transportation to be used, including ground transportation, and the mode,

schedule, the cost if any, of any penalty if the schedule is changed, and the time

and date of the Artist's last performance or service to the Theatre must be

specified in the Artist's contract or in a rider thereto.

(B) Contractual Specification

If the Artist's contract does not specify all the information stipulated in the

preceding paragraph, the Theatre shall be obligated to pay the cost of transporting

the Artist up to and including the cost of Y-class airfare. Except in the cases of

prior or subsequent engagements or personal emergencies, the Artist shall be

required to travel both to and from the Point of Origin by the travel arrangements

agreed to in their contract. Should the Artist subsequently change these

arrangements for any other reason, the Artist shall be responsible for any

additional costs incurred. Likewise, should the Theatre subsequently change

these arrangements, it shall be responsible for the payment of any costs incurred.

Should the Artist choose to use their own private vehicle, they shall receive

compensation as specified in the current CTA Fee Booklet, or the cash equivalent

of the least expensive airfare available to the general public at the time of

contracting, whichever is the lesser.

The Artist must inform the Theatre at the time of negotiating their contract of the

Artist's intention to use their private vehicle. Otherwise, if the Theatre has made

travel arrangements which cannot be cancelled without loss to the Theatre, the

Artist shall receive only the compensation outlined above, less whatever costs

have been incurred by the Theatre by virtue of the cancellation. If the cancellation

penalty exceeds the compensation to which the Artist would be entitled, then the

Theatre shall be absolved of responsibility for transportation costs.

(D) Reimbursement for Travel Insurance

The Theatre will reimburse the Artist for purchase of travel insurance with a claim

value up to a maximum of eighty thousand dollars ($80,000) upon presentation of

premium receipts. Where public transportation is unavailable, the Theatre shall

transport the Artist by whatever means of transportation is available.

(E) Overnight Travel

Unless chosen by the Artist, no overnight travel may be scheduled under this

Article, except where first-class sleeping arrangements are available. If the Artist

has travelled overnight, there must be at least four (4) hours between the time of

arrival at the Point of Origin and the start of the first rehearsal.

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(F) Ground Travel to and from Airport

The Theatre is responsible for the Artist's transportation expenses to and from the

terminal at the Artist's place of residence and between the terminal and Theatre

and/or the Artist's lodging in the Point of Origin, including the cost of taxi fare

between the terminal and the Artist's residence, and the terminal and the Artist's

lodging and/or Theatre in the Point of Origin, if a taxi is used. Reimbursement will

be issued by the Theatre upon presentation of receipts. The Theatre may stipulate

the details and maximum allowable expenses for such "ground transportation" in

a rider to the contract at the time of negotiation of the contract. Reimbursement

will be issued by the Theatre upon presentation of receipts no later than fourteen

(14) calendar days after the production has closed.

(G) Consecutive Engagements

Where the Artist has a consecutive engagement under a CTA Engagement

Contract, the Theatre signing the consecutive contract of engagement shall

provide and pay for the Artist's transportation either:

(i) from the first Point of Origin to the second; or

(ii) from the Artist's place of residence to the second, whichever is less.

Where the transportation cost from the first Point of Origin to the second is less

than the transportation cost from the Artist's place of residence to the second

Point of Origin, the first Theatre shall be relieved of any obligation for return

transportation to the Artist. However, in any other case, the Theatre signing the

first contract of engagement shall be obliged to provide and pay for the Artist's

transportation back to their place of residence.

The Theatre signing the consecutive contract of engagement is obliged, in

addition to the above, to provide and pay for the Artist's transportation back to

their place of residence after the Artist has fulfilled their period of engagement.

It is the Artist's responsibility to inform the Theatre of any consecutive contract of

engagement and to return the balance due on any advance on return

transportation.

30:03 Luggage

The Theatre shall be responsible for the transportation or the cost of transportation for

up to three (3) large suitcases (or equivalent, acceptable to the means of transport

available), up to a maximum of one hundred and thirty six (136) kilograms.

In the case of air transportation the Theatre shall be responsible for the transportation

of luggage up to the maximum weight per bag and maximum linear dimensions as

permitted without surcharge by the airline. However, the Theatre shall be responsible

for the cost and transportation of not less than one (1) bag by air regardless of the

airlines policy regarding the number of allowable pieces without additional cost. Any

costs resulting from exceeding the one (1) bag noted above or the airline luggage

maximums (number of pieces, weight or dimension) shall be the sole responsibility of

the Artist.

The difference in weight between what was transported by air and the one hundred and

thirty six (136) kilograms maximum set forth above shall be transported by ground at the

Theatre’s expense. Transport of this additional luggage within the limits of this clause

will be discussed between the Artist and Theatre and appended as a rider to the CTA

Engagement Contract at the time of signing.

The transportation of luggage shall be from the Artist's place of residence to the terminal,

and/or the Point of Origin (either the Theatre and/or the Artist's place of lodging) and

back to the Artist's place of residence (unless the Artist has a consecutive engagement).

The Artist shall discuss with the Theatre any further luggage requirements.

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The Artist shall be responsible for arranging for the transportation of such luggage to

and from the terminal at their place of residence, and shall submit receipts to the Theatre

for reimbursement of the cost of such transportation. In the case of consecutive

engagements, responsibility for payment for transport of luggage shall be divided as per

Clause 30:02(G).

30:04 Transport Within Point of Origin

Whatever time is required by the Artist to move from one (1) rehearsal or performance

location to another will be constituted as rehearsal time and must be paid for as such. If

public transportation is not available, transportation must be provided by the Theatre, if

the distance is more than two (2) kilometres.

30:05 Remote Location

With respect to Clauses 30:04 and 29:05, at the end of a rehearsal or performance call

where the remote location of the Theatre, or the infrequency of public transportation or

the lateness of the hour could affect the Artist's safety, the Theatre will arrange for safe

and convenient transportation from the Theatre without cost to the Artist.

31:00 NUDITY AND ACTS OF INTIMACY IN PRODUCTION

31:01 Sex Acts

Actual sex acts or any acts of a sexual nature which are prohibited in public by the

Criminal Code of Canada shall not be required of any actor during rehearsals or

performances, nor of any other person in any rehearsals or performances in which any

Artist takes part.

31:02 Notification to the Actor

(A) Prior to Signing

To ensure a safe and respectful workplace, Artists are required to review the

material in any production that requires nudity or intimacy and address their needs

with the Theatre.

Where nudity and/or acts of intimacy are required, the Actor must be advised in

writing in advance of both auditioning and of signing the CTA Engagement

Contract, and the current script shall also be submitted to the Actor for review.

Once agreed, the details of the nudity or intimacy shall be attached to the CTA

Engagement contract in the form of a rider.

(B) Notice of Intimacy Rehearsal(s)

Actors shall be consulted on the scheduling of rehearsal(s) of intimate scenes.

Consultation should include the Director, the Stage Manager and other Artist(s)

in the scene(s).

If the Actor and/or Director, following consultation about scenes of intimacy, wish

to have an Intimacy Director available during rehearsals, their request shall not

be unreasonably denied.

Scenes of nudity or Intimacy must never be rehearsed without the presence of

the Director, Intimacy Director, or Intimacy Captain. In all instances, the Stage

Manager must be present.

Scenes of nudity or Intimacy should always be considered choreography and, as

such, should be recorded in detail in the Stage Manager’s prompt book.

Intimacy choreography, including the placement of backstage crew and any

cover-ups, must be rehearsed with the consent of all Artists involved and must be

locked and repeatable by opening night.

(D) In the Performance Space

Once in the performance space, it is strongly recommended an intimacy call be

held so that new collaborators may be familiarized with the choreography and

content. These new collaborators may include but are not limited to: technical

crew, creative personnel, musicians, extras and front of house staff.

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31:03 Rider to the CTA Engagement Contract After Signing

Where the requirement for nudity or intimacy arises or changes in the course of

rehearsal and the Actor(s) involved gives their consent, the detailed requirements of the

nature of the intimacy or nudity shall be stipulated in or added to the rider to the contract

as agreed to and signed by both the Actor and the Theatre and immediately filed with

Equity. The Actor is not obliged to give such consent. Should the Actor involved refuse

and should the Theatre decide to replace the Actor, then the Theatre will pay to the Actor

a penalty equal to double the applicable termination settlement or compensation for

each week to the end of the run of the production, whichever is the lesser amount.

32:00 PROPERTY, LOSS AND/OR DAMAGE TO

32:01 Reimbursement

Upon presentation of original receipt of purchase or proof of replacement value, the

Theatre shall reimburse the Artist for all loss and/or damage caused by the act, fault or

negligence of the Theatre, its representatives, agents, or employees, to:

(i) the Artist's property used, or to be used in connection with a production or

productions covered by their CTA Engagement Contract; and/or

(ii) the personal clothing worn by the Artist to the Theatre; and/or

(iii) the personal effects of the Artist including their luggage, while any such property

is wholly or partly in the possession or control or under the supervision of the

Theatre, or any of its representatives, agents or employees or while said property

is in any theatre building or other place where the Artist is required to be under

their CTA Engagement Contract, and where the Theatre has the ability to provide

reasonable security measures or when any such property or personal effects have

been in any way shipped, forwarded or stored by the Theatre, or any of its

representatives, agents, or employees.

32:02 Reimbursement Limits

The reimbursement shall be up to a limit as specified in the current CTA Fee Booklet for

the Artist's personal effects and clothing (excluding furs and jewellery); up to a limit as

specified in the current CTA Fee Booklet for the Artist's furs; and up to a limit as specified

in the current CTA Fee Booklet for the Artist's jewellery; except if the Theatre provides

facilities for safe-keeping the Artist's personal valuables, jewellery and/or cash, not used

in the production, while said articles are in any theatre, the Theatre shall be liable for

loss and/or damage only if said personal valuables, jewellery, and/or cash are given to

the Theatre, or its agent for safe-keeping. In this regard the Theatre agrees to provide

facilities for safe-keeping of said articles, and to inform all Artists of same and of

necessity for using such facilities under the provisions of this Article by a written notice

posted on the call board.

32:03 Theatre's Liability

The Theatre shall not be liable for any loss or damage to the property of the Artist while

said property is under the sole and exclusive control and supervision of the Artist.

32:04 Personal Property

Except as above provided, the Theatre shall not be responsible for any loss and/or

damage to the personal property of the Artist, over and above the limitations herein set

forth. With respect to such property it is the responsibility of the Artist if they desire to

protect themselves against loss to insure same.

32:05 Insurance

The Theatre may meet the foregoing obligations by maintaining adequate and sufficient

insurance coverage which shall provide the same protection as the Theatre thereby

assumes. Upon the direct payment of any damage or loss to the Artist by the Theatre,

the Theatre or Insurer shall be subrogated to all rights of the Artist to the extent of such

payments.

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33:00 POSTING OF SECURITY

33:01 Maintenance of Satisfactory Security

(A) Requirement

It is the essence of the CTA and all CTA Engagement Contracts, and a condition

precedent to the engagement of the Artist, which the Theatre shall file and

maintain with Equity satisfactory security as required by this Clause. Such

satisfactory security shall include agreements in the form of Letters of Credit and

Security Agreements.

(B) Liability

If contracts are issued to Artists without the Theatre having posted security in

accordance with Clause 33:02, upon notification by Equity, the Theatre shall be

liable for payment of one (1) week's minimum fee for each contract so issued,

unless proper security is arranged within one (1) business day, such monies to

be payable to Equity to be used for unsatisfied judgements.

33:02 Calculation of Amount

(A) Standard and Peak Security Requirements

(i) Forms of Acceptable Security

The Theatre shall be ineligible to engage Equity members unless and until

it shall have arranged or deposited with Equity cash, a Letter of Credit

(using sample wording agreed to by Equity and PACT), or an Equity

approved Bond Insurance Program surety sufficient to ensure the payment

of Artist's Contractual Fees for the maximum number of Artists to be

engaged during a production or season.

(ii) Calculation of Amount

The cash, Letter of Credit, or Equity approved Bond Insurance Program

surety shall be equal to Contractual Fees for two (2) weeks (for Directors,

Choreographers, Fight Directors and Intimacy Directors contracted on a per

production basis the security required is the total Contractual Fee) plus an

additional percentage equivalent to the percentage total of GST, HST, or

QST dependent on the Theatre’s Point of Origin for each Artist engaged by

the Theatre.

(iii) Security Increase Required For Touring

In the case of touring, the security shall be increased by the equivalent of

fourteen (14) days of the Artists' per diem. Letters of Credit may include an

expiry date, provided said expiry date occurs at least two (2) months after

the close of a season or production. Letters of Credit will be released before

expiry if requested, once all contractual obligations to Equity and its

members have been met.

(B) Peak Security

(i) Theatre’s Ability to Post Peak Security

Theatres which have produced at least three (3) seasons under the full

terms and conditions of the Canadian Theatre Agreement, and which are

not in arrears with remittances and do not have a history of such arrears,

may calculate the amount of security on a "peak" basis. Peak is the

consecutive two (2) week period of the season with the highest cumulative

amount of Contractual Fees. For the purpose of this determination and

calculation, the full Contractual Fee for a Director, Choreographer, Fight

Director or Intimacy Director shall be included in the first week of the

rehearsal period of the Artist’s engagement. The amount of security

required shall be equal to the sum of the Artists’ Contractual Fees for this

peak period, plus an additional percentage equivalent to the total of GST,

HST, or QST dependent on the Theatre’s Point of Origin for each Artist

engaged by the Theatre.

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(ii) Summary Requirements For Peak Security

The Theatre shall provide Equity with a detailed summary of the

productions in the season, the number of Artists to be engaged in each

discipline, the dates of engagement, and the anticipated Contractual Fees

for the Artists to support this calculation. This amount shall be deposited

with Equity in cash, by Letter of Credit (using sample wording agreed to by

Equity and PACT), or an Equity approved Bond Insurance Program surety

prior to issuing any CTA Engagement Contract for the season, which shall

be maintained for the duration of the season, and released on request

following the conclusion of the final production subject to Clause 33:03.

Should the amount of security required by this calculation increase during

the season based on the actual amount of the negotiated Contractual Fees,

the Theatre shall augment the security deposited with Equity in accordance

with Clause 33:01.

33:03 Release

Letters of Credit or cash deposits will be released within ten (10) business days of receipt

of a written request for same, where all contractual obligations to Equity and the Artists

have been met. Equity agrees to contact the Equity Liaison and/or members of the

company where a confirmation of fulfillment of the Theatre's contractual obligations has

not been received from the Liaison in reference to a request for a release and agrees to

process the release or partial release if requested where it can satisfactorily verify the

fulfillment of the contractual obligations.

In the case of Joint Productions produced under Article 54:00, the security for each

partner in the Joint Production shall be released according to the above provisions as

each partner's contractual obligations are met.

33:04 Cash Deposits

Where the Theatre deposits cash with Equity, it shall receive interest payments on such

deposits as may be agreed upon in writing between the Theatre and Equity.

33:05 Theatres in Arrears

Where Equity can demonstrate that a Theatre is substantially or repeatedly in arrears

with remittances (see Clause 16:15), as stipulated in the CTA, Equity shall have the right

to increase the amount of security required. Where Equity requires an increase to the

amount of security, the Theatre shall immediately provide such an increase. However,

if the Theatre disputes the increase, it may, after having provided the increase, have

recourse to the provisions of Article 52:00 for the relief of this requirement.

33:06 Drawing Upon Security

No Equity member shall work, or be required to work or continue in the engagement of

any Theatre, if and when the security arrangements shall not meet the requirements of

this Article. In addition to the provisions of Clause 11:01 and Article 52:00, Equity may

draw upon the securities posted to meet payment to Artists of unpaid fees, including

payments for additional services, applicable service taxes, deducted dues payments

and joining fees, remittances to Equity (see Clause 16:15), and transportation costs of

the Artist to the Point of Origin and return to the Artist's place of residence (see Clause

16:09), provided that it shall simultaneously inform the Theatre of its action. However,

PACT recognizes Equity's need to protect the interests of the Artists in an emergency,

and, therefore, should it prove impossible to contact the Theatre or its authorized

representative in an emergency, Equity may proceed to draw upon security.

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34:00 ENGAGEMENT CONTRACTS

34:01 Continuous Engagement

Except where otherwise noted in this Agreement, continuous engagement of the Artist

is of the essence of all CTA Engagement Contracts. Engagement thereunder shall begin

on the date of the beginning of rehearsals or required start date for work at the Theatre

if earlier, and shall continue until terminated as herein provided, and not otherwise. All

calculations of sums due or benefits accruing to the Artist shall be computed on the

basis of consecutive rehearsals and consecutive engagement.

34:02 Minimum Period

The minimum period of engagement shall be two (2) weeks. For festivals, showcases

and industry events, the minimum contract period may be one (1) week. Further

opportunities may exist where an engagement of less than two weeks may be allowed

with the written approval of Equity and PACT.

The preparation period for Stage Management for short contracts will be determined in

discussion between the Theatre and the Stage Manager per Clause 63:06(A).

35:00 CONTRACTS

35:01 Standard CTA Engagement

A standard CTA Engagement Contract is a contract which does not in any way amend

the basic minimum provisions of the CTA with respect to the minimum period of

engagement.

35:02 Run-of-the-Play CTA Engagement

A Run-of-the-Play CTA Engagement Contract is a contract in which the basic minimum

provisions of the CTA are specifically amended within the CTA Engagement Contract to

prohibit termination for a period of one (1) year from the beginning of the engagement

except by mutual consent of the parties to the contract following consultation by the

Artist with Equity and receipt of Equity's approval or by virtue of company closing.

A Run-of-the-Play CTA Engagement Contract may not contain an option with respect to

an extension of the engagement period.

(A) Rider

The standard CTA Engagement Contract may be designated a Run-of-the-Play

CTA Engagement Contract by the addition of a rider which stipulates:

The Theatre and the Artist agree that this CTA Engagement Contract is

designated as a Run-of-the-Play CTA Engagement Contract pursuant to the

provisions of Clauses 35:02, 35:11, 38:08, 38:11, and 38:15(C).

CTA Engagement Contracts which do not contain this wording will not be

accepted as Run-of-the-Play CTA Engagement Contracts.

(B) Period

The period of engagement for a Run-of-the-Play CTA Engagement Contract shall

be for the run of the play to a maximum of one (1) year in the first instance, and

shall begin on the date of the first rehearsal. The run-of-the-play fee requirements

will also begin as of the first rehearsal. After the first twelve (12) month period,

extensions of Run-of-the-Play CTA Engagement Contracts shall be for a minimum

of three (3) months, to a maximum of one (1) year.

A Run-of-the-Play CTA Engagement Contract can only be applied to a single

production which has no scheduled closing date.

(D) Fee

The Artist's Contractual Fee for a Run-of-the-Play CTA Engagement Contract

shall be not less than as specified in the current CTA Fee Booklet per week above

the applicable minimum fee.

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(E) Conversion to Run-of-the-Play Engagement

The Theatre may convert the standard CTA Engagement Contract to a Run-of-

the-Play CTA Engagement Contract at any time after it has been executed,

provided that the Artist agrees and shall be paid not less than as specified in the

current CTA Fee Booklet per week above their original Contractual Fee. This

change must be effected by a rider to the Artist's CTA Engagement Contract

which also contains the wording specified above.

(F) Notice

The Theatre agrees to make every effort to provide the Artist engaged to a Run-

of-the-Play Engagement Contract with four (4) weeks' notice of the Theatre's

intention to offer a further contract beyond the expiry of the initial run-of-the-play

period.

35:03 Guaranteed Engagement

A Guaranteed CTA Engagement Contract is a contract in which the basic minimum

provisions of the CTA are specifically amended to prohibit termination, prior to the final

date of the engagement specified on the contract except by mutual consent of the parties

to the contract, following consultation by the Artist with Equity and receipt of Equity's

approval. A Guaranteed CTA Engagement Contract may contain an option with respect

to an extension of the engagement (see Clause 35:11).

(A) Rider

The standard CTA Engagement Contract may be designated as a Guaranteed

CTA Engagement Contract by the addition of a rider which stipulates:

The Theatre and the Artist agree that this CTA Engagement Contract is

designated as a Guaranteed CTA Engagement Contract pursuant to the

provisions of Clauses 35:03, 35:11, 38:09, 38:11, and 38:15(C) of the CTA.

CTA Engagement Contracts which do not contain this wording will not be

accepted as Guaranteed CTA Engagement Contracts.

(B) Period

The period of engagement for a Guaranteed CTA Engagement Contract shall

begin on the date of the first rehearsal and end on the final date of the

engagement which must be specified on the CTA Engagement Contract. A

Guaranteed CTA Engagement Contract may be applied to a single production or

to an engagement involving more than one (1) production in stock or repertory.

Nevertheless the guaranteed period shall not extend beyond fifty-two (52) weeks

from the date of the first rehearsal specified in the contract.

The Artist's Contractual Fee for a guaranteed CTA Engagement Contract shall be

not less than as specified in the current CTA Fee Booklet above the minimum fee.

35:04 Requirement to File

No Artist may begin an engagement unless a CTA Engagement Contract has been

completed and a copy filed with Equity.

35:05 Execution and Filing of

(A) Quadruplicate

CTA Engagement Contracts must be executed in quadruplicate:

(i) one (1) copy retained by the Theatre; and

(ii) one (1) copy filed with PACT by the Theatre; and

(iii) one (1) copy filed with Equity by the Theatre; and

(iv) one (1) copy retained by the Artist.

All four (4) required copies of each CTA Engagement Contract must bear original

signatures.

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(B) Confidentiality

Equity and PACT agree that the details of Artists' contracts will be held in strictest

confidence.

No more than ten (10) days from the date of the Artist receiving the contract, the

Artist shall file signed appropriate copies of the contract with the Theatre. The

Theatre shall file with Equity and PACT the appropriate copies as above of the

fully executed contract within five (5) business days (Saturday, Sunday, and

holidays excluded) of receipt of same, and, in any event, no later than the first day

of the engagement. Should the Theatre not do so, and the Artist has filed their

contract with the Theatre as required above, then the Artist may, at any time,

terminate their contract without notice, and the Theatre shall pay to the Artist such

amount as the Artist may be entitled to under the CTA for a breach thereof (see

Article 11:00).

In the case of Workshops or Readings, the CTA Engagement Contract shall be

filed no later than the second business day following the first day of the Artist’s

engagement.

A notice will be sent to the Theatre on the first occasion that contracts are late,

advising the Theatre of that fact and identifying, for information purposes only,

what the administrative fee would have been on that production. Starting with the

second production in each year for which a Theatre files late contracts, Equity

shall notify the Theatre that an administrative fee of five dollars ($5.00) per

contract per day that each contract is late will be applied, until such time that the

contract(s) is filed with the Equity office. The “second production” is understood

to be the first production where contracts are late in each year of the fee schedule.

Where the late filing is caused by delays by the Artist or the Artist’s representative

(Agent), the Theatre can send to Equity written proof in the form of email on the

first day of engagement and no administrative fee will be charged. Equity may

elect to fine their member Artist separately.

Equity will submit an invoice to Theatres outlining all remittances at the close of a

production.

(D) Electronic Contract Template Forms

Equity and PACT shall agree upon the wording of CTA Engagement Contract

forms. Further, Equity and PACT shall agree to the method and cost of creating

electronic contract template forms and how that cost of electronic contract

template forms shall be borne.

PACT shall provide electronic contract templates to a Theatre upon request.

Electronic contract templates may be used solely by a Theatre for the remainder

of the term of the CTA only. Further, the electronic contract templates shall not be

modified in any way, and any such modification shall be considered a breach of

the CTA and render the contract null and void at the option of Equity.

35:06 Effective Date

CTA Engagement Contracts between Theatre and Artist must be signed before the Artist

begins rehearsal and shall be signed on the date when the terms of the contract are

agreed upon between the parties. If not signed on said date, when issued they must be

signed as of said date.

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35:07 Changes and Alterations

The Theatre and the Artist may negotiate changes or alterations to the contract which

do not reduce the minimum conditions set forth in the CTA but neither the Theatre nor

the Artist may waive any of the minimum conditions set forth in the CTA without the

written consent of Equity.

If, in the opinion of Equity any riders, changes, alterations, waivers or substitutions, or

any part thereof, are not appropriate under the CTA, such riders, in whole or in part, may

be made void, at the option of the Artist, Equity consenting. It shall be the duty of the

Theatre, not the Artist, to submit proposed changes to Equity for written approval by a

duly authorized representative. The Theatre agrees to send all proposed alterations,

waivers or substitutions to Equity in writing. Furthermore, the Theatre shall file a copy of

all requests for waivers to the minimum terms and conditions of the CTA with PACT.

Equity agrees to respond to such proposals within ten (10) business days after receipt

thereof. Equity shall confirm its decision in writing. If Equity has not signified disapproval

within the above stipulated time period, such proposals shall be deemed approved.

The Theatre agrees that all blanks on the face of the contract including date of first public

performance, Role and/or Track, fee, and required date of arrival, will be filled in, in

writing, before signing or delivery of the contract.

When the same alteration or change is required for several contracts, the Theatre may

propose a single rider to be executed with all of the Artists, such proposals to be

reasonably accepted by Equity.

A rider to the CTA Engagement Contract shall not be required to correct administrative

or clerical errors or omissions when such correction is confirmed in the written

notification from Equity and not disputed by the Theatre.

35:08 Execution of Engagement Contracts

(A) Issuing Of

When the Theatre confirms to the Artist that agreement has been reached on the

negotiated terms for an upcoming engagement, the Theatre shall issue a CTA

Engagement Contract to the Artist within ten (10) business days. In any event an

Artist must receive their CTA Engagement Contract no later than twenty (20)

business days prior to the start date of their engagement.

This provision does not apply to activities contracted under Article 56:00 or Article

57:00 in which the contracted engagement period is less than two weeks.

(B) Signing Of

Unless contracts are signed concurrently, they must be signed first by the Theatre.

If the contract is not signed concurrently the Theatre may in writing at the time of

sending the contract to the Artist notify the Artist that unless the contract is signed

and returned or postmarked, by the Artist to the Theatre within ten (10) business

days (Saturday, Sunday and holidays excluded) after receipt thereof by the Artist,

the offer of engagement is withdrawn and the contract shall be null and void.

35:09 Roles Unassigned at Time of Contracting (Cast by Consent)

It is understood that productions may involve non-speaking, unnamed or smaller roles

which may be difficult to assign at time of contracting. Similarly, a production may wish

to make creative use of Actors to populate the world on stage, or to support the narrative

through the handling of transitions, and that such use of Actors may evolve over the

course of rehearsals. Such roles and stage business are deemed “Cast by Consent”

and are subject to the conditions and considerations outlined below.

Notwithstanding the ensuing, and with full respect for the evolving, organic needs of the

creative process, Theatres are strongly encouraged to identify and establish the majority

of non-speaking, unnamed or smaller roles at the contracting stage, in order to limit the

number of assignments that are treated as “Cast by Consent”.

Should an Actor be asked to perform in a Production that they were not originally

contracted for, the Role in the additional Production is to be considered an Additional

Duty and not a “Cast by Consent” assignment.

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(A) Prior Knowledge

(i) The Theatre will make every effort at the time of offer to provide the Actor

with all available information about the production’s concept and/or context.

Such information is especially important where a production deals with

issues of violence or trauma, or depicts Underrepresented Groups, or

where it may be reasonably anticipated that an Actor’s identity may

intersect with or reinforce harmful or demeaning stereotypes.

(ii) Upon request, the Theatre will facilitate communication between the Actor

and Director to discuss intentions and expectations.

(iii) It is understood that certain types of work or ways of working (e.g.,

Workshops, or work that is devised) entail the development of characters,

story, and/or context as an integral part of the rehearsal process and thus

preclude clear assignment of roles at time of contracting. Where a definitive

character list is not available or finalized at the time of contracting, Theatres

are nevertheless encouraged to share information about the production as

may be available.

(B) Multiple Productions (Stock and Repertory)

(i) All productions in which the Actor is to appear will be specified in their

contract, along with the Actor’s role assignments in those productions,

which may include “Cast by Consent” for unspecified roles.

(ii) Where season programming is not entirely set at time of contracting, an

Actor may agree to appear in a production “to be announced”. If productions

are subsequently added to the season, the Actor is not obligated to appear

in such additional productions without consent, and such appearance(s)

must be properly negotiated and ridered to their contract.

A Cast by Consent assignment may only include an Understudy assignment if

such is indicated on the contract at time of contracting. Roles or tracks to be

understudied must be specifically designated in a rider to that contract no later

than fourteen (14) days after the first public performance, or three (3) days

following the official opening, whichever comes first.

If the Theatre fails to execute a rider as above, the Actor will be relieved of any

responsibility to assume the Understudy assignment. In such circumstances,

should the Theatre still request the Actor to accept the assignment, Clause

16:11(A) (Additional Duties) shall apply.

For the purpose of this Clause, Understudy assignments are deemed to include

portions of another Actor's assignment in the production.

(D) Changes After Contracting

It is understood that a production will evolve over the course of pre-production

and/or the rehearsal process, and that timely and transparent communication are

essential to maintaining a safe and respectful workplace.

(i) Ongoing Consent

Where an Actor contracted as Cast by Consent is informed of an altered

approach to production or changes to their roles or stage business that may

result in offensive racial, cultural or identity stereotypes, or may be

experienced by the Actor as triggering or traumatizing, the Actor will have

forty-eight (48) hours (from the time of receiving the information) to consider

the change before consent is assumed. It is recognized that an Actor need

not be involved in a piece of stage business for them to experience a

negative impact.

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(ii) Right to Decline

Where in rehearsal an Actor objects to such an assignment change, their

reasons for objecting should be promptly communicated to the Director

and/or Theatre (whichever is appropriate) so that the concerns may be

addressed or the assignment reallocated. Such communication should be

done in the presence of the Stage Manager, and upon request, another

person of the Actor’s choosing.

It is understood that a Cast by Consent assignment cannot be declined

based on its size or perceived lack of artistic interest.

(iii) Non-retaliation

The Theatre recognizes the Actor’s right to engage in the consent-based

process detailed in this Clause and will not allow its use to become the

basis for reprisal including with respect to future engagements.

(E) Assignment Changes After Opening

Where an Actor undertakes a Cast by Consent assignment, their roles and stage

business are deemed to be “set” as of the official opening of the production. If

their assignment is significantly altered after opening, such alterations will be

agreed to in writing as a rider to their contract, and compensated as per Clause

16:11(A) (Additional Duties).

35:10 Concurrent Engagements

The CTA Engagement Contract of the Artist shall take precedence over any other

concurrent contract which the Artist may have signed with the Theatre for services which

do not fall within Equity's jurisdiction.

35:11 Exercising of Options

(A) Specified Options

Should an option be exercised on the services of the Artist, the Theatre agrees

that the terms and conditions, including the date by which notice is to be served,

must be included in the Artist's CTA Engagement Contract. The presence of an

option clause in the Artist's contract is not a guarantee of engagement and does

not override Article 38:00 (Termination).

(B) Written Notice for Productions Running More than Three Weeks

Where the production is scheduled to run for more than three (3) weeks, the

Theatre agrees to inform the Artist in writing not less than two (2) weeks prior to

the beginning of the option period of its intention to exercise the option, failing

which, the option becomes null and void.

Where the production is scheduled to run for three (3) weeks or less, the Theatre

agrees to inform the Artist in writing not less than one (1) week prior to the

beginning of the option period of its intention to exercise the option, failing which

the option becomes null and void. Further, the Artist may give one (1) week's

notice of termination when the Theatre indicates its intention to exercise the

option. Where the Theatre exercises the option, it shall be responsible for changes

in travel arrangements and accommodation and shall reimburse the Artist for any

additional costs incurred.

(D) Filing of Notice

Notice of intention to exercise an option must be in writing and a copy must be

filed with Equity.

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(E) Options on Guaranteed Engagements

Options to extend a Guaranteed CTA Engagement Contract may only be used

under the following conditions:

(i) Notice

The Theatre must give the Artist not less than four (4) weeks' notice in

writing prior to the beginning of the option period, of its decision to exercise

the option. The date of such notice shall be stipulated in the option rider.

Failure to exercise an option as outlined above shall render said option null

and void.

(ii) Period

Once an option to extend has been exercised, said option period shall be

considered part of the guaranteed engagement period and subject to the

provisions of Clauses 35:03 and 38:09.

(iii) Termination by Artist Prior to Beginning of Option Period

If, prior to the exercise of an option to extend, the Artist serves notice that

they wish to terminate their contract at the end of the originally guaranteed

period, then the period covered by the option shall not be considered part

of the guaranteed engagement period and the contract shall be deemed to

terminate at the end of the originally guaranteed period.

(F) Options on Run-of-the-Play Engagements

Options on Artist's services are not permitted on Run-of-the-Play CTA

Engagement Contracts.

(G) Limitation to Holdover Option(s)

In no event may the option period(s) on an Artist’s CTA Engagement Contract be

longer than the original run of performance weeks as stipulated on the Artist’s

CTA Engagement Contract without Equity’s prior written consent.

35:12 Most Favoured Nations/Inclusive of Penalty Payments

So-called "most favoured nations" riders, which state that no Actor in the production

shall be paid an equal or higher fee than the Artist named on the face of the contract, or

so-called "favoured nations" riders, which state that no Actor in the production shall be

paid a higher fee than the Actor named on the face of the contract, are deemed

unacceptable and are not permitted.

Additionally, any riders which state that the fee specified on the face of the contract is

inclusive of payments for additional services, additional duty or other duty fees (see

Clauses 16:11, 63:15, and 63:14), that may be due to the Artist or Equity under the CTA

are unacceptable and are not permitted.

35:13 Replacement Artist Rehearsal Hours

When a Theatre replaces an Artist either in a currently running production or for a

Revival, the Theatre shall include the number of rehearsal hours prior to technical

rehearsals or the Artist’s first public performance, whichever is sooner, in a rider to the

Artist’s CTA Engagement Contract.

The Theatre will engage the Artist for a minimum of fourteen (14) rehearsal hours prior

to technical rehearsals or first public performance, or will pay a one-time additional

amount of not less than fifty (50%) percent of the Artist’s Weekly Contractual Fee.

Should the Theatre require the Artist to learn the role prior to the start of their CTA

Engagement Contract, this will be contracted in accordance with Clause 24:03(M).

This Clause shall not apply in cases of an Emergency Replacement when the Artist is

engaged under Clause 40:04.

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36:00 BINDING EFFECT OF AGREEMENT

Agreements between the Theatre and so-called "packagers", casting consultants,

agents, Theatre's representatives, or Artist's representatives shall in no way limit or

reduce the Theatre's liability or responsibility to fulfil all terms and conditions of CTA

Engagement Contracts to which the Theatre is a signatory.

All CTA Engagement Contracts signed pursuant to the CTA are binding upon not only

the signers on the face thereof, but upon any and all corporations, co-partnerships,

enterprises, and/or groups which said signers or each of them controls, and are hereby

agreed to be adopted as their CTA Engagement Contracts by each of them.

37:00 PERFORMANCES AND/OR REHEARSALS LOST

If the company cannot rehearse or perform because of the serious and prolonged illness

or the death of a prominent member of the cast, fire, accident, strikes, riot, Acts of God

or act of the public enemy, which could not be reasonably anticipated or prevented, then

the Artist shall not be entitled to their Contractual Fee for the time during which their

services shall not for such reason or reasons be rendered, except that the Artist shall

receive one-seventh (1/7) of the minimum fee for the applicable Company Category for

each day on which rehearsals or performances are not given thereafter including the

Artist's Free Day. Should any of the foregoing conditions continue for a period of ten

(10) days or more, either party may terminate the CTA Engagement Contract

immediately and the Theatre will pay the Artist for all services to date and their

transportation back to the place of residence. If the above should occur outside the Point

of Origin, the Artist will receive the applicable per diem during the ten (10) day period.

38:00 TERMINATION

38:01 Notice Period

(A) Two Weeks Minimum

The minimum period of notice of termination for the Artist shall be two (2) weeks.

(B) More Than Two Weeks

If an Artist's CTA Engagement Contract specifies a notice of termination greater

than two (2) weeks, said greater period shall be substituted for "two (2) weeks"

where used in the CTA. However, such notice of termination may not be longer

than one-third (1/3) of the total length of the engagement period, but in no case

longer than four (4) weeks.

For each CTA Engagement contract that is terminated, the Theatre will file a

termination rider with Equity that is signed by both parties. The Termination Rider

will include: the date of termination; the applicable termination clause; the date of

the last day worked; and the date final payment shall be made.

38:02 Delivery of Notice

(A) Written

It is the essence of all CTA Engagement Contracts that all notices thereunder,

company and individual, must be in writing. Copies of all notices must be filed with

or mailed to Equity immediately by the party (Artist or Theatre) giving notice.

(B) Methods For

All notices to the Theatre must be given to its designated representative in writing.

Notice to the Artist must be given to them personally in writing unless they are not

at the theatre location, in which case it may be given by registered mail to their

last known address and by email copying Equity.

All communications which refer to the company in general shall be posted on the

call board.

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(D) Timing

(i) Individual notices of termination given at or before the Half-Hour Call on the

first performance day of the Engagement Week and which take effect at the

end of the final day of the week following shall be deemed two (2) weeks'

notice.

(ii) Notices must be delivered at or before the commencement of the first call

of the Engagement Week. Any notice given later will not take effect until the

following week.

38:03 Deductions

Deductions pursuant to Clause 3:03 shall apply to termination payments. However,

when the Artist is not allowed to work out the notice period the deduction for insurance

shall not apply.

38:04 Termination Before Rehearsals

CTA Engagement Contracts may, before the beginning of rehearsals, be terminated as

follows:

(A) Notice By Artist

By the Artist giving written notice to the Theatre prior to the first day of rehearsal

specified in the CTA Engagement Contract, and paying it no less than two (2)

weeks' Contractual Fee or for the notice of termination period stated on the CTA

Engagement Contract, should said period be longer than two (2) weeks.

Termination payments must be paid to the Theatre within two (2) weeks of the

notice being given or by a schedule mutually agreed upon between the Artist and

Theatre.

(B) Notice By Theatre

By the Theatre giving written notice to the Artist prior to the first day of rehearsal

specified in the CTA Engagement Contract and paying the Artist a sum equivalent

to not less than two (2) weeks' Contractual Fee or for the notice of termination

period stated in the CTA Engagement Contract, should said period be longer than

two (2) weeks. Termination payments must be paid to the Artist within two weeks

of the notice being given or by a schedule mutually agreed upon between the

Artist and Theatre.

Should the Artist be obliged to terminate their CTA Engagement Contract due to

an incapacitating accident or illness or due to pregnancy, they will not be required

to give notice and there will be no penalty payment. They must inform the Theatre

of the accident or illness or pregnancy as soon as possible and provide a doctor's

certificate upon request.

38:05 After Beginning of Engagement

Individual notice of termination of a standard CTA Engagement Contract after the

beginning of an engagement may not be less than two (2) weeks. If notice of termination

is greater than two (2) weeks, it shall be specified in a rider to the CTA Engagement

Contract.

38:06 During Rehearsals

(A) By Artist

During rehearsals, the Artist may terminate their CTA Engagement Contract by

paying the Theatre the Contractual Fee multiplied by the number of weeks

specified in the notice clause in their CTA Engagement Contract. However, the

termination of the Artist's services to the Theatre may not occur within the period

beginning two (2) weeks prior to and ending two (2) weeks after the first public

performance dates specified in the CTA Engagement Contract.

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(B) By Theatre

During rehearsals, the Theatre may terminate the Artist's CTA Engagement

Contract by paying them the Contractual Fee multiplied by the number of weeks

specified in the notice clause in their CTA Engagement Contract except if the

Artist's CTA Engagement Contract is terminated during the two (2) weeks prior to

the specified first public performance in which case the minimum payment shall

be no less than four (4) weeks' Contractual Fee.

During rehearsals for a production with a running time of sixty (60) minutes or

less, or when the rehearsal period is two (2) weeks or less, a standard two (2)

weeks' notice of termination may be given by either party as stipulated in Clause

38:02.

(D) Extended Notice

A standard CTA Engagement Contract with an extended termination notice rider

may be terminated by immediate payment of the Contractual Fee for the full period

of notice.

38:07 Termination After First Public Performance

(A) Notice

Either party may terminate the CTA Engagement Contract at any time on or after

the date of the first public performance by giving the other party the notice

specified in the CTA Engagement Contract but in no event shall the period of

termination notice be less than two (2) weeks.

(B) Extended Notice

A standard CTA Engagement Contract with an extended termination notice rider

may be terminated by immediate payment of the Contractual Fee for the full period

of notice.

38:08 Run-of-the-Play Contract

A Run-of-the-Play CTA Engagement Contract can be terminated by mutual agreement

of the parties in writing, and such mutual agreement shall be filed with Equity. Before

rehearsals begin, a Run-of-the-Play CTA Engagement Contract may either be

terminated by mutual agreement of the parties in writing or by the immediate payment

of four (4) weeks' Contractual Fee by the party initiating the termination.

After the beginning of rehearsals, where mutual agreement is not reached, the CTA

Engagement Contract must be fulfilled, or the party initiating termination must give at

least one (1) week's notice and shall be liable to the other party for the Contractual Fee

from the date of the last service performed by the Artist, to the closing date of the

production, or the final date of engagement, whichever is sooner and which in no case

shall be greater than twelve (12) months from the date of commencement of the CTA

Engagement Contract. Termination payments shall be made weekly or on a mutually

agreed schedule. Clause 3:03 shall not apply to termination payments made pursuant

to the above provisions.

The following Clauses shall not apply to Run-of-the-Play CTA Engagement Contracts:

35:03, 38:01, 38:04, 38:05, 38:06 and 38:07.

38:09 Guaranteed Engagement Contract

A Guaranteed CTA Engagement Contract can be terminated by mutual agreement of

the parties, in writing and such mutual agreement shall be filed with Equity. Where

mutual agreement is not reached, the CTA Engagement Contract must be fulfilled, or

the party initiating termination must give at least one (1) week's notice and shall be liable

to the other party for the Contractual Fee from the date of the last service performed by

the Artist to the termination date indicated on the face of the CTA Engagement Contract.

Termination payments shall be made weekly or on a mutually agreed schedule.

Clause 3:03 shall not apply to termination payments made pursuant on the above

provisions. No layoffs are permitted on Guaranteed CTA Engagement Contracts. The

following Clauses shall not apply to Guaranteed CTA Engagement Contracts: 35:02,

38:01, 38:03, 38:04, 38:05, 38:06, 38:09 and 38:10.

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38:10 Company Termination Before Opening

If a production for which the Artist is engaged is discontinued, abandoned or postponed,

before or during rehearsals, the Theatre shall pay the Artist two (2) weeks' Contractual

Fee in lieu of notice and also any additional sums due to the Artist.

This Clause does not apply to Artists engaged for more than one (1) production on the

same CTA Engagement Contract, where the Artist's period of engagement and

Contractual Fee is not affected by the discontinuance, abandonment or postponement

of a production.

38:11 Notice After Opening for a Production or Season ("Company Closing Notice")

(A) Application

This Clause applies to Run-of-the-Play CTA Engagement Contracts but not to

Guaranteed CTA Engagement Contracts.

(B) Requirement

No closing notice or payment in lieu thereof shall be required where the

termination date of the production or season is the same as that stated in the CTA

Engagement Contract. However, if any Artist's contract bears an option rider,

notice of closing must be posted and a copy filed with Equity.

Should the Theatre close a production or season prior to the date stated in the

CTA Engagement Contract, two (2) weeks' notice of closing must be posted, and

a copy filed with Equity. However, in the event of an extension beyond the

originally contracted termination date on the Artist's contract, or in the event there

is no final performance stated in the CTA Engagement Contract, one (1) week's

notice must be posted and a copy filed with Equity or the Theatre must pay one

(1) week's Contractual Fee, plus per diem, if applicable, in lieu thereof.

(D) Definition of Notice "Weeks"

For the purpose of this Clause "two (2) weeks’ notice" shall constitute two

Monday-to-Sunday periods and "one (1) week's notice" shall constitute one

Monday-to-Sunday period.

(E) Timing

Closing notice given at or before the Half-Hour Call on the first day of the second

Engagement Week prior to closing shall be deemed two (2) weeks' notice and on

the first day of the last Engagement Week prior to closing shall be deemed one

(1) week's notice. If for any reason there is no performance on the days specified

in this paragraph the Artist will be duly notified of the posting of closing notice by

telephone prior to 8:00 p.m.

However, where an Artist is unreachable by telephone, the Theatre must dispatch

confirmation of the notice of closing to the Artist by email, copying Equity, on the

same day, and in any event the Theatre must still post the closing notice on or

before the days specified in the preceding paragraph.

(F) Company Notice

Closing notice shall supersede any individual notice of termination then

outstanding with the exception of Guaranteed CTA Engagement Contracts which

may not be terminated other than as provided for in Clause 38:09.

38:12 Extension of CTA Engagement Contract

(A) Absence of Option

In the absence of an option to extend the CTA Engagement Contract, should the

Theatre wish to extend beyond the originally contracted closing date the Artist, at

the Artist's option, may upon announcement of said extension, terminate their

CTA Engagement Contract upon written notice, said termination to coincide with

the originally contracted closing. Written notice under the above conditions may

be less than two (2) weeks.

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(B) Written Agreement

Should the Artist agree to remain at the Theatre for the extension of the CTA

Engagement Contract, a written agreement, so stating, shall be executed by the

Theatre, and a copy filed with Equity.

The Artist has the right to negotiate the terms and conditions under which they

agree to the extension. At the end of the CTA Engagement Contract period, if the

Artist is contracted to perform for part of a week, up to a maximum of four (4)

days, compensation shall be pro-rated and the Artist paid at least one-sixth (1/6)

of their Contractual Fee, plus per diem if applicable, for each day worked. (See

Clause 16:10.)

38:13 Payment Following

Artists whose CTA Engagement Contracts are terminated under the above Clauses

38:11 and 38:12, shall be entitled to return transportation, and payment for all services

to date.

38:14 Absence due to Accidents Involving Extraordinary Risk

When the Artist shall have absented themself for seven (7) days by reason of accident

involving Extraordinary Risk, the Theatre may terminate their CTA Engagement

Contract by giving the Artist two (2) weeks' notice. Equity may, at its discretion, upon

appeal of the Theatre, reduce this period.

However, in the case of an Artist engaged on a Run-of-the-Play or Guaranteed CTA

Engagement Contract, the Artist must be reinstated upon recovery if they so desire on

terms and conditions no less favourable than their original contract.

38:15 Absence Due to Illness or Accident

(A) Termination For

When the Artist shall have absented themself for seven (7) consecutive days by

reason of illness or accident, the Theatre may terminate their CTA Engagement

Contract at the end of the said seven (7) days effective immediately.

(B) Payment

This seven (7) day period shall be compensated at the Contractual Fee, plus per

diem if applicable. The Theatre may, at its discretion require the Artist to present

a doctor's certificate.

In the event of an incapacitating accident or illness, the Theatre may replace the

Artist immediately, but the Theatre shall be obliged to compensate the Artist for

the full seven (7) days.

However, in the case of an Artist engaged on a Run-of-the-Play or Guaranteed

CTA Engagement Contract, the Artist must be reinstated if they so desire on terms

and conditions no less favourable than their original contract.

The Artist shall advise the Theatre in writing at least two (2) full weeks prior to

their expected date of return that the Artist is able to be re-instated. By mutual

agreement, the Artist may be reinstated sooner, but in no event later than the

expected date of return.

38:16 Military Service or Jury Duty

If the Artist is called to report for military service or jury duty, the Artist may terminate

their CTA Engagement Contract without penalty by giving the Theatre as much notice

as the circumstances will permit. The Theatre agrees to pay the Artist's return

transportation, and the Artist shall not be obligated for the payment of the transportation

of successor.

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38:17 Payment When Artist is Not Allowed to Work Out Notice

Where it is provided in Article 38:00 that the Theatre may give notice of termination to

the Artist during rehearsals, the Theatre will pay the Artist for the required termination

notice period immediately, and the Artist's contract is terminated effective immediately.

Upon notice of termination of an Artist's CTA Engagement Contract when they are no

longer called upon to perform, they shall be paid immediately and may immediately

accept other engagements.

38:18 Rights After Giving Notice When Artist Secures New Engagement

Should either party give the other any notice permitted under their CTA Engagement

Contract, which terminates the same, at any future date, and should the Artist have or

secure a new engagement, the Artist shall be permitted to attend those rehearsals under

the new CTA Engagement Contract which do not conflict with the fulfilment of any of

their obligations under their first CTA Engagement Contract or as stipulated in writing by

Theatre to Artist.

38:19 Return Transportation Costs

(A) Termination by Theatre

If individual notice of termination is given by the Theatre, it agrees to pay the Artist,

in cash, the amount of the cost of transportation of the Artist, and their luggage

back to place of residence, or to provide a ticket for same whether the Artist

returns immediately or not.

(B) Termination by Artist

If the CTA Engagement Contract is terminated by the Artist, except as provided

in Clauses 35:11, 38:12, 38:14 or 38:15 above, the Theatre shall not be

responsible for the Artist's return transportation.

If the Artist has terminated their CTA Engagement Contract in order to accept

another CTA Engagement Contract, the Artist agrees to reimburse the Theatre

for any transportation costs a Theatre may have to pay for the Artist's successor,

if any, up to an amount not exceeding the total cost originally incurred by the

Theatre in bringing the Artist to work with the Theatre.

38:20 Filing of Notice

Copies of all notices of termination and/or extension referred to above shall be filed with

Equity within ten (10) business days.

38:21 Consecutive Engagements

If, while away from the Point of Origin, the Artist is offered another CTA Engagement

Contract by the same Theatre which is consecutive and if they are required to return to

the Point of Origin on their Free Day in order to start work on their new CTA Engagement

Contract then the Artist must be provided with an additional Free Day during the first

Engagement Week of said consecutive CTA Engagement Contract, or in lieu thereof,

paid an additional one-seventh (1/7) of their Contractual Fee under said consecutive

CTA Engagement Contract.

