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FEB 1 2 2008

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LYRA OTTAWA

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5555~55~555§~ ~~ONTARIO

OPERA AGREEMENT

2007 ~ 2010

The Agreement shall take effect on

July 1, 2007 and will terminate on June 30, 2010 .

.---~

FitF No. ~ (..-·/',1. ·• ' I (f

r--- . "-') I _1 '-· h"

C''<H_ FILE

GEET.DATE -----TOTAL EMPS rs EFF. DATE e>t.....-cfuL - z__oo7

EXP.DATE 31J -:s U-ne -"2-.DI f---

DATfl CODE GODING CONTROL SOCIATION

IDENT CODED I RECEIVED- .;L..L it:~~ UNION I I EMPLOYfR ·.· .

""' OTHER

( (

rABLE 0 F

PREAMBLE ----------·····-····-------------··--···--···----------------··· 1

A. Definition of Engager -----------------------------------------1

B. Recognition of Equity -------------------------------------------1

C. Non-Professionals---------------------------------------------1

D. Individual Regional Schedu\es------------------------------1

E. Application for Changes or Alterations----------------------1

F. Use of Masculine and Feminine -------------------------------1

G. Paragraph Headings and Indexes ------------------------1

1:00 GENERAL --····-···-----------------------------------·····--·· 1

1:01 1:02 1:03 1:04

2:00 2:01 2:02 2:03 2:04

3:00 3:01 3:02 3:03 3:04

4.00 4:01 4:02

5:00 5:01 5:02 5:03 5:04 5:05 5:06

6:00 6:01 6:02 6:03

7:00

7:01 7:02

7:03 7:04 7:05 7:06 7:07 7:08

8:00 8:01 8:02 8:03 8:04

9:00 9:01

10:00 10:01 10:02

11:00

Recognition of Equity -----------------------------------------1

Negotiation of Individual Engagement Contracts ------------1

Management RightS -·········-······•w·-··-----------··-----1

Equity LOgO··ww···-•w··-•w··--w•·--··-------·---------- --------·---1

EQUITY MEMBERSHIP------------------------------------1

Artists in Good Standing-----------------------·----------------1

Deductions ---------------------·-----------------------·-1

Reciprocal Agreements ---------------------·-----------·-------1

Performer Apprentices ------------------------·------·-----w·-1

LAWS GOVERNING THIS AGREEMENT -------------1

Provincial Jurisdiction --------------------------------------------1

Statutory Conflicts --------------------------------------------2

Canadian Statutes-----------------w-------------------------2

Provisions Affected--------------------------------------------2

POWERS OF EQUITY COUNCIL ------------------------ 2

Interpretive Powers oi E4ulty Cvuiicil------- -----2

Interpretative Powers of the Engager -w·-------------------------2

RESPONSIBILITIES OF THE ARTIST----------···----· 2

Membership in Equity --------------------------------------------2

Contractual Obligations --------------------------------------2

Absences from the Engager's Point of Origin-------------------2

Services Provided by the Artist --------------------------------2

Rules and Regulations---------------------------------------2

In dependent Contractor -----------------w·----------------------2

ARTISTS' OBLIGATION TO EQUITY------------------- 2

OA Engagement Contract-----------------------------------------2

Equity Constitution & By-Laws -------------w·-------------2

Membership-------------------------------------------------2

CANADIAN ACTORS' EQUITY ASSOCIATION

SPECIAL PROVISIONS------------------------···---------- 2

Benefits--------------------------------------------------------2

General or Special Membership Meetings- Privilege of

Artists to Attend -------------------------------------------------2

Special Power to Act for Artist ----------------------------------2

Deputies and Representatives ------------------------w·-------3

Communications Committee ---------------------------------3

Secret Vote----------------------------------------------------3

Audition Code ----------------------------------------------------3

Sex and Nudity ------------------------------------------------4

DISCRIMINATION -------------------------------------------- 4

Prohibition of Discriminations -----------------------------------4

Artist Not Required to Render Services -------w----------w-----4

Personal and/or Sexual Harassment----------------------4

Pregnancy and Parental Status--------------------------------4

DISCRIMINATION FOR EQUITY ACTIVITY---------- 5

Prohibition of-----------------------------------------------5

BREACHES -------------------···----------------------------·· 5

Breaches by Engager --------------------------------------------5

Breaches by Artist -------------------------------------------------5

DEFAULTING ENGAGERS -------------------------------- 5

11:01 Engager Not in Default----------------------------------------5

11:02 Requirement to Work -----------------------------------------5

12:00 CONTRAVENTION OF CRIMINAL CODE------------- 5

12:01 Duty Not to Contravene----------------------------------------5

12:02 Duty to Report ----------------------------------------------5

12:03 Withdrawal from Contract ----------------------------------------5

13:00 COMPENSATION--------------------------------------------- 5

13:01 Salaries Paid in Legal Tender--------------------------------5

13: 02 Payment --------------------------------------------------------5

13:03 Fees-Pro-Rated -----------------------------------------~----6

CONTE •• TS

13:04 13:05 13:06 13:07 13:08 13:09 13:10 13.11 13:12 13:13

13:14 13:15

14:00 14:01 14:02 14:03 14:04 14:05 14:06 14:07 14:08 14:09 14:10 14:11 14:12 14:13

15:00

Fees, Non or Partial Payment ----------------~-------~--------6

Additional Duties w----------------w·--w·-----------·------------ 6

Additional Engagement------------------------------------------- 6

Itemized Deductions and Payments --------------------------- 6

Term of Agreement------------------------------·--------- 7

Minimum Fees------------------------------------------------ 7

Compensation on Tour ------------------------w----------------- 7

Engagement Bonus ------------·w----------w------------------ 7

Partial Week Payment----~------------------------------------ 7

Contingent Compensation, On Weekly Gross-Net

Receipts, Profits----·---------~-------------------·--------- 7

Second Stage Fee Structure w-----------------------w---------- 7

Production and Non-professionals Checklist-------------- 8

ARTISTS' CATEGORIES-------------------------------···· 8

Artist ----------·----~------------------·------------------ 8

Actor ---------------------------------w-------~------------------ 8

Understudy------------·-------------------·--------------------- 8

Cover-----------------------------------------------·------------ 8

Production Stage Manager----------------------------------- 8

Stage Manager ------------------------------------------- 8

Assistant Stage Manager --------------------------------- 8

Directors and Assistant Directors----------------------------- 8

Non-Professionals ------------------------------------------------- 8

Extras --------------w·-------------------------------------------- 8

Chit d ------------------------------------------------- 8

Comprimarios ------------------------------------------------------ 9

Presentations------w-------------------------------------------- 9

DEFINITIONS ------------------------------------------------- 9

15:01 Extraordinary Risk------------------------------------------- 9

15:02 Engagement Week-------------~----------------------------- 9

15:03 Point of Origin---------------------------------------------------- 9

15:04 Place of Residence---------------------------------------------- 9

15:05 Pertormance Day ------------w·----------------------------- 10

15:06 Rehearsal Day----------------------------------------------- 10

15:07 Free Day----------------------------------------------------------- 10

15: 08 Season ----------~---------w·--------------------------------1 0

15 :09 Rehearsal --------------------------------·-w·----------------- 1 0

15:10 Dress Rehearsal ------------------------------------------------ 10

15:11 Final Dress Rehearsals with Audiences Present------------ 10

15:12 Run-Through Rehearsal----------------w·-----------w·----- 10

15:13 Emergency Rehearsal--------------------------------- 10

15: 14 Touring ------------------------------------------------------1 0

15:15 Overnight Rest------------------------------------------------ 10

15:16 Chorus Music Preparation--------------------------------- 10

15:17 Half-Hour Call----------------------------------------------- 10

16:00 REHEARSALS -----------------------------------------------11

16:01 Commencement------------------------------------------- 11

16:02 Preparation for------------------------------------------------- 11

16:03 Rest Periods----------------------------------------------------- 11

16:04 Posting of Galls, Performance Schedules and Castingw---11

16:05 Rehearsals on a Free Day-~------------------------------------- 11

16:06 Notice of Additional Rehearsals--------------------------- 11

16:07 Rehearsals Prior to Opening-------------------------------- 11

16:08 Rehearsal Hours for Performing Artists --------w--------------- 11

16:09 Meal Breaks ------------------------------------------------------ 12

16:10 Rehearsal on a Pertormance Day--------------------------12

16:11 Understudy (Rehearsals Only)------------------------------ 12

16:12 Emergency Rehearsal------------------------------------ 12

16:13 Notes ---------------------------------------------------------- 13

16:14 Stage Fighting-------w·---------------------------------------- 13

16:15 Onstage Rehearsals for Understudies and Double-casts- 13

17:00 COSTUME FITTINGS --------------------------------------13

18:00 PERFORMANCES ------------------------------------------13

18:01 Pertormances ------------------------------------------------ 13

18:02 Musical Theatre------------------------------------w------------ 13

18:03 Artist in Leading Role------------------------------------------- 13

18:04 Maximum Number of Pertormances in a Day-~------------ 13

18:05 ----------------------·----·-------------~------------------------- 13

18:06 Maximum Number of Pertormances in a Three Day

Period-----------------------------------------------------13

18:07 Performance on the Free Day---------------------------13

18:08 Notification of Changes------------------------------~-----13

18:09 Half Hour Call --------------------------------------------~- 13

2007-2010 Opera Agreement I Page i

( TABLE OF

19:00 SHOES AND MAKE-UP···············-----··----········13 19:01 19:02 19:03 19:04 19:05 19:06 19:07 19:08 19:09 19:10

20:00

20:01 20:02 20:03 20:04 20:05 20:06 20:07 20:08 20:09 20:10 20:11 20:12 20:13 20:14 20:15 20:16 20:17 20:18

21:00 21:01 21:02 21:03 21:04

22:00 22:01 22:02 22:03 22:04 22:05 22:06

23:00 23:01 23:02

24:00

Supplied by the Engager~---------------------------------------13 Rental-----------------------------------------------------14 Make-Up ------------------------------------------------------14 Body Make-Up---------------------------------------------14 Cleaning and U pkeep--------------------------------------------14 Cleaning Schedule ------------------------------------14 Undergarments--------------------------------------------14 Understudies ~----------------------------------------------- 14 Kneepads -----------------------------------------------------14 Hair Style or Colour ------------------------------------------14 SAFE AND SANITARY PLACES OF ENGAGEMENT········-----···------·----···--·-····--······ 14 Separate Dressing Rooms ------------------------------------14 Open-Air & Tent Theatres -------------------------------------14 Air Conditioning & Ventilation -----------------------------14 Arena Theatres ------------------------------------------------ 15 Blackouts--------------------------------------------------------15 Aisles---------------------------------------------------------------15 Surfaces-------------------------------------------------------- 15 Cot ---------------------------------------------------------------15 First Aids Kits -------------------------------------------------15 Dressing Rooms ----------------------------------------------------15 Drinking Water--------------------------------------------------- 15 Intercom System ----------------------------------------------------15 Equity's Right to Inspect ------------------------------------------15 Smoking -------------------------------------------------------15 Hazardous Materials -----------------------------------------------15 Rre Exits & Procedures ------------------------------------------15 Perceived Risk -------------------------------------------------15 Threats to Safety-----------------------------------------------15 LODGING IN THE POINT OF ORIGIN ·--·-···--·--··· 15 Engager' s ResponsibiJity------------------------------------------15 List of Accommodation ------------------------------------15 Rates---------------------------------------------------------------- 15 Alternative Accommodation --------------------------------16 TRANSPORTATION AND BAGGAGE------·········-16 Transportation of Artist by Engager -----------------------16 Use of Artist's Vehicle ------------------------------------------16 Ground Travel to and from Airport --------------------16 Ground Travel to and from Place of Residence --------------16 Travel to the Point of Origin and Place of Residence --------16 Transportation Tickets in Advance of Travel------------------16 CLAIMS-············-········-··----···----····-······-········ 16 Waiver or Release Not Permissible ------------------------------16 Time Limit in Lodging Claim ------------------------------------ 16 PROPERTY···---············---··--·--··-·-····----········· 16

24:01 Reimbursement ---------------------------------------------16 24:02 Facilities for Safe-Keeping --------------------------------------16

25:00 SECURITY DEPOSIT (BOND) AND SECURITY AGREEMENT·······---···-····-··----··----·-···········-··· 16

25:01 Security Agreements-----------------------------------------------16. 25:02 Maintenance of Satisfactory Security----------------------17 25:03 Posting of Security ---------------------------------------------17

26:00 ENGAGEMENT CONTRACTS··--·-············--·····- 17 26:01 Continuous Engagement ---------------------------------------17 26:02 Guaranteed Period ----------------------------------------17 26:03 Emergency Replacement--------------------------------------17 26:04 Casual Engagement ------------------------------------17 26:05 Most Favoured Nations Prohibited---------------------------- 17

27:00 INDIVIDUAL ENGAGEMENT CONTRACT --······--17 27:01 Requirement to File ----------------------------------------------17 27:02 Determination of Classification---------------------------17 27:03 Change in Classification ------------------------------------------17 27 :04 Effective Date ------------------------------------------------ 17 27:05 Changes and Alterations------------------------------------------18 27:06 Signing Of-------------------------------------------------18 27:07 Quadruplicate Contracts ------------------------------------------18 27:08 Effect of Contracts------------------------------------------18 27:09 Inclusion of Premium/Penalty Payments Prohibited------18

( CONTENTS

28:00 EXCLUSIVE SERVICE OF THE ARTIST-···-···-···--18 28:01 Exclusive Service ---------------------------------------------- 18 28:02 Assignment of Artist's Contract--------------------18

29:00 29:01 29:02 29:03 29:04 29:05 29:06 29:07 29:08 29:09 29:10 29:11

30:00 30:01 30:02 30:03 30:04 30:05 30:06

30:07

31:00

32:00 32:01 32:02 32:03 32:04 32:05 32:06

33:00

34:00 34:01 34:02 34:03 34:04

35:00 35:01 35:03

36:00

37:00

37:01 37:02 37:03 37:04

38:00

38:01 38:02 38:03 38:04 38:05 38:06 38:07 38:08 38:09 38:10 38:11 38:12 38:13 38:14 38:15 38:16 38:17 38:18 38:19 38:20

BILLING, PHOTOS AND PROGRAMMES ·----------18 T curing------------------------------------------------------- 18 In Town ------------------------------------------------- 18 Artist Leaving a Cast ----------------------------------------18 Billing in Use of Production Photos-----------~---------18 Specific Provisions------------------------------------~~~------- 18 Breaches of Billing----------------~------------------- 18 Programmes--------------------------------~·--------------- 18 Billing for Specific Production---------------------------- 19 Errors or Omissions ----------------------------------------- 19 Artist No Longer Under Contract--------------------------- 19 Biographical Materials in Programmes------------------ 19 PHOTOGRAPH CALLS AND PUBLICITY···------·-·19 Photo Calis-------------------------------------------- 1 9 Notice of Photo Calls-------------------------------------- 19 Artist's Availability -----------------~---------------------- 19 Nude Photographs --------------------------------------------- 1 9 Payment for use of a Photograph----------------------- 19 Use of Artist's Image (Still Photos) for Promotional Purposes ----------------------------------------------- 19 Commercial Product------------------------------------------- 20 ADVERTISING OF ARTIST'S NAME--·········--------20 UNDERSTUDIES -·····--···---···--·········-----·--·-····--20 Names in Programme-------------------------------------- 20 Music Rehearsals-----------------~--------------- 20 Performing Artist Engaged to Understudy------------------- 20 Minimum Contract Prior to Performance-------~---------- 20 Additional Compensation-------------------------------- 20 Number of Performances ----------------------------------20 PERFORMANCES AND/OR REHEARSALS LOST ----·····-····---·········-·····-----·-·----····-··---------20 TERMINATION ······-·-----··-·-···--------------------·-··--20 Written Notice ----------------------------------------------- 20 Provisions for Termination------------------------------------- 20 Dispute-------------------------------------------------------- 20 Bereavement Leave---------------------------------------- 20 TERMINATION DUE TO ACCIDENT, ILLNESS ··--21 Extraordinary Risk ------------------------------------------- 21 Notification of Illness ---------------------------------------- 21 RE-OPENING OF PRODUCTION ------··-------------··21 VISUAL OR SOUND RECORDING (USE IN PRODUCTION) ·····----···----·------·------···--·-··--------21 Requirement------------------------------------------ 21 Artist's Agreement ------------------------------------------ 21 Artist Leaving a Cast----------~---------------------·------- 21 Recording Sessions--------------------------------------- 21 PRESERVED PERFORMANCES (RECORDINGS) AND BROADCASTS··---·····--·-------·-------······------21 Scope-------------------------------------------------~------- 21 Notification to Equity---------------------~------~-------------- 21 Specially Prepared Recordings, Calls---------------------- 21 Recordings on a Day with No Performance-----~----------- 21 Preserved Performances-------------------------------------- 21 Specially Prepared Recordings-------------------------------- 21 ACTRA Cant ract ----------------------~-------------------------- 21 Rates ----------------------------------------------------·------- 22 Additional Services Rate ---------------------------------- 22 ACTRA Agreement ------------------------------------------- 22 No Recording on a Two Performance Day--------------- 22 Participation by Artist----------------------------------------- 22 Notification to Artist---------------------------------------- 22 Notice------------------------------------------------------------- 22 Rehearsa I ------------------------------------------------------- 22 Television Spot Commercial---------------------------------- 22 Promotional Recordings-------------------------------------- 22 Current Affairs Program------------------------------- 22 Payment ------------------------------------------------------ 23 Dismissal or Release------------------------------------- 23

2007-2010 Opera Agreement I Page il

TABLE OF

38:21 Preserved Pertormances --------------------------------23

38:22 Archival Recordings----------------------------------------- 23

39:00 STAGE DIRECTORS AND CHOREOGRAPHERS-23

39 :0 1 Fee -------------------------------------------------------- 23

39:02 Payment of Fees------------------------------------------23

39:03 Duties of a Stage Director-------------------------------23

39:04 Consultation Before Signing------------------------------------23

39:05 Consultation After Signing -------------------------------------24

39:06 Duties of a Choreographer-------------------------------- 24

39:08 Royalties ------------------------------------------------------- 2 4

39:09 Billing ------------------------------------------------------24

39:10 Assistant Directors & Assistant Choreographers-------------24

39:11 Rates for Preserved Performances (Recordings and

Broad casts) -------------------------------------------------24

40:00 STAGE MANAGERS ---------------------------------------24

40:02 Vocal Score-------------------------------------------------- 24

40:03 Equity Stage Management------------------------------- 24

40:04 Term of Engagement---------------------------------------- 25

40:05 Rehearsal and Performance Conditions ---------------------25

40:06 Stage Management Staffing Formula --------------------------26

40:07 Payments for Covering------------------------------------------- 26

40:08 Rest Period-------------------------------------------------------- 26

40:09 Billing --------------------------------------------------------- 26

40:10 Performance of Duties ------------------------------------ 26

40:11 Rehearsals Moved to a New Location -----------------------26

40:12 Duties and Responsibilities of Stage Management --------26

40:13 Calling of Rehearsals and Other Cal\s-------------------------26

40:14 Organization of Rehearsals and Performances --------- 26

40:15 Production Score -------------------------------------------- 26

40:16 Maintenance of Artistic and Technicallntentions ------------26

40:17 Scene Change Rehearsals and Cueing Sessions-----------26

40:18 Delegation of Duties --------------------------------------------26

40:19 Prohibited Duties -------------------------------------------27

40:20 Scheduling of Set-Ups, Strikes, Load-Ins and Load-Outs--27

40:21 Control of Backstage Area ---------------------------------27

40:22 Making Calls -------------------------------------------------- 27

40:23 Running and Control of Performance------------------------- 27

40:24 Selection of Stage Management Staff ------------------------27

40:25 Financial Responsibility----------------------------------------- 27

40:26 Duties of the Engager --------------------------------------------27

40:27 Duties of Union Members -----------------------------------27

40:28 Serving Meals ----------------------------------------------27

40:29 Understudying and Performing ------------------------------ 27

40:30 Responsibility of Assistant Stage Managers----------------- 27

40:31 Responsibility of Production Stage Manager----------------- 27

40:32 Payment for Additional Duties----------------------------------27

40:33 Health and Safety -------------------------------------------27

40: 34 Exclusions ------------------------------------------------------- 27

40:35 Apprentice Stage Manager Programme---------------------27

41:00 FIGHT DIRECTORS-----------------------------------------28

41 :01 Requirement for a Fight Director----------------------------- 28

41:02 Engagement of a Fight Director------------------------------ 28

41:03 Contracts------------------------------------------------------ 28

41 :04 Pre-production Meeting----------------------------------------- 28

41 : 05 Travel -------------------------------------------------------- 28

41 :06 Rehearsal------------------------------------------------------ 28

41:07 Changes ---------------------------------------------------------28

41:08 Director and Choreographer Clauses--------------------- 28

42: 00 TOURING ------------------------------------------------------28

42:01 Definition of Run-Out Tour-------------------------------------- 28

42: 02 Contractual Fees --------------------------------------------------- 28

42 :03 Free Day ------------------------------------------------------------ 29

42:04 Tau r Itinerary ----------------------------------------------- 29

42:05 Tour Itinerary and Mail----------------------------------29

42:06 T rave I Insurance -------------------------------------------- 29

42: 07 Travel Conditions --------------------------------------------- 29

42:08 Routes of Travel-------------------------------------------------- 29

42:09 Return to the Point of Origin------------------------------------- 29

42:10 Hotel Reservations------------------------------------- 29

42:11 Health Insurance------------------------------------------ 29

CONTENTS

43:00 TRANSPORTATION ----------------------------------------29

43:01 Travel Time------------------------------------------------- 29

43:02 Route Sheet and Travel Log------------------------------- 30

43:03 Rest Period Before Departure------------------------------- 30

43:04 Prohibited Travel Time------------------------------------------- 30

43:05 Rest Period Prior to Presentation--------------------------- 30

43:06 Rest Period Between Calls---------------------------------- 30

43:07 Tolerance for Delays---------------------------------------- 30

43:08 Prohibition on Exceeding Limits------------------------------- 30

43:09 Reimbursement for Travel Expenses------------------------- 30

43:10 Proof of Insurance------------------------------------------- 30

43:11 Rail Transportation ------------------------------------------ 30

43:12 Transportation (Air)----------------------------------------- 30

43:13 Transportation (Boat) ------------------------------------------- 31

43:14 Transportation (Bus)---------------------------------------- 31

43:15 Travel by Van, Mini Bus or Automobile-------------------- 31

44:00 OVERSEAS RIDER -----------------------------------------32

45:00 SCHOOL TOURING AND COMMUNITY

OUTREACH PROGRAMMES---------------------------- 32

45:01 Billing----------------------------------------------------------- 32

45:02 Engagement of Equity Members------------------------------ 32

45:03 Hiatus -------------------------------------------------------- 32

45 :04 Understudy Parts------------------------------------------------- 32

45:05 Additional Duty----------------------------------------- 32

45:06 First Aid Kits-------------------------------------------------- 32

45:07 Requirement for Equity Stage Manager------------------------ 32

45:08 Company Rules Provided---------------------------------- 32

45:09 Work Week and Working Hours----------------------------- 32

45: 1 0 Travel-------------------------------------------------------------- 33

45:11 Clauses Not Applicable----------------------------------------- 33

46:00 ARBITRATION -----------------------------------------------33

46:01 Disagreement Between the Engager and Equity------------ 33

46:02 Time Limits----------------------------------------------------34

46:03 Equity's Power to Act for Members--------------------------- 34

46:04 Demand for Arbitration--------------------------------------- 34

46:05 Notice in Writing-------------------------------------------------- 34

46:06 Specifics of Notice---------------------------------------------- 34

46:07 Appointment of Arbitrator ------------------------------------ 34

46:08 Procedure for Arbitration-------------------------------------- 34

46:09 Rulings of the Arbitrator Binding------------------------- 34

46:10 No Recourse to a Court of Law--------------------------- 34

46:11 Binding Nature of Arbitration------------------------------ 34

46:12 No Modification of Agreement-------------------------------- 34

46:13 Discipline--------------------------------------------- 34

46:14 Failure to Comply ------------------------------------------------ 34

46:15 Arbitrator's Compensation and Expenses------------------- 34

46:16 Award of the Arbitrator Binding----------------------------- 34

47:00 EN GAGER'S RIGHTS --------------------------------------34

48:00 EXPIRATION OF THIS AGREEMENT -----------------34

48:01 Expiration Date---------------------------------------------- 34

48:02 Submission of Proposals-------------------------------------- 34

49:00 CONCERTS AND RECITALS ----------------------------34

49:01 Definition ------------------------------------------------------- 34

49:02 Engagement of Stage Management------------------- 34

49:03 Engagement of Artist---------------------------------------- 34

49:04 Promotional Recital------------------------------------------ 35

APPENDIX A- Categorization of Roles -------------------------36

APPENDIX B -Side Letter On Electronic Contracts--------64

APPENDIX C - Side Letter Of Understanding Fee

Transition And Future Protection ---------------------64

APPENDIX D - Side Letter Regarding the Application of

Clause 1608 ---------------------------------------------------64

INDEX --------------------------------------------------------------------65

2007-2010 Opera Agreement I Page Iii

(

A.

B.

c.

D.

E.

F.

G.

Definition of Engager

An "Engager" is an entity which contracts for the seJVices of an

Artist and for the purposes of this agreement is orie of the

following: Calgary Opera Association, Edmonton Opera

Association, Manitoba Opera Association, Opera Ontario Inc.,

Opera Lyra Ottawa, Pacific Opera Victoria and Opera Atelier.

Recognition of Equity

The Term "Equity'' as used in this Agreement shall refer to

Canadian Actors' Equity Association. The Engager

acknowledges that Equity represents the following Artists

involved in professional theatre:

singers

dancers

production stage managers

stage managers

actors assistant stage managers

stage directors choreographers

assistant stage directors assistant choreographers

ballet masters/mistresses fight directors

Non-Professionals

The term "Artist" in this Agreement shall mean all the categories

listed in Preamble 8 above with the following exceptions:

(1) Chorus members who are not and have never been

members of any pertorming arts union or association and

who will be included in the non-professional check list to be

filed with Equity in accordance with Clause 13:15.

{2} Comprimarios as defined in Clause 14:12 (including all roles

not identified in the Categorization of Roles schedule) who

are not and have never been members of any performing

arts union or association and who will be signed to non

professional affidavits to be filed with Equity in accordance

with Clause 13:15.

Individual Regional Schedules

The parties recognize specific local situations may exist for an

individual Engager and in order to deal with such 5pecific local

situations, Equity and an Engager may agree to special changes

or alterations to the standard Equity Clauses governing

engagement of Equity members which shall be attached to this

Agreement as a Schedule.

Application for Changes or Alterations

The Engager may apply to Equity to negotiate further changes or

alterations to these Clauses.

Use of Masculine and Feminine

In this Agreement and Clauses, the masculine shall indicate the

feminine or the neuter as may be required.

Paragraph Headings and Indexes

Paragraph headings and the indexes used herein are inserted for

convenience only and are not a part of this Agreement and

Clauses.

!j:!i'ifc g~j.j_E~i' 1:01 Recognition of Equity

The Engager acknowledges and recognizes that Equity is the

exclusive bargaining agent for all persons defined as Artists in

Clause C of this Agreement's Preamble and engaged by the

Engager, except for those situations covered by Clause 1:02

herein. Notwithstanding the exceptions in Clause C, whenever an

Equity member is engaged it shall be under the terms of an

Equity contract.

1:02 Negotiation of Individual Engagement Contracts

Notwithstanding the provisions of Clause 1:01 above, the

Engager may negotiate with Artists and Artists' representatives

and contract such Artists, using contract forms as provided for in

Clause 27:00 and addressing the particular terms of the

individual engagement contracts, without the involvement of

Equity in such individual negotiations and contracting. The

negotiation and terms of the individual engagement contract may

not however waive any of the minimal conditions of or be in

conflict with the terms of this agreement.

1:03 Management Rights

All matters relating to the conditions of work of Artists not

inconsistent with or specifically dealt with by this Agreement or

not otherwise regulated by law are understood to be within the

exclusive prerogatives and domain of the Engager.

1:04 Equity Logo

The Engager agrees to display the Equity emblem whenever

possible in the lobby of a theatre in a conspicuous place near the

box office. The Equity emblem shall be supplied by Equity and

remain the property of Equity and shall be returned on demand.

There must also be a notice in the program to the effect that the

Company is professional and operates within the jurisdiction of

Canadian Actors' Equity Association.

r2:o] '',~cil!\i'ff1t);M!'3ll~$l'IJe '·,· ; ;, 2:01 Artists in Good Standing

As a condition of engagement, all Artists, except non

professionals as provided herein shall be or become members of

Equity, and shall be members in good standing during the entire

term of their engagement.

2:02 Deductions

(A} Membership Fees and Assessments

If the Artist is not in good standing, the Engager agrees to

deduct from the Artist's fee and to remit to Equity such dues,

initiation fees and assessments as may be due to Equity

from the Artist, upon notification from Equity to the Engager

of the amount involved.

(B) Payment of Artist's Equity Dues

The Engager agrees to deduct two percent (2%} of the

Artist's weekly in-town contractual fee from the Artist's

remuneration and remit same to Equity upon receipt of an

invoice from Equity. Such invoice will be presented as part

of the monthly RRSP and Insurance premium invoice.

Any problems encountered with respect to deductions made

pursuant to Clauses 2:02(A) and 2:02(8) must be settled by

the Artist with Equity directly and not with the Engager.

{C) Equity Member Benefits

Equity provides benefits to its members. In order to facilitate

this, the Engager will deduct from fees payable to the Artist,

and remit to Equity in accordance with Clause13:07, such

amounts as directed by Equity. These amounts are to be

established at the commencement of this Agreement, and

may be modified on not Jess than 120 days notice to the

Engager.

2:03 Reciprocal Agreements

Any paid-up member of the Alliance of Canadian Television and

Radio Artists (ACTRA), Actors' Equity Association {AEA) or

Union des Artistes {UdA) shall be subject to the terms of the

applicable reciprocal agreement between Equity and ACTRA, or

between Equity and UdA or between Equity and AEA provided

such agreement is not in conflict with this Agreemenl

2:04 Performer Apprentices

In the interest of nurturing and developing young Canadian

singers and dancers, the Engager may engage up to one (1)

non-professional artist per production as an Apprentice in a

supporting role as defined by Appendix A or the equivalent as a

dancer. The Engager shall be required to pay the Apprentice's

registration fee of one hundred and twenty five dollars ($125.00),

one-hundred dollars {$100. 00) of which shall be credited toward

the Apprentice's eventual joining fees. The Engager shall

demonstrate that the Apprentice resides or has permanent

residence in the province of the Engager's point of origin. This

provision applies to mainstage productions only. A performer

Apprentice may be engaged under terms outside this Agreement.

i3o!lli, ; ~AW$'G9\I~f\NI}lGTI"!Is M~Rll~MIUI"l' f. ' ,,

3:01 Provincial Jurisdiction

Except as provided hereinafter, this Agreement shall be subject

to, and construed by, the laws of the Province in which the

Engager has its headquarters.

2007-2010 Opera Agreement 1 Page 1

(

3:02 Statutory Conflicts

If the provisions of any Statute applicable to the contract of engagement are in conflict wilh the contract, then the contract of engagement shall be deemed to be modified so as to comply with the Statute.

3:03 Canadian Statutes Any Clause of this Agreement illegal in Canada, or any province, territory or municipality thereof, shalf not be affected therein. Any illegality in any Clause or agreement shall not affect any other Clause or agreement.

3:04 Provisions Affected If any provision of this Agreement 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.

'.4;il_o. ;'f1:0:W.E8spftglil.f!;T;f1iqul>{c;i~ > ''·,, ,, ··c ,~·'·' 4:01 Interpretive Powers of Equity Council

Wherever a conflict, disagreement or dispute arises with respect to the Clauses in this Agreement, the Council of Equity has the sole right to determine the interpretation of said Clauses and to argue the interpretation of said Clauses and to attempt to resolve the conflict on behalf of the Artist and its members, and its decisions shall be binding on Equity and its members subject to Clause 46:00 (Arbitration) of this Agreement.

4:02 Interpretative Powers of the Engager The interpretation of the engagement contract is the Engager's responsibility and shall not rest with Equity. Where there is any conflict between Clauses or any basis for more than any one interpretation as to the meaning of them, the Engager shall negotiate with Eqwity to arrive at a settlement of such conflict between Clauses or interpretations as to the meaning of Clauses, subject to Clause 46:00, Arbitration.

Woo'' i:~g$(to.N5li31'!T!g5i()JcrtJE;:~~TIS;t. ···' 5:01 Membership in Equity

It is understood that it is the responsibility of the Artist to maintain membership in good standing in Canadian Actors' Equity Association and to furnish evidence to the Engager and the elected Deputy when requested.

5:02 Contractual Obligations The Artist agrees to abide by art contractual obligations stated in the Artist's engagement contract and art riders attached thereto.

5:03 Absences from the En gager's Point of Origin The Artist agrees to request the Engager's written permission to absent the Artist's self for a period of time from the immediate vicinity of the Engager's point of origin, or to locate the Artist's lodging for the duration of the engagement contract outside the Engager's point of origin, such request to be stated in writing. The Engager agrees to post this ruling, outlining its specific time and distance limitations.

5:04 Services Provided by the Artist The Artist agrees to be prompt and punctual at rehearsals, costume calls/fittings, and to attend all rehearsals as required; to appear at the theatre no rater than the half-hour calf; to pay strict regard to stage make-up and stage dress; to perform services as reasonably directed and to conform to the score to the best of the Artist's ability; under the instruction of the Stage Manager, to maintain the original intent of the Director throughout the run of the show; to properly care for the Artist's costumes and props; to use, when required by the Engager, safe electronic equipment and to respect the physical property of the production and the Engager.

(A) Physical Condition The Artist agrees to make all reasonable efforts to maintain the Artist's self at all 1"1mes during the engagement contract, in good physical condition so as to ensure that the Artist will be able to perform the Artist's services.

{B) Physical Appearance The Artist must advise the Engager at least six (6) months in advance of the first rehearsal of any significant change to

(

the Artist's physical appearance, such as Joss or gain of weight, or a physical condition which may significantly affect the Artist's ability to perform the Artist's services since the signing of the Artist's Opera engagement contract, provided that the Engager shall expressly state this requirement by rider in the Artist's engagement contract at time of signing.

5:05 Rules and Regulations The Artist agrees to abide by all reasonable rules and regulations of the Engager which are not in conflict with this Agreement. Any such rules and regulations must be posted by the Engager on the company notice board at the theatre and rehearsal venues and provided in writing to the Artist upon the Artist's arrival for the engagement, failing which the Artist cannot be held responsible for any non-compliance with said rules and regulations.

5:06 Independent Contractor The Artist acknowledges that he/she is an independent contractor and is responsible for all federal and provincial taxes and other government requirements with respect to all fees payable to the Artist under his/her engagement contract and all riders attached thereto. At the request of the Artist and as directed by the Artist, the Engager will make such remittances on his/her behalf from fees payable to the Artist.

'6:iJ:O ',;O;fn',)Sf:S;',.dE3!ii$ATION;:j:b§Cilllli:Y';;c;:;., ·. '" 2 · 6:01 OA Engagement Contract

Nothing contained in any engagement contract signed by any member of Equity shall be construed to interfere with the carrying out of any obligation which a member owes to Equity by reason of membership therein. The Engager shall not knowingly request or require any member to contravene the Constitution and ByLaws of Equity.

6:02 Equity Constitution & By~Laws It is understood and agreed that if the Constitution, By-Laws, rules and regulations of Equity are amended after the signing of thls Agreement and Clauses so as to conflict with the fulfilment of the provisions of this Agreement, then the provisions of this Agreement and Clauses shall prevail. The Engager shall be notified by Equity of any such changes to the Constitution, ByLaws, rules and regulations of Equity that are in conflict with the provisions of this Agreement.

6:03 Membership

Equity agrees that it will accept as a member of Equity any Artist the Engager wishes to engage subject to the Constitution, Bylaws, rules and regulations of Equity as they now exist or as they may hereafter be amended. Such acceptance of membership shall not be unreasonably withheld. Equity agrees to provide the Engager with information relative to the circumstances as to the suspension or expulsion of a member or the refusal to admit a non-member into the Association.

,7:00 .•.. :cANADIAN ACTORS' EQUITY ASSOCIATION SPECIAL'. ·. ':P.ROVI!;ION.S ;' . , ,, 7:01 Benefits

Equity members may rehearse for and perform in Actors' Fund of Canada benefits without additional remuneration. The Engager shall endeavour to schedule one (1) benefit per season. 7:02 General or Special Membership Meetings -Privilege of

Artists to Attend The Engager agrees to endeavour to release Artists from rehearsals in order that they may attend Equity membership Meetings, held within a reasonable distance of the city where the Artist is engaged. The Engager agrees to the principle of allowing the Artists the privilege of attending special Equity membership meetings providing there is no conflict with rehearsal/performance schedules.

7:03 Special Power to Act for Artist (A) Authority

Whenever it is provided in any engagement contract that something may be done by a member:

2007-2010 Opera Agreement I Page 2

{i) at the option of or with the consent of, or at the request

of Equity, or

(ii) on the demand of, or with the consent of such member,

then Equity, representing the Artist, has and is given,

authority to act for, and in the place of the member,

and to assert the Artist's position, or make the Artist's

request or demand, as the case may be, with all of the

power and authority of the member without liability to

itself.

(S) Consent

In all cases where by virtue of any engagement contract, the

consent or approval of Equity is required, Equity has, and

reserves full discretionary power in giving its consent to

change, modify, amend or limit the rights of any member

under the member's contract, said action to be taken on

behalf of Equity in writing by the Executive Director, or one

of the Executives especially authorized by the Executive

Director to act.

{C) Representation

Equity may represent its members in any dispute which may

arise with the Engager, and Equity may, at all times,

represent its members in relation to any matter arising

under any engagement contracts. When any act or request

or consent of any such member 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 members.

{D) Reasons Given for Action

Reasons given by Equity for its action or action including

action or actions which it might require of its members shall

not preclude it from giving or relying on other or different

valid reasons for such action or actions. Similarly, the

Engager shall not be precluded from giving or relying on

other or different valid reasons for its action or actions.