38:22 Re-Opening of Production

A production, once closed, shall not be re-opened within eight (8) weeks of its closing

under any Engagement Contract, or except as provided for in Article 37:00, or by the

original Theatre within six (6) weeks of its closing under a CTA Engagement Contract,

without the consent of Equity and PACT.

Upon written application, copies of which will be given to the Artists by the Theatre, this

period may be reduced where it can be demonstrated to the satisfaction of Equity and

PACT that the proposal is of benefit to the Artists and the Theatre.

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38:23 Bereavement Leave

If any member of an Artist's immediate family is critically ill, or dies (father, mother, legal

guardian, brother, sister, child, spouse or equivalent), the Theatre agrees to arrange for

the Artist to be absent for up to three (3) days without loss of fee. Additionally, the

Theatre will consider a request from an Artist for an absence for bereavement of a non-

immediate family member, and the Theatre’s permission for the Artist’s absence will not

be unreasonably withheld.

In such instance, any Artist brought in as a replacement who is not already under a CTA

Engagement Contract will be paid in accordance with the provisions of Clause 40:04.

However, other Artists in the production who may be required to attend replacement

rehearsals for an Artist on bereavement leave will do so without additional payment.

38:24 Growth

Under no circumstances shall an Artist's growth be considered grounds for termination,

unless it impinges on the artistic integrity of the production, to be determined by the

Theatre.

39:00 UNDERSTUDIES

For the purposes of this Article, Understudy shall include Performing Understudy,

Standby and Swing.

Should a Theatre elect to engage Understudies, the following Clauses shall apply.

39:01 Programs

The names of all Understudies shall be listed in the program, except that the Actor may,

at their option, require a rider to the Artist’s individual CTA Engagement Contract

exempting the Artist’s name from such listing.

39:02 Rehearsals and Performances

(A) Line Rehearsal

There shall be at least one (1) "line rehearsal" per production completed before

the opening of said production. If this is in addition to the regular rehearsal hours,

the Artist shall invoice the Theatre at the rate stipulated on line one (1) of Schedule

"A" in the current CTA Fee Booklet.

(B) Blocking Rehearsal

(i) Primary Understudy Tracks

Blocking rehearsals for primary Understudy tracks culminating in a

complete run-through rehearsal on stage must be completed within

fourteen (14) days of the first public performance of each production. In

repertory and Sector 2, blocking rehearsals including a minimum of one

four (4) hour priority rehearsal call and culminating in a complete on-stage

run-through rehearsal, must be completed within twenty-one (21) days after

fourteen (14) public performances of each production.

Rehearsals for Understudies must commence no later than two (2) working

days following the first public performance of each production.

Such rehearsals may take place under the supervision of the Resident

Director or Assistant Director if there is one, or the Stage Manager.

(ii) Secondary Understudy Tracks

When the Theatre has cast secondary Understudy tracks, blocking

rehearsals culminating in a complete run-through rehearsal on stage must

be completed within fifty-six (56) days after fourteen (14) public

performances for the second set of Understudies.

(iii) Extending Timeline

Should an Understudy not receive a run-through rehearsal on stage within

the timelines outlined in this Clause, the Theatre shall pay the Artist an

additional one-eighth (1/8) of the Artist’s Contractual Fee for each week or

part thereof until the run-through rehearsal has been completed.

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If the production is already open, the provisions for rehearsal after opening

(Clauses 24:10(A) or 53:03(A)) shall apply only during the week of the first public

performance of replacement Artists with a Performing Understudy track. The

Theatre shall designate the official opening for the replacement Artists, which

shall not be more than three (3) days after the first public performance.

If the Artist has been contracted as a Standby or Swing to understudy a Role for

one (1) week or less the Artist will not be required to perform it, but may read it in

performance. Performing Understudies must have had the Role assigned to them

at least two (2) weeks before they can be required to perform it. An Understudy

may not perform unless the Understudy has had at least one (1) rehearsal on the

set which may be an Emergency Rehearsal. However, an Understudy performing

their assignment in the event of an emergency would not constitute a breach of

this Clause.

(D) Posting of List

(i) Single Production or Stock Company

The list of Understudies must be posted on the company notice board

before the end of the first week of rehearsal.

(ii) Repertory Productions

The list of Understudies must be posted on the company notice board

before the end of the third week of rehearsals for the full cast, or forty-two

(42) hours of rehearsal (excluding music only rehearsals for musical

productions), whichever comes first. A copy of the list shall be filed with

Equity no later than seventy-two (72) hours after it is posted.

If applicable, the Theatre will file updated versions of the list with Equity no

later than seventy-two (72) hours after they are posted.

(E) Permission to Withdraw from Performance

The Actor may consent to withdraw from one (1) or more performances for the

express purpose of permitting the Understudy to perform, but only with the

consent of both management and the Understudy. In such cases the Understudy

will receive no additional pay, and the Actor understudied shall not suffer any loss

of fee by reason of such withdrawal. Such arrangement must be in writing and

signed by both Artists (Actor and Understudy) and the Theatre and at least forty-

eight (48) hours' notice will be given to the cast of such a change.

(F) Understudy and Replacement Rehearsals

If the Theatre requires the Artist to rehearse on a day when the Artist is normally

scheduled to perform, the Theatre may, with forty-eight (48) hours’ notice,

schedule the Artist to attend an Understudy or replacement rehearsal in lieu of

the scheduled performance. The hours of the rehearsal shall not exceed the

length of the normal show call, including the Half-Hour Call.

(G) Understudy Fight Rehearsal

Understudies and replacement Actors require fight rehearsals which should be

under the supervision of the Fight Director or, where the Theatre deems

appropriate, the Fight Captain or a designate of the Fight Director approved by

the Theatre.

(H) Understudy Intimacy Rehearsal

The first time Understudies and replacement Actors rehearse scenes or moments

of Intimacy, these rehearsals shall be under the supervision of the Intimacy

Director. Where the Theatre deems appropriate, the Intimacy Captain or a

designate of the Intimacy Director approved by the Theatre may supervise

subsequent rehearsals.

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39:03 Contracting of Understudies

(A) Requirement for Contract

No Artist shall be required to understudy a role unless they are contracted to do

so in their CTA Engagement Contract, or unless the Artist’s CTA Engagement

Contract is amended by a rider to provide for the assignment(s).

(B) Period of Understudy Assignment(s)

An Artist shall be contracted to understudy a role from the date the Theatre has

designated the assignment to the end of the production, or until such time that the

understudy assignment has been transferred to another Artist.

If the Artist’s original CTA Engagement Contract ends prior to the end of the

production, and the Theatre does not transfer the assignment to another Artist,

then the Theatre will engage the original Artist as a non-performing Understudy

to the end of the production at the rate of thirty percent (30%) less than the original

CTA Engagement Contract, or the prevailing legal provincial minimum wage,

whichever is higher. If the Artist is required to perform, while they are a non-

performing Understudy, then the Artist will be compensated at an additional one-

eighth (1/8) of the original Contractual Fee for each such performance, to a

maximum of an additional four-eighths (4/8) of the Artist’s original Contractual Fee

for any given week.

39:04 Maximum Number of Roles

An Artist who has been contracted as a Performing Understudy may be contracted to

understudy up to four (4) roles per production, to a maximum of eight (8) roles per

engagement. An Artist who has been contracted as a Swing may be contracted to

understudy up to ten (10) roles or tracks per production with no more than four (4)

principal tracks, to a maximum of fourteen (14) roles per engagement.

An Artist contracted as a Standby may be contracted to cover up to eight (8) tracks per

engagement, of which no more than four (4) can be principal tracks. The maximum

number of roles which an Artist may be assigned shall be stipulated in the Artist's

contract if any Understudy assignments are "Cast by Consent".

39:05 Performing Understudies

(A) Definition

A "Performing Understudy" is an Artist who regularly performs their own Role or

track in a production and is contracted for a production to learn the Role or track

of another Artist, and perform it when such Artist is unable to perform

(B) Weekly Compensation

A Performing Understudy shall be free to negotiate additional weekly

compensation at the time of contracting.

Except as provided for in Clause 39:02(E), a Performing Understudy who is

contracted to perform a role in a production who is also contracted to understudy

a role shall receive a minimum of an additional one-eighth (1/8) of the Artist’s

Contractual Fee for each performance in an Understudy track to a maximum four-

eighths (4/8) per track per Engagement Week.

39:06 Swing

(A) Definition

A “Swing” is a non-performing Artist who has been contracted for a production to

cover more than one (1) role or track with the majority of roles being ensemble or

chorus tracks. Notwithstanding the above, the Artist may provide atmosphere and

background in a production provided the actions can be cut without replacement.

They may speak in unison or unscripted lines and perform limited song and dance

sequences in a crowd scene, but may not move a prop or set piece outside of

Understudy tracks. Additionally, a Swing may be required to sing off-stage.

(B) Weekly Compensation

A Swing shall be paid not less than one-hundred and twelve percent (112%) of

the applicable Minimum Fees.

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A Swing shall receive no additional compensation for performing ensemble or

chorus tracks. For each performance in a principal role or track in an Engagement

Week, a Swing shall receive a minimum of one-eighth (1/8) of the Artist’s weekly

Contractual Fee up to a maximum of four-eighths (4/8) per role or track.

39:07 Standby

(A) Definition

A “Standby” is a non-performing Artist who has been contracted for a production

to understudy one (1) or more roles or tracks, with fifty percent (50%) or more

roles or tracks being principal tracks and the remainder ensemble or chorus tracks

up to a maximum of eight (8) tracks in total. The Artist shall not have a regular on-

stage or off-stage role or track in the production.

(B) Weekly Compensation

When contracted to understudy only one (1) principal role or track, a Standby shall

be paid not less than the applicable minimum Contractual Fee. When contracted

to understudy two (2) principal roles or tracks, a Standby shall be paid a

performance premium of not less than an additional twelve percent (12%) of the

applicable minimum Contractual Fee from the first public performance.

When contracted to understudy three (3) or more principal roles or tracks, a

Standby shall be paid a performance premium of not less than an additional

twenty percent (20%) of the applicable minimum Contractual Fee from the first

public performance.

Notwithstanding the above, a Standby is free to negotiate additional

compensation at the time of contracting.

A Standby shall not receive any additional compensation for performing an

Understudy role or track.

39:08 Bit Cover

(A) Definition

A “Bit Cover” is the performance of a chorus role or part of a chorus role which

appears in one (1) or two (2) scenes in a performance. A Bit Cover may involve

lines of up to a total of eight (8) exchanges with other characters or a monologue

of not more than one (1) minute and appear in a scene in which the Artist would

not otherwise appear as part of the Artist’s role in that performance.

An Artist performing a non-chorus Role at a performance shall not also be

required to concurrently perform a Bit Cover.

(B) Payment Per Performance

A Bit Cover shall be considered an Understudy assignment for the purpose of

Clause 39:04. An Artist engaged as a performing Understudy shall be paid an

additional one-sixteenth (1/16) of the Artist’s Contractual Fee for each

performance of a Bit Cover in addition to the Artist’s regular performing

assignment, or the performance of an Understudy assignment, to a maximum of

four-sixteenths (4/16) per week per Bit Cover.

Notwithstanding the above, for a temporary replacement on a scene change for

up to a maximum of eight (8) consecutive performances, additional compensation

is not required.

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39:09 Walking Covers

(A) Definition

A Walking Cover is an Artist who has been contracted solely to understudy fewer

than four roles in a non musical production. Understudy assignments for Walking

Covers may be “Cast by Consent”, but no Artist may be required to accept

understudy assignments in addition to those originally required unless such

assignments are freely negotiated with the Artist and the Artist is paid not less

than the additional duty compensation specified in Clause 16:11(A) in the current

CTA Fee Booklet for each additional assignment(s). The Artist will receive no

additional fee if the Artist performs a role which they have been contracted to

understudy as a Walking Cover.

(B) Fee

When a Performer is engaged as a Walking Cover, the applicable minimum

weekly fee shall be not less than 112% of the applicable Minimum Fees.

39:10 Specialty Assignment

The Theatre and Equity shall review the needs of the production in a timely fashion, and

jointly determine what constitutes a Specialty Assignment within the context of this

Clause. Where the Theatre and Equity are in disagreement over a moment, the Theatre

may appeal Equity’s final decision to the Joint Administration Committee. Should the

Joint Administration Committee be unable to reach a majority decision, the moment or

effect shall not be considered a Specialty Assignment.

Where a Specialty Assignment involves appearing in more than one scene, this shall be

identified to the Artist at the time of contracting, otherwise each appearance shall be

considered to be an individual Specialty Assignment.

An Artist performing a non-chorus Role shall not also be required to concurrently perform

a Specialty Assignment.

No Artist may be required to perform prop and/or puppet manipulation beyond the

Artist’s physical capabilities.

An Artist may be contracted to perform up to six (6) Specialty Assignments in lieu of an

Understudy Role.

Where an Artist’s Role or Understudy assignment includes one part of a Specialty

Assignment, the Artist may agree to rehearse and maintain the specialties, as well as

perform them when required. The Artist shall negotiate satisfactory additional

compensation which shall not be less than as specified in the current CTA Fee Booklet

per week per Specialty Assignment. Such additional compensation shall constitute part

of the Artist’s Contractual Fee, and shall be specified in a rider to the Artist’s contract

along with the requirements of the Specialty Assignment. Where the Artist has been

contracted as above, the performance of a Specialty Assignment shall not be considered

an additional Role for the purposes of Clauses 39:02 and 39:08.

39:11 Supplemental Business

(A) Definition

“Supplemental Business” is a moment or bit not necessary to the continuity of the

plot which does not involve specific lines or dialogue and could be cut from a

production but is kept for artistic reasons. Supplemental Business may also

include the movement of a prop or set piece which is otherwise part of another

role that has been cut from the performance which does not result in a significant

change to the Artist’s blocking or in the Artist performing in a scene in which they

would not otherwise appear as part of their role.

(B) Payment Per Performance

An Artist may agree to cover Supplemental Business for a performance for artistic

purposes in addition to performing their regular role. The Artist will be

compensated as specified in the current CTA Fee Booklet.

Notwithstanding the above, for a temporary replacement on a scene change for

up to a maximum of eight (8) consecutive performances, additional compensation

is not required.

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39:12 Understudy Information for Stage Management

On the first day of rehearsal, an outline of the Theatre’s approved assignments and

coverage for Understudies, Swings, Standbys, Bit Covers, and Walking Covers shall be

provided to Stage Management.

40:00 CHANGES IN CAST AND REPLACEMENT OF ACTORS

40:01 Notice of Replacements

When an Understudy takes the place of an Artist, in a production, or any Artist is

replaced by another Artist, except in an emergency which occurs at or after the Half-

Hour Call, announcement to this effect shall be made in two (2) out of the following three

(3) ways:

(i) through the insertion of a printed slip in all printed programs or electronic update

of the digital program; and/or

(ii) by means of a live announcement from the stage; and/or

(iii) by means of a sign conspicuously and prominently posted at the entrance to the

theatre at the place where tickets of admission are collected. The sign shall be at

least eight by ten (8" x 10") inches in size, with letters at least one (1) inch high.

In the case of emergencies, any one (1) of the above procedures may be followed.

The Artist who replaces a non-professional may choose to waive the preceding

provisions 40:01(i), (ii) and (iii).

For each failure to give required notice of substitution, the Theatre agrees to pay the

Artist whose part is played by an Understudy or another Artist and also such Understudy

or other Artist over and above their Contractual Fee a sum equal to two-eighths (2/8) of

their Contractual Fee.

40:02 Alternating Performances

The Actor may give their consent to alternate with an Understudy or a successor. If the

Actor is replaced by either an Understudy or successor, except in the case of

emergency, illness or inability to perform, they may not be thereafter required to act

again in the part or to report to the theatre for that purpose. Payments, however, shall

continue to be made to them according to the terms of their CTA Engagement Contract

or until the contract is terminated in accordance with the terms of the CTA.

However, an Actor may agree in a rider to their CTA Engagement Contract to alternate

performances with another Actor. Notice that a role is being performed by more than

one (1) Actor must be stated in the program and the Actor performing must be properly

identified. If such notice is not included in the printed program, then any change of cast

must be announced in accordance with Clause 40:01 above.

40:03 Re-Engagement or Replacement of an Artist After Termination

The Theatre may not reduce the Artist’s Contractual Fee during the course of their

engagement, including any subsequent extension(s) of the original engagement,

whether under the same or a separate CTA Engagement Contract for that Artist.

Should the Theatre dismiss or give an Artist notice whereby it terminates their

engagement it may not later re-engage them for the same part at less than the original

Contractual Fee.

Should the Theatre dismiss or give an Artist notice whereby it terminates their

engagement, it may not replace them by another Artist at less than the original Artist's

Contractual Fee, without the written consent of Equity, such consent not to be

unreasonably withheld.

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40:04 Emergency Replacement

(A) Not Originally Under Contract

If an Actor cannot perform because of illness, injury or some other emergency, an

Artist not under a CTA Engagement Contract to the Theatre may be contracted to

replace them. The Artist shall be paid not less than two-sixths (2/6) of the

applicable minimum fee for an onstage rehearsal in the venue, rehearsal followed

by a performance, or the first performance they are required to cover. Any

subsequent performance(s) covered by a replacement Artist will be compensated

at no less than one-sixth (1/6) of the applicable minimum fee.

Alternatively, the Artist may be contracted on a standard CTA Engagement Contract

– the choice to be made by the Theatre.

(B) Artist Under Contract

When an Actor who is under a CTA Engagement Contract to the Theatre replaces

an Actor who cannot perform because of illness, injury, or some other emergency,

but is not contracted to understudy the role, the performance of the role shall be

deemed an understudy assignment, and the Artist shall be paid an additional one-

eighth (1/8) of their Contractual Fee for each performance of the role.

40:05 Riders

When an Artist takes over or shares a role which they have been contracted to

understudy, a new and separate rider to the Artist's CTA Engagement Contract shall be

negotiated to govern the terms and conditions under which they replace or share with

the original Artist. The Artist shall be deemed to have taken over a role at the time of the

termination of the original Artist's CTA Engagement Contract, or the agreement of the

original Artist to share the role. Except for termination due to illness or accident, when

the Artist takes over the terms of Clause 40:03 shall apply.

41:00 PART CUT OUT

If the part of an Actor is cut out at any time during rehearsals their CTA Engagement

Contract may only be terminated upon payment of the balance due for the remainder of

the scheduled rehearsal period or two (2) weeks' Contractual Fee, whichever is the

greater. But in no event shall the Actor receive compensation less than that guaranteed

on the face of their CTA Engagement Contract. If the part of an Actor is cut out after the

first public performance, the standard termination provisions shall apply.

42:00 BILLING, DISPLAYS AND PROGRAMS

Preamble

All Artists covered by this Agreement (Performers, Directors, Choreographers, Stage Managers,

Fight Directors and Intimacy Directors) shall receive billing as outlined in the clauses below.

The Artist shall have the right to negotiate special billing arrangements at the time of negotiating

their CTA Engagement Contract. All billing arrangements (including but not limited to posters,

brochures, paid advertising and all publicity material under the direct control of the Theatre and

the type size and billing position therein) are to be specified in writing and attached as a rider to

the CTA Engagement Contract prior to signing. The Theatre will not use the name of an Artist

in an advertisement or announcement unless a CTA Engagement Contract has been signed, or

unless permission is given by the Artist.

42:01 General Provisions – Billing

(A) Publishing of Billing

The Theatre will publish the names of all Artists in the production, in at least one

ad or some other form of promotional material, including online promotional

materials, in a format other than those referred to in Clauses 42:03 and 42:04.

(B) Billing Provisions

All provisions pertaining to the billing of the Artist shall be specific. If billing is

contingent on the billing of any other Artist, such contingency shall be clearly and

succinctly set forth in the CTA Engagement Contract.

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At least once per production, the Theatre shall include the names of all contracted

Artists in at least one (1) media release, provided the Theatre issues media

releases.

(D) All Names Included on Website

The Theatre shall include the names of all Artists involved in the production on its

website.

42:02 Breaches

Whenever a breach is claimed of a billing clause contained in an Artist's individual CTA

Engagement Contract, Equity shall notify the Theatre and PACT in writing of said

breach. Where it has been established that said breach has occurred as claimed, the

Theatre shall rectify the breach within the prescribed timelines defined by the material:

Where the breach involves online or digital materials, the Theatre shall rectify the error

within forty-eight (48) hours of notification without penalty. If the breach is not rectified

online within forty-right (48) hours of notification, the Theatre will pay to the Artist a sum

equal to one-eighth (1/8) of the Artist's Contractual Fee for each week or part thereof

that the breach continues.

Where the breach involves printed materials (billing in programs or newspaper

advertising), the penalty shall be one eighth (1/8) of the Contractual Fee for the first

week or part thereof that the breach continues following notification, and one sixteenth

(1/16) of the Artist's Contractual Fee for each day thereafter. Exempted from this

provision shall be posters on unpaid locations, and season or subscription brochures.

Where it can be clearly demonstrated that the Theatre approved a correct copy of the

material to be reproduced which did not breach the billing clause as claimed, then the

Theatre shall not be liable to a penalty, on condition that it takes whatever steps are

possible to immediately correct the breach.

42:03 Photographs

When possible within the limitations of the existing facilities and available space, the

names of all Artists in the company shall be displayed in the front of the Theatre in which

they perform.

The Artist shall provide an eight by ten (8" x 10") inches professional quality photograph

or a high-resolution digital image of at least 300 dpi, as per the needs of the Theatre and

it shall be displayed by the Theatre in one (1) of the following ways:

(i) prominently displayed and properly identified in the lobby; and/or

(ii) reduced to an appropriate size and reproduced, properly identified, in the house

program; and/or

(iii) clearly displayed on a digital screen.

42:04 Lobby/House Boards/Digital Screens

The names of all Artists must appear adjacent to all photographs and pictures displayed

in the lobby, on the house boards, or digital screens.

42:05 Artists Leaving a Production

When an Artist leaves a production, their name and/or likeness must be removed from

all front-of-house displays under the Theatre's control within three (3) days.

In connection with all publicity and promotional material under the Theatre’s control, the

Theatre shall do all in its power to remove the name and/or likeness of the Artist no

longer in the production.

Should the Theatre fail to comply with this Clause within three (3) days of receiving

written notice from the Artist, and/or their successor, and/or Equity, the Theatre shall

pay extra to the Artist currently performing, and to the Artist whose name and/or likeness

has not been removed, one eighth (1/8) of their respective Contractual Fees for each

day that the Theatre has not complied with the Clause.

Best efforts shall be taken for the removal of the Artist's name and/or likeness for all

frames and platforms not under the Theatre's control.

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Notwithstanding the above, original cast materials may be used provided the materials

stipulate that the artists shown are original cast members and that new cast members

are also displayed in the program and front of house displays.

With the prior written consent of the Artist, copies of which must be filed with Equity, the

Theatre may pay the Artist leaving the production a fee of not less than the fee listed in

the current CTA Fee Booklet for the continued use of their name and likeness in publicity

and promotional material under its control for each period of three (3) months use.

Should the Theatre elect to continue the use of the Artist's image, it must also credit the

successor Artist.

42:06 Programs, Errors and Omissions

The Theatre shall list in the program or playbill distributed to the audience the names of

all Artists under CTA Engagement Contracts for the production. Stage management

personnel shall receive billing for their specific production on either the title page or the

cast list page of the house program, placement to be at the Theatre's discretion. The

Theatre agrees to remit a copy of the program or playbill to Equity as soon as possible,

but in no event later than with the benefits remittance after opening.

If there are errors or omissions in this listing, the Theatre agrees that upon receipt of a

written notice of an omission or error it will follow the procedures laid down in this Article.

The Theatre further agrees that it will correct the error or omission in the next printing,

provided written notice is received at least twenty-four (24) hours prior to the press

deadline. For each failure to comply with this Clause, the Theatre shall pay the Artist so

affected over and above their fee, a sum equal to one-eighth (1/8) of the Artist's

Contractual Fee for each week or part thereof during which the error or omission

continues.

42:07 Errors and Omissions, Directors and Choreographers

Notwithstanding the above, in the case of a Director or Choreographer, one (1%) percent

of their total fee shall be substituted wherever the one-eighth (1/8) penalty payment

applies in this Article, and one-half (1/2) percent of their total fee shall be substituted

wherever the one-sixteenth (1/16) penalty payment applies in this Article.

42:08 Program Notice

PACT theatres engaging Equity members agree to include the following notice in their

house programs:

"Name of Theatre" is a member of the Professional Association of Canadian Theatres

and engages professional Artists who are members of Canadian Actors' Equity

Association under the terms of the jointly negotiated Canadian Theatre Agreement.

The Theatre agrees to display the Canadian Actors' Equity Association logo in the

production program or equivalent. The Equity logo shall be supplied by and remain the

property of Equity.

42:09 Biographical Material in Programs

(A) Artist’s Right of Approval

The Artist shall have right of approval over biographical material and photographs

for use in all programs and souvenir publications. This approval shall be in writing

and shall not unreasonably be withheld. In the case of photographs, this Clause

applies only to those in which not more than three (3) Artists appear. Biographical

material and photographs not disapproved within forty-eight (48) hours of

submission to the Artist shall be considered approved. The Theatre shall

determine the space available for, and the placement of such material, but may

not delete or change Artist-approved material, unless it secures the Artist's written

approval for the deletion or changes.

(B) Biographies Not In Program

If the Theatre elects not to print biographies of the Artist in the program or playbill

distributed to the audience, or in the souvenir publication, it shall, as an

alternative, provide a biography displayed adjacent to the Artist's photograph in

the lobby or make it available in digital form on the Theatre's website.

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Significant errors in biographical material published in the program, on the

Theatre’s website, or displayed in the lobby which change the sense, alter the

facts, or misspell the names shall be corrected as soon as possible, but, in any

event, within two business days of the Artist's written request.

(D) Corrections

Corrections in programs may be made by reprinting the program, or by inserting

the correction in the existing program, using a form of words approved by the

Artist (such approval shall not be unreasonably withheld). If the error remains

uncorrected beyond the two business days specified above, the Theatre shall pay

the Artist one-eighth (1/8) of the Theatre's applicable minimum fee for the first

week that the error continues, and one-sixteenth (1/16) of the Theatre's applicable

minimum fee for each day that the error continues thereafter. For Directors and

Choreographers, the provisions of Clause 42:07 shall apply.

42:10 Billing – Stage Management

The word "Artist" includes all Equity Stage Management personnel.

(A) Photographs and Biographies

Where the Theatre elects to include the photographs and biographies of all

Performers engaged in a production in the program, the Theatre will also include

the photographs and biographies of Stage Management personnel.

Apprentice Stage Managers must receive a credit in the program. Positioning of

such credit would be at the discretion of the Theatre.

(B) Billing Page

When any of the technical, administrative or managerial staff, other than the

Theatre, is listed on the billing page of a program, the Production Stage Manager

and/or the Stage Manager shall also be listed.

If the Stage Manager or Assistant Stage Manager is replaced by new Stage

Management personnel, an announcement to this effect shall be made in one (1)

of the following ways:

(i) through the insertion of a printed slip in all programs; or

(ii) by means of a sign prominently posted at the entrance to the theatre.

Additionally, the outgoing Stage Manager's or Assistant Stage Manager's

photograph and name must be removed from the lobby and replaced by that of

the new Stage Manager or Assistant Stage Manager.

If an emergency replacement occurs at or after the Half-Hour Call, this Clause

shall not apply.

(D) Website Billing

Where the Theatre elects to include the names of more than two (2) Actors in the

cast in a production on the Theatre's website, not including crediting for

photographs, the Theatre shall also include the names of all Artists in the

production, including Stage Management.

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43:00 GENERAL PROVISIONS – PHOTOGRAPHS AND RECORDINGS

Preamble

PACT and Equity agree there is a joint responsibility to promote a healthy, viable and

sustainable professional theatre sector in an increasingly competitive, changing environment

through the promotion of productions, Artists, Theatres and the Canadian theatre industry.

PACT and Equity understand that the promotion and communication tools used by the Theatre

and the Artist continue to develop and evolve at a rapidly increasing rate. It is understood that

the use of these tools will provide mutual benefit through theatre awareness, attendance,

financial viability, and increased future work opportunities.

43:01 Notice and Declared Use

(A) Notice of Calls

Wherever notice is required to be generated and given to an Artist it is the Theatre

representative, not Stage Management staff, who is required to generate the

notice.

All Artists involved must receive the required notice corresponding to the declared

use of the materials as provided for elsewhere in this Agreement prior to any

recording or capture of photographs, a copy of which notice shall be filed with

Equity.

(B) Initial Declared Use

The Theatre shall declare the intended use(s) of the recorded material, either

Commercial Use or Non-Commercial Use identifying the appropriate stipulations

for each Declared Use. If at any time the Theatre wishes to change the use of the

material from the Initial Declared Use, notice of the change will be submitted (with

appropriate stipulations) to the participating Artists, a copy of which shall be

subsequently filed with Equity.

43:02 Scheduling of Calls

(A) Calls for Recordings

All recordings and photographs shall be made at the regular rehearsal or

performance venue and must take place within the regular working hours. No

additional rehearsal or special call to facilitate any recording is allowed, unless

provided for herein, in which case the Artist shall invoice the Theatre at one-eighth

(1/8) of the Contractual Fee or the rate stipulated on the appropriate line of

Schedule "A" in the current CTA Fee Booklet, whichever is greater.

There shall be no such call on a two-performance day or on a day when two (2)

dress rehearsals are called. There will be no such call on a ten (10) out of twelve

(12) hour day unless the call can be scheduled within the ten (10) work hours.

(See Clause 63:13(F).

(B) Calls during a Rest Period

For any call which results in the Artist providing additional services during any rest

period, the Artist shall invoice the Theatre at the rate stipulated on line one (1) or

three (3) of Schedule “A” of the current CTA Fee Booklet as appropriate.

However, with the unanimous consent of the company, photographs may be

captured immediately prior to the Half-Hour Call with no additional payment

required.

Should the Artist, at the request of the Theatre, attend a call before the

engagement period for which they are contracted, the Artist shall invoice the

Theatre at the rate stipulated on line one (1) of Schedule "A" of the current CTA

Fee Booklet for the actual time of the call, provided that the call takes place at the

Artist’s place of residence, or if the call takes place at a location other than the

Artist’s place of residence and the Artist is not required to travel to said location

specifically for the call. The minimum call shall be two-and-a-half (2-1/2) hours.

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When the Artist is requested by the Theatre to travel to a location outside of their

place of residence for a recording call, they shall be compensated at a negotiated

rate of not less than one-sixth (1/6) of the Artist’s Contractual Fee. The Theatre

will provide suitable accommodation, travel, and meals if required.

The arrangements of the call shall be outlined in a rider to the Artist’s CTA

Engagement Contract. Daily insurance and standard deductions shall apply.

43:03 Other Conditions

(A) Nude Recordings

Except in the case of an Archival recording, no Artist may be required to appear

nude or semi-nude in any recording or image without their prior written consent.

Furthermore, any images or footage of nudity may only be in long shot.

The Artist shall be given the opportunity to view and approve all such material

prior to any use. No nude or semi-nude recordings or images of an Artist may be

used in any way without the prior written consent of the Artist. A copy of the signed

consent and approved recording shall be provided to the Artist.

(B) Alteration of Images or Footage

Outside of altering an Artist’s image for quality, resizing or video editing, the Artist

must approve any recording or photograph in which their likeness has been

altered or in which their likeness has been placed in a context unrelated to the

original material.

In order to verify any of the above conditions, Equity may request a copy of any

recorded material, raw or edited, in which case Equity warrants the material will

remain in its sole possession.

(D) Use of Recorded Material in Joint Productions or Revivals

In the case of a Joint Production, recorded material from any or all of the Theatres

involved in the Joint Production may be used to promote those Theatres and the

production itself.

In the case of a Revival, recorded material from the original production may be

used by the Theatre reviving the production to promote the production, provided

both the Artists and the original Theatre are appropriately credited.

(E) Use of Recorded Material for Promotion of Canadian Theatre

The Theatre may submit recorded material to PACT or Equity for print or web

publication on their platforms. For the purpose of promoting professional

Canadian theatre, the Theatre may also permit the use of photographs on the

website of a not-for-profit arts service organization of which the Theatre is a

member.

43:04 Identification of Photographs

Where the Theatre has control over the photograph, the name(s) of the Artist(s) and title

of the Production will be identified when there are five (5) or fewer Artists.

Where the Theatre does not have control over the photograph, the Theatre shall use

reasonable efforts to identify the names of all of the Artists appearing in the image and

the title of the production whenever possible. The same applies to both PACT and Equity

when using photographs supplied by a Theatre in their material.

43:05 Approval of Photographs

Unless otherwise noted in this Article the Theatre shall not be required to obtain the

Artist’s authorization or additionally compensate the Artist for the distribution of

photographs from past or current productions.

43:06 Rights of the Photographer

Photographers have rights under Canadian copyright.

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43:07 Use of Recordings and Photographs by the Artist

Where the Theatre is empowered to do so, and in accordance with the agreement held

with the photographer, at the request of the Artist, the Theatre may agree to provide a

copy of the recording or photograph to an Artist for their own individual souvenir or

promotional use. The photographer may charge for images.

The Theatre may ask the Artist to declare in writing the nature of the limited purposes

for which the recorded material may be used. The Theatre shall not be responsible for

any subsequent misuse of the material, either by the Artist or stemming from the use of

the material by the Artist whether such misuse arises from the use of the materials for

the purposes set forth by the Artist in their request to the Theatre, or for any other uses.

For the purposes of this Clause, “Artist” shall include other artists (such as designers)

whose artistic contribution to the production is represented in the recorded material. The

Theatre shall be responsible for securing the appropriate written permissions from all

Artists.

43:08 Social Media

PACT and Equity are committed to encouraging a respectful climate of social media use.

The Theatre may post any policies regarding the use of the Theatre's technology and

social media sites and any parameters regarding use of logo, etc. Artists who wish to

use social media on their free time to share their experiences while under contract to

the Theatre are encouraged to familiarize themselves with the terms of the policy of the

Theatre.

43:09 Social Media "Takeover"

Social media "takeovers" are done only on a voluntary basis. When the Theatre directs

the frequency, quantity and/or content of posts in a social media takeover, including a

description/list of elements or people that may not be photographed, the Artist shall be

compensated at no less than the rate of one-forty-second (1/42) of the Company

Category minimum weekly fee per day. The Artist shall receive verbal approval from

other Artists present in material before posting.

43:10 Capture of Material in Rehearsal or Backstage

(A) Capture During Rehearsal

Recordings made and photographs taken in rehearsal shall be allowed with notice

corresponding to the declared use. However, any Artist may withdraw their

consent for the recording of material at any time by informing either Stage

Management or a representative of the Theatre.

(B) Capture Backstage

Specific permission to record any activities backstage including in or around

dressing rooms must be requested in writing no later than twenty-four (24) hours

in advance. No Artist shall be penalized in any way for refusing to grant permission

for the capture of material in these areas.

The only exception to this Clause is the capture of rehearsal material at a Dress

Rehearsal, where the standard 24 hour notice shall apply.

There shall be no capture of material during the Half-Hour Call or in the wings

during a performance. To this end, no camera or cell phones shall be permitted

in the wings or on stage with the exception of those used by Stage Management

for emergencies.

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44:00 NON-COMMERCIAL USE OF PHOTOGRAPHS AND RECORDINGS

44:01 Declared Use

It is understood that the Theatre may capture audio visual recorded material or

photographs of rehearsal or production, in whole or in part, for any or all of the purposes

set out below. In all cases, the Theatre remains responsible for the appropriate use

and/or distribution of the recorded material.

Non-Commercial Use is defined in this agreement as the use of any Recording or

Photograph to demonstrate the nature of or to promote the work of the Theatre and the

Artist to potential audience members, performance presenters, booking agents,

students, donors, funders and sponsors.

Photography or recordings of or by Minors is prohibited without parental consent.

Crediting for photographs and recordings captured pursuant to this Article are subject to

Clauses 43:04 and 44:03.

Artists shall respect the Theatre's internal social media policy with respect to

photographs and recordings in the workplace.

44:02 Capture of Material for Promotional Use

The only exception to this Clause is the capture of rehearsal material at a Dress

Rehearsal, where the standard twenty-four (24) hour notice shall apply. There shall be

no capture of material during the Half-Hour Call.

(A) Notice – Photographs

(i) All-Rehearsal-Notice by the Theatre

The Theatre may, at the time of contracting the Artist, issue a photo notice

that includes the capture of photos of Artists by staff of the Theatre in any

rehearsal. This will be included as a rider to the contract. If the photo

captured contains three (3) or fewer Artists then the Theatre or Artist must

obtain written approval from all Artists in the photo before posting to Social

Media. Any Artist may reasonably withdraw their consent at any time prior

to the capture of material by informing either Stage Management or a

representative from the Theatre. This does not apply when a third party is

hired to take professional photographs for promotion.

(ii) Third Party Notice - Photographs

When a third party is hired to take photographs for promotional use, the

Theatre shall give the Artists twenty-four (24) hours notice. This notice will

be written into the daily schedule. At the time of notice any Artist may

reasonably withdraw their consent.

(iii) Express Consent

No Artist may take photographs of other Artists without the express consent

of those Artists and further consent must be obtained prior to posting,

sharing or distributing approved photographs.

(B) Notice – Recordings

(i) All- Rehearsal Notice by the Theatre

The Theatre may, at the time of contracting the Artist, issue a recording

notice that is limited to the capture of recordings of the Artists by staff of the

Theatre for use on Social Media. This will be included as a rider to the

contract. Any Artist may reasonably withdraw their consent at any time prior

to the capture of material by informing either Stage Management or a

representative from the Theatre.

The Theatre must obtain verbal approval from all Artists present in the

recording before posting. This does not apply when a third party is hired to

make a professional recording for promotion.

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(ii) Third Party Notice - Recordings

When a third party is hired to make a recording for promotional use the

Theatre shall give the Artists twenty-four (24) hours’ notice. This notice will

be written into the daily schedule. At the time of notice any Artist may

reasonably withdraw their consent.

(iii) Consent to Post Recordings

No Artist may make recordings of other Artists without the express consent

of those Artists and further consent must be obtained prior to posting,

sharing or distributing those recordings.

A Live Recording is the capture of the audio and/or visual aspects of a theatrical

production’s actual performance or rehearsal, in the immediate present through

the use of a video live-streaming device or platform. The Theatre shall give Artists

twenty-four (24) hours’ notice before any Live Recording. This notice will be

written into the daily schedule. At the time of notice any Artist may reasonably

withdraw their consent.

The Live Stream shall be removed from social media at the close of the

Production.

(D) Capture Backstage

Specific permission to record any activities backstage including in or around

dressing rooms must be requested in writing no less than twenty-four (24) hours’

in advance. No Artist shall be penalized in any way for refusing to grant permission

for the capture of material backstage. Prior to the Theatre or Artists using the

captured materials the Artists present in the material will have the opportunity to

view and approve it.

Recorded Material captured by the Theatre in rehearsal or backstage which may

or may not include any elements of the production, requires the written

authorization from all participating Artists prior to being used by the Theatre or

other Artists. Recorded material captured by Artists either in rehearsal or

backstage which may or may not include any elements of the production, requires

the written authorization from all participating Artists and the Theatre in order to

be used by the Artist.

For the purposes of this Clause, “Artist” shall include other artists (such as

designers) whose artistic contribution to the production is represented in the

recorded material. The Theatre shall be responsible for securing the appropriate

written permissions from all Artists.

44:03 Credit and Billing for Photographs and Recordings

With the exception of Archival and Reference recordings, the final cut of any recordings

made shall include a credit list or roll. When posting material on Social Media, the Artists

captured will be credited in the caption and tagged whenever possible.

44:04 Use in Production

(A) Conditions for Recording

Artists in a production may agree to participate in audio and/or visual recordings

and/or photographs solely for use in the production where the text and/or

Director's interpretation requires such recordings.

(B) Recording Sessions

The recording(s) and/or photograph(s) may only be used during the period in

which the Artist is engaged in the production and only for the production for which

it has been made. Should such recording sessions take place outside regular

rehearsal hours, then the Artist shall invoice the Theatre at the rate stipulated on

the appropriate line of Schedule "A" in the current CTA Fee Booklet. The terms

and conditions of such an agreement are to be negotiated and attached to the

Artist's contract as a rider, prior to the recording.

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44:05 Artist Leaving a Production

If the Artist leaves the cast after making a visual or sound recording the Theatre may, in

lieu of making a new recording, pay the Artist a royalty for the continued use of the

recording. Such royalty shall not be less than two-and-a-half (2-1/2%) percent of the

Artist's Contractual Fee for each week of use.

This royalty shall not apply if the Artist is recorded for the purpose of background only

or if the Artist is not recognizably featured.

44:06 Artist Engaged Solely for Recording

An Artist engaged solely for audio and/or visual recordings and/or photographs, not

otherwise engaged for the production, shall be paid one-sixth (1/6) of the applicable

minimum fee per day for each recording session. For the Theatre's use of such a

recording during the run of a production or during a revival or remount, the Artist shall

receive a weekly royalty to be negotiated at the time of the Artist's engagement of no

less than two-and-a-half (2-1/2%) percent of the applicable minimum fee.

44:07 Concurrent Engagement, not in Production

An Artist who is engaged by the Theatre in a production which is currently rehearsing or

running may agree to participate in audio and/or visual recordings and/or photographs

solely for use in a current production of the Theatre provided that the purpose is for

background only and/or the Artist is not recognizably featured. No additional payments

are required for this recording unless the closing date of the last production on the Artist’s

contract is prior to the close of the production for which the recording is made, in which

case a royalty of two-and-a-half (2-1/2%) percent of the Artist’s original Contractual Fee

will apply for each week in excess of six (6) beyond the close of the production in which

the Artist was engaged. This royalty is in lieu of the Theatre making a new recording.

Should such recording sessions take place outside the regular rehearsal periods of the

Artist’s engagement, then the Artist shall invoice the Theatre at the rate stipulated on

the appropriate line of Schedule "A" in the current CTA Fee Booklet.

44:08 Live Recording in Production

The Theatre may use Live Recording, as defined in Clause 44:02(C) as a part of a

production when the video feed is being displayed as a part of the performance to the

audience.

44:09 Declared Use

It is understood that the Theatre may capture audio visual recorded material of rehearsal

or production, in whole or in part, for any of the purposes set out below. In all cases, the

Theatre remains responsible for the appropriate use and/or distribution of the recorded

material.

(A) Reference and Access

(i) Maintenance for Understudies, Choreography, Stage Fighting and

Special Business

The Theatre may make duplicate copies/provide a link to the appropriate

recorded material for the benefit of review by the Artists, however no

Understudy may be given a copy of such recorded material until after their

onstage run-through rehearsal. In the event that any Artist is provided with

a copy of the recorded material, and is required by the Theatre to use the

recorded material for review at home, any such hours spent reviewing the

recorded material shall be mutually agreed upon in advance, and will be

considered allowable rehearsal time. For the purposes of this Clause,

"Artist" shall include other artists (such as designers) whose work on the

production depends on access to such a recording. This material may not

be broadcast, posted or shared in way on any platform.

(ii) For Accessibility Needs

To increase accessibility, the recording may be provided to facilitators,

interpreters and translators, in whole or in part, to assist in their work of

creating a production that is more accessible.

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(B) Publicity & Promotion for Current Productions

The Theatre may use up to ten (10) minutes finished running time of the recorded

material. This recorded material may also include clips of edited material from

rehearsal, backstage, workshops, readings and/or performance footage. The

material may be used by the Theatre during the rehearsal period and for up to

twelve (12) months from the first public performance of the current Production, or

for the duration of the run, whichever is longer. Where the Theatre is empowered

to do so, the Theatre shall grant similar rights of use to the Artists in the production

with the agreement of the other Artists for the same time frame.

The Theatre may extend its time frame of the use of the material by either offering

the Artists the same extended use beyond the initial time frame as noted above

or by compensating the Artist at no less than one-sixth (1/6) of the Artist’s weekly

Contractual Fee. Rates for Directors, Choreographers, Fight Directors and

Intimacy Directors shall be no less than two-and-a-half (2-1/2%) percent of the

applicable Company Category minimum fee.

The Theatre may use recordings to demonstrate the nature of its work, and the

work of the Artist(s) to potential funders, sponsors, donors and potential

performance presenters for Revivals or tours. Recordings for Future Opportunities

may be composed of clips of edited material from rehearsal, backstage, workshop

and readings and/or performance and may contain in the finished version material

from one or more productions.

This material may be used by the Theatre during the original production and for a

period of five (5) years after it closes. Where the Theatre is empowered to do so,

the Theatre shall grant similar rights of use to the Artists in the production with the

agreement of the other Artists for the same time frame.

To access this declared use, the Theatre may offer the Artists either the right of

first refusal to be contracted for any subsequent productions for a period of five

(5) years, or by compensating the Artist at no less than the rate of one-sixth (1/6)

of the Minimum Weekly Contractual Fee for the production being recorded. Rates

for Directors, Choreographers, Fight Directors and Intimacy Directors shall be no

less than two-and-a-half (2-1/2%) percent of the applicable Company Category

minimum fee for the production being recorded. The Artist may opt to reject a

“right of first refusal” by accepting payment in lieu.

The Theatre may extend the time frame of its use of this material by either

renewing the “right of first refusal” for another three (3) years, or by

compensating the Artist at no less than one-sixth (1/6) of their current Minimum

Weekly Contractual Fee. Rates for Directors, Choreographers, Fight Directors

and Intimacy Directors shall be no less than two-and-a-half (2-1/2%) percent of

the production’s Company Category minimum fee. As above, the Artist may

elect to accept payment in lieu of the “right of first refusal”. In no circumstances

may payment in lieu of the “right of first refusal” be based on fees for activities

contracted under Article 57:00 Workshops and Readings. The minimum

payment for the use of materials exclusively recorded during a Workshop or

Reading shall be calculated at no less than Company Category “F” minimum

fees.

(D) Archives for Retaining a Permanent and Definitive Record of the Production,

and Preserving the History of Canadian Theatre

The Theatre may record a rehearsal, production, workshop or reading for archival

purposes. The title "ARCHIVAL RECORDING: NOT FOR DISTRIBUTION" must

appear at least once superimposed on the image.

Under no circumstances shall a Theatre give an Artist a copy of an archival

recording prior to rehearsal. There must be no public viewing of the recorded

material.

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(E) Playwrights’ Development Centres

It is recognized that playwrights’ development centres are permitted to record and

use archival videos of workshops in the following manner:

(i) for loan to the creators for reference;

(ii) for loan to public funders or to major peer juried foundations for

granting.

(F) Current Affairs

For the purpose of promoting the Theatre, its productions, and/or the Artists, a

maximum of five (5) minutes of performance and/or rehearsal of each production

may be presented on a news, current affairs arts, lifestyle, or similar program

(including website use) during the current production or for twelve (12) months

following the close of the production, provided that the Theatre notifies the Artists

in advance, in writing. The written notification shall include the full particulars of

the recording, and a copy of the notification shall be filed with Equity.

(G) Educational Use

(i) Photography

(a) Academic and Training Institutions

With the prior written consent of the Artist(s) appearing in the image

the Theatre may extend the use of photographs to post-secondary

academic institutions which have theatre programs or theatre schools

for the publication of those images in scholarly journals and

publications.

(b) Study Guides

With the prior written consent or former approval of the Artist(s)

appearing in the image the Theatre may use photographs in study

guides for schools when the study guides are prepared by the Theatre

and supplied free of charge to teachers.

The Theatre shall give the Artists twenty-four (24) hours notice before

taking photos for Educational Use. This notice will be written into the

daily schedule.

The use of photographs as provided for in this Clause is subject to proper

identification as per Clause 43:04.

(ii) Recordings for Educational Use

The Theatre may supply schools and academic institutions, free of charge,

with recordings of a production through an online link that may only be

accessed up to one month after the run of the production. The Theatre shall

ensure that only those authorised by the Theatre shall access the

recording. The Theatre will provide Equity and all Artists with forty-eight (48)

hours written notice of a recording for Educational Use.

(iii) Live Recordings for Educational Use

The Theatre may provide access to a performance, free of charge, through

the use of Live Recordings, as defined in Clause 44:02(C) with prior written

consent of the Artist(s) appearing on stage. The Theatre will provide Equity

and all Artists with forty-eight (48) hours written notice of a Live Recording

for Educational Use.

For the recording of full productions for use in the Educational sector, Artists

will be signed to the applicable ACTRA contract. Any streamed material will

be password protected and would expire at the end of the production being

streamed.

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Any hard copies of recorded material provided to an educational institution

via Compact Device or hard drive will be watermarked with “PROPERTY

OF” [name of Theatre(s)] every ten (10) minutes throughout the recording.

Any other material that the Theatre is permitted to use may also be made

available for educational purposes.

(H) Credit and Billing for Audio and/or Visual Recordings

The final cut of any audio and/or visual recordings made shall include a credit list

or roll. The credit roll shall not be counted towards the allowable minutes of

recorded material from an approved source. In Social Media posts where there is

limited time and space for crediting to be included in the video, all credits will be

listed in the caption and comments below.

44:10 Recorded Material Captured Prior to the 2012-2015 CTA

If the Theatre wishes to use any recorded material with the exclusion of photographs

from productions mounted prior to the term of the 2012-2015 CTA, for any usage

provided in this Article, the Theatre must seek and receive approval from all Artists who

participated in the original recording.

45:00 COMMERCIAL USE OF PHOTOGRAPHS

Preamble

A photograph for commercial use is the reproduction of photographs whether in whole or in part,

for sale to the general public and/or is intended to garner revenues related to such for the

Theatre or a third-party licensee.

45:01 Notice

Whenever possible, the Theatre shall give the Artists and Equity seventy-two (72) hours

notice or three (3) business days of any proposed photo session along with a detailed

schedule. Additionally, the Artist or any third party must obtain the written consent of the

Theatre before confirming any photo session.

The use or preparation of photographs, except as provided for elsewhere in Articles

43:00 and 44:00, in a format different from that for which permission was given, is

prohibited, unless permission is sought from and given by Equity for each further use.

Where the Theatre has control over the photograph, the name(s) of the Artist(s) and title

of the Production will be identified when there are five (5) or fewer Artists.

Where the Theatre does not have control over the photograph, the Theatre shall use

reasonable efforts to identify the names of all of the Artists appearing in the image and

the title of the production whenever possible.

45:02 Merchandise and Publications

(A) Written Authorization

For merchandise and publication use, as outlined in this Article, the Theatre must

obtain the Artist's prior written authorization for the use of the Artist’s image which

authorization shall identify the photograph to be used and the details of the

specific usage to be made of the photograph. The Theatre shall provide Equity

with a copy of the Artist’s written authorization upon request.

(B) Payment for Use of Image for Merchandise

If the Artist consents to the use of their image for any merchandise, other than a

“Souvenir Brochure”, they shall be paid not less than as specified in the current

CTA Fee Booklet for said use for a period of not more than fifty-two (52) weeks.

Artists called to a photo call for the purpose described above, whether said call is

at the theatre or elsewhere, shall be paid not less than as specified in the current

CTA Fee Booklet, but need not be paid any additional sums for use of pictures

taken during said call.

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A "Souvenir Brochure" is defined as a small book, program or magazine

containing pictures and information about the Theatre's production, which is sold

for revenue.

The Theatre shall pay the Artist not less than as specified in the current CTA Fee

Booklet for the use of the photographs in any book where the importance of the

photographs is equal to or greater than the importance of the text.

With the prior written consent of the Artist(s) appearing in the photograph, the

Theatre may use photographs in a souvenir brochure for a current run or season

provided that all Artists in each photograph is credited.

All Artists appearing in the souvenir brochure shall receive up to three (3)

complimentary copies of the souvenir brochure.

(E) Previous Production

Provided the Theatre receives the prior written consent of the Artist(s) appearing

in the photograph, the Theatre may use photographs from a previous production

in a souvenir brochure pursuant to the terms of this Clause. The Artist shall have

the right to negotiate additional compensation for such usage.

(F) Books and Publications

With the prior written consent of the Artist(s) appearing in the image the Theatre

may allow the use of photographs in books, such as academic texts, or

publications of plays without any compensation to the Artist. In the case of the use

of photographs in biographical or historical books about an Artist, a theatre, or

theatre in general, the Theatre may be exempt from the payment to the Artist

stipulated in the current CTA Fee Booklet with the prior written consent of the

Artist.

(G) Failure to Secure Prior Written Consent

In Clauses 45:02 above, should the Theatre not receive the prior consent of the

Artist, the Theatre shall pay the Artist not less than as specified in the current CTA

Fee Booklet for the use of the photographs.

46:00 COMMERCIAL USE OF RECORDINGS

46:01 Scope

(A) Preservation

This Article covers the recording (preservation) of the audio and/or visual aspects

of a theatrical production in whole or in part for the purposes of Commercial Use

through the use of any and all devices now in existence and yet to be developed

made during the run of, or within six (6) months of the close of, the production.

The resulting product shall hereafter be referred to as a recording. The Artist may

not be required to take part in the recording or broadcast. Any recording or

broadcast of a scene involving nudity or acts of a sexual nature shall not take

place without the prior written permission of the Artist specifically agreeing to

same, such permission not to be unreasonably withheld.

(B) Broadcast

This Article also covers the broadcast or transmission of a theatrical production

for commercial use whether by means of the reproduction of a recording or by

means of live broadcast, including streaming and live streaming. This Article shall

apply whether the recording is made at or the broadcast emanates from the

theatre or elsewhere, and regardless of the use made of same at any time

thereafter.

Use of any recorded material by any third party approved by the Theatre, (not the

Theatre, a sponsor of the Theatre or a presenter of the Theatre) shall require

payment of not less than one eighth (1/8) of the Artist's weekly Contractual Fee

for up to five (5) minutes of recorded material. Use of photographs shall be

payable as per the current CTA Fee Booklet.

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46:02 Commercial Recording Rates

Artists shall be free to negotiate compensation in excess of the minimums below. Copies

of all contracts and/or riders shall be filed with Equity. All payments to the Artist stipulated

herein shall be in addition to and separate from payment and fees stipulated in the

Artist’s original CTA Engagement Contract for that period.

The Theatre agrees that the responsibility for the payments to Choreographers,

Directors and Stage Managers lies solely and exclusively with it.

For the purposes of this Article, whenever a recording or broadcast of a production in

whole, or in part, including radio, cast albums, simulcasts and commercials is made, all

Artists engaged in the recording or broadcast, shall be governed by and paid as follows:

(i) Actors

Actors shall be contracted under, governed by, and paid according to the

appropriate ACTRA agreement.

(ii) Choreographers & Directors

For a visual recording or broadcast Choreographers and Directors shall be paid a

minimum of ten (10%) percent of the original Contractual Fee for the first thirty

(30) minutes of finished recording or broadcast and an additional five (5%) percent

of such original fees for each subsequent thirty (30) minutes of finished recording

or broadcast.

For a radio broadcast or cast album Choreographers and Directors shall be paid

a minimum of two-and-a-half (2-1/2%) percent of the total original fee or two-and-

a-half (2-1/2%) percent of the Company Category A minimum fee, whichever is

the greater, whenever a radio broadcast recording or cast album of the complete

production is made excluding excerpts.

These payments shall be outlined in a rider to the Artist’s CTA Engagement

Contract and standard deductions shall apply.

(iii) Stage Management

Stage Management personnel shall be paid no less than the Principal performer

rate in the appropriate ACTRA agreement. These payments shall be outlined in a

rider to the Artist’s CTA Engagement Contract and standard deductions shall

apply.

46:03 Additional Rehearsals

Whenever any member or members of a company are rehearsed for a recording or live

broadcast, such rehearsal shall be included in the rehearsal schedule for said recording

or broadcast. PACT, Equity and ACTRA shall determine whether such rehearsal time is

related to the theatrical production or the recording or the broadcast.

46:04 Scheduling Calls

There must be an eleven (11) hour overnight rest period from the end of the recording

day to the first call the next day.

After recording, there must be a rest period of not less than one and one-half (1-1/2)

hours prior to curtain time on a day on which there is one (1) performance.

On a day when there is a matinee performance only, there must be a one and one-half

(1-1/2) hour rest period following final curtain before recording.

Infringement of these provisions is to be paid for at the appropriate overtime rate in line

one (1) Schedule “A” of the current CTA Fee Booklet.

46:05 Recording on Day with No Performance

On a day on which there is no performance, ACTRA rehearsal clauses shall prevail.

Regardless, there shall be eleven (11) hours overnight rest period between the last call

on a performance day and the first call on a performance day.

In the event that the Theatre is unable to schedule a recording or prep for recording on

a regular work day, Equity will on a case-by-case basis consider a request from a

Theatre to schedule a recording on an Artist’s Free Day. Free Day infringement penalties

may apply.

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46:06 Two-Performance Days

The Artist may not be required to render their services for a recording session, live

broadcast or rehearsals for same under any circumstances on a day where two (2)

theatrical performances are to be presented.

46:07 Recording after Production Closed/Artist Leaves Production

(A) Original Artist

When a recording is made of the stage production which has closed, all the Artists

engaged in said stage production shall be engaged for the preserved performance

or broadcast. If another Artist, who did not participate in the stage production, is

engaged for the recording, then the Artist who was last contracted for the stage

production shall be paid in accordance with the appropriate ACTRA rates,

provided they are available and willing to participate in the recording.

(B) Part Cut Out

Similarly, if the part or role of an Artist in the stage production is cut out of the

recording or broadcast, then the Artist who was last contracted for the part or role

in the stage production shall be paid in accordance with the appropriate ACTRA

fees, whether or not they would have been available to participate in the recording.

46:08 Artist Dismissed

Any Artist who is contracted or called for any recording or broadcast and is subsequently

dismissed or released from such recording or broadcast, shall be paid in full as if they

had done said mechanical reproduction.

46:09 Additional Payment

All payments to the Artist for such work shall be in addition to and separate from

payments and fees stipulated in the original CTA Engagement Contract for that

production.

47:00 PROMOTIONAL APPEARANCES

This Clause applies only to promotional appearances directly connected to a production

for which the Artist is engaged under a CTA Engagement contract.

47:01 Scheduling Promotional Appearances

Promotional appearances, including promotional performances and interviews shall

occur within the allowable rehearsal hours. For those that do not occur within the

allowable rehearsal hours, the Artist shall invoice the Theatre in accordance with line

one (1) Schedule “A” of the current CTA Fees Booklet.

The Theatre will inform the Stage Manager of any promotional event concerning any

Artist in the production as far in advance as possible.

For all promotional appearances with a performance element, the Stage Manager,

Artist(s) and Theatre shall mutually agree if the Stage Manager’s presence is required

and if additional Stage Management staffing is necessary for the event.

If the Stage Manager determines that their presence is not required, the Theatre will

ensure appropriate representation from the Theatre is present. The Theatre shall consult

with the Stage Manager to determine if additional Stage Management staffing is

necessary for the event.

All breaks and rest periods required in the CTA will apply to the scheduling of

promotional appearances. Should the Artist agree to a Promotional Appearance on a

Free Day, the Artist shall invoice the Theatre at the rate stipulated on line five (5) of

Schedule "A" in the current CTA Fee Booklet. The minimum call for a promotional

appearance on a Free Day shall be four (4) hours. The promotional appearance may

not exceed thirty (30) minutes in total, inclusive of interviews and other appearance

requirements.

Appearances will be within fifty (50) kilometres of the theatre in which the production is

presented, unless mutually agreed otherwise.

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47:02 Promotional Performances

With the agreement of the individual Artist, a promotional appearance may include a

performance subject to the following conditions.

Provided that there is a minimum of three (3) full weeks of rehearsal prior to the first

public performance, a maximum of two (2) such promotional appearances (per Artist)

may be scheduled within each two (2) week period of the engagement. In the case of a

revival production, the minimum rehearsal period may be shorter with the agreement of

Equity which shall not be unreasonably withheld. In all other cases, a maximum of two

(2) promotional appearances with performance elements (per Artist) may be scheduled

within each two (2) week period after the official opening of the production. A promotional

appearance may not be scheduled during the first week of rehearsal, or on any day with

more than one (1) performance at the theatre.

The Theatre shall provide as much advance notice as possible of any publicity

appearance with a promotional performance, but in any event, such appearances will

be requested with no less than twenty-four (24) hours’ notice to the Artist.

The performance elements shall not be more than two (2) songs per Artist, up to a

maximum of twenty (20) minutes of performance in total. For broadcast purposes,

performance elements are restricted to five (5) minutes or one song, whichever is longer.

Where Stage Management is not required, the Artist will be accompanied by a qualified

representative of the Theatre.

47:03 Reimbursement and Payment

The Theatre shall reimburse the Artist for all reasonable personal expenses incurred in

connection with media interviews and promotional appearances required by the Theatre

and/or its representative.

For promotional appearances with performance elements in excess of the limits of this

Clause, the Artist shall be paid not less than an additional two-eighths (2/8) of their

Contractual Fee per appearance.

The provisions of this Clause do not apply to Sector 2 A-2 productions or other activities

covered under Articles 55:00 and 57:00.

48:00 ARTIST'S LEAVE

After six (6) months of continuous engagement on any contract of fifty-two (52) weeks

(or more), the Artist shall have the opportunity to take a one (1) week unpaid hiatus at a

mutually acceptable time during the engagement on provision of four (4) weeks’ notice

to the Theatre. Thereafter, the Artist may take a one (1) week unpaid hiatus after each

further six (6) months of continuous engagement on the same terms.

An Artist engaged to replace another on unpaid hiatus may be engaged on condition

that they shall not be called upon to rehearse less than one (1) week.

49:00 TOURING

Preamble

Whenever the Artist, while engaged by the Theatre, is required by the Theatre to rehearse,

perform or travel outside the Point of Origin as defined in Clause 18:42 for any day or part of a

day, the Artist shall be considered to be on tour and the provisions of Clauses 18:66, 49:03(B)(i),

49:03(B)(ii) and 63:20 shall apply.

49:01 Travel Time

(A) Travel Day Only

The Artist may be required to travel up to ten (10) hours.

(B) Rehearsal on a Travel Day

See Clause 49:14.

The Artist may be required to travel up to six (6) hours.

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(D) Multiple Performance Day

The Artist may be required to travel up to two (2) hours.

(E) Prohibited Travel Time

Travel is prohibited between the hours of 12:00 midnight and 8:00 a.m. except as

provided for elsewhere in this Article.

(F) Weekly Maximum

Travel time shall be limited to thirty-eight (38) hours per week.

Productions engaging under Article 55:00 are exempt from the above limitations.

49:02 Fees

All fees are payable in the legal tender of Canada. In the United States, fees payable

shall not be less than the applicable minimum fees established by Actors' Equity

Association (U.S.) from time to time. The applicable minimums shall be confirmed, in

writing, by Equity to the Theatre, prior to the issuance of any contracts.

49:03 Local and Overnight Touring

(A) Local Touring – Determination of Hours and Per Diem

An Artist required to be outside the Point of Origin by virtue of their CTA

Engagement Contract shall receive a daily expense allowance as specified in the

current CTA Fee Booklet. In no event may the work span on local tours exceed

eight-and-a-half (8-1/2) consecutive hours in a day (including transportation to

and from the place of performance and/or rehearsal and all meal and rest breaks).

For services provided by the Artist in excess of this span, the Artist shall invoice

the Theatre at the rate stipulated on line one (1) of Schedule "A" in the current

CTA Fee Booklet. No more than one-and-a-half (1-1/2) hours of additional

services may be scheduled. Travel after 10:00 p.m. is prohibited except where

the Artist is transported back to the Point of Origin following an evening

performance, in which case such travel is permitted on condition that travel does

not exceed one (1) hour and the travel is completed by 12:00 midnight. In this

circumstance overnight rest shall be calculated from the time the Artist is returned

to the Theatre or mutually agreed drop-off point.

(B) Overnight Touring

Whenever the Artist, while engaged by the Theatre, is required by the Theatre for

any reason to be away from the Point of Origin for ten (10) or more consecutive

hours, the Artist shall be considered to be on an overnight tour, and the provisions

of Clauses 49:03(B)(i), 49:03(B)(ii) and Article 49:00 shall apply.

(i) Per Diem

Per Diem shall not be subject to Clause 3:03 (Deductions) and shall be paid

at least one (1) week in advance of the week for which it is applicable.

(a) Standard Per Diem

When the Artist is required to travel outside the Point of Origin on an

overnight tour, the Artist’s Contractual Fee shall be augmented by a

daily expense allowance as specified in the current CTA Fee Booklet.

(b) Reduced Per Diem

With the agreement and approval of the Artist, the Theatre may supply

single occupancy, commercial or private with private entrance

housing, at no cost to the Artist and pay the Artist a reduced daily

expense allowance. The reduced daily expense allowance shall be no

less than as specified in Clause 49:03(B)(i)(b) of the current CTA Fee

Booklet.

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Canada

The Theatre shall notify Equity no later than fourteen (14) calendar

days prior to a production touring to Northern Canada.

The Theatre shall pay one-hundred and twelve (112%) percent of the

appropriate Per Diem rate specified in the current CTA Fee Booklet

when a production tours to Northern Canada.

A list of Northern Prescribed Zone locations can be found on the

Canada Revenue Agency’s website under Line 25500 Places Located

in Prescribed Zones.

(ii) Return From Overnight Tour

When the Artist is returned to the Point of Origin from an overnight tour (see

Clause 49:11), the Artist shall receive a meal allowance as specified in the

current CTA Fee Booklet.

In any given situation the provisions of either Clause 49:03(A) or Clause 49:03(B)

above shall apply and not both.

(D) Engagement of a Local Artist

Should a replacement be necessitated by a conflict of another engagement, or

should the Actor, Stage Manager, or Assistant Stage Manager refuse a contract

for the tour or portion of the tour, a local Artist may be engaged and not be deemed

to be on tour. If the replacement Artist is required to travel to the Theatre’s Point

of Origin they shall be deemed to be on tour while in the Theatre’s Point of Origin.

(E) Touring to an Artist’s Place of Residence

When a tour is in an Artist’s Place of Residence and the Artist will be residing in

their home, the per diem will be waived in whole if the following conditions are all

met:

(i) the Artist has access to reasonable and regular public transit; and

(ii) when accommodation is provided in the Theatre’s Point of Origin.

Notwithstanding the above, the Artist is free to negotiate a daily meal allowance

while in their Place of Residence.

The agreed upon conditions shall be included in a rider to the Artist’s CTA

Engagement Contract.

49:04 Free Day

The Free Day on tour shall be governed by the provisions of Clause 23:01.

Notwithstanding the above, the day immediately following the day on which the Artist

returns to the Point of Origin from a tour of twenty-eight (28) days or more shall be a

Free Day, provided the Artist is continuing their engagement with the Theatre.

49:05 Unpaid Hiatus on Tour

In the case where a tour (including tours governed by Article 50:00) is not less than six

(6) performance weeks, one (1) ten (10) day unpaid hiatus may be permitted, allowing

for the travel of set and costumes where required. The Theatre may not require any

services from the Artist during the unpaid hiatus.

Should the Theatre schedule an unpaid hiatus, it shall pay the cost of round trip

transportation, as provided for in Clause 30:01, to and from each Artist's place of

residence, plus one-seventh (1/7) of the Contractual Fee for each day spent travelling

to and from the Artist's place of residence, plus the applicable per diem per Clause

49:03(B)(ii). In the event that the Artist chooses not to return to their place of residence

for the unpaid hiatus period, the Theatre shall pay the Artist the cash equivalent of the

transportation costs.

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49:06 Hotel Reservations

(A) Responsibility For

Whenever the company performs away from the Point of Origin, the Theatre shall

be responsible for securing hotel reservations and shall furnish a list of at least

two (2) hotels, when available, offering housing at different price ranges. At least

two (2) weeks prior to the departure date, the Theatre will submit this list to the

company. Within one (1) week thereafter, the Artist must indicate their acceptance

or their preference to arrange for their own housing. Unless the Artist notifies the

Theatre of their acceptance of such housing, the Theatre shall be relieved of

further responsibility. If the Artist has complied with this requirement, and does

not receive housing upon arrival, they shall not be required to rehearse or perform

until such housing is forthcoming. However, should circumstances beyond the

Theatre's control make it impossible for the Theatre to provide such housing, the

Artist shall not avail themselves of this right. If the Artist refuses to accept the

housing that they have requested and obtained through the Theatre, then the

Artist shall be liable for only one (1) night's charges for said housing, if required

by the Theatre, unless the Theatre can show proof that it is liable for more than

one (1) night's housing, in which case the Artist shall reimburse the Theatre.

(B) Reduced Rate

The Theatre agrees that it will make every effort to obtain specially reduced hotel

rates for multiple reservations, for all Artists, wherever they are obtainable.

Due regard shall be given to obtaining such housing within a reasonable walking

distance from the theatre.

Housing secured by the Theatre must be safe, clean, and of a respectable nature

and class, and they must be substantially as represented to the Artist when

offered, failing which, alternative housing which meets these standards must be

found, and the Theatre shall be liable for any resultant additional cost to the Artist.

Where the Theatre disputes its liability under the provisions of this paragraph, it

shall be relieved of payment of such additional cost until a determination of its

liability has been made under the provisions of Article 52:00.

49:07 Travel

The Artist shall travel with the company by such routes as the Theatre may direct. Travel

time is deemed to be consecutive and all waiting periods between alighting from one

vehicle and boarding another vehicle shall be part of travel time. The Theatre shall, at

its own expense, transport the Artist when the Artist is required to travel. Should any

performance be lost through any delays in travel, the loss of said performance shall not

affect the Artist's Contractual Fee.

49:08 Purchase of Travel Insurance

(A) Requirement

Equity will place travel insurance for all Artists for whom the placement of travel

insurance is required by the provisions of the CTA. This requirement includes, but

is not limited to, local, regional, run-out and overnight tours. Travel insurance is

not inclusive of supplemental health insurance when required by Clause 49:09.

(B) Plan

The Artists for whom travel insurance must be placed will be insured by the

Theatre under the travel accident insurance plan administered by Equity.

(i) Premiums

The applicable premium payments for the coverage, as established by

PACT and Equity, are due to Equity's office no later than thirty (30) days

after the end of the calendar month in which the travel insurance was

required.

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(ii) Late Payments

Payments which do not reach Equity's office by the due date will be

assessed a two (2%) percent interest charge, compounded monthly.

(D) Monthly Billing Reminder

Equity will mail the Theatre a monthly billing reminder listing one (1) or more of

the Artists for whom Equity believes travel insurance is required. The Theatre's

remittance to Equity of the correct amounts due will be accompanied by a

complete list of the Artists to be covered and the first and last dates of coverage.

The insurance premiums are calculated on the basis of continuous coverage in

twenty-nine (29) or ninety (90) consecutive day segments.

49:09 Health Insurance

In addition to the travel insurance provided for in 49:08(A), the Theatre agrees to pay for

health insurance for Artists on tour outside Canada. PACT and Equity agree to meet

should the interprovincial rules governing universal health insurance coverage in

Canada change.

49:10 Route Sheet

The Theatre shall submit to Equity and the Liaison(s) of the company a route sheet (on

a form provided by Equity) which shall contain places of performance, distance between

cities and estimated hours of travel. Said route sheet shall be submitted at least one (1)

week prior to the commencement of the tour. Subsequent route sheets shall be

submitted to Equity and the Liaison(s) as further bookings are arranged.

49:11 Return to Point of Origin

(A) Under Contract

When an Artist remains under contract and is returned to the Point of Origin

following an overnight tour, they shall receive the applicable payments provided

for in Clause 49:03(B)(ii).

(B) After Contract

Should an Artist's contract end or be terminated while they are touring away from

the Theatre’s Point of Origin, the Artist shall be returned to their Place of

Residence on the following day and shall receive one-seventh (1/7) of their

Contractual Fee plus the applicable meal allowances provided for in Clause

49:03(B)(ii).

If the Artist chooses not to accept the Theatre's designated means of

transportation (consistent with the Artist's contract), the Theatre will pay the Artist

the same meal allowance or per diem they would have received if they had

travelled by the Theatre's designated means of transportation.

(D) Application of Agreement During Return

All the provisions of the CTA will be in full force and effect while returning the Artist

to the Point of Origin and their place of residence.

49:12 Travel by Artist Separate from Company

When the Artist travels separately from the remainder of the company, at the

requirement of the Theatre, they must be provided with housing equivalent to those of

the rest of the company at all times.

49:13 Transportation Between Housing and Theatre

In every case where the Theatre is situated more than one-half (1/2) mile from the hotel,

the Theatre will provide and pay for reasonable transportation, which may include public

transportation where it is readily available, convenient, and safe, to the Theatre and back

to the hotel after the performance. The provisions of Clause 30:05 shall apply.

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49:14 Rehearsals While on Tour

(A) Arrival in a New Location

On the day of arrival in a new location, except in the case of replacements or

emergencies, there may be no rehearsals other than as provided for below. There

may be no invasion of Span of Day:

(i) A rehearsal may be called three (3) hours after arrival at the place of

housing.

(ii) The rehearsal which shall not exceed the running time of the production,

will be used to adjust to the new stage provided that no rest period is

invaded.

(iii) Following a rest period of a minimum of twelve (12) hours after the arrival

in a new location, normal rehearsal conditions shall apply, with the

exception that no rehearsals shall begin before 12:00 noon of the day

following arrival in a new location.

While on tour, for an engagement of more than five (5) days in one (1)

location where substantial changes are required in cast, Stage

Management, technical personnel, or the technical presentation,

rehearsals prior to the first public performance in the new location shall

conform to the provisions of Clauses 24:04 and 24:09.

When a production returns to the Point of Origin from a tour and has not

previously been presented in the theatre in which it plays, the provisions of

the preceding paragraph may apply.

When travel time from the Point of Origin to the hotel is in excess of two (2)

hours but does not exceed three (3) hours, the Artist is not required to

perform any services for the Theatre until after a break of three (3) hours.

(B) Sound Check in a New Location

When performing in a new location Artists may be required to be called for a sound

check immediately prior to the Half-Hour Call. The sound check may not exceed

fifteen (15) minutes.

49:15 Break Between Calls

In no case shall there be less than one-and-a-half (1-1/2) hours between the end of the

previous rehearsal or performance and the Half-Hour Call or the Artist's next call. If a

previous rehearsal or performance (or arrival in town) is less than one-and-a-half (1-1/2)

hours prior to the Half-Hour Call or the Artist's next call, the Theatre will arrange to serve

a full meal and such meal shall be paid for by the Theatre.

49:16 Closing Away From Point of Origin

If the company closes away from the Point of Origin, the Theatre may, at the Artist's

option, and if the Artist has a bona fide reason, return them to the Point of Origin prior

to returning them to their place of residence.

49:17 Luggage on Tour

On tour the Theatre shall be responsible for the transportation of up to three (3) large

suitcases (or equivalent), acceptable to the means of transportation available, to a

maximum of sixty-eight (68) kilograms in total.

(A) Transfer at Point of Origin

The Theatre shall be responsible for either transporting or paying the cost of

transporting the Artist and their luggage to and from the terminal, or to the point

of departure and from the point of return. Reimbursement of expense incurred by

the Artist shall be made in the week said expense is incurred upon presentation

of receipts.

(B) Availability Of

The Artist's luggage shall be readily available to them on a daily basis.

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49:18 Air

All flights shall be on regularly scheduled airlines, or on a chartered flight. The Artist may

travel by airplane subject to the following conditions:

(A) Artist Unwilling

Should the Artist be unwilling to travel by air, they must advise the Theatre before

signing the CTA Engagement Contract.

(B) Calculation of Travel Time

Air travel time shall be computed from the time of call for departure from the

organized point of departure until time of arrival at destination (hotel or theatre)

and includes travel to and from airports, all waiting time at terminals, flight time

and stop-over time, and all delays of any nature whatsoever, however caused,

except that there shall be a one (1) hour tolerance for delays caused by inclement

weather, mechanical failure, delays in departure of commercial carriers, or other

conditions over which the Theatre has no control, including time lost going through

customs and immigration at international borders. Tolerance for delays in excess

of one (1) hour for the above reasons may be permitted. The reasons for the delay

shall be filed with Equity and PACT and shall be subject to the provisions of

Clause 49:25.

Travel by air shall not be scheduled between 12:00 midnight and 8:00 a.m., except

under conditions beyond the Theatre's control. Details of such conditions shall be

filed with Equity and PACT in advance, and the scheduling of such travel shall be

subject to the provisions of Clause 49:25. Where the total air travel time exceeds

six (6) hours on a one-performance day, or eight (8) hours on a non-performance

day, the Artist shall invoice the Theatre at the rate stipulated on line one (1) of

Schedule "A" in the current CTA Fee Booklet. If the Artist is required to travel

during a designated rest period, the Artist shall also invoice the Theatre at the rate

stipulated on line three (3) of Schedule "A" in the current CTA Fee Booklet. Where

more than two (2) time zones are crossed in travel, rehearsals or performances

on the same day must be arranged with Equity in advance; otherwise, the Artist

shall not be required to rehearse or perform.

Travel by air on a two-performance day is not permitted.

(D) Cancelled Departure

Should departure by airplane be cancelled, adequate housing shall be provided

to each Artist including hotel room between 12:00 midnight and 8:00 a.m. If the

hotel room is not provided free of charge by the airline, the Artist shall not be

required to pay for such hotel room if by so doing they would be required to pay

for two (2) hotel rooms within a single span of twenty-four (24) hours. The Theatre

shall make every possible endeavour to provide such housing.

If the airline and/or the Theatre fail to provide such housing to the Artist where it

is evident that they could have been provided, then the Artist shall invoice the

Theatre at the rate stipulated on line one (1) of Schedule "A" in the current CTA

Fee Booklet. Stop-over time ceases when a hotel room is provided as above

(between 12:00 midnight and 8:00 a.m.) but will recommence if a travel call is

given before 8:00 a.m. If the journey recommences before 8:00 a.m. at the

requirements of the Theatre and not due to the airline's rescheduled departure,

the Artist shall invoice the Theatre at the rate stipulated on line one (1) of Schedule

"A" in the current CTA Fee Booklet up to 8:00 a.m.

(E) Charter Flights

When a flight is chartered by the Theatre, the makeup kits will, whenever possible,

be carried on the same plane as the Artists. Scenery and other equipment will not

be carried in the passenger section of the plane if it is of a nature and size that

will cause discomfort or danger to the Artists.

(F) Rest Period Before Departure

There shall be an interval of at least eleven (11) hours between the arrival at the

hotel and the next day's call for departure.

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49:19 Rail Transportation

(A) Overnight Travel

If the schedule requires transportation between 12:00 midnight and 8:00 a.m.,

first-class sleeping arrangements (roomette or bedroom if available) shall be

furnished to each Artist.

(B) Sleeping Arrangements

Should first-class sleeping arrangements not be obtained, where they would

normally be available, the Theatre shall pay the Artist an amount equal to the

difference between the cost of coach transportation and the cost of individual first-

class sleeping arrangements.

Travel time shall be computed from one-half (1/2) hour prior to the scheduled

departure time of the train.

49:20 Ferry Transportation

If the schedule requires ferry transportation between 12:00 midnight and 8:00 a.m., the

Theatre shall provide first-class sleeping arrangements and an expense allowance as

specified in the current CTA Fee Booklet to each Artist in lieu of the regular per diem.

Following continuous ferry travel of eight (8) hours or longer, and after arriving at the

final destination (hotel or theatre) after disembarkation, there shall be a minimum rest

period of four (4) hours during which the Artist is not required to perform any service for

the Theatre. If the above conditions are met, travel after midnight will not constitute

invasion of overnight rest (see Clauses 18:38, 26:10, 63:18(F), 55:12 and 55:21). Except

for productions operating under Article 55:00, no travel by ferry is permitted on a two-

performance day.

49:21 Commercial Bus Transportation (Non-Charter)

(A) Limitation on Excess Travel Time

No more than two (2) hours of scheduled overtime travel is permitted, except

under conditions beyond the Theatre's control. Details of such conditions shall be

filed with Equity and PACT in advance and the scheduling of such travel shall be

subject to the provisions of Clause 49:25. If the travel time exceeds the limitations

in Clause 49:25, the Artist shall invoice the Theatre at the rate stipulated on line

one (1) of Schedule A.

(B) Prohibited Travel Time

Should travel between the hours of 12:00 midnight and 8:00 am be required

because of conditions beyond the Theatre's control, details of such conditions

shall be filed with Equity and PACT and shall be subject to the provisions of

Clause 49:25.

Travel time shall be computed from one-half (1/2) hour before the time the bus is

scheduled to leave.

(D) Rest Period Before Departure

There shall be an interval of at least eleven (11) hours between the final curtain,

on any one (1) night, and the bus call for the next day's travel. In the case of

consecutive days being completely devoted to travel with no performances there

shall be an interval of at least eleven (11) hours between the termination of one

day's bus journey and the beginning of the following day's bus journey.

(E) Unforeseeable Conditions

Travel time shall not include time lost due to accidents on the road or other

unforeseeable conditions.

(F) Transportation between Destination and Hotel

Upon arrival at the destination, the Theatre will provide and pay for immediate

transportation by private vehicle to the Artist's hotel and to the bus station from

the hotel for subsequent travel on the tour.

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49:22 Private or Charter Bus Transportation

All bus travel shall be made under the following Clauses:

(A) Routing

The Theatre shall submit to Equity a detailed routing of any proposed bus tour.

(B) Theatre's Representative

An appointed representative of the Theatre shall travel with the company on the

bus at all times. The Theatre's representative will keep the bus log which will

contain at least the following: departure and arrival times (each hotel), comfort

stop times, meal stop times. The Liaison will initial the log daily, verifying the

figures entered if in agreement with same.

The Theatre agrees that the bus shall be equal in comfort, conditions and safety

to those used by first-class long distance commercial bus companies, and that it

shall be equipped with heat, air conditioners, separate luggage quarters,

washroom and a seat for each Artist. The distance between seats shall be no less

than thirty-one (31) inches. The bus shall be thoroughly cleaned each day, and

the driver will be responsible for the loading and unloading of all luggage. The

Theatre's contract with the bus company shall permit the Theatre to cancel the

contract, if the above-stipulated conditions are not met. The Theatre shall instruct

the driver to obey all traffic regulations, and speed and safety rules.

(D) Artist's Responsibility and Calculation of Travel Time

Travel time shall commence and be computed from the time the bus is scheduled

to leave. The Artist shall be prompt and punctual for all bus calls and shall make

their luggage available for loading at least fifteen (15) minutes prior to the

scheduled departure time. If an Artist is responsible for a delay at any time, such

delay shall not be counted as part of the travel time of the company. The Theatre

may, for the convenience of the company, schedule pickup at a second hotel, in

which event travel time shall commence from the scheduled departure from the

second pickup. Computation of travel time shall end upon arrival of the bus at the

first hotel in the town of destination.

(E) Excess Travel Time

If the applicable travel time set forth in Clause 49:25 is exceeded, the Artist shall

invoice the Theatre at the rate stipulated on line one (1) of Schedule "A" for up to

two (2) hours of excess travel. No more than two (2) hours of scheduled excess

travel shall be permitted except under conditions beyond the Theatre's control.

Details of such conditions shall be filed with Equity and PACT in advance and the

scheduling of such travel shall be subject to the provision of Clause 49:25, and

the Artist shall invoice the Theatre at the rate stipulated on line two (2) of Schedule

"A".

(F) Unforeseeable Conditions

Travel time shall not include time loss due to accidents on the road or other

unforeseeable conditions, or time lost by inspections by federal or provincial

officials, or in going through customs at international borders.

(G) Breakdowns

Should there be more than three (3) breakdowns in a one (1) month period Equity

shall have the right to require the Theatre to furnish a different bus.

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(H) Comfort Stops

(i) Requirement for Comfort Stops

There shall be a minimum of one (1) comfort stop of at least ten (10)

minutes during each (2) hours of travel. The first ten (10) minutes of such

comfort stops shall be deemed part of the travel time. Time beyond the first

ten (10) minutes, if any, shall not be deemed part of the travel time.

(ii) Missed Comfort Stop Payment

A missed comfort stop payment of ten ($10.00) dollars shall be paid to the

Artist for each comfort stop not provided to the Artist by the Theatre, except

in those cases where the Artists choose to delay a scheduled comfort stop.

(I) Meal Stop

Within the first four (4) hour travel period there shall be a meal stop of not less

than one (1) hour. After this first stop, meal stops shall occur at intervals not to

exceed five (5) hours. If the trip does not commence until after 12:00 noon, the

first meal stop need not occur for five (5) hours. The actual time utilized for such

meal stops shall not be considered part of the travel time.

(J) Arrival at Destination and Travel to and from Theatre

The bus, upon arriving at its destination, will immediately deliver the Artists to their

hotels. In every case where the theatre is situated more than one kilometre from

the hotel, the bus will transport the Artist to the theatre, and return them to the

hotel after performance or the Theatre will provide and pay for other transportation

by private vehicle in lieu of this. However, where it is reasonable and convenient,

public transportation may be used. The bus shall leave the theatre when all Artists

are ready to be transported to the hotel(s). The time of the bus departure shall be

no later than forty-five (45) minutes after the final curtain. Should the Theatre

delay the departure of the bus from the theatre beyond forty-five (45) minutes the

actual departure time of the bus shall mark the beginning of the time for the

required rest period. Where the Artist is required by the Theatre to travel

separately from the rest of the company to and from the theatre the Theatre shall

supply said transportation.

(K) Rest Period Before Departure

There shall be an interval of at least eleven (11) hours between the arrival at the

hotel and the next day's call for departure.

(L) Prohibited Travel Time

Night travel by private or charter bus between the hours of 12:00 midnight and

8:00 a.m. is prohibited except under conditions beyond the Theatre's control.

Travel after 12:00 midnight is permitted in order to transport the Artists back to

the Point of Origin following an evening performance on a local (not overnight)

tour. Travel from the performance venue to the theatre in the Point of Origin (or

mutually agreed drop-off point) is limited to one (1) hour. In such an instance,

there shall be an interval of at least eleven (11) hours between the arrival at the

theatre in the Point of Origin (or mutually agreed drop-off point) and the Artist's

next call.

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49:23 Use of Other Vehicles

In addition to the requirements detailed in Clause 49:22, excluding 49:22(C), the

following conditions shall apply to the use of a vehicle other than a bus:

(A) Mechanical Certification

The Theatre agrees that the vehicle used to transport the Artists shall be in first-

class mechanical condition, to be attested to in writing by a licensed mechanic or

provincial Department of Transport, a copy of which shall be provided to Equity

upon request.

(B) Seating

In passenger vans, station wagons, and automobiles, there may be more than

two (2) persons to each row of seating only where the seat is large enough to

accommodate that number in reasonable comfort.

The maximum number of passengers shall be no more than the number of seat

belts installed in the vehicle.

Luggage and equipment is to be safely stowed within the vehicle provided it does

not cause inconvenience to the passengers and does not obstruct or restrict the

driver. Safely stowed shall mean there is to be a physical barrier in place between

the equipment, set pieces, etc., and the passengers. Alternatively, safely stowed

shall mean the pieces noted above (equipment, set pieces, etc.) are tied down

and nothing is allowed to sit freely in the equipment area. No luggage or

equipment shall be carried on the roof of a vehicle unless it is safely loaded,

secured, and covered.

(D) Snow Tires

Snow tires shall be used at all times during winter travel.

(E) Vehicle Maintenance

The Stage Manager and/or one of the drivers will be responsible for seeing that

the safety of the vehicle is properly maintained according to a checklist supplied

by the Theatre.

(F) Drivers

Where a professional driver is not used, an Artist may agree to drive on the

following conditions:

(i) Their fee shall be not less than as specified in the current CTA Fee Booklet

when required to drive, in addition to the fee paid for the performance of the

Artist's duties as a Performer or Stage Manager.

(ii) All companies touring under the provisions of this Clause will have two (2)

designated drivers per vehicle.

(iii) Each driver must be properly licensed to drive the vehicle involved

according to the provincial regulation of the Theatre’s Point of Origin.

Where the licensing requirements of the provincial regulation do not include

a defensive/safe driving component, the driver must have successfully

completed such a course.

(iv) No driver may drive unless they have had an overnight rest period of eleven

(11) hours.

(v) No driver may drive more than three (3) consecutive hours per day,

excluding rest stops and meal breaks.

(vi) A rider shall be negotiated and attached to the Artist's contract specifying

that driving is a part of the Artist's duties and the terms and conditions which

apply.

(vii) Any driver who is deemed by consensus of the company to drive in an

unsafe manner shall be immediately replaced.

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(viii) While on the Theatre's business, an Artist cannot be held financially

responsible for the deductible of the Theatre's insurance policies. The

Theatre will inform the Artist of the Theatre's policy regarding parking tickets

and traffic violations.

(ix) The Theatre is financially responsible for all repairs to the vehicle and its

maintenance costs, unless the repairs are necessitated by the Artist's

negligence.

(G) Road Conditions and Weather

When weather conditions indicate that travel could constitute a danger, the Stage

Manager and Liaison together shall obtain a road/weather report from the police

or Transport Canada in advance of inter-city travel. When such reports advise

against travel, the Stage Manager and the Liaison together have the right to

cancel or postpone travel until conditions improve. Such decision shall be taken

where possible in consultation with the Theatre. Other than as amended within

this Clause, the provisions of Clause 49:22 apply.

49:24 Automobile Transportation

Where the Theatre requests the Artist to use their car for the use of the Theatre and

where the Artist agrees to such use, the Artist shall be paid a mutually agreeable fee,

not to be less than the per kilometre rate as specified in Clause 30:02(C) of the current

CTA Fee Booklet. Such agreement shall be expressed by means of a rider to the Artist's

contract.

49:25 Disputes

Where Equity disputes the Theatre's assertion of conditions "beyond its control" or its

qualifications for a tolerance for delay, as provided for in Article 49:00, the reasons for

the delay shall be filed with Equity and PACT. If there is a disagreement as to what

constitutes “beyond its control" the matter will be considered under Article 51:00 of the

CTA.

50:00 OVERSEAS RIDER

If the Theatre wishes to present the company outside of Canada and the continental

United States, arrangements must be negotiated between Equity and the Theatre in

advance, in writing. Such arrangements shall constitute an Overseas Rider to each

standard contract, and will set forth the amendments to the terms and conditions of the

CTA which shall apply to such tours.

Negotiations for overseas arrangements must take place within ten (10) business days

of Equity's receipt of the Theatre's proposal.

Further to Clause 16:03, specific pay arrangements for an overseas tour must be

negotiated with Equity and confirmed in the overseas rider. In any case, the per diem

shall be paid at least one (1) week in advance of the week for which it is applicable.

Per Diem for travel outside of the continental United States and Canada shall be the

greater of seventy-five percent (75%) of the current total amount (including incidentals)

set by the Treasury Board of Canada Secretariat based on commercial housing, or at

the minimum set in Clause 49:03(B)(i), whichever is greater. For Sector 2 productions,

the per diem will be the current total amount (including incidentals) set by the Treasury

Board of Canada Secretariat based on commercial housing, or at the minimum set in

Clause 58:06, whichever is greater.

Equity will consider proposals for a reduction below these rates, provided that the

Theatre is able to demonstrate a commensurate reduction to the Artist’s expenses.

In addition to this per diem, the Theatre shall provide each Artist with single occupancy

housing of a North American first class standard, satisfactory to the Artist, at no cost to

the Artist.

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51:00 JOINT ADMINISTRATION OF THE CTA

The interpretation and application of the CTA are joint responsibilities of PACT and

Equity. The mechanisms of communication and resolution are also joint responsibilities.

PACT and Equity share a commitment to fostering a collaborative relationship between

the associations and their respective memberships, and to facilitating an ongoing

dialogue to address areas of mutual concern.

51:01 Joint Administration Committee

(A) Joint Administration Committee

PACT and Equity shall establish a Joint Administration Committee (JAC) which

shall have an equal number of persons from each Association, with such

appointments being made within sixty (60) days of the ratification of the CTA. The

members of the JAC shall address matters brought forward by either Association,

including any matters brought forward according to Article 2:06 (Adherence) of

this Agreement, and shall share and discuss matters of mutual concern regarding

the application and administration of the CTA, and issues facing the industry as a

whole. Additionally, the JAC may be asked to resolve a dispute between PACT

and Equity with respect to the interpretation of a clause in the CTA, or an alleged

breach of the CTA.

(B) Purpose of the Joint Administration Committee

The JAC shall discuss matters of mutual concern regarding the application and

administration of the CTA in order to enhance understanding and cooperation

between the Associations.

At the first meeting of the JAC during the Agreement, PACT and Equity shall

undertake a joint information session for the JAC members which may include;

presentations from PACT and Equity on any priorities for the term of the

Agreement, training from other mutually approved third parties on dispute

resolution and mediation; or any other matters placed before the JAC. At the first

meeting, the JAC shall also establish a set of core values that will guide the

Committee meetings. In the interest of consistency and effective communication,

all members of the JAC shall attend the first meeting, and at least three (3)

meetings during each year of the Agreement.

(D) Process of the Joint Administration Committee

The JAC shall meet via video conference a minimum of four (4) times each CTA

year The first meeting shall take place within thirty (30) days of the appointment

of the JAC members. The schedule for one (1) year’s set of meetings shall be

established at the first meeting in each year of the Agreement. When the JAC is

tasked with resolving a dispute, the JAC shall attempt to reach a consensus. In

the event that the JAC does not reach a consensus then the Committee shall vote

on the matter presented. If the JAC reaches a majority decision on any matter

presented, the decision of the JAC shall be final and binding on the members of

each Association for the remainder of the Agreement. If the JAC fails to reach

agreement on any matter PACT or Equity may refer the matter to arbitration within

fourteen (14) days of the JAC meeting.

The parties are encouraged to continue to attempt to resolve the disagreement

during the dispute process.

(E) Records of the Joint Administration Committee

At the first meeting of the JAC, PACT and Equity shall each appoint a committee

member from their associations to take minutes during each meeting. All minutes

and any resulting documentation from each JAC meeting shall be saved

electronically via a file sharing system that can be jointly accessed by all

committee members. PACT and Equity shall each have the responsibility to

communicate to their respective memberships the agenda for each meeting (and

how to submit agenda items), as well as the salient updates from each meeting.

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51:02 Joint Interpretation

(A) Interpretation of the CTA

The interpretation of the CTA shall be the joint responsibility of PACT and Equity.

Theatres are encouraged to consult with PACT, and Artists are encouraged to

consult with Equity, for guidance on the application of the CTA. Members can

request an interpretation of the CTA. Should an interpretation be required, the

following process will apply:

The staff representatives for PACT and Equity will attempt to reach agreement. If

agreement is reached, the member must comply with the interpretation. In the

event that the PACT and Equity representatives do not agree on a question of

interpretation, with the agreement of PACT and Equity, the matter shall be

referred to the JAC and shall be addressed at the next JAC meeting. For time

sensitive matters, an emergency JAC meeting may be called, with no fewer than

three (3) members from PACT and Equity attending. In the event the JAC cannot

reach a majority decision, then the matter is referred to arbitration in accordance

with Clause 52:02.

The activity in question may proceed while the matter is under review by the staff

representatives or the JAC. Equity acknowledges that it may be required to

release forms of contract or make other arrangements which otherwise fall within

its sole purview so that the activity may proceed as proposed by the Theatre

without prejudice to Equity’s position.

Joint interpretation shall be disseminated in writing to all members of PACT.

Equity will communicate such interpretations to Equity Members as appropriate.

52:00 DISPUTE RESOLUTION

52:01 Determination of a Breach of the CTA

(A) By the Theatre

Within fourteen (14) days of receipt of written notification from Equity of a breach,

the Theatre, or PACT on behalf of the Theatre may dispute that a breach has

occurred by informing PACT and Equity in writing. PACT and Equity will attempt

to reach a determination. If a determination is made by PACT and Equity the

Theatre must comply with the determination. In the event that PACT and Equity

do not reach a determination, with the agreement of PACT and Equity, the matter

may be referred to the Joint Administration Committee. If PACT and Equity do not

agree to direct the matter to the Joint Administration Committee then either party

may refer the matter to arbitration.

The parties are encouraged to continue to attempt to resolve the disagreement

during the dispute process.

In the event that the Theatre does not inform PACT and Equity in writing within

the fourteen (14) days noted above the matter will not be considered further and

the breach will be deemed to have occurred.

(B) By the Artist

Within fourteen (14) days of written notification from PACT that the resolution to

a breach by an Artist is unsatisfactory to the Theatre per Clause 11:02(D), the

Theatre, or PACT on behalf of the Theatre shall have recourse to the Joint

Administration Committee.

The parties are encouraged to continue to attempt to resolve the disagreement

during the dispute process.

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52:02 Arbitration

The parties hereto agree to adhere to and be bound by the following. Except as provided

hereinafter, this Article shall be subject to and construed by the laws of the province in

which the Theatre has its Point of Origin.

(A) Demand

A demand for arbitration shall be given by the party demanding arbitration to the

other party by sending notice in writing by registered mail or by courier, return

receipt requested to the other party at their last known business or residence

address.

(B) PACT and Equity to Act for Members

PACT and Equity shall represent and act in the place of their respective members

in these arbitration proceedings.

A notice of demand for arbitration shall set out the matter in dispute and the relief

claimed.

(D) Appointment of Arbitrator

Once a year the parties shall agree on a list of Arbitrators. The parties shall agree

on an arbitrator as soon as possible after the sending of the demand for arbitration

and if no agreement on the appointment of an arbitrator can be reached, then

they, or either of them, shall request the Minister of Labour of the province in

which the arbitration is to take place to appoint an arbitrator.

(E) Hearings

The arbitrator shall appoint a date and time for a hearing of the matter in dispute

and both parties may appear and may call witnesses and may give such evidence

as they deem just and proper.

(F) Expenses

The arbitrator's compensation and expenses shall all be borne equally by the

parties.

(G) No Modification of Agreement

Nothing herein contained shall be deemed to give the arbitrator the authority,

power or right to alter, amend, change, modify, add to, or subtract from, any of

the provisions of the CTA.

(H) Binding Nature of Arbitration

The parties hereto agree to be bound by and to comply immediately with the

findings, rulings and time limits set forth by the arbitrator so appointed.

(I) No Recourse to Court of Law

The parties agree that no recourse shall be had to a court of law by either party

unless and until the other party has failed to comply with these arbitration

procedures.

(J) Artist's Failure to Comply

Where the member of Equity fails to comply with these arbitration procedures then

Equity may discipline the member in accordance with the disciplinary procedures

set out in Equity's Constitution and Bylaws.

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(K) Theatre's Failure to Comply

Where the Theatre fails to comply with these arbitration procedures then the

Theatre has committed a breach of the CTA and PACT and Equity may:

(i) allow no Equity member to be engaged or to continue to be engaged by the

Theatre; and/or

(ii) require the Theatre to immediately pay all Equity members withdrawing

from their engagement:

(a) all monies accrued and owing to the member; and

(b) for liquidated damages, an amount equal to all monies that would be

payable to the member if the terms of the CTA Engagement Contract

were completed, provided that no amount for liquidated damages

shall be less than an amount equal to two (2) week's fee; and/or

monies payable under Clause 52:02(K)(ii).

53:00 MUSICAL THEATRE

This Article applies to the production of musical theatre presentations. Unless otherwise

stated, the normal provisions of the CTA apply in addition to this Article.