7:04 Deputies and Representatives

Equity Deputies shall be elected for each production at the

discretion of Equity. The election procedures shall be the

responsibility of the Stage Manager. Deputies and

Representatives of Equity shall have access to the stage and

auditoria and to all Equity members engaged by the Engager,

inclusive of rehearsals and pertormances where such

accessibility is required. Such representatives shall not interrupt

or interfere with any work in progress.

7:05 Communications Committee

The Communication Committee may be jointly established each

year by the Artists and the Engager. The intent of the

Communication Committee shall be to encourage open candid

dialogue between Artists and the Engager and to afford both

parties an opportunity to pose questions of one another, offer

suggestions and bring grievances to light, and generally improve

communication and understanding of respective problems and

concerns.

7:06 Secret Vote

{A) Secret Vote

At all meetings of Artists called by the Deputy or Equity,

voting shall be by secret ballot.

(B) Conflict of Interest

Notwithstanding any other Clause in this Agreement, if the

Artists determine at any company meeting that the Engager

or the Engager's representative has a conflict of interest the

Equity Artists may rule by secret vote that the Engager or

the Engager's representative may not be present. Any

action proposed by the Artists shall not, however, be binding

without the approval of Equity which shall be confirmed in

writing.

{C) Determination of Equity Council

If the Engager consents, the determination of the Equity

Council as to any issue arising under the provisions of this

Clause shall be final and binding upon the Engager and

upon each Artist

7:07 Audition Code

(A) Annual Auditions in Major Centres

The Engager shall hold auditions at least once per season

in a major Canadian city. The number of days of such

auditions to be determined by the Engager.

{B) Groups

Artists shall be called to audition at specific times and shall

not be called in groups unless necessary for physical

screening and/or voice blending.

(C) Call Backs

When an Artist is required for a recall audition on the same

day, that recall shall take place within one-and-a-half (1%)

hours from the time of the end of the initial audition or the

Artist shall be given an opportunity to return at a later date

or time to be decided upon by the Engager and the Artist.

(D) Equity Members

General auditions in the Engager's Point of Origin will be

scheduled for Equity members in advance of any auditions

for npn-Equity members. Outside the Point of Origin, the

Engager shall endeavour to schedule interviews and

auditions for Equity members in advance of those for non

Equity members.

{E) Notice

Equity will be advised at least six weeks in advance of the

auditions referred to in Clause 7:07(A). Equity wm post

notices of such auditions on its notice boards, notify the

appropriate elected representatives of the Association, and

when convenient advise the membership through its

Newsletter.

{F) Equity Arranged Appointments

Equity will undertake to arrange audition appointments at no

charge to the Engager upon request.

{G) Casting Authority

An appropriate representative of the Engager with casting

authority must be present at all auditions.

(H) Accompanist

The Engager will provide an accompanist for general

auditions. If an Artist is required to sing in the production for

which the Artist is auditioning without musical

accompaniment the Artist may be asked to audition without

musical accompaniment.

{I} Specifically Requested Material

When the Artist is requested to audition with specifically

requested material which is not readily available or music

which is not a part of the standard repertoire, the Engager

shall provide the Artist with such material or music in

sufficient time to prepare for this audition.

{J) Venue Suitability

Where auditions are held the Engager agrees to do the

Engager's best to ensure that

{1) No smoking is permitted In the audition rooms and

waiting rooms.

{2) Audition rooms, change rooms and waiting rooms are

properly lit, ventilated and maintained at a reasonable

temperature.

{K) Dance Auditions

For dance auditions the following additional provisions shall

apply:

(1) Either the Choreographer, Assistant Choreographer or

appropriate representative of the Engager must be

present at all dance auditions. At no time shall the

Artist be required to pertorm a pre-rehearsed or

prepared dance and shall only pertorm such dance as

is taught the Artist by the Choreographer or Assistant

Choreographer.

(2) Dance auditions must be conducted on approved

dancing surfaces in accordance with the provisions of

Clause 20:07.

2007-2010 Opera Agreement [ Page 3

(

(3} Separate change facilities (not lavatories} for male and female dancers shall be made available.

7:08 Sex and Nudity (A) General Auditions

No nudity shall be permitted at Equity interviews. {B) Disrobing

No Equity member may be requested to disrobe in whole or in part, until after the member has been auditioned as an actor and/or singer and/or dancer.

(C} Required Conditions Nudity in whole or in part at auditions is permitted only under the following conditions: The artists auditioning are aware that they are being auditioned for their ability to perform nude. All persons present must have a direct professional or Artistic relationship to the Engager or the production. However an artist may require anyone except the persons actually cOnducting the audition to absent themselves, as well as require that a professional associate or representative including an Equity observer be present.

{D) Prohibitions

No sex acts shall be required of any member of Equity at any audition.

{E) Written Notice and Rider Where nudity and/or acts of a sexual nature are required of an Equity member in the course of a stage presentation, the member must be so advised in writing in advance, when possible, of the member signing the contract. In addition, these requirements must be stipulated in a rider to the Artisfs contract. Where the requirements arise in the course of rehearsal and the Artist involved gives the Artist's consent, these requirements shall be stipulated in a rider to the contract to be signed by both the Artist and the Engager, and immediately filed with Equity. The Artist is not obligated lu give such consent. ShOuld the Artist refuse consent and should the Engager decide to replace the Artist, the Engager shall immediately pay the Artist the remainder of the contractual fee and applicable benefits, and neither party will have any further obligations to one another.

rs:l)Ji ,; pjsl:;~l!\1_1!'1Ai"td!'l. . c;.;:; ';·, : . ·,.;. ·.·: 3''<: :':··.·., 8:01 Prohibition of Discriminations

There shall be no discrimination against any Artist or applicant for a part, or position by reason of race, colour, creed, sex, national origin, or sexual or affectional preference. Any violation of this Clause by either of the parties to this Agreement and Clauses may be submitted to binding arbitration according to the provisions of Clause 46:00 (Arbitration}. In the event the arbitrator determines that discrimination has been practised the arbitrator shall have the authority to direct reinstatement or engagement, as the case may be, and/or assess such monetary damages, not to exceed contractual fee and fringe benefits lost, as in the arbitrator's opinion will compensate the Artist or Engager for any such Joss as either party may have suffered by reason of said discrimination.

8:02 Artist Not Required to Render Services The Artist shall not be required to render any services to the Engager in any theatre or any place where discrimination because of sex, race, colour, creed, national origin, or sexual or affectional preference is practised against any Artist, or where such discrimination is practised against any patron as to admission to or seating in a theatre or other place of performance.

8:03 Personal and! or Sexual Harassment Harassment is subjection to any conduct or comment which is known, or ought reasonably to be known, to be unwelcome or offensive, which creates an intimidating working environment, or which denies individual dignity and respect. Harassment is prohibited on the grounds of sex, race, sexual orientation, racial or linguistic origin, creed, marital status, pregnancy, family status, age, disability or citizenship, as well as any other prohibited

I

ground defined by legislation in the jurisdiclion in which the Engager has its point of origin. (For more detaB on sexual harassment, please see below.) When such behaviour occurs, the offended party shall make known to the harasser, either directly or indirectly, that it is unwelcome behaviour. Should the behaviour continue, it must be reported to the Engager's representative, who at the discretion of the Artist, may inform the Business Representative of Equity; or to the Business Representative of Equity, who shall inform the Engager. The Engager has a duty to take immediate steps to investigate the complaint in as discreet and confidential a manner as possible, and to take appropriate action, up to and including dismissal, against any person found to have violated Clause 8:03. A complaint to the Engager or the Business Representative of Equity regarding Clause 8:03 will in no way prejudice the complainant's engagement. In the circumstances outlined above, the Engager may request relief from the provisions of Clause 34:00, Termination, in order to terminate an Artist's contract without further remuneration. Equity may grant such relief, provided it is satisfied that such termination of the Artist's contract is appropriate. In the event that the Engager and Equity are in dispute with respect to any matter arising from the application of this Clause, either party may refer the dispute to the dispute resolution procedures of Clause 46:00. (A) Sexual Harassment

For the purpose of Clause 8:03, Personal and/or Sexual Harassment, sexual harassment is defined as an incident involving unwelcome sexual advances, requests for sexual favours, or other verbal or physical conduct of a sexual nature, when:

{i) such conduct might reasonably be expected to cause offence or humiliation to another person or group of persons; or

(ii) the submission to such conduct is made implicitly or explicitly a condition of work; or

(iii) submission to such conduct is accompanied by a reward, or the express implied promise of a reward for compliance; or

{iv) rejection of such conduct is accompanied by a reprisal, or an express implied threat of reprisal, for refusal to comply; or

{v) such conduct has the effect of interfering with a person's work or performance by creating a hostile or offensive environment.

(B) Types of Behaviour Types of behaviour which constitute sexual harassment include, but are not limited to: (i) unwelcome remarks, jokes, innuendoes or taunts about

a person's body, clothing, or sex told or carried out after the individual has been advised that their actions are offensive or embarrassing; or

(ii) insulting gestures of a sexual nature, or other behaviour which causes discomfort, awkwardness, or embarrassment; or

(iff) displaying pornographic, pin-up pictures, or other sexually offensive materials in the specific environment in which the complainant is required to work; or

{iv) degrading remarks directed at members of one sex or sexual orientation; or

(v) unnecessary and/or persistent unwelcome physical contact; or

(vi} demands for sexual favours; or (vii) unwelcome and inappropriate inquiries about a

person's sex life. 8:04 Pregnancy and 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 Artlsfs


pregnancy be grounds for termination, except as specifically

provided for herein (Clause 34:02(C)).

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9:01 Prohibition of

The Engager shall not dismiss or otherwise penalize any Artist

for fulfilling the Artist's duties or obligations as a Deputy, elected

officer, or member of Equity. Any Equity member who claims that

the Engager has given the member notice or otherwise penalized

the member for fulfilling duties as an Equity member may present

the member's case to the Equity Council who shall give the

Engager advance notice of that event so that the Engager has

the opportunity to be heard if it desires to do so. If the Equity

Council is satisfied that such activities are the real cause of

dismissal or of any penalty, it may permit the Artist's claim to be

arbitrated and shall have the power to determine the character

and the amount of the claim to be submitted to arbitration.

'1o:!!Ji ·~1'\!.<>.cHJ;$ ... l 10:01 Breaches by Engager

Should the Engager:

(i) Make any material false statement in connection with any

engagement contract and/or this Agreement; AND/OR

(ii) Breach any material provision and term of the engagement

contract and/or this Agreement;

Then in the event of any of the above breaches the Artist

may with the consent of Equity terminate forthwith the

Artist's engagement, or Equity may require the Artist to

perform, or not to perform or otherwise act, or not to take

advantage of any such breach.

In the event of any of the above breaches, the Engager

agrees to pay the Artist forthwith in full for all services

rendered by the Artist and not already paid for plus any

other amounts to which the Artist may by contract or under

Equity rules be entitled to recover and also as liquidated

damages an amount equal to two (2) weeks' contractual fee.

Should any such act or breach occur it shall be open to

negotiate with Equity the continuation of services by an

Artist without such continuation acting as a waiver of any of

the rights of either Artist or Equity.

10:02 Breaches by Artist

The Engager shall have the right to terminate the contract of an

Artist for the reasons stipulated below:

(i) Inability of an Artist in the opinion of the Engager to

rehearse and/or perform caused by intoxication or other

impairment. Two (2) independent written records shall be

made, one of which shall be made by the deputy or Stage

Manager witnessing the Artist's condition

(ii) Material breach by an Artist of the responsibilities set out in

Clauses 5:02, 5:03, 5:04 and/or 5:05 of this Agreement

If after arbitration of such a termination the Arbitrator finds

against the Engager, the Engager shall recompense the Artist as

awarded by this Arbitrator but in no event less than the fees

Which would otherwise have been payable under the Artist's

contract.

•1.11[o . !i>.S#A\!!!.'tli'Jtl !:'"!tlA!>!"R~; • ·· 11:01 Engager Not in Default

Any Engager engaging any Equity member represents that such

Engager is not in default under any Agreement with Equity at the

time of such engagement, and that no contract or agreement has

been entered into between said Engager and Equity, or any

Equity member, the breach of which remains unsettled or

unliquidated. For the purpose of this paragraph, the subject

matter of a dispute currently in arbitration or for which a notice of

arbitration has been given, shall not be deemed an "unsettled" or

"unliquidated" breach.

11:02 Requirement to Work

No Equity member shall work without the written consent of

Equity for any Engager which:

(i) has failed to abide by any arbitration award or, where

permitted herein, by any final determination of the Equity

Council, or

(ii) has defaulted by not meeting past financial obligations to

Equity or its members and has been placed on Equity's

Defaulting Engager list

Should an Engager remain in default of contractual fees, or other

monies, due to a member or members, for a period longer than

one (1) year, ttie Engager agrees that seven percent (7%)

interest, compounded annually, beginning one (1) year after the

default, and ending when the claim is paid, shall be added to and

payable as part of said claim. It is understood and agreed that

upon satisfaction of the above-mentioned claim by the defaulting

Engager, no individual employed by or associated with that

Engager shall be penalized or discriminated against by Equity. If

a member of Equity is adjudged by the Equity Council, or by an

Arbitrator, to be in default to an Engager, interest will accrue on

said default in the same manner as above.

fj2:i!Q d:oj>j,tRAV~N'!'JPJ>l.<!!r:¢f\1Ml}!Al!,.¢A@~ ·:

12:01 Duty Not to Contravene

The Engager has a duty to all Equity members to see that they

are not required to be in any place where the Criminal Code of

Canada and/or the Narcotics Control Act is being contravened.

12:02 Duty to Report

Where a member is in any place where required to be because of

the member's contract and said member has good reason to

believe that any other person is committing any criminal act in

that place, then the member shall report the reasons to the

Engager and the Engager shall make adequate arrangements for

the member to be removed from the place where it is suspected

that a criminal act is being performed and the Engager shall take

whatever further action it deems necessary.

12:03 Withdrawal from Contract

Where it has been established that the Engager has failed to

comply with the requirements of the Clauses 12:01 and 12:02,

then the Equity member may withdraw from the member's

contract without liability and ~hall be entitled to the member's

contractual compensation. The contract of any member who is

convicted of contravening the Crimina! Code and/or the Narcotics

Control Act may be terminated immediately without further

payment, at the discretion of the Engager, Equity consenting.

]~:jfq•>¢bliiii;eN~At!Off••j:• •>J .:. · • · 13:01 Salaries Paid in Legal Tender

In Canada, all payments required to be made by the Engager to

the Artist shall be in the !ega! tender of Canada.

13:02 Payment

(A) Fees

Payment of fees made to the Artist may be made in cash or

by certified cheque or by company cheque except as

provided for in the attached individual company's schedule.

If fee payment is made by cheque, such cheques must be

made available to the Artist on the day before the final

banking day of the week at the place where the Artist is

rehearsing or performing, prior to the Artist's last call of the

day.

In the event that the Artist is not called on the day before the

final banking day of the week, the Engager shall endeavour

to make such cheques available to the Artist on the

preceding day.

{B) While on Tour

While on tour cheques shall be made available with

sufficient time to enable the Artist to cash such cheques

prior to the final banking day of the week.

The per diem allowance referred to in Clause 13:10 shall be

paid to the Artist on the pay day of the week prior to the

week for which it is applicable.

(C) Per-Performance Fees

(1) Artists contracted on a per performance fee basis must

receive full and final payment no later than the half

hour call for the Artist's final performance;


(

(2) Whenever reference is made in the Agreement to a weekly fee or a proportion of a weekly fee the provisions of Clause 18:01(C) shall apply for the purposes of calculation with respect to those Artists engaged on a per performance basis. However, the per performance fee will apply in all cases requiring calculation with respect to the number of performances given.

(D) (1} Additional Services The individual Artist shall report additional services rendered to the Equity Deputy. The Deputy, in turn, shall refer all additional serv'ices rendered to the Stage Manager before submitting such details to the Engager.

(2) Payment for additional services is due in the week after it is submitted to the Engager. On tour when additional serv'1ces are rendered, payment is due in the week following the return to the point of origin.

13:03 Fees-Pro-Rated

(A) Beginning of Engagement Period The Artist may be engaged for Jess than a full engagement week at the beginning of the engagement period on the following terms:

(1) Consecutive Such period must be consecutive and may not exceed four (4) days.

(2) No Hiatus Such period must immediately precede a full engagement week with no hiatus in between.

(3) Payment for Prorated Days Payment for each pro-rata day, including the free day, must be not Jess than one-sixth (1/6) of the Artist's weekly contractual fee per day.

(4) Limited to Four Days If the Artist is engaged for more than four (4) days, the Artist must be paid the full weekly contractual fee.

(5} Maximum Consecutive Days In any event, the Ari"rst may not be required to work for more than nine (9) consecutive days, including the prorated 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-rata basis.

{B) End of Engagement Period The Artist may be engaged for Jess than a full engagement week at the end of an engagement period on the following terms:

(1) Consecutive Such period must be consecutive and may not exceed three (3) days.

{2) No Hiatus Such period must immediately follow a full engagement week with no hiatus in between.

(3) Payment for Prorated Days Payment for each pro-rata day, including a free day, if there is one, must be not less than one-sixth {1/6) of the Artist's weekly engagement contract.

(4) Limited to Three Days If the Artist is engaged for more than three (3) days, the Artist must be paid the full weekly contractual fee.

{5) Maximum Consecutive Days In any event, the Artist may not be required to work for more than nine (9) consecutive days, including the prorated 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-rata basis.

13:04 Fees, Non or Partial Payment (A) Non or'PartiaJ Payment

Non-payment or partial payment of contractual fees including additional service fees, remittances to Equity, and transportation costs of the Artist to the point of origin and

(

return, when due, shall be deemed a material breach of contract giving any Artist the right to terminate forthwith the Artist's contract with the Engager, Equity consenting. However, upon application by the Engager, Equity may grant a grace period not to exceed seven (7) days.

(B) Failure to Make Payments If the Engager fails to pay payments due to the Artist, the Artist shall have an alternative right to receive such payments out of any security deposited with Equity by the Engager. Equity agrees to notify the Engager by telephone, or facsimile transmission of its intention to claim on such security, prior to doing so. The Engager agrees to replenish the security deposit upon receipt of a request from Equity. Acceptance by the Artist of payment in full shall be a waiver of the Artist's right to terminate the Artist's contract with the Engager.

{C) Invocation of Arbitration Procedure However, in the event that the Engager has invoked the arbitrafron procedure provided for in Clause 47:00, the Artist shall not have the right to terminate the Artist's contract but may receive the disputed amount from the security deposited with Equity by the Engager. In this event, the Engager is not required to replenish the security deposit until the completion ofthe arbitration procedure.

13:05 Additional Duties The Artist will not perform any additional duties that are not specified in his/her contract unless he/she negotiates additional compensation therefore which shall be to his satisfaction and which shall not be less than one hundred and twenty-eight dollars and eighty-four cents ($128.84) per week.

13:06 Additional Engagement (A) Chorus Singer Contracted to Sing Solo Roles

The Chorus Singer who is also contracted to sing solo role{s) or fine{s) in excess of sixteen (16) bars shall be paid not less than one hundred and twenty-eight dollars and eighty-four cents ($128.84} per week above the minimum fee. For sixteen (16) bars or less, the payment shall be no less than seventy-one dollars and ninety-six cents ($71.96) per week above the minimum fee. This increase is based upon annual increases of 2.5%, 2.75%, and 3.0% with the cumulative result applied as a single rate for the term of the Agreement.

{B) Subsequent Engagement Where the Engager offers the Artist engaged for a production or productions a subsequent engagement which requires the Artist to rehearse for the subsequent engagement while performing or rehearsing in the first production(s), the Artist must be given the opportunity to negotiate compensation for such a subsequent engagement to his/her satisfaction which compensation shall be in no event less than one hundred and twenty-eight dollars and eighty-four cents ($128.84) per week in addition to the Artist's weekly contractual fee while the Artist continues to rehearse or perform in the first production(s). All such arrangements shall be contained in a rider to be attached to the contract. However, this Clause does not apply where an unpaid hiatus occurs between the original and subsequent engagements. Neither does this Clause apply to subsequent engagements at another venue.

(C) Concurrent Engagement Contracts Where the Artist has been signed to a new and separate engagement contract with the same Engager for a subsequent engagement, then the Artist may be required by the Engager to fulfil both contracts fully as though the two (2) contracts were for two (2) different Engagers, particularly as regards rehearsal hours and free days.

13:07 Itemized Deductions and Payments Fee payments will include a statement setting out the following payments and all deductions, including the following: payment period, date of payment, gross fee, itemization of deductions as directed by Equity (see Clause 2:02) payments for additional services, GST or other payments, Equity dues and assessments.


13:08 Term of Agreement

Minimum fees for 2007/2008 as expressed herein shall apply

from July 1, 2007 to June 30, 2008; for 2008/2009 from July 1,

2008 to June 30, 2009; for 2009/2010 from July 1, 2009 to June

30,2010.

13:09 Minimum Fees

(A) Point of Origin (In-Town)

The additional services rates shall be as follows:

(i) Additional Services Rate 1

Twenty-three dollars and eighty-seven cents ($23.87)

per % hour or part thereof

(ii) Additional Services Rate 2

Thirty dollars and thirty-seven cents ($30.37) per %

hour or part thereof

(iii) Additional Services Rate 3

Thirty-four dollars and seventy-one cents ($34.71) per

%hour or part thereof (minimum three (3) hour call)

13:10 Compensation on Tour

(A) Overnight Touring

Whenever the Artist is required by the Engager to be away

from the point of origin for ten (10) or more consecutive

hours for any reason, the Artist shall be considered to be on

an overnight tour subject to Clause 42:00 (Touring), and the

following conditions shall apply:

(1) 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. This

per diem shall not be subject to Clause 2:02

(Deductions). It shall be paid at least one (1) week in

advance of the week for which it is applicable.

The per diem is one hundred and twenty-one dollars

and fifty cents ($121.50) in 2007-2010.

(2) Return from Overnight Tour

When the Artist is returned to the Point of Origin

following an overnight tour, helshe shall receive:

(i) Thirteen dollars and two cents {$13.02) if he/she

returns prior to 12:00 noon

(ii} Thirty-one dollars and forty-six cents ($31.46) if

he/she returns prior to 6:00 p.m.

(iii} Sixty-one dollars and eighty-three cents

($61.83) if hefshe returns after 6:00 p.m.

(B) Local Touring

Whenever the Artist is required by the Engager to be away

from the point of origin for less than ten (1 0) consecutive

hours (from pick up to drop off) for any reason, the Artist

shall be considered to be ~n a. run-out tour subject to

Clause 42:00 (Touring), and the following conditions shall

apply:

(1) Meal Allowances When leaving and returning to the Point of Origin on

the same day (Run-Out) and where no accommodation

is required, the Artist will receive:

(i) thirteen dollars and two cents ($13.02) if hislher

departure is prior to 9:00 a.m.

(il) eighteen dollars and forty-four cents {$18.44) if

hisfher departure is prior to 12:00 noon; the

lunch allowance if he/she returns to the Point of

Origin after 1:00 p.m.

(iii) thirty dollars and thirty-seven cents ($30.37) if

his/her departure is prior to 5:00 p.m.; the dinner

allowance if hefshe returns to the point of origin

after 6:00 p.m.

Where more than one of the above applies each shall

be paid.

13.11 Engagement Bonus

In addition to the negotiated contractual fee, Artists who are

Canadian citizens or landed immigrants and whose contractual

fee exceeds one thousand nine hundred and sixty dollars and

sixty-one cents {$1 ,960.61) per week shall receive an

Engagement Bonus of one hundred and sixty-five dollars

($165.00) for each week of the Artist's engagement. The

Engagement Bonus shall not be pro-rated.

Artists who are citizens of the United States and whose

contractual fee exceeds one thousand nine hundred and sixty

dollars and sixty-one cents {$1 ,960.61) per week shall receive an

Engagement Bonus of eighty dollars ($80.00) for each week of

the Artist's engagement. The Engagement Bonus shall not be

pro-rated.

13:12 Partial Week Payment

Unless the Artist is paid the engagement bonus pursuant to

Clause 13:11, an Artist engaged for a partial week of

engagemeT:lt shall be paid an additional eighteen dollars and fifty

cents {$18.50) for each partial week. This shall apply to

engagements of less than one week pursuant to Clauses 13:03

(Fees Pro-Rated), 26:04 (Casual Engagement), 39:05(8)

(Consultation after Signing), 41:03 (Fight Directors), and 49:03

{Concerts and Recitals).

13:13 Contingent Compensation, On Weekly Gross~Net Receipts,

Profits

No engagement contract shall be entered into by the Engager 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 fees in accordance with the terms of this

Agreement and Clauses.

13:14 Second Stage Fee Structure

The following Second Stage rates may apply on the condition

that the Mainstage Season is maintained at the rates specified in

Clause 13:09 and the maximum weekly box office calculated on

the basis of a sell-out of six (6) periormances does not exceed

eighty-eight thousand, two hundred and thirty-seven dollars and

seventy-six cents ($88,237 .76) exclusive of entertainment taxes

and GST. Periormances may not exceed sixty {60) minutes.

These provisions may, with the prior written permission of Equity,

be used as the basis of touring outside the Point of Origin.

Productions utilizing the Second Stage rates may not be

combined with productions on the Mainstage, nor may the rates

be used as the basis for School Tau ring. Non-professionals may

not be engaged for touring productions. The intent of these

provisions is to encourage the expansion of engagement

opportunities for Equity Artists and to expand the profile of the

Engager in the Community. For these reasons Engagers are

encouraged to make a detailed proposal to Equity specifying the

nature of the project and any special local situations which would

require further amendments to this Clause.


(

Not later than two weeks prior to the first date of engagement for each production, the Engager shall supply Equity, with a list of the following:

(A) Equity Artists

Names of all Equity Artists contracted for the production, each Artist's contractual fee, role and dates of engagement.

(B) Non-Professional Chorus Members and Comprimarios Names and social insurance numbers of all nonprofessional chorus members, and non-professionals playing specific Comprimario roles including the name of said role and identification as "B" (Bit) or "CB" (Chorus Bit). The Engager shall also verify that each non-professional is not a member of any performing arts union or association.

(C) Non-Professionals in a Supporting Role Names and Social Insurance Numbers of all nonprofessionals playing specific a Supporting role, including the name of said role, in accordance with Clause 2:04.

:,1A::Il!F ii~"ttfi:tsJ,<>ii t~qq~~s, ,. 14:01 Artist

The term "Artist" shall refer to and include all persons who are members of Equity.

14:02 Actor

The term "Actor" shall refer to and include all members of Equity engaged on Equity contracts as actors in non-singing roles.

14:03 Understudy

An "Understudy" is an Artist who is contracted for the rehearsal and performance period of a production to learn, rehearse and, if required by the Engager, perform a role(s) of another Artist(s) contracted to perform the role(s).

14:04 Cover

A "Cover" is an Artist who is contracted and paid a retainer as negotiated between the Artist and the Engager to be available to replace a contracted Artist who is unable to perform. A Cover may not be required to rehearse or perform unless signed to an Equity contract.

14:05 Production Stage Manager A "Production Stage Manager" shall be the senior stage manager and responsible for the stage management of all production both in rehearsal and performance.

14:06 Stage Manager

The "Stage Manager" will fulfil the duties as outlined in Clause 41:00.

14:07 Assistant Stage Manager The "Assistant Stage Manager" will assist the Stage Manager and is responsible for the duties outlined in Clause 40:00.

14:08 Directors and Assistant Directors The terms "Director" and "Assistant Director'' shall refer to all members engaged for the purpose of directing and assisting in the directing of a production.

(

14:09 Non·Professionals

For the purpose of this Agreement a non-professional is defined as a person who is not a member of Equity or any other professional performing arts association or union. Permit fees for non-Equity singers engaged in a Bit role: sixtynine dollars and sixty-four cents ($69.64) permit fee for each production, payable to Equity.

14:10 Extras

The function of an Extra is to provide atmosphere andlor background requiring no special theatrical skill or training. Extras may not sing speak or dance. However, Extras may perform in limited dance sequences requiring no previous theatrical experience. Extras may not be or have never been members of Equity or any other professional performing arts union or association. All extras must be included in the production check list, to be filed with Equity in accordance with Clause 13:15.

14:11 Child

(A) Engagement as an Equity Member A child sixteen (16) years of age and under shall be engaged as an Equity member when performing Lead and Featured roles as determined in accordance with the Categorization of Roles (Appendix (A). A child engaged as a member of Equity and signed to an Opera Agreement engagement contract, shall be subject to the full terms and conditions of the Opera Agreement, including minimum fees, except as amended herein. (1) Additional Hours

A child may not work in any circumstances where additional services pursuant to Clause 13:09 (B) would apply.

(2) Scheduling Parameters Any informaUon provided to the parent(s) or guardian(s) in regard to scheduling, rehearsal, and performance, parameters must be attached os a rider to the engagement contract. The Engager shall use its best efforts to inform the parent(s) or guardian(s) of the demands of the role(s) for which the child is engaged.

{B) Engagement Without Reference to an Equity Contract A child sixteen (16) years of age and under who is not a member of a professional performing artists association or union may be engaged in the following manner without reference to an Equity contract: (i) As extras in accordance wlth the provisions governing

extras as stipulated in Clause 14:10; or (ii) As participants in a children's chorus as required by the

score; or

{iii) To perform a Supporting, Bit or Chorus Bit role as dictated by the score; or

(iv) As participants in dance sequences. The children specified in (A) and (B) above will be included in the production checklist in accordance with Clause 13:15.

(C) Supervision

A child must, from the time of arrival at the rehearsal hall or theatre to the time they are picked up from the theatre or rehearsal hall by a parent or person authorized to receive the child, be appropr'1ately supervised by a designated "Child Supervisor''. The Child Supervisor shall not leave the child unattended at any time. When the Child Supervisor is on a break or otherwise unavailable, a suitable replacement shall be present.

(1) Definition of Child Supervisor (i) The Engager is responsible for engaging a

qualified person capable of adequately supervising the child. This duty may not be required of any Artist contracted for the production.

{II) The Child Supervisor(s) must be at least eighteen (18) years of age.

2007~2010 Opera Agreement J Page 8

{iii) The Engager will comply with provincial

requirements with respect to performing

background checks on Child Supervisors.

{iv) The Child Supervisor must be agreed upon by

the parent{s) or legal guardian(s) in writing.

(D) Ratios

There shall be at least one ( 1) Child Supervisor for every

ten (10) children. There shall be at least one (1) Child

Supervisor for every five (5) children ages twelve (12) and

under.

(E) Travel

A child shall not travel unaccompanied from the workplace.

If the child does not appear in the last act or section of the

petformance, then the child may be released to a parent or

person authorized to receive the child.

(F) Between Rehearsal and Performance Calls

If a child is not picked up by his/her parent or person

authorized to receive the child immediately following the f1rst

rehearsal/petformance on a day with more than one

rehearsal/performance, the Engager shall make adequate

arrangements for the child to have a break away from the

Engager between shows under the supervision of the Child

Supervisor.

(G) Training

The Child Supervisor shall be adequately trained by the

Engager, including but not limited to, instruction on Fire Drill

procedures, backstage etiquette, the backstage traffic and

orientation of the production, facilities available for children,

emergency response, who to contact and how to reach

them. If an Artist is required to conduct this training, he/she

shall invoice the Engager at the additional services rate in

accordance with Clause 13:09(8) for such time.

(H) Consistency

The Engager shall use its best efforts to engage consistent

Child Supervisors for the production.

(I) Dressing Rooms

Where possible there shall be separate dressing rooms for

male and female children, which shall be separate from the

dressing rooms provided for the adults. Reasonable efforts

wm be made to ensure the privacy of both adult Artists and

children.

{J) Note from School

The Engager shall request that the parent or legal guardian

provide written confirmation from the child's school that

suitable arrangements have been made to address the

academic needs of the child during his/her participation in

the production.

(K} Individual Records

The Engager shall ensure that a record is kept for each

child, and the record must be available to the Child

Supervisor at all times. The record must include the

following particulars:

(I) the name, address, and home telephone number of the

child;

(ii} the name, address, and both home and business

telephone numbers of the child's parents or legal

guardian;

(iii) the name, address, and both home and business

telephone numbers of any other person nominated by

the child's parents or legal guardian as being a person

responsible for the child in the event of the parents

being unavailable;

{iv} the child's date of birth;

(v) the name, office, and emergency contact telephone

number of the child's Doctor;

(vi) any medical information which may be relevant to the

Child Supervisor or the Engager in protecting the

child's health such as allergies.

(L) Punishment Prohibited

The Engager shall ensure that no child is subjected to any

form of corporal punishment, social isolation, immobilization,

or any behaviour likely to humiliate or frighten the child.

(M) Notification of Accidents

In the event of a child becoming ill or being injured, the

Engager must ensure that at least one of the child's parents

(or legal guardian if applicable) is immediately notified of the

situation.

(N) Parental Contact

The Engager shall at all times ensure that each child is able

to make contact with his or her parents or with some other

person responsible for the child and must facilitate the

making of any such contact whenever the child so requests

or whenever it is othe!Wise appropriate to do so in the

interests of the child.

14:12 Comprimarios

Comprimarios are defined in the Appendix A, Categorization of

Roles, herein as roles identified as "B" (bit) and "CB" (chorus bit).

14:13 Presentations

Two (2) presentations of less than one (1) hour each, when

presented in a three (3) hour span, will be considered as one (1)

performance. There will be no more than one (1) such

performance consisting of two (2) presentations in a day.

l1~;fi]••Al.EfitlJT!Pl'{S 15:01 Extraordinary Risk

An Artist shall not be required to petform an extraordinary risk

unless said risk is stipulated in a rider to the contract. The rider

must specifically describe the nature and elements of the

extraordinary risk to be performed.

Extraordinary risks include, but are not limited to, the

performance of acrobatic feats; suspension from trapezes, wires,

or like contrivances; the use of, or exposure to, weapons, fire, or

pyrotechnical devices or the taking of dangerous leaps, falls,

throws, catches, knee drops, or slides; the handling of unusual

live animals (including birds, fish, reptiles). 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, jazz, or

ethnic dance) is also defined as an extraordinary risk. Stage

Management personnel shall be covered by extraordinary risk

insurance for the term of their engagements whenever a

production utilizes moving or flying set pieces; the use of, or

exposure to, weapons, fire, or pyrotechnical devices; the

handling of unusual live animals (including birds, fish, reptiles).

The determination as to what constitutes extraordinary risk shall

be made by Equity in consultation with a representative of the

Engager, the Stage Manager, and the deputy.

15:02 Engagement Week

An engagement week shall be defined as being from Monday

through Sunday inclusive.

15:03 Point of Origin

(A) The "Point of Origin" shall be the municipality where the

Engager has its headquarters and shall encompass a radius

of eighty (80) kilometres from city hall. The Point of Origin

shall be designated on the face of the contract. While

rehearsing and/or performing at the Point of Origin, in~town

conditions shall apply. While rehearsing and/or performing

in any other location, other than run~outs, touring conditions

shall apply.

(B) Upon application by the Engager, Equity will consider

special arrangements for a Joint Production involving two

(2) separate Engagers presenting the same production in

their respective Points of Origin.

15:04 Place of Residence

The term "Place of Residence" shall mean the Artist's home or

usual place of residence as shown on the face of the Artist's

contract.

2007-201 0 Opera Agreement 1 Page 9

15:05 Performance Day

A "Performance Day" shall be a day on which at least one (1) performance is given.

15:06 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 this Agreement and Clauses.

15:07 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 whatsoever for the Engager. There shall be one (1) Free Day during each engagement week. The Free Day must occur within the engagement week of which it is a part. Once the Free Day has been designated, it may be changed only upon giving the Artist at least seven (7) days' notice of such change. There shall be no more than eight (8) consecutive work days between Free Days, and the Free Day prior to the first public performance must be given within the six (6) days prior thereto. In the Point of Origin, the said period of time shall commence at midnight and end at nine (9) a.m. two (2) days later. Outside the Point of Origin, the said period of time shall begin at midnight and end no sooner than eight (8) a.m. two (2) days later. Where the Engager wishes the company to travel on its designated Free Day, it may do so provided that the following day is designated as a Free Day. 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 in addition to the Free Days provided for herein.

During Christmas week, there shall be two (2) Free Days, one (1) of which shall be Christmas Day. The Artist's Free Day during Easter Week shall be Easter Sunday and during New Year's Week shall be New Year's Day. The Engager may schedule performances but no rehearsals on Victoria Day, Canada Day, the first Monday in August and Boxing Day. On Good Friday, the Artists will not be required to rehearse prior to three (3) p.m. On Christmas Eve (December 24} and New Year's Eve (December 31}, all Artists must be released from rehearsal by 5:30p.m.

The Engager will finalize and notify the Artist of the rehearsal and/or pertormance schedule for the seven (7) days prior and subsequent to Christmas Day by November 15.

15:08 Season

The term "Seasonn shall mean a period from July 1 to June 30. 15:09 Rehearsal

The term "Rehearsal" may include, but need not be limited to, music rehearsals, readthroughs, blocking, staging and giving notes.

15:10 Dress Rehearsal

(A) Final Dress Rehearsal

The "Final Dress Rehearsal" is defined as a rehearsal for which the Artist is required to appear in full costume and make~up with orchestra and where the intent is to perform the work in its entirety.

Where an audience is present at this Dress Rehearsal this Dress Rehearsal shall be considered to be a perfonnance and the day shall be a performance day unless special arrangements are made in advance between the Engager and Equity.

(B) Application of Clause 16:09 and Double Casting The limitation of three (3) hours of consecutive rehearsal contained in Clause 16:09 shall not apply to Final Dress Rehearsals, as defined in (A) above, whether or not an audience is present. Where there are two (2) dress rehearsals, and some double casting, each double~cast Artist shall be entitled to at least one (1) dress rehearsal.

(

(C) Final Dress Rehearsal Beyond 11 :30pm If the Final Dress Rehearsal continues beyond 11:30 p.m. the additional services rates as per Clause 13:09(8) shall apply.

15:11 Final Dress Rehearsals with Audiences Present {A) Deemed Performance

Final Dress Rehearsals with audiences present shall be considered as performances and pertormance day Clauses shall apply. However, Artists on a per pertormance contract may participate _i!1 such a Final Dress Rehearsal without additional compensation. Nevertheless, additional compensation will be payable should any Artist pertorm more than seven (7) pertormances per engagement week as provided in Clause 18:00 ~ Performances (or maximum number of performances per week allowed).