53:01 Rehearsal Conditions

(A) Breaks

The length of breaks in a rehearsal day must total at least fifteen (15) minutes

within each two (2) hours of rehearsal.

(B) Raked Stage

In cases where a raked stage is to be used in performance, Dancers shall not be

required to rehearse on said stage for more than eight (8) rehearsal days prior to

the first public performance of the production concerned.

53:02 Extended Rehearsal Days

(A) Single Production and Stock

During the last ten (10) days of rehearsal prior to the first public performance of a

single production, or any production in a stock season, there may be up to three

(3) days during which the Artist may be called to rehearse nine (9) out of twelve

(12) consecutive hours per day, with a break of at least one-and-a-half (1-1/2)

hours after a maximum of five (5) hours of rehearsal.

The three (3) days must involve on-stage, technical, or dress rehearsals.

There may be one (1) other regular rehearsal day (seven (7) hours out of a span

of eight-and-a-half (8-1/2) hours) on which the Artist may be required to rehearse

for up to five (5) hours before a meal break is required.

There shall be a minimum of twelve (12) hours between the end of a day's work

and the call to work on the next day. Should a call continue for longer than five (5)

hours without the required meal break, the Artist shall invoice the Theatre at the

rate stipulated on line one (1) of Schedule "A" in the current CTA Fee Booklet.

Notwithstanding the above, if there are three (3) full weeks of rehearsal prior to

the first public performance, there may be one (1) additional rehearsal day during

which the Artist may be called to rehearse nine (9) out of twelve (12) consecutive

hours with a break of at least one-and-a-half (1-1/2) hours after a maximum of five

(5) hours of rehearsal. This day must involve on-stage, technical, or dress

rehearsal. In such a case no more than three (3) extended rehearsal days may

be consecutive (see Clause 58:08). There shall be a minimum of twelve (12) hours

between the end of a day's work and the call to work on the next day. Should a

call continue for longer than five (5) hours without the required meal break, the

Artist shall invoice the Theatre at the rate stipulated on line one (1) of Schedule

"A" in the current CTA Fee Booklet.

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(B) Repertory

During the last ten (10) days of rehearsal prior to the first public performance in a

repertory season, there may be up to two (2) days for each production during

which the Artist may be called to rehearse nine (9) out of twelve (12) consecutive

hours per day with at least a two (2) hour break after a maximum of five (5) hours

of rehearsal. At least one (1) such day must involve on-stage, technical, or dress

rehearsals.

There shall be a minimum of twelve (12) hours between the end of a day's work

and the call to work the next day. Should a call continue for longer than five (5)

hours without the required meal break the Artist shall invoice the Theatre at the

rate stipulated on line one (1) of Schedule "A" in the current CTA Fee Booklet.

For any ten (10) out of the first twelve (12) weeks after the first paid public

performance away from the Point of Origin, but before the official opening at the

Point of Origin, in addition to the provisions of Clause 53:03, the following shall

apply:

(i) Once per Week

Once per week during any five (5) of these ten (10) of the first twelve (12)

weeks, each Artist may be called for ten (10) out of twelve (12) consecutive

hours of rehearsal, travel and/or performance. This may not be done on a

two-performance day.

(ii) Rest Period

If the Artist is called as provided for in (1) above, there shall be a rest period

of not less than eleven (11) hours between the end of the Artist's call on the

preceding day and the Artist's call on the ten (10) out of twelve (12) hour

day.

(iii) Maximum Number

The ten (10) out of twelve (12) hour day, if used, need not be on the same

day for all Artists, but each Artist may be called for no more than five (5)

such days.

During the remaining two (2) weeks of such twelve (12) week period, rehearsal,

travel and performance may not exceed seven (7) hours out of eight-and-a-half

(8-1/2) consecutive hours in any one day (including breaks required).

53:03 After First Public Performance – Exceptions to Standard Rehearsal Conditions

The following exceptions to the above will apply:

After the first public performance of the last production of a stock or repertory season,

or after the first public performance of a single production in which the Artist is appearing,

rehearsals for the Artist in these circumstances shall be limited to:

(A) During the First Fourteen (14) Days

During the first fourteen (14) days after the first public performance, seven (7)

days of rehearsal can be scheduled on the same terms as stipulated in Clauses

24:09, Rehearsals on a Performance Day, or 24:03, Standard Rehearsal,

whichever is applicable.

(B) Single, Stock and Repertory Theatres

(i) Single Productions

Following the first fourteen (14) days after the first public performance, as

specified above, rehearsals shall be limited to a total of four (4) hours per

week and shall be taken in one (1) four (4) hour call.

Such rehearsal shall take place on a day when there is not more than one

(1) performance and shall not take place on the day immediately following

the Free Day. Additionally, such rehearsal may not be scheduled on the

day following two (2) consecutive two (2) performance days, unless there

is no performance on that day.

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(ii) Stock and Repertory

In stock and repertory, following the first fourteen (14) days after the first

public performance, as specified above, rehearsals shall be limited to a total

of eight (8) hours per week and there shall be not more than two (2)

rehearsal calls not to exceed four (4) hours each in any one (1) week. Such

rehearsals shall be scheduled in accordance with Clause 24:09(E), and

may not be scheduled on the day following two (2) consecutive two (2)

performance days, unless there is no performance on that day.

The Artist shall invoice the Theatre at the rate stipulated on line one (1) of

Schedule "A" in the current CTA Fee Booklet for any rehearsal calls in excess of

the maximum hours stipulated in this Clause 53:03.

53:04 First Aid Availability

Where dance comprises a major element of any production the Theatre undertakes that

a member of its staff who has a working knowledge of first aid shall be immediately

available throughout rehearsals and performances and that an injury supply kit shall be

kept on hand in the theatre and the rehearsal area.

54:00 JOINT PRODUCTIONS

Preamble

If a PACT Theatre wishes to undertake a Joint Production with a Theatre not a member of PACT,

the terms and conditions shall be negotiated with Equity and PACT in advance of such Joint

Productions. When a Sector 1 Theatre produces under Article 54:00 with a Sector 2 Theatre,

the production will be subject to the provisions of the CTA which apply to Sector 2 Theatres. If

there is a disagreement regarding any other relationship between a Sector 1 and Sector 2

Theatre, the matter shall be resolved at the Joint Administration Committee.

54:01 Auditions

The Theatre must hold open auditions for the season or the Joint Production for Equity

members in each of the locations to be governed by this Article. Where it can be

demonstrated that the available membership in a location is insufficient to warrant such

auditions, auditions in the nearest location where the available membership is sufficient

may be substituted.

54:02 Information Letter

Before engaging any Artist for a Joint Production, the two (2) Theatres involved in

presenting the Joint Production must provide Equity and PACT with a co-signed letter

giving information about the Joint Production, i.e. title, rehearsal schedule, performance

dates, hiatus dates (if applicable), travel days, security arrangements, dues and benefits

invoice recipient(s), Director’s/Choreographer’s royalty, points of origin and the

proposed Company Category to Company Category calculation for the production.

54:03 Conversion to a Joint Production

(A) After Contracts are Issued

However, circumstances may exist where a production may be designated a Joint

Production after contracts with Artists have been signed with one (1) Theatre. In

such circumstances, the two (2) Theatres shall present to Equity a proposal for

presentation of the production in the second location. Should Equity agree to the

proposal, the Artists shall be advised of this either in writing or after beginning

rehearsals at a company meeting and shall be given full information about the

Joint Production, including performance dates and name of second Theatre.

When a production is subsequently designated a Joint Production, all involved

Artists shall be offered the option of continuing with the production in the second

Point of Origin.

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(B) Re-Negotiation of Contracts in Second Point of Origin

CTA Engagement Contracts with all Artists who agree to appear in the production

in the second Point of Origin shall be re-negotiated, including those Artists who

have already negotiated a Contractual Fee in excess of the minimum fee

applicable to the Joint Production. In no case may the Artist's Contractual Fee for

the Joint Production be less than the Contractual Fee originally negotiated for the

initial production at the first Theatre.

Where a production is designated a Joint Production in accordance with Clause

54:03(A), then the basis for negotiation shall be the appropriate minimum fee

stipulated in Clause 54:05, applied on a retroactive basis to the beginning of the

Artist's CTA Engagement Contract. CTA Engagement Contracts shall be

executed in accordance with Clause 54:08. Should the provisions of this Clause

apply there may be no hiatus (see Clause 54:11).

(D) Artist Elects Not to Continue

Should the Artist elect not to continue with the production in the second Point of

Origin:

(i) their contract may not be terminated by the Theatre for this reason prior to

the end of the originally scheduled engagement (inclusive of any

extensions) in the first Point of Origin; and

(ii) the minimum fees required in Clause 54:05 and/or retroactive payments

required in Clause 54:03(C), shall not apply.

54:04 Replacement Artists

(A) Changes in Cast

Notwithstanding the definition in Clause 18:10, 18:11 and 18:23, Children,

Children’s Chorus members or Extras may be replaced in the second and

subsequent points of origin.

(B) After the Conclusion

After the conclusion of a Joint Production, and with application to and the advance

agreement of Equity, replacement Artists may be engaged under the following

terms. An Artist replacing another Artist who has terminated their contract, or is

replacing an Artist who has refused an offer to extend their contract, and who is

engaged after the latest anticipated closing date of the Joint Production, including

options, may be engaged under the terms of Clause 16:13 at the Company

Category of the Theatre at which the production is taking place, provided the

following is true: that the Theatre has become the sole producer of the run which

extends beyond the Joint Production's anticipated closing date, and provided that

the run takes place at that Theatre's Point of Origin. Otherwise, the provisions of

Clauses 49:03(B)(i) and 49:03(B)(ii) shall apply. Should the production move to

another location, the provisions of Clauses 49:03(B)(i) and 49:03(B)(ii) will apply

to that Artist.

54:05 Actor Minimum Fees for a Joint Production

The minimum weekly fees for a Joint Production shall be as specified in the current CTA

Fee Booklet.

54:06 Housing

The Theatre agrees to furnish the Artist with a list of at least two (2) places of housing

in the second, third and fourth venues, when available, offering housing at different price

ranges, in advance of signing the contract.

54:07 Contract Information

An Artist offered a contract for a Joint Production must be provided with the names of

the Theatres involved, the starting date of the rehearsals and the proposed schedules

(including travel days, the Free Day referred to in Clause 54:10 and the date of the first

public performance in each Point of Origin) for the duration of the Joint Production

including any scheduled hiatus if allowed (see Clause 54:11).

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54:08 Working In-Town and On Tour

The Artist will be engaged on a single contract covering the period of the Joint

Production. The two (2) Theatres involved in presenting the Joint Production must both

sign the Artist's contract, and the Artist shall be considered to be working in-town when

rehearsing or performing at the first Point of Origin and shall be considered to be on tour

when proceeding to and at the second Point of Origin, except that the Contractual Fees

paid in both locations shall be not less than the minimum fees stipulated in Clause 54:05.

If there are any further performances outside the two (2) original points of origin, then

these performances shall be considered to be in a touring situation, and all standard

touring conditions shall apply (Article 49:00), with the exception of minimum fees, which

will be determined by the higher of the first two (2) Theatre's points of origin, and shall

be in accordance with Clauses 16:13 and 49:03(B)(i).

54:09 Transportation

The Theatres of the Joint Production shall, at their own expense, transport the Artist

from their place of residence to the first Theatre's Point of Origin and from the second

Theatre's Point of Origin return the Artist to their residence according to Clause 30:01.

Transportation will also be provided at no expense to the Artist between the two (2)

Theatre's points of origin. However, the Theatres shall not be responsible for

transportation payments in the event the Artist chooses to travel at a time, or by means,

other than that provided by the Theatre.

54:10 Free Day Between Points of Origin

The Artist shall have at least one (1) day free of any obligation to the Theatre between

the close of the production at the first Theatre's Point of Origin, and the first performance

at the second Theatre's Point of Origin.

54:11 Hiatus

There shall be no more than one (1) unpaid ten (10) day hiatus period between the end

of performances at any one (1) of the Theatre's points of origin and the start of

rehearsals and/or performances at the subsequent Theatre's Point of Origin. All other

hiatuses shall be paid. Exact travel dates and the exact dates for any hiatus will be

clearly set down as a rider in the Artist's CTA Engagement Contract. The Theatres agree

that when such a hiatus takes place they will pay to all Artists whose place of residence

is different from the first Point of Origin:

(A) Cost of Transportation

The cost of transportation to the Artist's place of residence and then to the second

Point of Origin in the same manner as provided for in Clause 30:01.

(B) Payment for Travel

One-seventh (1/7) of the Artist's Contractual Fee for any day spent in travel to

and/or from the Artist's place of residence unless the Artist arrives at their

residence prior to 6:00 p.m. in which case payment shall be according to Clause

49:03(A).

Should the Theatres elect to pay the Artist their Contractual Fee during such

hiatus, Clauses 54:11(A) and (B) shall not apply, but the Artist shall be free to

leave the Point of Origin during such a period.

Nevertheless, the Artist has no obligation to the Theatre during any unpaid hiatus

period set down in the Artist's CTA Engagement Contract.

Artists engaged on Run-of-the-Play CTA Engagement Contracts and Guaranteed

CTA Engagement Contracts must be paid during the hiatus period. Should there

be a hiatus of less than a full week the Artist shall be paid one-seventh (1/7) of

their Contractual Fee for each day of work.

Following the end of the one (1) week, all Artists must be returned to their

Contractual Fee. In a case when the provisions of Clause 54:03 apply this Clause

54:11 shall not apply and there shall be no hiatus.

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54:12 Rehearsals

Rehearsals scheduled for a Joint Production in the subsequent Theatres' points of origin

shall conform to the conditions stipulated in Clause 49:14, except that there may be up

to five (5) extended rehearsal days to be used in any combination in the two (2), three

(3) or four (4) points of origin. Notwithstanding the above, no more than four (4) extended

rehearsal days will be used in any Point of Origin.

54:13 Stage Management

(A) Transfer of Responsibilities

The Stage Management responsibilities for the Joint Production may be

transferred from the Stage Management personnel in one Point of Origin to the

Stage Management personnel in a subsequent Point of Origin. If Stage

Management personnel are required to travel during any transfer of

responsibilities, said personnel shall be considered to be on tour, and shall be

paid the per diem provided for in Clauses 49:03(B)(i) and 49:03(B)(ii).

(B) Engaged for Duration

Alternatively, the Stage Management personnel may be engaged for the Joint

Production's rehearsal period at all Theatres, in which case the minimums

established in Clause 63:07(B) shall apply from the date that Stage Management

personnel begin work on the production (no later than its first rehearsal) and, in

the case of Stage Manager, one (1) week prior to the beginning of rehearsal.

The Stage Management staffing requirements for the production will be

established by the highest of the Company Categories involved in the Joint

Production.

54:14 Breaches

If a breach of the CTA arises out of the Joint Production by one (1) or more Theatres,

all Theatres, as signatories to the engagement, shall be held equally responsible, and

all Theatres shall deal with the consequences.

54:15 Directors and Choreographers

(A) Fees and Royalties

The Director's or Choreographer's minimum fee for directing/choreographing a

Joint Production will be not less than the applicable minimum fees at the first Point

of Origin. However, the Director and the Choreographer will receive royalties for

use of their production/choreography at the second and subsequent points of

origin, which royalties shall in no case total less than thirty (30%) percent of the

applicable minimum Director/Choreographer's fees at the higher of the first two

(2) points of origin.

The Director's or Choreographer's royalty specified in Clauses 60:06 and 62:07

shall apply from the eleventh week of performance.

(B) Outside the Original Point of Origin

When a Director and/or Choreographer is required for duties outside of the original

Point of Origin, the additional dates "on tour", the negotiated mode of

transportation to and from the subsequent Point of Origin and the negotiated

provisions for housing shall also be specified by means of a rider to the Artist's

CTA Engagement Contract.

If the Director or Choreographer is required for duties at the second Point of

Origin, a separate fee commensurate with the work to be done will be negotiated

and specified by means of a rider to the Artist's contract.

However, if a Director or Choreographer is required for duties at the third or

subsequent points of origin, the separate fee to be negotiated and specified by

means of a rider to the Artist's contract shall not be less than the daily rate

provided for in Clause 60:04 for Directors and Clause 62:04(G) for

Choreographers.

Clause 49:08 shall apply.

The special category for Director's or Choreographer's rates may not apply.

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54:16 Fight and/or Intimacy Directors

(A) Fees and Royalties

The Fight and/or Intimacy Director’s fee for a Joint Production shall not be less

than the applicable minimum fees at the first Point of Origin. However, the Fight

and/or Intimacy Director shall receive royalties for use of their work at the second

and subsequent points of origin, which royalties shall in no case total less than

thirty (30%) percent of the Fight and/or Intimacy Director’s Contractual Fees at

the higher of the first two points of origin.

The Fight and/or Intimacy Director’s royalty stated in Clause 61:09 and 64:08 shall

apply from the eleventh week of performance.

(B) Outside the Original Point of Origin

When a Fight and/or Intimacy Director is required for duties outside of the original

Point of Origin, the additional dates "on tour", the negotiated mode of

transportation to and from the subsequent Point of Origin and the negotiated

provisions for housing shall also be specified by means of a rider to the Artist's

CTA Engagement Contract.

If the Fight and/or Intimacy Director is required for duties at the second Point of

Origin, a separate fee commensurate with the work to be done will be negotiated

and specified by means of a rider to the Artist's contract.

However, if a Fight and/or Intimacy Director is required for duties at the third or

subsequent points of origin, the separate fee to be negotiated and specified by

means of a rider to the Artist's contract shall not be less than the daily rate

provided for in Clause 61:04. Clause 49:08 shall apply.

54:17 Transfer Rider

PACT and Equity acknowledge that there may be circumstances that arise during the

term of the CTA that would be addressed by co-production agreements adapted from

the Transfer Rider utilized by Actors' Equity Association (U.S.) and the League Of

Resident Theatres (LORT). Should the use of a similar rider be requested during the

term of the CTA, Equity and PACT undertake to negotiate the terms and conditions of

such a rider, in good faith, in a timely fashion.

55:00 THEATRE FOR YOUNG AUDIENCES

Preamble

A Theatre presenting productions primarily for presentation to pre-school, primary and/or

secondary school age audiences, either by means of travelling to the place of performance or

at the regular place of performance in the Point of Origin, may operate under the provisions of

this Article. The Theatre shall submit to Equity and PACT a description of its proposed

productions or season, including performance schedules, and shall notify Equity and PACT of

any change(s) to the original plan. Where Equity and PACT confirm that the proposed production

or season meets the criteria of this Article, the terms and conditions of Article 55:00 shall apply.

The following do not apply to Theatre for Young Audiences:

16:13 Point of Origin Minimum Fees

18:42 Point of Origin (to determine the requirement of a meal “allowance” for a

run-out; see Clause 55:17)

18:38 Production Stage Manager

18:66 Touring

19:02(C) Point of Origin

22:02 Touring into the USA

24:03(I) Free Time between Rehearsal and Performance or Performance and

Rehearsal

24:03(N) Start of Day

24:09 Rehearsal on a Performance Day

24:10 After Opening - Exceptions to Standard Rehearsal Conditions

24:12 Understudy and Replacement Rehearsals

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24:16(C)(i)(d) Notes

26:01 Half-Hour Call

26:02 Maximum Number of Performances in a Week

26:03 Maximum Number of Performances in a Day

26:04 Breaks Between Performances

26:05 End of Performance

26:06 Voluntary Talkbacks

26:07 Maximum Number of Performances in a Three-Day Period

28:04 Fire Drill (see Clause 55:27(E))

42:01(A) General Provisions-Billing

43:02(A) Calls for Recording

45:02(G) Additional Use of Recorded Material by the Theatre Failure to Secure

Prior Written Consent

49:00 Article 49:00

60:06 Director’s Royalty

63:05 Stage Management Staffing Formulae (except as provided for in Clause

55:27)

63:13(B) Duties and Responsibilities of Stage Management- Delegation (last

sentence only does not apply)

63:15(A) Additional Duties - Lights and Sound

63:15(C) Company Management Duties

63:17(A) Rehearsal and Performance Conditions: Stage Management Working Day

63:17(B) Stage Management Preparation Time

63:18(F) Stage Management Overtime - Overnight Rest

63:20 Stage Management Touring

63:22 Stage Management - Replacement of Crew Members

55:01 Company Category Calculation for Theatre for Young Audiences

The Company Category for a production or season shall be determined as noted below.

However, regardless of the applicable Company Category fees for the production or

season all other conditions specified in Article 55:00 shall apply.

(A) Non-touring Production

For a production which does not contain a touring component and is presented

only at a regular place of performance in the Point of Origin, the Theatre shall

submit to Equity and PACT a Company Category Calculation in accordance with

the provisions of Clause 15:02. Where it can be demonstrated that the gross box

office potential will not exceed the upper limit of Company Category “F” in Article

15:00, the minimum fees shall be those specified for Theatre for Young

Audiences.

(B) Touring Productions

For a production that tours, with local or overnight touring, Artists' fees for the

engagement shall be governed by those minimum fees specified for Theatre for

Young Audiences.

(i) Single Productions, Not Part of a Series

Calculate the full value of all seats in each ticket price category (i.e. the

price of ticket to purchaser) to derive the box office potential for each

performance. Select the maximum number of performances given in any

one (1) week (i.e. a Monday to Sunday period as defined in Clause 18:21)

and add their total potential together to derive the gross weekly box office

potential.

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The price of the ticket to purchaser is the full non-discounted price for the

seat. Theatre for Young Audiences companies which submit Company

Category Calculations in accordance with Article 55:00, for productions that

do not contain a touring element, may use the student ticket price for

performances beginning before 4:30 p.m. For performances beginning after

4:30 p.m., the calculation will be based on half the available seats at the full

adult non-discounted ticket price, and the remaining half of the available

seats at the children’s or student ticket price.

Subtract Entertainment Tax (if any), Goods and Services Taxes or

Harmonized Sales Tax (hereinafter called GST or HST), ticket services

charges (such as those imposed by recognized third party ticketing

services) and capital improvement fund surcharges (hereinafter called CIF)

to derive the net box office potential (the deductions shall also apply to Pay

What You Can performances). The Theatre will be required to supply PACT

and Equity with a copy of any third-party agreement upon request. (PACT

members may apply to PACT and Equity for the exclusion of capital

improvement fund ticket surcharges and other venue surcharges from the

price of the ticket. This application should be made prior to preparing the

Company Category Calculation.)

Compare the net box office potential to the table as specified in the current

CTA Fee Booklet to establish Company Category.

(ii) Series of Productions with Consistent Ticket Prices

Complete a Company Category Calculation for each venue or series

separately.

Calculate the full value of all seats in each ticket price category (i.e. the

price of ticket to purchaser) for each performance in the series (including

previews), to derive the gross box office potential per performance.

The price of ticket to purchaser is the full non-discounted price for the seat.

However, Theatre for Young Audience companies which submit Company

Category Calculations in accordance with Article 55:00, for productions that

do not contain a touring element, may use the student ticket price for

performances beginning before 4:30 p.m. Subtract Entertainment Tax (if

any), GST or HST, ticket services charges (such as those imposed by

recognized third party ticketing services), and CIF (the deductions shall also

apply to Pay What You Can performances). The Theatre will be required to

supply PACT and Equity with a copy of any third-party agreement upon

request. (PACT members may apply to PACT and Equity for the exclusion

of capital improvement fund ticket surcharges and other venue surcharges

from the price of the ticket. This application should be made prior to

preparing the Company Category Calculation.)

Add the box office potential for all performances of each production in the

series, to derive the series gross box office potential.

If the series of productions is on subscription the Theatre may subtract an

additional amount equal to thirty (30%) percent of the total subscription

revenue from the last comparable series, resulting in the series net box

office potential.

Calculate the total number of performance weeks for the series. For the

purposes of this calculation, a performance week is any week in which five

(5) or more public performances are presented. For weeks in which fewer

than five (5) performances are given, each such performance is counted as

one-eighth (1/8) of a week.

Divide the series gross box office potential (or, if the series is a subscription

series, divide the series net box office potential), by the total number of

performance weeks in the series and compare to the table as specified in

Clause 15:01 of the current CTA Fee Booklet to establish Company

Category.

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(iii) Special Circumstances

(a) The Theatre offers one (1) or more productions outside the series;

and/or

(b) One (1) or more productions in the series is at a different venue; and/or

the majority of the productions to be given in the series.

Please contact PACT or Equity for clarification of the calculation.

(D) Supporting Documentation

A Theatre with subscription sales must support its figures with detailed box office

statements.

If requested, the Theatre shall also submit to PACT and Equity copies of its

detailed calculations for the season's box office potential.

The Theatre shall also submit to PACT and Equity copies of its season brochure

or similar documentation showing its regular ticket prices for its season or

production.

No Theatre may change in Company Category as a result of Article 55:01 without

the prior written consent of Equity, which shall not be unreasonably withheld, and

written notification to PACT.

(E) Multiple Venues

(i) Point of Origin

Where a Theatre occupies more than one (1) performance venue in its

Point of Origin, the Company Category applicable to a production

presented exclusively in a particular performance venue shall be

determined by the potential weekly box office gross of that venue.

(ii) Differing Categories

When a Theatre occupies more than one (1) venue with differing

Categories, any Artist engaged for more than one (1) venue shall be paid

at no less than the minimum fee applicable for the venue possessing the

highest Company Category for the duration of their engagement at each

venue, unless the Artist is engaged under a separate contract for their

engagement at each venue.

(F) Transfer

Should the box office potential at the new venue after a Transfer result in a

different Company Category in accordance with Clause 55:01 (C), the minimum

fee for Artists engaged for the transfer will be adjusted accordingly.

55:02 Minimum Fees

Clause 55:02(A) shall apply when the Artist is performing at the Point of Origin or on a

local tour (not overnight). Clause 55:02(B) shall also apply when the Artist is touring

away from the Point of Origin and overnight.

(A) Actor Non-Touring and Local Touring

The minimum weekly fees shall be as specified in the current CTA Fee Booklet.

When the Theatre is required to operate under a Company Category as per Article

55:00 Preamble it shall engage Actors as per Clause 16:13.

(B) Touring Overnight

When the Artist is required to travel outside the Point of Origin on an overnight

tour, the Contractual Fee shall be augmented by a per diem not less than as

specified in the current CTA Fee Booklet. This per diem is not subject to Clause

3:03 (Deductions). It shall be paid at least one (1) week in advance of the week

for which it is applicable. When touring in the United States, the minimum per

diem will be the appropriate per diem not less than as specified in the current CTA

Fee Booklet in U.S. dollars or the minimum AEA rate, whichever is greater.

In instances when the Theatre provides commercial housing for the Artist during

the tour, and subject to the Artist's approval of the provided housing, the per diem

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shall be not less than as specified in the current CTA Fee Booklet for every day

for which the Artist is supplied free housing. Should the Artist refuse the housing

provided by the Theatre, the full per diem will apply.

The minimum weekly fees for a Director for shall be as specified in the current

CTA Fee Booklet.

In cases where two (2) TYA productions are rehearsed concurrently, for any week

that only one (1) show rehearses, one (1) weekly fee shall be payable. For any

week that both shows are rehearsed, two (2) weekly fees shall be payable.

After one hundred (100) performances, the Director shall receive a royalty

payment of three (3%) percent of their weekly fee for each subsequent week of

performance. If the original Director directs a revival as defined in Clause 18:50,

they shall receive a Contractual Fee of no less than one-half (1/2) the original total

directing fee, or one-half (1/2) the minimum fee applicable to the Theatre reviving

the work, whichever is greater.

55:03 Billing

Where no house boards are available and the regulations for the facility in which the

performances are given do not permit the distribution of house programs, one of the

Actors will be given the responsibility of introducing the Actors and the Stage Manager

to the audience. They shall also announce that they are a company of professional

Actors who are members of Canadian Actors' Equity Association and (Name of Theatre)

is a member of Professional Association of Canadian Theatres.

55:04 Recordings and Photo Calls

Clause 43:02(A), with regard to recordings and photo calls on a two-performance day,

will not apply as long as the recordings and/or photo calls are accomplished within the

daily/weekly work hours provided for in Article 55:00.

55:05 Recordings Used for Future Opportunities

The Theatre may make a promotional video in accordance with Clause 44:09(C) in

which case the applicable minimum fees shall be fifty (50%) percent of those stipulated

in Clause 44:09(C).

55:06 Company Rules

All company rules shall be posted at the beginning of rehearsal and kept posted

throughout the engagement, in the theatre, in the company vehicle, or other conspicuous

location.

55:07 Work Week and Working Hours

When the Artist is required to perform, conduct workshops, travel or rehearse they are

deemed to be working.

55:08 Number of Working Hours in a Week

Beginning with the day of the first public performance, the number of working hours in a

week shall not exceed forty-five (45) including all breaks and rest periods, where

presentations are given at the Point of Origin and/or on a local tour (not overnight), and

fifty (50) hours on tour (overnight and away from the Point of Origin). In the case of a

week with both local and overnight touring, an additional one (1) hour for each overnight

touring day shall be allowed to a maximum of fifty (50) hours.

55:09 First Call of the Day

The first call of the morning cannot be before 7:00 a.m. The Artist shall invoice the

Theatre at the rate stipulated on line three (3) of Schedule "A" in the current CTA Fee

Booklet if they are called prior to 7:00 a.m.

55:10 Span of Day for Local Touring

The Artist shall be deemed to be touring locally on condition that the span of time from

the first call of the day at the designated pickup point in the Theatre's Point of Origin

does not exceed ten (10) hours. In the case of stage management, the span of day may

be increased up to eleven (11) hours to encompass up to one (1) hour of preparation

time in accordance with Clause 55:27(A).

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55:11 Rehearsals

(A) Allowable Rehearsal Hours

Rehearsals before the first public performance are governed by Clauses 24:03

(excluding (I)) and 24:04. Furthermore, there may be two (2) extended rehearsal

days (ten (10) hours out of a span of twelve (12) hours) pursuant to the provisions

of Clause 24:05. Rehearsals after the first public performance may be scheduled

within the limitation on work hours in a work day or a work week.

Where a production is initially presented in a theatre, there may be three (3)

extended rehearsal days, one (1) of which must involve on-stage, technical, or

dress rehearsals.

(B) Rehearsals on a Two or Three Performance Day

An Artist may not be called to rehearse on a two (2) or three (3) performance day

except within the first week of a tour in which case there may be two (2) days

where they may be called to rehearse on a two (2) performance day.

55:12 Overnight Rest Period

The overnight rest period shall be twelve (12) hours for all Artists.

55:13 Free Day

(A) After First Public Performance

After the first public performance the Artist may be required to work on six (6) days

of the week. There shall be one (1) Free Day in each week. The Free Day must

be entirely free and the Artist is prohibited from performing any service for the

Theatre.

(B) Tour

In addition to the above, when the Artist is touring (local or overnight) there shall

be one (1) other day in each week which shall consist of a maximum of one (1)

performance and/or travel and/or emergency rehearsal.

55:14 Performance Provisions

(A) Performance Hours

(i) Maximum Number of Performance Hours in a Week

There may be up to twenty (20) hours of performance time in any

Engagement Week. Performance time shall include performances,

workshops, discussion periods, or any combination thereof.

(ii) Unused Performance Hours Available for Load-ins and Load-outs

Load-ins and load-outs as provided for in Clause 55:25 may be adjusted by

using up to one (1) hour per day of the unused allowable weekly

performance hours.

(B) Maximum Per Day

The number of performance hours, inclusive of intermissions within

performances, but exclusive of intervals between performances or half-hour calls

(as applicable) in any one day, shall not exceed four (4) hours.

At least sixty-five (65%) percent of the performances in any one (1) week must

begin no later than 4:30 p.m., failing which, the Theatre will operate according to

the provisions of Article 26:00 for the week in question.

(D) Performances per Day

Each company of Artists shall not be required to perform more than three (3)

performances in a single day.

(E) Number of Locations

Performances shall not take place in more than two (2) locations per day.

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(F) Intermission Length

An intermission contained within a performance shall not exceed twenty (20)

minutes. There shall be a minimum of fifteen (15) minutes interval between

performances. However, on a day where three (3) performances are given in one

(1) location, there must be at least one (1) interval of thirty (30) minutes between

two (2) of the consecutive performances.

(G) Running Time

The running time of performances, inclusive of intermissions within performances,

but exclusive of intervals between performances or half-hour calls (as applicable)

shall not exceed two (2) hours.

(H) Payment for Additional Performance Hours

A sum equal to one-tenth (1/10) of the Contractual Fee shall be paid for each

performance hour (or part thereof) over two (2) in any performance, or over four

(4) in each day, or over twenty (20) in each week. The Contractual Fee shall be

paid, even if fewer than twenty (20) performance hours are worked.

55:15 Notification of Schedule

At the time of negotiation of the Artist’s contract, the Theatre will advise the Artist, to the

best of its knowledge, of the anticipated schedule and further advise if the schedule may

be subject to change at some time during the run of the production. The Artist will be

notified at least two (2) weeks in advance of the local touring or overnight status of any

given week.

55:16 Travel

The Artist shall travel with the company by such routes as the Theatre may direct. Travel

time is deemed to be consecutive and all waiting periods between alighting from one

vehicle and boarding another vehicle shall be part of travel time. The Theatre shall, at

its own expense, transport the Artist when the Artist is required to travel. Should any

performance be lost through any delays in travel, the loss of said performance shall not

affect the Artist's Contractual Fee.

(A) Fees

All fees are payable in the legal tender of Canada. In the United States, fees

payable shall not be less than the applicable minimum fees established by Actors'

Equity Association (U.S.) from time to time. The applicable minimums shall be

confirmed, in writing, by Equity to the Theatre, prior to the issuance of any

contracts.

(B) Hotel Reservations

(i) Responsibility For

Whenever the company performs away from the Point of Origin, the

Theatre shall be responsible for securing hotel reservations and shall

furnish a list of at least two (2) hotels, when available, offering housing at

different price ranges. At least two (2) weeks prior to the departure date,

the Theatre will submit this list to the company. Within one (1) week

thereafter, the Artist must indicate their acceptance or their preference to

arrange for their own housing. Unless the Artist notifies the Theatre of their

acceptance of such housing, the Theatre shall be relieved of further

responsibility. If the Artist has complied with this requirement, and does not

receive housing upon arrival, they shall not be required to rehearse or

perform until such housing is forthcoming. However, should circumstances

beyond the Theatre's control make it impossible for the Theatre to provide

such housing, the Artist shall not avail themselves of this right. If the Artist

refuses to accept the housing that they have requested and obtained

through the Theatre, then the Artist shall be liable for only one (1) night's

charges for said housing, if required by the Theatre, unless the Theatre can

show proof that it is liable for more than one (1) night's housing, in which

case the Artist shall reimburse the Theatre.

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(ii) Reduced Rate

The Theatre agrees that it will make every effort to obtain specially reduced

hotel rates for multiple reservations, for all Artists, wherever they are

obtainable.

(iii) Quality of Housing

Due regard shall be given to obtaining such housing within a reasonable

walking distance from the theatre.

Housing secured by the Theatre must be safe, clean, and of a respectable

nature and class, and they must be substantially as represented to the Artist

when offered, failing which, alternative housing which meets these

standards must be found, and the Theatre shall be liable for any resultant

additional cost to the Artist. Where the Theatre disputes its liability under

the provisions of this paragraph, it shall be relieved of payment of such

additional cost until a determination of its liability has been made under the

provisions of Article 52:00.

(i) Requirement

Equity will place travel insurance for all Artists for whom the placement of

travel insurance is required by the provisions of the CTA. This requirement

includes, but is not limited to, local, regional, run-out and overnight tours.

Travel insurance is not inclusive of supplemental health insurance when

required by Clause 49:09.

(ii) Plan

The Artists for whom travel insurance must be placed will be insured by the

Theatre under the travel accident insurance plan administered by Equity.

(iii) Payment Of

(a) Premiums

The applicable premium payments for the coverage, as established by

PACT and Equity, are due to Equity's office no later than thirty (30)

days after the end of the calendar month in which the travel insurance

was required.

(b) Late Payments

Payments which do not reach Equity's office by the due date will be

assessed a two (2%) percent interest charge, compounded monthly.

(iv) Monthly Billing Reminder

Equity will mail the Theatre a monthly billing reminder listing one (1) or more

of the Artists for whom Equity believes travel insurance is required. The

Theatre's remittance to Equity of the correct amounts due will be

accompanied by a complete list of the Artists to be covered and the first

and last dates of coverage.

The insurance premiums are calculated on the basis of continuous

coverage in twenty-nine (29) or ninety (90) consecutive day segments.

(D) Health Insurance

In addition to the travel insurance provided for in 49:08(A), the Theatre agrees to

pay for health insurance for Artists on tour outside Canada. PACT and Equity

agree to meet should the interprovincial rules governing universal health

insurance coverage in Canada change.

(E) Route Sheet

The Theatre shall submit to Equity and the Liaison(s) of the company a route

sheet (on a form provided by Equity) which shall contain places of performance,

distance between cities and estimated hours of travel. Said route sheet shall be

submitted at least one (1) week prior to the commencement of the tour.

Subsequent route sheets

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(F) Return to Point of Origin

(i) Under Contract

When an Artist remains under contract and is returned to the Point of Origin

following an overnight tour, they shall receive the applicable payments

provided for in Clause 55:18.

(ii) After Contract

Should an Artist's contract expire while on tour, they shall be returned to

the Point of Origin on the following day and shall receive one-seventh (1/7)

of their Contractual Fee plus the applicable meal allowances provided for

in Clause 55:18.

(iii) Other Means of Transportation

If the Artist chooses not to accept the Theatre's designated means of

transportation (consistent with the Artist's contract), the Theatre will pay the

Artist the same meal allowance or per diem they would have received if

they had travelled by the Theatre's designated means of transportation.

(iv) Application of Agreement During Return

All the provisions of the CTA will be in full force and effect while returning

the Artist to the Point of Origin and their place of residence.

(G) Travel by Artist Separate from Company

When the Artist travels separately from the remainder of the company, at the

requirement of the Theatre, they must be provided with housing equivalent to

those of the rest of the company at all times.

(H) Transportation Between Housing and Theatre

In every case where the Theatre is situated more than one-half (1/2) mile from the

hotel, the Theatre will provide and pay for reasonable transportation, which may

include public transportation where it is readily available, convenient, and safe, to

the Theatre and back to the hotel after the performance. The provisions of Clause

30:05 shall apply.

(I) Luggage on Tour

On tour the Theatre shall be responsible for the transportation of up to three (3)

large suitcases (or equivalent), acceptable to the means of transportation

available, to a maximum of sixty-eight (68) kilograms in total. When the company

is travelling by passenger van, mini-bus or other vehicle, 55:16 (I) (i) and (ii) only

apply in the case of an overnight tour of seven (7) days or more.

(i) Transfer at Point of Origin

The Theatre shall be responsible for either transporting or paying the cost

of transporting the Artist and their luggage to and from the terminal, or to

the point of departure and from the point of return. Reimbursement of

expense incurred by the Artist shall be made in the week said expense is

incurred upon presentation of receipts.

(ii) Availability Of Luggage

The Artist's luggage shall be readily available to them on a daily basis.

(J) Air

All flights shall be on regularly scheduled airlines, or on a chartered flight. The

Artist may travel by airplane subject to the following conditions:

(i) Artist Unwilling

Should the Artist be unwilling to travel by air, they must advise the Theatre

before signing the CTA Engagement Contract.

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(ii) Calculation of Travel Time

Air travel time shall be computed from the time of call for departure from

the organized point of departure until time of arrival at destination (hotel or

theatre) and includes travel to and from airports, all waiting time at

terminals, flight time and stop-over time, and all delays of any nature

whatsoever, however caused, except that there shall be a one (1) hour

tolerance for delays caused by inclement weather, mechanical failure,

delays in departure of commercial carriers, or other conditions over which

the Theatre has no control, including time lost going through customs and

immigration at international borders. Tolerance for delays in excess of one

(1) hour for the above reasons may be permitted. The reasons for the delay

shall be filed with Equity and PACT and shall be subject to the provisions

of Clause 49:25.

(iii) Cancelled Departure

Should departure by airplane be cancelled, adequate housing shall be

provided to each Artist including hotel room between 12:00 midnight and

8:00 a.m. If the hotel room is not provided free of charge by the airline, the

Artist shall not be required to pay for such hotel room if by so doing they

would be required to pay for two (2) hotel rooms within a single span of

twenty-four (24) hours. The Theatre shall make every possible endeavour

to provide such housing.

If the airline and/or the Theatre fail to provide such housing to the Artist

where it is evident that they could have been provided, then the Artist shall

invoice the Theatre at the rate stipulated on line one (1) of Schedule "A" in

the current CTA Fee Booklet. Stop-over time ceases when a hotel room is

provided as above (between 12:00 midnight and 8:00 a.m.) but will

recommence if a travel call is given before 8:00 a.m. If the journey

recommences before 8:00 a.m. at the requirements of the Theatre and not

due to the airline's rescheduled departure, the Artist shall invoice the

Theatre at the rate stipulated on line one (1) of Schedule "A" in the current

CTA Fee Booklet up to 8:00 a.m.

(K) Rail Transportation

(i) Sleeping Arrangements

Should first-class sleeping arrangements not be obtained, where they

would normally be available, the Theatre shall pay the Artist an amount

equal to the difference between the cost of coach transportation and the

cost of individual first-class sleeping arrangements.

(ii) Calculation of Travel Time

Travel time shall be computed from one-half (1/2) hour prior to the

scheduled departure time of the train.

(L) Ferry Transportation

If the schedule requires ferry transportation between 12:00 midnight and 8:00

a.m., the Theatre shall provide first-class sleeping arrangements and an expense

allowance as specified in the current CTA Fee Booklet to each Artist in lieu of the

regular per diem. Following continuous ferry travel of eight (8) hours or longer,

and after arriving at the final destination (hotel or theatre) after disembarkation,

there shall be a minimum rest period of four (4) hours during which the Artist is

not required to perform any service for the Theatre. If the above conditions are

met, travel after midnight will not constitute invasion of overnight rest (see Clauses

18:38, 26:10, 63:18(F), 55:12 and 55:21). Travel by ferry is permitted on a two-

performance day.

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(M) Commercial Bus Transportation (Non-Charter)

(i) Prohibited Travel Time

Should travel between the hours of 12:00 midnight and 8:00 am be required

because of conditions beyond the Theatre's control, details of such

conditions shall be filed with Equity and PACT and shall be subject to the

provisions of Clause 55:16 (Q).

(ii) Unforeseeable Conditions

Travel time shall not include time lost due to accidents on the road or other

unforeseeable conditions.

(iii) Transportation between Destination and Hotel

Upon arrival at the destination, the Theatre will provide and pay for

immediate transportation by private vehicle to the Artist's hotel and to the

bus station from the hotel for subsequent travel on the tour.

(N) Private or Charter Bus Transportation

All bus travel shall be made under the following Clauses:

(i) Comfort and Safety

The Theatre agrees that the bus shall be equal in comfort, conditions and

safety to those used by first-class long distance commercial bus

companies, and that it shall be equipped with heat, air conditioners,

separate luggage quarters, washroom and a seat for each Artist. The

distance between seats shall be no less than thirty-one (31) inches. The

bus shall be thoroughly cleaned each day, and the driver will be responsible

for the loading and unloading of all luggage. The Theatre's contract with the

bus company shall permit the Theatre to cancel the contract, if the above-

stipulated conditions are not met. The Theatre shall instruct the driver to

obey all traffic regulations, and speed and safety rules.

(ii) Unforeseeable Conditions

Travel time shall not include time loss due to accidents on the road or other

unforeseeable conditions, or time lost by inspections by federal or provincial

officials, or in going through customs at international borders.

(iii) Comfort Stops

(a) Requirement for Comfort Stops

There shall be a minimum of one (1) comfort stop of at least ten (10)

minutes during each (2) hours of travel. The first ten (10) minutes of

such comfort stops shall be deemed part of the travel time. Time

beyond the first ten (10) minutes, if any, shall not be deemed part of

the travel time.

(b) Missed Comfort Stop Payment

A missed comfort stop payment of ten ($10.00) dollars shall be paid

to the Artist for each comfort stop not provided to the Artist by the

Theatre.

(iv) Meal Stop

Within the first four (4) hour travel period there shall be a meal stop of not

less than one (1) hour. After this first stop, meal stops shall occur at

intervals not to exceed five (5) hours. If the trip does not commence until

after 12:00 noon, the first meal stop need not occur for five (5) hours. The

actual time utilized for such meal stops shall not be considered part of the

travel time.

(O) Use of Other Vehicles

Permission is given to travel by passenger van, mini-bus or other vehicle.

(i) Mechanical Certification

The Theatre agrees that the vehicle used to transport the Artists shall be in

first-class mechanical condition, to be attested to in writing by a licensed

mechanic or provincial Department of Transport, a copy of which shall be

provided to Equity upon request.

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(ii) Seating

In passenger vans, station wagons, and automobiles, there may be more

than two (2) persons to each row of seating only where the seat is large

enough to accommodate that number in reasonable comfort.

The maximum number of passengers shall be no more than the number of

seat belts installed in the vehicle.

(iii) Cargo

All equipment and other cargo must be safely and securely stowed.

Whenever possible, the cargo area shall be separated from the passenger

area by a cargo cage, or other appropriate barrier. The packing of the van

shall be planned by the Theatre in conjunction with the Stage Manager,

rehearsed with the Artists, and subsequently recorded. Each Artist who will

be required to assist with the loading of equipment shall be given a copy of

the plan, which may be changed by the Stage Manager in consultation with

the Theatre provided that it does not compromise the safety or integrity of

the pack.

(iv) Snow Tires

Snow tires shall be used at all times during winter travel.

(v) Vehicle Maintenance

The Stage Manager and/or one of the drivers will be responsible for seeing

that the safety of the vehicle is properly maintained according to a checklist

supplied by the Theatre.

(vi) Drivers

Where a professional driver is not used, an Artist may agree to drive on the

following conditions:

(a) Their fee shall be not less than as specified in the current CTA Fee

Booklet when required to drive, in addition to the fee paid for the

performance of the Artist's duties as a Performer or Stage Manager.

(b) All companies touring under the provisions of this Clause will have two

(2) designated drivers per vehicle.

according to the provincial regulation of the Theatre’s Point of Origin.

Where the licensing requirements of the provincial regulation do not

include a defensive/safe driving component, the driver must have

successfully completed such a course.

(d) No driver may drive unless they have had an overnight rest period of

twelve (12) hours.

(e) No driver may drive more than three (3) consecutive hours per day,

excluding rest stops and meal breaks.

(f) A rider shall be negotiated and attached to the Artist's contract

specifying that driving is a part of the Artist's duties and the terms and

conditions which apply.

(g) Any driver who is deemed by consensus of the company to drive in an

unsafe manner shall be immediately replaced.

(h) While on the Theatre's business, an Artist cannot be held financially

responsible for the deductible of the Theatre's insurance policies. The

Theatre will inform the Artist of the Theatre's policy regarding parking

tickets and traffic violations.

(i) The Theatre is financially responsible for all repairs to the vehicle and

its maintenance costs, unless the repairs are necessitated by the

Artist's negligence.

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(vii) Road Conditions and Weather

When weather conditions indicate that travel could constitute a danger, the

Stage Manager and Liaison together shall obtain a road/weather report

from the police or Transport Canada in advance of inter-city travel. When

such reports advise against travel, the Stage Manager and the Liaison

together have the right to cancel or postpone travel until conditions improve.

Such decision shall be taken where possible in consultation with the

Theatre. Other than as amended within this Clause, the provisions of

Clause 55:16 apply.

(viii) Directions and Meal Breaks

The Theatre will make every effort to supply the Artist with detailed,

accurate instructions for travel to each performance venue, and, if a meal

break is required, this information will also include the location of the closest

convenient area with restaurants and public washrooms. Travel to and from

the location for the meal break should not infringe upon the one (1) hour

meal break. A choice of location for the meal break will be reasonably

exercised by the company of Artists depending on the circumstances.

(ix) First Aid Kits and Emergency Equipment

First aid kits and emergency travel equipment such as flares, blankets and

candles, must be provided and carried by the company at all times when

travelling outside the Point of Origin.

(x) Travel Time Calculation

Travel time shall commence and be computed from the time the vehicle is

scheduled to leave. The Artist shall be prompt and punctual for all travel

calls and shall make their luggage available for loading at least fifteen (15)

minutes prior to the scheduled departure time. The Theatre may, for the

convenience of the company, schedule pickup at a second hotel, in which

event travel time shall commence from the scheduled departure from the

second pickup. Computation of travel time shall end upon arrival of the

vehicle at the first hotel in the town of destination.

(xi) Delays

If an Artist is responsible for a delay at any time, such delay shall not be

counted as part of the travel time of the company.

(P) Automobile Transportation

Where the Theatre requests the Artist to use their car for the use of the Theatre

and where the Artist agrees to such use, the Artist shall be paid a mutually

agreeable fee, not to be less than the per kilometre rate as specified in Clause

30:02(C) of the current CTA Fee Booklet. Such agreement shall be expressed by

means of a rider to the Artist's contract.

(Q) Disputes

Where Equity disputes the Theatre's assertion of conditions "beyond its control"

or its qualifications for a tolerance for delay, as provided for in Article 49:00, the

reasons for the delay shall be filed with Equity and PACT. If there is a

disagreement as to what constitutes “beyond its control" the matter will be

considered under Article 51:00 of the CTA.

55:17 Outside Point of Origin

(A) Meal Provided for a Run-out

Whenever the Artist is required by the Theatre for any reason to be away from the

Point of Origin for up to ten (10) consecutive hours, the Theatre shall provide a

meal to the Artist, that is satisfactory to the Artist and at no cost to the Artist.

Alternatively, in lieu of providing a meal to the Artist the Theatre may provide a

ten dollar ($10.00) stipend to the Artist.

For the purposes of this Clause, the Theatre’s Point of Origin shall be a sixty-six

(66) kilometre radius from the Theatre’s primary place of business.

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(B) Per Diem

The per diem shall apply whenever the Artist is required by the Theatre for any

reason to be away from the Theatre's Point of Origin for more than ten (10) hours.

However, should the company agree and the Theatre consent, up to one (1) hour

of additional travel time shall be allowed for the purpose of returning the company

to the Point of Origin, and the Artist shall invoice the Theatre at the rate stipulated

on line nine (9) of Schedule "A" in the current CTA Fee Booklet, without the

addition of the per diem.

55:18 Return to the Point of Origin

On a day during which the Artist is returned to the Point of Origin from an overnight tour

and the Artist is still under contract, the Artist shall receive an expense allowance as

specified in the current CTA Fee Booklet.

55:19 Weeks with Local and Overnight Touring

In the case of a week with both local and overnight touring, in addition to the Contractual

Fee the Artist shall receive their per diem for each applicable day.

55:20 Additional Services

For any additional service provided in excess of the weekly limits specified herein, or in

excess of the daily limits, regardless of the total number of hours worked in that week,

the Artist shall invoice the Theatre at the rate stipulated on line nine (9) of Schedule "A"

in the current CTA Fee Booklet.

55:21 Overnight Rest

For any additional service provided in excess of the limits specified herein during the

overnight rest period, the Artist shall invoice the Theatre at the rate stipulated on line

three (3) of Schedule "A" in the current CTA Fee Booklet.

55:22 Hours and Breaks

(A) Point of Origin

On a day on which the Theatre is presenting all presentations at the regular place

of performance in the Point of Origin, subject to the weekly limitations on hours

specified in Clause 55:08, the day's work is limited to a maximum of nine (9) hours

inclusive of all breaks and rest periods from the time of the first call of the day to

release at the end of that day. On such a day there must be:

(i) a one (1) hour meal break after not more than five (5) hours of work, or if

the total hours worked in a day are five (5) hours or less then the meal break

may be thirty (30) minutes; and

(ii) a half-hour call for each presentation; and

(iii) a break of one (1) hour between a presentation and any rehearsal prior or

subsequent thereto (exclusive of the half-hour call). Such a break may run

concurrently with a required meal break as specified in (i) above.

After the opening of a single or stock production, or after the last opening of a

production in repertory, the day following the Free Day shall be free of rehearsals,

with the exception of emergency rehearsals, for productions which are presented

in a theatre.

(B) Touring, Local and Overnight

On a day on which the Theatre is presenting a presentation or presentations away

from the regular place of performance in the Point of Origin, subject to the weekly

limitation on hours specified in Clause 55:08 above, the day's work is limited to a

maximum of ten (10) hours from the time of pickup at the designated pickup point

to the time of return to that point (or organized drop-off point). The ten (10) hours

shall include a one (1) hour meal break during which the Artist may not be required

to work or provide any service whatsoever for the Theatre, including travel. The

Theatre will make every effort to ensure that the touring schedule provides

sufficient information and time for the Artists to take their meal break in a

comfortable and convenient location. A meal break must occur after not more than

five (5) hours of work, unless it is the unanimous wish of the company to postpone

it until a more convenient time, in which case the meal break penalty will not apply.

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If the break is less than one (1) hour, the following provisions shall apply:

(i) For additional service provided during the first half-hour or part thereof, the

Artist shall invoice the Theatre at the rate stipulated on line nine (9) of

Schedule "A" in the current CTA Fee Booklet;

(ii) For additional service provided during the second half-hour or part thereof,

the Artist shall invoice the Theatre at the rate stipulated on line nine (9) of

Schedule "A" in the current CTA Fee Booklet in addition to (i) above.

The Theatre shall schedule at least fifteen (15) minutes prior to the first

presentation of the day solely for the Actor to prepare themself for the

performance. Fight and/or Intimacy Rehearsals in accordance with Clause

24:03(K)(ii)(c) must occur prior to the fifteen (15) minute preparation time. Where

scheduling allows, and where the Artist requests, the Theatre shall also provide

at least fifteen (15) minutes Actor preparation time prior to each subsequent

performance.

(D) Additional Services Fees for Stage Management

In circumstances where a Stage Manager and/or an Assistant Stage Manager’s

meal break is under one (1) hour they will be compensated according to Line 7 of

Schedule “A”.

In the event that the Theatre anticipates that a meal break may be compromised,

the Theatre will endeavour to provide Theatre staff to assist with reset as

requested by stage management.

(E) Notice

Notwithstanding the above and on condition that the Artist receives not less than

seven (7) days notice, once in any Engagement Week, daily working hours need

not be consecutive on a two-performance day. On such a day, the Artist shall

have three (3) hours of free time, not including meal break, between the end of

service for the first presentation and the call for the second, and there shall be no

rehearsal. When touring overnight, this Clause shall apply only when:

(i) both presentations are in the same location; and

(ii) housing is available to the Artist for the period between the presentations;

and

(iii) there is no load-in or load-out on that day; and

(iv) the ten (10) hours of work are reduced to maximum of nine (9).

55:23 Unpaid hiatus

There shall be no unpaid hiatus, unless stated and agreed to in the CTA Engagement

Contract. Such unpaid hiatus shall be subject to the following terms:

(A) Official School Break

The Theatre has the right to schedule an unpaid hiatus during any official school

break during the school year (in the spring, only one (1) official break will apply),

provided that the engagement consists of not less than eight (8) weeks of

rehearsal and/or performance, and provided that there are no fewer than two (2)

Engagement Weeks prior to and no fewer than one (1) Engagement Week

subsequent to the hiatus.

(B) Artist’s Services

During an unpaid hiatus, the Theatre shall not be entitled to the Artist's services,

except that there may be a run-through rehearsal on the day of re-opening in

accordance with the CTA.

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Should the Theatre schedule an unpaid hiatus, it shall pay the cost of round trip

transportation, as provided for in Clause 30:01, to and from each Artist's place of

residence, plus one-seventh (1/7) of the Contractual Fee for each day spent

travelling to and from the Artist's place of residence, provided that the Artist arrives

at their destination prior to 8:00 p.m. For any such travel day involving a later

arrival at the Artist's destination or an overnight stay in transit, the Artist shall

additionally be paid a per diem.

55:24 Additional Duties

(A) Any additional duties other than acting must be specifically negotiated before the

original contract is signed and must be included in a rider to the contract. Any

such additional duties which involve any Actor in work in excess of the hours of

work provided for, or which involve the invasion of any break or rest period

provided for in Article 55:00, the Artist shall invoice the Theatre at the rate

stipulated on the appropriate line of Schedule "A" in the current CTA Fee Booklet.

(B) Laundry and Maintenance Duties

An Artist cannot be required to clean and/or maintain costumes, props or scenery

unless it is negotiated and included in a rider to the Artist’s contract and the Artist

is compensated at not less than the Additional Duties Fee stipulated in 16:11(A).

55:25 Set-Ups, Strikes, Load-Ins and Load-Outs

If the Artist is required to assist with the load-in, set-up, strike or load-out, this

requirement must be specifically negotiated and agreed upon before the original contract

is signed, and must be included in a rider to the contract. With reference to Clause 28:21,

the Theatre will ensure that the scenic and technical components of the production will

not put undue physical strain on those Artists responsible for load-in, load-out, set-up

and strike. Nevertheless, no Artist shall be required to move, lift or carry scenery or

equipment beyond their physical capability. In a case where the Artist is physically

moving scenery and equipment as opposed to supervising the movement of same, and

the total time involved in these operations exceeds one (1) hour for each location, the

Artist shall invoice the Theatre at the rate stipulated on line one (1) of Schedule "A" in

the current CTA Fee Booklet. However, where there is more than one (1) presentation

in the same location involving different scenic elements for each presentation, there may

be an additional fifteen (15) minutes allowed for each changeover.

Load-ins and load-outs may not be required at more than two (2) locations in one (1)

day. However, security and/or weather issues may require certain items to be removed

from the vehicle overnight, in which case, the Artists may be required to assist in this

respect to a maximum of five (5) minutes at the beginning and an additional five (5)

minutes at the end of the day, provided this time is within the allowable span of the day;

otherwise, the Artist shall invoice the Theatre at the rate stipulated on line one (1) of

Schedule "A" in the current CTA Fee Booklet.

Where a performance takes place in a venue primarily used for professional theatre

performances and a stage crew is assigned to the tasks of load-in, load-out, set-up or

strike, this duty will not be required of the Artist.

However, the Theatre may require the Artist to supervise said crew.

During regular rehearsal hours prior to the departure of a tour, the Theatre shall conduct

a minimum of one (1) load-in, set-up and strike rehearsal for the production.

55:26 Understudy Parts

All Understudy parts must be stated in the contract or in a rider to the contract, to be

agreed upon no later than one (1) week before the first public performance.

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55:27 Stage Management

(A) Requirement

The Theatre must engage an Equity Stage Manager who shall be subject to the

provisions of Article 63:00 (excluding Clauses 63:05; last sentence only of 63:13

(B); 63:15 (A); 63:17 (A); 63:18 (F); 63:20 and 63:22. Additionally, the provisions

of Clause 63:17(B), Preparation Time, shall also apply, except that the

preparation time shall be limited to one-and-a-half (1-1/2) hours per day. The

provisions of Clause 55:16 (O) will apply to driving.

(B) Staffing

Where the Theatre is operating at a Company Category level according to the

provisions of Clause 15:02, Stage Management staffing will be according to the

provisions of Clause 63:05.

Where a production will not be presented in a theatre, the Theatre may engage

the Stage Manager on a prorated basis for four (4) days immediately prior to the

rehearsal period and retain their services for three (3) days immediately following

closing in lieu of the one (1) week prior to the beginning of rehearsals. One of the

four (4) days immediately prior to the rehearsal period must be a Free Day (see

Clause 63:07(C)(i)(b)).

(D) Additional Duties - Lights and Sound

Where the Theatre requires Stage Management personnel to operate lighting

and/or sound boards in the absence of a lighting or sound technician, it shall be

considered an additional duty and shall be contracted separately in writing and

included in a rider to the contract. The Artist shall receive fair additional

compensation for such duties. However, where the duties take place for

productions presented in a theatrical venue for six (6) or more consecutive days,

the Artists shall be compensated at the rate outlined in Clause 16:11(A) in the

current CTA Fee Booklet for that period. Stage Management personnel may

refuse to undertake an additional duty.

(E) Fire and Emergency Procedures

After arrival at the presentation site and prior to the commencement of the first

presentation, it is the Stage Manager's responsibility that all Artists be informed

of fire procedures and emergency exits.

(F) Additional Duties after First Public Performance

After the first public performance, should the performance of additional duties or

other duties occur outside the span of the working day or invade any break or rest

period, the Stage Manager shall be compensated at the appropriate overtime rate.

(G) Replacements

All replacement Stage Managers shall be hired one (1) week prior to the date on

which they are to take over the production.

(H) Participation in Follow-Up Workshops

The Stage Manager may, but is not required to participate in follow-up workshops.

(I) Company Management Duties

Where in the absence of a Company Manager the Theatre requires Stage

Management personnel to assume Company Manager duties it shall be

considered an added duty. Company Manager duties include but are not limited

to any situation in which a Stage Manager, in the absence of a Theatre

representative or publicist, is responsible for organizing major publicity events,

arranging housing whether in or out of town, collecting any fees owed to the

Theatre, meeting and/or transportation of Actors and/or goods at arrival or

departure points.

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The Stage Manager shall be free to negotiate with the Theatre additional

compensation for the added duties and shall be included in a rider to their CTA

Engagement Contract.

55:28 Non-Members

When the Theatre is not operating under a Company Category there may be up to two

(2) Actors who are non-members, provided that the number does not exceed one-third

(1/3) of the acting company. Non-members contracted under this clause shall not be

subject to the minimum fees stated in Clause 55:02. However, where a non-member is

engaged at a fee equivalent to or in excess of seventy-five (75%) percent of the minimum

fee in Clause 55:02, the Theatre shall deduct and remit to Equity a Filing Fee in

accordance with Clause 22:01(B).

A non-member engaged under a CTA Engagement Contract for TYA touring may be

offered a limited membership in Equity that will extend for the duration of the CTA

Engagement Contract.

The Stage Manager must be a member of Equity, but, in addition to an Equity Stage

Manager, there may be an unlimited number of Apprentice Stage Managers.

55:29 Showcase Engagement Contract

This Clause applies to TYA showcase presentations of performances of entire

productions, excerpts from productions, workshops, discussion periods, or any

combination thereof. Showcase presentations are defined as demonstrations of

presentations before potential presenters only, for the sole purpose of promoting future

sales of the presentations. Showcases may take place under the umbrella of a contact

event, concurrent with a contact event, or may be separately organized. Except for

subsidy of incurred expenses, the Theatre must not earn revenue for the showcase

performance if operating under the terms of this Clause.

(A) Following Previous Production

A showcase presentation under Clause 55:29(A) may only take place following a

previous presentation of the same production, and not prior to the premiere of the

production by that Theatre.

Subject to a written proposal by the Theatre to Equity and PACT, outlining the

details of the showcase activity, and Equity and PACT’s agreement that the

proposed activity conforms to the provisions of this Clause, the following terms

and conditions apply. Unless explicitly modified, the appropriate terms of the CTA

apply to these engagements.

(i) Minimum Fees

The minimum fees shall be as specified in the current CTA Fee Booklet.

The minimum engagement period of two (2) weeks as defined in Clause

34:02 does not apply to activities undertaken under Clause 55:29.

(ii) Hours of Work

(a) The work week is based on 42 (forty-two) hours excluding meal

breaks.

(b) The work day cannot exceed seven (7) out of eight (8) hours, of which

no more than four (4) hours can be inclusive of presentations.

(d) If there are more than four (4) days in any Engagement Week, the

weekly fee shall apply.

(e) There shall be a minimum of one (1) day off in each Engagement

Week of one (1) week or more.

(f) The overnight rest period shall be twelve (12) hours. The Artist shall

not be called prior to 7:30 a.m.

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(iii) Stage Management

For engagements of one week or less, the Stage Manager will be engaged

for one (1) day prior to the beginning of the showcase engagement. For

engagements of up to two (2) weeks, the Stage Manager will be engaged

for three (3) days prior to the beginning of the workshop engagement. For

engagements in excess of two (2) weeks, the Stage Manager will be

engaged one (1) week prior to the beginning of the workshop engagement.

(iv) Directors

If the original Director is not engaged for the showcase, the original Director

will receive the three (3%) percent royalty (Clause 55:02(C)) for each week

of the engagement or part thereof.

(B) Presentation Prior to Premiere

A showcase presentation prior to the premiere by that Theatre of a production

may only take place under Clause 55:29(B).

A one (1) week CTA Engagement Contract may be issued under Clause 55:29(B)

subject to the following terms:

(i) the performance does not take place within eight (8) weeks of an actual

production of the play being showcased;

(ii) it can be demonstrated that the Theatre receives no revenue from this

performance;

(iii) it can be demonstrated that the performance is solely for the purpose of

promoting the production for future remounts; and

(iv) the Artists involved are guaranteed the right of first refusal on any tours

produced as a result of that specific performance, such acceptance or

refusal to be confirmed no less than six (6) weeks prior to the

commencement of the engagement (twelve (12) weeks in the case of

overseas touring for which work visas must be obtained).

For activities under Clause 55:29, Clause 38:22 does not apply.

(D) Notice of Termination - Artist to Theatre or Theatre to Artist

(i) Daily engagements: Forty-eight (48) hours’ written notice without penalty.

(ii) Engagements of one (1) week or more: One (1) week’s written notice

without penalty.

(iii) Engagements of more than two (2) weeks: Two (2) weeks’ written notice,

or two (2) weeks’ Contractual Fee in lieu of notice.

(E) Overseas Showcases

In the case of a showcase performance overseas, the provisions of Article 50:00

apply.

55:30 Joint TYA Productions

Two TYA Theatres may undertake a Joint Production under the terms and conditions of

Article 54:00. Minimum weekly fees for a Joint TYA Production shall be as specified in

the current CTA Fee Booklet.

56:00 TANGERINE PROJECTS

This Article applies to the creation of new work. It allows for more flexible contracting

options and working conditions. In determining the phases of production for the

Tangerine Project it is important to define what the dominant activity is in each phase.

Phases may be repeated over the course of development.

The Theatre must submit an activity checklist to PACT and Equity at least two (2) weeks

prior to the commencement of the activity. Additionally, the Theatre shall attach a rider

to each Artist’s contract that provides for the “agreed upon terms”.

In Phases 3 and 4, discussions should be held about the Artist’s right of first refusal for

any subsequent production and any conditions around ownership of a full production.

An Equity Liaison is a requirement in all phases for activities that exceed one week in

duration.

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56:01 Defining the Phases of Production

(A) Phase 1: Creation/Investigation - With No Public Reading/Performance

The purpose of Phase 1 is to work at the earliest stages of the creative process,

which by its very nature cannot be predetermined. During Phase 1 Artists may be

engaged using daily or weekly fees as specified in Clause 56:02. A daily fee

provides for up to seven (7 ) hours and the weekly fee provides for up to forty-two

(42) hours of work, which may be pro-rated over whatever schedule is acceptable

to all the Artists. At the end of the Creation/Investigation phase, the Artists may

decide to abandon the concept entirely or move on to the next phase.

(B) Phase 2: Development - May Include Public Reading/Performance Element

(i) Some amount of text or pre-determined actions is in place;

(ii) Material may be presented to an audience for feedback;

(iii) Invited audience may attend the reading/performance or the

reading/performance may be advertised to the industry but the

reading/performance may not be advertised to the general public; or

(iv) Little or no fee is charged for admittance to the reading/performance(s).

(i) There is a proposed production schedule including performance date(s);

(ii) May be advertised to the general public;

(iii) Admission may be charged;

(iv) Rehearsals may include some “tech” in the venue prior to the public

presentation; or

(v) Additional development may be scheduled during the performance run or

after the performance run to re-work, revise or re-structure segments of the

work. This is not in order to have additional rehearsal of the piece but to

continue to change/develop the work.

(D) Phase 4: Production

A production is mounted and presented in a venue where tickets are sold to the

general public for a specified run. CTA terms and conditions apply.

56:02 Fees and Payments

It is acknowledged that a Stage Manager and/or Director may not be required during

Phases 1 and 2 of a creation project. Directors, Choreographers, Fight Directors or

Intimacy Directors engaged may, by the nature of the process, be required to work

outside the group times. Those hours will be credited against the pro-rated hours.

(A) Phase 1

All Artists’ fees are based on the weekly Company Category ‘G’ Actor Point of

Origin Minimum Fees.

(i) Daily fee: one-sixth (1/6) of Company Category G (Actor) minimum fee as

specified in the current CTA Fee Booklet.

(ii) The hours of work may be pro-rated over any agreed upon length of time

but in no case may forty-two (42) hours of work be paid at less than the

Company Category G (Actor) minimum fee as specified in the current CTA

Fee Booklet.

(B) Phase 2

(i) Actors and Stage Management

(a) Daily fee: one-sixth (1/6) of weekly Company Category G (Actor)

minimum fee as specified in the current CTA Fee Booklet.

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(ii) Directors, Choreographers, Fight Directors, Intimacy Directors

(a) Daily fee: as per Clause 57:02 as specified in the current CTA Fee

Booklet.

(b) Hourly: seven (7) hours of work shall be paid at the daily Director's

fee in accordance with Clause 57:02. These hours may be pro-rated

over any agreed upon length of time but in no case may the fee for

seven (7) hours of work total less than the Director’s fee in

accordance with Clause 57:02 as specified in the current CTA Fee

Booklet.

All Artists shall be engaged at the applicable Company Category fees as specified

in the current CTA Fee Booklet.

Actors shall be engaged at the applicable Point of Origin Minimum Fees as

specified in the current CTA Fee Booklet.

56:03 Membership

Artists who are not members of Equity but who are members of ACTRA, or UDA shall

be engaged by becoming members of Equity according to the terms of the applicable

Reciprocal Agreement. However, if the Artist's total Contractual Fee is less than two (2)

weeks the Artist will not be required to join Equity.

56:04 Deductions

(A) Members

The Theatre shall deduct and remit amounts as directed by Equity in accordance

with Clause 3:03.

(B) Non-members

The Theatre shall deduct and remit a filing fee as directed by Equity in accordance

with Clause 22:01(B).

56:05 Engagement of Directors, Stage Managers, Choreographers, Fight Directors and

Intimacy Directors

(A) Stage Manager

A Stage Manager will not be required during Phases 1 and 2. However, in the

event that a Stage Manager is engaged, it is acknowledged that the duties of a

Stage Manager during a creation process may vary from the regular duties as

outlined in the CTA. In order to accommodate any variance in the duties provided

by a Stage Manager during Phase 1 or Phase 2, the duties will be expressed in a

rider to the CTA Engagement Contract. Furthermore, a Stage Manager engaged

for Phases 1 and 2 will be paid not less than the minimum fee as stated in Clause

56:02(A).

(B) Director

It is acknowledged that a Director may not be required during Phases 1 and 2 of

a Tangerine Project. In the event that a Director is engaged for Phase 1, the

Company Category G Actor minimums will apply. In Phase 2, they will be paid not

less than the Director fees set out in Article 57:00 of the CTA.

If a Choreographer, Fight Director or Intimacy Director is engaged in Phase 1 or

2, they will be engaged under the same financial terms as a Director.

56:06 Security Provisions

The Theatre must indicate the security arrangements to be used in the Activity Checklist.

(A) For non-continuous engagements (Phases 1 and 2) of one week’s fee or less, the

Theatre may prepay the benefits to Equity by certified cheque or money order and

pay the Artist in cash the week prior to the service being provided.

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(B) For continuous engagements that exceed one (1) week’s fee, the Theatre may

prepay the total benefits to Equity by certified cheque or money order and prepay

the Artist weekly by certified cheque or money order the week prior to the service

being provided. Proof of payment to the Artist must be received by Equity prior to

the release of the CTA Engagement Contract.

order and prepay the total Artist’s fee to the Artist by certified cheque or money

order prior to the Artist providing service. Proof of payment to the Artist must be

received by Equity prior to the release of the CTA Engagement Contract.

(D) Alternately, a bond may be posted in accordance with Article 33:00 of the CTA.

56:07 Working Conditions and Hours of Work

The Theatre may deviate from the standard provisions of the CTA as follows:

(A) Non-traditional Model

The number of work hours in a week shall not exceed forty-two (42) including all

breaks and rest periods. The work hours may consist of developmental activity,

rehearsal and performance.

There must be at least one (1) Free Day in the Engagement Week (Monday

through Sunday) and the Artist is prohibited from performing any service

whatsoever for the Theatre.

The first call of the morning cannot be before 7:30 a.m. The work day must end

not later than 12:00 midnight. The Artist shall receive an overnight rest period of

not less than twelve (12) hours. There shall be a meal break of no less than a half-

hour if the work time invades the meal break specified in Article 24:00. Breaks

shall be scheduled as required and consistent with the needs of the Artists.

Specific attention must be paid to scheduling applicable breaks when the work is

very physical, includes choreography or as required by the needs of a specific

artist.

The work day and work week may consist of an agreed upon number of hours

and/or days between the Theatre and the Artist. The agreed upon schedule must

be attached by a rider to the Artist’s CTA Engagement Contract. Although the

hours of work have been agreed upon by the Theatre and the Artist, if Equity

perceives an unsafe or unhealthy work schedule, Equity, upon discussion with the

Theatre and the Artist, reserves the right to re-negotiate the schedule.

When the performance running time is one (1) hour or more the Artist will be

entitled to a Half-Hour Call prior to the performance. When the performance

running time is less than one (1) hour the Artist will be entitled to a fifteen (15)

minute call prior to the performance.

At the time of negotiation of the Artist’s contract, the Theatre will advise the Artist,

to the best of its knowledge, of the anticipated schedule and further advise if the

schedule may be subject to change at some time during the contracted period.

56:08 Termination Provisions

(A) Notice of Termination - Artist to Theatre, or Theatre to Artist

(i) Daily or hourly engagements: Forty-eight (48) hours' written notice without

penalty.

(ii) Engagements of one (1) continuous week or more: One (1) week's written

notice without penalty.

(iii) Engagements of more than two (2) continuous weeks: CTA standard two

(2) weeks' written notice, or two (2) weeks' Contractual Fee in lieu of notice.

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57:00 WORKSHOPS AND READINGS

This Article applies to workshops for the development of new work (including translations

or adaptations), and to readings of new or existing works. Irrespective of the Theatre’s

Company Category, the terms and conditions outlined in this Article shall apply.

(A) Workshops

The focus of workshops is clearly understood to be on dramaturgical process

rather than production. A workshop may involve exploring various aspects of the

work, such as story, text, movement, music, or any element of staging or design,

however emphasis should remain on the development of the work, not on

performance or polishing production values for any presentation or future

production. For new work creation requiring more flexible, phased processes, the

terms of Article 56:00 Tangerine Projects are available to the Theatre.

(B) Readings

Readings may be conducted for new, unpublished, or unproduced works, or for

existing works. It is understood that readings do not involve revision or

development of the work, and in no case shall readings involve any staging,

choreography, costumes, or other significant design or production elements.

A workshop or reading may entail a presentation, either to colleagues (e.g. project

collaborators or Theatre personnel) or to a public audience. In all cases involving

a public presentation, the Artist will be informed of that expectation at time of offer.

57:01 Workshops and Readings Registration

The Theatre shall file with PACT and Equity a Workshops and Readings Registration

outlining the details of the activity no later than two (2) business days prior to the start

of the activity.

Should the activity be a part of any Artist’s standard CTA Engagement Contract, this

shall be noted on the Registration Form.

57:02 Minimum Fees

(A) For Workshops with No Public Presentation(s)

The minimum fees as specified in the current CTA Fee Booklet for Clause

57:02(A) shall apply.

(B) For Workshops with Public Presentation(s)

The minimum fees as specified in the current CTA Fee Booklet for Clause 57:02

(B) shall apply.

The minimum fees as specified in the current CTA Fee Booklet for Clause

57:02(C) shall apply.

(D) For Readings with Public Presentation(s)

The minimum fees as specified in the current CTA Fee Booklet for Clause

57:02(D) shall apply.

If the potential box office exceeds the upper limit of Company Category G, the

appropriate Company Category fees in Clause 57:02(B) will be substituted. In that

instance, in the case of Directors' and Choreographers' rates, please contact PACT or

Equity for the appropriate rate.

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57:03 Working Conditions

(i) The work week is based upon a forty-two (42) hour week, excluding meal breaks.

(ii) The minimum call shall be four (4) hours. If the work day exceeds four (4) hours,

exclusive of meal breaks, the daily rate shall apply for that day.

(iii) The work day cannot exceed seven (7) out of eight (8) hours.

(iv) There shall be a minimum of one (1) Free Day in each week for engagements of

one (1) week or more.

(v) Notwithstanding Clause 57:03(iv), when there is a public presentation of the

activity, one (1) day may consist of ten (10) out of twelve (12) hours.

(vi) There shall be one (1) hour meal break after four (4) hours of work (or five (5)

hours on a day governed by Clause 57:03(vi)).

(vii) Equity and PACT will consider proposals under this Article which do not meet

ordinary scheduling requirements.

(viii) If a Theatre contracts an Artist for less than a one (1) week period, the Artist is

free to take other work with no penalty, provided) forty-eight (48) hours written

notice is given to the Theatre.

57:04 Rider for Workshop Contracts

(i) It is understood that there may be creative, technical and/or production elements

explored that are integral to the development of the work. The Artist will be

informed of these elements in a rider to the CTA Engagement Contract.

(ii) If the Theatre requires the Artist to prepare and/or learn material prior to the start

of the engagement, the details of what is to be prepared must be provided in a

rider to the Artists’ CTA Engagement Contract and compensated at no less than

the four-hour call fee as specified in Clause 57:02 (A) in the current CTA Fee

Booklet.

(iii) There is to be no requirement for the Artist to deliver a finished performance.

57:05 Stage Management

(A) Requirement

Stage Managers will be required for activities where there are technical or

production elements requiring Stage Management supervision. Actors may not

discharge Stage Management functions in this regard. Stage Managers are

recommended for all activities having a public presentation(s).

(B) Finished Production or Prompt Book not Required

There is to be no requirement for the Stage Management personnel to organize

a finished production or prompt book.

(i) Prior to Workshop or Reading

Should the Theatre deem it necessary, a Stage Manager may be engaged

for preparation time prior to the start of a workshop or reading at a rate of

not less than the full daily rate stipulated in Clause 57:02 (A) for four (4) or

fewer days of preparation, or the weekly fee stipulated in Clause 57:02 (A)

for more than four (4) days of preparation.

(ii) During Activity

All Stage Management calls shall include one (1) hour of preparation time

per day. Such preparation time shall be compensated at a rate of no less

than one-fourth (1/4) of the four (4) hour call rate stipulated in Clause 57:02

(A) of the current CTA Fee Booklet.

57:06 Public Presentation

(i) There will be no more than three (3) presentations per Engagement Week.

(ii) There will be no more than nine (9) presentations per activity.

(iii) Except when the Artist is engaged on a weekly basis, there will be no more than

one (1) public reading under Clause 57:02(C).

(iv) The time taken for public presentations is to constitute part of the working day, as

stipulated in Clause 57:03.

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(v) The number of public presentations at the time of contracting shall be included on

the face of the Artists’ CTA Workshops and Readings Contract. Should the

number of presentations increase resulting in additional hours called, the Artist

shall be compensated at no less than the appropriate rates in the current CTA

Fee Booklet. In this circumstance, all required breaks and span of day must still

be adhered to.

(vi) There is to be no requirement for the Artist to deliver a finished performance.

57:07 Workshops and Readings as part of Standard Engagement Contract

(A) Original Contract

If an Artist is to be engaged to participate in workshops and/or readings as well

as in regular productions as part of a CTA Engagement Contract, this requirement

shall be included in the original engagement contract

The Artist shall be provided with a proposed schedule of the activity upon signing

of said contract, otherwise the Artist cannot be compelled to participate in the

activity.

After the official opening of a single production, or after the final opening of a stock

or repertory season, the hours of work shall be governed by the applicable

provisions of Clause 24:04 or Clause 24:09 for the first five (5) weeks, and

thereafter under the terms of Clause 24:10(B). For the calculation of allowable

work hours in Article 24:00, workshop activity hours shall be counted as rehearsal

hours.

(B) Addition to Original Contract

If the Artist is required to take part in workshops and/or readings which are not

stipulated in the original contract of engagement, the Artist must be engaged on

a separate contract therefore, or on a rider to the original contract. The Artist will

be provided with a proposed schedule of activity upon signing of said contract or

rider. In either case, the hours of work and payment shall be governed by the

applicable provisions of this Article 57:00 as if it were a separate contract.

Engagement contracts for Directors or Choreographers engaged under the terms

and conditions of Articles 55:00, 60:00, and 62:00 may not be combined with their

duties governed by Article 57:00. The Director or Choreographer shall be signed

to a separate CTA Engagement Contract or affidavit, and all fees required by

Article 57:00 shall be in addition to and separate from the fees stipulated in the

Artist's concurrent CTA Engagement Contract.

(D) Repertory Theatres

Theatres producing in repertory which are engaging Artists to participate in activity

under this Clause as part of their Standard Engagement Contract will, wherever

possible, schedule this activity to commence after the first public performance of

the Artist’s last production.

(E) Workshops and Readings Registration

The preamble to Article 57:00, including the requirement for a Workshops and

Readings Registration, applies to Workshops and Readings as part of a Standard

Engagement Contract.

57:08 Notice of Termination - Artist to Theatre, or Theatre to Artist

(i) Daily or hourly engagements: Forty-eight (48) hours' written notice without

penalty.

(ii) Engagements of one (1) week or more: One (1) week's written notice without

penalty.

(iii) Engagements of more than two (2) weeks: Standard two (2) weeks' written notice,

or two (2) weeks' Contractual Fee in lieu of notice.

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57:09 General Provisions

(A) Security

An appropriate bond will be required as per Article 33:00. However, for

development activity of two (2) weeks or less, Equity will consider other security

arrangements.

(B) Full Productions

No full production of a work by the Theatre or any other producer is permitted

within four (4) weeks of the conclusion of a development activity under this Article

without Equity and PACT's approval, which shall not be unreasonably withheld.

Notwithstanding the foregoing, the Theatre may schedule a maximum of three (3)

days for the reading of a work within four (4) weeks prior to the beginning of the

full rehearsal period. In any case, no development activities may be scheduled

within 1 week prior to the beginning of the full rehearsal period for the same

production.

The names of all the Artists engaged in the development of a new work will be

credited in the program of a full production of that work by the producing Theatre

if it takes place within two (2) years of the final date of the workshop and if the

producing Theatre is the developing Theatre.

(D) Engagement Week

A week shall mean an Engagement Week as defined in Clause 18:21.

(E) Equity Liaison

An Equity Liaison is to be elected for workshops and readings in excess of two

(2) days.

(F) Engagement Contracts

For workshops and readings the Artist will be signed to a Workshops and

Readings Contract.

(G) Workshops Outside the Theatre’s Point of Origin

A Theatre may change its Point of Origin as per Clause 19:02(A). However, in all

cases where an Artist is not in their place of residence, suitable housing shall be

provided at no cost to the Artist.

(H) Content Advisory

Where the Artist may not have access to workshop or reading material prior to the

first call, and where it may be known that the material involves charged content

that might be challenging for an Artist for reasons of personal identity or lived

experience, the Theatre will make best efforts to give notice of such content at

time of offer.

57:10 Touring

It is recognized that particular circumstances may involve workshops and readings

outside the Theatre’s Point of Origin. In such circumstances, the provisions of Article

49:00 apply.

57:11 Insurance

The Theatre will deduct a daily insurance amount as determined by Equity not to exceed

the weekly amount.

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58:00 SECTOR 2 THEATRES

The following do not apply to Sector 2 productions:

8:06(E) Auditions - Maximum Number of Calls

8:06(S) Auditions - Annual

15:02 Company Category Calculation Formulae (only those provisions which

apply to TYA)

15:05(iii) Company Categories (only those tours under Article 55:00)

16:13 Point of Origin Minimum Fees

16:16 Additional Services Fees

23:01(C) Free Day - December 25

24:03(G) Calls on the Free Day

24:13(C) Emergency Rehearsal

25:01 Costume Fittings - Hours

25:02 Additional Fittings

25:03 Costume Fittings Before the Engagement Period

35:02(B) Run-of-the-Play CTA Engagement Contract - Period

35:02(D) Run-of-the-Play CTA Engagement Contract - Fee

35:03 Guaranteed Engagement

49:03(B)(i) Overnight Touring Per Diem

55:00 Theatre For Young Audiences

57:00 Workshops and Readings

60:01 Director Minimum Fees

60:11(B) Special Category - Summer Stock

60:12 Artistic Director

61:04 Fight Directors Minimum Fees

62:04 Choreographers Minimum Fees

63:05(A) Stage Management - Staffing Formulae (last paragraph only)

63:10 Responsibility of an Assistant Stage Manager (second paragraph only)

63:22 Replacement of Crew Members

58:01 Application of the CTA

Unless otherwise stated herein, all other provisions of the CTA apply to Sector 2

Theatres. See Clause 18:53.

58:02 Breaches by the Artist

(A) Discipline by the Theatre

Where the Theatre disciplines an Artist for a breach of the CTA or the Artist's CTA

Engagement Contract the Theatre shall do so in accordance with the principles of

progressive discipline. Discipline may take the form of written warnings, and

subsequent to at least two (2) written warnings, fines or termination without further

compensation (return transportation excepted). The amount of any fine is limited

to one-sixteenth (1/16) of the Artist's Contractual Fee per occurrence. Where the

Artist is in material breach of the CTA or the Artist's CTA Engagement Contract

the Theatre may give one (1) or two (2) warnings prior to termination.

Notwithstanding the foregoing:

(i) if Equity disputes that a breach of contract has taken place, no fines may

be put into effect until the dispute is resolved, pursuant to Article 52:00; and

(ii) Equity may dispute under the provisions of Article 52:00 any termination

effected by the Theatre.

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(B) Missed Performance

Notwithstanding the provisions of Clause 58:02(A), should the Artist miss a duly

scheduled performance without good and sufficient reason, the Artist's

Contractual Fee may be reduced by one-eighth (1/8). Should the Artist be late for

a performance without good and sufficient reason and determined by the Stage

Manager to be unavailable to perform, the Artist's Contractual Fee may be

reduced by one-eighth (1/8). Equity may dispute under the provisions of Article

52:00 any such reduction by the Theatre.

58:03 Auditions

(A) Compensation, Number and Schedule

Auditions shall be limited to five (5) calls of a maximum of one (1) hour each per

Actor for each production which may be assigned. Said Actor shall be

compensated at the rate of one eighth (1/8) of the minimum fee for the Company

Category in which the production will be presented, for each audition over five (5)

for which they are called.

If the first audition is a general call, where no individual appointments are

scheduled in advance of the date of call, that call shall be in addition to the five

(5) unpaid calls, provided that the artistic team conducting the audition must be

identified by name and title to the Artists no later than when the appointment is

made. For each production mounted by the Theatre, the Theatre agrees to hold

auditions in Canada prior to the holding of auditions elsewhere. Furthermore, for

each production, final audition calls will be held in Canada, and such auditions will

be conducted by an individual having full casting authority; additionally, in the case

of final audition calls, the Director of the production must be present and must see

all auditionees called back to the final auditions.

(B) Replacement Auditions

For productions which are completing a one-year run, and which the Theatre

reasonably expects to continue an extended run, the Theatre will hold auditions

for possible replacements. The Theatre will continue to hold annual auditions as

long as the Theatre maintains continued expectations of ongoing performances.

Auditions will be held in the Theatre's Point of Origin, or such other Canadian

city(ies) as the Theatre deems appropriate.

In the event the Director, or other members of the creative team, with contractual

casting approval rights, are unable to attend final auditions, the Theatre shall have

the right to record Artists for approval purposes. These recordings will be shot and

edited by a professional videographer for the creative team and will then be

destroyed. This right shall further apply for emergency replacement purposes

and/or any auditions required after the final auditions are completed, for which

key creative team members are unavailable.

With the exception of emergency replacement auditions the Theatre shall ensure

creative team members of at least the Associate level will be present during any

recorded auditions.

The Theatre shall notify Equity and the Artists when any recorded auditions are

required.

58:04 Applicability of Point of Origin Minimum Fees

For productions which are classified as Company Category A (including A+), A-2 rates

shall apply to open-ended productions, or to non-musical productions originally

scheduled to run in excess of twelve (12) weeks, and musical productions originally

scheduled to run in excess of twenty-four (24) weeks. For non-musicals originally

scheduled for less than twelve (12) weeks and musicals scheduled for less than twenty-

four (24) weeks, which are subsequently extended beyond twelve (12) or twenty-four

(24) weeks, A-2 rates shall apply from the thirteenth or twenty-fifth week respectively.

However, regardless of the length of the run of productions mounted at the Panasonic

Theatre in Toronto, Ontario, A-2 rates shall not apply.

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A+ rates shall apply to Company Category A companies operating in municipalities with

a resident population in excess of two million and two hundred thousand (2,200,000)

and in theatres with more than eight hundred and seventy-four (874) seats.

58:05 Minimum Fees

(A) Actor Point of Origin

The minimum weekly fees shall be as specified in the current CTA Fee Booklet.

58:06 Per Diem

When the Artist is required to travel outside the Point of Origin on an overnight tour, the

Artist’s Contractual Fees shall be augmented by a daily expense allowance. This per

diem shall not be subject to Clause 3:03 (Deductions). It shall be paid at least one (1)

week in advance of the week for which it is applicable.

The per diem shall be not less than as specified in the current CTA Fee Booklet.

58:07 Additional Services Fees

For services not anticipated at the time of negotiation, or in excess of the limits in the

CTA, the parties have agreed to the additional fees set out in Schedule "A" in the current

CTA Fee Booklet. Except as otherwise specified elsewhere in the CTA, the applicable

rate for such additional services in Sector 2 productions shall be that specified on line

ten (10) of Schedule "A" in the current CTA Fee Booklet.

Except for as provided for elsewhere in the CTA, additional services are to be provided

only at the request of the Theatre or the Theatre's designated representative.

(A) Overnight Rest Infringement

If the Artist agrees to rehearse or perform or otherwise provide any additional

services during the overnight rest period, the Artist shall invoice the Theatre at the

rate stipulated on line thirteen (13) of Schedule "A" in the current CTA Fee

Booklet.

58:08 Extended Rehearsal Days - Single Production and Stock

Notwithstanding the provisions of Clause 53:02(A), if there are three (3) full weeks of

rehearsal prior to the first public performance of a musical production, there may be four

(4) extended rehearsal days, which may be consecutive.

58:09 Emergency Rehearsal

When an emergency rehearsal must be called on a Free Day, the Artist shall invoice the

Theatre at the rate stipulated on line eleven (11) of Schedule "A" in the current CTA Fee

Booklet. The minimum call for an emergency rehearsal shall be four (4) hours.

58:10 Calls on the Free Day

For any rehearsal called on a scheduled Free Day, the Artist shall invoice the Theatre

at the rate stipulated on line twelve (12) of Schedule "A" in the current CTA Fee Booklet.

The minimum call for rehearsal on a Free Day shall be four (4) hours. Twenty-four (24)

hours notice must be given of a rehearsal on a Free Day. Nevertheless, the Artist may

only be called on their Free Day with their agreement. (This does not apply to emergency

rehearsals - see Clause 58:09).

58:11 Dance Captain

A Dance Captain is required for productions in which a Choreographer is engaged. A

Dance Captain shall be free to negotiate remuneration above the minimums in this

Clause as appropriate to the work required and acceptable to them, which shall be not

less than one eighth (1/8) of the applicable Actor Point Origin Minimum Fee as specified

in the current CTA Fee Booklet.

58:12 Fight Captain

A Fight Captain is required for productions in which a Fight Director is engaged. A Fight

Captain shall be free to negotiate remuneration above the minimums in this Clause as

appropriate to the work required and acceptable to them, which shall be not less than

one-hundred and fifty (150%) percent of the additional duties rate as provided for in

Clause 16:11(A) in the current CTA Fee Booklet.

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58:13 December 25

In addition to the regular Free Day, December 25 shall be free of rehearsals, and there

shall be no rehearsals after 6:00 p.m. on December 24. In the case of a production which

runs or is anticipated to run for ten (10) weeks or more, December 25 shall be either an

additional Free Day, or Artists shall be paid an additional one-eighth (1/8) of their

Contractual Fee for each performance on that day.

When December 25 falls on a regularly scheduled Free Day, Artists shall be given an

additional day free of rehearsals and performances within seven (7) days before or after

December 25. Should the Theatre choose not to schedule this additional Free Day, the

Artist shall be paid an additional one-eighth (1/8) of their Contractual Fee per

performance. When December 25 falls on a regular performance day or two-

performance day, and the Theatre re-schedules that or those performances on the

regularly scheduled Free Day, the Artists shall be paid an additional one-eighth (1/8) of

their Contractual Fee for each performance so rescheduled.

58:14 Costume Fittings

(A) Hours

The Theatre is granted a total number of free hours for costume fittings for each

Artist which cannot exceed three (3) hours for each play per season.

(B) Additional Fittings

Should the Artist be required by the Theatre for costume fittings in excess of the

hours provided for in this Clause 58:14, such calls shall be considered rehearsal

time. Should the Artist exceed the maximum hours of rehearsal as otherwise

provided by the CTA, the Artist shall invoice the Theatre at the rate stipulated on

line ten (10) of Schedule "A" in the current CTA Fee Booklet.

Should the Artist, at the request of the Theatre, attend costume fittings before the

engagement period for which they are contracted, the Artist shall invoice the

Theatre at the rate stipulated on line ten (10) of Schedule "A" in the current CTA

Fee Booklet (minimum two (2) hours) from the time the Artist is called for the fitting

to the time the Artist is released, provided the fitting takes place in the Artist's

place of residence or if the fitting takes place at a location other than the Artist's

place of residence but the Artist is not required to travel to said location for the

fitting.

When the Artist is requested by the Theatre to travel to a location outside of their

place of residence for a costume fitting, the Artist shall be compensated at a rate

of one-seventh (1/7) of the applicable minimum fee for each day or part thereof

the Artist is required to be away from their place of residence. The Theatre shall

at its own expense transport the Artist. Travel time, all waiting periods and fitting

time shall be deemed to be consecutive from the Artist's call for the designated

means of transportation to the Artist's return to their place of residence. For any

time in excess of eight-and-a-half (8-1/2) hours, inclusive of a one-and-a-half (1-

1/2) hour meal break, the Artist shall invoice the Theatre at the rate stipulated on

line ten (10) of Schedule "A" in the current CTA Fee Booklet. The computation of

travel time and tolerance for delays shall be determined according to the

provisions of Article 49:00 except as amended herein.

Should the Artist be required to remain away from their place of residence

overnight, the Theatre shall arrange and supply at its own expense all travel and

transportation and safe, clean, single occupancy hotel housing of a respectable

nature. In the event the Artist's day shall be deemed completed upon the Artist's

arrival at the hotel after the completion of their fitting(s) and begin the next day

from the time the Artist is required to leave the hotel for transportation to a fitting

or to the Artist's place of residence. The Theatre shall make its best efforts to

provide the Artists with their per diem (Clause 58:06) for each day or part thereof

that the Artist is required to be away from their place of residence, at least two (2)

days prior to departure.

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58:15 Luggage

In the case of productions scheduled to run longer than six (6) months, the amount of

luggage the Theatre is responsible for the transportation of shall be increased to four (4)

large suitcases to a maximum of one-hundred and eighty-one (181) kilograms.

58:16 Run-of-the-Play Engagement Contracts

(A) Period

The initial period of engagement for a Run-of-the-Play Engagement Contract shall

be for a minimum of thirteen (13) weeks up to a maximum of sixty-five (65) weeks,

and shall begin at the beginning of the Artist’s engagement, provided that in no

event shall it extend beyond the closing of the production.

(B) Fee

In A+ and A-2 productions, the Artist's Contractual Fee for a Run-of-the-Play CTA

Engagement Contract of up to thirty-nine (39) weeks shall not be less than as

specified in the current CTA Fee Booklet per week above the applicable minimum

fee. The Artist's Contractual Fee for a Run-of-the-Play CTA Engagement Contract

of more than thirty-nine (39) weeks and up to fifty-two (52) weeks (excluding

options) shall not be less than as specified in the current CTA Fee Booklet per

week above the applicable minimum fee. The Artist’s Contractual Fee for a Run-

of-the-Play contract of more than fifty-two (52) weeks and up to sixty-five (65)

weeks shall not be less than as specified in the current CTA Fee Booklet per week

above the applicable minimum fee. The run-of-the-play fee requirement begins as

of the date of the first rehearsal.

For productions in other Company Categories, the run-of-the-play fee shall be as

outlined in Clause 35:02(D).

Run of the Play Engagement Contracts which provide for a Contractual Fee in

excess of the minimum as specified in the current CTA Fee Booklet may have

riders negotiated which provide for a per performance bonus. Contracts which

include such riders may not through this provision have the Contractual Fee

reduced below the amount specified in the current CTA Fee Booklet.

58:17 Guaranteed CTA Engagement Contracts

A Sector 2 Theatre may only contract Artists using Guaranteed CTA Engagement

Contracts once they have made satisfactory security arrangements with Equity.

58:18 Photo Calls

One (1) photograph call of a maximum of four (4) hours (for each Actor) shall be allowed

for each production.

58:19 Closing Notice for Open-Ended Contracts

In the case of contracts with no end date or in the case of Run-of-the-Play CTA

Engagement Contracts, two (2) weeks’ closing notice must be posted or the Theatre

must pay two (2) weeks' Contractual Fee, plus per diem if applicable, in lieu thereof.

58:20 Resident Director

(A) Engagement of Resident Director

A Resident Director may be engaged at the sole discretion of the Theatre.

Members of Equity shall be engaged under a CTA Engagement Contract. Non-

members shall be offered the opportunity to be engaged under a CTA

Engagement Contract, however the execution of a CTA Engagement Contract is

not required. The terms of this clause shall apply only to Sector 2 and shall not

apply to any other category of Director.

(B) Terms and Conditions

It is understood that the terms and conditions applicable to the engagement of a

Resident Director may be similar to those of a Director.

A Resident Director minimum fee will be not less than the Director’s Royalty as

stated in Clause 58:24.

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58:21 Promotional Recording, Publicity and Commercials

(A) Promotional and Publicity Recordings Non-Broadcast

When the Theatre makes a recording for non-commercial use, the Theatre may

access all the provisions of Article 44:00 (Non-Commercial Use of Photographs

and Recordings).

(B) Application to Equity for Other Uses

The Theatre may also apply to Equity, whose approval may not be unreasonably

withheld, for use of such promotional recordings for applications which are not

defined in Article 44:00, but which meet similar, limited audience non-broadcast

requirements.

Should a broadcast commercial be made from such recording, each Artist

appearing in the commercial shall be contracted to the appropriate ACTRA

contract, and shall be paid the appropriate session and cycle fees as provided for

in the ACTRA National Commercial Agreement contract. All Artists called for the

original recorded rehearsal and/or performance who do not appear in the

commercial shall be paid at the Group Extra rate.

58:22 Opening Night of A-2 Productions

For the Opening night (or press night) of A-2 Productions, limits stipulated in Clause

44:09(B) will apply.

58:23 Promotional Appearances for A-2 Productions

For A-2 Productions, the Artist will be available to the Theatre for reasonable

promotional appearances. These appearances may not exceed two (2) in a weekly

period, and may not exceed four (4) in a four-week period. No more than one (1) per

four-week period may be in costume.