{B) Audience Present

Where an audience is present at the Final Dress Rehearsal, the day shall be considered to be a pertormance day but no additional remuneration shall be paid to the Artist(s) provided that:

{1) At least thirty-six (36) hours prior to the Rnal Dress Rehearsal the Artist is notified by means of a written notice posted on the call board that such an audience will be present.

(2) An announcement is made to the audience that they are attending a rehearsal.

(3) The price of a dress rehearsal ticket is nol greater than Y, that for the least expensive full~price house seat for any other performance.

(4) The dress rehearsal tickets are only sold to bona fide educational or outreach groups.

15:12 Run-Through Rehearsal A "Run-Through Rehearsal" is defined as a rehearsal with the intent to rehearse a work in its entirety.

15:13 Emergency Rehearsal

An "Emergency Rehearsal" shall mean a rehearsal necessitated by the inability of an Artist to pertorm due to sickness, injury, death or the abuse of alcohol or drugs and such an emergency rehearsal must take place within twenty-four (24) hours of the emergency or within twenty-four (24) hours of the arrival of the replacement artist.

15:14 Touring

Whenever the Artist is required by the Engager to be outside the point of origin for any reason, the Artist shall be considered to be on tour and Clauses 13:10 (Compensation on Tour) and 42:00 (Touring) shall apply.

15:15 Overnight Rest

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 service.

The overnight rest period may not be less than twelve (12) hours for performing Artists and eleven (11) hours for Stage Management personnel.

15:16 Chorus Music Preparation

Chorus Music Preparation is a period of engagement during which members of the Chorus may be called for music rehearsals only in accordance with Clause 16:08(A)(3). Payment for such music rehearsals is as provided for in Clause 13:09. There may be no staging rehearsals during this period whatsoever. Once staging rehearsals begin the Artist must be paid at no less than the regular pertormer fee provided for in Clause 13:09.

15:17 Half-Hour Call

All pertormances and Dress Rehearsals as provided for herein must include a minimum thirty (30) minute period immediately prior to the beginning of the performance. At the discretion of the Artist, for performance calls, this period may be used solely for preparing the Artist's self for pertormance.

2007~2010 Opera Agreement I Page 10

:;16:Q'o R~H!'~RsAiis

16:01 Commencement

Rehearsals begin on the date when the Artist is first called to

rehearse as specified on the Artist's individual contract.

16:02 Preparation for

The Artist shall arrive at the first staging rehearsal for a

production knowing by memory the music and text of the role for

which the Artist has been engaged.

All chorus scores must be provided by and returned to the

Engager.

If an Artist is engaged to perform a work outside the standard

repertoire for which the translation or vocal score is not readily

available at retail outlets, then the Engager must provide the

score at least eight (8) weeks prior to the beginning of

rehearsals.

Except in the case of new works, the Engager shall notify the

Artist of the translation, version, cuts, interpolations, dialogue

additions and/or deletions, and cadenzas of each opera assigned

at the time the Equity engagement contract is signed. If not yet

known, the Engager shall provide the Artist with all foregoing

information at least six (6) weeks prior to the first rehearsal of

said opera. Failure to so notify shall render the following

paragraph null and void.

In the event that the Artist is inadequately prepared to rehearse

and/or pertorm by reason of not knowing the text and music by

memory of the role for which the Artist is engaged, the Engager

may schedule special coaching outside the rehearsal hours at

the Artist's expense in which case Equity shall be immediately

notified. Should the Artist remain inadequately prepared to

rehearse and/or perform, after receiving coaching, the Engager

may request Equity's permission to terminate the Artist's contract.

When Equity agrees to the termination of the Artist's contract, the

Artist shall be paid such expenses and remuneration as agreed

between Equity and the Engager. In the event that Equity and the

Engager fail to reach agreement concerning the payment of such

expenses and remuneration, then Equity may request that the

dispute be arbitrated.

16:03 Rest Periods

{A) During Rehearsal

There shall be a five (5) minute rest period for each hour of

rehearsal with a minimum ten (10) minute rest period after a

maximum of two (2) hours of rehearsal.

(B) Overnight Rest

During the rehearsal period there must be twelve (12) hours

clear between the end of one (1) day's rehearsal and the

call to work on the next day. If the Artist agrees to provide

additional services during the overnight rest period, the

Artist shall invoice the Engager for additional services at the

rate stipulated in Clause 13:09(B)(ii).

16:04 Posting of Calls, Pertormance Schedules and Casting

On the first day of engagement, the Engager shall provide the

Artist with a tentative rehearsal schedule which outlines

anticipated rehearsal calls (blocks of time) for the entire rehearsal

period.

The rehearsal call for the next day must be posted before the end

of the rehearsal day, or when the company is also performing,

before the half-hour calL

It is the Artist's responsibility to find out when the Artist's next call

will be. If the Artist's next scheduled call is changed, it is the

responsibility of the Engager to notify the Artist no later than the

night before the calL Failure to do so shall mean that an Artist

appearing for the call as previously scheduled shall be deemed

to be working.

The complete cast list for an opera, operetta or musical theatre

with performance dates for each Artist, shall be posted on the cali

board, at least, six (6) days in advance of the first public

performance and, in any event, before this information is

released to the box office or news media.

16:05 Rehearsals on a Free Day

For any rehearsal called on a scheduled Free Day or Free Days

or days free of rehearsal as provided for in Clause 15:07, the

Artist shall invoice the Engager for additional services at the rate

stipulated in Clause 13:09(8)(\ii) and the minimum call shall be

three (3) hours.

At least twenty-four (24) hours' notice must be given for all

additional services calls on Free Days.

16:06 Notice of Additional Rehearsals

During regular rehearsals the Engager will endeavour to inform

the Artist at least fifteen (15) minutes before the commencement

of rehearsal which exceeds of the provisions of this Agreement.

Except for emergency rehearsals, if the Artist rehearses in

excess of three (3) hours of additional rehearsal in any one (1)

day, the Artist shall invoice the Engager for additional services at

double the rate stipulated in Clause 13:09(8)(\).

16:07 Rehearsals Prior to Opening

(A) In the nine (9) days prior to the day of opening night, the

Artists may be called up to a maximum of three (3) days for

four (4) consecutive hours of rehearsal before a meal break

is given. One of these calls may occur in the Rehearsal Hall.

This option does not apply to dress rehearsals.

{B) Dress Rehearsals

In the nine (9) days prior to the day of opening night, the

following rehearsals may be called:

(1) First Orchestra Dress Rehearsal

There may be one (1) four-and-a-half (4Yz) hour

rehearsal cal! inclusive of the half hour call.

(2) Piano Dress Rehearsal(s)

There may be either:

(i) One (1) five-and-a-half (5Y,) hour piano dress

rehearsal with no other call for the performing

Artists on such a day; or

(ii) Two (2) four-and-a-half (4Y,) hour piano dress

rehearsols with a maximum of one (1) piano

dress rehearsal per day. When utilizing this

option the pertorming Artists may not be required

for any other calls on such a day; and

{3) Half Hour Call included in Rehearsal

For all dress rehearsals, there must be a minimum half

(%.) hour call, which shall be considered part of the

rehearsal time. The Engager guarantees that each

soloist shall participate in a dress rehearsal, or

orchestra rehearsal in costume.

These calls are in addition to the final Dress Rehearsal

as defined in Clause 15:10(A).

16:08 Rehearsal Hours for Performing Artists

See Also Appendix D

(A) Opera

{1) Standard Hours Performing Artists engaged for an opera may be

required to rehearse up to six (6) hours out of a span of

twelve (12) hours per day to a maximum of thirty (30)

hours per engagement week.

(2) Extended Hours Performing Artists whose contractual fee exceeds two

thousand, five hundred and seventy dollars and ninety

four cents ($2,570.94) per week may be required to

rehearse up to six {6) hours out of a span of twelve

(12} hours per day, up to a maximum of thirty-six (36)

hours per engagement week.

(3) Chorus Music Preparation Hours

Chorus singers who are engaged for chorus music

preparation may be required to rehearse up to a

maximum of eighteen (18) hours per engagement

week and a maximum of three (3} hours per day.


16:09

(B) Operetta

(1} Performing Artists Peliorming Artists engaged for an operetta may be required to rehearse up to six (6) hours out of a_ span of ten (1 0) hours per day to a maximum of thirty-six (36) hours per engagement week.

(2) Dancers Dancers engaged for an operetta may be required to rehearse up to six (6) hours out of a span of twelve {12) hours per day, up to a maximum of thirty-six (36) hours per engagement week.

(C) Opera & Operetta Rehearsals

Peliorming Artists concurrently engaged for both opera and operetta or musical theatre will be limited to a maximum of six (6) hours of rehearsal out of a span of twelve (12) to a maximum of thirty (30) hours per week, when called for both opera and operetta or musical theatre rehearsals on the same day.

{D) Musical Theatre

Peliorming Artists engaged exclusively for a musical theatre work may be required to rehearse (prior to the first public performance) seven (7) hours out of a span of eight-and-ahalf (81!,.) hours per day, with a meal break of at least oneand-a-half (1%) hours after no more than four (4} hours of rehearsal.

During the last ten (1 0) days prior to the first public performance, one (1) day of eight (8) hours rehearsal out of a span of twelve (12) hours, with a meal break of at least one-and-a-half (1Y.-.) hours after no more than four (4) hours of rehearsal, may be scheduled instead of one of the dress rehearsals under Clause 16:07(8). The intent of this extended rehearsal day is to facilitate the technical requirements of the production in the theatre, and the Artist shall not be required to part.lcipate in more than one (1) dress rehearsal (or run-through) of the production during this rehearsal. Clause 16:07(A) shall not apply to musical theatre.

(E) Classification of Work

Equity and the Engager undertake to mutually agree on the classification of work as opera, operetta or musical theatre on an individual production basis.

Meal Breaks

Except as provided for in Clauses 15:10, 16:07 and 16:13 there shall be a me8.J break of at least one (1) hour after a maximum of three (3) hours. Should the Engager require the Artist to invade such a meal break, the Artist shall :invoice the Engager for addiflonal services at the rate stipulated in Clause 13:09(B)(ii). Under no circumstances shall the Engager shorten any meal break to Jess than one half(%) hour. Examples

(i) 1p:oo a.m. -1:30 p.m.

1:30 p.m. - 2:30 p.m.

2:30 p.m. - 5:00 p.m.

rehearsal

lunch

rehearsal

- 1/2 hour meal infringement at Additional Services Rate 2 (13:09(B}(ii) from 1:00 p.m. - 1:30 p.m. - Clause 16:09.

(ii) 10:00 a.m. -1:30 p.m.

1 :30 p.m. - 2:30 p.m.

2:30 p.m. - 5:30 p.m.

rehearsal

lunch

rehearsal

- 1/2 hour meal infringement at Additional Services Rate 2 (13:09(B)(ii) from 1:00 p.m. - 1:30 p.m. - Clause 16:09.

- 112 hour additional rehearsal at Additional Services Rate 2 (13:09(B)(ii) from 5:00 p.m.- 5:30 p.m. - for exceeding 6 hours- Clause 16:08(A}.

(iii)

{

10:00 a.m. 1:30 p.m. rehearsal

1:30 p.m. 2:00p.m. lunch 2:00p.m. 4:30p.m. rehearsal

- 112 hour meal infringement at Additional Services Rate 2 (13:09(B)(ii) from 1:00 p.m. - 1:30 p.m. - Clause 16:09.

- 112 hour meal infringement at Additional Se!Vices Rate 2 (13:09(B)(ii) from 2:00 p.m. - 2:30 p.m. - Clause 16:09.

{iv) 10:00 a.m.- 1:30 p.m. rehearsal

1:30 p.m. - 2:00 p.m. lunch

2:00 p.m. - 5:00 p.m. rehearsal

- 1/2 hour meal infringement at Additional Services Rate 2 (13:09(B)(ii) from 1 :OOp.m. - 1:30 p.m. - Clause 16:09.

- 112 hour meal infringement at Additional Services Rate 2 (13:09(B)(ii) from 2:00 p.m. - 2:30 p.m. - Clause 16:09.

- 1/2 hour additional rehearsal at Additional Services Rate 1 (13:09(B}(i) from 4:30 p.m. - 5:00 p.m. - tor exceeding 6 hours- Clause 16:08(A).

If applicable, the Artist shall invoice for additional services for meal infringements as provided herein in addition to payments for exceeding any other provision of Clauses 16:00 and 18:00., e.g. in examples (ii) and (iv), the hours of rehearsal exceeding the daily maximum provisions of Clause 16:08 (A) shall also be included in the calculation of the weekly hours as stated in Clause 16:08 (A).

16:10 Rehearsal on a Performance Day

{A) Day of First Public Performance

On the day of the first public performance of a given work, the Artist may rehearse up to three (3) hours.

(B) Following First Public Performance

Beginning with the day after the first public performance, an Artist appearing in one {1) peliormance that day may be called upon to rehearse for up to two (2) hours.

{C) Solo Bit Role Artist

An Artist contracted to perform a solo bit role in one (1) production may rehearse up to three (3) hours for another production on a one (1} performance day.

(D) Following an Evening Performance

The Artist shall not be required to rehearse after an evening performance.

{E) Following a Matinee Performance

The Artist shall not be required to rehearse or to perform any other duties (travel excepted) earlier than one-and-ahalf (1Y.-.} hours after a matinee peliormance.

{F) Two Performance Day

On a day on which two (2) performances, each of more than one (1) hour in length are scheduled the Artist may not rehearse.

(G) Two Performances of Less Than One Hour If two (2) performances of less than one (1) hour each are given but are not performed in a three (3) hour span, the Artist may rehearse for a maximum of two (2) hours on that day.

16:11 Understudy (Rehearsals Only)

The total weekly rehearsal time for understudies may not exceed the normal weekly maximum set forth in these Clauses (Clauses 16:10 to 16:12) and all such rehearscil time must be deducted from the normal rehearsal hours allowed during the week in which the rehearsals take place.

16:12 Emergency Rehearsal

An Artist may be called to an Emergency Rehearsal up to the running time of the opera being rehearsed without additional payment provided that such rehearsal does not infringe upon the overnight rest period or the Free Day.


Except for the replacement Artist, the Artist shall invoice the

Engager at the rate stipulated in Clause 13:09(B)(i) for

emergency rehearsal in excess of the running time of the opera

being rehearsed.

Additionally, the Artist shall invoice the Engager for additional

services at the rate stipulated in Clause 13:09(B)(ii) for any

Emergency Rehearsal which invades the overnight rest period.

When an Emergency Rehearsal must be called on a Free Day,

then the Artist shall invoice the Engager for additional services at

the rate stipulated in Clause 13:09(B)(iii). The minimum call paid

for Emergency Rehearsal on the Free Day shall be three (3)

hours.

16:13 Notes

Immediately following the Final Dress Rehearsal the company

may be given notes for up to thirty (30) minutes provided that the

performing Artists are released prior to 11:30 p.m.

16:14 Stage Fighting

(A) Rider

The Artists shall agree in a rider to participate in stage

fighting in accordance with Clause 15:01. All Artists who

participate in a stage fLght shall run through the routine

before each performance. Any variation in the schedule

shall be at the discretion of the Fight Director.

(B) Definition

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.

16:15 Onstage Rehearsals for Understudies and Double-casts

No Artist shall perform unless he/she has had at least one {1)

run-through rehearsal on the stage; however an understudy

performing his/her assignment in the event of an emergency

would not constitute a breach of this Clause.

\1tjjl CQ$1\I~J;~'[tj:tf>l~$~ The Engager is hereby granted a total number of free hours for

costume fittings which cannot exceed the equivalent of two (2)

hours for each production per season per Artist. The Engager

shall not require the Artist to perform this duty on the Artist's Free

Day or during meal breaks. Travel to and from costume fittings

must not infringe on the Artist's Free Day, Meal Breaks or

Overnight Rest Periods. The Artist must consider a costume

fitting as an official cal! and must present the Artist's self as

required unless said fitting invades the Artist's Meal Break or

Overnight Rest Period.

The Engager agrees that any additional hours or fractions thereof

spent by the Artist for costume fittings above those provided for

in the preceding paragraph, shall be considered rehearsal time or

the Artist shall invoice the Engager for additional services at the

rate stipulated in Clause 13:09(B)(i) per hour or portion thereof.

.l~(djj l?gf{~<[Rj\fli{'tqg:$

18:01 Performances

(A) Number

The Artist may be required to take part in not more than

seven (7) performances for opera or operetta and eight (8)

performances for musical theatre in each performance

week. For performances exceeding seven (7) performances

for opera and operetta and eight (8) performances for

musical theatre, the Artists will receive an additional

payment of two-sevenths (2/7) of the weekly contractual fee

per performance. These performances may be comprised of

presentations as defined in Clause 14:13.

(B) Per Performance Fee

The per performance fee to the Artist contracted on a

weekly fee shall be calculated by dividing the number of

contracted performances into said weekly contractual fee.

(C) Weekly Fee

The weekly fee for the Artist contracted on a per

performance basis shall be calculated by dividing the total

fee for the engagement by the number of engagement

weeks.

18:02 Musical Theatre

In the case of musical theatre, the Artist may be required to take

part in up to eight (8) performances in each engagement week.

However, this requirement must be stipulated on a rider to the

Artist's contract, or otherwise the Artist may not be required to

sing an eighth performance. If the Artist agrees to do so, said

Artist shall be paid the requisite additional performance rate.

18:03 Artist in Leading Role

Except for presentations of one (1) hour or less, the Artist

contracted for a leading role or roles in Opera may not take part

in two (2) performances on the same day.

18:04 Maximum Number of Performances in a Day

No Artist may perform more than two (2) performances in one (1)

day.

18:05 Provisions for a Two Performance Day

(A) On a two (2) performance day if the interval between

performances from final curtain to the half-hour call is less

than three {3) hours, the Engager shall arrange for a hot

meal in the theatre at the request of the Artist and at the

Artist's expense.

(B) On a two (2) performance day, if the interval between

performance from final curtain to the half-hour call is less

than two (2) hours, the Engager shall arrange and pay for a

hot meal in the theatre for the Artist

{C) In no case shall there be less than one-and-a~half {1%)

hours from the final curtain to the half-hour call between the

two (2) performances

(D) The provisions of {A), {B) and (C) above shall also apply to

the break between rehearsal and a following performance

(E) Nevertheless the provisions of (A), {B) and (C) above shall

not apply to presentations of one (1) hour or less

18:06 Maximum Number of Performances in a Three Day Period

No more than five (5) performances shall be given in any three

(3) day period unless the Artist is paid two-sevenths (2/7) of the

Artist's weekly contractual fee for any performances in excess of

five {5) in said three (3) days. If two (2) or more performances are

given on the next succeeding day (or days) the Artist shall be

paid two-sevenths (2/7) of the Artist's weekly contractual fee for

each performance in excess of seven (7) in the week in which

this occurs.

18:07 Performance on the Free Day

There shall be no performance on the free day without the written

consent of Equity in advance.

18:08 Notification of Changes

The Artist will be notified at least twenty-four (24) hours in

advance of any change in the performance schedule whenever

possible.

18:09 Half Hour Call

The call to the theatre for all performances and dress rehearsals

shall be thirty {30) minutes before curtain time. The Artist shall be

in the theatre by the half-hour call unless the Artist has been

excused in writing by the authorized representative of the

Engager. Any additional time required by the Engager prior to a

dress rehearsal or performance shall be part of the regular

rehearsal time or the Artist shall invoice the Engager for

additional services at the rate stipulated in Clause 13:09(B){i),

except where special character or other make-up is required. In

such a case, the Artist may be called sixty (60) minutes prior to

curtain time.

!i~ooJ! .. ~][¢!'iS i>.l'JPJII.i\Kli'!!~ 19:01 Supplied by the En gager

The Engager agrees to supply all the Artists with all costumes

{including performance tights and hose for men and women),

wigs, character shoes, and shoes for dancers for all


performances and rehearsals, as required by the Engager. All costume elements as specified herein shall be made available to the Artist prior to the Dress rehearsal as specified in Clause 15:10(A).

19:02 Rental

(A) Rental or Loan

No Artist shall be required to rent or lend any wardrobe, shoes or hairpiece to an Engager for use in any production, concert or workshop unless the terms of the rental or loan are stated in the Artist's contract of engagement. Said rental must be paid by the Engager to the Artist weekly with the Artist's fee.

(B) Consent of En gager

If an Artist wishes to wear said Artist's own clothes and/or shoes instead of those supplied by the Engager, the Artist may do so only with the consent of the Engager.

(C) Rider

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 Joss or damage, and the agreement of the Engager to reimburse the Artist for that amount, should loss or damage occur, pursuant to the provisions of Clause 24:01.

19:03 Make-Up

The Artist is required to provide only ordinary and conventional stage make-up. All other make-up shall be provided by the Engager.

19:04 Body Make-Up

Where suitable bathing facilities are available at the place of performance, the Artist may be required to use body make-up. Where suitable bathing facilities are not available at the place of performance, the Artist may not be required to wear body makeup unless the Artist is provided with protective clothing or unless the Artist is reimbursed for any resultant cleaning bill upon presentation of receipts

If the Artist is required to use body make-up, the Engager shall furnish a regular linen towel service for removal of such make-up. On tour the Engager agrees that it will carry the Artist's make-up and baggage from point to point except in case of emergencies as defined by Equity.

19:05 Cleaning and Upkeep

The Engager agrees to reimburse the Artist for the cleaning of such garment of the Artist's personal wardrobe or hairpiece used in the production, upon presentation of a cleaning bill. Following the last performance of an Artist's engagement, a cleaning bill must be presented for which the Engager shall then reimburse the Artist. For the purpose of this Clause, a garment shall be defined as any single article of apparel, including hairpieces.

19:06 Cleaning Schedule

All wigs, hairpieces and costumes to be worn by the Artist are to be cleaned at least once every two {2) weeks, or more often if necessary, and in any case within one (1) week before the production goes on tour, at the Engager's expense.

19:07 Undergarments

Stockings, undershirts, and other "skin parts" of costumes and/or clothes shall be laundered by the Engager prior to each wearing. This provision shall apply unless the Artist finds such laundering unnecessary. The Engager shall not require the Art.lst to wear any costume, clothing, hat or footwear that is not in a thoroughly clean, sanitary and dry condition.

19:08 Understudies

Understudies must be furnished with clean costumes and properly fitted shoes when called upon to perform.

19:09 Kneepads

The Engager shall furnish kneepads when necessary for rehearsal and/or performances.

19:10 Hair Style or Colour

No Artist may be required to change the colour and/or style of the Artist's hair or shave the Artist's head unless a rider outlining

{

these requirements is negotiated, signed and appended to the engagement contract.

The Engager 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 the Artist's hair as a result of a required change in colour and/or style in the first place and/or 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 Engager shall continue to pay the Artist's weekly contractual fee until the hair and/or its former colour are restored, but for a period not to exceed eight (8) weeks beyond the termination of the Artist's individual contract.

When the Artist is required to shave the Artist's head, the Engager shall provide a wig satisfactory to the Artist for the Artist's personal use.

!rifl:OJL '$A[t;.AN):>'SAN,l~A_ilY.·!?J-Ab\2siQi;.~t{(iA$.\2MEtJj i· The Engager agrees to provide the Artist with safe and sanitary places of engagement. The Engager 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 Engager agrees that the guidelines supplied with this Agreement provide a basis of acceptable health and safety standards, by which the provisions of this Clause 20:00 are to be interpreted.

20:01 Separate Dressing Rooms

The Engager agrees to provide the Artist with safe and sanitary places of engagement. Separate dressing rooms for male and female Artists will be provided, and these rooms and the stage will be clean and properly heated. Toilets and lavatories will be clean and sanitary, and will be separate facilities from those provided for the audience. Mirrors shall be provided in all washrooms and/or dressing roomE=>. Hot and cold running water shall be available in or reasonably convenient to the dressing rooms. Alleys and roads leading to stage doors of the theatre shall be safe, clean and accessible and properly lit.

Runways between dressing rooms and the theatre shall be covered and paved or boarded.

20:02 Open-Air & Tent Theatres

In all open-air and tent theatres, the Engager shall make available covered rehearsal space meeting the requirements of this Clause prior to moving into the performance venue.

20:03 Air Conditioning & Ventilation

The Engager agrees to maintain the dressing rooms at a reasonable and constant temperature. If the auditorium is airconditioned, all dressing rooms shall be air-conditioned. It the auditorium is not air-conditioned, the Engager shall provide mechanical devices in dressing rooms to ensure proper ventilation and the circulation of fresh cool air. The Engager shall endeavour to ensure that the following conditions shall apply:

(A) Minimum Temperature Achieved

The theatre, rehearsal hall, stage and wings of the stage, dressing rooms, in fact any space where the Artists are required to rehearse or perform shall have reached the minimum temperature specified below, before the Artists arrive at the theatre to rehearse or perform. II is recognized that the amount of time needed between the turning on of the heating system and the air reaching the required minimum temperature will vary from theatre to theatre. However, minimum temperature in dressing rooms must be achieved at least two (2) hours before curtain time.

(B) Minimum Temperature

That the temperature where the Artist is required to rehearse or perform will not be below 18 Celsius (65. F) or exceed 30 Celsius (86" F). This Clause app!ies to both indoor and outdoor situations. The governing temperature


shall be that taken one~half (Y:.) hour prior to commencement of petiormance.

20:04 Arena Theatres

In all arena theatres, there shall be no riser, which is not part of

the set, placed between the runway and the stage. A ramp or other levelling device must be provided.

20:05 Blackouts

In all theatres, the Stage Manager shall ensure that any areas

which may be affected by blackouts shall be adequately illuminated with guidelights and/or delineated with phosphorescent tape.

20:06 Aisles

Aisles shall be maintained in a firm and even condition, and if not

constructed of a hard surface such as concrete, asphalt or macadam, must be covered with boards and the covering must

be secure.

20:07 Surfaces

Artists shall not be required to dance on concrete or marble

floors.

Neither shall Artists be required to rehearse or perform on any surfaces deemed to be injurious or unsafe.

When rehearsing or performing it is the Artist's responsibility to

conduct the Artist's self in a professional and safe manner. This responsibility will include wearing appropriate rehearsal shoes

and clothes.

20:08 Cot

The Engager shall provide a cot for any Artist who may become ill during a rehearsal or performance.

20:09 First Aids Kits

First aid kits, stocked with adequate supplies, shall be available and easily accessible at all times to dressing rooms and rehearsal and performance areas.

20:10 Dressing Rooms

Dressing rooms (except quick~change booths) shall be of permanent type, and shall not be only under canvas.

20:11 Drinking Water

Ample, pure, cool, drinking water shall be provided wherever the Artist is required to rehearse or perform.

On tour the Engager agrees to ensure that these standards apply to the best of the Engager's ability.

20:12 Intercom System

An intercom system between the stage area and dressing rooms shall be installed in all resident theatres in which Equity deems

the performance from the stage is not clearly audible in the dressing rooms.

20:13 Equity's Right to Inspect

Then Engager agrees that Equity's representatives shall have the right to inspect the Engager's facilities to determine whether the

safe and sanitary requirements set forth in the foregoing Clauses have been complied with. The representative shall report any deficiencies. to Equity in writing, and shall also furnish the

Engager with a copy of the representative's report. Upon receipt of the report, Equity will notify the Engager, in writing, to correct the deficiencies. Unless the Engager then either corrects the

deficiencies or gives Equity assurance satisfactory to it, that such deficiencies will be promptly corrected, the Council or its

Executives may certify the facilities as unauthorized for rehearsals, for pertormances, or both, as the Council or its Executives 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 andfor performing in the Engager's facilities.

20:14 Smoking

Smoking is prohibited in the rehearsal halls and dressing rooms for the duration of the production's rehearsal and performance period. Smoking is not permitted in dressing room corridors. The

Engager agrees to designate stage, wings, ramps, traps, and such other areas as it may decide upon, as non~smoking areas.

The Green Room shall be a non-smoking area, and the Engager

agrees to designate, where possible, another area where Artists may smoke Which does not impinge on the non~smoking areas.

When the Artist is rehearsing and/or pertorming, smoking shall only be permitted when the Artist has been directed to do so as

part of the character portrayed.

Additionally, in any vehicle in which the Artist is required to travel,

smoking is not permitted except by unanimous vote or except in the case of a commercial carrier where provision for a smoking

section is standard practice.

Any breach of this Clause by the Artist may subject the Artist to disciplinary procedures in accordance with the Constitution and

By~Laws of Equity.

20:15 Hazardous Materials

To the best of its knowledge, the Engager will ensure that chemical agents used to create special effects for a production will not be harmful to the Artist.

Should an Artist develop a problem as a result of exposure to a chemical agent, the Artist shall report this matter to the Engager and shall consult a physician as soon as possible. Upon the

advice of the physician an Artist may cease rehearsing and/or pertorming until the use of the chemical agent is discontinued.

In the event that an Artist is unable to continue rehearsals or performances, the contract of the Artist may be terminated in accordance with Clause 35:01, Extraordinary Risk.

The Engager and the Artist will ensure that a claim for disability benefits is completed and filed during the term of the Artist's

contract.

20:16 Fire Exits & Procedures

The Stage Manager shall ensure that all Artists are aware of the

location of the fire exits and f1re extinguishers in each location in which the Artists are working, and will ensure the Artists are

aware of the Engager's established emergency procedures.

The Engager shall provide Stage Management personnel with a fire procedure list for all fhP.se locations and a copy of the fire procedures will be prominently posted in each of the locations on the first day of rehearsal.

20:17 Perceived Risk

20:18

With respect to Clause 20:00, whenever the Artist perceives a risk to the Artist's health and/or safety, the Artist shall immediately report said risk to the Stage Manager and the

Deputy. 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, Deputy and Engager jointly have deemed that no such risk exists.

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 the Artist's self to a place of safety. The Artist may not return until said Artist has been

assured to the Artist's 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.

;2t:oP. ;~(;ji)~)Nij;IN:ti:I.~,B.Gilf.l:t;.P"~'IDRtG[NE' 21:01

21:02

Engager's Responsibility

The Engager shall be responsible for assisting the Artist in finding reasonable accommodation. The Engager will furnish a

list of usually available accommodation upon request of the Artist, at the time of offering the Artist the engagement.

List of Accommodation

Said list shall be up-to~date. In an cases, a full description shall be given with price, location of each accommodation in relation to

the theatre and rehearsal space, and shall be specified in a rider to the Artist's engagement contract.

21:03 Rates

The Artist shall confirm rates listed and make the Artist's own arrangements to occupy any accommodation, listed or unlisted.


{

21:04 Alternative Accommodation

Should any accommodation prove unsatisfactory to the Artist, the Engager will assist the Artist in finding suitable accommodation.

i22:~1rr', tRAt>~s'E,PB'I'Afi)DtfANi;J,fiJs:<iGAGl1' E, ,,, 22:01 Transportation of Artist by Engager

The Engager shall, at its own expense, transport the Artist whose residence is outside the Point of Origin, and also the Artist's baggage up to a limit of three hundred (300) lbs., from the Artist's residence to the Point of Origin (i.e. the theatre or hotel) and return, except that where the Artist has a consecutive contract of engagement the Engager 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 Engager shall be relieved of any obligation for return transportation to the Artist. However, in any other case, the Engager signing the first contract of engagement shall be obliged to provide and pay for the Artist's transportation back to the Artist's place of residence.

It is understood and agreed that the Engager signing the consecutive contract of engagement is obliged, in addition to the above, to provide and pay for the Artist's transportation back to the Artist's place of residence after the Artist has fulfilled the Artist's period of engagement. It is the Artist's responsibility to inform the Engager of any consecutive contract of engagement and to return the balance due on any advance or return transportation.

Transportation shall be by air (the least expensive commercially available) unless otherwise negotiated between the Artist and the Engager prior to the signing of the contract and stipulated in a rider thereto. If the manner of transportation is not stipulated in the engagement contract the air economy fare shall apply. The Engager will reimburse the Artist for purchase of air travel insurance up to a maximum of eighty thousand dollars ($80,000.00) upon presentation of premium receipts therefore.

Where public transportation is unavailable, the Engager shall transport the Artist by whatever means of transportation is available.

22:02 Use of Artist's Vehicle

With written permission of the Engager, the Artist may use the Artist's own car to travel to the Engager's Point of Origin and return. The Engager agrees to pay the Artist a sum equivalent to the least expensive commercially available round trip airfare or other public transportation fare where no air service is available.

22:03 Ground Travel to and from Airport

The Engager is responsible for the Artist's transportation 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. Reimbursements will be issued by the Engager upon presentation of receipts.

The Artist shall use the most economical transportation available at the time when travelling from the Artist's place of residence to the terminal. In the Engager's point of origin, the Artist shall be transported according to the directions of the Engager. Where no directions are given, the Artist shall be transported by whatever means are available.

22:04 Ground Travel to and from Place of Residence

Likewise the En gager is responsible for the transportation of the Artist and the Artist's baggage to and from the Artist's place of residence to the tour departure point or terminal at the beginning and end of a tour.

Reimbursement shall be made by the Engager upon presentation of receipts.

(

22:05 Travel to the Point of Origin and Place of Residence

If, in order to be present at the first rehearsal call, it is necessary for an Artist to travel to the Point of Origin or tour on the previous day or overn·lght, the Artist shall be paid the appllcable touring differential.

Similarly, when returning to the Artist's place of residence at the end of the Artist's engagement, if it is necessary for the Artist to travel after 12:00 midnight on the day the Artist's contract has terminated, the Artist shall be paid the applicable touring differential. These requirements apply only to those Artists who are paid the applicable minimum Equity rate.

22:06 Transportation Tickets in Advance of Travel

The Engager, in advance of the Artist's travel, shall furnish the Artist with the necessary transportation tickets or other cash equivalent, provided that the Artist requests same at least ten (10) days prior to departure.

:~a:op cl!AJMs < 23:01 Waiver or Release Not Permissible

Upon any claim of the Artist arising under this Agreement through any breach thereof, no receipt, waiver or release or adjustment by the Artist is of any validity whatsoever, unless Equity consents in writing. The Engager, by agreeing to this Clause, agrees that the Engager 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 members under engagement contracts be handled or enforced by agents or attorneys of members unless same are consented to by Equity in writing.

23:02 Time Limit in Lodging Claim

Should the Artist deem that said Artist has any claim against the Engager under the Artist's contract, the Artist shall present the same in writing to the Engager, and to Equity, within four (4) weeks after the time when such claim shall have arisen unless the Artist shall give to the Engager, Equity or the Arbitrator, or to any of them a good and sufficient reason for any delay after such period of four (4) weeks.

24:01 Reimbursement

The Engager shall reimburse the Artist up to an amount of one thousand, seven hundred and thirty~five dollars and sixty~five cents ($1 ,735.65) for loss and/or damage to:

(A) the Artist's property used, or to be used in connection with a production or productions covered by the Artist's contract of engagement;

(B) the Artist's personal effects and clothing (except cash and/or jewellery) when placed in the Artist's dressing room which has been provided by the Engager in the place where the Artist is required to rehearse or perform;

(C) the personal effects and clothing of the Artist including the Artist's baggage, while on tour when not under the direct supervision of the Artist.

(D) the valuables given to the Engager or the Engager's agent for safe~keeping.

24:02 Facilities for Safe-Keeping

The Engager agrees to provide facilities for safe~keeping in this regard for personal valuables, jewellery and/or cash.

The Engager shall inform all Artists of same and inform them by a written notice posted on the call board of the Artists' obligation under the provisions of this Clause to avail themselves of such facilities.

:2~:llo $gcll~l;t!( r5~~pdslt(13!'JNt\Jf.b.Ntl s~CURI;t!( AGRJ?);M!~Nf ·' 25:01 Security Agreements

The provisions of any and all agreements relating to security deposited or agreed to be deposited with Equity covering any engagement under this Agreement and any contracts of engagement are hereby adopted and made part of this Agreement and said contracts.

2007~2010 Opera Agreement 1 Page 16

This includes agreements on forms now called "Bond", "Security Agreement", "Letter of Guarantee" and "Letter of Credit".

25:02 Maintenance of Satisfactory Security

It is of the essence of this Agreement and all contracts of engagement and a condition precedent to the engagement of the Artist that the Engager shall file and maintain a security satisfactory with Equity which shall not exceed one (1) week's contractual fees for the total number of Artists to be engaged at any one time during the season. Where Equity can demonstrate where an Engager is substantially or repeatedly in arrears with payment to or on behalf of its members including insurance and R.R.S.P. as stipulated in this Agreement, Equity shall have the right to increase the amount of security required.

25:03 Posting of Security

The Engager shall be ineligible to engage Equity members unless and until the Engager shall have furnished security as required in Clause 25:02 to ensure the payment of claims arising from unpaid benefits and fees (including but not limited to fees, additional services, per diem, and transportation) as well as any claim arising from the provisions of Clause 46:00 (Arbitration).

;g_ll:pJt !ON~l>i@g~~~~~t.§l'JIIT;!I;A!:tll ..•.. 26:01 Continuous Engagement

Continuous engagement of the Artist is of the essence of all engagement contracts.

Engagement thereunder shall begin on the date of the beginning of rehearsals or required date of arrival, if earlier, and shall continue as herein provided, and not otherwise. All calculations of sums due or benefits accruing to the Artist shall be computed on the basis of the duration of the contract.

26:02 Guaranteed Period

The minimum guaranteed period of engagement shall be two (2) weeks.

26:03 Emergency Replacement

An Artist not under contract to the Engager, replacing an Artist who cannot perform because of illness, injury or some other emergency (See Clause 15:13 re: emergency rehearsal) shall be contracted and paid at least one (1) weeks' minimum fee per performance. For any rehearsals required, the Artist shall invoice the Engager for additional services at double the rate stipulated in Clause 13:09(B)(i). Alternatively the Artist may be contracted to a standard engagement contract - choice to be made by the Engager.

26:04 Casual Engagement

(A} Performances

The following casual engagement provisions shall apply for "one-off' presentations promoting the activities of the Engager. The following terms do not apply to full scale productions or any presentation which utilizes sets, nor do these terms reduce the provisions of Clause 49:00 of this Agreement-Concerts and Recitals.

The minimum fee for the engagement of an Artist shall be based on the applicable minimum weekly fee.