Such appearances may not exceed thirty (30) minutes. This thirty-minute time span is

inclusive of interviews and other appearance requirements. For broadcast purposes,

performance elements are restricted to five (5) minutes or one (1) song (whichever is

longer) per Artist, or such other time limits which may be agreed upon in a tripartite

agreement (see Clause 58:31). All breaks and rest periods required in the CTA will apply

to the scheduling of promotional appearances.

The Theatre will schedule such appearances with no less than thirty-six (36) hours'

notice to the Artist. Such appearances may not be scheduled on the Free Day, although

in an extraordinary circumstance, the Theatre may make a request to the Artist with a

copy of such request to Equity to schedule such an appearance on the Free Day. Should

the Artist agree to a promotional appearance on a Free Day, the Artist shall invoice the

Theatre at the rate stipulated on line twelve (12) of Schedule. The minimum call for a

promotional appearance on a Free Day shall be four (4) hours.

Any appearances over and above those allowed in this clause may only be scheduled

with the permission of the Artist.

Should in the judgement of the Theatre the Artist have reasonable excuse, they may be

unavailable for a promotional appearance. The Artist will provide immediate notice of a

conflict with a promotional appearance.

Appearances will be in the municipality in which the production is performing unless

mutually agreed otherwise.

This Clause 58:23 will be attached as a rider to the Artist's contract.

58:24 Director Minimum Fees and Royalty

The minimum fees shall be as specified in the current CTA Fee Booklet.

A royalty shall be negotiated at the time of the Director's engagement which shall not be

less than three (3%) percent of the minimum fee for each week of performance. This

royalty shall be pro-rated for weeks with fewer than eight (8) performances.

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58:25 Multiple Assignments

A Director who also functions as a Choreographer of a production which they direct must

be paid an additional fee no less than the applicable minimum fee for a Choreographer

as specified in Clause 58:26.

58:26 Choreographer Minimum Fees and Royalty

The minimum fees shall be as specified in the current CTA Fee Booklet.

A royalty shall be negotiated at the time of the Choreographer's engagement which shall

not be less than three (3%) percent of the minimum fee for each week of performance.

58:27 Stage Management Requirements for A-2 Productions with:

(i) a cast size in excess of twenty (20); and

(ii) mechanized and/or automated and/or flown scenery; and/or

(iii) extensive backstage traffic; and

excluding Theatres producing in repertory, the following minimum Stage Management

requirements will apply:

A-2: Production Stage Manager, Stage Manager, Assistant Stage Manager.

58:28 Stage Management Covering for Personal or Sick Leave for A-2 Productions

For A-2 productions where the stage management staffing exceeds the minimum

requirements of the production and the CTA (see above) by at least one (1) Artist and

provided that the number of Artists engaged as Production Stage Manager, Stage

Manager, Assistant Stage Manager respectively is not reduced, the Theatre may

engage an Artist for less than a two (2) week minimum period to cover an absence

caused by sick leave or personal leave on the following conditions:

(i) Initial Engagement Period

The replacement Artist must have been initially engaged in the production for a

period of not less than two (2) consecutive weeks.

(ii) Applicable Minimum Fee

The minimum fee for the replacement Artist shall be based upon the applicable

minimum weekly fee in accordance with Clause 63:07(E) plus not less than as

specified in the current CTA Fee Booklet.

(iii) Rehearsal and Performance

A replacement Artist may be engaged for performance and/or rehearsal calls.

(iv) Engagement on a Daily Basis

The Artist engaged to cover the absence shall be paid not less than one-sixth

(1/6) of the applicable minimum weekly fee (see (ii) above) per day, or one- eighth

(1/8) of the applicable minimum fee per rehearsal/performance, whichever is

greater.

(v) Span of Engagement

Provided that the engagements are more than one (1) day apart, the replacement

Artist may be engaged on two (2) separate contracts in the same Engagement

Week. However, should the situation arise where a replacement Artist is needed

on two (2) separate occasions which are only one (1) day apart, these periods

shall be combined to form a single continuous engagement;

(vi) Engagement on a Weekly Basis

For engagements of one (1) week or more but less than two (2) weeks, the Artist

engaged to cover the absence may be engaged at a weekly rate, which shall not

be less than the applicable minimum weekly fee (see (ii) above), and may be pro-

rated for partial weeks of engagement in accordance with Clause 16:10;

(vii) Standard Engagement

Nothing in this Clause 58:28 precludes standard engagement terms.

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58:29 Assistant Stage Manager Calling the Show Upgrade Fee

The Assistant Stage Manager can be assigned to call a performance as provided for in

Clause 63:13(B) and with the prior approval of the Theatre. In the event that the

Assistant Stage Manager calls more than two (2) performances in a week, they shall be

paid an upgrade fee of not less than one-hundred and twelve (112%) percent of their

weekly Contractual Fee pro-rated at one-sixth (1/6) for each day that they call a

performance. For the purposes of this Clause a week shall constitute seven (7) days.

58:30 Workshops and Readings - Sector 2 Theatres

This Clause applies to workshops and readings for either the development of a new

work, or a new translation or adaptation of an existing work. The focus of workshops

and readings is clearly understood to be on process rather than on production, with

emphasis on the development of the work, not on the Actor, the performance or

production values of any presentation. Subject to the receipt by PACT and Equity of a

Workshops and Readings Registration, outlining the details of the activity, the following

terms and conditions apply, regardless of the Theatre's Company Category:

(A) Fees

The minimum fees for Workshops and Readings shall be as specified in the

current CTA Fee Booklet.

If the Artist is engaged for more than four (4) days, the Artist must be paid the

minimum Weekly Fee.

(B) Hours of Work

The work week is based upon a forty-two (42) hour week, excluding meal breaks.

The work day cannot exceed seven (7) out of eight (8) hours. There shall be a

minimum of one (1) day off in each week for engagements of one (1) week or

more.

When there is a public presentation of the activity, one (1) day may consist of ten

(10) out of twelve (12) hours.

There shall be a one (1) hour meal break after four (4) hours of work (or five (5)

hours on a ten (10) out of twelve (12) hour day).

Stage Management is required for all workshops and readings undertaken under

Clause 58:30. Stage Managers will not be required a week in advance. There is

to be no requirement for the Stage Management Personnel to organize a finished

production, should there be a public presentation of the work.

(D) Public Presentation

There will be no more than two (2) public presentations per Engagement Week,

and no more than six (6) per activity. The time taken for public presentations is to

constitute part of the working day, as stipulated in hours of work above.

No admission may be charged for public presentations.

(E) Notice of Termination - Artist to Theatre or Theatre to Artist

(i) Daily engagements: Forty-eight (48) hours' written notice without penalty.

(ii) Engagements from one (1) week up to two (2) weeks: One (1) week's

written notice without penalty.

(iii) Engagements of more than two (2) weeks: Standard two (2) weeks' written

notice, or two (2) weeks' Contractual Fee in lieu of notice.

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(F) General Provisions

(i) Security

An appropriate bond will be required as per Article 33:00. However, for

development activity of two (2) weeks or less, Equity will consider other

security arrangements.

(ii) Full Productions

No full production of a development activity by the Theatre or any other

producer will be permitted within four (4) weeks of the termination of the

activity without Equity and PACT's approval, which shall not be

unreasonably withheld.

(iii) Program Billing in Eventual Production

The names of all the Artists engaged in the development activity will be

credited in the program of any full production of that script by the producing

Theatre if it takes place within five (5) years of the final date of the workshop

and if the producing Theatre is the developing Theatre.

(iv) Engagement Week

A week shall mean an Engagement Week as defined in Clause 18:21 of

the CTA.

(v) Equity Liaison

An Equity Liaison is to be elected for each workshop or reading in excess

of one (1) week.

(vi) Lines

The Actor(s) may not be required to memorize lines for workshops and

readings. There is to be no requirement for the Actor to produce a finished

performance, should there be a public presentation of the work.

(vii) Engagement Contracts

The Artist will be signed to a CTA Engagement Contract with a rider

detailing hours of work, rates of pay, and public presentation schedule (if

any), and stipulating that the engagement is subject to Clause 58:30.

58:31 Tripartite Agreement

The parties to the CTA commit to attempt to negotiate a tripartite agreement with ACTRA

with respect to establishing a reasonable and distinct fee structure for the purposes of

filming and/or recording production-related materials.

58:32 Touring A-2 Productions

For A-2 Productions on tour, if the Artist is required to travel on the Free Day, the Artist

will be compensated an additional amount equivalent to the Per Diem rate in Clause

58:06. Artists may be required to travel on the Free Day no more than once in each four-

week period.

58:33 Personal Leave

Personal leaves are a discretionary benefit and not an entitlement under the CTA

Engagement Contract.

An Artist who is engaged on an A-2 production contract, may request one (1) personal

day after sixteen (16) weeks, a second personal day after twenty (20) weeks and a third

personal day after twenty-four (24) weeks. Leave is limited to one (1) day (or part

thereof) without penalty under the following conditions:

(i) The Artist must provide the request in writing at least one (1) week prior to the

desired leave;

(ii) Leave is granted at the sole discretion of the Theatre, such permission not to be

unreasonably withheld;

(iii) Leaves do not accumulate or hold monetary value at the end of a CTA

Engagement Contract;

(iv) Leaves may be cancelled without notice only in the event of an emergency which,

at the discretion of the Theatre, severely compromises the artistic integrity of a

performance, or which may cause the performance to be cancelled;

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(v) Leaves do not release the Artist from their obligations under the CTA Engagement

Contract, including obtaining permissions for travel, or permissions for concurrent

engagements, or any other duties or obligations of the Artist.

(vi) Leaves will not be requested during the period between December 25 and

January 1.

In the event that a personal leave is granted and subsequently cancelled due to an

emergency for the reasons set forth in Clause 58:33(iv), a written report signed by the

Theatre’s senior management will be submitted to the Artist, and upon request, the

Theatre shall provide Equity with a copy of the report. This report will detail the

circumstances of the cancellation of the leave, and the Theatre’s rationale for such

cancellation.

58:34 Maternity & Parental Leave

The parties recognize and value the contribution that parents make to our society and

emphasize that the parties will recognize and meet all applicable statutory obligations

with regard to maternity and parental leaves.

58:35 Betterment in A-2 Productions

Artists engaged on Run-of-the-Play or Guaranteed Engagement Contract in an A-2

production for a Chorus role may, after the completion of thirteen (13) months service,

provide a minimum of six (6) weeks written notice of termination in order to accept a

non-Chorus engagement offer in a theatrical production under a CTA, other Equity

contract form, or AEA contract. If the Artist has been provided specific specialized

training for their role, the theatre may in a rider to the CTA Engagement Contract

reasonably increase the notice period required under this Clause.

An Artist who gives termination under this Clause or a legitimate rider alteration to this

Clause shall not be subject to penalties.

58:36 Concurrent Engagement in A-2 Productions

The Artist may accept a concurrent engagement while under contract to the Theatre in

an A-2 production, provided that the Artist first fulfils all obligations owing under the CTA

Engagement Contract, and provided further, in the sole determination of the Theatre,

that such concurrent engagement does not:

(i) Endanger the Artist's physical safety;

(ii) Endanger the Artist's vocal and/or dance ability;

(iii) Show the Artist in a recognizable or featured role; or

(iv) Require the Artist to travel outside the limits of the municipality where the

production is currently situated.

Approval of the Artist's request shall not be unreasonably withheld.

58:37 Fight Directors and Intimacy Directors

The minimum fees shall be as specified in the current CTA Fee Booklet.

58:38 Training and Professional Development

In the interests of the training and professional development of Canadian Artists,

whenever a non-Canadian (or non-permanent resident of Canada) is engaged as a

Director or Choreographer, a Canadian member of Equity shall be offered a position as

Assistant Director or Assistant Choreographer. In the event that a Canadian Equity

member is not engaged as an Assistant Director or Assistant Choreographer, Equity

may request a list of members who were offered and declined the position(s).

For Sector 2 productions for which first class rights dictate the creative team that will

recreate the original production the following exceptions shall apply:

(i) For productions originally scheduled to run fewer than twelve (12) weeks, the

Theatre shall have no obligations to engage an Assistant Director or Assistant

Choreographer;

(ii) For productions originally scheduled to run 12 weeks or more (musical or non-

musical), a Canadian Equity member shall be engaged as a Resident Director or

Resident Choreographer, or in another equivalent position on the creative team;

otherwise the Theatre shall engage an Assistant Director or Assistant

Choreographer according to 60:12 or 62:10 as applicable.

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59:00 CHILD PERFORMERS

Preamble

PACT and Equity agree that specific and appropriate care and attention be given to Child

Performers. Child Performers shall be treated with respect at all times. No Child Performer may

be punished or subject to other harmful, frightening or humiliating behaviour.

Child Performers are entitled to the same working terms and conditions as adult Artists except

as amended by this Article. Any Theatre that allows for provisions of the CTA (e.g., breaks or

rest periods) to be waived as a punishment for a Child Performer shall be in breach of this

Agreement.

PACT and Equity recognize that the responsibilities in the contracting of a Child Performer

include written permission from the parents/legal guardian, and a full discussion of the duties

and responsibilities of the Theatre, the parents and the Child Performer. A Child Performer will

be provided with additional consideration in all matters of intimacy, areas of supervision, training,

hours of participation, interaction with others and permission from, and communication with,

parents/legal guardian and schools. This consideration does not reduce the duty of care required

of the Theatre and of those engaged by the Theatre with regard to their interaction with Child

Performers.

59:01 Provincial Legislation

A Child Performer may not be engaged under conditions which do not meet or exceed

either the Theatre’s provincial legislation or regulations, or in the absence of such, the

Ontario Child Performers Guidelines. The Theatre will provide the parent or legal

guardian with a copy of the relevant provincial legislation or the Ontario Child Performer

Guidelines, whichever is applicable.

59:02 Guardian Meeting

The Theatre, the parent or legal guardian, the Child Performer, and Equity shall have a

thorough discussion addressing the following items:

(i) Travel, care, and release, including who is to be responsible for the Child

Performer and whether the Child Performer has any known allergies, medical

history or any attitudinal or psychological condition of which the parent or legal

guardian is aware that might interfere with their ability to carry out the role or

otherwise affect their engagement.

(ii) Dismissal and/or absence from school, including whatever arrangements have

been made for the tutoring of the Child Performer.

(iii) The anticipated schedule for rehearsals and performances including any existing

or possible obligations on the part of the Child Performer which could affect that

schedule. It is understood that some scheduling can only take place as the

production process evolves and therefore additions or amendments to the

scheduling provision in the rider may come during production.

(iv) Etiquette and behaviour expected of the Child Performer and the parent or legal

guardian and conversely, what expectations of etiquette and behaviour the Child

Performer, parent or legal guardian may expect from the Theatre.

(v) Any scenes the Child Performer will be expected to participate in where the parent

and/or legal guardian and the Theatre have determined the Child Performer will

require additional support in order to appear in those scenes.

(vi) Any relevant policies of the Theatre.

(vii) Arrangements for meal break supervision or pick up.

(viii) Any relevant concerns of the parent/legal guardian or the Child Performer.

The Theatre shall execute and attach a rider to the CTA Engagement Contract outlining

the agreement on items 59:02(i) through (viii).

59:03 Categories of Engagement

A Child Performer may be engaged:

(i) by signing a CTA Engagement Contract; or

(ii) as a member of a Children’s Chorus, pursuant to the provisions of Article 21:00.

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59:04 Supervision of the Child Performer in the Workplace

The parent or legal guardian and the Theatre shall agree on the terms and conditions

for the care and supervision of the Child Performer from the time the Child Performer is

dropped off at the rehearsal hall or theatre until the Child Performer is picked up by the

parent or legal guardian. In the absence of agreed to terms and conditions the parent or

legal guardian will be required to be with the Child Performer at all times during the

engagement.

Child Performers under the age of 16 will be under the supervision of a qualified Child

Supervisor at all times.

It is acknowledged that there may be instances where a Child Performer will require

additional care and supervision. Any such requirements will be negotiated and agreed

to between the Theatre and parent or legal guardian. Such negotiation may include

parental access.

All personnel employed by the Theatre who, as a result of their responsibilities, are

required to be alone with a Child Performer, must undergo a Police Record Check or

provincial equivalent prior to commencement of the Child Performer’s engagement. This

includes but is not limited to Child Supervisors and any wardrobe, hair or makeup

personnel or any other persons who may have unsupervised access to the Child

Performer.

(A) Child Supervisor

The Child Supervisor shall supervise all Child Performers from the time of arrival

in the workplace to the time they are picked up by the parent/legal

guardian/chaperone.

The Theatre shall provide written notification to the parent or legal guardian of the

Theatre’s selection of Child Supervisor(s) responsible for the Child Performer(s)

so that the parent or legal guardian may address any concerns with the Theatre

in advance of the engagement. In an emergency, the Theatre may replace the

Child Supervisor with an otherwise qualified person in this capacity in which case

the Theatre shall use its best efforts to advise the parent or legal guardian of any

such substitution as soon as possible.

(B) Ratios

(i) Under the Age of Five

Where the youngest Child Performer is between two-and-a-half (2 1/2) and

five (5) years old, there shall be at least one (1) Child Supervisor for every

six (6) Child Performers present, for any given production.

(ii) Under the Age of Ten

Where the youngest Child Performer is between six (6) and nine (9) years

old, there shall be at least one (1) Child Supervisor for every ten (10) Child

Performers present, for any given production.

(iii) Under the Age of Sixteen

Where the youngest Child Performer is between ten (10) and fifteen (15)

years old, there shall be at least one (1) Child Supervisor for every fifteen

(15) Child Performers present, for any given production.

(iv) Multiple Locations

Regardless of the Child Supervisor ratios required by the number of

Children as above, if Child Performers are required to be in different

locations, additional supervision by a person who has obtained a Police

Record Check or the provincial equivalent shall be provided by the Theatre.

The Child Supervisor and the Child Performers shall be present whenever the

company receives instruction on fire drill procedures, backstage etiquette,

backstage traffic, orientation of the production and facilities, and Theatre policies.

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(D) Consistency

The Theatre shall use its best efforts to engage consistent Child Supervisors for

the production.

(E) Indemnification

The Artists in the production shall be indemnified by the Theatre, and saved

harmless from any liability in respect of interaction with a Child Performer where

the Artists are acting in accordance with carrying out their duties and

responsibilities as directed by the Theatre and the CTA.

(F) Child Supervisor Communication Responsibility

The Child Supervisor(s) has a responsibility to keep an open channel of

communication with the parents and/or guardians of the Child Performer(s) and

an obligation to report to senior management of the Theatre any incidents or

concerns that arise during the child’s presence at the theatre.

The Child Supervisor will complete a daily Child Supervisor log provided by Equity

and PACT which shall be filed with the Theatre. This log will document the breaks,

general health and wellbeing and any issues of note relating to the day’s

Rehearsal or Performance activities which involve the Child Performer(s). The

Child Supervisor log shall be made available upon the request of the Child’s

parent/legal guardian, Equity or PACT.

59:05 Dressing

(A) Changing Facilities

There shall be separate dressing rooms as required by gender for Child

Performers, which when feasible, shall be separate from the dressing rooms

provided for the adults. Child Performers of all genders may share a supervised

waiting room or dressing area provided that there are private changing facilities

available.

(B) Quick Changes

All quick changes shall be rehearsed to ensure the comfort and security of the

Child Performer involved. The Theatre will ensure that the parent or legal guardian

is apprised of the details of the quick change, and upon request, the parent or

legal guardian will be given the opportunity to watch a rehearsal of the quick

change.

59:06 Tutoring of Child Performers

(A) Requirement for Tutoring

When the Theatre’s schedule requires the Child Performer to be absent from

school for three (3) consecutive school days, or for a total of five (5) school days,

as determined by the school and/or the parent(s) or legal guardian over the course

of the engagement, the Theatre shall make allowances in the schedule for the

Child Performer to receive two (2) hours of tutoring (in uninterrupted blocks of no

less than thirty (30) minutes) on each such missed school day when the Child

Performer is at the theatre.

(B) Parental Responsibilities

The Theatre will rely on the parent or legal guardian to make arrangements with

the school to secure the appropriate schoolbooks and assignments for the Child

Performer.

The Theatre will ensure that there is an appropriate area for the tutoring to take

place, which shall take into consideration proper lighting and a proper work

surface for the Child Performer.

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59:07 Conditions of Engagement

A Child Performer signed to a CTA Engagement Contract, shall be subject to the full

terms and conditions of the CTA, including minimum fees, except as amended herein.

(A) Double Casting

Other than for productions on tour, if the Child Performer is double cast (i.e. two

(2) Child Performers alternate a single role) and contracted for a maximum of

twenty-eight (28) hours of rehearsal per week and four (4) performances or fewer

in a performance only week, the minimum fee shall be sixty (60%) percent of the

appropriate company category minimum fee.

Should a week contain both rehearsal and performance, the Child Performer shall

not be required to provide more than twenty-eight (28) hours of service without

additional compensation. Any hour or part thereof in excess of twenty-eight (28)

shall be paid at a rate of no less than one thirty-sixth (1/36) of the Artist’s

Contractual Fee.

For each performance call in excess of four (4) during a week, an additional one-

eighth (1/8) of the Child Performers Contractual Fee shall be payable after the

first public performance.

(B) Joint Productions

Notwithstanding the provisions of Article 54:00, the Theatre may recast the role

of a Child Performer engaged under a CTA Engagement Contract locally in each

Point of Origin of a Joint Production. In those cases, the applicable minimum fee

shall be that of the Theatre in which each Child Performer is engaged.

59:08 Extended Rehearsal Days

On an extended rehearsal day, a Child Performer may be called for a maximum of two

(2) calls of up to four (4) hours each out of a span of not more than twelve (12) hours.

59:09 Scheduling Parameters

The Theatre shall use its best efforts to inform the parent(s) or legal guardian(s) of the

demands of the role(s) for which the Child Performer is engaged. Any information

provided to the parent(s) or legal guardian(s) in regard to the scheduling of rehearsals,

performances, and any other special conditions that pertain to scheduling for the Child

Performer shall be attached as a rider to the Child Performer’s CTA Engagement

Contract. The Theatre acknowledges that a Child Performer may need additional notice

with respect to scheduling changes, and will use its best efforts to give as much notice

of such changes as possible.

59:10 Notification of Accidents

Should a child performer become ill or be injured, the Theatre will make every

reasonable effort to contact the parents or legal guardian as soon as the Child

Performer’s immediate needs are addressed.

59:11 Parental Contact

A Parent or legal guardian of a Child Performer under sixteen (16) years of age must be

accessible to the Child Performer at all times. They will be responsible for the

transportation of the Child Performer to and from the rehearsal hall or theatre and shall

have the right to accompany the Child Performer on hair, makeup and wardrobe calls.

The parent/legal guardian shall abide by the Theatre’s policies regarding rehearsal halls

and backstage and performance areas where arrangements for the parent/legal

guardian have not been made for their presence. Where the parent/legal guardian is

disruptive to a rehearsal process or performance, the Theatre may request a meeting

with the parent/legal guardian and Equity to agree on alternate arrangements.

Upon request of the Child Performer, the Theatre shall reasonably facilitate contact with

a parent or other person responsible for the Child Performer, subject to the availability

of the parent or guardian for such contact.

It is understood that the Child Performer may be subject to the same cell phone policies

as the rest of the acting company. The Theatre shall ensure the children shall have

access to their cell phone during breaks in the rehearsal.

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60:00 DIRECTORS

The following do not apply to Directors:

8:06 Auditions

16:11(A) Additional Duties

16:13 Actor Point of Origin Minimum Fees

16:16 Additional Services Fees

16:19 Overnight Rest Period Infringement

24:00 Rehearsal Conditions (except Clause 24:03(G),

as provided for in Clause 60:02)

25:00 Costume Fittings

26:00 Performances

27:00 Clothes and Makeup

31:00 Nudity and Acts of Intimacy in Production

34:01 Continuous Engagement

34:02 Engagement Contracts - Minimum Period

35:09 Roles Unassigned at Time of Contracting

38:00 Termination

39:00 Understudies

40:00 Changes in Cast and Replacement of Actors

41:00 Part Cut Out

45:00 Visual or Sound Recordings (Use in Production)

46:07 Recording after Production Closed/Artist Leaves Production

49:00 Touring

61:00 Fight Directors

62:00 Choreographers

63:00 Stage Management

60:01 Director Minimum Fees

The minimum fees shall be as specified in the current CTA Fee Booklet.

(A) Payment Schedule

The Contractual Fee shall be payable in the following manner, or as agreed

between the Director and the Theatre on the face of the CTA Engagement

Contract:

Twenty (20%) percent shall be payable on the signing of a contract to direct. Thirty

(30%) percent shall be payable on the first day of rehearsals.

The remaining fifty (50%) percent shall be payable pro rata on a weekly basis

throughout the rehearsal period, with the final payment made by the official

opening night.

Should the Theatre fail to fulfill its contractual obligations under this Clause it shall

pay to the Director an additional sum equal to five (5%) percent of the Contractual

Fee.

(B) Applicable Minimum

The minimum fee that applies for the engagement of an Artist as a Director shall

be the minimum fee applicable on the date of the first public performance of the

production.

The Director's contractual dates for the purposes of insurance premiums shall be

from the first day of rehearsals until the end of the day of the official opening.

60:02 Free Day

The Director must receive a Free Day, as provided for in Clause 23:01. The Artist shall

invoice the Theatre at the rate stipulated on line five (5) of Schedule "A" in the current

CTA Fee Booklet for any activity required by the Theatre of the Director on a Free Day.

The minimum call for such activity shall be for four (4) hours.

CTA 2024-2027 | page 168

60:03 Duties of a Director

(A) Rehearsals

The Director shall conduct rehearsals, appear promptly for all scheduled

rehearsals, respect the physical property of the production, theatre and place of

rehearsals, conduct rehearsals in a manner that does not violate any terms of the

CTA, and that supports and upholds the Theatre’s respectful workplace policy and

the Not in OUR Space! Guidelines, abide by particular artistic policies of the

specific Theatre to which they are contracted, and generally fulfil the artistic

planning and production contributions commonly within the scope of the functions

of the Director.

(B) Meetings and Consultations

The Director shall make themselves available for such meetings and

consultations as are required by the Theatre, particularly with designers and the

Theatre's production personnel. Such meetings and consultations shall be agreed

to in advance and included in the CTA Engagement Contract, or, after signing, in

a rider thereto, and must be specific as to dates, times, locations, and

remuneration of travel and housing expenses.

(i) Before Signing

Before agreeing to direct a production, a Director has the right to

knowledge of, but not approval of, the following production arrangements:

the name of the Stage Manager and plans for crewing of the proposed

production; the producing Theatre's arrangements with the author in

regard to re-writes and the presence of the author at rehearsals; the

proposed production budgetary limitations in some detail, and any change

made in these limitations as soon as they are made; planned rehearsal

production schedules, and the availability of all Actors to rehearse; the

proposed length of run of the production; any casting, design or

production decisions that the Theatre has made regarding the Production,

any expectations or policies the Theatre has regarding equity, diversity,

inclusivity, accessibility and representation the Director is expected to

adhere to in their casting decisions or assembly of their creative team.

At the time of negotiation of the contract, the Theatre shall provide the

Director with a list of potential housing including, where possible, housing

with kitchen facilities. The Theatre will make every effort to include in this

list housing that have daily, weekly and monthly rates.

(ii) After Signing

Subsequent to the engagement of the Director, decisions regarding

production and rehearsal schedules, casting (including Emergency

Replacements when possible, and Understudy assignments), designer,

scenery, lighting and costume design will be made in consultation with the

Director in person, by email or by telephone if the Director is readily

available for such consultation.

(iii) After Opening

After the opening of the production, the work of the Director (including cast

replacements) shall not be changed or deleted by the Theatre unless:

(a) required by emergency; or

(b) the physical conditions of the theatre necessitate change and/or

deletions; or

consulted with respect to the proposed changes. In the event that the

Director does not respond to the Theatre’s request for consultation

within forty-eight (48) hours the Theatre may alter the work as

required without penalty. Where the Director is not consulted the

provisions of Clause 60:04(C) shall apply.

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The Director agrees to promote the production and may make reasonable

publicity appearances and participate in radio, television and press interviews for

that purpose. In addition, they shall be generally supportive of the Theatre's

interest during the term of their contract.

60:04 Direction After Opening

(A) Work After Opening

Should the Director be asked to do additional work on a production after the official

opening, a separate fee commensurate with the work to be done will be

negotiated. Such agreement as to the fee must be in the form of a rider to the

Director's original contract.

Should this arrangement not be part of the original contract, the Director will be

compensated at a daily rate of two (2%) percent of the contractual fee.

Should such work require the Director to be away from their place of residence,

they will be paid travel and meals as specified in Clause 49:03(B)(ii) with housing

expenses to be negotiated and included in the rider.

The Director shall be insured under the insurance coverage provided for in Clause

49:08 when providing these services.

(B) Director Giving Notes During the Performance Run

The Director shall have the option to give notes to the Actors during the

performance run provided that they copy the Theatre’s Artistic Director, and

convey the notes through the Stage Manager to the Actors in accordance with

Clause 24:16.

If the work of the Director has been altered without consultation the Theatre shall

pay the Artist four (4%) percent of the Director's contractual fee for each week or

part thereof of the breach. Where the Director does not agree with the changes

made, they shall have the option of having their name removed from programs

and publicity materials produced subsequent to the notice to remove the name.

The consultations as provided above are advisory in nature and to be seriously

considered by the Theatre; but final decisions are reserved to the Theatre. Such

consultation shall not be required if the Director is not readily available as defined

in Clause 60:03(B)(ii). However, the Theatre shall inform the Director in writing of

all such changes, when they were made and by whom they were made.

60:05 Right to Negotiate Billing

The Director has the right to negotiate billing in newspaper, magazine, television and

radio ads. Whenever anyone other than the author is given billing in other media, the

Director will receive billing in other publicity material (under the Theatre's control) for the

production that is prepared after the engagement of the Director. The size and position

will be negotiated at the time of engagement.

60:06 Director's Royalty

(A) Requirement For

An additional fee or royalty for any extension beyond the proposed run of the

production, whether or not such an extension is envisaged, shall be negotiated at

the time of the Director's engagement. For the purpose of the Clause, the final

date of the proposed run shall be the final performance prior to any option period,

or ninety-six (96) performances, whichever comes first.

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(B) Amount Of

The negotiated royalty shall be not less than two (2%) percent of the Artist’s

negotiated Contractual Fee for each week of the extension, or after ninety-six (96)

performances, whichever comes first. If no royalty is negotiated and specified on

the CTA Engagement Contract, the Director shall receive a royalty of four (4%)

percent of their original Contractual Fee for each week of the extension, or after

ninety-six (96) performances, whichever comes first. This royalty shall be pro-

rated for weeks with fewer than eight (8) performances. Royalty payments to

Directors shall be paid monthly or at the end of the run, whichever comes first.

In the case of Theatre for Young Audiences, Clause 55:02(C) shall supersede this

Clause.

Should a Theatre decide to revive a production, or should a Theatre give

permission to another Theatre to revive a production within a period of two (2)

years from the first public performance of the production, and should the originally

producing Theatre provide the second Theatre with the prompt script and designs

as described below, one (1) of the following shall apply:

(i) Original Director Directs Revival

If the original Director directs the revival, they shall receive a fee of no less

than one-half (1/2) the total original directing fee, or one-half (1/2) the fee

applicable to the Theatre reviving the work, whichever is greater.

The Theatre may negotiate a royalty with the Artist at the time of the original

production in contemplation of a revival which shall not be subject to the

minimum royalty in Clause 60:06(B). If a royalty for a revival was not

negotiated and specified on the original CTA Engagement Contract, the

Artist shall receive a royalty of four (4%) percent of their original Contractual

Fee for each week of the revival.

(ii) Original Director Declines Offer

If the original Director declines, for any reason, an offer to direct the revival,

they shall be paid one-half (1/2) the originally negotiated royalty for a revival

as per Clause 60:06. If no such royalty for a revival was negotiated, the

Artist shall receive one-half (1/2) of the originally negotiated royalty as per

Clause 60:06(A). Further, the Director of the original production shall be

billed according to the provisions of Clause 60:05 and in accordance with

the terms of their original contract.

(iii) No Offer Made to Original Director

If the original Director is not offered the opportunity to direct the revival, they

shall be paid a royalty commensurate with the originally negotiated royalty

for an extended run as per Clause 60:06(A). Further, the Director of the

original production shall be billed using the phrase "Originally Directed

By..." unless originally negotiated otherwise.

(iv) Artistic Director Directing Revival

If the original Director was engaged by the Theatre originating the work as

Artistic Director without being subject to the terms of Article 60:00 (see

Clause 60:10), the provision of Clause 60:06(C) may apply to the Artist’s

subsequent engagement for a revival of the production.

(v) Director Not Required For a Revival With Limited Rehearsal

In the event that not more than three (3) days are scheduled to address

technical elements for a revival a Theatre may choose not to engage a

Director for the revival. In such cases the Director who directed the previous

production shall be paid the royalty stated in Clause 60:06(C)(iii) for each

of the performance weeks.

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(vi) Director Engaged for a Revival With Limited Rehearsal

In the event that not more than three (3) days are scheduled to address

technical elements for a revival a Theatre may engage the Director or a

new Director and pay them not less than thirty-three and one-third (33

1/3%) percent of applicable minimum fee. In addition the Director shall

receive the royalty stated in Clause 60:06(C)(iii) for each of the

performance weeks.

(vii) Associate Director Directs Revival

If, at the discretion of the Director, an associate director directs the Revival,

they shall receive a fee of no less than one-half (1/2) of the minimum

Director’s fee applicable to the originating Theatre or the Theatre reviving

the work, whichever is greater. The Director and the Theatre must mutually

agree to the selection of the associate director who will oversee the Revival

and unify the various aspects of the original production.

The original Director shall be paid a royalty commensurate with the

originally negotiated royalty per Clause 60:06 (A). Further, the Director of

the original production shall be billed using the phrase "Originally Directed

By..." unless negotiated otherwise.

60:07 Custom of the Trade

The Director's contribution to the production may be seen to be represented in part by

the notations in the prompt book and other tangible records of the production, and

therefore the Director as a contributor to the production has the right of reasonable

access to such records. Any costs incurred under this determination shall be borne by

the Director or their representative.

60:08 Termination

An individual Director's CTA Engagement Contract with the Theatre may be terminated

by mutual consent of both parties in writing, following consultation by the Director with

Equity.

Where no mutual consent is reached, the contract may be terminated as follows:

(A) By Director

By the Director, upon written notice to the Theatre with payment to it of no less

than the full face value of the contract. Termination payment must be paid to the

Theatre within two (2) weeks of the notice being given or by a schedule mutually

agreed upon between the Director and Theatre.

(B) By Theatre

By the Theatre, upon written notice to the Director with payment to them of no

less than the full face value of the contract. Termination payment must be paid to

the Director within two (2) weeks of the notice being given or by a schedule

mutually agreed upon between the Director and Theatre.

If the production is abandoned four (4) weeks or more prior to rehearsal, the

Director shall be paid fifty (50%) percent of their Contractual Fee immediately. If

the production is abandoned less than four (4) weeks prior to rehearsal, the

Director shall be paid seventy-five (75%) percent of their Contractual Fee

immediately.

(D) Rehearsal Postponed

The Theatre may postpone the first day of rehearsal for up to two (2) weeks from

the date specified on the Director's contract by giving the Director a minimum of

four (4) weeks’ notice. Should the Theatre postpone the first day of rehearsal for

more than two (2) weeks, or not give the Director the required notice, or should

the Director no longer be available for the rehearsal period due to a

postponement, then the Director may claim the production to be abandoned and

Clause 60:08 (C) shall apply.

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(E) Illness or Accident

No penalty or notice is required if the Director terminates their contract due to

incapacitating illness or accident. The Artist will however inform the Theatre of

their illness or accident as soon as possible and provide a doctor's certificate upon

request. Copies of all notices of termination must be filed with Equity.

60:09 Special Category

(A) Short Performances

When a production has a performance running time of sixty (60) minutes or less,

with the agreement of the Director and upon prior written notification to Equity by

the Theatre confirming that the production qualifies under the provisions of this

Clause, the special category rate in Clause 60:01 may apply.

(B) Summer Stock

Theatres operating in summer stock (i.e. not more than three (3) weeks of

rehearsal, and not more than two (2) weeks of performance for each production

presented between June 1 and September 30) may pay the summer stock

Director's rate upon presentation of their season's schedules to Equity and PACT

confirming that they qualify for the provisions of this Clause.

This Clause shall not apply to a production which runs for more than two (2)

weeks.

60:10 Artistic Director

Only the Artistic Director or one (1) equivalent staff member responsible for the artistic

direction of the Theatre may direct productions for their Theatre without being subject to

the terms of this Article 60:00. In the case of Joint Productions, this Clause may apply

only to the Artistic Directors or their equivalent of the first two (2) Theatres in either of

the two (2) Theatre’s Points of Origin. When an Artistic Director or their equivalent directs

at any Theatre other than their own, except as provided for above, they will be subject

to the terms of Article 60:00.

60:11 Multiple Assignments

No Director shall stage manage the production which they are directing.

A Director who also functions as a Choreographer of a production which they direct must

be paid an additional fee not less than the full applicable Company Category minimum

fee for a Choreographer specified in Clause 62:04.

If dance elements are included in the production which are not intrinsic to its nature and

were not envisaged as being required, but their inclusion develops solely at the

Director's discretion, this Clause shall not apply.

60:12 Assistant and/or Associate Directors

Preamble

The duties and scope of work for Assistant and associate directors are different and may

vary from Theatre to Theatre and from production to production based on artistic needs

and process. An Assistant Director is an Artist engaged to assist the Director in matters

related to the production. For the purposes of this Agreement, an associate director is

an Artist engaged by the Theatre to work in collaboration with the Director and may

oversee certain aspects of the directorial process or, in the absence of the Director, may

be requested to implement and maintain the creative vision of the Director.

It is the essence of the CTA that the Director shall be available to attend rehearsals.

Except in the case of an emergency which necessitates the Director’s absence of one

(1) week or less, the associate director may not be required to rehearse a production

unless they have been contracted as a Director under terms and conditions to be agreed

to between Equity and the Theatre, such agreement not to be unreasonably withheld.

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(A) Scope of Work

When the Theatre and the Director agree that an Assistant and/or associate

director shall be hired for a production, the Director and the Assistant and/or

associate director shall develop a mutually acceptable job description to include

the nature of the support to be provided, the scope of activity, any specific tasks

to be completed, anticipated work schedule, and any other responsibilities that

will be required. The job description shall be adaptable to the artistic process and

shall be included as a rider to both the Director and the Assistant and/or associate

director’s contract. The Theatre shall provide a checklist to facilitate this

discussion and shall ensure the discussion has taken place before an Assistant

and/or associate is contracted.

(B) Assistant Directors

When the Theatre engages an Assistant Director who is a member of Equity, the

execution of a CTA Engagement Contract is required. Assistant Directors who are

not members of Equity engaged by the Theatre shall be offered the opportunity to

be engaged under a CTA Engagement Contract if they so desire. In such a case,

Clause 3:03 (Deductions) will apply to Equity members and Clause 22:01(B) to

non-members.

Compensation for the Assistant Director shall be commensurate with the scope

of work defined in their job description.

When the Theatre engages an associate director who is a member of Equity, the

execution of a CTA Engagement Contract is required. Associate directors who

are not members of Equity shall be offered the opportunity to be engaged under

a CTA Engagement Contract. Associate directors on CTA Engagement Contracts

shall have deductions made in accordance with Clause 3:03 (Deductions) for

Equity members and Clause 22:01(B) (Requirement to Remit Filing Fees) for non-

members.

Compensation for the associate director shall be commensurate with the scope

of work defined in their job description.

(D) Artist Engaged for Professional Development

With the agreement of the Director, the Theatre may engage an Assistant and/or

associate Director for professional development. Equity Members who are

seeking professional development opportunities including but not limited to

students on practicum, specialized programs and initiatives for professional

development and training or those who have received grants from a recognized

funding body to participate in a production as an Assistant and/or associate

Director shall have the opportunity to self-engage under the appropriate form of

Equity Contract.

(E) Auditing the Rehearsal Process

Individuals who have no pre-assigned functions other than to audit the rehearsal

process shall be excluded from this Clause.

(F) Billing

Any billing afforded to Assistant Directors and/or associate directors in connection

with 60:12(D) or 60:12(E) hereunder shall be approved by the Director, and such

billing shall not create any contractual obligations for the Theatre, other than what

may be agreed upon between the Theatre and such Assistant Directors and/or

associate directors.

60:13 Training and Professional Development

In the interests of the training and professional development of Canadian Directors,

whenever a non-Canadian (or non-landed immigrant in Canada) is engaged as a

Director, a Canadian member of Equity shall be offered a position as Assistant Director.

In the event that a Canadian Equity member is not engaged as an Assistant Director,

Equity may request a list of members who were offered and declined the position.

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61:00 FIGHT DIRECTORS

The following do not apply to Fight Directors:

5:06 Exclusive Service of the Artist

8:06 Auditions

16:11(A) Additional Duties

16:13 Actor Point of Origin Minimum Fees

16:16 Additional Services Fees

16:19 Overnight Rest Period Infringement

25:00 Costume Fittings

26:00 Performances

27:00 Clothes and Makeup

31:00 Nudity and Acts of Intimacy in Production

34:01 Continuous Engagement

34:02 Engagement Contracts - Minimum Period

35:09 Roles Unassigned at Time of Contracting

38:00 Termination

39:00 Understudies

40:00 Changes in Cast and Replacement of Actors

41:00 Part Cut Out

45:00 Visual or Sound Recordings (Use in Production)

46:07 Recording after Production Closed/Artist Leaves Production

48:00 Artist’s Leave

49:00 Touring

60:00 Directors (except as specified in Clause 61:09)

62:00 Choreographers

63:00 Stage Management

Preamble

For the purposes of this Article, a member of any of Canadian Actors’ Equity Association and/or

Fight Directors Canada and/or the Society of Canadian Fight Directors and/or any other affiliated

fight directors society shall be defined as an Equity Fight Director.

61:01 Requirement for a Fight Director

The Theatre will determine if staging requires choreography within the realm of dance,

or other specialized movement, or fight direction. When fight direction is required, a Fight

Director shall be contracted according to this Article 61:00 whenever two or more Artists

are required to participate in a stage fight (in accordance with Clause 28:07) involving

one or more of the following elements:

(i) weapons of any sort, including but not limited to, furniture or other props used as

weapons;

(ii) martial arts and unarmed combat.

61:02 Engagement Contract

When the Theatre determines the requirement for a Fight Director (see Clause

28:07(A)), the Theatre will give first consideration to existing Equity Fight Directors. On

request of the Theatre, Equity will assist the Theatre in the search for an Equity Fight

Director by providing a current list of Fight Directors who have informed Equity that they

are available for work. The Theatre will not be obliged to engage any Fight Director

whom it judges to be incompatible with its needs.

(A) Fight Directors

Fight Directors must be engaged according to terms and conditions no less

favourable than those set out in this Article.

(B) Concurrent Engagement

Any Artist who is an Equity Fight Director and is currently under engagement to

the Theatre may be offered either a concurrent CTA Engagement Contract or a

rider, the terms and conditions of which are no less favourable than those set out

in this Article.

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61:03 Pre-production Meeting

The Theatre will make reasonable efforts to include the Fight Director in pre-production

meeting(s) which the Fight Director will make reasonable efforts to attend; alternatively,

the Theatre may consult with the Fight Director about the expected requirements of the

production(s).

61:04 Fight Director Minimum Fees

The minimum fees for Fight Directors shall be as specified in the current CTA Fee

Booklet.

(A) Payment Schedule

The Contractual Fee shall be payable as agreed between the Fight Director and

the Theatre and will be set out in the CTA Engagement Contract. In the case of a

per production contract, the Fight Director’s contract shall be completed at the

end of the day of the official opening, or the final understudy rehearsal if that is

later. Notwithstanding the above, no additional contract or fee is required for

consultation as set out in Clause 61:08 below.

(B) Hourly

The Artist may only be engaged on an hourly basis to choreograph limited fight or

stunt choreography which can be appropriately set and rehearsed in no more than

two (2) calls (i.e. a punch, slap, or fall). An Artist engaged on an hourly basis may

be called on a maximum of three (3) days, however the primary purpose of the

second and third days should be to review and rehearse choreography that was

set at the first call.

61:05 Engagement Contract

Where an Artist is engaged on an hourly or daily basis, the CTA Engagement Contract

shall specify the stage fight(s) to be set as well as the anticipated amount of rehearsal

time allocated to each stage fight.

(A) Multiple Productions

A Fight Director may be engaged for more than one (1) production on a single

CTA Engagement Contract. Each production and its anticipated schedule will be

listed on the contract or attached rider.

(B) Non-continuous Engagement

The Artist may be engaged on a non-continuous basis for a period of one (1) or

more hours, one (1) or more days, one (1) or more weeks, or any combination

thereof, on a single CTA Engagement Contract. Hours need not be consecutive,

nor is any minimum number of hours required.

The negotiated Contractual Fee for the engagement shall be specified on the CTA

Engagement Contract, and may not be subsequently reduced.

61:06 Travel

The Theatre shall provide round-trip transportation in accordance with Article 30:00. For

non-continuous engagements, the Theatre and the Fight Director will negotiate

appropriate additional travel arrangements.

61:07 Understudy and Replacement Rehearsal

Understudies and replacement Actors require fight rehearsals which should be under

the supervision of the Fight Director or, where the Theatre deems appropriate, the Fight

Captain or a designate of the Fight Director approved by the Theatre.

61:08 Changes

If, after the completion of the fight rehearsals, there are changes or deletions to the

original fight direction, the Theatre will make every reasonable effort to contact and

consult with the Fight Director. The Fight Director, as part of their original fee for service,

will advise and make recommendations to the Theatre regarding any implications of

such changes. The consultations so provided are advisory in nature and final decisions

are reserved to the Theatre. Where the Fight Director does not agree with the changes

made, they shall have the option of having their name removed from programs and

publicity materials that are produced subsequent to the notice to remove their name.

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61:09 Director Clauses

The following Clauses of Article 60:00 Directors shall apply to the engagement of a Fight

Director:

Clause 60:07 Custom of the Trade

Clause 60:08 Termination

(A) Director’s Royalty

If the Artist is engaged on a per production basis, the provisions of Clause 60:06

(Director’s Royalty) shall also apply to that engagement.

(B) Recorded Productions - Minimum Fees

For visual recordings or broadcast of a production which include a fight sequence

or part thereof, the provisions of Clause 46:02(ii) shall apply. This provision does

not apply to radio broadcasts or audio recordings.

61:10 Fight Captain

(A) Requirement

If, in accordance with Clause 28:06(A) and this Article, the Theatre engages a

Fight Director, and if that person is not engaged for the duration of the production,

the Theatre in consultation with the Fight Director, shall assign a Fight Captain to

monitor the stage fight(s) for the duration of the production.

(B) Responsibilities

A Fight Captain may be made responsible for the following services and duties:

observe all fight rehearsals, consult with the Fight Director on all aspects of the

fights, conduct and monitor all run-throughs of the fight(s) prior to performance,

make blocking changes relevant to the fight(s) while on tour or in emergencies,

call fight rehearsals as necessary in consultation with the Stage Manager.

A Fight Captain shall be free to negotiate remuneration above the minimum in

Clause 16:13 as appropriate to the work required and acceptable to them, which

shall not be less than the additional duties rate as provided for in Clause 16:11(A)

of the current CTA Fee Booklet.

(D) Authority

A Fight Captain shall work in consultation and co-operation with the Stage

Manager but not usurp or override the Stage Manager's authority.

62:00 CHOREOGRAPHERS

The following do not apply to Choreographers:

8:06 Auditions

16:11(A) Additional Duties

16:13 Actor Point of Origin Minimum Fees

16:16 Additional Service Fees

16:19 Overnight Rest Period Infringement

24:00 Rehearsal Conditions (except Clause 24:03(G),

as provided for in Clause 62:04(D))

25:00 Costume Fittings

26:00 Performances

27:00 Clothes and Makeup

31:00 Nudity and Acts of Intimacy in Production

34:01 Continuous Engagement

34:02 Engagement Contracts - Minimum Period

35:09 Roles Unassigned at Time of Contracting

38:00 Termination

39:00 Understudies

40:00 Changes in Cast and Replacement of Actors

41:00 Part Cut Out

45:00 Visual or Sound Recordings (Use in Production)

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46:07 Recording after Production Closed/Artist Leaves Production

49:00 Touring

60:00 Directors

61:00 Fight Directors

63:00 Stage Management

62:01 Preamble

This Article shall not apply when the Choreographer is also the Director of the

production. A Choreographer shall be contracted according to this Article 62:00

whenever a Theatre requires choreography for more than two (2) separate numbers in

a musical production or original choreography for more than five (5) minutes of playing

time in a non-musical production (see Clause 62:02, Special Category). For the

purposes of the CTA, the movement of individual Artists, or groups of Artists, where

such movement would normally be considered "blocking" is not to be considered

choreography.

62:02 Special Category

In situations where the total amount of creative work required of the Choreographer is

deemed to require less than the applicable minimum rate, the Theatre may, with the

agreement of the Choreographer, apply for Equity's approval to pay the special category

rate.

62:03 Association Status

(A) Terms and Conditions

Choreographers must be engaged according to terms and conditions no less

favourable than those set out in this Article. Choreographers who are not

members of Equity and not members of another performing arts union or

association shall not be required to join Equity.

(B) Consideration of Equity Members

The Theatre agrees that it will give serious consideration to the engagement of

existing Equity Choreographers for all such positions in its company. The Theatre

will request, and Equity will provide, a current and up-to-date list of

Choreographers who have informed Equity that they are available, in order to

assist the Theatre in finding an Equity Choreographer.

However, the Theatre shall not be obliged to engage any Choreographer so listed

whom it judges to be incompatible with its needs.

Should a Choreographer already be a member of another performing artists

association, they shall be signed to a CTA Engagement Contract and become a

member of Equity for the duration of the engagement.

62:04 Choreographer Contractual Minimum Fees

The minimum fees shall be as specified in the current CTA Fee Booklet.

(A) Payment Schedule

The Contractual Fee shall be payable as stated on the face of the contract, or if

not stipulated otherwise in the following manner:

Twenty (20%) percent shall be payable on the signing of a contract to

choreograph.

Thirty (30%) percent shall be payable on or before the first day of rehearsal.

The remaining fifty (50%) percent shall be payable pro rata on a weekly basis

throughout the rehearsal period, with the final payment made by the official

opening night.

Should the Theatre fail to fulfil its contractual obligation under this Clause it shall

pay to the Choreographer an additional sum equal to five (5%) percent of the

contractual fee.

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(B) Hourly, Daily and Weekly Rate for a Non-Musical

The hourly (minimum three (3) hour call), daily or weekly rate as specified in the

current CTA Fee Booklet shall apply when a Choreographer is engaged to set

choreography or repeated specialized movement for a non-musical production.

The minimum fee that applies for the engagement of an Artist as a Choreographer

shall be the minimum fee applicable on the date of the first public performance of

the production.

(D) Free Day

The Choreographer must receive a Free Day, as provided for in Clause 23:01.

The Artist shall invoice the Theatre at the rate stipulated on line five (5) of

Schedule "A" in the current CTA Fee Booklet for any activity required by the

Theatre of the Choreographer on a Free Day. The minimum call for such activity

shall be for four (4) hours.

(E) Completion of Contract

The Choreographer's contract shall be completed at the end of the day of the

official opening. Should the Choreographer be required for work after this time,

the rates in Clause 62:04(B) shall apply.

(F) Choreography Altered Without Consultation

After the opening of the production, the work of the Choreographer shall not be

altered by the Theatre or any of the Theatre’s representatives without prior

consultation unless:

(i) required by emergency; or

(ii) the physical conditions of the theatre necessitate change and/or deletions.

If the Choreographer's work is altered and they have not been consulted, the

Theatre shall pay the Artist four (4%) percent of the Choreographer's Contractual

Fee for each week or part thereof of the breach. Where the Choreographer does

not agree with the changes made, they shall have the option of having their name

removed from programs and publicity materials produced subsequent to the

notice to remove their name. In the event that the Choreographer does not

respond to the Theatre’s request for consultation within forty-eight (48) hours, the

Theatre may alter the work as required without penalty.

(G) Additional Work After Opening

Should the Choreographer be required to provide additional services after the

opening the rates in Clause 62:04(B) shall apply to a non-musical.

Should the Choreographer be asked to do additional work on a musical theatre

production after the official opening, a separate fee commensurate with the work

to be done will be negotiated. Should this arrangement not be part of the original

contract, the Choreographer will be compensated at a daily rate of three (3%)

percent of the contractual fee. Such agreement as to fee must be in the form of,

or an amendment to, the Choreographer's original CTA Engagement Contract.

Should such work require the Choreographer to be away from their place of

residence, they shall be paid travel and housing expenses to be negotiated with

the fee required above and included in the rider.

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62:05 Duties of a Choreographer

The Choreographer shall conduct dance rehearsals, respect the physical property of the

production, theatre, and place of rehearsal, abide by particular artistic policies of the

specific Theatre to which the Choreographer is contracted, and generally fulfil the artistic

planning and production contributions commonly within the scope of the functions of the

Choreographer. The Choreographer will be available for such meetings and

consultations as are required by the Theatre, particularly with the Director and music

director. Such meetings and consultations shall be agreed to in advance, and included

in the CTA Engagement Contract, or after signing, in a rider thereto, and must be specific

as to dates, times, locations, and remuneration of travel and housing expenses. The

Choreographer agrees to promote the production, and may make reasonable personal

publicity appearances and participate in radio, television, and press interviews for that

purpose. In addition, they shall be generally supportive of the Theatre's interests during

the term of their contract.

62:06 Billing

The Choreographer has the right to negotiate billing in newspaper, magazine, television

and radio ads. Whenever anyone other than the author is given billing in other media,

the Choreographer will receive billing in other publicity material (under the Theatre's

control) for the production that is prepared after the engagement of the Choreographer.

The size and position will be negotiated at the time of engagement.

62:07 Choreographer's Royalty

(A) Requirement For

An additional fee or royalty for any extension beyond the proposed run of the

production, whether or not such an extension is envisaged, shall be negotiated at

the time of the Choreographer's engagement. For the purpose of the Clause, the

final date of the proposed run shall be the final performance prior to any option

period, or ninety-six (96) performances, whichever comes first. Royalty payments

to Choreographers shall be paid monthly or at the end of the run, whichever

comes first.

(B) Amount Of

The negotiated royalty shall be not less than two (2%) percent of the Artist’s

negotiated Contractual Fee for each week of the extension, or after ninety-six (96)

performances, whichever comes first. If no such fee or royalty is negotiated and

specified on the CTA Engagement Contract, the Choreographer shall receive a

royalty of four (4%) percent of their original Contractual Fee for each week of the

extension, or after ninety-six (96) performances, whichever comes first.

This Clause does not apply to Theatre for Young Audiences.

Should a Theatre decide to revive a production, or should a Theatre give

permission to another Theatre to revive a production within a period of two (2)

years from the first public performance of the production, and should the originally

producing Theatre provide the second Theatre with the prompt script and designs

as described below, and the right to use the original choreography, one (1) of the

following shall apply:

(i) Choreographs Revival

If the original Choreographer choreographs the revival, they shall receive a

fee of no less than one-half (1/2) the original Contractual Fee, or one-half

(1/2) the fee applicable to the Theatre reviving the work, whichever is

greater.

The Theatre may negotiate a royalty with the Artist at the time of the original

production in contemplation of a revival which shall not be subject to the

minimum royalty in Clause 62:07(B). If a royalty for a revival was not

negotiated and specified on the original CTA Engagement Contract, the

Artist shall receive a royalty of four (4%) percent of their original Contractual

Fee for each week of the revival.

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(ii) Declines Offer

If the original Choreographer declines, for any reason, an offer to

choreograph the revival, they shall be paid one-half (1/2) of the originally

negotiated royalty for a revival as per Clause 62:07(C)(i). If no such royalty

for a revival was negotiated, the Artist shall receive one-half (1/2) of the

originally negotiated royalty as per Clause 62:07(B). Further, the

Choreographer of the original production shall be billed according to the

provisions of Clause 62:06 and in accordance with the terms of their original

contract.

(iii) No Offer Made

If the original Choreographer is not offered the opportunity to choreograph

the revival, they shall be paid a royalty commensurate with the originally

negotiated royalty for an extended run as per Clause 62:07(A) above.

Further, the Choreographer of the original production shall be billed using

the phrase "Originally Choreographed By..." unless originally negotiated

otherwise.

(iv) Associate Choreographer choreographs Revival

If, at the discretion of the Choreographer, an associate choreographer

choreographs the Revival, they shall receive a fee of no less than one-half

(1/2) the total original Choreographer’s fee, or one-half (1/2) of the minimum

Choreographer’s fee applicable to the Theatre reviving the work, whichever

is greater. The Choreographer and the Theatre must mutually agree to the

selection of the associate choreographer for the Revival who will then

oversee and unify the choreography from the original production.

The original Choreographer shall be paid a royalty commensurate with the

originally negotiated royalty per Clause 62:07(B). Further, the

Choreographer of the original production shall be billed using the phrase

"Originally Choreographed By..." unless negotiated otherwise.

62:08 Termination

An individual Choreographer's CTA Engagement Contract with a Theatre may be

terminated by mutual consent of both parties in writing, following consultation by the

Choreographer with Equity.

Where no mutual consent is reached, the contract may be terminated as follows:

(A) By Choreographer

By the Choreographer, upon written notice to the Theatre with payment to it of no

less than the full face value of the contract. Termination payment must be paid to

the Theatre within two (2) weeks of the notice being given or by a schedule

mutually agreed upon between the Choreographer and Theatre.

(B) By Theatre

By the Theatre, upon written notice to the Choreographer with payment to them

of not less than the full face value of the contract. Termination payment must be

paid to the Choreographer within two (2) weeks of the notice being given or by a

schedule mutually agreed upon between the Choreographer and Theatre.

If the production is abandoned four (4) weeks or more prior to rehearsal, the

Choreographer shall be paid fifty (50%) percent of their Contractual Fee

immediately. If the production is abandoned less than four (4) weeks prior to

rehearsal, the Choreographer shall be paid seventy-five (75%) percent of their

Contractual Fee immediately.

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(D) Rehearsals Postponed

The Theatre may postpone the first day of rehearsal for up to two (2) weeks from

the date specified on the Choreographer's contract by giving the Choreographer

a minimum of four (4) weeks' notice. Should the Theatre postpone the first day of

rehearsal for more than two (2) weeks, or not give the Choreographer the required

notice, or should the Choreographer no longer be available for the rehearsal

period due to a postponement, then the Choreographer may claim the production

to be abandoned and Clause 62:08(C) shall apply.

(E) Illness or Accident

No penalty or notice is required if the Choreographer terminates their contract due

to incapacitating illness or accident. The Choreographer will however inform the

Theatre of their illness or accident as soon as possible and provide a doctor's

certificate upon request. Copies of all notices of termination must be filed with

Equity.

62:09 Dance Captain

(A) Requirement

(i) Musical

A Dance Captain shall be required for all musical productions for which a

Choreographer has been engaged unless the Choreographer deems it is

not necessary.

(ii) Play or Work in Development

The Theatre, the Stage Manager and the Choreographer shall discuss the

needs of the production to ascertain whether a Dance Captain is required.

(iii) Designation

The Theatre may designate an Artist as a Dance Captain in consultation

with the Choreographer at time of contracting, or during the rehearsal

period.

Such duties shall be negotiated and attached as a rider to the original CTA

Engagement Contract.

(B) Responsibilities

In order to monitor and maintain the dance choreography for a production, a

Dance Captain may be responsible for the following duties: notate choreography,

assist stage management with blocking notes of musical numbers, and attend

rehearsals for musical numbers they are not dancing in. Once the production has

opened, the Dance Captain may lead clean-up rehearsals for Dancers, provide

notes for Dancers, consult on casting of replacement Dancers, rehearse blocking

or spacing changes required to maintain the choreography while on tour or in an

emergency, and schedule dance rehearsals in consultation with the Stage

Manager.

A Dance Captain shall be free to negotiate remuneration above the minimums in

Clause 16:13 as appropriate to the work required and acceptable to the Dance

Captain, which shall be not less than one-hundred and seventy-five (175%)

percent of the additional duties rate as provided for in Clause 16:11(A) in the

current CTA Fee Booklet.

(D) Authority

A Dance Captain shall work in consultation and co-operation with the Stage

Manager, and may not usurp or override the Stage Manager's authority.

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62:10 Assistant and/or Associate Choreographers

Preamble

The duties and scope of work for Assistant and associate choreographers are different

and may vary from Theatre to Theatre and from production to production based on

artistic needs and process. An Assistant Choreographer is an Artist engaged to assist

the Choreographer in matters related to the production. For the purposes of this

agreement, an associate choreographer is an Artist engaged by the Theatre to work in

collaboration with the Choreographer, and may oversee certain aspects of the

choreography process or, in the absence of the Choreographer, may be requested to

implement and maintain the creative vision of the Choreographer.

It is the essence of the CTA that the Choreographer shall be available to attend

rehearsals. Except in the case of an emergency which necessitates the Choreographer’s

absence of one (1) week or less, the associate choreographer may not be required to

rehearse a production unless they have been contracted as a Choreographer under

terms and conditions to be agreed to between Equity and the Theatre, such agreement

not to be unreasonably withheld. The above does not preclude the sharing of rehearsal

duties on a general basis.

(A) Scope of Work

When the Theatre and the Choreographer agree that an Assistant and/or

associate choreographer shall be hired for a production, the Choreographer and

the Assistant and/or associate choreographer shall develop a mutually acceptable

job description to include the nature of the support to be provided, the scope of

activity, any specific tasks to be completed, anticipated work schedule, and any

other responsibilities that will be required. The job description shall be adaptable

to the artistic process and shall be included as a rider to both the Choreographer

and the Assistant and/or associate Choreographer’s contract. The Theatre shall

provide a checklist to facilitate this discussion and shall ensure the discussion has

taken place before an Assistant and/or associate is contracted.

(B) Assistant Choreographers

When the Theatre engages an Assistant Choreographer who is a member of

Equity, the execution of a CTA Engagement Contract is required. Assistant

Choreographers who are not members of Equity engaged by the Theatre shall be

offered the opportunity to be engaged under a CTA Engagement Contract if they

so desire. In such a case, Clause 3:03 (Deductions) will apply to Equity members

and Clause 22:01(B) to non-members.

Compensation for the Assistant Choreographer shall be commensurate with the

scope of work defined in their Choreographer job description.

When the Theatre engages an associate Choreographer who is a member of

Equity, the execution of a CTA Engagement Contract is required. Associate

Choreographers who are not members of Equity shall be offered the opportunity

to be engaged under a CTA Engagement Contract. Associate Choreographers on

CTA Engagement Contracts shall have deductions made in accordance with

Clause 3:03 (Deductions) for Equity members and Clause 22:01(B) (Requirement

to Remit Filing Fees) for non-members.

Compensation for the associate choreographer shall be commensurate with the

scope of work defined in their job description.

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(D) Artist Engaged for Professional Development

With the agreement of the Choreographer, the Theatre may engage an Assistant

and/or associate choreographer for professional development. Equity Members

who are seeking professional development opportunities including but not limited

to students on practicum, specialized programs and initiatives for professional

development and training or those who have received grants from a recognized

funding body to participate in a production as an Assistant and/or associate

Choreographer shall have the opportunity to self-engage under the appropriate

form of Equity Contract.

(E) Auditing the Rehearsal Process

Individuals who have no pre-assigned functions other than to audit the rehearsal

process shall be excluded from this Clause.

(F) Billing

Any billing afforded to Assistant Choreographers and/or associate

Choreographers in connection with 62:10(D) or 62:10(E) hereunder shall be

approved by the Choreographer, and such billing shall not create any contractual

obligations for the Theatre, other than what may be agreed upon between the

Theatre and such Assistant Choreographers and/or associate choreographers.

62:11 Training and Professional Development

In the interests of training and professional development of Canadian Choreographers,

whenever a non-Canadian (or non-landed immigrant in Canada) is engaged as a

Choreographer, a Canadian member of Equity shall be offered a position as Assistant

Choreographer. In the event that a Canadian Equity member is not engaged as

Assistant Choreographer, Equity may request a list of members who were offered and

declined the position.

62:12 Choreographer’s Royalty for Reuse of Work

When the Theatre produces a new or adapted play or musical and incorporates

choreography created by a Choreographer previously engaged under an Equity form of

contract in the development of the work but who has not been engaged for the

production, a royalty of not less than one (1%) percent of the applicable Company

Category minimum fee for use of such original work shall be required.

The use of the work of the original Choreographer will be at the sole discretion of that

individual which will not be unreasonably withheld. Appropriate credit will be given in the

production program.

In order to establish the Choreographer’s contribution to the new work or adaptation of

an existing work, the Theatre shall record each workshop in which the Choreographer

is present. A copy of the reference recordings shall be given to the Choreographer. The

reference recordings shall not be broadcast by the Theatre or the Choreographer,

posted on the internet or distributed in any way.

For the purposes of this Article, Clause 62:07(C) Revival shall not apply.

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63:00 STAGE MANAGEMENT

Preamble

(A) Employment Status

All personnel engaged to fulfil Stage Management duties as defined in Clause

63:13 shall be hired as employees of the Theatre and must be contracted under

the terms of the CTA. Equity and PACT will consider it to be a breach of the CTA

if the Theatre uses non-Equity personnel to fulfil Stage Management duties as

herein defined.

(B) Employment Standards Act

Provincial statutes will stipulate the overtime provisions as they apply to hours of

work and the requirements for averaging agreements, where applicable.

If the Theatre operates in a province or territory where the legislated number of

allowable working hours in a day or week is less than permitted for Stage

Management personnel in the CTA, the applicable clauses of the CTA shall be

altered to conform to the legislation. Where this legislation permits the Theatre to

apply for an extension to the number of working hours in a day or week, it shall

be the sole responsibility of the Theatre to secure permission to do so.

The Theatre shall advise the Artist in advance of signing a CTA Engagement

Contract of any permits related to the allowable working hours in a day or week

that may affect the Artist’s working conditions. This information shall also be

included in a rider affixed to the Artist’s contract. In addition, the rider must include

how ESA overtime is administered by the Theatre, including, but not limited to,

any applicable averaging cycle and the timing of payment of ESA overtime to the

Artist.

For ESA overtime purposes the Theatre shall divide the Artist’s weekly

Contractual Fee by the number of allowable work hours before overtime is

payable under the applicable Provincial Employment Standards Act to ascertain

the hourly rate of pay for the Artist.

The Stage Management overtime workbook shall be used to calculate overtime

on a weekly basis. Where averaging agreements are in place, total weekly hours

as calculated by the workbook shall be used to calculate overtime over the

averaging agreement period(s).

Averaging agreements shall be applied to weeks in which the Artist is receiving a

full weekly fee, beginning with a Monday (per Clause 18:21), and may not include

hiatus weeks for which no fee is paid.

The following do not apply to Stage Management:

5:01 Independent Contractor

8:06 Auditions

16:11(A) Additional Duties

16:16 Additional Services Fees

16:19 Overnight Rest Period Infringement

25:00 Costume Fittings

27:00 Clothes and Makeup

35:09 Roles Unassigned at Time of Contracting

39:00 Understudies

40:00 Changes in Cast and Replacement of Actors

41:00 Part Cut Out

48:00 Artist’s Leave

49:14 Break After Arrival at Hotel

60:00 Directors

61:00 Fight Directors

62:00 Choreographers

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63:01 Equity Stage Management

The Theatre agrees that it will engage only existing Equity Stage Managers and

Assistant Stage Managers for all Stage Manager and Assistant Stage Manager positions

on its staff. Equity will provide on request a current and up-to-date list of Stage Managers

who have informed Equity that they are available for work. However, the Theatre shall

not be obliged to engage a Stage Manager or Assistant Stage Manager whom the

Theatre judges to be incompatible with its needs. A person who is not already a member

of Equity may be engaged as a Stage Manager with the written permission of Equity

provided that the Theatre has publicly advertised the job, and conducted a search for,

and considered existing Stage Manager members. Advertising will include the Theatre’s

website and/or sphere of social media pages. The Theatre will also make best efforts to

post on Equity’s e-Drive.

63:02 Production Rights Agreements Requiring Playwright's Prior Approval

The Theatre will make its best efforts to ensure that the Stage Manager is aware of any

production rights agreement which requires the playwright's prior approval of any

changes to the production script. The Stage Manager shall endeavour to inform the

Theatre in a timely fashion of any changes so made.

63:03 Contractual Obligations Requiring Stage Manager's Assistance

The Theatre will make its best efforts to inform the Stage Manager of any contractual

obligations the Theatre has made which will directly affect the Stage Manager's

engagement or will require the Stage Manager's assistance in ensuring compliance.

63:04 Consultation on Selection of Stage Management Personnel

Whenever possible, the senior Stage Management positions shall be filled first. At the

time of contracting, the Theatre will consult with the Production Stage Manager or the

Stage Manager in the selection of other Stage Management staff for positions not

already contracted. The Production Stage Manager or Stage Manager shall have control

over Apprentice Stage Managers' assignments on a production.

63:05 Stage Management Staffing

All Theatres will engage sufficient personnel to ensure the safe and efficient running of

a production. To this end, the Production Stage Manager or Stage Manager and the

Theatre will thoroughly discuss the Stage Management staff planned for a given

production prior to the contracting of the Production Stage Manager or the Stage

Manager.

(A) Requirements

There shall be at least one (1) Stage Manager or Production Stage Manager for

each production.

A Production Stage Manager may be required to stage manage or assistant stage

manage productions. However, in such cases, the assignment of a Production

Stage Manager to each production must be agreed to prior to the signing of their

contract.

(B) Repertory

In addition to Clause 63:05(A), when a Theatre produces in repertory with two (2)

or more productions with Artists who are cross-cast, the following shall apply:

(i) Where there is a separate Stage Manager for each production, no

Production Stage Manager is required, unless the combined cast sizes are

sixteen (16) or more Artists.

(ii) Where the Stage Manager is the Stage Manager for two (2) or more

productions, then at least one (1) Production Stage Manager shall be

engaged beginning with the first production.

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There shall be at least one (1) Assistant Stage Manager engaged by Theatres in

Company Categories A (including A+), B, C and D, none of whom may understudy

or perform. All Stage Management personnel may be assigned to two (2) or more

consecutive or concurrent productions.

For Theatres in Company Categories E, F and G, where no Assistant Stage

Manager is required, and where the Stage Manager is unable to supervise the

performance from the stage or the immediate vicinity of the stage, the Theatre will

ensure that a member of the production staff or stage crew or Apprentice Stage

Manager is accessible to that location in order to ensure the safety of the Actors.

However, in the case of productions with a Single Set or black box theatre and a

cast of three (3) or less, regardless of Company Category of the production, the

hiring of Assistant Stage Managers is solely at the discretion of the Theatre, after

consultation with the Stage Manager, except as outlined in Clause 63:05(D). In

such cases where the Theatre elects not to engage an Assistant Stage Manager,

the Theatre will hire an Apprentice Stage Manager, with the approval of the Stage

Manager.

(D) Size and Complexity of Production

For productions with:

(i) mechanized and/or automated and/or flown scenery where there is no

competent on-deck supervision with a direct line of sight, and/or;

(ii) a cast size of sixteen (16) or more;

regardless of the Company Category, a Stage Manager and an Assistant Stage

Manager shall be required.

For productions with:

(i) a cast size of seventeen (17) or more; and

(ii) extensive backstage traffic,

the following minimum Stage Management requirements will apply:

A (including A+ and Shaw): Stage Manager, two (2) Assistant Stage Managers;

B - G: Stage Manager, Assistant Stage Manager, Apprentice Stage Manager.

When it becomes apparent at any time during the rehearsal or run of a production

that the number of Stage Management personnel is insufficient for the safe,

efficient running of the production, the Production Stage Manager or the Stage

Manager shall notify the Theatre and Equity of the situation. If the Theatre and

Stage Management personnel are unable to agree to a resolution, Equity, PACT

and the Theatre will consult with respect to the Stage Management needs of the

production.

63:06 Pre-production Preparation Time

(A) Original Stage Management Personnel

(i) Production Stage Managers and Stage Managers

All Production Stage Managers and all Stage Managers shall be engaged

for one (1) week prior to the commencement of rehearsals. Where the

Theatre and the Artist agree that the period may be shorter, the Theatre will

consult with the Artist at the time of offer to jointly establish the exact

number of days required for pre-production preparation, the terms of

agreement to be approved by Equity prior to signing, such approval will not

be unreasonably withheld. Should the Stage Manager be hired for less than

one (1) full week, the daily remuneration shall be no less than one-quarter

(1/4) of the week's Contractual Fee.

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(ii) Assistant Stage Managers

All Assistant Stage Managers shall be engaged for a minimum of two (2)

working days prior to the first rehearsal, unless the Theatre and Equity

agree that the period is not required. However, where the Theatre and

Stage Manager agree by the scale of the production that additional time is

necessary, the Theatre shall engage the Assistant Stage Manager for a

minimum of three (3) days prior to the first rehearsal.

Where the Assistant Stage Manager is a resident in the Theatre's Point of

Origin, this day may be scheduled in consultation with the Stage Manager,

and shall be mutually agreed upon. The Assistant Stage Manager shall be

remunerated for this day at the rate of one-sixth (1/6) of their Contractual

Fee. In all other cases, the Assistant Stage Manager will be paid one-sixth

(1/6) of their Contractual Fee, but may not be required by the Theatre to

report to the Theatre sooner than two (2) days prior to the beginning of

rehearsal.

(iii) Apprentice Stage Manager

Should the Theatre wish to secure the services of an Equity Apprentice

Stage Manager, the Apprentice will be engaged to assist the Stage

Manager for three (3) days during the pre-production week unless the

Apprentice Stage Manager is not available for such a period due to prior

commitments.

Where an Apprentice Stage Manager is engaged for the production, the

Assistant Stage Manager’s pre-production preparation period may be

reduced to not less than one (1) day.

All Equity Stage Management personnel shall be paid one-seventh (1/7) of their

contractual fee for each day or portion thereof on which their services are required

prior to the commencement or after the termination of their contracts.

(B) Replacement Stage Management Personnel

(i) Replacement Stage Manager

Where a replacement Stage Manager will be taking over rehearsal, the

replacement Stage Manager shall be engaged with no fewer pre-rehearsal

preparation days than the Stage Manager they are replacing.

Where the replacement Stage Manager will be taking over technical

rehearsals or performance, they shall be engaged one (1) week prior to the

date on which they are to take over the production, unless the Theatre, the

Stage Manager and the Replacement Stage Manager agree that the period

may be shorter.

(ii) Replacement Assistant Stage Manager

Where a replacement Assistant Stage Manager will be replacing the

original Assistant Stage Manager for rehearsal, the replacement Assistant

Stage Manager shall be engaged for no less than one (1) preparation day.

Where the Assistant Stage Manager will be replacing the original Assistant

Stage Manager for technical rehearsals or performance, the replacement

Assistant Stage Manager shall be engaged for no less than two (2)

crossover days.

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63:07 Minimum Fees

(A) Sector 1

A+ rates shall apply to Company Category A companies operating in

municipalities with a resident population in excess of two million and two hundred

thousand (2,200,000) and in theatres with more than eight hundred and seventy-

four (874) seats.

The minimum weekly fees shall be as specified in the current CTA Fee Booklet.

(B) Joint Productions

For Joint Productions in accordance with Article 54:00, the minimum weekly fees

shall be as specified in the current CTA Fee Booklet.

(i) Minimum Fees

Minimum weekly fees as specified in the current CTA Fee Booklet shall

apply in Theatre for Young Audiences where it can be demonstrated that

the actual box office gross will not exceed the upper limit of Company

Category F in Article 15:00.

(a) Vacation Pay

Stage Managers may elect to accrue the vacation pay, regardless of

the duration of the Artist's contract. In this case, the payment of

vacation pay shall be made to the Artist upon the conclusion of the

Artist's engagement, or at the end of fifty-two (52) weeks' continuous

engagement, whichever occurs first.

(b) Pro-rated Fee

The Artist shall be paid one-sixth (1/6) of their Contractual Fee for

each day or portion thereof they are required to work during the pre-

production, hiatus (Clause 55:23), and/or post-production periods, up

to a maximum of one (1) week's fee for one (1) week's work.

(ii) Showcase Engagement Contracts

For a showcase presentation under Clause 55:29, the minimum fees shall

be as specified in the current CTA Fee Booklet.

(D) Workshops and Readings

(i) For Workshops with No Public Presentation(s)

The minimum fees as specified in the current CTA Fee Booklet for Clause

63:07(D)(i) shall apply.

(ii) For Workshops with Public Presentation(s)

The minimum fees as specified in the current CTA Fee Booklet for Clause

63:07(D)(ii) shall apply.

(iii) For Readings with No Public Presentation(s)

The minimum fees as specified in the current CTA Fee Booklet for Clause

63:07(D)(iii) shall apply.

(iv) For Readings with Public Presentation(s)

The minimum fees as specified in the current CTA Fee Booklet for Clause

63:07(D)(iv) shall apply.

If the potential box office exceeds the upper limit of Company Category G, the

appropriate Company Category fees in Clause 63:07(A) will be substituted.

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(E) Sector 2 Productions

(i) Minimum Fees

The minimum weekly fees shall be as specified in the current CTA Fee

Booklet.

For productions which are classified as Company Category A (including

A+), A-2 rates shall apply to open-ended productions, or to non-musical

productions originally scheduled to run in excess of twelve (12) weeks, and

musical productions originally scheduled to run in excess of twenty-four

(24) weeks. For non-musicals originally scheduled for less than twelve (12)

weeks and musicals scheduled for less than twenty-four (24) weeks, which

are subsequently extended beyond twelve (12) or twenty-four (24) weeks,

A-2 rates shall apply from the thirteenth or twenty-fifth week respectively.

A+ rates shall apply to Company Category A companies operating in

municipalities with a resident population in excess of two million and two

hundred thousand (2,200,000) and in theatres with more than eight

hundred and seventy-four (874) seats.

(ii) Workshops and Readings

For activities undertaken in accordance with Clause 58:30, the minimum

fees shall be as specified in the current CTA Fee Booklet.

If the Artist is engaged for more than four (4) days, the Artist must be paid

the minimum weekly fee.

63:08 Benefits

(A) Additional Benefits

Where an Artist has been engaged under the terms of Article 63:00 by a Theatre

for a full season of no less than sixteen (16) weeks in duration, or a minimum of

two (2) contracts spanning sixteen (16) weeks in total, they may be eligible for

additional employee benefits that the Theatre provides to its seasonal, or if

applicable, full-time employees who are not subject to a collective agreement.

These benefits may include but are not limited to insurance coverage, RRSP

contributions in excess of a three (3%) percent management contribution, and

additional vacation increments.

(B) Vacation Pay

Vacation pay shall be paid at the rate of four (4%) percent of the Contractual Fee

or at the rate set down under provincial law in the province where the Theatre has

its Point of Origin, whichever is greater. For engagements of more than six

months, vacation pay and vacation time shall be governed by the applicable

provincial employment standards legislation.

The Artist shall accrue vacation pay at the rates listed above, every week of their

engagement. Where the Stage Manager has elected to accrue vacation pay, the

payment of the accrued vacation pay shall be made to the Artist upon the

conclusion of their individual contract or one (1) year's engagement, whichever

occurs first. Otherwise, vacation pay shall be paid weekly with the contractual

payment.

After six (6) months of continuous engagement on any contract of fifty-two (52)

weeks (or longer), the Artist must have the opportunity to take a one (1) week

vacation at a mutually acceptable time on provision of four (4) weeks’ notice to

the Theatre, being compensated from the accrued vacation pay. Thereafter, the

Artist may take a one (1) week vacation after each further six (6) months of

continuous engagement on the same terms. The Artist shall receive their accrued

vacation pay prior to any vacation period.

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63:09 Statutory Holidays

Should a member of the Equity Stage Management staff be required to work on a

statutory holiday (as designated by the laws of the province in which the Theatre is

located), then that member shall be compensated in accordance with said laws for those

public holidays. The calculation for such work shall be based on one-seventh (1/7) of

the Contractual Fee multiplied by the maximum time premium factor available under the

applicable provincial laws.

63:10 Responsibility of an Assistant Stage Manager

An Assistant Stage Manager will work in collaboration with and under the supervision of

the Production Stage Manager and/or Stage Manager and will fulfil all such tasks as are

assigned by them. An Assistant Stage Manager may never be solely in charge of a

performance or a production.

The Assistant Stage Manager cannot be required to call the show, except as provided

for in Clause 63:13(B) with the prior approval of the Theatre. In the event that the

Assistant Stage Manager calls the show, they shall be compensated at not less than

one sixth (1/6) the applicable Stage Manager weekly fee for each day that they

undertake the duty.

Assistant Stage Managers may not perform or understudy performers, except as

provided for in Clause 63:12(G).

63:11 Apprentice Stage Manager

It is acknowledged that an Apprentice Stage Manager position is a training position

and is not to replace the need for additional stage management staffing. The scope of

work required of the Apprentice Stage Manager must be clearly outlined at the time the

position is offered. Apprentice Stage Manager positions may vary from Theatre to

Theatre, and may include duties that are not specific to stage management training,

provided they are not prioritized over the Apprentice’s training.

An Apprentice Stage Manager may, unless otherwise provided for in the CTA, be

engaged under terms and conditions outside the CTA, and may be required to tour.

Equity agrees to consider any request from a member of a professional performing

artists' association or union for permission to register as an Apprentice.

(A) Registration

The Theatre shall register with Equity (on a form provided by Equity) each

Apprentice hired within one (1) week of the engagement by filing a resume and

an Apprentice Registration form signed by the Apprentice to the effect that they

are not now and never has been a member of any performing artists' association

or union. The Apprentice Registration form and resume shall be accompanied by

a fee to be determined by Equity, seventy-five dollars ($75.00) of which shall paid

by the Theatre, for each production for which the Apprentice has been hired.

(B) Maximum Number

The maximum number of Apprentice Stage Managers engaged by the Theatre

shall not, at any time, exceed the current number of Equity Stage Management

personnel engaged by the Theatre.

The Theatre will endeavour to pay an Apprentice Stage Manager a fee

commensurate with the work they are responsible to undertake. Apprentice Stage

Managers shall be engaged according to the applicable provincial Employment

Standards legislation.

(D) Hours of Work for an Apprentice Stage Manager

Apprentice Stage Managers may independently perform duties for which they

have had instruction from the Stage Manager.

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63:12 Prohibited Duties

Equity members of the Stage Management staff are not permitted to accept

responsibility for:

(A) Fulfilling Duties of Union Members

Fulfilling the duties of union members whenever members of unions are engaged

for a production.

(B) Fulfilling Duties of Theatre Management

Negotiating contracts, having riders signed or initialled, negotiating salaries or

carry out any other function which is normally the duty of the Theatre. Under no

circumstances shall Stage Management personnel be required to execute the

above functions on behalf of the Theatre with other Equity members. This does

not preclude delivery of contracts and/or riders in a sealed envelope addressed

to the individual Artist.

Signing the closing notice of a company or the individual notice of an Actor or any

other member of a company.

(D) Building Maintenance

Doing building maintenance, janitorial, or custodial work. This does not preclude

the usual maintenance of rehearsal halls and stages as may be considered in

some Theatres to be part of Stage Management duties to be completed during

preparation time.

(E) Payroll

Doing the payroll or distributing payments (including but not limited to fees and

expense allowances) except where such payments are delivered in a sealed

envelope addressed to the individual Artist. In matters of finances, the Stage

Manager is personally responsible only for items purchased out of their petty cash

budget. The Stage Manager should, however, keep the Theatre informed of

developments that may involve unexpected major expenses.

(F) Serving Meals

Serving meals for the Actors. At the discretion of the Stage Manager, Stage

Management personnel may order and/or obtain meals for the Actors, but shall

not assume any personal financial commitment in this regard.

(G) Understudying and Performing

Understudying or performing on stage. For clarity, this includes choreographed

transitions where the Artist is visible on stage. Should the Theatre wish the Artist

to participate in choreographed transitions where they are visible, these must be

mutually agreed to and are subject to the terms of Clause 35:09 Cast by

Consent.

Only in an emergency and with their consent may Stage Management personnel

perform, for which performance they will be paid at the pro-rated applicable

minimum fee for an Actor in addition to their Contractual Fee. However, where

there are two (2) Assistant Stage Managers under contract for a single production,

then the second Assistant Stage Manager may perform and understudy, following

the consent of Equity in advance, which shall not be unreasonably withheld. The

part which they are to perform must be contracted for in advance of the first day

of rehearsal for such productions.

63:13 Duties and Responsibilities of Stage Management

In addition to those duties detailed in Article 5:00 (Duties and Responsibilities of the

Artist), the duties and responsibilities of Stage Management personnel are defined within

this Clause, unless other or additional duties are agreed to by a rider at the time of

contracting.

In the following Clauses, references to the Stage Manager shall encompass an Artist

engaged as a Production Stage Manager who is assigned to stage manage a given

production (See Also Clauses 63:05(A) and (B)).

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(A) Discretion in Organization of Work

The Theatre recognizes that the Stage Manager holds a position of supervisory

responsibility and, as such, may exercise discretion in arranging their work and

that of their staff. Such discretion shall be exercised by the Artist, after

consultation with the Theatre's designated representative. The Artist cannot be

held responsible for any overtime which may arise through circumstances beyond

their control.

(B) Delegation

The Stage Manager may delegate any of their duties or authority to their staff as

they feel necessary for the efficient running of their production, excepting that a

person contracted as Stage Manager will be in the theatre and available

throughout all performances. Such delegation to a member of Equity will require

that person to be contracted as an Assistant Stage Manager.

The Stage Manager shall organize and supervise all rehearsals and

performances, and endeavour to uphold the terms of the CTA, the requirements

of Equity's Constitution, Bylaws and any regulations governing its membership,

and any management rules and regulations not in conflict with the CTA and to

consult with the Liaison and the Theatre's designated representative where

necessary.

(D) Scheduling Rehearsal Calls

In accordance with the requirements of the Theatre, the Director, and the terms

of this Agreement, the Stage Manager shall be responsible for the calling of all

rehearsals, whether before or after opening, and for the scheduling of other

company or individual calls related to a production.

(E) Scheduling Set-Ups, Strikes, Load-Ins and Load-Outs

The Production Stage Manager or Stage Manager shall schedule and control set-

ups, strikes, load-ins and load-outs if required by the Theatre. If, on the final day

of engagement, the Artist is required to supervise the strike and load-out, they

shall receive the regular overtime rate, according to Clause 63:18(C) beyond

12:00 midnight. On tour, if the Artist is responsible for set-ups and strikes, they

must be present for same.

(F) Photo Calls

The Theatre shall consult with the Stage Manager prior to the setting of a shot list

for photo calls in order that both parties are aware of the technical requirements

of the photo call. In addition to the terms of Clauses 43:01 and 43:02, the following

shall apply:

(i) The Stage Manager shall be provided with a shot list at least twenty-four

(24) hours in advance of any photo calls requiring the stage, costumes,

properties, makeup and lighting effects. Should such notice not be

provided, The Stage Manager may delay the start of a photo call to change

the proposed order of the shot list to accommodate the technical

requirements. In such instances, the Theatre should be aware that such a

delay could result in overtime.

(ii) Photo calls requiring any or all of the following elements may not be

scheduled on an extended rehearsal day unless the call is scheduled within

the regular rehearsal hours: the stage, costumes, properties, makeup, and

lighting effects. (See Clause 43:02)

(G) Co-ordination and Communication

The Stage Manager shall work with the Director and co-ordinate and

communicate with the heads of all other departments during rehearsals and after

opening.

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(H) Scene Change Rehearsals and Cueing Sessions

The Stage Manager and the Assistant Stage Manager(s) shall be present at all

scene change rehearsals and cueing sessions for the production which will come

under the supervision of Stage Management during rehearsals or performances.

A cueing session includes any period of time during which the Director and

designer of any discipline (i.e. lighting, sound, video, etc.) are setting numbered

cues for the production. Stage Managers must be given sufficient time to see/hear

and accurately place cues in their prompt book before the cues are rehearsed

onstage with Actors. The Stage Manager shall be present for all cueing sessions

for the production, and the Assistant Stage Manager shall be present for any

cueing session which will come under their supervision during rehearsals or

performances. The Stage Manager shall attend production meetings as provided

for in Clause 63:16.

(I) Prompt Book

The Stage Manager shall assemble and maintain the prompt book, which is the

property of the Theatre, and is defined as the accurate and up-to-date playing text

and stage business, together with cue sheets, plots, daily records, etc. as are

necessary for the actual technical and artistic operation of the production. The

Stage Manager will submit the prompt book to the Theatre at the end of the run

of the production.

(J) Maintenance of Artistic and Technical Intentions

The Stage Manager shall maintain, to the best of their ability, the artistic and

technical intentions of the Director, Theatre and designer after opening, and upon

approval of the Theatre, shall call rehearsals when necessary, and shall prepare

Understudies, replacements, and Extras, when or if the Director or Theatre is

unavailable or declines this prerogative.

(K) Show Reports

During the rehearsal period, the Stage Manager shall communicate with the

Theatre's designated representative about running times and any problems in the

artistic or technical elements of the production. During performance this

communication must be written and filed with the Theatre's representatives in the

form of a per performance show report. Upon consultation with the Theatre, the

Stage Manager shall draft the show report on a template provided by the Theatre

and send it to the distribution list designated by the Theatre. Upon request, the

Director, Choreographer, and/or music director of the production may also receive

the show report.

Additionally, PACT and/or Equity may request, with a reasonable cause, a copy

of the daily show report. Such request will not be unreasonably withheld.

The Stage Management show report shall be treated as confidential.

Nevertheless, when an Artist receives a reprimand or complaint from the Theatre

based on the report, the Artist has the right to access any portion of the report

which may have been the basis for the reprimand or complaint, and the Stage

Manager shall be so informed immediately.

(L) Record-Keeping

The Stage Manager shall keep such records as may be necessary to advise the

Theatre, the Liaison and/or Equity on matters of company discipline and other

business related to the rights and obligations of Artists, such as, but not limited

to, attendance, overtime, work on statutory holidays, meal breaks, costume and

photo calls, working environment health and safety.

(M) Health and Safety

The Stage Manager shall keep such records as are necessary and take all

necessary precautions to see that safe and clean conditions exist both on stage

and backstage as well as in rehearsal halls, and shall immediately advise the

Theatre's designated representative if the health and safety provisions of the CTA

are not being maintained.

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(N) Physical Welfare of Company Members

In the absence of a company manager, the Stage Manager shall be prepared to

assist and advise members of the company on matters relating to their physical

welfare, and to this end shall, among other things, see that first aid supplies,

listings of emergency services and medical advisors, and insurance and accident

report forms are provided to the Artists.

(O) Dressing Area

In accordance with Clause 26:01, the Stage Manager has the authority to keep

the Actors' dressing area free of all unnecessary personnel during any Half-Hour

Call or intermission.

(P) Backstage Area

During performances, the Stage Manager is in sole charge of the backstage area,

and if the physical arrangement of the theatre necessitates technical supervision

from some area other than backstage, the Stage Manager will ensure that some

member of the production staff is in the backstage area. In addition, the Stage

Manager is in sole charge of cueing the movement of all scenic elements,

technical elements, and Performers.

(Q) Security

The Stage Manager shall implement provisions made by the Theatre for the

security of personal property and notify the Theatre's designated representative

when security provisions for Artist's valuables are not available/operable.

(R) Sound Operation in Rehearsal

In rehearsal, the Stage Manager may be asked to operate sound and/or video

cues which are integral to the movement or blocking of the piece. It is understood

that the priority of the Stage Manager in rehearsal should not be the execution of

technical cues. Should the Theatre and the Stage Manager agree that the

complexity of the operation is significant, such as alteration of cues, and the

Theatre requires the Stage Manager to perform these operations, the additional

duty fee stipulated in 16:11(A) is required until such time as the Stage Manager

is relieved of the duty. The fee shall be provided for in a rider to the Stage

Manager’s CTA Engagement Contract, and is considered as part of the Artist’s

Contractual Fee.

63:14 Other Duties

As the duties of Stage Management may differ from theatre to theatre, it is required that

the Theatre discuss these duties with the Stage Management personnel at the time of

offer and that the Stage Management personnel agree to perform these duties prior to

signing the contract. At the time of offer, the Stage Manager has the right to negotiate

additional compensation for such other duties which shall not be less than the Additional

Duties fee in Clause 16:11 per duty. This does not preclude Stage Management

personnel from performing other duties in an emergency.

Other Duties shall not be mandatory unless they are agreed to at the time of offer.

Other Duties that are agreed to at the time of offer shall be included in a rider to the

Engagement Contract along with the agreed to compensation. Other Duties offered

and accepted after contracting, shall be contracted as a rider to the contract along with

the agreed to compensation.

The Stage Manager may, at their discretion, use preparation time to accomplish such

other duties as long as they do not interfere with the regular preparation duties. If these

other duties cannot be accomplished within the regular work hours and/or during the

preparation hours, then the rates in Line 2 of Schedule ‘A’ shall apply, and confirmation

of this requirement shall be included in the rider to the Artist’s contract.

Other duties may include the following:

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(A) Supervision of Animals

Any situation where Equity Stage Management personnel, in the absence of any

other personnel appointed by the Theatre, is responsible for the care and feeding

of any animal used in a production. This does not preclude the usual supervision

required of Stage Management personnel when animals are involved in

rehearsals and/or performances.

(B) Laundry Duties

Any situation where Equity Stage Management personnel, in the absence of

wardrobe personnel, is responsible for the collecting, washing, drying, ironing

and/or maintenance of any costumes worn by an Actor. The Artist and the Theatre

shall negotiate fair additional compensation for this duty, taking into consideration

the size of the cast and/or the number of wardrobe pieces and/or the maintenance

required. In no event shall the compensation for this duty be less than the

minimum fee stipulated in Clause 16:11 (A).

Any situation where Equity Stage Management personnel, in the absence of a

hair stylist, is responsible for the setting, cleaning and general maintenance of any

wig or hair piece worn by an Actor.

(D) Props Repair and Purchasing

Any situation where Equity Stage Management personnel, in the absence of a

technician or props department, is responsible for the repair and purchase of

properties.

(E) Running Props/Purchase and Preparation

Any situation where Equity Stage Management personnel, in the absence of a

technician or props department, is responsible for the purchase and/or

preparation of food and beverage items for a production which require

extraordinary preparation time.

(F) Operating and/or Maintaining Pyrotechnics and Practical Guns

Provided that the Artist is appropriately trained and legally certified to operate

and/or maintain pyrotechnics (pursuant to the Explosives Act), and firearms and

replicas (pursuant to the Firearms Act), the Artist may be engaged to accept such

responsibility, subject to the provisions of Clauses 28:06(A) and 28:21.

(G) Other Stage Management Staff

Any situation in which a Stage Manager is required to supervise and schedule

Stage Management staff other than the staff of the production the Stage Manager

was originally hired to stage manage.

(H) Typing Scripts

Any situation where Equity Stage Management personnel is responsible for the

typing of a full script or a major section of a script on a daily basis.

(I) General Office Duties

Stage Management personnel may not be required to perform general office

duties unrelated to the production(s) for which they has been contracted, except:

(i) where unexpected assistance in these duties is needed, and the Stage

Manager agrees that time so given would not compromise their ability to

complete their primary duties; or

(ii) in the case of Stage Management personnel hired for a season, where the

period of their contract includes a span of days during which the Stage

Manager is free of obligations (rehearsal, performance or preparation) to a

production, in which case the Stage Manager may agree to perform general

office duties during that free span.

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63:15 Additional Duties

(A) Lights and Sound

Where the Theatre requires Stage Management personnel to operate lighting

and/or sound boards, it shall be considered an additional duty and shall be

contracted separately in writing and included in a rider to the contract. The Theatre

shall advise the Artist of the anticipated complexity of the technical aspects of the

production, and the Artist and the Theatre shall negotiate fair additional

compensation for this duty, which shall not be less than the minimum fee

stipulated in Clause 16:11(A). Stage Management may not be required to do

sound or lighting duties unrelated to board operation, such as lamp checks, focus

adjustments, creating cue sheets, etc., unless separately negotiated.

Notwithstanding the provisions of Clause 40:03, should the Theatre, with the

consent of the Artist, relieve the Artist of this duty for the balance of the

engagement by hiring a technician to operate the lighting and/or sound board

instead, the Artist’s Contractual Fee may be reduced accordingly.

(B) Additional Productions

An Artist may not be required to provide services for the Theatre on a production

which is not specified on the Artist’s CTA Engagement Contract unless they

negotiate satisfactory additional compensation for same which shall not be less

than the minimum fee stipulated in Clause 16:11(A) in the current CTA Fee

Booklet. Such additional duties and compensation shall be specified in a rider and

attached to their contract and shall constitute part of the Artist's Contractual Fee

subject to Clause 3:03.

If in the absence of a representative of the Theatre Stage Management personnel

are asked to assume those duties normally assigned to Theatre staff, it shall be

considered an added duty and shall be included in a rider to the contract. These

duties include but are not limited to any situation in which a Stage Manager, in the

absence of a Theatre representative or publicist, is responsible for organizing

major publicity events, arranging travel or housing whether in or out of town,

collecting any fees owed to the Theatre, meeting and/or transportation of Artists

and/or goods at arrival or departure points.

The Theatre and the Stage Manager shall agree to a maximum number of hours

to be used to undertake these duties and the Theatre shall pay the Stage Manager

not less than one-fortieth (1/40) of their Contractual Fee per hour or part thereof.

In the event that additional hours are required the Stage Manager shall seek

approval from the Theatre, except in the case of an emergency.

63:16 Production Meetings

The Stage Manager is required to attend all scheduled production meetings which

involve the discussion of elements of the production which directly affect the duties and

responsibilities of Stage Management.

(A) Production Meetings Prior to the Contract Start Date

Where a Stage Manager attends a production meeting, as requested by the

Theatre, prior to their start date, they will be compensated at a rate equal to one-

fortieth (1/40) of their Contractual Fee per hour for a minimum of two-and-a-half

(2 1/2) hours, plus the daily insurance rate.

(B) Production Meetings Within Contractual Dates

(i) Outside Rehearsal/Preparation Time

Production meetings requiring the attendance of Stage Management

personnel outside the regular rehearsal hours and/or preparation time limits

may not exceed three (3) one (1) hour sessions within an Engagement

Week.

Meetings in excess of these limits will require the payment of overtime

where the Theatre requires the Stage Management personnel to remain.

Such overtime must have the prior authorization from the Theatre's

designated representative.

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(ii) After an On-Stage Rehearsal

Any meetings held at the conclusion of an on-stage rehearsal which involve

the discussion of elements of the production which directly affect the duties

and responsibilities of the Stage Manager shall be designated a production

meeting. Such meetings must commence no later than fifteen (15) minutes

after the release of the Actors.

(iii) Overtime

No production meetings requiring the attendance of Stage Management

personnel are permitted outside the rehearsal hours and preparation time

limits on extended rehearsal days without the payment of overtime.