Fee for rehearsals and/or development activity (minimum three (3) hour call):

1/30 of the weekly fee per hour

Fee for Performances (maximum three (3) hour call):

1/5 of the weekly fee per peliormance/presentation

{B) Development Activities

The following casual engagement provisions shall apply to workshops for the development of a new translation or adaptation of existing repertoire and new works by Canadian composers undertaken by the Engager in addition to ongoing mainstage and second stage activities. The focus of these activities is understood to be on process rather than on production with an emphasis on the development of the work and not performance. The provisions of this Clause do not apply to full scale productions or any presentation which utilizes sets, props, costumes or staging.

The minimum fee for a development activity shall be one thirtieth (1/30) of the weekly mainstage fee per hour (minimum three (3) hour call), however the second stage rates shall apply to an engagement of one (1) week.

Clause 26:01 (Continuous Engagement) shall not apply to the engagement and no engagement shall exceed one (1) engagement week in duration. Rehearsals shall be scheduled in accordance with Clause 16:08(A)(1).

The Artist shall not be required to have coached or memorized the music or text of the role prior to rehearsal.

No full production of a workshop or development activity shall be permitted within eight (8) weeks of the conclusion of the activity, however in exceptional circumstances, Equity will consider a reduction to this period.

Clause 28:01 (Exclusive Service of the Artist) shall not apply to the engagement of the Artist and the Artist may terminate his/her engagement contract without notice or penalty.

There shall be no public presentation with a paid admission charge. In the event of an invited component to a presentation, the Artist shall be notified at the time of signing the engagement contract and there will be no expectation that the Artist will work off-book. Stage managers will be engaged when the elements included require their services.

The complete terms and conditions of the Agreement shall apply, except where amended herein.

26:05 Most Favoured Nations Prohibited

So-called "most favoured nations" riders, which state that no Performer in the production shall be paid an equal or higher fee than the Performer named on the face of the contract, or socalled "favoured nations" riders, which state that no Performer in the production shall be paid a higher fee than the Performer named on the face of the contract, are deemed unacceptable and are not permitted.

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27:01 Requirement to File

No Artist may begin an engagement unless an individual Artist's contract has been completed and a copy filed with Equity and the Engager.

27:02 Determination of Classification

Equity and the Engager agree that the Categorization of Roles, herein, shall be used as a basis to determine the classification of the performing Artist. The Engager has the right to determine the classification for any roles not specified for in operas detailed in the Categorization of Roles.

Classification for any operas and roles therein not included in the Categorization of Roles shall be mutually agreed between the Engager and Equity. For new works and operas not included in the Categorization of Roles, the Engager shall supply Equity with a detailed synopsis of the work, not later than three (3) months prior to the first date of engagement. This submission shall include the following:

{D language

(ii) plot

(iii) composer/librettist

{iv) list of roles, with classification of Lead, Featured, Supporting, Bit and Chorus Bit identification of measures of music for any Bit or Chorus Bit roles

(v) any other relevant history or information.

27:03 Change in Classification

Likewise, the classification of the Artist may not be changed within a given engagement, without negotiation of a new contract between the Artist and the Engager.

27:04 Effective Date

Contracts between the Engager 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.

2007-2010 Opera Agreement l Page 17

27:05 Changes and Alterations

The Artist has no right or power to waive any of the minimum conditions set forth in the contract, Agreement and Clauses without the written consent of Equity. The Engager agrees that all blanks on the face of the contract, including date of first public performance, name of role, contractual fee, and required date of arrival, will be filled in, in writing before signing or delivery of the contract.

27:06 Signing Of

Unless contracts are signed concurrently, they must be signed first by the Engager. If the contract is not signed concurrently, the Engager may, in writing, at the time of sending the contract to the Artist, notify the Artist that unless the contract is signed and returned by the date specified by the En gager which shall not be less than thirty (30) business days, the Engager may declare the contract to be null and void. After the said period has elapsed the Engager agrees to advise the Artist in writing that the contract may become null and void at the discretion of the Engager.

27:07 Quadruplicate Contracts

Contracts must be completed in quadruplicate:

(i) One copy retained by Engager

(ii) One copy filed with Equity by Engager

(iii) One copy retained by Artist

{iv) One copy filed with Equity by Artist

The Artist shall file with Equity and the Engager the appropriate copies as above of the contract within forty-eight (48) hours of the Artist's signing same. The Engager shall remit to Equity the appropriate copy as above of the fully executed contract within one (1) week of receipt of same, and in no event later than the date of the beginning of the engagement.

27:08 Effect of Contracts

All contracts signed pursuant to these Clauses are binding upon the Engager and the Artist.

27:09 Inclusion of Premium/Penalty Payments Prohibited

Any riders which state that the weekly fee or the fee to be paid the Artist is inclusive of additional services, GST, premium payments, that may be due to the Artist under this Agreement, are not permitted.

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28:01 Exclusive Service

Except as otherwise provided in the contract of engagement, the Artist shall not accept any other engagement from the date of beginning of rehearsal and until said contract is lawfully terminated, without the prior written consent of the Engager. Such consent shall not be unreasonably withheld.

If the Engager grants a release, the Engager may deduct oneseventh (1/7) of the weekly contractual fee for each day the Artist is released except for a release granted for a time when the Artist is not called in which case no deduction may be made.

28:02 Assignment of Artist's Contract

The Engager agrees that the individual contracts of engagement between the Engager and any Artist may not be assigned or transferred to any individual or corporation unless the written consent of Equity and the Artist concerned shall have been endorsed on the face of the contract, or the transfer of said individual contracts without such written consent shall be deemed null and void.

f29:9Q •·•aiL41Wd,ipfj!J:t9"5ANo·p~p)>RAM!i1!05i 29:01 Touring

The names and photographs, properly identified, of all Soloists in the company shall be displayed in front of the theatre within the limitations of the existing facilities. Where such facilities are not available, the names and photographs (properly identified) of all Soloists shall be prominently displayed in the lobby.

29:02 In Town

The names of all Soloists in the cast shall be listed on the house boards in front of the theatre wherever house boards are maintained, and within the limitation of the existing facilities. Where such facilities are not available, the names and

photographs (properly identified) of all Soloists shall be prominently displayed in the lobby.

29:03 Artist Leaving a Cast

(A) Front of House

When an Artist leaves a cast, the Artist's name and/or likeness (in photographs portraying three (3) members or less) must be removed from all front-of-the-house boards and frames in the theatre where the show is playing. The removal shall be made prior to the first performance of the Artist's successor.

When the Engager does not comply with the Clause, the two (2) Artists shall be remunerated. at one-eighth (1/8) of their respective weekly fees for each day that the Engager has not complied with the Clause.

(B) other Advertising and Display Media

In connection with all other advertising and display media under the Engager's control, the Engager shall exercise reasonable diligence in removing the name andfor likeness of the Artist no longer in the cast.

29:04 Billing in Use of Production Photos

(A) Not Relative to a Specific Production

For promotional purposes not related to a particular production, the Engager may use photos from previous productions, provided that solo Artists in such photos are properly identified.

(B) Relative to a Specific Production

In advertising and publicity for a specific production, the Engager may use photos from a previous production provided the production is properly identified, and in photos containing three (3) or fewer Artists the Artists are properly identified.

29:05 Specific 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 contract.

29:06 Breaches of Billing

Whenever a breach is claimed of a billing clause contained in an Artist's individual contract, Equity shall notify the Engager in writing of said breach. If the breach is not corrected within seven (7} business days of receipt of the written notification, except as provided below, the Engager shall pay to the Artist a sum equal to one-eighth (1/8) of the Artist's fee for each week that the breach continues beyond said seventh day. If the breach involves billboards, the time interval for correction shall be extended to two (2} weeks. Exempted from this provision shall be posters on unpaid locations. If the breach involves billing in a magazine or similar publication, should the Engager not correct an error in billing when notified seven (7) or more days prior to the press deadline, the Engager shall pay to the Artist a sum equal to oneeighth (118) of the Artist's weekly fee. If the breach involves billing in a newspaper and should the Engager not correct an error in billing when notified forty-eight (48) hours or more prior to the press deadline, the Engager shall pay to the Artist a sum equal to one-eighth (1/8) of the Artist's weekly fee.

29:07 Programmes

(A) Programme Credits and Photographs

An 8" by 1 0" professional quality photograph of each Equity Artist performing a role listed on the face of the score, shall be provided by the Artist, and the photograph shall be reduced to an appropriate size and accurately reproduced, and properly identified in the house programme. The size of each photograph shall be subject to the limitations of space in the house programme, and therefore the size and placement of the Artist's photograph shall be at the sole discretion of the Engager. This provision shall also apply to Artists contracted as ··Production Stage Managers, Stage Managers, Stage Directors and Choreographers. It shall also apply to Fight Directors engaged on a per production basis.


(B) Programme Notice

The Engager shall list in the programme -or playbill distributed to the audience the names of all Equity members under contract to the Engager for the production.

29:08 Billing for Specific Production

The Fight Director, Stage Manager, Assistant Stage Managers, Assistant Director arid Assistant Choreographer shall receive billing for their specific production on either the title page or the cast list page of the house programme, placement to be at the Engager's discretion. The Engager agrees to remit a copy of the programme or playbill to Equity as soon as available.

29:09 Errors or Omissions

In the event that there are errors or omissions in the printed cast listing in the playbill and/or programme, the Engager agrees that upon receipt of notice of an omission or error in such cast listing, the Engager will, within twenty-four (24) hours (including a least one (1) business day), place in the playbill and/or programme a mimeographed or printed slip correcting the omission or error and will also correct the omission or error in the next printing of the playbill or programme, provided such notice is given at least twenty-four (24) hours prior to the press deadline. In place of a printed slip the omission or error may be corrected by an announcement being made to the audience before the pertormance. For each failure either to place a correction slip in the playbill and/or programme, or to make an announcement correcting the error, as stipulated above, or to correct the playbill or programme cast listing at the next printing after proper notice, the En gager shall pay to the Artist involved, a sum equal to oneeighth (1/8) of the Artist's contractual fee for each week or part thereof during which the omission or error continues.

29:10 Artist No Longer Under Contract

When an Artist is no longer under contract to the Engager, the Engager shall be saved harmless in the use of souvenir programmes containing photographs and/or autobiographical material of the Artist. In photographs containing three (3) or fewer Artists, the Artist shall be properly identified.

29:11 Biographical Materials in Programmes

(A) Artist's Right of Approval

The Artist is required to submit biographical material for the programme or souvenir programme upon signing of the contract, at the Engager's request. The Artist may request that the material to be published be submitted to the Artist for approval, such requests shall not be unreasonably rejected. Should the Artist not inform the Engager of the disapproval of the material within twenty-four (24) hours of its submission, the materia! will be considered approved.

{B) Length of Biography

The Engager shall ensure that biographies of all Artists provided for in Clause 29:07(A) shall appear in the house programme.

The Engager shall determine the space available for, and the placement of the Artist's biography, in the house programme. It is acknowledged that the Engager has the right to limit the length of a biography subject to the limitations of space in the house programme.

i31h!fl! ',J>iJotlil:GR~P\'t¢Alil;~At.li:lj'iti£\t[t):ttfi •. 'i'. . 30:01 Photo Calls

In addition to the regular rehearsal time, the following photograph calls shall be allowed for taking of customary and usual photographs, together with photographs to appear in magazines or newspapers for the sole purpose of publicizing and advertising the production.

Two (2) photograph calls of a maximum of three (3) hours each (for each performer) shall be allowed for each production, and there shall be no photograph call on a two (2) performance day or on a day when two (2) dress rehearsals are called, or prior to the first rehearsal or pertormance call on the day after a day off.

30:02 Notice of Photo Calls

A twenty-four (24) hour notice for photographs shall be given to the Artist. In all cases the Artist's name shall be properly credited

in the publicity within the provisions of Clause 29:00 of this Agreement.

30:03 Artist's Availability

The Artist cannot be required to be at the disposal of the Engager, except within the specified rehearsal and pertormance hours, and the photograph ca11 hours as set forth above.

This Clause does not prohibit interviews on radio or television, nor is the Artist prohibited from making reasonable personal publicity appearances.

30:04 Nude Photographs

No Artist may be required to pose for nude photographs without the Artist's written consent. No nude photographs of an Artist may be used in any way without the written consent of the Artist on a copy of the photographs to be displayed, published, or released. A copy of the signed, released photograph shall be filed with Equity and the Engager and the Artist shall keep duplicate copies.

30:05 Payment for use of a Photograph

(A) Commercial Product

The Engager must obtain the Artist's prior written authorization before the Artist's picture may be used in conjunction with the sale and/or promotion of a commercial product, copies of which must be filed with Equity, and said authorization must specify the commercial product involved. If the Artist consents to the use of his/her picture, as aforesaid, he/she shall be paid not less than one hundred and twenty-six dollars and ninety-two ·cents ($126.92) for said use, and the Artist shall be properly identified therein. The Artist called to a picture call for the purpose described above, whether said call is at the theatre or elsewhere, shall in addition, one hundred and twenty-six dollars and ninetytwo cents ($126.92) per hour or part thereof for said call.

(B) Books

With the prior written consent of Equity, the Engager may use or authorize the use of productinn photographs in books, provided that the Artist is properly identified therein, and the Engager may be exempt from the payment stipulated above with the prior written authorization of the Artist, copies of which must be filed with Equity. The Engager shall demonstrate that reasonable effort has been made to contact each Artist when seeking said authorization. Should this procedure not be fo11owed, the Engager shall pay the Artist two hundred and one dollars and seventy-seven cents ($201.77) for the use of the photographs.

(C) Choristers

It is agreed that this Clause 30:05 (A) and (B) does not apply to choristers unless there are fewer than five (5) choristers in the photograph.

(D) Commercial Product for the Benefit of the En gager

If the sales of the commercial product are solely for the benefit of the Engager, this Clause shall not apply. However, the Engager must obtain the prior written permission of the Artist. Such permission shall not be unreasonably withheld.

30:06 Use of Artist's Image (Still Photos) for Promotional Purposes

The use of an Artist's image in a "Commercial Product" always requires the Artist's approval of the photograph and/or its use and may require payment in accordance with Clause 30:05.

{A) Exclusive Use by the En gager

When the production photograph is used exclusively by the Engager for promotional purposes:

(i) no payment is required; and

(ii) approval of the Artist is required for photographs of three (3) Artists or less; and

{iii) the Artists must be properly identified in photographs of three (3) Artists or less.


(B) Mixed Use - Engagers/Corporate Sponsor:

When the production photograph is used by the Engager as well as another party:

(1) Produced and distributed by Engagers

For uses of the photograph which are produced and distributed by the Engager:

(i) no payment is required; and

(ii) approval of the Artist is required for photographs of three (3) Artists or less; and

(iii) the Artists must be properly identified in photographs of three (3) Artists or less.

(2) Produced and distributed by other than Engagers

For uses of the photograph which are produced and distributed by a party other the Engager but which is related to the Engager through a partnership, sponsorship, or like arrangement

(I) approval of all Artists appearing in the photograph for the specific use is required; and

(ii) payment for use of the Artist's image applies in accordance with Clause 30:05(A); and

(iii) payment may be waived with the written consent of the Artist; and

(iv) the Artists must be properly identified in photographs of three (3) Artists or less.

(C) Exclusive Use by Third Party

When the production photograph will be used exclusively by a Third Party:

(I) approval of all Artists appearing in the photograph for the specific use is required; and

(ii) payment for use of the Artist's image applies in accordance with Clause 30:05(A).

30:07 Commercial Product

"Commercial Product" refers to an object including, but not limited to, poster, T -shirt, publicity campaign, newspaper or magazine advertising which is sold or given away and whose primary aim is direct or indirect increase of revenue.

'~1,0.0 11QV.J;jl1fSING.Of,c'A!t:rlsf's?l'.j.I;Nj~;.·.,··.

The Engager will not advertise or announce the name of an Artist without a signed contract unless written permission is given by the Artist.

For any infringement of this Clause the Engager shall pay the Artist involved four (4) weeks' fee at not less than the minimum weekly rate. Upon application by the Engager, Equity may agree to modify this Clause.

t32f0.0. 'liN!ile&St.l.io)~S 32:01 Names in Programme

The names of all understudies shall be listed in the programme, except that the Artist may, at the Artist's option, require a rider to the Artist's individual contract exempting the Artist's name from such listing.

32:02 Music Rehearsals

The Engager guarantees that there shall be at least two (2) music rehearsals, with a coach, per production, completed before the opening of said production. Such rehearsals may take place within the regular rehearsal hours. For such rehearsal in addition to the regular rehearsal hours, the Artist shall invoice the Engager for additional services at the rate stipulated in Clause 13:09(B)(i).

32:03 Performing Artist Engaged to Understudy

A performing Artist also engaged to understudy shall be paid a minimum of one hundred and twenty-eight dollars and eighty-four cents ($128.84) per week per role understudied in addition to his/her weekly contractual fee.

32:04 Minimum Contract Prior to Performance

If the Artist has been contracted to understudy the role for one (1) week or Jess, the Artist shall not be required to perform it, but may sing it with the score, unless the understudy is also

performing, in which case the Artist must have had the role at least two (2) weeks before said Artist can be required to perform it. The above notwithstanding, an understudy may not be required to perform unless the understudy has had at least one ( 1) full rehearsal of the understudy's particular role on the set.

32:05 Additional Compensation

No understudy shall perform in a role which the Artist understudies without additional compensation. Payment for performance must be negotiated and stipulated in the Artist's contract even if it is agreed that the minimum payment shall apply.

The minimum payment shall be as follows:

An Artist pertorming a role which the Artist is contracted to understudy shall receive an additional sum for each such performance equal to the Artist's weekly contractual fee.

32:06 Number of Performances

When an Artist has performed an understudy assignment, the Engager agrees to confirm the number of performances rendered by the Artist to Equity not later than the last business day of the week following which the understudy assignment was performed.

[aa?oJ!T'fri@R~O~Mk.tfces'\(i.fltil:O!iR~!f~ARllAI\5,L~s1¥~0} .. If the company cannot rehearse or perform because of fire, accident, strikes, riot, Act of God, or the public enemy, which could not be reasonably anticipated or prevented, then the Artist shall not be entitled to the Artist's contractual weekly fee for the time during which the Artist's services shall not, for such reason or reasons be rendered, except that the Artist shall receive onesixth (1/6) of minimum fee for the first day lost and the applicable touring differential for each day on which performances are not given thereafter. Should any of the foregoing conditions continue for a period of ten (10) days or more, either party may terminate the contract, and the Engager will pay for all services rendered to date and transportation back to the place of residence.

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34:01 Written Notice

It is the essence of all engagement contracts that all termination notices thereunder, must be in writing. Copies of all notices must be filed with or mailed to Equity forthwith by the party (Artist or Engager) giving notice.

34:02 Provisions for Termination

An individual Artist's engagement contract may be terminated as follows:

(A) Mutual Agreement

By mutual agreement, in writing, a copy of which must be filed with Equity; or

(B) Breaches

For the reasons set out in Clause 10:02 of this Agreement. See also Clauses 5:02, 5:03, 5:04, 5:05, 8:03 and 16:02.

(C) Pregnancy

Absent mutual agreement to terminate the Artist's engagement contract due to pregnancy only, the Artist shall receive not less than fifty percent (50%) of the full face value of the contract and a bona .fide offer of another role of a commensurate size, fee and stature, at a later date.

Mutual agreement may include penalty payments by the Artist or the Engager up to the full value of the engagement contract. The parties may include other terms including bona fide offers/terms of engagement in future productions, and/or any other terms or conditions negotiated between the parties which do not contravene the terms of this Agreement, or any combination thereof.

34:03 Dispute

Any dispute involving termination of a contract of engagement with an Artist and any claim regarding expenses or losses incurred by either party shall be subject to the arbitration procedures specified in Clause 46:00 of this Agreement.

34:04 Bereavement Leave

If any member of an Artist's immediate family is critically ill, or dies (father, mother, brother, sister, child, spouse or equivalent),


the Engager shall arrange for the Artist to be absent for up to three (3) days, without loss of fee, at a mutually agreeable time.

:is:ll;q T~R!\Il.INATJQ).l,gu~j'O'rAcji;li)ef.lJ,'!i;gN~s$' 35:01 Extraordinary Risk

When the Artist shall have absented the Artist's self for seven (7) days by reason of accident involving "extraordinary risk", the Engager may terminate the Artist's contract by giving the Artist two (2) weeks' notice, and paying the Artist the applicable minimum weekly fee for two (2) weeks at that time.

35:02 Absence Due to Illness or Accident

(A) When the Artist shall have absented the Artist's self for seven (7) consecutive days by reason of illness or accident, the Engager may terminate the Artist's contract at the end of seven (7) days effective immediately.

(B) If, in the opinion of the Engager, the conductor and the stage director, the absence of the Artist prior to the end of this seven (7) day period will jeopardize the production, the Engager may terminate the contract immediately

(C) When the Artist's contract is terminated in accordance with (A) and (B) above, the Engager will pay the Artist a pro-rata amount of one-sixth (1/6) of the Artist's weekly contractual fee per day, up to a maximum of two thousand, five hundred and seventy dollars and ninety-four cents ($2,570.94) per week for services rendered to date, plus one (1) week's contractual fee up to a maximum of two thousand, five hundred and seventy dollars and ninety-four cents ($2,570.94).

35:03 Notification of Illness

The inability of an Artist to rehearse or perform due to illness shall be announced to all members in a production as soon as possible.

i3's:@ R~;oJ?~Nli!§ C!lgRc)l)~T[qi>l;i: ' · · • , . ·. A production once closed shall not be re-opened in the point of origin or outside the point of origin within four (4) weeks of the closing without written consent of Equity. This Clause is generally intended to protect the Artist from the possibility of an unpaid layoff and to ensure payment of the touring increment when required. The consent of Equity to the re-opening of the production shall not be unreasonably withheld.

!:! 7 :]i!l \ltsl)Js.J!: Q'R's:eli'Nl'fl:t~¢C!.fii:lJN<ltlfl.SJ1, fi'J 'Rli<1l!'!IJbiTfONl , 37:01 Requirement

The Artist shall not be required to work in a company where audio or visual recordings are used to supply dialogue, singing and chanting, or business where live performers might be engaged, unless the Engager shall have first obtained the written consent and permission of Equity, which shall not be unreasonably withheld.

Artists in a production may be engaged to provide audio andlor visual recordings for use in the production where the score requires such recordings. Artists not engaged for the production but who are engaged solely for audio and or visual recordings shall be paid not less than minimum fees to be negotiated and agreed to between Equity and the Engager. The Engager shall submit to Equity a proposal for use of recordings in advance of the production for which they are required.

37:02 Artist's Agreement

Provided the Artist agrees in said Artist's contract, an Artist may make an audio or visual recording of a portion of the role which the Artist performs on stage for use in the production. The recording may be used only during the period in which the Artist is engaged and only for the production for which it has been made. Recording sessions must take place during regular rehearsal hours.

37:03 Artist Leaving a Cast

If the Artist leaves the cast after making a visual or sound recording the Engager may, in lieu of making a new recording, pay the Artist for the continued use of the recording (with the Artist's written consent).

37:04 Recording Sessions

The conditions of this Clause shall not apply provided that Equity agrees with the Engager that the Artist in question is used for the purpose of background only, or is not recognizably featured. Such recording sessions must take place during regular rehearsal hours.

~38:00.•PRESERVED PERFORMANCES'(RECOR[IINGS):AI\ID ;·, ' ' ', '.EIRQADCASJS. . . .. . . ... ..• . . , ~.·' . . .....

38:01 Scope

This Clause covers the recording (preservation) of the audio and/or visual aspect of a production in whole or in part through the use of any and all devices now in existence and yet to be developed. The resulting product shall hereafter be referred to as a recording. The ~rtist may not be required to take part in the recording or broadcast. This Clause also covers the broadcast or transmission of a production whether by means of the reproduction of a recording or by means of a "live" broadcast. This Clause 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.

38:02 Notification to Equity

Recordings or broadcasts of productions shall be made only with the permission of the Engager. The Engager agrees to notify Equity at least thirty (30} days in advance of any such recording and provide Equity with the details thereof.

38:03 Specially Prepared Recordings, Calls

ln the case of specially prepared recordings, for each day, the Artist may be called for a maximum of eight (8) out of a span of nine (9) hours with a one (1) hour break after no more than five (5) hours which shall be completed not later than two (2) hours before curtain time on the day of a performance given under the terms of the standard Equity contract.

38:04 Recordings on a Day with No Performance

In the case of specially prepared recordings, on a day on which there is no performance, the sessions including rehearsols moy be eight (8) out of twelve (12) hours. There shall be a minimum of ten (10) hours clear between the close of the Artist's activities in the production on one (1) day and the beginning of the Artist's activities in that production on the following day (whether operatic or televising, recording or filming).

38:05 Preserved Performances

(A) Live-to-Tape Recordings (Exclusive of Radio)

A live-to-tape recording is defined as a finished recording derived from up to two (2) public periormances, or from one {1) dress rehearsal and one (1) public performance, or from rehearsals alone. Such finished recordings shaH not involve the Artist in any additional work and shall not take place on more than two (2) days unless additional payments are made.

(B) Live-to-Tape Recordings (Radio)

A live-to-tape recording is defined as a finished recording derived from up to three (3} public periormances. Such finished recordings shall not involve the Artist in any additional work and shall not take place on more than three (3} days unless additional payments are made.

38:06 Specially Prepared Recordings

A specially prepared recording is defined as a recording when a production has been specially prepared and/or rehearsed specifically for said recording at the theatre or elsewhere.

38:07 ACTRA Contract

The performer shaH be signed to a separate ACTRA contract for such engagement. In addition, the performer shall be signed to a separate rider to the Artist's Opera Agreement engagement contract stipulating the applicable fee for such recording in accordance with Clause38:08, copies of which shall be filed with Equity. The responsibility for payment lies solely and exclusively with the Engager and all payments to the Artist stipulated herein shall be in addition to and separate from payment and fees stipulated in the Artist's original Equity engagement contract for the period.


38:08 Rates

In all cases, should the applicable ACTRA rate of compensation be greater than any stipulated herein, then the applicable ACTRA rate shall apply. All payments to the Artist for such work shall be in addition to and separate from payments and fees stipulated in the original Equity engagement contract for that production. All Artists are free to negotiate compensation in excess of the following minimum rates.

(A) Live-Tape-Recordings (Exclusive of Radio)

The Engager shall pay the Artist engaged therein either:

(i) a minimum of one (1) additional week's fee, or

(ii) a minimum of one (1) additional per performance fee.

If more than two (2) days are required for the making of such a recording, the Artist shall be paid the applicable ACTRA rate for each additional day.

(B) Specially Prepared Recordings (Exclusive of Radio)

The Engager shall pay the Artist engaged therein either:

(i) a minimum of two (2) weeks' contractual fee, or

(ii) a minimum of two (2) additional per performance fees.

Such payment will give the producer a maximum of two (2) days work in accordance with Clauses 38:03 and 38:04 above. For each day thereafter, the Artist shall be paid the applicable ACTRA rate.

(C) Radio

(1} The Engager shall pay a minimum of one"seventh (1/7) of a week's contractual fee (extra) to each Artist for any day or part thereof engaged in radio broadcasting or recording for same of any part of any production in which the Artist is engaged, or in rehearsing specifically for said radio broadcast.

(2) The weekly fees for Artists engaged on a per performance basis shall be calculated according to the provisions of Clause 18:01 (B), and shall also be used to dtlh:llrnilltl allY additional services for which the Artist shall invoice the Engager accordingly.

(3) In the event of a live-to-tape recording from a performance it is understood that the finished tape may be made from three (3) performances for not less than one-seventh (1/7) of a week's contractual fee.

38:09 Additional Services Rate

In case of Clause 38:08 (B) above, on each day governed by the Equity minimum compensation, any additional services required of the Artist shall be invoiced at the rate of one-seventh (1/7) of the Artist's Equity weekly contractual playing fee per hour or portion thereof.

38:10 ACTRA Agreement

All the terms of the applicable ACTRA agreement and rules shall apply to any engagement day or portion thereof not covered by these Clauses. Residual payments for repeat performances shall be made according to the applicable ACTRA agreement in existence at the time of the repeat performances.

38:11 No Recording on a Two Performance Day

The Artist may not be required to render the Artist's services for a recording session, live broadcast or rehearsals for same under any circumstances on a day where two (2) performances are to be presented.

38:12 Participation by Artist

The Artist shall not knowingly participate in any recording or broadcast (live or recorded) except under the circumstances set forth in this Clause.

38:13 Notification to Artist

If the Engager authorizes a recording or broadcast of any part of the production without informing the Artist, and if the Artist is now aware of same, the Engager shall be obliged to make the payments required in this Clause.

38:14 Notice

The Engager shall give the Artist at least one (1) week's notice before the recording or "live" broadcast of a production takes place.

38:15 Rehearsal

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.

38:16 Television Spot Commercial

Equity will waive the payments required under this Clause if the Artist is engaged to make a television spot commercial of one (1) minute or less using material from the production to promote the production.

38:17 Promotional Recordings

Excluding activities under Clause 26:04, the Engager may make an edited promotional recording of up to five (5) minutes of performance and/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 and performance presenters. Such recording will be made at the regular rehearsal or pertormance venue only and must take place within the regular working hours. Where these hours are exceeded, the Artist shall invoice the Engager for additional services at the applicable rate stipulated in Clause 13:09(8).

All Artists in the production, including non-performing Artists, shall be contracted for the recording, and additionally paid not less than one-tenth (1/10) of the applicable minimum weekly fee. The Artist has the right to negotiate compensation above the minimum fee for use of the recording beyond the current run of the production. If the Artist and the Engager do not reach agreement for further use of the recorded material, the Artist shall receive the applicable minimum fee for participating in the recording, however any footage in which the Artist appears shall be edited out of the final promotional recording for use beyond the current run of the production.

Should the promotional recording be broadcast in whole or in part on television, the applicable ACTRA minimum fee for such work shall apply if that is greater and the Artist shall be signed to the appropriate ACTRA contract. The ACTRA principal pertormer rate shall be applied to any Artist not covered by the ACTRA agreement, and the negotiated fee shall be confirmed by rider to the Artist's CAEA engagement contract.

A promotional recording may be presented on the Engager's website for up to two (2) full seasons following the close of the original production on the following conditions:

(i) The Engager shall use its best efforts to ensure that the material cannot be downloaded;

(ii} The Engager does not receive any revenue for the use of the material;

(iii} The names and roles of all Artists appearing in the promotional recording are posted on the website along with the material;

{iv} The Engager warrants that it is responsible for any misuse of the material.

38:18 Current Affairs Program

A maximum of five (5) minutes of pertormances and/or rehearsal may be presented on a current affairs program, during the current run of the production without payment to the Artist, provided that the Engager notifies Equity in advance, in writing. The written notification to Equity shall include full particulars of the presentation.

(A) Internet

Current affairs recordings may be presented on the television broadcaster's website as well as the Engager's website during the current run of the production, on the following conditions:

(i) The Engager shall use its best efforts to ensure that the material cannot be downloaded;


{ii) The Engager does not receive any revenue for the use of the material;

{iii) The names of all Artists shall appear on the website along with the material;

{iv) The Engager warrants that it is responsible for any misuse of the materiaL

38:19 Payment

(A) For purposes of this entire Clause, whenever a recording or broadcast of a production in whole or in part is made, all members shall be paid according to the following:

(1) Radio -Live-to-Tape All participants in the production plus Stage Management staff and Stage Director.

(2) Radio - Specially Prepared Recording All participants plus Stage Manager and Stage Director.

(3) Visual Recording -Live-to-Tape All participants plus Stage Management staff, Stage Director and Choreographer.

(4) Visual Specially Prepared Broadcast All participants plus Stage Manager, Stage Director and Choreographer.

For non-contributing Artists in the above categories the maximum rate payable is limited to the minimum rates outlined in Clause 38:08 above.

When a recording of a production as defined in Clause 38:01 is made within six (6) months of the final performance of that production, the Artist engaged in said production shall be engaged for the recording. If another Artist who was not in the said production is engaged for the recording, then the Artist who was in the said production who is replaced shall be paid in accordance with Clause 38:08 (A), (B), and (C) above provided he/she is available to participate in the recording.

(B) Notwithslcmding the above, whenever there is a COC remote radio broadcast, the Engager shall pay not less than the following minimum CBC/ACTRA rates for Equity members not covered by the CBC/ACTRA agreement:

(1) Stage Manager

(2) Assistant Stage Manager

(3} Stage Director

{4) Choreographer

Soloist

Secondary Soloist

Chorus

Y:,_ Chorus

If the opera has no Chorus, the Chorus rate will be understood as the rate for groups of twenty (20) or more. Equity dues and benefits shall not apply on these fees.

38:20 Dismissal or Release

The dismissal or release of any Artist who is contracted or called for any recording or broadcast will be subject to the terms of Clause 34.

38:21 Preserved Performances

The Engager may express the possibility of recording or broadcasting the production for which the Artist has been engaged and the Artist may agree to participate in such a recording or broadcast by means of a rider to the Artist's contract. Such a possibility shall in no way be binding upon the Engager and is solely intended to make the Artist aware that such a possibility exists. However, negotiations for payment for a recording or broadcast may take place when the Equity contract is negotiated and signed. The Engager may not offer the Artist a contract for a recording of any kind except by means of an appropriate ACTRA contract according to the terms of Clause38:07.

38:22 Archival Recordings

Recordings of a production may be made for archival purposes under the following terms:

{A) Notice

Artists will receive at least forty-eight (48) hours notice of the recording;

{B) No Additional Rehearsal

There shall be no additional rehearsals to facilitate the taping which shall be made from a public performance;

(C) Electronic Encoding

The recording shall be electronically encoded or otheiWise marked to identify the tape as an archival recording. The recording may not be edited;

(D) Use

The recording may only be used for archival purposes as a record of the production. It may be viewed in private for reference purposes or as a teaching aid for the benefit of pertormers;

(E) Custody and Control

The Engager warrants that there shall be no public exhibition of the recording and shall maintain full custody and control of same. Additionally, the Engager shall not permit copies of the recording to be made or distributed;

(F) Distribution or Exhibition

If the recording is distributed or exhibited to the public the Artist shall be paid in accordance with Clause 38:08(8).

ta~'!Of stc~~g: gl R~qte~s ~f'l]itei;!ef{!;(l!AM.l'H!lll$' 39:01 Fee

A Stage Director engaged for a Mainstage production shall receive a fee equal to no less than the applicable minimum provided for in Clause 13:09(A).

39:02 Payment of Fees

When a Stage Director or Choreographer is engaged on the basis of a total fee, the fees may be payable in the following manner:

{A) In accordance with Clause 13:02(A) with the provisions of Clause 18:01(C) applying for the purpose of calculating the weekly fee; or,

(B) Should the Artist and Engager agree, one-third (1/3) of the total fee is payable on the first day of the Artist's engagement with the balance due to the Artist no later than the first public pertormance.

39:03 Duties of a Stage Director

(A) Duties

The Stage Director shall conduct rehearsals, appear promptly for all scheduled rehearsals, respect the physical property of the production, venue and place of rehearsals, conduct rehearsals not violative of any terms of this Agreement, and abide by particular artistic policies of the Engager.

(B) Availability

The Stage Director shall make the Stage Director's self available for such meetings and consultations as are required by the Engager, particularly with designers and the Engager's production personnel. Such meetings and consultations shall be agreed to in advance and included in the engagement contract, or, after signing in a manner thereto, and must be specific as to dates, times, locations and remuneration of travel and accommodation expenses.

(C) Promotion and Publicity Appearances

The Stage Director agrees to promote the production and make reasonable publicity appearances and participate in radio, television and press interviews for that purpose. In addition, the Artist shall be supportive of the Engager's interest during the term of the Artist's contract.

39:04 Consultation Before Signing

Before agreeing to direct a production, the Stage Director has the right to knowledge of, but not approval of, the following production arrangements: the proposed 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 the Artists to rehearse; and any casting and design decisions, and any particular artistic policies of the Engager.


39:05 Consultation After Signing

(A} Consultation on Decisions

Subsequent to the engagement of the Stage Director, decisions regarding the production and rehearsal schedules, casting, designer, scenery, lighting and costuming will be made in consultation with (but not necessarily the approval of) the Stage Director.

(B) Meetings and Consultations

The Stage Director and/or Choreographer shall endeavour to make him/herself available for such meetings and consultations as are required by the Engager, particularly with designers and the Engager's production personnel. Should the Stage Director and/or Choreographer be required by the Engager to provide seJVice on a production outside of usual artistic preparation prior to the first day of rehearsal, such meetings and consultations shall be agreed to in a rider to the Artist's engagement contract. Said rider shall be specific as to dates, times, locations, and remuneration of travel and accommodation expenses.

Should any Director and/or Choreographer whose contractual fee does not exceed the minimum compensation provided for in Clause 13:09 be required to provide such consultation or such consultation not be part of the Artist's original contract, the Artist shall be compensated at not less than a daily rate of two percent (2%) of the total contractual fee plus a partial week of engagement fee in accordance with Clause 13:12.

39:06 Duties of a Choreographer

(A} Duties

The Choreographer shall participate in rehearsals, appear promptly for all scheduled rehearsals, respect the physical property of the production, venue and place or rehearsals, conduct rehearsals not violative of any terms of this Agreement, abide by particular artistic policies of the Engager, and generally fulfil the artistic planning within the scope of the functions of the Choreographer. The Choreographer shall make the Choreographer's self available for such meetings and consultations as are required by the Engager, particularly with the Stage Director and Conductor. Such meetings and consultations shall be agreed to in advance and included in the engagement contract, or, after signing in a manner thereto, and must be specific as to dates, times, locations and remuneration of travel and accommodation expenses.

(B) Promotion and Publicity Appearances

The Choreographer agrees to promote the production and make reasonable publicity appearances and participate in Radio, T.V. and press interviews for that purpose. In addition, the Artist shall be supportive of the Engager's interest during the term of the Artist's contract.

39:07 (A} Stage Director and Choreographer

A Stage Director who is also the Choreographer of the production shall not be entitled to an additional fee for this service but may negotiate a fee as Director to encompass this choreographic work.

(B) Multiple Assignments

A Stage Director or Choreographer who also fulfils the duties of a performer or Ballet Master/Mistress must be engaged on separate contracts and fulfil both contracts in accordance with Clause 13:06(C), and receive at least the minimum weekly compensation provided for in Clause 13:09 for each contract.

(C) Stage Management Duties

Stage Directors, Choreographers, Assistant Stage Directors, and Assistant Choreographers may not stage manage the production the Artist is directing/choreographing.

(D) Limited Movement and Dance Sequences

With the permission of Equity, the Engager may engage Choreographers to choreograph limited movement and dance sequences for a maximum of thirty (30) hours of

(

rehearsal, which may be pro-rated over a rehearsal period in excess of one {1) engagement week. A fee of not less than the applicable minimum weekly fee as provided for Choreographers in Clause 13:09(A) shall apply.

39:08 Royalties

{A) Amount

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 and Choreographer's engagement.

If no such fee or royalty is negotiated and specified on the engagement contract, the Engager shall pay the Director and Choreographer four percent (4%) of the Artist's original total fee for each week of the extension, or part thereof.

{B) Revival

Should the Engager revive a production within a period of two (2) years from the first public performance, the original Stage Director will be given the opportunity to direct the revival.

39:09 Billing

The Stage Director will receive billing in all publicity material (under the Engager's control) for the production that is prepared after the engagement of the Artist, wherever the conductor is given billing, in size and position to be negotiated at the time of engagement.

39:10 Assistant Directors & Assistant Choreographers

The provisions of Clause 40:05(A), (B), (C), (D), (E) and Clause 40:17 shall also apply to Assistant Directors and Assistant Choreographers.

39:11 Rates for Preserved Performances (Recordings and Broadcasts}

(A} Minimum Payment for Director

The Engager shall pay the Director no less than the equivalent of any minimum payment required for a Principal Soloist under the provisions of Clause38:08.

(B} Minimum Payment for Choreographer

The Engager shall pay the Choreographer no less than the equivalent of any minimum payment required for a Chorister under the provisions of Clause38:08.

(C) Royalty

In (A) and (B) above, the Engager shall ensure that the Director and Choreographer shall have the opportunity to negotiate a royalty prior to such recordings being made.

i4ol6jli sj')(Gl~)i!ANAJ:>gR'l> c 40:01 (A} Engagement Contracts

Personnel engaged by the Engager to perform Stage Management duties as herein defined must be properly contracted on individual engagement contracts as provided in Clause 27:00 of this Agreement. The Opera Agreement Engagement Contract of the Stage Manager shall take precedence over any other concurrent contract which the Artist may have signed with the Engager for services which do not fall within Equity's jurisdiction.

(B) Vacation Pay

The Artist shall receive vacation pay which shall be paid weekly at the rate of at least four percent (4%) of the Artist's weekly in-town contractual fee, or a the rate set down under provincial law in the province where the Engager has its point of origin, whichever is greater.

40:02 Vocal Score

Stage Management personnel shall be able to read and fcillow a vocal score regardless of its complexity.

40:03 Equity Stage Management

For all Stage Management positions in the company the Engager will consider existing Equity Stage Management personnel who have informed Equity that they are available for work before the Engager may engage a person who is not already an Equity

2007 ·20 10 Opera Agreement [ Page 24

member. The Engager will obtain a list of available Equity Stage Management personnel from the Equity office.

40:04 Term of Engagement

(A) Production Stage Managers and Stage Managers

All Production Stage Managers and Stage Managers shall be engaged one (1) week prior to the commencement of rehearsals, and shall be paid the contractual fee for that week. Also, replacement Stage Managers shall be engaged one (1) week prior to the date on which they are to take over the production.

{B) Assistant Stage Managers

Assistant Stage Managers shall be engaged for the commencement of rehearsals. In addition to the weekly fee, the Assistant Stage Manager will receive a preparation allowance of one third (1/3) of the weekly fee prior to the commencement of rehearsals for each production for which the Assistant Stage Manager is engaged.

The one third {1/3) weekly fee preparation allowance for an ASM may be scheduled at a location of the Artist's choosing or for preparation pertormed at the Engager's worksite. If the Engager requires an ASM to be present at the Engager's worksite for the preparation period, the specific date(s) of engagement for the preparation day{s) must be specified in the ASM's engagement contract and consecutive engagement shall apply in accordance with Clause 26:01 of the Opera Agreement.

Insurance premiums shall apply for any week in which an ASM's preparation day(s) are provided at the Engager's worksite and a specific date(s) of engagement has been specified in the Artist's engagement contract.

(C) Payment for Additional Days

All Equity Stage Management personnel shall be paid onesixth (1/6) of his/her contractual fee for each additional day or portion thereof on which his/her services are required.

40:05 Rehearsal and Performance Conditions

{A) Overnight Rest Period

_ All Equity Stage Management personnel must have eleven (11) hours' rest between the end of one days work and the beginning of work on the following day, other than on tour, when said rest period shall be no less than ten (10) hours. For any invasion of this rest period, the Engager agrees to pay the Artist at the appropriate overnight rest infringement rate.

(B) Maximum Hours of Work

In any engagement week, Stage Management personnel are required to attend all rehearsals, performances, scene change rehearsals, cueing sessions for the production and production meetings as provided for in Clause 40:17, may be required to work up to six days per week to a maximum of fifty~four (54) hours per engagement week. In any engagement week there may be no more than five (5) days on which there are more than two (2) staging rehearsals. If a member of the stage management team attends more than forty-eight (48) hours of staging rehearsals in a week, the payment of additional services is required by this Agreement. Should any hours of work and/or touring travel hours exceed the aforementioned weekly limitations and invasion of rest periods, (including overnight rest), and/or Free Days, the Artist shall invoice the Engager for additional services at the rate stipulated in Clause 13:09(8).

For all staging rehearsals the call for Stage Management personnel will be fifteen (15) minutes prior to the Periormer's call.

For the purpose of calculating work time, on the day of, and following the first public periormance, each periormance shall be computed as the running time of the periormance (curtain up to final curtain) plus one {1) hour.

(C) Activities Included in Working Day

When Stage Management is participating in the following activities, the Artist shall be deemed to be working: rehearsals (as delegated by the Stage Manager) plus the

applicable preparation allowance as stated above; moving and setting up a rehearsal in another location in excess of the preparation allowance provided for above; all periormances, including dress rehearsals; scene change rehearsals; cueing sessions; set-ups, change-overs and strikes in the theatre, as delegated by the Stage Manager; production meetings as provided for in Clause 40:17 and note sessions, as required by the Engager; taping floors; and paperwork as identified in Clause 40:15, as required by the Engager.

(D) Meal Break

All Stage Management personnel will receive a meal break of one (1) hour after a maximum of four (4) hours of work. In the case of technical rehearsals and cueing sessions they will receive a meal break of one (1) hour after a maximum of five (5) hours of work. In the case of periormances and in the case of Dress Rehearsals as provided for in Clause 15:10(8) the meal break shall begin no later than forty-five minutes following the final curtain. In any event stage management personnel must be released no later than 12:15 a.m.

During any work day of twelve {12) hours or more the Stage Management personnel must receive a lunch break of one {1) hour and a dinner break of at least two (2) hours.

Should the Engager require the Artist to invade such meal breaks, the Artist shall be compensated for each half (%) hour of invasion at the additional services rates in accordance with Clause 13:09 {8). Under no circumstances shall the Engager shorten any meal break to less than one half (X:) hour.

Examples:

(i) 10:00 a.m.- 2:30 p.m. rehearsal

2:30p.m.- 3:30p.m. lunch

3:30 p.m. - 5:00 p.m. rehearsal

- 112 hour meal infringement at Additional Services Rate 2 (13:09)(ii) from 2:00 p.m. - 2:30 p.m. for exceeding 4 hours.

(ii) 9:00 a.m.- 2:30 p.m. cueing

2:30a.m. - 3:00 p.m. rehearsal

3:00 p.m. ~ 5:30 p.m. rehearsal

5:30p.m.- 6:30p.m. dinner

6:30p.m.- 10:00 p.m. rehearsal

- 112 hour meal infringement at Additional Services Rate 2 (13:09}(B)(ii) from 2:00p.m.- 2:30p.m. for exceeding 5 hours.

- 112 hour meal infringement at Additional Services Rate 2 (13:09)(B)(ii) from 2:30p.m. -3:00p.m. for 112 hour meal break.

- 112 hour meal infringement at Additional Services Rate 2 (13:09)(B)(il) from 5:30p.m. -6:30p.m. for a 1 hour dinner break.

Payments for meal infringements as provided herein are, if applicable, in addition to payments for exceeding any other provision of Clauses 18:00 and 40:00.

(E) Statutory Holidays

Should Equity Stage Management personnel {in the case of employees) be required to work on a statutory holiday, as designated by the laws of the province in which the Engager has its headquarters, they shall be compensated in accordance with said law. The Stage Manager will submit the hours worked on the holiday by the Stage Management personnel to the Engager no later than the end of the week in which the holiday occurred.

(F) Additional Services

The Stage Manager shall record all additional services worked by the Stage Management personnel, including the invasion of the overnight rest period, the invasion of meal breaks, rehearsals on a Free Day and hours in excess of the weekly limitations, and the Artist shall invoice the


Engager for additional services at the appropriate rate stipulated in Clause 13:09.

{G) Calls on a Free Day

Should any of the Equity Stage Management personnel be called on a free day, he/she shall invoice the Engager for additional services at the same rate as for the pertormers, or one-sixth (1/6) of one (1) week's contractual fee, whichever is the greater. The minimum call for such an occasion shall be considered as three {3) hours, whether or not the full three (3) hours are used.

All Equity Stage Management personnel will receive a Free Day as provided for in Clause 15:07.

(H) Additional Services Rehearsals

If performing Artists are required to attend rehearsals in excess of the provisions of this Agreement, the Stage Management shall invoice the Engager for additional services at the rate stipulated in Clause 13:09(B)(i).

This provision excludes Dress Rehearsals.

{I) Span of Day

A Stage Management working day has a maximum span of thirteen (13) hours. For any hours outside this span, Stage Management shall invoice the Engager for additional services at the rate stipulated in Clause 13:09(B)(i).

40:06 Stage Management Staffing Formula

Whenever the Engager engages Equity Artists for the purpose of preparing and presenting productions and presentations governed by this Agreement, the Engager will engage the services of Equity Stage Management as follows:

(A) For single full scale or mainstage productions, the Engager shall at all times engage a Stage Manager and two (2) Assistant Stage Managers.

(B) When two (2) or more full scale or mainstage productions are given in repertory, the Engager shall at all times additionally engage one (1) Production Stage Manager.

(C) For other activities utilizing Equity Artists, Stage Management staffing will be determined by the mutual agreement of the Engager and Equity.

40:07 Payments for Covering

Assistant Stage Managers covering for Stage Managers on holiday or sick leave or in an emergency, shall receive at least the Stage Manager's minimum fee on a weekly or pro-rated basis, whichever is applicable.

40:08 Rest Period

Stage Management personnel who are unable to take the twoand-a-half (2%) hour rest period stipulated in Clause 43:00 (Transportation) must have a rest period of at least one (1) hour between the conclusion of the trip and the half-hour call.

40:09 Billing

It is to be understood that as far as billing is concerned, the word "Artist" includes all Equity Stage Management personnel. Further, it is to be understood that when any of the technical, administrative or managerial staff, other than the producer, is listed on the billing page of a programme, Stage Management shall also be listed.

40:10 Performance of Duties

Only the personnel properly so contracted may perform the actual duties of Stage Management as herein defined.

40:11 Rehearsals Moved to a New Location

Should it be necessary to move rehearsals to a different location, where possible, Stage Management personnel shall be allowed, at least, two (2) hours for setting-up for rehearsal in the new location. The overnight ·rest period may not be infringed upon unless the Artist is paid the rates specified in Clause 13:09.

40:12 Duties and Responsibilities of Stage Management

The Stage Manager shall be responsible for conducting the deputy election at the first rehearsal.

(

The Stage Manager, in consultation with the Director, shall be responsible for the calling of all rehearsal breaks (See Clauses 16:03(A), Rest Periods and Clause 16:09, Meal Breaks).

40;13 Calling of Rehearsals and Other Calls

The Stage Manager, in consultation with the Director, 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, in accordance with Equity's regulations.

Any additional seJVices which would result from Stage Management scheduling decisions must be pre-approved by the Engager's designated representative. If the Engager's designated representative is not available for such approval, and the working of such additional services is paramount to safety, travel schedule or the efficient running of the production, such additional services may be approved at the discretion of the Stage Manager, in which case the Stage Manager shall inform the Engager's designated representative of such additional services in a timely fashion.

40:14 Organization of Rehearsals and Performances

The Stage Manager shall organize and supervise all rehearsals and performances and, in conjunction with the deputy, endeavour to uphold all regulations governing engagements as set down by Equity in its Constitution, By-Laws, Agreements and Clauses.

40:15 Production Score

The Stage Manager shall assemble and maintain the production score and such cue sheets, plots, reports and records as are necessary for the actual technical and artistic operation of the production.

After the final curtain closing night the Stage Manager shall submit the production score and all pertinent information to the Engager.

40:16 Maintenance of Artistic and Technical Intentions

The Stage Manager shall maintain, to the best of the Stage Manager's ability, the artistic and technical intentions of the Stage Director, Engager and Designer after opening, and upon approval of the Engager, shall call rehearsals when necessary, and shall prepare understudies, replacements, extras, and supernumeraries when or if the Stage Director or Engager is unavailable or declines this prerogative.

40:17 Scene Change Rehearsals and Cueing Sessions

The Stage Manager shall be present at all scene change rehearsals and cueing sessions for the production which come under the supervision of Stage Management during rehearsals or performances.

It is understood that the Stage Manager is required to attend production meetings which involve discussion of elements of the production which directly affect the duties and responsibilities of Stage Management.

Where the Stage Management personnel attend production meetings or are present at scene change rehearsals or cueing sessions:

(A) which results in exceeding the work hours provided for in Clause 40:05 (B) the Artist shall invoice the Engager for additional services at the rate stipulated in Clause 13:09(B)(i);

{B) which infringe on overnight rest or meal breaks, the Artist shall invoice the Engager for additional services at the rate stipulated in Clause 13:09(B)(ii);

(C) which infringe on the Free Day and/or statutory holiday, the Artist shall invoice the Engager for additional services at the rate stipulated in Clause 13:09(B){iii).

40:18 Delegation of Duties

The Stage Manager may delegate any duties or authority to the Stage Manager's staff during rehearsals and performances as the Stage Manager feels necessary for the efficient running of the production, excepting that a person contracted as Stage Manager will be in the theatre or available throughout the performances.


40:19 Prohibited Duties

The Stage Manager may not be required to fulfil the duties of a

lighting desi~ner as part of the contracted Stage Management duties.

40:20 Scheduling of Set-Ups, Strikes, Load-Ins and Load-Outs

(A) The Stage Manager may be required to supervise set-ups, strikes, take-ins and take-outs as required by the Engager.

If, on the final day of the engagement, the Stage Manager is required to supervise the strike and take-out, the Stage

Manager shall invoice the Engager for additional services at the rate stipulated in Clause 13:09(B)(i) beyond 12:00

midnight. On tour if the Stage Manager is held responsible for set-ups and strikes, the Stage Manager must be present for same.

(B) Where Stage Management personnel are required for the operations delineated above including any move from the rehearsal location to the theatre:

(1) which results in exceeding the work hours provided for

in Clause 40:05(8) the Artist shall invoice the Engager for additional services at the rate stipulated in Clause 13:09(B)(i);

(2} which infringe on overnight rest or meal breaks, the

Artist shall invoice the Engager for additional services at the rate stipulated in Clause 13:09(B)(ii};

(3} which infringe on the Free Day and/or statutory holiday, the Artist shall invoice the Engager for additional

services at the rate stipulated in Clause 13:09(B)(iii).

(C) If the Stage Manager, at the request of the Engager, agrees to schedule and/or have responsibility for set-ups, strikes,

take-ins and take-outs as required by the Engager, it shall be considered an additional duty in accordance with Clause 13:05 for the term of the Stage Manager's engagement contract.

40:21 Control of 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 Stage Manager's staff is in the backstage area.

40:22 Making Calls

The Stage Manager is responsible for making "calls".

(A} Definition

Calls are warnings to the Artist of the number of minutes to "places" ("beginners") when all Artists required for the

beginning of the opera or subsequent acts must proceed to the stage area and be ready for the performance or act.

{B) Frequency

Calls shall be given at half-hour, fifteen (15) minutes, five (5) minutes, and places ("beginners").

40:23 Running and Control of Performance

The Stage Manager is in sole charge of the running and control

of the pertormance.

40:24 Selection of Stage Management Staff

To ensure the efficient running of the Stage Management

department, the Production Stage Manager and Stage Manager

must be involved as much as possible in the selection of Stage

Management staff.

40:25 Financial Responsibility

In matters of finance, the Stage Manager is responsible only for

items purchased out of the Stage Manager's petty cash budget.

The Stage Manager should, however, keep the Engager

informed of developments that may involve unexpected major

expenses.

40:26 Duties of the En gager

Equity. members of the Stage Management staff are not

permitted to accept responsibility for negotiating contracts,

having riders signed or initialled, negotiating contractual fees or

carrying out any other function which is normally the duty of the

Engager. Under no circumstance shall Stage Management

personnel be required to execute the above functions on behalf

of the Engager with other Equity members. This does not

preclude delivery of contracts and/or riders in a sealed envelope

addressed to the individual Artist.

40:27 Duties of Union Members

Whenever members of another union are involved in a

production, Stage Management personnel shall not be required to fulfil their duties.

40:28 Serving Meals

At the discretion of the Stage Manager, Stage Management

personnel may order and/or obtain meals for the company, but

may not serve them or in any way wait upon members of the

company. The Stage Management personnel shall not be held

personally responsible for any financial commitment with regard

to ordering and/or obtaining food.

40:29 Understudying and Performing

Equity Stage Management personnel are prohibited from

understudying or performing on stage. Only in an emergency and

with the Stage Manager's consent and that of Equity may a

member of the Stage Management staff perform, for which

performance the Stage Manager will be paid at the pro-rated

applicable minimum pertormer's rate.

40:30 Responsibility of Assistant Stage Managers

The Assistant Stage Managers are responsible solely to the

Stage Manager and will fulfil tasks only as assigned by the Stage

Manager. Assistant Stage Managers may never be solely in

charge of a performance or production.

40:31 Responsibility of Production Stage Manager

The Production Stage Manager is responsible for, and oversees

the operation of the Stage Management department and may

take upon the Production Stage Manager's self any of the duties

and responsibilities listed above.

40:32 Payment for Additional Duties

Any duties not normally considered to be those of Stage Management shall be contracted separately in writing and the

Artists shall be free to negotiate additional compensation for such

additional duties.

Notwithstanding the above, the operation of either sound or

lighting equipment shall be considered an additional duty in each

case, and shall be paid for at no less than as provided for in Clause 13:05.

40:33 Health and Safety

The Stage Manager shall take all necessary precautions to see

that safe and clean conditions exist both on stage, backstage and in rehearsal halls.

40:34 Exclusions

The following Clauses do not apply to Stage Management:

Clause No.

7:07

17:00

19:00

29:00

30:00

32:00

43:05

Auditions

Costume Fittings

Costumes and Make-Up

Billing (29:07, 29:08 and 29:09 excepted)

Photographs and Publicity

Understudies

Rest Period Prior to Presentation

40:35 Apprentice Stage Manager Programme

A "Stage Management Apprentice" is a person who intends to

make a career in the professional opera/theatre field as a Stage

Manager, and who is not a member of any professional

pertorming artists' association or union. Equity will consider any

request from a member of a professional performing artists'

association or union for permission to register as an Apprentice

where it can be demonstrated to Equity's satisfaction that a bona

fide career change is being contemplated.

A Stage Management Apprentice may be engaged under terms outside this Agreement.


(A) Registration

The Engager 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 affidavit signed by the Apprentice to the effect that he/she is not now and never has been a member of any performing artists' association or union or that he/she wishes to apprentice in order to make a bona fide career change. The affidavit and resume shall be accompanied by a fee to be determined by Equity, paid by the Apprentice, for each production for which the Apprentice has been hired.

(B) Maximum Number

The maximum number of Stage Management Apprentices engaged by the Engager shall not, at any time, exceed one ( 1) per production.

(C) Minimum Engagement

In order to qualify for an apprentice credit with the Engager, the Apprentice Stage Manager shall be engaged for the rehearsal period and run of any production. During this period, the Apprentice Stage Manager shall work under the supervision of the Stage Manager in consultation with the Engager's designated representative during the rehearsals, cueing sessions and scene change rehearsals and performances.

(D) Minimum Number Per Season

The Engager will use its best efforts to engage not less than two (2) Apprentice Stage Managers during each season.

(E) Reduction of Staffing Provisions

It is not the intention of the Stage Management Apprentice programme to reduce the stage management staffing provisions of Clause 40:06 of the Opera Agreement.

N!f=!lP :~ro:;ilrtPIR§~fp~<,s;-r 41:01 Requirement for a Fight Director

The Engager will determine if staging requires fight direction. When fight direction is required, a Fight Director shall be contracted according to this Clause whenever two (2) or more Artists are required to participate in a stage fight (in accordance with Clause 16:14(8)) involving one (1) or more of the following elements:

(i) weapons of any sort, including but not limited to, furniture or other props used as weapons;

(ii) acrobatics, including but not limited to, choreographed throws and falls;

(iii) martial arts and unarmed combat.

41:02 Engagement of a Fight Director

The Engager will give first consideration to existing Equity Fight Directors. On request by the Engager, Equity will provide on request a current and up-to-date list of Fight Directors who have informed Equity that they are available for work. The Engager will not be obliged to engage any Fight Director whom it judges to be incompatible with its needs. A person who is not already a member of Equity may be engaged as a Fight Director (see Clause 2:01) with the written permission of Equity provided that the Engager has conducted a search for and considered existing Equity members.

41:03 Contracts

The engagement contract shall specify the dates of engagement and anticipated rehearsal schedule. Any change to said dates or schedule shall be by mutual agreement between the Artist and the Engager, and shall be confirmed in a rider to the engagement contract.

Clause 26:01 (Continuous Engagement) shall not apply to an engagement on a daily or per production basis.

The Engager will give first consideration to existing Equity Fight Directors. Clause 26:02 (Guaranteed Period) shall not apply to the engagement of a Fight Director. The Artist may be engaged for one (1) or more hours, one (1) or more days, or any combination thereof, on a single engagement contract.

However, 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. 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.

In the case of an Artist engaged on a per production basis, any anticipated service to be provided by the Artist during the run of the production as part of the negotiated fee shall be specified in a rider to the contract, and shall be subject to mutual agreement and the Artist's availability during the run.

The contractual fee shall be payable as agreed between the Fight Director and the Engager and will be set out in the engagement contract. In the case of a per production contract, the Fight Director's contract shall be complet~d at the end of the day of the last public performance.

41:04 Pre-production Meeting

The Engager will make reasonable efforts to include the Fight Director in pre-production meetings(s); alternaJively the Engager may consult the Fight Director about the expected requirements of the production(s).

41:05 Travel

The Engager shall provide round-trip transportation in accordance with Clause 22:01. For non-continuous engagements, the Engager and the Fight Director will negotiate appropriate additional travel arrangements.

41:06 Rehearsal

Understudies and replacement Artists require Fight Rehearsals which should be under the supervision of the Fight Director or a designate of the Fight Director approved by the Engager.

41:07 Changes

After the completion of the fight rehearsals, the fight choreography shall not be changed unless:

{I) required by emergency; or

(ii) the physical conditions of the theatre necessitate change and/or deletions; or

(iii) where the foregoing conditions do not apply, the Fight Director is first consulted with respect to the proposed changes and offered the opportunity to conduct the necessary rehearsals to implement the required changes. A separate fee commensurate with the work to be done shall be negotiated, subject to the minimum fees expressed in Clauses 13:09 and 13:14.

The above shall not apply in the event that the fight choreography for an entire sequence is cut from the production.

41:08 Director and Choreographer Clauses

The following Clauses of Clause 39:00 - Stage Directors and Choreographers shall apply to the engagement of a Fight Director:

Clause 39:08 Royalties (for engagements of more than three (3) hours)

Clause 39:11(8) Rates for Preserved Performances (Recordings and Broadcasts) for visual recordings or broadcast of a production which includes a fight sequence or part thereof.

:4lMo, TPlJBffi,G;' ,, 42:01 Definition of Run-Out Tour

A run-out occurs when the Artist leaves the Point of Origin for a period not to exceed ten (10) hours from departure point to drop off point in a given day. The meal payments as provided for in Clause 13:10(8) will apply solely when the Artist is outside the Point of Origin.

42:02 Contractual Fees

All contractual fees are payable in legal tender of Canada. In the United States, contractual fees payable shall not be less than the applicable minimum fees established by the American Guild of Musical Artists (AGMA) from time to time.

All contractual fees are payable in legal tender of Canada. In the United States, salaries payable shall not be less than the applicable minimum fees established by the AGMA from time to


time. Where the presentation(s) will not tour to an AGMA signatory, Equity will consider a proposal from the Engager to waive this requirement in which case per diem and the provision of accommodation for the tour shall form part of the proposal.

42:03 Free Day

There will be one (1) day in each engagement week free of all performances, rehearsals or any other services or obligations to the En gager.

Such Free Days shall be no further apart than nine (9) consecutive days. For any service required by and given by the Engager after the ninth day, other than travel, the Artist shall be paid an additional two-eighths (218) of the Artist's weekly fee per day until the next Free Day occurs.

42:04 Tour Itinerary

The Engager shall submit to Equity a copy of the proposed itinerary of any tour, and in addition, shall submit in writing to Equity a statement concerning the proposed method of transportation to be used during the tour. Both such reports shall be submitted at least thirty (30) days preceding the first day of any tour.

42:05 Tour Itinerary and Mail

Two {2) copies of the tour itinerary will be made available to each Artist not later than two (2) weeks prior to the commencement of the tour. Any additions or changes in the itinerary must be announced to the company at least one (1) week in advance of such changes or as soon as the change is known. First-class mail must be forwarded from the company office to the Artists on tour at least once each week. The Engager agrees that the tour itinerary shall include the postal address of each hotel with postal and/or zip codes.

42:06 Travellnsurance

(A) Requirement

Equity will place travel insurance for all Artists for whom the placement of travel insurance is required by the provisions of this Agreement. This requirement includes, but is not limited to, local, regional, run-out and overnight tours.

(B) Plan

The Artists for whom travel insurance must be placed will be insured by the Engager under the travel accident insurance plan administered by Equity.

(C) (1) Premiums

The applicable premium payments for the coverage are due in one of the Equity offices no later than thirty (30) days after the end of the calendar month in which the travel insurance was required.

(2) Late Payments Payments which do not reach an Equity office by the due date will be assessed a two percent (2%) interest charge, compounded monthly.

(D) Monthly Billing Reminder

Equity will mail the Engager a monthly billing reminder listing one (1) or more of the Artists for whom Equity believes travel insurance is required. The Engager'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.

42:07 Travel Conditions

The Engager agrees to take all reasonable steps in an effort to obtain performance conditions for performances outside of the city of origin in accordance with Clause 20:00 (Safe and Sanitary Conditions) of this Agreement.

The Engager further agrees to provide all organizations or individuals with whom it has contracted to present a touring production with a copy of the requirements specified in Clause 20:00 and an explanation of their importance.

42:08 Routes of Travel

The Artist shall travel with the company by such routes as the Engager may direct. Travel time is deemed to be consecutive and all waiting periods between alighting from one (1) vehicle and boarding another vehicle shall be part of travel time. The Engager shall, at the Engager's own expense, transport the Artist when the Artist is required to travel. Should any pertormance be lost through any delays in travel, the loss of said performance shall not affect the Artist's contractual fee.

42:09 Return to the Point of Origin

(A) Under Contract

When an Artist remains under contract and is returned to the Point of Origin following an overnight tour, the Artist shall receive the applicable payments provided for in Clause 13:10(A)(2).

(B) After Contract

Should an Artist's contract expire while on tour, the Artist shall be returned to the Point of Origin on the following day and shall receive one-seventh (1/7) of the Artist's weekly contractual in-town fee plus the applicable meal payments provided for in Clause 13:10(A)(2).

(C) Application

The provisions of Clause 42:09(8) apply only to those Artists whose weekly fee is less than one hundred and twenty-five percent (125%) of the applicable minimum weekly fee.

42:10 Hotel Reservations

Whenever the company performs away from the point of origin, the Engager shall be responsible for securing hotel rese!Vations and shall furnish a list of at least two (2) hotels when available offering accommodation at different price ranges. At least two (2) weeks prior to the departure date, the Engager will submit this list to the Company. Within one (1) week thereafter the Artist must indicate the Artist's acceptance, or the Artist's preference to arrange for the Artist's own accommodations. Unless the Artist notifies the Engager of the Artist's acceptance of such accommodations, the Engager shall be relieved of further responsibility. If the Artist has complied with this requirement and does not receive accommodation upon arrival, the Artist shall not be required to rehearse or perform until such accommodations are forthcoming. However, should circumstances beyond the Engager's control make it impossible for the Engager to provide such accommodations, the Artist shall not avail the Artist's self of this right. If the Artist changes hotel reservations said Artist has requested, the Artist may be held responsible for any accommodation charges incurred by the Engager as a result of the changes unless the accommodation is not safe and/or clean or not materially of the nature represented to the Artist.

The Engager will endeavour when securing hotel accommodation to protect the Artist against discrimination in terms of race, colour, creed, sex, national origin or sexual or affectional preference.

42:11 Health Insurance

In addition to the travel insurance provided for in Clause 42:06 (A), the Engager shall pay for health insurance for Artists on tour outside Canada. Where the Engager is unable to obtain health insurance for non-resident Artists, the Engager shall provide the full details of the tour necessary for the Artist to obtain his/her own health insurance coverage, and shall reimburse the Artist for the cost of such coverage up to the equivalent cost of coverage for a resident Artist. The Engager shall make every effort to ensure that the Artist obtains health insurance coverage prior to leaving his/her place of residence, and agrees to consider reimbursement beyond the provisions above where an Artist incurs additional expenses in obtaining such coverage.

'43t:ol! ·'ff!;o;Nsi>9Bt~t£o_N'' ,,,, '}t&';i<~'{'j''i:.·,i ·· 43:01 Travel Time

{A) Limits

Where the total travel time exceeds:

(i) five (5) hours on a one (1) pertormance day;

(il) eight (8) hours on a non-performance day;


(

the Artist shall invoice the Engager for additional services at the rate stipulated in Clause 13:09(B){i).

No travel is permitted on a two (2) performance day.

Travel time shall be limited to thirty-eight (38) hours per week (additional services hours excepted).

(B) Daytime Travel

Daytime travel shall be limited to ten (10) hours. Night travel is prohibited as expressed in the Clauses covering each method of transportation.

(C) Payment for Exceeding Travel Time

If the applicable travel time set forth in (A) above is exceeded, the Artists shall invoice the Engager for additional services at the rate stipulated in Clause 13:09(B)(i).

43:02 Route Sheet and Travel Log

The Engager shall submit to Equity, and the Deputy(s) of the Company, a route sheet which shall contain places of performance, mileage 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 Deputy(s) as further bookings are arranged.

A travel log will be kept which will contain at least the following:

(i} departure and arrival times (each hotel)

(ii} comfort stop times

(iii} meal stop times

The Deputy will initial the log daily, indicating only that the Deputy is aware of the figures entered.

43:03 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 call for the next day's travel. In the case of consecutive days being completely devoted to travel with no performance, there shall be an interval of at least twelve (12) hours between the termination of one (1) day's journey and the beginning of the following day's journey.

43:04 Prohibited Travel Time

In no case shall bus or motor vehicle travel begin sooner than 8:00a.m.

43:05 Rest Period Prior to Presentation

When the Artist is required to participate in a one (1) hour presentation after the conclusion of a trip, there shall be one (1) free hour from the time of arrival at the hotel to the time of the next call. If the time of presentation is less than two (2) hours but greater than (1) hour there shall be a one-and-a-half (1%) hour free period from the time of arrival to the time of the next call and if the presentation time is greater than two (2) hours there shall be a two-and-a-half (2%) hour period free from the time of arrival at the hotel until the time of the next call.

43:06 Rest Period Between Calls

In no case shall there be less than one-and-a-half (1%) hours between the end of the previous rehearsal or performance and the "half-hour" or the Artist's next call. If a previous rehearsal or performance (or arrival in town) is less than one-and-a-half (1 %) hours prior to the "half-hour" or the Artist's next call, the Engager will arrange to serve a full meal and such meal shall be paid for by the Engag_er.

43:07 Tolerance for Delays

There shall be a two (2) hour tolerance for delays caused by inclement weather, mechanical failure, delays in departure of commercial carriers, or other conditions over which the Engager has no control, including time lost going through customs and immigration at international borders.

43:08 Prohibition on Exceeding Limits

No more than two (2) hours of travel which exceeds the limits as specified in Clause 43:01 may be scheduled on any one (1) day without the express consent of Equity. The Engager agrees that if any daytime trip exceeds seven (7) hours in computed travel time the Artist will not be required to rehearse.

(

43:09 Reimbursement for Travel Expenses

For a tour, the Artist shall be responsible for transporting the Artist's self and the Artist's personal hand baggage to and from the designated point of departure/arrival at the Point of Origin but the Engager will pay the cost of, or reimburse the Artist for, such transportation. Payment shall be made in the week said expenses were incurred by the Artist upon presentation of a receipt.

43:10 Proof of Insurance

The Engager agrees to submit proof to Equity, in writing, that the carrier company carries public liability insurance of at least one million dollars ($1 ,000,000.00) on each vehicle employed.

43:11 Rail Transportation

The terms and conditions of railroad travel must be agreed upon between Equity and the Engager in advance of such travel before it may take place.

43:12 Transportation (Air}

The Artist may travel by airplane subject to the following conditions:

(A) Unwilling

Should the Artist be unwilling to travel by air, the Artist must advise the Engager before signing the engagement contract (See also Clause 22:01). All flights shall be on regularly scheduled airlines, or, with special permission, on a chartered flight or military aircraft. Such permission by Equity will not be unreasonably withheld.

(B) Calculation of Travel Time

Air travel time shall be computed from the time of call for departure from the designated Point of Departure until time of arrival at destination (hotel or theatre) and is to include travel to and from airport, all waiting time at terminals, flight time and stopover time, and all delays of any nature, Whatsoever, however caused, except that there shall be a two (2) hour tolerance for delays in departure caused by inclement weather, mechanical failure, delays in departure of commercial carriers, or other conditions over which the Engager has no control, including time lost going through customs and immigration at international borders.

(C} Time Zones

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.

Should departure by airplane be cancelled, adequate accommodation shall be provided each Artist including hotel room between 12:00 midnight and 8:00a.m. in hotels Where the entire company can be called for a flight simultaneously. 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 doing so the Artist would be required to pay for two (2) hotel rooms within a single span of twenty-four (24) hours. The Engager shall reimburse the Artist for the cost of such accommodation which is in excess of the cost of accommodation chosen by the Artist prior to the beginning of the tour in accordance with Clause 42:10. Stop-over 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 Engager and not due to the airline's rescheduled departure, the Artist shall invoice the Engager for additional services at the rate stipulated in Clause 13:09(B)(i) per hour or part thereof up to 8:00a.m.

(D) Cancelled Departure

Should departure by airplane be cancelled, adequate accommodation shall be provided each Artist including hotel room between 12:00 midnight and 8:00a.m, in hotels where the entire company can be called for a flight simultaneously. 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 doing so the Artist would be required to pay for two (2)


hotel rooms within a single span of twenty-four (24) hours. The Engager shall reimburse the Artist for the cost of such accommodation which is in excess of the cost of accommodation chosen by the Artist prior to the beginning of the tour in accordance with Clause 4310. Stop-over 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 Engager and not due to the airline's rescheduled departure the Engager shall pay each Artist at the appropriate overtime rate, the Artist shall invoice the Engager for additional seiVices at the rate stipulated in Clause 1309(B)(i) per hour or part thereof up to 8:00 a.m.

(E) Travel by Artist Separate from Company

When the Artist travels separately from the remainder of the company, at the requirement of the Engager, the Artist must be provided with accommodations equivalent to those of the rest of the company at all times.

(F) Night Travel

Night travel between the hours of midnight and 8:00 a.m. is prohibited.

43:13 Transportation (Boat)

The terms and conditions of boat travel must be agreed upon between Equity and the Engager in advance of such travel before it may take place. This Clause does not however apply to ferryboat trips of three (3) hours or less which are governed (including transportation to and from the ferry}, by the provisions of Clause43:15.

43:14 Transportation (Bus)

(A) Comfort and Safety

The Engager agrees that the bus shall be equal in comfort, conditions and safety to those used by first-class long distance commercial bus companies. The bus shall be thoroughly cleaned each day and the driver will be responsible for the loading and unloading of luggage.

The Engager shall instruct the driver to obey all traffic regulations, and speed and safety rules.

{B) Replacement of Bus

In the event the bus used to commence a tour requires replacement, such replacement bus shall meet the same standards as to seating capacity, luggage facilities, ventilation and heating facilities as the original bus. Such replacement shall take place within no more than five (5) days from the date of the breakdown.

Where such replacement does not take place within the time specified above, the Artists shall have the right to refuse to travel by bus. Where such replacement bus arrives within the time specified above, but is not up to the standards of the initial bus, the Artists shall have the right to refuse to travel by bus. Should there be more than three (3) breakdowns in a one (1) month period Equity shall have the right to require the Engager to furnish a different bus.

(C) 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 the Artist's baggage 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 Engager may, for the convenience of the company, schedule a pick-up at a second hotel, in which event travel time shall commence from the scheduled departure from the second pick-up. Computation of travel time shall end upon arrival of the bus at the first hotel in the town of destination.

(D) Comfort Stops

There shall be a minimum of one (1) comfort stop of at least ten (10) minutes during each two (2) hours of travel. The first ten (1 0) 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.

(E) Meal Stops

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 twelve (12) 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.

(F) Arrival at Destination and Travel to and from Theatre

The bus, upon arriving at its destination, will immediately deliver the Artists to the"1r hotels. In every case where the theatre is situated more than one-half (%) mile from the hotel, the Engager will provide transportation·to the theatre. The time of the bus' departure shall be no later than fortyfive (45) minutes after the final curtain. Should the Artist miss the bus, the Artist must arrange the Artist's own transportation at the Artist's personal expense.

(G) Prohibited Travel Time

Night travel between the hours of 10:00 p.m. and 8:00a.m. is prohibited except where the Artists are transported back to their hotel after a petiormance, in which case such travel is permitted on condition that it does not exceed one (1) hour and that it is completed by 12:30 a.m.