Additionally, when the Theatre requires the Stage Management personnel

to attend production meetings which infringe on statutory holidays,

holidays, Overnight Rest, Meal Breaks, and Free Days where appropriate,

the appropriate overtime or penalty payments shall apply.

63:17 Stage Management Work Day

(A) Stage Management Working Day

A Stage Management working day begins with the first stage management activity

of the day and ends with the completion of the final Stage Management activity of

the day. The activity may be preparation, cueing, an Actor’s call, a meeting or any

other Stage Management call.

The Stage Management working day comprises the allowable rehearsal hours

and/or performance hours plus preparation allowances per Clause 63:17(B)

The above limits are increased by the time of production meetings, as provided

for by Clause 63:16.

(B) Preparation Time

The nature of Stage Management duties and responsibilities involves additional

preparation time before and after each rehearsal and/or performance. It is also

recognized that Stage Management personnel will have varied degrees of

experience and personal approaches to their work. Therefore, the length of time

required for preparation will also vary. However, it is the intention of this Clause

to allow what is considered to be a reasonable time period to accomplish the

preparation work, and is not the intention to allow for overtime payments that may

occur as a result of the particular style of the Stage Management personnel. It is

expected that at all times preparation time is to be used in the most efficient

manner possible so that overtime is minimized.

Preparation time is separate from the Half-Hour Call and any allowable rehearsal

hours. Preparation time is not transferable to another day.

Preparation time may be used, in part or in whole, before and/or after each

rehearsal and/or performance, and should be allocated at the discretion of the

Stage Manager, after consultation with the Theatre's designated representative.

The maximum allowable preparation time for each member of the Stage

Management staff is as follows:

Regular or extended rehearsal day: 1-1/2 hours

One-performance day: 2-1/2 hours

Rehearsal/performance day: 2 hours

Two-performance day: 2-1/2 hours

The following are examples of how Stage Managers might structure their

preparation time. These examples are not prescriptive and in each case Stage

Managers shall not exceed the maximum Preparation Time allowances stated

above. The following are the maximum hours an Artist may be required to work,

and may be used in whole or in part as required by the needs of a production:

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(i) Rehearsal Only Day

Seven (7) out of eight-and-a-half (8-1/2) hours of rehearsal plus a maximum

combined total of one-and-a-half (1-1/2) hours of pre- and post-rehearsal

work.

(ii) Extended Rehearsal Day

Ten (10) out of twelve (12) hours or nine (9) out of eleven (11) hours of

rehearsal plus a maximum combined total of one-and-a-half (1-1/2) hours

of pre- and post-rehearsal work.

(iii) Performance Only Day (One and Two-Show Days)

(a) Arrive up to one (1) hour before Half-Hour Call

(b) Performance

(d) During previews, depart no later than one (1) hour after curtain down

(e) On a two (2) show day there must be a minimum of a one (1) hour

meal break between show calls

(iv) Rehearsal then Performance Day

(a) Arrive up to one-half (1/2) hour before rehearsal

(b) One (1) continuous rehearsal call of not more than five (5) hours

provided for in Clause 24:03(I)(ii))

(d) Arrive up to one (1) hour before Half-Hour Call

(e) Performance

(f) Depart no later than thirty (30) minutes after curtain down

(g) During previews, depart no later than one (1) hour after curtain down

(v) Performance then Rehearsal Day

(a) Arrive up to one (1) hour before Half-Hour Call

(b) Performance

(d) Meal Break of not less than one-and-a-half (1-1/2) hours (except as

provided for in Clause 24:03(I)(ii))

(e) Arrive up to one-half (1/2) hour prior to rehearsal

(f) One (1) continuous rehearsal call of not more than five (5) hours

(g) Depart no later than one-half (1/2) hour after rehearsal.

Where Stage Management personnel and the Theatre agree that additional

preparation time beyond these limits is necessary to effect the efficient running of

the rehearsals/performances, then the preparation time may be extended by a

negotiated rider to the contract. Any overtime incurred by extending the

preparation time beyond the above limits, or any other limit previously agreed

upon, must be approved by the Theatre's designated representative prior to being

incurred.

The Stage Management working day should not exceed a span of thirteen (13)

hours inclusive of all breaks.

63:18 Stage Management Overtime

(A) Approval

Any overtime incurred by extending the preparation time beyond the limits set out

in Clause 63:17(B) or any other limit previously agreed upon, and any overtime

which would result from other Stage Management scheduling decisions, must be

approved by the Theatre's designated representative.

If the Theatre's designated representative is not available for such approval, and

the working of such overtime is paramount to safety, travel schedule or the

efficient running of the production, such overtime may be approved at the

discretion of the Stage Manager, in which case the Stage Manager shall inform

the Theatre's designated representative of such overtime in a timely fashion.

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Additional payments required by employment standards legislation for work which

takes place during regular hours as provided for in the CTA shall be deemed

approved by the Theatre. Nevertheless, the Stage Manager must receive the

Theatre’s prior approval for any increase to the preparation time provided for in

Clause 63:17(B), including on a day where the Theatre has scheduled less than

the maximum allowable rehearsal hours.

Except in the case of penalties such as meal infringement or overnight rest,

overtime payment for work in excess of the daily maximums of the CTA and in

excess of the weekly maximums of the CTA shall not be compounded unless

specifically required in accordance with the legislation or where explicitly required

in the CTA.

(B) Reporting

The Stage Management personnel shall submit weekly timesheets to the theatre

no later than the Tuesday following the prior week’s work, regardless of whether

or not overtime has been incurred.

Whenever possible, all overtime claims shall be submitted to the Theatre for

payment within one (1) week of such overtime having been incurred.

Once the overtime claim has been received by the Theatre, payment is due in the

week following.

If the Theatre disputes and overtime claim, the Theatre shall be required to

provide copies of timesheets to PACT and Equity upon request.

Overtime claims not disputed by the Theatre and in arrears of more than one (1)

month are subject to a one (1%) percent late charge per month.

Except as specified elsewhere in this Agreement, the regular overtime rate shall

be the amount required by the applicable employment standards legislation or the

amount stipulated on line one (1) of Schedule “A” in the current CTA Fee Booklet,

whichever is greater, per half-hour or part thereof. Except as otherwise specified

elsewhere in the CTA, for Sector 2 productions, the regular overtime rate shall be

the amount required by the applicable employment standards legislation or the

amount stipulated on line ten (10) of Schedule “A” in the current CTA Fee Booklet,

whichever is greater, per half-hour or part thereof.

Except for as provided for elsewhere in the CTA, all overtime must be approved

in advance by the Theatre's designated representative.

(D) Excess Rehearsal, Cueing, and Scene Changes

Any Stage Management personnel required to attend rehearsals (see Clause

63:13(C)), and attending cueing sessions and scene change rehearsals as

provided for in Clause 63:13(H), in excess of the hours permitted for the Actor,

shall be paid at the appropriate overtime rate.

(E) Excess of Span

Overtime for work in excess of the stage management working day per Clause

63:17(A) is calculated at the rate(s) provided in 63:18(C). If the span of the day

exceeds thirteen (13) hours in year one (1) and twelve-and-a-half (12-1/2) hours

in years two and three of this Agreement, additional work will be compensated at

the rate required by the applicable employment standards legislation or not less

than the rate as specified in the current CTA Fee Booklet, whichever is greater,

per half-hour or part thereof.

Payments provided for meal (Clause 63:18(G)) and rest (Clause 63:18(F))

infringements are, if applicable, in addition to payments contained in Clause

63:18(C) and this Clause 63:18(E).

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(F) Overnight Rest

All Equity Stage Management personnel must have an eleven (11) hour rest

period in year one and an eleven-and-a-half (11-1/2 hour rest period in years two

and three of this Agreement within each twenty-four (24) hour period. For any

invasion of the rest period, the Theatre shall pay the Artist the rate as specified in

the current CTA Fee Booklet (Line 3 of Schedule ‘A’) for each additional hour or

any part thereof.

Except as otherwise specified elsewhere in the CTA, for any invasion of the

overnight rest period in a Sector 2 production, the Theatre shall pay the Artist the

rate as specified in the current CTA Fee Booklet (Line 13 of Schedule ‘A’) for each

additional hour or any part thereof.

(G) Meal Break

All Equity Stage Management personnel must receive a one (1) hour meal break

after a maximum of five (5) hours of rehearsal including prep. Stage Management

personnel shall be consulted before any duties or meetings are scheduled during

their meal break. In the event that Stage Management personnel agree to perform

duties and/or attend meetings on the meal break, they shall be compensated for

each half-hour of invasion at the rate specified in Line 2 of Schedule ‘A’ of the

current CTA Fee Booklet.

When in the case of an Emergency, the Stage Manager is required to undertake

duties during the meal break as provided for above, the Theatre may require the

Production Stage Manager or Stage Manager to adjust the schedule for Stage

Management staff to avoid overtime penalties. The Theatre shall consult with the

Production Stage Manager or Stage Manager to ensure that such adjustments do

not adversely affect the rehearsal. Stage Management overtime must be

approved by the Theatre's designated representative in advance.

63:19 Free Day

All Equity Stage Management personnel must receive the same number of Free Days

in each Engagement Week as the Actors. Should any of the Equity Stage Management

personnel be called on a Free Day, they are to be paid the same hourly overtime rate

as the Actors, or one-seventh (1/7) of their Contractual Fee, whichever is greater. The

minimum call for such an occasion shall be considered as four (4) hours, whether or not

the full four (4) hours are used.

63:20 Touring

When Stage Management personnel is required to tour with a production, unless

otherwise agreed to in a rider to their contract, it is the responsibility of Stage

Management personnel to supervise load-ins, set-ups, strikes and load-outs. The

Theatre will use its best efforts to limit the scheduling of consecutive days that approach

or exceed the thirteen (13) hour span.

(A) Preparation Time

Preparation time on tour shall be the same as detailed in Clause 63:17(B).

(B) Travel and Performance on the Same Day

On a day when Stage Management personnel are required to travel and do a

performance, the maximum number of hours allowed for travel and set-up

combined shall be as follows:

(i) one-performance day: eight (8) hours; or

(ii) two-performance day: three (3) hours

Set-up time shall include one-half (1/2) hour of the allowable preparation time.

Each day must include at least one-and-a-half (1-1/2) hours for an evening meal

break prior to an evening work call. Applicable overtime penalties shall apply if

the meal break is invaded.

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(D) Strike and Load-Out Following a Performance

When Stage Management personnel are responsible for a strike and load-out

following a performance, such time shall not include any preparation time

scheduled to follow the performance. Should this involve infringement of the

thirteen (13) hour span or the overnight rest period, applicable overtime shall

apply.

(E) Overnight Rest

While on tour, the overnight rest period shall be a minimum of eleven (11) hours.

63:21 Vehicle Use

If Stage Management personnel are required to use their own vehicles to transport

goods or people for the Theatre, they will be compensated for mileage in accordance

with Clause 30:02(C). Stage Management personnel must obtain permission from the

Theatre's designated representative before using their own vehicles for such purposes.

63:22 Replacement of Crew Members

Whenever possible, when a non-union crew member is replaced in a non-emergency

situation, they shall attend at least one (1) performance prior to assuming the

responsibilities required for the production. The Stage Manager must be informed at

least one (1) hour prior to curtain of any emergency crew changes.

Notwithstanding any of the above, if crew replacements occur without the above

conditions having been fulfilled, the Stage Manager shall have the right to delay the start

of the performance until such time as they is confident that the replacement crew

member, if responsible for aspects of the production that could affect the safety of the

Artists, is properly prepared to fulfil their responsibilities. In such cases, the Stage

Manager shall consult with the Theatre's designated representative should any delay to

the start of the performance be necessary.

63:23 Emergency Replacement

If a Stage Manager or Assistant Stage Manager is absented due to illness, injury, or

some other emergency not related to the Theatre, an Artist not under CTA Engagement

Contract to the Theatre may be contracted to replace them, and shall be paid not less

than two-sixths (2/6) of the applicable minimum fee for an onstage rehearsal in the

venue, a rehearsal followed by a performance, or the first performance they are required

to cover. Any subsequent performance(s) covered by the replacement Stage Manager

or Assistant Stage Manager will be compensated at one-sixth (1/6) of the applicable

minimum fee. Should the replacement Artist be required to cover a standard Rehearsal

only, they shall be contracted and paid not less than one-quarter (1/4) of the applicable

minimum fee per day.

Notwithstanding the Preamble to Clause 63:01, provided the Theatre has first made at

least two (2) attempts to engage Equity member Stage Managers, in the case of an

emergency as described above and upon consultation with the available Stage

Management personnel, the Liaison and Equity, the Theatre may engage a non-member

with the ability to safely run a performance. A non-member emergency replacement may

be engaged for no more than four (4) consecutive performances. However, during the

final week of performances, a non-member emergency replacement may be engaged

for a maximum of eight (8) consecutive performances.

Alternatively, the replacement Stage Manager or Assistant Stage Manager may be

contracted on a standard CTA Engagement Contract - choice to be made by the

Theatre.

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63:24 Stage Management Understudy Assignment

Notwithstanding the provisions of Clauses 58:28, 63:06, and 63:23, and for the purposes

of performances only, an Artist may be engaged at the time of contracting to understudy

up to two (2) other stage management assignments. Should an Artist agree to accept a

stage management understudy assignment not stipulated in the original CTA

Engagement Contract, it shall be considered an additional duty for which the Artist shall

negotiate satisfactory additional compensation which shall not be less than the rate

stipulated in Clause 16:11(A).

The Theatre shall provide sufficient rehearsal for the Artist to learn the stage

management understudy assignment(s), which shall culminate in the understudy Artist

shadowing the Stage Manager or Assistant Stage Manager for at least one (1)

performance or one (1) complete dress run through rehearsal on stage, during which

the understudy Artist shall not be required to perform their usual duties.

When the Artist is required to perform their understudy assignment, the Artist shall be

relieved of their regular duties. For each such performance, the Artist shall be paid an

additional one-eighth (1/8) of their weekly Contractual Fee, or one-eighth (1/8) of the

minimum fee applicable to the understudy assignment, whichever is greater.

63:25 Stage Management Email Addresses and Use of Personal Computers and Phones

(A) Email

Upon request of the Stage Manager, the Theatre shall provide stage management

staff with an email account to use for the duration of an engagement.

(B) Computer Access

In order to complete stage management duties throughout the engagement

period, all Stage Managers and Assistant Stage Managers must be offered

access to an appropriate working computer or laptop and updated software

suitable for the requirements of the job, including those occasions when video

conferencing is necessary. In the case where a desktop computer is offered, it

must be in an accessible location.

Should the Theatre be unable to offer the above, the Theatre may, at the Artist’s

discretion, ask the Stage Manager and/or Assistant Stage Manager to use their

personal computer or laptop at a fee of twenty-five dollars ($25.00) per week. The

terms shall be included in a rider to the Artist’s CTA Engagement Contract.

The nature of any anticipated costs to the Artist for cell phone usage while on tour

or while working in locations without free Wi-Fi shall be negotiated and agreed

upon prior to the signing of the Artist’s CTA Engagement Contract.

It is the spirit of this Clause that the Artist will not be out of pocket for cellular

expenses over and above their regular monthly bill as a result of completing their

stage management duties.

(D) Payment

Payment for the personal use of a computer or cell phone data usage will be made

upon receipt of an invoice from the Artist. In the case of cell phone data usage

sufficient paperwork outlining the usage will also be supplied by the Artist to the

Theatre with the invoice.

63:26 Stage Management in Wardrobe

Where Stage Management personnel or Apprentice Stage Managers are required to be

costumed for a production, they shall be paid a fee of not less than that outlined in

Clause 16:11(A) Additional Duties.

All wardrobe pieces shall be maintained as per Clause 27:05.

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63:27 Personal Leave for Stage Managers

Provided that the number of Artists engaged as Production Stage Manager (if

applicable), Stage Manager and Assistant Stage Manager is not reduced, the Theatre

may engage an Artist for less than a two (2) week minimum period to cover a planned

personal leave on the following conditions:

(A) The training period for a Stage Manager or Assistant Stage Manager covering for

a personal leave under this Clause 63:27 shall be determined by the Theatre and

the Production Stage Manager or Stage Manager, as applicable. An Artist

engaged under this Clause 63:27 shall have at least one (1) rehearsal or

performance as a training period.

(B) A replacement Artist may be engaged for rehearsal and/or performance.

than 1/6th of the applicable minimum weekly fee for rehearsal days, and 1/8th of

the applicable minimum weekly fee for each performance worked. For purposes

of clarification, shadowing a performance during the training period shall be paid

as a rehearsal.

(D) A reduction, if any, in the compensation for an Artist taking a personal leave under

this Clause 63:27 shall be negotiated at the time the personal leave is requested.

(E) A replacement Artist who has already been engaged in a production under this

Clause 63:27 may, in consultation with the Production Stage Manager, Stage

Manager and/or the individual taking leave under this provision, be engaged on a

daily basis for the same role, without the need for additional training.

(F) The Theatre shall top up the Artist’s insurance premium for any days not worked

in an Engagement Week in accordance with 16:10(D) of the Agreement.

(G) Any absences taken under this Clause 63:27 shall be at Theatre’s sole approval,

which shall not be unreasonably withheld. The Theatre shall respond to an Artist’s

request under this Clause 63:27 within forty-eight (48) hours of receipt of such

request, which must be in writing. Personal leaves are a discretionary benefit and

not an entitlement under the CTA Engagement Contract. The conditions of any

personal leave taken hereunder are as follows:

(i) Except in the case of emergencies, the Artist must provide the request in

writing at least one (1) week prior to the desired leave;

(ii) Leave is granted at the sole discretion of the Theatre, such permission not

to be unreasonably withheld;

(iii) Leaves do not accumulate or hold monetary value at the end of a CTA

Engagement Contract;

(iv) Leaves may be canceled without notice only in the event of an emergency

which, at the discretion of the Theatre, severely compromises the ability to

safely run a performance, or which may cause the performance to be

canceled;

(v) Leaves do not release the Artist from their obligations under the CTA

Engagement Contract, including obtaining permissions for travel, or

permissions for concurrent engagements, or any other duties or obligations

of the Artist.

(vi) Leaves will not be requested during the period between December 24 and

January 1.

CTA 2024-2027 | page 204

64:00 INTIMACY DIRECTORS

On occasion, a production may contain scenes and/or moments with Intimacy that the

Theatre may determine require special expertise to ensure the comfort, well-being and

safety of the Artists involved. When this expertise is required, an Intimacy Director shall

be contracted according to this Article 64:00.

The term Intimacy Director used in this Agreement refers to an Artist who specializes in

choreographing or staging scenes and moments of Intimacy. Due to the evolving

provisions around the practice of staging Intimacy, guidelines for the engagement of

Intimacy Directors will be evaluated as the standard continues to mature and the number

of individuals who meet those standards keeps pace with the growing demand.

Exclusions

When engaging a member of Equity as an Intimacy Director, the following conditions do

not apply:

5:06 Exclusive Service of the Artist

8:06 Auditions

16:11(A) Additional Duties

16:13 Actor Point of Origin Minimum Fees

16:16 Additional Services Fees

16:19 Overnight Rest Period Infringement

25:00 Costume Fittings

26:00 Performances

27:00 Clothes and Makeup

31:00 Nudity and Acts of Intimacy in Production

34:01 Continuous Engagement

34:02 Engagement Contracts - Minimum Period

35:09 Roles Unassigned at Time of Contracting

38:00 Termination

39:00 Understudies

40:00 Changes in Cast and Replacement of Actors

41:00 Part Cut Out

45:00 Visual or Sound Recordings (Use in Production)

46:07 Recording after Production Closed/Artist Leaves Production

48:00 Artist’s Leave

49:00 Touring

60:00 Directors (except as specified in Clause 61:09)

62:00 Choreographers

63:00 Stage Management

64:01 Requirement for an Intimacy Director

The Theatre will determine if staging requires an Intimacy Director. If, following

consultation with the Theatre, an Artist in a production wishes to have an Intimacy

Director made available to them, their request shall not be unreasonably denied.

(A) Intimacy

Intimacy may include, but is not limited to: prolonged kissing, heavy petting,

implied genital contact, acts of a sexual nature, physical contact between a minor

and an adult as determined in consultation with the parent/legal guardian,

instances or direction where an Actor feels that additional consideration is

required.

(B) Violent Intimacy

It is strongly recommended that an Intimacy Director and a Fight Director are

engaged for scenes of violent intimacy, whether the scene depicts these acts to

be consensual or not.

CTA 2024-2027 | page 205

64:02 Pre-production Meeting

The Theatre will make reasonable efforts to include the Intimacy Director in pre-

production meeting(s) which the Intimacy Director will make reasonable efforts to attend;

alternatively, the Theatre may consult with the Intimacy Director about the expected

requirements of the production(s).

64:03 Intimacy Director Minimum Fees

The minimum fees for Intimacy Directors shall be as specified in the current CTA Fee

Booklet.

(A) Payment Schedule

The Contractual Fee shall be payable as agreed between the Intimacy Director

and the Theatre and will be set out in the CTA Engagement Contract. In the case

of a per production contract, the Intimacy Director’s contract shall be completed

at the end of the day of the official opening, or the final understudy rehearsal if

that is later. Notwithstanding the above, no additional contract or fee is required

for consultation as set out in Clause 64:07 below.

(B) Hourly

The Artist may only be engaged on an hourly basis for any scene or moment of

Intimacy which can be appropriately set and rehearsed in no more than two (2)

calls. An Artist can then be called on an hourly basis to review and correct for up

to two (2) additional calls.

64:04 Engagement Contract

Where an Artist is engaged on a weekly, daily or an hourly basis, the CTA Engagement

Contract shall specify the intimate act(s) to be set as well as the anticipated amount of

rehearsal time allocated to each intimate act.

(A) Multiple Productions

An Intimacy Director may be engaged for more than one (1) production on a single

CTA Engagement Contract. Each production and its anticipated schedule will be

listed on the contract or rider attached thereto.

(B) Non-continuous Engagement

The Artist may be engaged on a non-continuous basis for a period of one or more

hours, one or more days, one or more weeks, or any combination thereof, on a

single CTA Engagement Contract. Hours need not be consecutive, nor is any

minimum number of hours required.

Any Artist who is an Intimacy Director and is currently under engagement to the

Theatre may be offered either a concurrent CTA Engagement Contract or a rider,

the terms and conditions of which are no less favourable than those set out in this

Article.

(D) Contractual Fee

The negotiated Contractual Fee for the engagement shall be specified on the CTA

Engagement Contract, and may not be subsequently reduced.

64:05 Travel

The Theatre shall provide round-trip transportation in accordance with Article 30:00. For

non-continuous engagements, the Theatre and the Intimacy Director will negotiate

appropriate additional travel arrangements.

64:06 Understudy and Replacement Rehearsal

The first time Understudies and replacement Actors rehearse scenes or moments of

Intimacy, these rehearsals shall be under the supervision of the Intimacy Director.

Where the Theatre deems appropriate, the Intimacy Captain or a designate of the

Intimacy Director approved by the Theatre may supervise subsequent rehearsals.

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64:07 Intimacy Direction Altered Without Consultation

After the completion of the rehearsals, the work of the Intimacy Director shall not be

altered by the Theatre or any of the Theatre’s representatives without prior consultation

unless:

(i) Required by emergency; or

(ii) The physical conditions of the theatre necessitate change and/or deletions. If

there is a need for changes or deletions to the original intimacy direction, the

Theatre will make every reasonable effort to contact and consult with the Intimacy

Director. Where the Intimacy Director does not agree with the changes made, they

shall have the option of having their name removed from programs and publicity

materials produced subsequent to the notice to remove their name.

(iii) If the Intimacy Director’s work is altered and they have not been consulted, the

Theatre shall pay the Artist four (4%) percent of their original Contractual Fee for

each week or part thereof of the breach.

64:08 Director Clauses

The following Clauses of Article 60:00 Directors shall apply to the engagement of an

Intimacy Director:

Clause 60:07 Custom of the Trade

Clause 60:10 Termination

(A) Director’s Royalty

If the Artist is engaged on a per production basis, the provisions of Clause 60:06

(Director’s Royalty) shall also apply to that engagement.

(B) Recorded Productions - Minimum Fees

For visual recordings or broadcast of a production which include a scene or

moment of intimacy or part thereof, the provisions of Clause 46:02 shall apply.

This provision does not apply to radio broadcasts or audio recordings.

64:09 Intimacy Captain

(A) Requirement

In consultation with the Intimacy Director, the Theatre shall engage an Intimacy

Captain unless it is mutually agreed by the Intimacy Director, the Director and the

Actors(s) involved in the intimacy that an Intimacy Captain is not required.

If, in accordance with Article 31:00 and Article 64:00, the Theatre engages an

Intimacy Director, and if that person is not engaged for the duration of the

production, the Theatre, in consultation with the Intimacy Director and the Actor(s)

involved, shall assign an "Intimacy Captain" to monitor the Scenes and/or

moments of intimacy for the duration of the production. The Intimacy Captain shall

monitor the stage Intimacy for the run of the production. The Intimacy Captain will

be remunerated at the additional duty rates as stipulated in the current CTA Fee

Booklet under terms no less favourable than those of Clause 61:10, Fight Captain.

(B) Responsibilities

An Intimacy Captain may be made responsible for the following services and

duties: observe all intimacy rehearsals, consult with the Intimacy Director on all

aspects of the intimacy scenes, conduct and monitor all run-throughs of the

intimacy scene(s) or moment(s) prior to performance, make adjustments relevant

to the intimacy scene(s) while on tour or in emergencies, call intimacy rehearsals

as necessary in consultation with the Stage Manager.

65:00 PARAGRAPH HEADINGS

The paragraph headings used herein are inserted for convenience only and are not part

of the CTA.

66:00 TERM OF AGREEMENT

The CTA becomes effective on June 24, 2024 and expires after 11:59 p.m. on June 20,

2027.

CTA 2024-2027 | page 207

SCHEDULE "A"

The Rates for 2021-2024 shall be as specified in the current CTA Fee Booklet.

APPENDIX I INTENT OF CLAUSE 11:02 RE: DIRECTOR OR

CHOREOGRAPHER'S CONTRACTUAL FEE

Letter of Understanding that, with the removal of the modifier "weekly", it is not the intent of

Clause 11:02 to deduct one-sixth (1/6) of a Director or Choreographer’s Contractual Fee under

the provisions of this (Article).

APPENDIX II SIDE LETTER RE: THE APPLICATION OF CLAUSE 63:08

The Artist’s engagement history with the Theatre prior to 2015 shall be included in the

qualification criteria enumerated in Clause 63:08(A). However, where such history would make

the Artist immediately eligible for a higher level of benefits under the Theatre’s policy which

would otherwise take more than one (1) year to attain, the Artist shall receive the first level of

additional benefits in excess of the provisions of the CTA in the first year of the CTA, the next

level of additional benefits in the second year of the CTA, and so on, until the applicable level

of benefits is achieved based upon the number of seasons that the Artist has worked for the

Theatre overall.

APPENDIX III SIDE LETTER RE: DYNAMIC PRICING PILOT PROJECT

PACT and Equity have agreed to continue the pilot project for the 2024-2027 term of the CTA

to facilitate the implementation of a Company Category calculation to accommodate dynamic

pricing for venue based organizations.

In order to minimize potential administrative issues, PACT and Equity will develop a worksheet

that must be utilized by a Theatre that undertakes dynamic pricing. The parties agree to review

and make mutually acceptable revisions to the formula or process as required.

At the end of the term of this Agreement the parties will do a final review to determine the

success of, or issues arising from, the pilot project.

1:00 Formulae for Dynamic/Variable Pricing

For Theatres that implement dynamic pricing on a per production basis or within a series,

the following terms and conditions shall apply:

(A) For Dynamic Pricing on Single Productions, Not Part of a Series

The Theatre shall calculate the Company Category in accordance with Clause

15:02(A) on the worksheet provided. If an increase to pricing is introduced during

the run of the production, the Theatre will complete a revised electronic Company

Category calculation worksheet, and for verification a print-out of pricing directly

from the box office system and submit the documents to PACT and Equity.

(B) For Dynamic/variable Pricing for Production Within a Series

The Theatre shall calculate the Company Category in accordance with Clause

15:02(B), on the worksheet provided, and should an increase in single ticket

prices be implemented during the run of a production a revised electronic

Company Category calculation (productions calculated on a pro-rata basis) and

for verification a print-out of pricing directly from the box office system, and submit

the documents to PACT and Equity.

The calculation will indicate if the pricing changes are for the current production

only, or if the pricing will remain in effect for sales on future production(s).

CTA 2024-2027 | page 208

2:00 Compensation Changes Resulting from Dynamic/Variable Pricing

(A) Retroactive Payments to Artists

For single productions or for a single production within a series where a pricing

change results in a change to a higher Company Category, the Theatre shall pay

to the Artists retroactive to the start of rehearsals and through to the end of the

run any differential between the new company category minimum fee and each

Artist’s current Contractual Fee. The Theatre shall also apply any required

adjustments to benefit remittances and remit the full amount of the adjustment to

Equity with their next scheduled remittance payment. Riders confirming the new

Company Category, and indicating adjustments in fees will be issued to all

affected Artists.

(B) Company Category Continuance

For a production within a series where the pricing change results in a higher

Company Category and the Theatre does not revert to previous pricing, the

Theatre’s Company Category will remain at the higher category for the remainder

of the season. Riders confirming the new Company Category, and indicating

adjustments in fees will be issued to all affected Artists.

3:00 No Lowering of Company Category

The Theatre’s Company Category shall not be lowered as a result of dynamic pricing.

4:00 Pricing Adjustment Documentation

The Theatre, at the request of Equity, shall provide documentation to Equity sufficient to

confirm single ticket pricing in all categories for all performances where pricing has been

adjusted.

APPENDIX IV SIDE LETTER RE: PERFORMING ARTS LODGE BENEFIT

PERFORMANCE

Theatres recognize the value and importance to our communities of the Performing Arts Lodges

of Canada (PAL) and its regional chapters. Each Theatre will endeavour to provide financial

support to their local or regional chapter.

A Theatre may elect to provide support to PAL by means of a scheduled benefit performance or

audience collection. A benefit performance is a regularly scheduled performance, or one in

addition to the regular schedule of performances, for which the proceeds are donated to PAL.

A Theatre may, with a minimum of two (2) weeks' notice to the Artists, Equity and PACT,

schedule an extra performance, that is to say a ninth performance in a regular Engagement

Week, or a performance on a normal Free Day, as a benefit performance for PAL. In such

performances, Artists will take part without additional remuneration.

Alternatively, a Theatre may schedule a benefit activity for PAL in accordance with Equity’s

Guidelines for Benefits and Fundraisers except that Equity’s permission will not be required prior

to the scheduling of the benefit. In such cases the Theatre shall notify the Artists, PACT and

Equity no later than two weeks prior to the activity taking place. For any benefit activity that

requires variances to the Guidelines for Benefits and Fundraisers, other than requesting

permission, the Theatre shall give Equity at least thirty (30) days notice to consider the variance.

Until such time that the variance has been granted by Equity the standard provisions of Equity’s

Guidelines for Benefits and Fundraisers shall prevail.

APPENDIX V SIDE LETTER RE: INFORMATION PROVIDED TO NON-EQUITY

ARTIST BY THE THEATRE

In the interest of full disclosure of information pertaining to membership options available to a

non-Equity Artist engaged under a CTA Engagement Contract the Theatre shall provide to each

non-Equity Artist an information sheet that has been supplied to PACT by Equity.

CTA 2024-2027 | page 209

APPENDIX VI SIDE LETTER RE: ELECTRONIC STATEMENTS

PACT and Equity agree that the parties may benefit from the increase in ability to conduct

administrative functions electronically. To that end, Equity will explore the feasibility of issuing

statements to Theatres as stipulated in Clause 16:15 by electronic means.

APPENDIX VII PAST PRACTICE ACTIVITIES

Notwithstanding the provisions of Article 22:00, Equity and PACT agree that certain Theatres’

historical practices are reliant on terms and conditions available in prior CTA agreements. Where

there is disagreement upon the application of terms or conditions to past practice activities, the

matter will be referred to the Joint Administration Committee.

The nature of the activities fall under several categories of non-member engagement. The

common element among all such past practice activities is that the use of non-members has

been the Theatre's historical practice on a regular basis prior to the expiration of the 2009-2012

CTA.

A Community Member is defined as a non-professional who is a bona fide member of the

community and who does not intend to make a career in professional theatre.

These activities shall consist of the following categories:

(i) The historical practice of including Community Members, as defined herein, where the

Theatre's mandate, artistic practice, community outreach and/or audience development

require community members' engagement in the production;

(ii) The historical practice of engaging non-members to allow an annual production that the

Theatre would otherwise be unable to mount, or mount on an appropriately substantial

scale, for financial reasons.

Theatres conducting activities under the categories above can avail themselves of the following

non-member quota provisions:

The number of Community Members and/or non-members combined shall not exceed the

following percentages of the total number of Actors in a production:

Company Category A (including A+), B, C, D: 25%

Company Category E, F, G: 33%

All other Actors in the production, who are not Community Members, must be signed to CTA

Engagement Contracts and all will be compensated at not less than the applicable Point of

Origin Minimum Fees.

Theatres having historically conducted activities meeting any of the foregoing criteria will apply

to PACT and Equity for inclusion in the past practice program outlined herein. Once approved

these activities shall not require annual approval unless any material aspect of the activity, or

the Theatre's mandate, changes.

For specific examples of such historical practices please contact PACT or Equity.

APPENDIX VIII SIDE LETTER RE: TOURING - SECTOR 2 PRODUCTIONS

The Parties agree to negotiate touring conditions that encourage the free flow of Canadian tours

into the US, including the consideration of minimum terms and conditions for Canadian

companies touring into the US.

CTA 2024-2027 | page 210

APPENDIX IX DECLARATION OF PARENT OR LEGAL GUARDIAN IN THE

ENGAGEMENT OF CHILD PERFORMERS

Please read this form carefully, as well as Article 59:00 of the CTA which describes the minimum

terms and conditions for the engagement of Child Performers. The CTA is available on the

Equity's website (www.caea.com) and at the Equity office and will be provided to you upon

request. In addition, if you have any questions they should be directed to Equity.

(A) If your child is offered a role in a production, you, as the parent or legal guardian, are

required to complete and sign this form and return it to the Theatre prior to your child

commencing rehearsal.

(B) You have the ultimate responsibility for the health, education, and welfare of your child

in making decisions concerning your child with respect to their engagement. We

encourage you to be well informed and ask questions if you are unsure or unclear about

anything to do with your child’s engagement. You should be aware of the basic working

conditions as expressed in the CTA and specifically those in Article 59:00.

considered for this usually means reading the script. It may help you to speak to the

Director or other representative of the Theatre in order to get a clear picture of what the

role entails.

(D) Having familiarized yourself with the requirements of the role, you are required to

disclose hereunder any medical history or condition or any attitudinal or psychological

condition you are aware of that might foreseeably interfere with or affect your child’s

ability to do what may be required.

(E) If you cannot attend, you shall appoint a chaperone for your child. This chaperone must

be over the age of eighteen (18). It is strongly recommended that this person have your

confidence to act in your child’s best interests. The appointment shall be in the form of

Appendix X and must be completed in triplicate, one (1) copy to be delivered to the

Theatre, one (1) to Equity, and one (1) for you to keep.

(F) As you may not be available at all times, please fill out and return the Emergency Medical

Authorization form attached, allowing the Theatre and/or your chaperone to obtain

emergency treatment when you cannot be contacted at once.

(G) You are also responsible for ensuring that your child’s education is taken care of when

your child is working. If your child is required to work during regular school days and this

interferes with your child’s education, you should consult the school principal or your

child’s teacher and ask them what tutoring the child may need. The Theatre will make

allowances within the schedule for the tutoring plan proposed by the principal or teacher,

but it is up to you to make sure this is taken care of.

Your signature on this form indicates that you have read and understood this Appendix. Please

sign and date this form and deliver it to the Theatre as soon as possible.

Dated ______________________________

Parent or legal guardian (print name) ______________________________

Parent or legal guardian’s signature ______________________________

Minor's name ______________________________

Witness print name ____________________________

Witness address ______________________________

______________________________

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APPENDIX X APPOINTMENT AND CONSENT OF CHAPERONE

Appointment of Chaperone

To ______________________________

(name of Theatre)

Re ______________________________

(name of Production)

(A) I, ________________________________ (name of parent/legal guardian), am the

parent or legal guardian of (name of Child Performer), who is under the age of sixteen

(16).

(B) I hereby appoint (name of Chaperone) to be the Chaperone of the above noted Child

Performer, my child.

during the Production.

(D) I warrant that the Chaperone I have appointed has my full authority and confidence to

supervise and care for the above noted Child Performer during this production.

Dated ______________________________

Parent or legal guardian’s print name ______________________________

Parent or legal guardian’s signature ______________________________

Parent or legal guardian’s telephone number ________________________

Consent of Chaperone

I, ________________________________ (name of Chaperone), have read and familiarized

myself with Article 59:00 of the CTA and the script with respect to the role to be played by (name

of Child Performer).

I understand that my responsibility is to ensure that the best interests of the Child Performer in

my care prevail at all times, and I consent to assume this responsibility. I warrant that I am at

least eighteen (18) years of age.

Dated ______________________________

Chaperone’s signature print name ______________________________

Chaperone’s signature ______________________________

Chaperone’s telephone number ______________________________

Witness print name _____________________________

Witness address ______________________________

______________________________

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APPENDIX XI EMERGENCY MEDICAL AUTHORIZATION FORM

Emergency Medical Authorization

To ________________________________

(name of Theatre)

Re ________________________________

(name of Production)

I, ________________________________, am the parent or legal guardian of a Child Performer,

who is a Child Performer engaged under the terms of the CTA, and I hereby authorize the

Theatre or its designate to arrange for provision of medical treatment for my child in the event

of an emergency. This authorization will be used only when I or another parent or legal guardian

of the Child Performer is unavailable to provide the consent.

Dated ________________________________

Parent or legal guardian’s print name _______________________________

Parent or legal guardian’s signature ________________________________

Parent or legal guardian’s telephone number__________________________

Witness print name _______________________________

Witness address ________________________________

________________________________

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APPENDIX XII SIDE LETTER RE: SCOPE

It is understood that should PACT alter its bylaws respecting membership during the term of this

agreement, it will not affect current PACT members’ obligations under this agreement. Regular,

Associate or Sector 2 members who are currently bound by the CTA will remain bound by the

CTA unless: they are in default of their PACT membership; there is a change in their

membership status due to a notice to PACT of a change in their operations; or as a result of

withdrawal from PACT.

A change in a PACT membership designation as a result of a PACT bylaw change will not

change or obligate a Member’s adherence to the CTA expect as stated in the provisions above.

In no way will a change in the definition of PACT membership be used to temporarily circumvent

or temporarily suspend a Member’s obligation to the CTA.

APPENDIX XIII EDUCATIONAL RECORDINGS

For recording of full productions for use in the educational sector, Artists will be signed to the

applicable ACTRA contract under the IPA at a rate of fifty (50%) percent of the appropriate Net

fee for recording for livestreaming and/or fifty (50%) percent of the appropriate Net fee for

recording of productions to be shared on Digital Media or Compact Devices. Such recordings

will only be made available to educational institutions.

In addition, the Theatre will remit to the Artist a ten (10%) percent use fee of the total Net fee as

a use fee for a four (4) week period of livestreaming. Digital Media and Compact Device use of

the recording for educational institutions for five (5) years will require the remittance of an

additional ten (10%) percent of total Net fee as a use fee to the Artist. Subsequent use after five

(5) years will require an additional ten (10%) percent of the original Net fee to be paid to each

Artist.

The Theatre shall remit to ACTRA the applicable Insurance, Retirement and Dues as outlined

in the IPA.

APPENDIX XIV SIDE LETTER – COMMUNITY ENGAGED ACTIVITIES

PACT and Equity agree to meet every twelve (12) months for the term of this Agreement to

review information about Community Engaged Activities and to evaluate the success of the

intentions described in Article 2:00 Scope: Clause 2:04(C) Community Engaged Activities. The

participants in these meetings shall include individuals who were present in the negotiation of

this Clause.

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APPENDIX XV COMMUNITY ENGAGED CONTRACT

This engagement contract must be signed by the Theatre and Artist prior to the beginning of

engagement.

The Theatre warrants and represents that the full terms and conditions of this agreement have

been discussed by the Theatre and Artist. This agreement is entered into having those terms

and conditions disclosed and agreed upon by both the Artist and Theatre. The Theatre further

warrants and represents that the activity being contracted under this agreement conforms to the

wording and intent of community engaged practice within the CTA.

The Artist warrants that the disclosure above by the Theatre and in accordance with 11, 12, and

14 below has been completed to the Artist’s satisfaction and that the Artist is in agreement that

the activity conforms to the wording and intent of community engaged activity in the CTA. It is

understood that any significant alteration to the scope, time commitment, or schedule of the

activity will require additional discussion with the Artist.

Agreement made on ___________________

between

___________________________________________

(hereinafter called “Theatre”)

Address ___________________________________________

___________________________________________

and

___________________________________________

(hereinafter called “Artist”)

Address ___________________________________________

___________________________________________

1. The term of this agreement is from ________________________________ through

_____________________________.

2. Total remuneration for this agreement is ___________________________________

($___________.____).

3. Payment Schedule is as follows:

4. Name of Project (if known) ______________________________________________

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5. Description or nature of the activity (include name or description of community(ies) and

intention of the project):

6. Where the Theatre has elected to post or insure a bond, the payment schedule is set

out as above.

Where the Theatre has elected to forgo a bond, the Theatre will remit to the Artist the

full payment due at the commencement of this agreement.

7. The Artist declares, and assumes responsibility to be and remain, a member in good

standing of Equity.

8. The Theatre on behalf of the Artist will deduct and remit to Equity insurance premiums,

RRSP contributions and working dues as required by Equity. Remittances for the total

duration (re: insurance) or value of this agreement (re: RRSP and Dues) shall be

forwarded to Equity in advance of the start date of this contract if the total remuneration

is paid to the Artist in advance. Otherwise, remittances will be made on a weekly

schedule as payment to the Artist.

9. The Artist is a member of Canadian Actors’ Equity Association and is being engaged

under the terms of this agreement. The Artist has been informed of the expectations of

this contract, including anticipated hours of work, housing and travel arrangements (if

any). It is understood that the term of engagement may include work within communities

outside the Artist’s regular place of residence and such locations have been consented

to by the Artist.

10. It is further understood that the project spans the term stipulated above and may include

unpaid hiatuses, which will be consented to prior to signing of this agreement. During

any such hiatus, the Artist is no longer under obligation to the Theatre, however the

Theatre must remit insurance payments for any hiatus week or part thereof, which

amounts shall be added to the total/weekly fee. The insurance premium for these

activities shall be $20 per week.

11. When performing in a PACT Signatory Member’s venue, the producer warrants that the

fee for each performance will at least meet the venue’s applicable minimum fee on a

weekly or pro-rata basis for the duration of the performances.

12. The Theatre confirms that the Artist will be protected by no less than the minimum

standards of applicable health and safety laws and regulations and will meet the

minimum standards of provincial or federal labour standards, as applicable.

13. The standard CTA Clauses for Termination and Article 9:00, Harassment and

Discrimination apply to this agreement.

14. It is understood that the use of any recording made of the activity in its entirety for

commercial purposes requires the agreement of ACTRA.

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15. This agreement plus the disclosed and agreed upon terms constitute the full agreement

between the Artist and the Theatre. Should a dispute arise between the Theatre and the

Artist, PACT and Equity will, upon request, act as representatives or intermediaries in

the settlement of any such dispute as per the dispute resolution in the CTA.

Signed on _______________________

between

_________________________________________________

(“Theatre”)

and

_________________________________________________

(“Artist”)

Copies to Equity and PACT

APPENDIX XVI SIDE LETTER RE: THEATRE FOR YOUNG AUDIENCES

Equity and PACT both acknowledge the extremely important role Theatre for Young Audiences

(TYA) plays in the landscape of Canadian theatre not only for our audiences and members, but

for the general public.

As such, both parties agree to form a committee of no fewer than four (4) people representing

TYA Theatres and four (4) people representing Equity to evaluate the current needs and realities

of Theatre for Young Audiences. The committee shall review all clauses pertaining to TYA and

shall submit its recommendations to the 2027-2030 negotiating committees by December 31,

2026.

APPENDIX XVII OCCASIONAL STAGE MANAGERS

The industry experienced an exodus of stage managers during the pandemic; and many have

not returned, even with theatres re-opening. Theatres and Equity (and therefore PACT and

EQUITY) members share an interest in creating flexible working models that provide

opportunities for Artists to remain in the industry in a sustainable way that does not compromise

a Theatre’s ability to also operate sustainably.

Stage Managers have indicated they are seeking a healthier work/life balance; and Theatres

are looking for ways to engage Stage Managers in a way that will also provide sufficient support

and coverage throughout the life of a run.

Proposal:

PACT proposes a pilot project that introduces the concept of occasional contracts for Stage

Managers. For guidance we have looked to our counterparts in the United States and the Off-

Broadway Rulebook, which has a provision for short-term stage managers who may be engaged

on a daily and per-performance basis.

At this time, we are proposing this as a tool that would operate in addition to the minimum staffing

formulae already existing in the CTA - and we are not proposing changes to those formulae.

This pilot project is not meant to supplant existing Stage Management rules, including provisions

for the hiring and training of Apprentice Stage Managers. This is a new tool that we are proposing

in an effort to address the Stage Management shortage, work-life balance, additional coverage

needs not already addressed in the CTA, etc. PACT and Equity share an understanding of the

vital roles Stage Managers, Assistant Stage Managers and Apprentice Stage Managers play in

the life of a production. Together, we will continue building a framework for attracting, training,

retaining and supporting a healthy stage management community.

CTA 2024-2027 | page 217

Parameters:

For the purpose of this proposal, “stage management” shall refer to Stage Managers AND

Assistant Stage Managers.

The role of “occasional stage manager” should be seen first and foremost as a relief position,

established to provide additional support to a stage management team at any point during a

production. Productions utilizing this pilot project must remain fully staffed by the primary team,

as determined by Clause 63:05 (D); occasional stage management should only be seen as

supplemental coverage.

The Theatre may use the occasional stage management position as a way to proactively build

coverage for the primary team of Stage Managers.

This pilot may be used as job sharing only if requested by the Stage Managers who would be

involved and must be agreed to by the Stage Managers and the Theatre.

Contract:

The Theatre may choose to engage an occasional Stage Manager at any point during an

engagement, only upon consultation with the primary stage management team regarding the

scope of coverage, timelines, and needs of the production. In order to make this project as

accessible as possible to the Theatres, aside from the minimum training period requirements,

there is no minimum engagement period required for the hiring of an occasional Stage Manager.

However, Stage Managers have the right to negotiate for additional training time and/or

compensation.

Stage Managers engaged on an occasional basis would be placed on a CTA Engagement

Contract.

Training:

The training period required for an occasional Stage Manager to learn a specific track shall be

determined in consultation with the occasional Stage Manager, the Theatre, and the primary

stage management team, but shall not be less than as specified in paragraph two of Clause

63:24 Stage Management Understudy Assignment.

Workweek:

After learning their required track, the occasional Stage Manager may be engaged on an

occasional basis (i.e. fewer than 6 days or 8 performances per week) and may also be engaged

on a daily or per performance basis over the course of a production.

Schedule:

The Theatre and the occasional Stage Manager shall mutually agree on a schedule, which will

be noted in a rider to the occasional Stage Manager’s contract. Additional days and/or

performances may be added subject to the occasional Stage Manager’s availability and

consent. In the event an end date is not specified on the CTA Engagement Contract, the

occasional Stage Manager’s contract may be terminated in accordance with Article 38:00 of the

CTA.

Compensation:

Payment for each day worked during the Training Period shall be 1/6th of the applicable

minimum fee, regardless of service provided.

After the Training Period, the occasional Stage Manager shall be paid 1/6th of the applicable

minimum for a rehearsal day or 1/8th of the applicable minimum per performance.

In the event an occasional Stage Manager is re-engaged for the same production and more

than three (3) months have elapsed since the occasional Stage Manager’s last engagement

day, the Stage Manager must be given sufficient training time to re-learn the specific stage

management track(s), which shall include the Stage Manager shadowing the appropriate

member of the primary stage management team for at least one (1) performance or one (1)

complete dress run through rehearsal on stage; otherwise the provisions for Clause 63:23

Emergency Replacement will apply.

CTA 2024-2027 | page 218

Where the Theatre needs to access Clauses 63:23 Emergency Replacement or 63:27 Personal

Leave and the Theatre chooses to use one of the production’s previously engaged occasional

Stage Managers, the payment structures laid out in those Clauses shall apply if more than three

(3) months have elapsed since the occasional Stage Manager’s last engagement day;

otherwise, the payment structure laid out in this pilot project shall apply.

Insurance:

The occasional Stage Manager shall receive a full week of insurance for all weeks in which they

provide services. The Artist shall have the insurance premium deducted for the days they work,

and the Theatre shall top up the insurance premium for the unworked days in the Work Week.

If the occasional Stage Manager is not providing services within a work week, the Theatre shall

not pay insurance for that week.

Data Tracking:

As this is a pilot project, the Theatre agrees to detail exactly how the occasional Stage Manager

was used on any production they are contracted for and submit the summary to both Equity and

PACT at the end of the occasional Stage Manager’s engagement period.

During the next negotiation period for the CTA, Equity and PACT will analyze the data from this

project with a view to incorporating occasional stage management terms and conditions in the

subsequent CTA.

CTA

2024-2027

National Office

44 Victoria Street, 12

floor

Toronto, ON M5C 3C4

Tel: 416-867-9165

info@caea.com

307-250 The Esplanade

Toronto, ON M5A 1J2

Tel: 416-595-6455

info@pact.ca

www.pact.ca

Western Office

Tel: 604-809-1046

woffice@caea.com