43:15 Travel by Van, Mini Bus or Automobile

Permission is given to travel by van, mini-bus, or automobile (or other vehicle with Equity's written permission) according to bus Clauses 43:14(A). (B), (C), (D). (E) and (F). and to the following conditions:

(A) Mechanical Certification

The Engager agrees that the vehide used to transport the Equity members 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 this certificate shall be filed with Equity prior to the commencement of the tour upon request of Equity.

(B) Seating

The maximum number of passengers shall be no more than the number of seat belts installed in a vehicle.

(C) Luggage and Equipment

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. No luggage or equipment shall be carried on the roof of a vehicle unless it is safely loaded, secured, and covered.

(D) All Season or Winter Radial Tires

All season or winter radial tires shall be used at all times during winter travel.

(E) Vehicle Maintenance

The Stage Manger and/or one of the drivers will be responsible for seeing that the safety of the vehicle is properly maintained according to a check list supplied by the Engager.

(F) Drivers

If a non-professional driver is to be used, said driver must be properly licensed to drive the vehicle according to the provincial regulations of the Engager's point of origin. If an Equity member is required to drive the bus the member will be paid an additional fee of nineteen dollars and seventythree cents ($1 9.73) per day or part thereof for this duty. No driver may drive more than four (4) consecutive hours excluding rest stops. No driver may drive unless said driver has had the applicable overnight rest period.

(G) · Road Conditions and Weather

When weather conditions indicate that travel could constitute a danger, the Stage Manager and the Deputy together shall obtain a roadfweather report from the police or department of transport in advance of intercity travel. When such report advises against travel, the Stage

2007-2010 Opera Aweement] Page 31

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Manager and Deputy, together have the right to postpone travel until conditions improve, and must notify the Engager of such conditions as soon as possible.

c44ilio ccjv~~$J;A$1l!J'\ERL'· ''"'".'' ,,,.,,_ If the Engager desires to present the company outside Canada

and the continental United States, arrangements must be negotiated with Equity, 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 this Agreement for such tour.

For travel outside of the continental United States and Canada,

the per diem shall be eighty percent (80%) of the current total amount (including incidentals) set by the Treasury Board of Canada Secretariat based on commercial accommodation, or at

the minimum set in Clause 13:10(A){1), whichever is greater.

Equity will consider proposals for a reduction below these rates, provided that the Engager is able to demonstrate a

commensurate reduction to the Artist's expenses.

In addition to this per diem, the Engager shall provide each Artist with accommodation of a North American first class standard, satisfactory to the Artist, at no cost to the Artist. The Engager wil!

endeavour to provide single occupancy accommodation for all Artists subject to availability, but as a minimum requirement, the Engager shall provide Artists engaged in a Supporting, Featured,

or Lead role as well as stage management with single occupancy accommodation.

i4:oo,,~~~g~~~~~~~~#ol[l'COMMUNITY.OU1"REACH--··'··'

The Provisions of this Clause may be utilized for the presentation of productions of approximately one (1) hour in length which are designed primarily for pre-school, primary, and/or s~condary

school age audiences. Additionally, the Engager may present full length programmes as part of its Community Outreach activities. Community Outreach programs are activities in which the purpose is primarily· to introduce or inform audiences about Opera by means of small scale productions. Stage management staffing for full scale productions will be in accordance with Clause40:06.

The Engager shall submit to Equity a description of its proposed

production or season, including the anticipated performance schedules. Where Equity confirms the proposal meets the criteria of this Clause, the terms and conditions of Clause 46:00 shall apply.

The Engager undertakes to specify to an Artist to whom an Engagement is offered that the terms and conditions of this Clause will apply to the Artist's engagement. This must be confirmed by a rider to the Artist's contract which must

accompany the contract at the time of presentation to the Artist. Should this procedure not be followed the Artist may at the Artist's option withdraw from the contract forthwith and will receive payment for all expenses incurred and for any services

rendered to date {including any return transportation costs).

45:01 Billing

(See also Clause 29:00.)

Where no house boards are available and school and/or school

board regulations do not permit distribution of a house program to students, one of the Artists will be given the responsibility of introducing the Artists, the Stage Manager, and said Artist's self

to the audience. The Artist will also announce that they are a company of professionals who are members of the Canadian Actors' Equity Association.

45:02 Engagement of Equity Members

The Engager agrees to engage only members of Equity who

shall be signed to contracts as per Clause 27. Non-professionals may not be engaged except with prior written permission of Equity.

45:03 Hiatus

Any hiatus shall be stated and agreed to in the contract by the Engager and the Artist, otherwise such hiatus shall be deemed

invalid. A hiatus shall be subject to the following terms:

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{A) School Break

The Engager has the right to schedule a hiatus for the Company of up to one {1) week without remuneration during any official school break during the school year, provided that the engagement consists of not less than eight {8) paidfor weeks, 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) No Services Provided

Should such a hiatus take place, the Engager shall not be entitled to the Artist's services during the hiatus.

{C) Return Transportation to Artist's Place of Residence

The Engager further agrees that when such a hiatus takes place, it shall pay the cost of round trip transportation, as provided for in Clause 22:01, to and from the Artist's place of residence plus the meal allowances as specified in Clause 42:09 (A) for any day spent travelling to and from the Artist's place of residence, provided the Artist arrives at said Artist's destination prior to 10:00 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 be paid oneseventh {1/7) of the contractual touring fee as provided for in Clause 13:10(A)(1).

45:04 Understudy Parts

All understudy parts shall be stated in the contract or in a rider to the contract no later than one (1) week before the first public

performance. {See also Clause 32:00 -Understudies.)

45:05 Additional Duty

Each additional duty other than performing must be specifically

negotiated before the original contract is signed and must be included in a rider to the contract.

45:06 First Aid Kits

First aid kits and emergency travel equipment will be provided

and carried by the company at all times when travelling.

45:07 Requirement for Equity Stage Manager

The En gager must engage an Equity Stage Manager.

45:08 Company Rules Provided

Each Artist contracted to perform in a school tour will be provided

with a copy of the Engager's company rules by the first rehearsal.

45:09 Work Week and Working Hours

(A) Definition

The week is defined as the period from Monday to Sunday inclusive.

(B) Artist Deemed to be Working

In the following Clauses, when the Artist is required to perform, travel and/or rehearse, the Artist is deemed to be working.

(C) Rehearsals Prior to First Public Performance

Rehearsals before the first public performance are governed by Clauses 16:00 (Rehearsals) and 17:00 (Costume Fittings), and may take place on six {6) days of the week.

{D) Schedule Following the First Public Performance

After the first performance the Artist may by required to work on five {5) days of the week. There shall be two (2) free days each week, one (1) of which must be completely free and the other may be utilized for travel only.

There shall be no more than nine (9) consecutive days between free days, and the free day prior to the first public performance must be given within the seven (7) days prior thereto.

Clause 15:07 shall apply except as amended herein.

(E) Maximum Working Hours in a Week

Beginning the day of the first public performance the working hours in a week shall not exceed forty-five (45) including all breaks and rest periods, where presentations are given in 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.

(F) Working Day

(1) Maximum Hours The day's work is limited to a maximum of ten (10) hours from the time of pick-up at the designated pickup point to the time of return to that point.

(2} Meal Break 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 for the Engager including travel.

The meal break may be adjusted to one-half (~) hour provided that such a day's work is limited to eight (8) consecutive hours.

In any event the applicable meal break must occur after not more than five (5) hours of work unless all the Artists agree to postpone the meal break until a more convenient time. Except in such an instance, the Artist shall invoice for additional services at the rate stipulated in Clause 13:09(B)(i) for continuous work in excess of five (5) hours.

(3) Extension of Hours On a day where one (1) school presentation and one (1) evening community programme are scheduled, the day's work may be extended to a maximum of twelve {12) consecutive hours provided the Artists have three (3) consecutive hours of free time (not including a one ( 1) hour meal break) between the end of service for the first presentation and the call for the evening presentation(s).

(4) Pre-Performance and Post~Performance Time for Artist There will be a fifteen (15) minute allowance for the Artist to get out of costume and make-up prior to the commencement of the meal break.

The Engager will ensure that the performing Artists have a period of at least fifteen {15) minutes prior to each presentation solely to prepare the Artist's self for the performance.

For presentations longer than one-and-a-half (1~)

hours this period shall be increased to thirty {30) minutes (see Half-Hour Call).

(G) Overnight Rest Period

There shall be a twelve (12} hour overnight rest period between the end of work one (1) day and the beginning of the work on the next day. (See Clause 16:03(9)). In any event the first call of the morning cannot be before 7:30a.m.

{H) Notification of Touring Status

The Engager will endeavour to notify the Artist at least two (2) weeks in advance of the in-town or touring status of any given week. At least twenty-four (24) hours' notice shall be given of any change in the schedule.

{I) Week with In-Town and Out~Of Town Performances

In the case of a week With both in-town and out-of-town performances, fees shall be pro-rated at one-seventh (1/7) of contractual fee, whichever is applicable for each day.

{J) Maximum Number of Presentations Per Five Day Week

There may be a maximum of ten (10) presentations of approximately one (1) hour in duration per five (5) day week.

However, in a week which contains at least one (1) presentation in excess of one-and-a-quarter (1%) hours (curtain to curtain) the maximum performance time in such a week may be increased to twelve-and-a-half (12~) hours. There may be no more than five (5) such presentations in any engagement week. In no event shall the performance time in one (1) day exceed approximately three-and-a-half (3%) hours.

The maximum running time of any presentation, inclusive of intermissions within a presentation, but exclusive of intervals between presentations or half-hour calls {if applicable) shall not exceed two-and-a-half (2Yz) hours.

For the purpose of this Clause the calculation of performance time shall be in increments of one-half (Yz) hour or part thereof.

There may be no more than two (2) presentations per day but each may be in a different location.

(K) Take-Ins, Set-Ups, Strikes or Take-Outs

If the Artist is required to supervise or assist with take-in, set-up, strike or take-out, this requirement must be negotiated and agreed upon before the contract is signed, and must be included in a rider to the contract.

Nevertheless it is agreed that no Artist shall be required to move, lift or carry scenery or equipment beyond the Artist's physical capability. In a case where the Artist is literally 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 presentation, the Artist shall invoice the Engager for additional services at the rate stipulated in Clause 13:09(B)(i).

(L) Payment for Work Done in Excess of Weekly and Daily Limits

For any work done in excess of the weekly and/or daily limits specified herein, the Artist shall invoice the engager for additional services at the rate stipulated in Clause 13:09(B)(i).

(M) Payment For Excess Performances

Notwithstanding (L) above, a sum equal to two-tenths (2/10) of the weekly fee shall be paid for each performance over ten (10) in each week or over two (2) on each day.

(N) Brush-Up and Cast Replacement Rehearsals

Brush-up and cast replacement rehearsals must take place within the ten (10) hour work day and the fifty (50) hour work week specified herein.

(0) Service on the Free Day

The Artist shall not be required to perform any service whatever for the Engager on the designated free day. If the Artist consents to work on the Free Day at the request of the Engager, the Artist shall invoice the Engager for additional services at the rate stipulated in Clause 13:09(8)(iii).

45:10 Travel

(A) Travel by Motor Vehicle

If travel is by motor vehicle, Clauses 42:00 and 43:00 will apply except as amended herein.

(B) Daily Hours of Travel

The daily hours of travel will be in accordance with the limits of work specified in Clause 45:09 except that the rest period requirement (Clause 43:03) shall be adhered to at all times when travelling. The first call of the day must not take place before 7:30a.m. Clause 43:06 shall not apply.

45:11 Clauses Not Applicable

Except as amended herein (Ciause45:00} the following Clauses do not apply:43:01, 43:03, 43:04, 43:05, 43:06.

The parties hereto agree to adhere to and be bound by the following: except as provided by hereinafter, this Clause will be subject to and construed by the laws of the Province in which the Engager has its Point of Origin.

46:01 Disagreement Between the En gager and Equity

When there is a disagreement between the Engager and Equity regarding:

(i) the interpretation, application or operation of this Agreement; and/or

(ii) whether or not there has been a breach of this Agreement; and/or

(iii) whether there has been a breach of an individual


(

engagement contract; then either party may request, within five (5) business days, a meeting to discuss this disagreement. Should the parties fail to meet, the position of the party requesting the meeting shall prevail and both parties shall be bound by it.

If a meeting is held and the disagreement is not resolved to the satisfaction of both parties then either party may within two {2) weeks demand arbitration.

46:02 Time Limits

If either party does not demand arbitration within the two (2) weeks, then it is agreed that the position of the party initiating the process outlined in Clause 46:01 shall prevail.

46:03 Equity's Power to Act for Members

Equity shall represent and act in the place of the members of Equity in these arbitration proceedings.

46:04 Demand for Arbitration

The Engager or Equity may demand arbitration for any dispute which may arise out of this Agreement and Clauses.

46:05 Notice in Writing

A demand for arbitration shall be given by the party demanding arbitration to the other party by sending notice in writing by registered mail, fax, telegram, return receipt requested, to the other party at the last known business or residence address.

46:06 Specifics of Notice

A notice of demand for arbitration shall set out the matter in dispute and the relief claimed.

46:07 Appointment of Arbitrator

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.

46:08 Procedure for Arbitration

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.

46:09 Rulings of the Arbitrator Binding

The parties hereto agree to be bound by and to comply forthwith with the findings, rules and time limits set forth by the Arbitrator so appointed.

46:10 No Recourse to a Court of Law

The parties to this Agreement and Clauses 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 rules of arbitration.

46:11 Binding Nature of Arbitration

The parties to this Agreement and Clauses agree that all disagreements and differences between the Engager, Equity and any Artist bound by this Agreement concerning its interpretations, application, operation or any alleged violation thereof, including any question as to whether any matter is covered by this Section or not, shall be finally and conclusively settled through arbitration under these Clauses without stoppage of work or other job action, except for the withdrawal of services by the Artist provided for in Clauses 13:04, 20:13 and 25:03 of this Agreement.

46:12 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 this Agreement and Clauses.

46:13 Discipline

Where the member of Equity fails to comply with these rules of arbitration, then Equity may discipline the member in accordance with the rules of Equity.

(

46:14 Failure to Comply

Where the Engager fails to comply with these rules of arbitration, then Equity may declare that the Engager has committed a breach of this Agreement and may:

(A) allow no Equity member to be engaged or to continue to be engaged by the En gager.

(B) require the Engager to pay forthwith all Equity members withdrawing from their engagement:

{1) All monies accrued and owing to the member, and

{2) As liquidated damages, an amount equal to all monies that would be payable to the member if the terms of the Agreement and Clauses were completed, provided that no amount for liquidated damages shall be Jess than an amount equal to two (2) weeks' contractual fee.

(C) Deduct forthwith from any security posted by the Engager the monies payable under Clause 46:14 (B).

46:15 Arbitrator's Compensation and Expenses

The Arbitrator's compensation and expenses shall be borne equally by the parties.

46:16 Award of the Arbitrator Binding

The award of the Arbitrator shall be final and binding subject to the right of either party to have recourse to a court of law (in applicable Province).

'4\':{jl('§tf(:\f<G);R'S)RJ{;Eii:si' !' ~.··. Except where specifically qualified by the specific terms of this Agreement, management of the Engager's operations and the direction of the Artist will continue to be vested in the Engager.

The Engager has the exclusive right and power to manage its operations and direct the Artists, and to engage and discharge Artists subject to the terms of arbitration set out in Clause 46:00 of this Agreement.

'4~:pli.'~i'f~'Af.l!JN.!;J~ffflsAGBi>i'.111~N:ti:··· 48:01 Expiration Date

All contracts with Artists which expire after June 30, 2010, shall be deemed subject to such new Agreement as may be entered into between Equity and the Engager for the next or succeeding seasons.

48:02 Submission of Proposals

The Engager and Equity agree to submit proposals to each other for a new Agreement four (4} months before the expiry date of this current Agreement.

'49oQJl" CONe"R1'S A!clD ll,§Q!'i'A!;S 49:01 Definition

A concert is defined as a performance which involves no elements of theatrical staging (Director and/or Choreographer), sets, props or costumes. A public presentation by one (1) or more Artists performing unstaged Opera excerpts is a concert.

49:02 Engagement of Stage Management

The engagement of Stage Management shall be by mutual agreement between the Engager and Equity.

49:03 Engagement of Artist

An Artist shall be engaged under the terms of the Agreement in respect of the concert performance of an Opera, Operetta or piece of Musical Theatre, complete or in part, or a selection of same. The terms and conditions of the Agreement shall apply except for the following:

(A) Reduction of Minimum Term

The minimum term of an Artist's engagement may be reduced at the Engager's discretion provided that the Artist receives not less than the equivalent of one (1) week's fee. Should the term of an Artist's contract exceed one (1) week then the Artist shall be paid at the rate of one sixth (1/6) of the weekly contractual fee per additional day in accordance with Clause 13:03. Continuous eng-agement, in accordance with Clause 26:01, shall also apply.


(B) Casual Presentations

Notwithstanding (A) above, the minimum term of an Artist's engagement for Benefits, Fundraisers and unstaged Concerts which do not replace the established programme of mainstage repertoire or existing performance programmes of the Engager, and do not exceed two (2) days of continuous engagement, may be contracted under the terms of Clause 26:04: Casual Presentations Policy.

(C) Concert or Recital as Part of a Pre-Packaged Show

Notwithstanding (A) and (B) above, Equity will permit an Artist who is a member of a self-contained group to perform a Concert or recital as part of a pre-packaged show (produced by the Artist for repeated performances in various venues) to waive their right to be engaged on an Equity contract. The Artist shall be required to sign an affidavit to this effect, and this affidavit shall be filed with Equity, not later than one (1) week prior to the engagement.

49:04 Promotional Recital

A ~Promotional Recital" is a specific activity of the Engager with a public presentation involving no elements of theatrical staging, sets props or costumes to facilitate the Engager's donor and subscription outreach and/or promotion of a specific production.

No Artist shall be required to participate in a Promotional Recital unless the full details of the performance including but not limited to the date, time, repertoire and negotiated fee are specified in a rider to the Artist's engagement contract. The rider shall be negotiated with the Artist not less than one (1) week prior to the Promotional Recital performance.

An Artist's performance at a Promotional Recital shall be limited to a maximum of two (2) arias from the Artist's repertoire.

A Promotional Recital shall not be scheduled on a pertormance day or free day. Rehearsal on a Promotional Recital pertormance day shall be limited to one (1) rehearsal call of a maximum of three (3) hours and the orchestra shall not be called to this rehearsal. No other rehearsal call may be scheduled on this day.

It is not the intention of the Clause 49:04 - Promotional Recital to reduce the Concert and Recital provisions of Clause 49:03 of the Agreement.

2007-2010 Opera Agreement] Page 35

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iA._P-B;~Nt>JX;-A~_:¢8_te'QO:I1iiitiCifi-~Ol-~~-li'S L ==Lead

F == Featured

S == Supporting

B=Bit

CB == Chorus Bit

~-Attflit,n:a'-t~~c~g:uvr~-~~r _ ;):;iJ_ ea: Language: Italian

L Adriana L Maurizio L Michonnet L Principessa F Abate S Principe S Quinault S Poisson S Jouvenat S Dangeville B Major-Domo B Chambermaid 12 Minimum Chorus

iAtriCaine; 'L':·(T-~ti:Att_iC_an.--Maid): ~-, - :_GAMey_efhe_er - " -

Language: French

L Selika L lnes, daughter of Don Diego L Vasco Da Gama,

officer in Portuguese Navy L Nelusko, a slave L Don Pedro, President of the

Royal Council F Don Alvar, Member of the

Council S Don Diego, Member of the

Council S Grand Inquisitor S High Priest of Brahma S Anna, lnes's attendant CB Chorus of Sailors CB Basses I, II CB Usher CB Priest Chorus of 8 Bishops 48 Minimum Chorus

lj\eQ-YptiS_ciie:Hel_eilil~,;Die~_(T_iie_-" - --:-Egypth;ir:H:iel~n) ~s~ratJSs--

Language: German

L Helena L Menelas L Aithra F Altair S Da-Ud S First Servant (Dienerin) S Second Servant B Hermione 8 Sea-shell (Die alleswissende

Muschel) 15 or 18 Minimum Chorus

iA:iiriifP!h_c!-_~--~~Wi9~-~f!diJ~:tt~ndef: Language: Italian

L Claudio L Agrippina L Nerone L Poppea L Ottone F Pallante F Narciso F Lesbo

S Guinone No Chorus

tAj~-ii~~,YirdE:--

Language: Italian

L Aida L Amneris L Radames L Amonasro F Ramris S The King B A Priestess B Messenger 36 Minimum Chorus

:_~i<tiOJttiri :hP:JiillP>~.llf~~ rr Language: English, Ancient

Egyptian, Akkadian, and Biblical Hebrew

L Akhnaten L Nefertiti L Queen Tye F Horemhab F Pharoah F Amenhotep S Amon S Aye B Six Daughters CB Funeral Party 24 Minimum Chorus

f~t~'eft-JI'f:!IT~h9!Ei~t1U~fi __ ·-Language: English

L Lady Billows L Albert F Nancy F Sid F Florence F Miss Wordsworth F Mrs. Herring F Vicar Gedge F Mayor Upfold F Police Supt. Budd S Emmie (child) S Cis (child) S Harry (child) No Chorus

'-Ai_P~SJe ~~~:tW\~(tir;:K Language: Italian

L Alceste, Queen & wife of Admetus

L Admetus, King of Thessaly F High Priest F Hercules S Evander s Thanatos, God of death 8 Voice of Apollo B Herald Mute 2 Children (of Alceste &

Admetus) Leaders of the People: S Coryphee 1 B Coryphee 2 B Coryphee 3 8 Coryphee 4 CB Voice of Oracle

24 Minimum Chorus

~PJ_g_li)B;~~\fi~h~:t'eJ -'-Language: Italian

L Alcina, a sorceress L Ruggiero, a knight F Morgana, sister of Alcina


(

F Bradamante, betrothed to Ruggiero

F Oronte, Commander of Alcina's troops

S Melissa, Bradamante's guardian

S Oberto, a young nobleman 16 Minimum Chorus

'Ah~SSili!~!O:~:::·;ft~bc!ElF:

Language: Italian

L Alessandro, Alexander the Great

L Rossane, a slave L Lisaura, a princess F T assile, King of India F Clito, Duke of Macedonia S Leonato, friend of Clito S Cleone, friend of Clito 16 Minimum Chorus

tAfft_Shi \4H:Ctthe,)~ 1"9_hf\fi-S'it~rS<~ ~, ,_~,.... ::V-:!Men~~l:-;;~\:i; >>:;-.~ .. ,-..... _ c ,-_~,

Language: English

L The Mother L Amahl F King Kaspar F King Melchior F King Balthazar S A Slave (The Page) 12 Minimum Chorus

tAtne]Ia'G_o-e:s~t~_:tne~aiiUJ:M~ri_Qtt!:::

Language: Italian

L Amelia L Husband F Lover S Chief of Police s A Friend B Cook 8 Chambermaid 12 Minimum Chorus

tA!nf~Q -:~f1ti.~t.f -~ -oo_as:~ag_fl_t:~- · Language: Italian

L Fritz Kobus, a rich bachelor landowner

L Suzel, a farmer's daughter L Beppe, a gypsy L David, a Rabbi B Caterina, Fritz's housekeeper B Federico, friend of Fritz B Henezo, friend of Fritz

18 Minimum Chorus

;AroJSfi\,11 'd\ttthOQY- jj __ a.V_i~- :":--' Language: English L The Trickster God L Cinque F Antonio F John Quincy Adams F The Goddess of the Waters F Navigator F MargruNoice 5 s Abolitionist Tappan s Lieutenant/Judge S Don Pedro/Calderon S GrabeauNoice 1/ African 11 S Bahia S Burnah/ Voice 3/African I S KalehNoice 2 s KinnaNoice 4 B President Martin Van Buren B Phrenologist B Lawyer

B Cook B Southern Senator B Reporter 1 B Reporter 2 B Reporter 3 B Reporter 4 B Reporter 5 B Reporter 6 60 Minimum Chorus

:Ani~Fe::p~:rrre __ :Re;::L:;rtov~·:or_"~--- ,_ , , -_- ;,Jtu~e:_K!n_g~_l;'-'~'MQriteJTi_ezZi

Language: Italian

L Fiora L Manfredo L Avito L Archibaldo S Flaminio S OldWoman B Serving Woman (Ancella) B A Youth B A Young Woman B Shepherd 18 Minimum Chorus

iAilt;1fir~;_¢tJ:EtQ~!<f;GJQf~~-Language: Italian

L Andrea Chenier L Carlo Gerard L Maddalena De Coigny F Mathieu F Roucher F Bersi F LaVecchia Madelon F L'lncredibile S Countess de Coigny S Fleville S Abate (The Abbe) B Fouquier-Tinville B Schmidt (The Jailer) B Dumas B Maestro Di Casa (Major

Domo) B Fiorineili (Pianist- if

pantomimed by chorister)

24 Minimum Chorus

;A_rr~l~-:~~~-9J~if~~~A;;~ii!;~ttL :> -L'" '"''

Language: Italian

L Anna Bolena L Lord Riccardo L Jane Seymour F Henry VIII F Smeton S Lord Rochefort S Hervey 18 Minimum Chorus

~~rib~:$fic:f;Nfri~Ji-ti9niQ!!itf~ Language: Armenian

L Anoush L Sara (a herdsman) F Massi S Anoush's Mother S Sara's Mother S Village Elder (Kochva) S Ohan (a poor laborer) B Best Man CB Village Watchman Girlfriends of Anoush: CB Girl #1 CB Girl #2

CB Girl #3 CB Girl #4 CB Girl #5 48 Minimum Chorus

t4TI.ictrn' :,~_,,pt~~-Pi_rn:;i~lifh~f:-_--Language: English

L Cleopatra, queen of Egypt L Antony, Roman general L Caesar, ruler of Rome L Enobarbus, Anthony's

comrade F lras, Cleopatra's attendant F Oc~avia, Antony's wife F Charmian, Cleopatra's

attendant S Agrippa, a senator S Eros, Anthony's shieldbearer S Maecenas, a senator S A Messenger S Dolabella, Caesar's emissary S Thidias, Caesar's

ambassador S Alexas, Cleopatra's attendant s A Soothsayer S A Soldier of Caesar S A Rustic S Four guards B Two Watchmen B Guardsman CB Senator 40 Minimum Chorus

:Ar~});eTj_lftS}f@~§;":i:· Language: German

L Arabella L Zdenka L Matteo L Mandruka F Fiakemmilli s Adelaide s Waldner s Fortune Teller s Elemer s Dominik s Lamora! B Drei Spieler (Three

Cardplayers) B Velko B Djura B Janke I 12 Minimum Chorus

i~fii{!=IJi~:;~\!f;N.~xq~_;;·:$tfBH$~-~-:t:::_:-

Language: German

L Ariadne L Bacchus L Zerbinetta L Composer F Music Teacher F Dancing Master F Arlecchino F Brighella F T ruffaldino F Naiad F Dryad F Echo F Scaramuccio S Major-Domo B Wigmaker B Lackey B Officer No Chorus


~Af!9Jtifn.t~_'-~~H-c(rl~t!~J ::~:,:,-', _,- · Language: Italian

L Ariodante L Ginevra F King F Dalinda F Polinesso S Lurcanio B Odoardo 16 Minimum Chorus

;A$J:(~fff:Rijp~r~;-_ztf1~:::;~tB~Hf?,- -.-Language: English

L Juliana Bordereau (Young & Old)

L Tina L The Lodger F Aspern F Sonia F Barelli S Olimpia S Pasquale/Painter S Pasquale B Painter

;:AttiJ~--J.C_,v:ert;tJ

Language: Italian

L Attila, King of the Huns L Foresta, Knight of Aquileia L Odabella, daughter of

the Lord of Aquileia L Ezio, a Roman general S Uldino, a Breton slave

of Attila's S Pope Leo I (Leone) 28 Minimum Chorus

~_a®~l-.th~;~tQp:fi·!lnt:+;e~re~ciW.~kY-,:-: L Babar L Celeste L Old Lady S Bad Boy S Good Girl S Camel S Julio B Marie B 1st Hunter B 2nd Hunter Tightrope Walker (Solo Dancer) Bareback Rider (Solo Dancer) Clown (Solo Dancer) Children's Chorus

:iaHilct~orea-sy:oqe':_~-;~topr~- ·_:· Language: English

L Baby Doe L Augusta Tabor L Horace Tabar F William Jennings Bryan F Mama McCourt S Jacob, friend of Tabor S 4 friends of Augusta S 4 cronies of Tabor S President Chester A. Arthur 8 Old Miner B Hotel Clerk B Mayor B Katie B Meg 8 Silver Dollar 8 Priest B Doorman at Tabor Grand B Footman

(

B Bell Boy B Bouncer at Saloon B Politician B Samantha B Baby's Family at Wedding B 2 Newsboys B Sam, friend of Tabor 24 Minimum Chorus

!$~liP, g~lJ~~fn9it!~e-;'-tF~:M5!"ijJeY~idJ~ -,-Language: Italian

L Pluto L Venus L Cupid (Amor) S An Ingrate 12 Minimum Chorus

ti:fa·no·;jfl'tMitSCtl$ffitiJn:(A.iM8g_ke'd--- - ·- -;sall_).'.;:ve'rdf -, ·- ---- ,_, ;_-~'-

Language: Italian

L Riccardo L Renata L Amelia L Oscar F Ulrica F Sam F Tom s Silva no 8 A Judge B Servant of Amelia 24 Minimum Chorus

;sarbgr:·_q_r:.:sgvntQ:re.aX~feJHX Language: Italian

L Figaro L Rosina L Count Almaviva L Dr. Bartolo F Don Basilio S Giovinetto, old servant of

Bartolo S Lo Svegliato, servant of

Bartolo B Un Alcade, a mayor B Un Notaro, a notary No Chorus

tsa_rbJere)JfSl_vrgl_la-::m_(J3#&er?ot: -- - ~<sevm~r.:_;RoSS.it)i ·, , ·

Language: Italian

L Almaviva L Rosina L Figaro L Dr. Bartolo L Don Basilio S Berta (with aria = F) S Fiorello B Sergeant CB Ambrogio 12 Minimum Chorus (Men Only)

'-Ba-rb_i_er'-von::sagtia_ad;<o~r-:-_: · - --- -- -_,·cornem.~_s·" - - -

Language: German

L Abu! Hassan Ali EBN Bekar, a barber

L Margiana, daughter of the Cadi

L Nureddin F Baba Mustapha, a Cadi F Bostana, a servant of the Cadi S The Caliph B 3 Muezzins (Offstage)

B Slave (Offstage) CB 4 Servants of Nurredin CB 4 Armed Men 36 Minimum Chorus

te·art~ri4:¥t~1H:th·~-~-~~sm~t?_riar:, .- .. }: Language: Czech

L Marie (Marenka) L Hans (Jenik) L Kezal L Wenzel (Vashek) F Katinka (Ludmilla) F Kruschina F Springer (Ring-Master) F Esmeralda S Micha S Agnes (Hata) B Muff (Indian) 18 Minimum Chorus

f$is~·ariij~, -:t!l~ ;~ftN'I;_:ffe_~*e_u~-L Dionysus (also Voice &

Stranger) L Pentheus, King of Thebes L Agave, daughter of Cadmus,

mother of Pentheus F Autonoe, her sister F Cadmus, founder of Thebes S Tiresias, old, blind prophet S Captain of the Royal Guard S Beroe, old slave, nurse to

Pentheus CB Male Bacchant in 2nd & 3rd

movement Mute Young Woman, slave in

Agave's house Mute Child, her daughter 40 Minimum Chorus

~$ii!tfi~-~~_fji~e:naa}yq:;:~-~~1iQL -__ ,, ~,, .01

Language: Italian

L Filippo Maria Visconti, Duke of Milan

L Beatrice Di T enda, his wife L Agnese Del Maio, beloved of

Filippo L Orombello, Lord of Ventimiglia S Anichino, friend of Orombello

and formerly minister to Facino, Duke of Milan

8 Rizzardo Del Maio, Agnese's brother

32 Minimum Chorus

t!;leatri_Q~.i~!;-B~ne.tti~-t;~_'$~HI~--~--~'

Language: French

L Beatrice L Benedict, an officer L Hero, daughter of Leonato F Ursule, Hero's companion S Don Pedro, a general S Claudio, an officer S Somarone, orchestral

conductor S Leonato, Governor of Messina B A Messenger B A Notary B 1st Servant B 2nd Servant B A Musician 24 Minimum Chorus

f~~_ati+X_~cencr::am~_sf~f~'::."--

L Count Francesco Cenci


L Beatrix Cenci F Lucrecia, her stepmother F Bernardo, her brother (boy) S Andrea, servant S Orsino, a prelate S Giacomo, brother to Beatrix Speaking Olympia, assassin Speaking Marzio, assassin

tseautltUFGaJatb~a;::-rfle:.;-yo_n-- -- -<· -~:~Supp~--~~i:i --~ "'"~t" ---~£c:o:§:~-;;:.;\':-:'-t:':-~

L Galathea L Pygmalion L Midas F Ganymede 18 Minimum Chorus

;~~~:ft~Jeh.~;~,_t!l;_i·:~ITPiiPACf!,::·z_, -3

Language: French

L Helene, Queen of Sparta L Paris, son of Priam, King of

Troy L Calchas, High Priest of Jupiter L Oreste, son of Agamemnon L Agamemnon, King of Argos F Achilles, King of Phthiotis F Ajax I, King of Salamis F Ajax 11, King of Locris F Menelaus, King of Sparta S Bacchis, Helen's attendant S Leoena, a courtesan S Parthoenis, a courtesan 24 Minimum Chorus

f-~env~~n_~q_,p~@llt~:'~esupz::: :;·:~ Language: French

L Benvenuto Cellini L Teresa L Giacomo Balducci F Ascanio F Fieramosca F Francesco s Cardinal Salviati s Pompeo s Bernardino B Cabaretier CB Officer 40 Minimum Chorus

~s~~f<>lffiiJ'.!~L*)?te~.m~·xta~s_a· · L Zina L Marya Aleksandrovna F Nastasya L Prince F Paul S Archivist B Barbara B Satya Petrovna 12 Minimum Chorus (Women's

Chorus)

::a~tfOth~P_i~_--a~~~dnas~ecy:(T~~',';-· , ·-o_u~l'loal_.-~J=~r.ok!l,f_iE!!Y ·

Language: Russian

L Don Jerome, a rich man of Seville

L Ferdinand, his son L Louisa, his daughter L Antonio, in love with Louisa L Clara O'Aimanza, friend of

Louisa L Mendoza, a rich fish merchant F The Duenna (Margaret)

F Don Carlos, impoverished nobleman,friend of Mendoza

S Father Augustine, Father Superior of the Monastery

S Brother Elixir, monk S Brother Chartreuse, monk S Brother Benedictine, monk B 1st Monk B 2nd Monk B Lauretta, Louisa's

maidservant B Rosina, Clara's maidservant B Lopez, Ferdinand's servant B 1st, 2nd, and 3rd Maskers CB Pablo, valet of Mendoza CB Pedro, valet of Mendoza CB Miguel, valet of Mendoza Mute Urchin Friend of Don Jerome (plays

Cornet) Sancho, servant of Don Jerome

(plays the big drum) 36 Minimum Chorus

l~Hh'r:;$~JifJ' -~;firrtt~tr -_'' Language: English

L Billy Budd L Captain Vere L Clagg art L 1st Lt./Mr. Redburn L Sailing Master/Mr. Flint L Lt. Ratcliffe F Dansker F Bosun F Novice F Donald F Red Whiskers s 1st Mate s 2nd Mate s Novice's Friend s MainTOP B Arthur Jones B Gunner's Mate B Childlor 36 Minimum Chorus

~~IM@1f~.~t(:s 'Q~~tli¥-~~aartb~:~::,<< ·-Language: Hungarian

L Judith L Bluebeard B The Bard B 3 Wives No Chorus

re(jh~Iffff; ~;~r~:f:fq9_P_lhJ·-Language: Italian

L Rodolfo L Mimi L Marcello F Colline F Schaunard F Musetta S Benoit S Alcindoro CB Parpignol CB Custom House Officer 24 Minimum Chorus (and

Children's Chorus)

~~1M~JTI_f¥1::~_tl]f!~Oh~Y~Il}Q::', Language: Italian

L Mimi, a grisette L Musette, a grisette

L Marcel, a painter L Rodolphe, a poet L Shaunard, a musician F Colline, a philosopher S Barbemuche, an agent S Vicomte Paul, Viscount S Gaudens, pub keeper S Durand, a porter S Eufemie, dry cleaning girl,

friend of Shaunard B Le M. Du Premier, tenant on

the 1st floor B Le Gamin, an urchin CB An Employee CB Old Woman from the 3rd floor 28 Minimum Chorus

iiiiO:®mJ~rrGTrl. :pr~ 'i;r~il( ' Language: English

L Arline L Thaddeus L Count Arnheim L Florestein F Queen of the Gypsies F Devilshoof B Captain of the Guard B Officer B Buda 18 Minimum Chorus

a~r~m~ti~:~:Gr~~s:ter~ Language: Spanish

L Pier Francesco Orsini (as adult)

L Silvio De Narni, Astrologer F Diana Orsini F Pantasilea F Julia Farnese S Gian Corrado Orsini S Nicolas Orsini S Girolamo (as adult) S Maerbale (as adult) S Shepherd Boy (child) B Messenger B Pier Francesco Orsini (as

child) B Maerbale (as child) B Girolamo (as child)

Skeleton (Dancer) Abu! (Dancer)

36 Minimum Chorus

:~})JIS·:G9;~9M_tlj:!Y-.FMQJ!~~9:~R~~ Language: Russian

L Boris L Dmitri F Marina F Varlaam F Shvisky F Pimenn F Rangoni F Simpleton S Feodor S Xeniz S Missail S Nurse S Innkeeper S Tchelkaloff S Police Sergeant (Prologue) S Frontier Guard (Inn Scene) B Boyar B Levitsky B Tcherniakovski


CB Mitiuk CB Kruschov CB 2Women 36 Minimum Chorus

;~d9~~~0~¥--: ,Ff.~~~!!~~-,~o~~~ _: Language: English

L Tommy Algright L Fiona Maclaren F Jeff Douglas F Meg Brockie F Jean Maclaren F Charlie Dalrymple S MacGregor S Stuart Dalrymple S Sandy Dean 24 Minimum Chorus

t9~P~Utt:~ ,_l~_$e_rn§itei_i-t._':-. Language: English

L Voltaire w/Pangloss, Business Man, Governor, 2nd Gambler, Sage.

L Candide L Cunegonde F Baron w/ Grand Inquisitor,

Slavedriver, Pasha F Maximilian F Servant of Maximilian w/ 2nd

Bulgarian, Jew, Judge, Father Bernard, 1st Gambler

F Paquette F Old Lady S Huntsman w/1st Bulgarian,

Don #4 S Baroness w/ Calliope Player,

Inquisition business S 1st Westphalian Soldierw/

Don #5, Pirate #2

S 2nd Westphalian Soldier w/ Governor's Aide, Sailor #3

B Heresy Agent w/ Don #6 B Two Pink Sheep w/lnquisition

Business B Lion w/lnquisition Business CB 1st Inquisition Agent w/Sailor

#1 CB Dons #1, #2, #3 24 Minimum Chorus

tPaPl-~~fO-_f;it--Sl~~-~-s-~:~::·-:

Language: German

L The Countess L The Count, her brother L Clairon, an actress L Flarnand, a musician L Olivier, a poet L La Roche, director of a

theater F Italian Singer F Italian Singer S Monsieur Taupe, prompter S The Major-Domo 8 Eight Servants (4 Tenors, 4

Basses) Mute A Young Dancer No Chorus

tQ_~PV!~1(~'-!,1Jft~!i~~~:Cf!J;t~LS~lnnt~~:: Language: Italian

L Giulietta L Romeo

(

F Tebaldo S Capellio S Lorenzo 24 Minimum Chorus

Language: French

L Carmen L Don Jose F Escamilla F Micaela S Zuniga S Dancairo S Remendado S Frasquita S Mercedes S Morales B Lilias Pastia (if acting dialogue

of Opera-Comique version) 24 Minimum Chorus (and

Children's Chorus)

;c·as:a·nova•S'·+t9me-comirl'g_;-~_:p~ , -·>"Argento · -- , -

Language: English

L Casanova F Lorenzo, an abbe, friend of

Casanova F Bellino (Teresa), an opera

singer F Marquis De Lisle, nephew &

heir to Mme. D'Urfe F Mme. D'Urfe, a very mad,

wealthy, elderly widow F Giulietta, abandoned wife of a

cardsharp F Barbara, Casanova's god

child F Marcantonio, a street urchin,

serving-boy 12-13 yrs. Old S Gabrielle, a penniless poet

(w/Gondolier = F) S Businello, secretary to the

Council ofT en S Gondolier (w/Gabrielle= F) 24 Minimum Chorus The minimum of Chorus 24

includes: S Dircea, Opera Seria Soloist S A Vendor S Timante, Opera Seria Soloist S Charlatan S 1st Inquisitor (also Pulcinello) S A Montebank S 2nd Inquisitor (also Tartaglia) S 3rd Inquisitor (also the

Spanish Captain) B Cherinto B A Girl (in Casanova's bed) 8 Matusio 8 Gianpaolo, the Marquis'

boyfriend B Demofoonte B Chief of Police CB A Lady (whose purse is

stolen) CB Mme. D'Urfe's Servant CB A Matron (in Casanova's bed) CB A Young Woman (in

Casanova's bed) CB A Young Girl (of

Marcantonio's age) CB A Junior Police Officer

CB 2 Guards

~c~~Jlerct~~ll~li~a'63-:#;:M~§~i!9bf ~:fr Language: Italian

L Santuzza L Turiddu F Alfio S Lola S Mama Lucia 24 Minimum Chorus

!~ifridHOQlli j_:~:if~Sep_~t:·:-':

Language: French

L Cinderella L Prince Charming L The Fairy Godmother L Pandolfe F Mme. De Ia Haltiere S Noemie S Dorothee B The King B The Master of Ceremonies B The Dean of the Faculty B The First Minister B Six Spirits CB The Herald's Voice (off-stage) 32 Minimum Chorus

[~(~~t~~tO]a·,_:~~~~:RpS~i_lij ::: ;;~ Language: Italian

L Don Ramiro L Angelina (Cenerento!a) L Don Magnifico L Dandini F Clorinda (*if aria is not

performed = S) S Tisbe S Alidoro 12 Minimum Chorus (Men Only)

i~_hi"iSt~phe_r,;Co_iUnibU~t(9~i!St~ph~! ;, --:,::~>~.;:, .. _,_q:o!P't_rt~) _ ~- O:fMi!h<iUd_·-::-:),: > --~;

Language: French

L Isabelle, Queen of Spain L Christophe Colomb L The Narrator F Christophe Colomb II F The Representative of the

Sailors F Master of Ceremonies F Messenger F The Cook S Counsel for the Prosecution S The King of Spain S Major-Domo S The Commandant B 1st, 2nd, 3rd Guitarists B Quetzalcoatl B lxtlipetzloc B One of the Officers B 1st, 2nd, 3rd, Wise Men B Christoph Colomb's Wife B Christoph Colomb's Mother B The Valet B The Innkeeper B The Sultan of Miramolin B 1st & 2nd Servants CB Officer CB Counsel for the Defense CB Men at the Window CB 1st, 2nd, 3rd, Creditors CB Soprano Solo CB A Young Man (chorus solo)


(

CB One of the Learned CB The Clerk CB The Recruiter CB The Executioner CB Huichtlipochtli CB Tlaloc CB 1st, 2nd, 3rd, Other One CB A Voice from the Topmast

(solo) CB A Young Man (personifying

Colomb) CB A More Mature Man

{personifying Colomb) CB The Shadow of Christoph

Colomb CB The Dutchess of Medina CB Alto Solo 48 Minimum Chorus

£PhYtSlQPlt~!?_PO!HRl~:u~~2l(:ltfe_i[~a..CR_:; Language: French

L Gretel L Fleurette L Rosa L Chief of Police L Christopher Columbus F Waiter F Tourist F Beatriz F Luis De Torres F Queen Isabella s King Ferdinand s Esperanza s Cannelita s Manuela s Valencia 8 Princess Minnihaha 24 Minimum Chorus

i·(;ijLID~OZil'J'l-:fitQJ:~Q1:~)\!: . ->::,-::~c '·:

Language: Italian

L Tito L Vitellia L Sextus F Servilia F Annius s Publius 16 Minimum Chorus

ot:Q[d :sii~~Y: tL~~~;;-:~~fr~l_~;_E-iQY«f; -,~ Language: English

L Ruker Lattimore L Love Simpson L Will Tweedy (Rucker's

grandson) F Lightfoot McClendon (15

years) F Clayton McAllister (Texas

Suitor, 30's) F Lama Williams (in her 20's

Mary's Sister) F Effie Belle Tate (Town

busybody in her 60's) s Mary Willis (Widow in her

30's, Will's mother) s Thelma Predmore (in her

50's) s Lui a s Myrtis s Campbell Williams (Lama's

Husband, in 20's)

s

B B

Hosie Roach (Lightfoot's halfbrother, late teens) Mayor Sheriff

B Dr. Lomax CB Rufus CB Buford (foreman, carpenter,

plumber) CB Luther (Hosie's accomplice,

early teens} 24 Minimum Chorus

~~9illti''Qfj;'4?~:~:Jt9~~mr,;, Language: French

L Comte Ory L Comtesse Adele L lsolier, Page to Comte Ory L Raimbaud (Robert), friend to

Comte Ory F The Tutor (AJO) F Ragonde, companion to

Comtesse Adele S Alice, a peasant girl S A Young Nobleman, friend to

Comte Ory B Lady-In-Waiting 24 Minimum Chorus

t~Qfi~Mi~~¢_ti~f-~'r;f~'i:tPt!t'' Language: English

L Magda F Secretary F John F Mother F Police Chief F Mr. Magedoff (The Magician) S Koffner S Italian Woman 8 Dake Woman B Mrs. Gomez B Assan B Policemen #1 and #2 No Chorus

:c-Qntes~[i~l-ioffnl'a:'iirit(Ta-leS: Ot ·_:·- - ->+IQtrQicii1):~-:Qff¢i)b8Ch;:-

Language: French

L Hoffman L Olympia/Giulietta/Antonia, or: F Olympia F Giulietta F Antonia L Coppelius/Dapertutto/Dr.

Miracle/Lindorf, or: F Coppelius F Dapertutto F Dr. Miracle F Lindorf F Nicklausse S Vision (Mother's Voice) S Spa1anzani S Crespel S Nathanael S Hermann S Franz/Andres/Cochenille/ Pittichinaccio, or: S Franz B Andres B Cochenille B Pittichinaccio S Schlemil B The Muse B Luther

B Stella (may be included as the 4'"

heroine) 24 Minimum Chorus

i¢_9:CIJi:9f;,-t.;e::l:~!fll$kY.~kb[Sa~Of[-:,

Language: Russian

L King Dodon L Queen Shemakhan F General Polkan F Amelfa S Prince Guidon S Prince Aphron S Astrologer S Coq d'Or 15 Minimum Chorus

iCQSJ:;~~fi _T_l!tfe·_.;;M;Q;~f!-~_

Language: Italian

L Fiordiligi L Dorabella L Despina L Ferrando L Gugliemo L Don Alfonso 12 Minimum Chorus

~ltb!lflteS§'_M~r~~'\J<S(fUa:TF-

L Countess Maritza L Count Tassilo F Manya F Baron Zupan S Captain Stefan s Zingo S Liza S Lazlo S Princess Bozena B Tsheko B Freda 8 Nepomuk B Bela Torek B Auctioneer 24 Minimum Chorus

fCf_ci~I~'Wi_!bl~'qcfS,·:ttl~:-fj~3JfUsfeJtt Language: English

L Moll L Editor Daily L Mr. Mister L Junior Mister L Sister Mister L Mrs. Mister L Reverend Salvation L Larry Foreman F Yasha F Dauber F President Prexy F Professor Mamie F Dr. Specialist s Professor Trixie s Druggist s Sadie Polack s Gus Polack s Ella Hammer s Gent s Dick s Cop s Clerk s Steve s Bugs s Professor Scoot s Attendant B First Reporter


B Second Reporter

~j:JU~!~(~; Jt!~::'--~W~Tti ,,, ' ,,,, ' '' ''' Language: English

L Reverend Hale L John Proctor L Abigail Williams L Elizabeth Proctor L Reverend Parris F Tituba F Thomas Putnam F Ann Putnam F Rebecca Nurse F Mary Warren F Judge Danforth F Giles Corey S Betty Parris S Francis Nurse S Ezekiel Cheever S Sarah Good s Ruth Putnam B Susanna Walcott 8 Mercy Lewis 8 Martha Sheldon B Bridget Booth 15 Minimum Chorus

tqsar~~SftjrSti_~~;D_i_ei'(~~e;_GYP#-Y ~ -~- · - :.:-,:.-{Pf_incfi!:s's)·~-:K:_a_ln{ari_'c "" ·

Language: German

L Sylva Varescu L Edwin Ronald (Prince Edwin-

Marius) F Countess Anastasia (Stasi) F Count Bani Kanscianu S Feri Von Kerekes (Count

Ferencz) S Prince Leopold S Princess Anhilte (Karen) B Baron Von Rohndolff (Eugen) CB Ambassador Macgrave CB Von Mero CB Von Szerenyi CB Von Endrey CB Von Vitar CB Miksa CB Hotel Porter Mute Kisch 18 Minimum Chorus

'~I.LfiHfiiiJi);;Lttl~iYix:~riRTiW}¥~iJ:~rJ~~~'~J<J Language: Czech

L The Forester L Fox Golden~Strip (Lisak) L The Vixen (Sly Little Fox) F The Parson F The Schoolmaster F Harasta S Forester's Wife S The Dog (Lapak) S Chocholka (Chief Hen) S The Rooster B The Screech-Owl B Pasek, Innkeeper 8 His Wife B Franz (Frantik) B Pepik (Sepp) B The Woodpecker B The Mosquito B The Badger B The Cricket B The Grasshopper B The Frog

8 The Fly CB The Jay CB Two other hens CB Fox's Child

(

24 Minimum Chorus

ib8mr18ti0ri:dEf:Fa:U-St;~i..:i~)>H~iCtOi-- f ,_:::J~e-rli_o*~ , '~-

Language: French

L Faust L Mephistopheles L Marguerite S Brander CB A Soprano Solo 48 Minimum Chorus

lE)'e3'd:MBli-W_~lk!fig'_~:ii~\<~J:J~lf9t~----;o -

L L F

Language: English

Sister Helen Prejean Joseph de Rocher Mrs. Patrick de Rocher

F Sister Rose s s s s s s B B B B B B B B CB

George Benton Father Grenville Owen Hart Kitty Hart Howard Boucher Jade Boucher Motorcycle Cop Prison Guard #1 Prison Guard #2 Older Brother to Joseph Younger Brother to Joseph Teenage Girl Teenage Boy A Paralegal Sister Catherine

CB Sister Lillianne CB First Mother CB Mrs. Charlton CB Jimmy (from Children's

Chorus) CB Five Solo Inmates MuteAnthony de Rocher (Actor) MuteA Nurse 32 Minimum Chorus

?P~attrtrLvQhtc~~~~r_i!!'e!r -:, Language: English

L Gustav Von Aschenbach, a novelist

L The following 7 roles are performed by same Artist:

The Traveler The Elderly FOP The Old Gondolier The Hotel Manager The Hotel Barber Leader of the Strolling Players The Voice of Dionysus S The Voice of Apollo Dancers/Mime: The Polish Mother (Lady of the

Pearls} Tadzio, her son Her Two Daughters Their Governess Jaschiu, Tadzio's friend Dramatic Characters: B Hotel Porter B Strawberry-Seller

B English Clerk at the Travel Bureau

CB Danish Lady CB Street Singer- Strolling player CB Russian Mother CB English Lady CB Lace-Seller CB French Girl CB Newspaper-Seller CB Street Singer- Strolling Player CB Glass-Seller CB Two Gondoliers CB Two Americans CB Steward CB lido Boatman CB Guide CB Hotel Waiter CB Restaurant Waiter CB German Father CB Gondolier CB Polish Father CB Russian Father CB Priest in St. Mark's CB Flower-Seller CB Tourist Woman CB Two Venetian Shop-Girls CB Six Young Boys on Boat to

Venice CB Post-Card Seller CB Photographer CB 6 Tourists 36 Minimum Chorus

!Deat~::O(Kfl_r1-g:hof:fer;J~~-e':~;-JO'hl1_:-~s:---- , >"-'Adams , -- · '" - ,

Language: English

L The Captain L Mamoud F Leon Klinghoffer F Marilyn Klinghoffer S The First Officer (w/ Rambo =

F) S Rambo (w/ First Officer = F) S Molqi S Swiss Grandmother S Austrian Woman S British Dancing Girl (All three of above together = F) S Omar 24 Minimum Chorus

~-o_es~:rt_,song;:--Th_e<,-slgii!_lnid --·, ,.-__ ,-:R.offib!'l'r_g , ·

English: English

L Pierre Birabeauffhe Red Shadow

L Margot Bonvalet L Benjamin Kidd F Susan F Captain Paul Fontaine F Sid El Kar F General Birabeau F Ali Ben Ali S Clementina S Hassi S Azuri CB Lieutenant La Vergne CB Mindar CB Neri CB Edith CB Hadji CB First Girl CB Guard


(

CB Sergeant Du Boussac CB Sentinel CB A Slave 36 Minimum Chorus

;oe_Vit_-,_'an:d :oarliefwe~_st~r;~~THe-,;: -,,00-~0MJt_or~_:_: - · , ,;:x- ,

Language: English

L Daniel Webster L Mr. Scratch F Jabez Stone F Mary Stone S Clerk S Blackbeard Teach S King Philip s Simon Girty B Voice of Miser Stevens B A Fiddler B Justice Hawthorne B Walter Butler 18 Minimum Chorus

:cuafOQU_es::o,e~ :_<;cirrif~iit~ST _, -: -i - -JDi~IQgu~·Ofthe,,:,:~;~~-- '-~- ---:: .

·:_Caramelit~§)__'.}eOuJenc{L--

Language: French

L Blanche L Constance L 2nd Prince L Mere Marie F Chevalier F Almonier F Marquis s Soeur Mathilde s Mere Jeanne s 1st Guard s 2nd Guard s Gaolier B Guard B 1st Officer B Carmelites B Thierry B Dr. Javelinot B 1st Voisine B 2nd Voisine B Old Gentleman 18 Minimum Chorus

~PlD..c?:~aijd_.'i\eJ.teas:+-e~j·~err::-Language: English

F Aeneas S 1st Lady S 2nd Lady S First Witch S Second Witch B Spirit 18 Minimum Chorus

~r;J!~ora~ij~rMeYelb~er:· / Language: French

L Dinorah, a peasant girl L Hoe], a goat-herd F Corentino, a bagpiper S Huntsman S Goat-Herds S Ha!Vester 24 Minimum Chorus

!OQkt.Ql_f?@J!st:.,:_,_~~itY_gceo-;~~§Q:iiJ .---~,

Language: German

L Doktor Faust L Mephistopheles F in AB version Poet

F Wagner F Soldier F Duchess of Parma S in PJ version S Duke of Parma S Master of Ceremonies Students in Wittenburg: S Tenor S Tenor S Tenor S Baritone S Baritone s Tenor Solo B Natural Philosopher B Lieutenant B Theologian B Jurist Students from Cracow: B Student 1 B Student 2 B Student 3 Five Spirits: B 1. Gravis B 2. Levis B 3. Asmodus B 4. Beelzebuth B 5. Megaros Soloists in Credo: B Soprano B Mezzo Soprano B Contralto Solo Choristers: CB 3 Sopranos CB 3 Contraltos CB 3 Tenors CB 3 Basses 60 Minimum Chorus

'9()fia:E-f-a!lb_i~Q~lt~:J;~:N!Vt£s :;·-Language: Spanish

L Fernando L Francisquita L Aurora L Cardona F Dona Francisca F Lorenzo Perez F Don Matias B Irene Ia de Pinto B El Lanador B La Buhonera B Cofrade 1 ,2,3 B La Mama 8 El Sereno 8 Juan Andres B Dependiente 1 ,2,3 B Un Guitarrista CB Dona Uberata CB Dona Basilisa CB Nina 1,2 CB Un Miliciano CB Un Torero CB Una Maja CB Un Jornalero C8 La Mujer del Jornalero CB El Aguador CB La Aguadora CB El Liberal C8 La Naranjera MuteEI Hijo (child) 32 Minimum Chorus Don Carlo~ Verdi Language: Italian L Elisabetta

L Princess Eboli L Don Carlo L Rodrigo L PhiliP II F Grand Inquisitor S Friar s Tebaldo S An Angelic Voice B Count Lerma B Herald CB Countess d'Aremberg 24 Minimum Chorus

~r:i~Dtf~ -J{~J/~!ifiQ/:(;~,:;fiq~Sifl_i Language: Italian

L Elena (Ellen) L Uberto(Hubert) L Malcolm Graeme (Groem) F Douglas D'Angus (Archibald

Douglas) F Roderigo di Dhu (Roderick

Dhu) S Serano!Bertram 8 Albina 24 Minimum Chorus

1!1-llrll~~Ic,Ve~HHF.q~~~ir:r------'' Language: Italian

L Don Giovanni L Donna Anna L Donna Elvira L Don Ottavio L Leporello L Zerlina F Masetto F Commendatore 12 Minimum Chorus

~@1}':-p~~q'l:(itl_~ctJ~'j~i]_i~~jf~~--- -,:-:;-, ,. Language: Italian

L Don Pasquale L Norina L Emesto L Dr. Malatesta B Notary 12 Minimum Chorus

;[)"o_n- :QUICJ:lBjte::(I)_pn;-Q~iiOtE!f~-- \;Massenef\ ; >;;_~;"}, --

Language: French

L Don Quichotte L La Belle Dulcinee L Sancho S Rodriguez 8 Juen B Pedro B Garcias 24 Minimum Chorus

'Ro.'~l)!iif9!1~2J:~&:i~~t~ra'~-,_.-

Lan9uage: Spanish

L Don Rodrigo L Don Julian L Florinda L Tendiselo F Fortuna F Obispo S 1st Doncella S 2nd Doncella S 1st Page S 2nd Page B Voice of Sleep B 1st Messenger


B 2nd Messenger B Young Messenger B Hermit B Young Boy B Shepherdess 24 Minimum Chorus

;or_eam_:ot-~va,_e_n-tin~;~ri:l#:~:-o,omJnJCk . --;-~,~ -"A[g~iJtci;.:.;{ ' - -~~ !

Language: English

L Rudolph Valentino L June Mathis L The Mogul F Marvin Heeno 1 voice on

Record F Natacha Rambova F Alia Nazimova F Jean Acker I Voice S Woman in Red B Voice B Ballroom Manager B Lawyer B Yes-Men 1~2-3-4

8 Reporters 1-2-3 B Secretaries 1-2~3 8 Dialogue Coach B Make-up Woman B Costumer 8 Publicity Man B Photographers CB Man with Arrest Warrent CB Valentino's Mother (This part

may be sung by June Mathis) CB Newspaper Man CB G MuteA Policeman 24 Minimum Chorus

Language: English

L Channon L Leah F Senter F The Messenger F Rabbi Asrael S Meyer S Shennoch S Frade S Elderly Woman S Three 8atlons S Michael S Gittel S 8assia S Three Chassids B Menashe 8 Rabbi Mendel B Asher 8 Wedding Guest 8 Old Woman 8 Mute 24 Minimum Chorus

Language: German

L Klytemnestra L Elektra L Chrysothemis F Orestes F Aegistheus S Guardian (Tutor) of Orestes S 5th Maid Servant S Overseer B Four Maid Servants

(

B Train Bearer B Old Servant (Old Slave) B Confidante B A Young Servant (Young

Slave) 24 Minimum Chorus

~eliSir<;t)~A!ii'Ore;~tx~_(Ttl~f_l:l_ix,ii:-Of_--:~ - - '-:: Lover_.,:oo_~,iz~tt_i_::;---;- ---

Language: Italian

L Adina L Nemorino L Belcore L Dr. Dulcamara S Gianetta 18 Minimum Chorus

?E_rl_ta_nt\EfLEi~\SOrtJJege~·,a.:-\JThr(' -: ___ Child,_ci_nd{th~_"y_isi()riS)_-_.:~_--: '--}~cpj~I}' · - - - -

Language: French

L Princess I Fire I Nightingale L The Child F Mother I Chinese Cup I

Dragon Fly I Second Shepherdess

F Little Old Man F Armchair IT ree F Teapot F Clock I Second Cat F Shepherdess I Squirrel I First

Cat B Four Solo Voices 18 Minimum Chorus

jt;Htf,tJehrUnQ:iA~$;:0_~-ni:s:era~i-- -_-- · - --"-''.MO:iarf:---- - '\-_.::::---~

Language: German

L Constanza L Belmonte L Osmin L Pedrillo L Blondchen S The Pasha B The Captain B Quartet B Mute 12 Minimum Chorus

iff_riil_ort~:~;G:--RQ~S!IlJ--'t-i'"

Language: Italian

L Ermione L Andromaca L Pirro L Oreste F Pi lade F Fencicio s Attalo s Cleone s Cefisa MuteAstianatte 28 Minimum Chorus

;§ill~!li_:t--v~fdJ "'~

Language: Italian

L Ernani L Don Carlo L Silva L Donna Elvira B Giovanna B Don Riccardo B lago 24 Minimum Chorus

~g;Wart[.DQ:¥~J[iO!Cfs'CtJO~fib~rg;-- ii

Language: German

L She No Chorus

ti:Sdarm:onct¢1§:Ma~~s~;en-et __ , ______ --- - --;;; Language: French

L Esclarmonde, Empress of the Orient

L Roland, Comte de Blois, a French knight

F Phorcas, Emperor of Byzantium, father of Esclarmonde

F Parseis, sister of Esclarmond F Bishop of Blois F Eneas, Byzantine knight &

Fiancee of Parseis F Cleomer, King of France B Byzantine Herald CB Saracen Envoy 40 Minimum Chorus

'J;iQ@i:-f::·/~-~tiitri~:P¥~E_¢_h'a~T_iQf: Language: French

L Lazuli L La Princesse Laoula L Le Roi Ouf I F Aloes F Herisson de Pore Epic F Siroco F Tapioca B Oasis B Asphodele 8 Youka B Zinnia R Koukouli B Adza B Le Chef de Ia Police CB Patacha CB Zalzal CB Representative of the people 28 Minimum Chorus

:~49-~JJi 'o}teg)n,_:~::fefi~!J<()YSky

Language: Russian

L Tatiana L Onegin L Lenski F Olga F Prince Gremin s Larena S Filipjevna B Saretski B Triquet B Guillot 24 Minimum Chorus

fFac_e:_orl,fhe:Barro·o:rra:~ioOr::;HeniY -' -·:: ~~OUC()f!~-- ?-:· <: :__·--

Language: English

L Isabelle/Madeline L Tom/John L Larry/Matt No Chorus

[F~:inJt:S_OroChlnt$k)',-Tlie ~,- ___ - ,-MO_U~_s,orQS~y,

Language: Russian

L Tcherevik, an old countryman L Parassia, his daughter L Khivria, his wife


(

L Gritzko, a young countryman F The Priest's Son F The Compere, Tcherevik's

Crony S The Gypsy B 1st Guest B 2nd Guest B 3rd Guest 32 Minimum Chorus

~lf~}~~atr-:-p_::-sane_r!, , ,,, ,

Language: Italian

L Alice Ford L Mistress Slender L Ford L Falstaff L Slender F Betty (Meg) F Bardolfo CB An Echo 16 Minimum Chorus

r.~a_n_t~~tJF~f!i.r • .-:§:oX;L~J Plll~~l!l~~e£ :: --Language: English

L Fantastic Mr. Fox L Mrs. Fox L Farmer Bean F Farmer Bunce F Farmer Boggis S Miss Hedgehog S Agnes the Digger S Rita the Rat S Mavis the Tractor S Badger the Miner S Burrowing Mole S Bennie Foxcub S Lennie Foxcub S Jennie Foxcub S Pennie Foxcub B Porcupine Children's Chorus

Language: Italian

L Falstaff L Alice Ford L Ford L Nanetta L Fenton L Dame Quickly F Meg Page F Bardolfo F Pistola F Dr. Caius 24 Minimum Chorus

,'FanCt_iiua·,'Dei>W~~t;-:-L1j (_Tfie,Gi_i'i_'Of:_.' 'the-_GOideil.,Wfi:S~}-.,c~ll,u_cC_ini

Language: Italian

L Minnie L Dick Johnson L Jack Rance F Sonora F Ashby F Nick F Jake Wallace s Trin s Handsome (Bello) s Harry s Joe s Lark ens s Happy s Sid

B Pony Express Rider B Castro B Billy Jackrabbit B Wowkle 18 Minimum Chorus (Men Only)

;traHS_i:;;~G'O!frJ:~tf~ Language: French

L Faust L Mephistopheles L Marguerite F Valentin s Siebel S Dame Marthe s Wagner 24 Minimum Chorus

iF~_VO~til,<ta:'_(J"h~_:_f~VO-tlt~);-:; -- - - "QQtiizett_i- - -- -

Language: Italian

L Alfonso L Fernando L Leonora L Baldassare S GaSparo S Inez 18 Minimum Chorus

ili~'d:P"h-~-G!~ft!~f!Q_: ___ -__ Language: Italian

L Fedora L Loris lpanov F Olga F DeSiriex F Grech S Cirillo S Borov S Rouvel s Desire B Dr. Lorek B Savoyard B Dmitri CB Nicola CB Sergio CB Lazinski (Pianist) 16 Minimum Chorus

\E(~fj]J~:J~e~qtf1_{:)_y~--ffc :cc.:: :.:·cc.: Language: German

L Don Pizarro L Florestan L Leonore L Rocco F Jacquino F Don Fernando F Marcellina B 1st Prisoner B 2nd Prisoner 24 Minimum Chorus

,Fi_i_IE!;~o~-:_ReQirilent:(o~li9~ter_~(ltthf--~ - : -_-Re-gi_ITieritbd~-1?-IJlZ_~tti · -

Language: French

L Marie L Tanio L Sulpice S Marquise S Hortentius 8 Peasant 8 Corporal 8 Duchesse 24 Minimum Chorus

i~irlt~JJjarCJ!O_ier;; -_~;Mo~art Language: Italian

L Serpetta L Sandrina L Ramiro L Podesta L Belfiore L Arminda F Nardo No Chorus

:_IT,~:rnfrfQ.-~f!QI}_!, --In:~:~J~f§~Qfi~)t--: -- _-Language: Russian (French

Translation by Andre Michel

L Ruprecht, a knight L Renata F Agrippa Von Nettelsheim, a

philosopher F Mephistopheles F The Mother Superior (Abbess) F The Inquisitor S The Hostess of the Inn S A Fortune-Teller (Sorceress) S Faust S Two Young Nuns 8 Jakob Glock B The Servant at the Inn

(Laborer) 8 A Kitchen Boy B 6 Nuns B Mathias (Matthew) friend of

Ruprecht 8 The Doctor 8 The Innkeeper (at Cologne) B A Pot-Boy CB Three Men of Cologne

Count Heinrich (Dancer) 36 Minimum Chorus

lF;i~:vi_Q;:j:~~:.ae~Lan_g_-t>I?BfClr'~~George: ,--,:, }-,:-::- iFfJder~-c:£ttar:f#~f-i:~:-:'> -, __ ---

Language: Italian

L Flavia, King of Lombardy L Guido, Son of Ugone L Emilia, Daughter of Lata rio L Vitige, in Love with Teodata F T eodata, Daughter of Ugone S Ugone, Counselor S Lotario Counselor No Chorus

ff,hicf~rm_a-~S~~I)_r~_-I;j-li_~;Bat) -:_~--- -- ,, · - S(r:auss;-.4:~~:7 - - , -~

Language: German

L Rosalinda L Adele L Eisenstein F Orlovsky F Alfred F Dr. Falke F Frosch s Frank s Ida (Sally) s Blind s Ivan CB Faustine CB Hermine CB Four Footmen CB Mimi CB Felicite 18 Minimum Chorus


~Fii-E!g-efid~::HOUandl;ff/~_Br: __ (The,; _,_-- ::flyiim:Qi.ltchnl~~f!);:{Wag~_er_--:

Language: German

L Senta L The Dutchman L Erik L Daland F Steersman S Mary 24 Minimum Chorus

tF:_IOt~rlC!_a::en:_~_i,;~ill~_Ztina~~;';o·an!e-1';-- }.Catali;"-_./

Language: Spanish

L Florencia L Riolobo L Rosalba L Arcadia F Paula F Alvaro F Capitan 18 Minimum Chorus

'FO~~~:QP1-P~SJbiq;~g-i(~:¥~fct1 Language: Italian

L Don Carlo L Don Alvaro L Padre Guardiano L Leonora F Fra Melitone F Preziosilla S Marchese di Calatrava S Trabuco B Alcade B Curra B Surgeon 24 Minimum Chorus

r Rt:n.rr:-Sii"iiltS-'in- .Th~ree:::Acts,': :-2-:-> '~-~-JhQnistiri +ifdf~~~~l&':-~:--~-:, --

Language: English

L Saint Teresa I L Saint Teresa II L Saint Ignatius Loyola L Saint Chavez F Compere F Commere F Saint Settlement 18 Minimum Chorus

:~ra_-,~I_#.YCH~--i!~i:!b:~:r:-:-;'---

Language: French

L Zerlina L Fra Diavolo (Marchese) F Lorenzo F Pamela F Lord Alicash (Milford) F Beppo F Giacomo S Matteo CB Paesano 18 Minimum Chorus

i~fii~~t~~:P=if_;RUIDG!:~'~rl_f:!Q~fi~Jt-Language: Italian

L Francesca L Paolo L Giovanni F Malatestino F Ostasio S Samaritana S Biancofior

S Garsenda S Altichiara S Donella (Adonella) S Ser T oldo Berardengo S It Giullare B II Balestriere B II Torrigiano CB La Voce del Prigioniero 32 Minimum Chorus

~-F,r~-~8hrlii sCh_atten;-:Die;(The -~- __ :, ,-_:-"'- __ - ---&Woll1af1iW_Ith_o_utca-;Shai:low)-_~'

-"'Stri~_u~~:-LJ--- - - -

Language: German

L Emperor L Empress L Nurse L Barak L Barak's Wife F Spirit Messenger S Apparition S Keeper S Voice of Falcon S Three Brothers B Voice from Above B Six Children B Nightwatchman No Chorus

i.ffi~l_stift1i~;-z~~-.:f"VJ!'Q~W~J:i~1~H Language: German

L Agathe L Max L Casper F Kuno F Aennchen S Ottokar S Kilian S Hermit S Samiel CB Bridesmaids 18 Minimum Chorus

iG-a_btiel'~dJaU.iJlit~_r:;;i_MEh1pF. -,- __ -~_Mollicqne·_;_- - --

Language: English

L Clara Brown F Colonel John Chivington F Barney Ford F Governor John Evans F Colonel Wadsworth F Elisa Jane, Becky Johnson,

Eliza Brooks s Elisa Jane s Elisa Jane and Becky

Johnson s Mrs. Jane Gordon s Evaline s Lucinda s Auctioneer/ Tom my s Auctioneer B Tommy B Becky Johnson B Eliza Brooks B Jennie B Physician B Quilter lfWife I B Quilter 11/Wife II B Quilter 111/Wifelll B Miner l B Miner II B Miner 111 B Miner IV

B Pauline Ann (child) B Eliza Jane (child) CB Bidder I CB Bidder II CB Bidder Ill CB Bidder IV CB Solo (MayOr of Central City) CB Solo (Ulysses S. Grant) CB 3 Solos CB Solo - Man #1 CB Solo - Man #2 CB Solo - Man #3 CB Solo Woman CB 2 Solos CB Solo CB Drunken Miner CB Old Prospector MuteRichard (Young Clara's

Husband) Mute Fur Trader John Smith Mute Shady Lady I (Chastity) Mute Shady Lady II (Cora) MuteChinese Man MuteFirst Lady (Mrs. Grant) 28 Minimum Chorus

~~1illll;l~th'~:ugJP:~t~.ii~f9KdJ!e:v.·:---Lan9uage: Russian

L The General, a retired army officer

L Pauline, his step-daughter L Alexey, tutor to the General's

children F Babulenka, Grand-Mother &

General's rich aunt F The Marquis S Mr. Astley, a rich Englishman S Blcmche, a demi-mondaine 8 Prince Nilsky B Baron Wurmerhelm B Potapitsch, Babulenka's

steward In the Gambling Scene: CB The Director CB The First Croupier CB The 2nd Croupier CB The Fat Englishman CB The Tall Englishman CB The Florid Lady CB The Pale Lady CB The Lady Comme-Ci,

Comme-Ca CB The Respectable Old Lady CB A Suspicious Old Lady CB A Heated Gambler CB A Gambler in Ill-Health CB A Hunchbacked Gambler CB An Unlucky Gambler CB An Old Gambler CB Six Gamblers Mute The Baroness Wurmerhelm MuteBabulenka's 3 Servants (Feodo, Theodore, Marthe) 40 Minimum Chorus

~G~~~-jJ.il:dt~;-:bS:_~;:_ftO:SSIOi __ --~: Language: Italian

L Ninetta L Podesta L Gianetto F lsaaco F Fernanco S Fabrizio


(

S Lucia S Pippa s Giorgio 18 Minimum Chorus

IGi_i~fiJ:[CfliC~h!:-~fl{~C(i:Ji)~': __ - ~~--:~~-_;:---

Language: Italian

L Rinuccio L Gianni Schicchi F Lauretta F Zita F Simone F Ciesca F Nella F Gherardo F Betta F Marco S Spinellocio S Amantio B Gherardino (chiid) B Pinellino No Chorus

?_$l.Q.~Q:Ucl&!-,-:_~#r.;_:~9HCiJI~!it-~~ ~~:

Language: Italian

L La Gioconda L Laura L Enzo L Barnaba L Alvise Badoero F La Cieca S Zuane B A Monk B lsepo B First Cantore & Second Voice CB First voice CB A Pilot 24 Minimum Chorus

:Gi-Oh:~UrDEHI~f_iVJBd_Onila;-~lf(Jew-eJs::ot_' ' __ :,i-:---~';----:,t'h~:_MadOrim~):,~)Vcflf::F;~inui ~~

Language: Italian

L Gennaro L Maliella L Rafaele S Carmela S Biasco S Totonno B Stella B Concetta B Serena B Rocco B Ciccillo CB Chorus Bits 40 Minimum Chorus (and

Children's Chorus)

iG!OiliD--~ -±- $~riJ~t:fifi1'c~r~tt~rl;:- ~ _, __ .;_~

Language: English

L Queen Elizabeth the First L Robert Devereux, Earl of

Essex L Sir Robert Cecil L Sir Walter Raleigh F Frances, Count of Essex F Charles Blount, Lord Mountjoy F Penelope. Lady Rich, sister

of Essex S Henry Cuffe S A Lady in Waiting S A Blind Ballad Singer S The Spirit of the Masque B The Recorder of NoJWich

B A Housewife B The Master of Ceremonies B The City Crier CB Lord Mountjoy's Page CB The Earl of Essex's Page 48 Minimum Chorus and Boy's

Chorus

(GOI~~~::~_li_pperS;{bh~:~~:Yi~-~~)'_.:: -:- -- Ichal~oVS_Icy'_:7 ,-~-< -- -

Language: Russian

L Vakula L Oxana L The Devil F Tschub F Mezzo S Schoolmaster S Village Mayor 8 Majordomo 8 Faun CB Old Cossack CB Two Cossacks 24 Minimum Chorus

ifiR~~QfJ~x~--;_~~uuwa:tt-

Language: English

L Gianetta L Tessa L Marco L Giuseppe L Duke L Duchess L Casilda L Luiz L Grand Inquisitor S Faimetta S Inez B Vittoria B Giulia B Antonio B Francesco B Giorgio 16 Minimum Chorus

~GOtt~~d5!nmerun~>(,r_V;jUi9htOf/the_, __ ., - - ,-~_Gott_~>-'--~-w~gfi~t:--- - - -- -- -

Language: German

L Siegfried L Gunther L Hagen L Brunnhilde F Waltraute F Three Noms F Gutrune S Woglinde S Wellgunde S Flosshilde S Alberick B TwoVallals 18 Minimum Chorus (Men Only)

Language: Italian

L Francisco Goya L Dutchess of Alba (Donna

Cayetana) F Maria Luisa, Queen of Spain F Charles IV King of Spain F Martin Zapater (the writer

Moratin) F Manuel Godoy, the Prime

Minister S Tavern Singer

S Leocadia B A Maid, to the Dutchess B Thelnnkeeper B Major-Domo Mute Child -A Black Boy

(adopted by the Dutchess) Mute The French Ambassador Mute Two Ladies-In-Waiting (to the

Dutchess) Mute Don Basilio 24 Minimum Chorus

f_~QYii~as;_t:GJrolfcfOS-Language: Spanish

L Rosario, a highborn young lady

L Fernando, a young officer, her lover

F Paquiro, a toreador F Pepa, a young girl, Paquiro's

sweetheart B A solo voice 32 Minimum Chorus

\-<i!~~-~e:t~_ucties~e_;,de'Oer.OI_Stei_tl;-: :--· <-:~~:_-~;Offe~pactt-

Language: French

L La Grande Duchess L Fritz F Prince Paul F Baron Puck L General Bourn F Wanda S Baron Grog S Nepomuc B lza, Amelie, Olga, Charlotte,

Ladies~ln-Waiting to the Duchesse

24 Minimum Chorus

Language: English

L Daisy Buchanan L Gatsby L Jordan Baker L Nick Carraway F Myrtle Wilson F T opm Buchanan S George Wilson S Meyer Wolfsheim S Henry Gatz S Radio/Band Singer B Minister B Tanger Singer 40 Minimum Chorus (20 Men /20

Women)

'~~'~-~J!C!I~ '-q~~~~§:e~t~r-:-;_o-:~~,;---

Language: French

L Griselidis L Devil L Alain L Marquis F Fiama (Fiamina) S Bertrade S Prior S Gonbeaud S 12 Year old Boy Lays (Marquis' son) 32 Minimum Chorus


tGHaJahY/!F_±<GOJTI~~~: ~ Language: Italian

L Don Antonio de Mariz, elderly Portuguese nobleman

L Cecilia, his daughter L Perry, chief of the Guarani

tribe L Gonzales, Spanish

adventurer, guest of Don Antonio

F 11 Cacico, chief of the Aimore tribe

S Don Alvaro, a Portuguese adventurer

S Ruy-Bento, Spanish adventurer, guest of Don Antonio

S Alonso, Spanish adventurer, guest of Don Antonio

B Pedro, Don Antonio's man-atarms

32 Minimum Chorus

:-Gu_i_u~um~ Teu :_(~Iil;iim::J:~m ~--, --'"'8-Q}sSinL '- --,,-

Language: French

L Guillaume Tell L Mathilde L Arnold F Hedwige F Jemmy F Rudolph (Rodolfo) S Gessler S Melcthal S Walter Furst (Gualtier Farsi) S Ruedi (Pescatore-Fisherman) S Leuthold (Leutoldo) CB A Hunter Mute3 Brides & 3 Bridegrooms Mute3 Old Men 48 Minimum Chorus

~Ha,lls~~~ ~na~G!~t~i~::HH_lnP:~fat!ll:k-- " Language: German

L Hansel L Gretel L Witch F Peter (The Father) F Gertrude (The Mother) S Sandman S Dew Fairy 10 Minimum Chorus (and

Children's Chorus)

¥tl~mret :;;;_~m~Mws~'ThC?m~~, ---Language: Spanish

L Hamlet L Claudis L Ophelia L Gertrude F Leartes S Horatio S Polonius S Marcellus B Ghost B Two Gravediggers 24 Minimum Chorus

ff,I'a'TY~)J,_MIJK-~:sww??d':'i!J~l~Ce; ~ Language: English

L Harvey Milk

L Dan White/ Man in TrenchcoaU Cop#1

(

L Scott Smith! Man at the Opera (Scott)! Closet Lover! Craig! (in park - Scott)

L George Mosconef Man at the Opera (Horst)! Married Man (in ParkHorst}

HorsU Teamster/ Concentration Camp Inmate (Horst).

L Henry Wong! Man at the Opera (Wong)/Cioset Lover Joe/ a Man (in concentration camp)

L Messenger/ Man at the Opera (Mintz)/ Fat Man (in park -Mintz)/ Mintz! Empress/ Another Man (in concentration camp)/ Drum Major

S Diane Feinstein/ Beard/ Hooker

S Mama S Anne Kronenberg/ Dyke S Medora/ Young Girl (in

concentration camp)

S Quentin Kopp/ Closet Lover Jack/ Arrival #3 - Stonewall Girl/ Mailman

8 Young Harvey/ Arrival #6/ Handicapped Son {Young Boy)

B Carol Ruth Silver/ Arrival #1 B Ella Hill Hutch (African

American)/ Old Lady #1. 8 Robert Gonzales (Hispanic)/

Arrival #5- Stonewall Girl B Robert Pelosi/ Bald Man (in

park)/ Arrival #4 - Stonewall Girl

B John Molinari/ Cop (not the same as Cop #1 )/Arrival #2 -Stonewall Girl! Blue Collar Man

8 Lee Dolson/ Cleveland/ Stonewall Girl

B Gordon Lau (Asian) 32 Minimum Chorus

;Hefr?i:'fiAiP·-ttf~:;GJ~tiiO.I!IlJ<~i,~"M~flPW~ Language: English

L Dr. Stone L Madame Uterpova L Emily F Tony (Bus Driver) F Turtlespit F Newkirk F Timothy S Dr. Lavendar Gas Children's Chorus

if19!Pct!~de ·n~~~~eb~t~ · Language: French

L Salome L Herodiade L Jean (John the Baptist) L Herode L Phanuel S Vitellius S Un Grand Pretre B Une Jeune Babylonienne

CB Une Voix (a Voice) 40 Minimum Chorus

~~~Be\ir~~~§P~'b:DJ~-:>~~ver,~- · -"~

Language: French

L Concepcion L Ramiro F Gonzalve F Don Inigo S T orquemade No Chorus

iH_'ijf( oflR&piJa~~~iii/Lit_-_~;panier_o:-:·'-" · --.Catan - · ----

Language: Spanish

L Rappaccini L Giovanni L Beatriz F Isabella F Baglioni B 3 Voices No Chorus

~H_~-g~_-:t~e:or_OVer?Vci_UQb~ti :· · , '-"Wi_matns·:---:~ -

Language: English

L Mary L Aunt Jane L Hugh the Drove F The Constable F John the Butcher S AShowman B The Turnkey B A Ballad-seller B A Sergeant CB A Cheap Jack CB A Fool CB A Shell-fish Seller CB An Innkeeper CB A Primrose-seller CB Susan CB Nancy CB William CB Robert 36 Minimum Chorus

iidorrt~oe~~:M~art~-::---~

Language: Italian

L ldomeneo L ldamante L Elektra L Ilia S Arbace S High Priest S Voice of Oracle 24 Minimum Chorus

i!.iQPi~~~fi({,;::th,:~,:_::M,C?~ii:L-

Language: German

L Mme. Herz L Mlle. Silberklang F Impresario B Bock No Chorus

11riCOron-aZI_Ohe\D_.i'--~Opp~a;-~L'JThe. - ,_'COr_onation'.of,_f!.opp~a)·:<--

:-'MOnt~;;e~dl - ·

Language: Italian

L Poppea L Nero F Drusilla F Octavia


(

F Ottone s Amolta S Lady in Waiting B Two Soldiers B Seneca 15 Minimum Chorus

Language: German

L Christine (Die Frau) L Robert Storch {Der Mann) F Anna F Baron Lummer S Notary S Kapellmeister Stroh S Commercial Councillor S Justizrat S Kammersanger 8 Therese (speaking role} B Notary's Wife No Chorus

'i41~!l)~t<YOiiriJ~J-~~1~1:i~J~9_V§icy ,, """ Language: Russian

L King Rene of Provence L Count Vaudemont L !olanta L Robert, Duke of Burgundy F Ebn-Hakia, Moorish Doctor S Almerik S Bertrand S Martha (Marta) S Brigitte S Laura 32 Minimum Chorus

?iOI.!J.ilff!~_-_;:.sUlUV~!i}X-'" ·:"_ E Language: English

L Lord Chancellor L Private Willis L Queen of Fairies L Phyllis F Earl of Mountararat F Strephon F Iolanthe S Earl T ololler S Celia S Leila S Fleta B Dragon Fly B Butterfly B Bee (Ballet Dancer) 18 Minimum Chorus

f_i,;hig_e~i~·:En_ 'Ai.il_ide:"(i_P,~i9_~-n1_~{iri ::- :.'--, ::·-Atd_is}_·~.Giuc_k_:; ~,- -

Language: Italian

L Agamemnon, King of Mycenae

L Clytemnestra, his wife L lphigenie, their daughter L Achilles, a Greek hero F Calchas, the High Priest S Patroclus, a Warrior S Areas, Agamemnon's

Messenger S Artemis (Diana- Goddess) B Une Grecque B Un Grecque CB 1st Grecque CB 2nd Grecque CB 3rd Grecque CB OneWoman

CB One Slave 24 Minimum Chorus

iJP_i:l19~hif}:~,f:T~~dd9~1:(;tiiCf' Language: French

L lphigenie L Orestes S Plyades S Thoas B Diane B Greek Maiden B Scythian B High Priest B First Priestess B Second Priestess 18 Minimum Chorus

i_ltElliS_na;trl~~~ser!;'.L';_(Ttl'e_'JtC)Ii<iffGiri_ - \illfA!gier~) ::,-Rossini- - - -

Language: Italian

L Isabella L Lindoro L Mustafa L Taddeo F Elvira F Zulma F Haly 18 Minimum Chorus

~Ji:tkdb~l~lter._:DieiJJiic_Ob~~;L8dder>:-:: - - :~Arl}ol_g:S:&hoenbE!t9 -_:/ -- -

Language: German

L Die Seele {The Soul) L Gabriel F Der Sterbende (Dying One) S Der Mtinch (The Monk) S Ein AufrGhruscher (A

Protester) S Ein Berufener (He Who Is

Called) S Der Auserwf:ihlte (The Chosen

One) S Ein Ringender (He Who

Struggles) 40 Minimum Chorus

;~~lNf~-~_;;;,~i!rJ.a-c·ek\- > Language: Czech

L Jenufa L Laca L Kostelnicka {Step-mother) F Steva S Old Grandmother S Mayor S Mayor's Wife S Karolka S Old Shepherdess B Barena B Jano CB Aunt 24 Minimum Chorus

_iaO,rlg_l_~~-r;Pe.-_Notre;o-am:e;_:~~J~h~-:_-;-- - >;._:.fl!ggler:of_(;JUr.-Lc_tdy)::.- -

_:-: /MasSenet';';_, - - ::>;_:_'>:- ~

Language: French

L Jean L Boniface F Prior S Poet Monk S Painter Monk S Musician Monk S Sculptor Monk

B TwoAngels CB Crier Monk CB AWag CB A Knight CB A Tipsy Man CB A Voice 18 Minimum Chorus (and

Children's Chorus)

';ft11~~ibocl1f~!~vy· .•. , .. , 7 •.•• '"''

Language: French

L Rachel L Eudoxie L Eleazar L Brogny L Leopold F Ruggero S Herald B Albert B Majordomo 24 Minimum Chorus

)J-W!lfl~~~cs~r:~ _ _:f#(ri~el Language: Italian

L Julius Caesar L Cleopatra L Sesto Pompeo (Sextus) L Cornelia F T olomeo (Ptolemy) F Achilla S Curio S Nireno (Nirenus) 24 Minimum Chorus

;JuillP_.iilQ~_F_rog-;of:~~~avera·s::_" __ ,:-, - -Cou_n_ty_;;rhe_:~;fos_s:T'<-

Language: English L Smiley L Stranger F Lulu F Uncle Harry S Guitar Player S Two Crapshooters No Chorus

iKaJYoi:K<;i:QclfiOy~_-f:J~il:aP~K~::_ ~ :: Language: Czech

L Katya L Boris F Dichol F Tichon F Barbara F Vanya F Kabanicha S Kuligin S Glascha 24 Minimum Chorus

H<h9Va1i~®fi.lJJ~:~~M:li~SPfY1iW: ---Language: Russian

L Prince Ivan Khovansky L Prince Vassily Galitzin L Dossifej {Dositheus) L Marfa (Martha) F Prince Andrej Khovansky F The Boyar Shaklovity F Emma S A Scrivener (Public Jetter

writer) S Susanna S Kouzka S A Lutheran Pastor B Varsonofiev


B 1st & 2nd Musketeers (Streltsy)

B A Young Streshniev (Boyar, Herald)

Mute2 Body Guards of Peter the Great, {Petrovsky & Poteshny)

Mute3rd Musketeer (Streltsy) 40 Minimum Chorus

i(<OBhQaS~~-::~~.iJHS"'c-:1:' -::->' ~ -Language: English

L Koanga, African Prince, Voodoo priest, slave

L Palmyra, a Mulatto F Don Jose Martinez, owner of

the plantation F Simon Perez, the Foreman S Clotilda, Don Jose's wife S Uncle Joe, an old servant S Rangwan, Voodoo priest 8 Planters' Daughters: F Renee B Helene B Jeanne B Marie B Aurore B Hortense B Olive B Paulette B Negro I B Negro II CB Male Quartet 20 Minimum Chorus

:~a-~Y;~a~betfl~_o(Mts;~~'Sk~-~-te~i,"-~( - _:,_lsrfl~j_fQY~--77~hQsta~qyj_cti_~'::-:

Language: Russian

L Boris Timofeyevich lsmailov L Katerina Lvovna lsmailova L Sergey F Zinovy Borisovich lsmailov F A Shabby Peasant (Seedy

Lout) F Chief of Police (Police-

Sergeant) F Sonyetka F An Old Convict S Aksinya S A Woman Convict S A Priest B Steward (Shopman) B Porter B A Teacher {a Nihilist) B Policeman B Millhand B 2nd Foreman 8 3rd Foreman B Sentry B Officer {Sergeant) CB 1st Foreman CB Coachman CB A Drunken Guest 40 Minimum Chorus

Language: French

L Lakme L Gerald L Nilakanta F Frederic S Mallika S Hadji

S Rose S Ellen S Mrs. Benson CB A Thief CB A Chinese CB A Fortune Teller 24 Minimum Chorus

(

llifi!ttt:.;-:pe~gra~tJ:jj@Jtelf' • ,- :.i~-- ,. Language: English

L Lilith L Eve F Daughter F Son S Seer/Guardian 20 Minimum Chorus

t~iftll~N1!fhl'~-i!~&i=·A\j:S~:CI.h~ejffi~ Language: English

L Desiree Armfeldt L Fredrik Egerman L Count Cari-Magnus Malcolm L Charlotte Malcolm F Madame Armfeldt F Anne Egerman F Henrik Egerman F Petra S Frederika S Frid S The Quintet Mute Bit Malia Mute Bit Bertrand Mute Bit Osa

iJ.ti'1:t!~}l~O.i1i~~i:.:-M8ik:~~i!_hiQ;:· Language: English

L Jo L Laurie L Meg L Beth L Amy F John Brooke F Aunt Cecilia F Friedrich Bhaer S Alma March S Gideon March I Mr.

Dashwood S Gideon March S Mr. Dashwood Quartet of Female Voices No Chorus

(~~~~~-'-$J)J[~if4~-;-j)3iei50tf':'

Language: English

L Andrew Borden L Abigail Borden L Elizabeth Andrew Borden F Margret Borden F Captain Jason MacFarlane S Reverend Harrington

lfJ:h)!~ljQfih./:'4i8Jiife}.: Language: German

L Elsa L Ortrud L Lohengrin L Telramund L King Henry F The Herald CB Four Knights 32 Minimum Chorus

~1iO_~t>,llrdl:fAIIBtPrli1JiipfHci~a~-~~:!E~_:·;_ :. - -----s:;G_i_us_e.p_pe_Ner~_i , ·

Language: Italian

L Arvino L Pagano L Giselda L Oronte F Viclinda F Pirro F Sofia S Acciano B Prior of Milan 40 Minimum Chorus

;!fQ't;i1S~h-:Gl;_¢ti~IP_:efl_t(~:f?t - -~~,

Language: French

L Louise L Julien, a young artist F Her Mother F Louise's Father S Irma S A Night-Prowler S A Ragman S A Junkman S The King of Fouls B Camille B Gertrude B Blanche B Suzanne B Marguerite B Madeleine B A Forewoman B An Old Bohemian B A Song Writer B A Painter B A Young Poet 8 A Student B 1st & 2nd Policemen 8 A Sculptor 8 An Old Clothes Man CB An Errand Girl CB Elise CB A Street-Sweeper CB A Young Rag-Picker CB A Milk Woman CB A Newspaper Girl CB A Coal-Gatherer CB A Street Arab CB Two Philosophers CB An Apprentice 36 Minimum Chorus

:i:iQ,s§,Pli;·~~P:-~:_CilrY_·:JP:~h~fi~:hkllflt-Language: English

L Anne Morrow Lindbergh L Charles Lindbergh F Anna Hauptmann F Bruno Hauptmann S Ensemble I ~ Elizabeth

Morrow/Reporter S Ensemble 11 - Charleston

Singer I Reporter S Ensemble Ill - Charleston

Singer I Reporter S Ensemble IV - Charleston

Singer I Reporter S Ensemble V -1st Immigrant/

Priest I Reporter S Ensemble VI - 3rd Immigrant I

Reporter/ Policeman S Ensemble VII -Customs

Officer 1 Reporter

2007 ~201 0 Opera Agreement 1 Page 50

(

S Ensemble VIII- 2nd Immigrant I Minister I Reporter I Colonel Norman Schwarzkopf

Mute Bit Charles Lindbergh, 10 years old

Mute Bit Mrs. Morrow, Anne's Mother

Mute Bit Edward Reilly, Defense lawyer

No Chorus

i{;f!~~~ r~r;,iff1ie~':c;>:r~ngest~iPa>¥®~ff Language: Russian

L King of Clues L The Prince L Trufaldino F Fata Morgana F Leandre F Tschelio F Ninetta F Cook Creonte S Pantaloon S Princess Clarissa S Smeraldine B Farfarello B Herald B Linetta B Nicoletta 36 Minimum Chorus

~-~l!Cia_:~!:E~JVW,~I-ffi9:Qf~J:[Qf1f~eJtl' :'f Language: Italian

L Lucia L Edgardo L Enrico F Raimondo S Arturo S Normanna B Alisa 18 Minimum Chorus

~~~~~}(a;~;qrJJr~-;;_:P<LOI~e.ttr J··-Language: Italian

L Lucrezia Borgia L Gennaro L Maffia Orsini L Duca di Ferrara (Don Alfonso) S Rustighello B Liverotto B Vitellozzo 8 Gazella B Astolfo B Petrucci CB Usciere 18 Minimum Chorus

lLMi;;a·~MH!~J]·,yet~J--

Language: Italian

L Luisa L Rodolfo L Miller L Count Walter F Wurm F Frederica S Laura CB Peasant 32 Minimum Chorus

l.:.~l!f-_~- $~f~(

Language: German

L Lulu L Gratin Geschwitz

L Dr. Schon L Alwa L An Animal Tamer I Rodrig F A Wardrobe Mistress I A

Schoolboy F The Painter F Schigolch S The Prince S The Theatre Director B The Doctor (speaking role) No Chorus

tM¥ta_m;~_i_M~~-~:'~[jg_~t:S_tl:~ti9 _ Language: English

L Jiang Ching I (Mme. Mao) L Jiang China II (Mme. Mao in

her 20s) (also plays Nora and Mu Guiying)

L MaoZedong F Zhizhen (also sings Actress

and Yang Paifeng) F The Actor (also Heimer and

Victim #3 and Emperor Gao S The Accusers (also sing The

Committee and The Victims) (An Actress plays Victim 3) and Another Man: Victims/Another Man/Committee/Accusers

S Soprano S Soprano S Tenor S Tenor S Baritone S Baritone S Bass S Bass 32 Minimum Chorus

iM~c;:~etn;:hY~er~~F-Language: Italian

L Macbeth L Lady Macbeth F Banquo F Macduff S Malcolm S Lady-in-Waiting S Doctor CB Duncan CB Macbeth's Servant CB Assassin CB Herald 24 Minimum Chorus

:M~Jt~a ,~yft~ifiY.t::P~(,:t;iifL--'--Language: Italian

L Cho-Cho-San (Butterfly) L Pinkerton F Suzuki F Sharpless F Goro S Yamadori S The Bonze S Imperial Commissioner B Kate Pinkerton CB Registrar 15 Minimum Chorus (No Basses)

~M_ah~gOnfJY:(Th~:RiS_e;_ah-~_, __ f3_1{,()f -- - -·:th_e~_:City_ ()(Mah~Qonny} ~--' ·

"Weill' · >c · ·. Language: German

L Jenny

L Jim L Mrs. Begbick F Moses F Bill F Joe F Jake F Fatty B Toby 18 Minimum Chorus

;_~ai~:~(O_HeanS'i:--:rhe~'(C>r,l~8ri_Sk_~:Ya:: · · · · tlyev~J -:}r-cll_ai_ko_v~ky _- ·

Language: Russian

L Joan of Arc (the Maid) F Charles VII, King of France F Agnes Sorel, his Mistress F Thibaut, Joan's Father F Dunois, a French Soldier F Lionel, a Burgundian Soldier F The Archbishop {the Cardinal) S Raymond, a young man in

love with Joan S Bertrand, an old peasant B A Soldier (Voyn) B Lore, a wounded soldier CB An Angel voice 48 Minimum Chorus

;Mak_rQpiilo~:)!~ffalr_,,_Th_~tV~§-_ /_ · , - >"~a_!tr_Qpu}osr.,·Jan_ac:;:_e_k----

Language: Czech

L Emilia Marty L Albert Gregor L Jaroslav Prus F Dr. Kolenaty S Solicitator Vitek S Kristina S Count Hauk-Sendorf 8 Janek 8 A Stage Hand (Strojnik- a

Mechanic) 8 A Stage Dresser {Poklizecka) B Chamber-Maid (Komorna) B Another Chamber~Maid

(Siuzebna) 12 Minimum Chorus

rM_a_m4ile_s_:dfi:f:IYeS-i8~-;H1_~S)'f::r~~CJ.s-_ ·:-e_oUh:mc.: ·

Language: French

L Therese I Fortune Teller L Her Husband L Le Gendarme F Director S Presto S Lacouf S The Parisian Journalist S The Son 8 Newspaper Woman CB An elegant Woman CB A Large Woman C8 A Bearded Man CB Baritone Solo 24 Minimum Chorus

~M?'®Jt:-}:f~iJ~~$e~!f~f:,;': -:-Language: French

L Manon L Des Grieux L Lescaut F Comte Des Grieux F Bretigny F Gillot de Morfontaine


S Javotte S Poussette S Rosette S Innkeeper CB Two Soldiers CB Sergeant CB Archer CB Servant 24 Minimum Chorus

if:-l~r(ohJ_q~~E!~l-~:Rifcp!fliL, Language: Italian

L Lescaut L Manon L Des Grieux F Geronte de Ravoir S Edmonda S A Singer S Dancing Master S Lamplighter B Innkeeper B Sergeant B Captain CB Sergeant 24 Minimum Chorus

;Mi!R~~$.ttf~li:!~,~-;Ro~nl~~lfi _-Language: Italian

L Maria Stuarda L Elisabetta L Talbot L Leicester S Anna S Cecil B Court Herald 18 Minimum Chorus

tM3JQ:Ql-bE(~Qtfjj'~~;;ifli~~~p~ : :_-_:-"·-, .. Language: French

L Sergeant Thibault L Margot La Rouge F L'Artiste F Lili Seguin S Le Poigne S Nini S First Soldier S Second Soldier B 1st Drinker, 2nd Drinker, &

3rd Drinker B Le Garcon B Le Brigadier B La Patronne B 1st Woman, 2nd Woman &

3rd Woman No Chorus

iM@bh~-;_,VQltf~OtO.\.f;::-Language: German

L Lionel L Plunkett L Lady Harriet L Nancy F Lord Tristram S Sheriff of Richmond CB Three Farm Girls CB A Farmer CB Three Flunkeys 24 Minimum Chorus

!rVjary_,-:QU'e_e __ n,,:~t -_s:c_Qt!i_-: .. ~Thea:::-~~-, ',_MU~gr~-~1.'!:::~~:~- - -- ,. -.

English: English

L Mary, Queen of Scots

L James Stuart L Earl of Bothwell L Lord Darnley F David Ricco (w/ Cardinal

Beaton= L) F Cardinal Beaton (w/ David

Ricco= L) F Lord Gordon S Earl of Morton S Earl of Ruthven S Mary Seton S Three Marys CB Solo Lord CB Solo Lord CB Two Crowd Lines

tM~:tftif.ri~iJ\Iiafi[ef~)HLOlii~JP!tX._ >,' -Language: German

L Mathis L Albrecht L Ursula L Regina S Lorenz von Pommersfelden S Wolfgang Capito S Truchsess von Waldburg S Sylvester von Schaumberg

S Gratin von Helfenstein B Riedinger B Hans Schwalb B Pfeifer des Frafen MuteGrar von Helfenstein 32 Minimum Chorus

'Ni3b'iili_OrliO;~e,Qr~to~~ii~fthe~s~cret - -- .'-:~Brriage:)_"::_Cirna_rosa_\:-

Language: Italian

L Carolina L Count Robinson L Elisetta L Fidalam L Paolino L Geronimo No Chorus

i.Mc!Z~P'fi~}1~ha)_lt_Q\rSI_('Y:j-:c>

Language: Russian

L Mazeppa, the Cossack Hetman

L Kochubey, a wealthy Cossack L Maria, his daughter F Andrei, a young Cossack F Orlik, Mazeppa's henchman F Liubov, Kochubey's wife S Iskra, Governor of Poltava

S A Drunken Cossack 40 Minimum Chorus

iMQteagvJ!:t,WH!i~_rQ_:_~p~-on{ · Language: English

L McTeagur L Maria Miranda Macapa L Marcus Shoulder L T rina Sieppe S Sheriff S Papa Seippe S Mama Sieppe S Lottery Agent/Health

Inspector S Dentist B Qwgooste B Waiter/Posse/Guest B Waiter/Posse/Guest B Waiter/Posse/Guest

B Watier/Posse/Guest B Posse/Guest B Posse/Guest B Posse/Guest B Posse/Guest B 2 Guests 8 Minimum Chorus

~M_~i[ia~:~:~fi~iUQJO!€: _: -"• ·.· .·. ·. ··. Language: Italian

L Medea L Giasone F Glauce F Creonte S Neris S Ancella B Guard 24 Minimum Chorus

\_M_g~l~ffii~IW\:~-MJ@lt!; Language: English

L Madame Flora (Baba) L Monica F Toby (mute) S Mrs. Gobineau S Mr. Gobineau S Mrs. Nolan No Chorus

Language: Italian

L Mefistofele L Faust L Margarita F Elena S Pantalis S Wagner S Nereus H Marta 36 Minimum Chorus (and

Children's Chorus)

;M~l~tti~{iifiQer~·:ttle'A":WcWn~~:r:'/ ... -· Language: German

L Eva L Magdalene L Hans Sachs L Beckmesser L Walter von Stolzing L David F Kothner S Vogelgesang S Zorn S Moser S Eisslinger S Nachtigal S Ortel S Foltz S Schwartz S Night Watchman 40 Minimum Chorus

;MefCtlciOt:iiO"Cf::th_e,~Pc~'UF)'eT-'4-PBUI --, · ·schO_enfiE!td · -

L Narrator/Rabbi L The Merchant L The Pauper F The Pauper's Wife F The Wicked GenrealfThe

Pirate F The Merchant's Son F Beauty, The Pauper's

Daughter


(

B Three Noblemen B Three Handmaidens B Three Suitors CB 4th Voice as Noble 24 Minimum Chorus

tMitiYWVld9.Y.i:;7'=4efi-~!~:,:;~ os. ~~ -,<,) :-:"

Language: German

L Danillo L Sonia (or Anna) F Popoff F Natalie F Camille de Jolidon F Nish S Cascada S St. Brioche S Khadja S Olga S Lola (Dancer) CB Head Waiter CB St. Brioche's Wife CB Khadjad's Wife 18 Minimum Chorus

~Mer()r~tJV_i\iE!s~:-Qf V'liildS(lt,"tt~e_:<D:Ie_ · ----::·,·;-::/--LU~tig~_ir-_VYeibef;VCJ_~~? · ·

·· ~ -';-NVJndaQ"6 :;;:~_ltiql8i},-: Language: German

L Mrs. Ford (Frau Fluth) L Falstaff L Ford (Fiuth) F Anna F Mrs. Page (Frau Reich) F Fenton S Page (Reich) S Caius S Slender (Sparlich) 18 Minimum Chorus

~MidSltmrne_r:Marr:l_a~e;._:ttre_::::M-~---. - --<-/IiPPett"' · ·

Language: English

L Mark L Jenifer L King Fisher F Bella F Jack F Sosostris F Strephon s The Ancients B Half-Tipsy Man B A Dancing Man CB A Man CB A Girl 40 Minimum Chorus

lMI"dsummer·~NiQht~s--ore_am-. -A:~~,:- · ·.-.:~rn:ten_;-: : '-"''·

Language: English

L Oberon L Tytania L Lysander L Demetrius L Hermia L Helena L Bottom L Flute F Theseus F Puck F Quince S Hippolyta S Snug S Snout

S Starling B Cobweb B Peachblossom B Mustardseed 8 Moth Children's Chorus

iM!9ix1frl Jftij:e;;roa_~- --< • -:o-~- :::_ ;::_-r Language: French

L Wilhelm Meister L Lothario L Mignon L Philine F Laertes F Frederic B Jarno CB Antonio 18 Minimum Chorus

iJVJ!ka'@; .-TJ!t~:_SY:U!-V@'_):~ :~,-:-Language:English

L Nanki-Poo L Ko-Ko L Yum-Yum L Katisha F The Mikado F Pooh-Bah S Pish-Tush S Pitti-Sing S Peep-Bo CB A Noble 20 Minimum Chorus

lMiss-::Haversham:s:Fire·--~~o_olriinitk · -_-_ ~-i !ArQeflt9:~k> c <-~{}---~, _-_ Language: English

L Aurelia Havisham F Estella Drummle F Phillip Pirrip (Pip) S as a young girl of 1846-48 S as a poor boy of 1846-48 S Bentley Drummle S Jaggers S The Coroner B Sarah Pocket B Camilla Pocket B Georgiana Pocket B Raymond Pocket 8 Grace-Helen Broome (Nanny) B as a young Woman of 1810 B First Man Guest (Raymond

Pocket) 8 First Maid CB First Woman Guest CB Second Woman Guest CB Third Woman Guest CB Second Man Guest CB Third Man Guest CB Pumblechook (Uncle to Pip) CB Orlick (Caretaker at Satis

House) MuteA Chambermaid 32 Minimum Chorus

'Miti-idate,)~e-~df-Pon~o;~,:w_::·A:·_-; ·cMozart_> ,.:.-, ..

Language: Italian

L Mitridate L Aspasia L Sifare F Farnace F lsmene s Marzio

S Arbate No Chorus

ifJ,jpif~!tfqfJ~fiO-QtJ~HF:Fpfft£6})~6~-Language: French

L Ernestine (Christine) L Chrysodule Babylas L M. Choufleuri S Petermann S Balandard S Mme. Balandard 20 Minimum Chorus

;M:9~e§.:tJH~--NP!!.~-:$_~_tic;\~rlti~Q:-:;::~ Language: German

L Moses L Aron, his brother F A Priest S Young Girl/Sop (I of 4 naked

V•rgins) S Young Man (Youth) S AMan S Six Solo Voices B Ephraimite B Another Man 8 Invalid Woman 8 2nd, 3rd, 4th Naked Virgin (1st Naked Virgin- see Young Girl) CB Three Elders CB A Naked Youth CB Solo Soprano CB Solo Tenor CB AMan CB Two Soldiers 60 Minimum Chorus

iMpftf.et- 9fitJ$<4U: t· -\(;:[h60iS}?lt -:~S ': Language: English

L Susan B. Anthony L Daniel Webster L Jo, the Loiterer L Constance Fletcher F John Adams F Anne F Gertrude Stein F Virgil Thomson F Indiana Elliot F Angel Moore F Gloster Hemming F Lillian Russell s Chris, the Citizen s Thaddeus Stevens s Anna Hope s Jenny Reefer s Ulysses S. Grant s Andrew Johnson s Anthony Comstock s Donald Gallup s Herman Atlan s Isabel Wentworth s Indiana Elliot's Brother B Henrietta M. B Henry B. 8 Negro Woman 8 Negro Man C8 A.A. & T.T. Postillions 24 Minimum Chorus

ftvrou-rning--,se~otries_;e,ectra._~'M;tl~, "'-;---:~ii:e~_:r_--~-:- -..._ -~-"-- ~~-:..-

Language: English

L Christine Mannon L Lavinia Mannon


L Adam Brant L Orin Mannon F General Ezra Mannon F HEllen Niles F Peter Niles S Jed 40 Minimum Chorus

Language: Italian

L Nabucco L lsmaele L Zaccaria L Abigaille F Fenena S High Priest S Anna S Abdalla 24 Minimum Chorus

;_f.f~~~·~ty:-Miil![$ffa,£~Vf¢t6J:flfr&~H- -:·---1

Language: English

L Marietta (the Contessa d'Aitena)

L Capta·ln Dick Warr"mgton F Etienne Grandet (alias Bras

Pique) F Silas Slick F Adah (a Quadroon slave girl) F Lieutenant-Governor Grandet F Lizette (a Casket Girl) S Rudolfo (An Italian buffo) S Sir Harry Blake (Irish

Adventurer) S Florenz (Secretary to the Lt.

Governor) Three Girls of New Orleans: 8 Fanchon B Nanette B Felice CB Nightwatchman CB First Flower Girl CB Second Flower-Girl CB Man Flower-Seller CB Sugar-Cane Seller CB Parakeet-Seller CB Fruit-Seller CB Italian Parrot-Seller CB First Man CB Second Man CB Third Man CB First Dice Player CB Second Dice Player CB First Card Player CB Second Card Player CB First Man CB Second Man CB Third Man CB Fourth Man CB AMan CB Three or Four Italian Men 40 Minimum Chorus

:H~VB}F~!~~~,-~~-,'~_)~~i&e'r!~t :·-: Language: French

L Anita, a girl of Navarre L Araquil, Sergeant in Biscayan

regiment L Garrido, General of the troops F Remigio, Araquil's Father S Bustamente, Sergeant in the

regiment

S Ramon, Captain in the regiment

B A Soldier 24 Minimum Chorus

}NlX9[1JJf:¢fiJii~"-~JAH~N!iTf'>' Language: English

L Richard Nixon L Pat Nixon L Mao Tse-Tung L Chou En-Lai

(

L Chiang Ch'ing (Madame Mao) L Henry Kissinger S Mao's 1st Secretary (Nancy

Tang) S Mao's 2nd Secretary S Mao's 3rd Secretary S Wu Ching-Hua (Female solo

dancer} S Hung Ch'Anf-ch'ing (Male

solo dancer) 24 Minimum Chorus

rN_Q£Qil(i:~jJ1iOJ": ': -- -S Language: Italian

L Norma L Adalgisa L Pollione L Oroveso S Clotilda B Flavia 24 Minimum Chorus

!~9X~_~;s: ~-fuC!~Cfe-_ ~;~,~:9J~m:v·L~-rHtey.·_-t:~

Language: English

L Voice of God L Noye L Mrs. Noye Noye's Sons: S Sem S Ham S Jaffett Their Wives: S Mrs. Sem S Mrs. Ham S Mrs. Jaffett B Mrs. Noye's Gossips (4) Children's Chorus

~NiiZzEi ,tli -Figaro,_·. ~-e-:(The··,Marr~ag~~> ->of'F,i_gar'?L•_,Mozarr -

Language: Italian

L Countess Almavila L Count Almaviva L Susanna L Figaro L Cherubino F Dr. Bartolo F Marcellina F Don Basilio S Don Curzio S Antonio S Barbarina CB Two Bridesmaids 12 Minimum Chorus

~operto.-cOnte.-oe's:aii-BonlfaCio ~ ' 2

'tGt,Jiseppe:,veJdV::-Language: Italian

L Cuniza L Riccardo L Oberto L Leonora

S Imelda 32 Minimum Chorus

:c>§tlfRijs_~:~~X~-:-s.tr:@v!.fj~fiY~~- ffli'l -s: Language: Latin

L Oedipus F Jocasta F Creon F Narrator S Tiresias S Shepherd S Messenger 16 Minimum Chorus (Men Only)

I~f:.MJ:~~;~D~:M~ri~~~±_rr[qy(f:_

Language: English

L George Milton L Lennie Small L Curley's Wife F Curley F Candy F Slim F Rosita S Carlson B Ballad Singer 8 Minimum Chorus (Men Only)

tb)(i~l:lQ!Q~: ~~itfJ~~i >-:~---

Language: English

L Curly L Laurie F AdoAnnie F Jud F Will Parker F 3 Solo Dancers {Curly, Laurie,

Jud) S Ali Hakim S Gertie Cummings S Aunt l::.ller 8 Andrew Carnes 18 Minimum Chorus

ibidtMS_.id_·a_Od:t~e.-Thi~f.~Tht{l_0 - - ~- :MenOtti -· --- -

Language: English

L Miss Todd L Laetitia F Bob F Miss Pinkerton No Chorus

;9_$_Pi:LB'::Fa'4iJB/tt:;M"9$'teY~f~Jt Language: Italian

L Orfeo F Messaggera (Messenger) F La Musica/La Speranza S La Musica S La Speranza S Euridice S Caronte (Charon) S Plutone (Pluto) S Proserpina s · La Ninfa (Nymph) S Appollo S 1st Shepherd (Appollo/1 st

Shepherd = F) S 2nd Shepherd S 3rd Shepherd S 2nd Shephardf2nd Spirit S 3rd Shephard/1st Spirit 8 4th Shepherd B 1st Spirit B 2nd Spirit


(

B Echo (L'eco) B 5th Shepherd B 3rd Spirit B Two Nymphs 24 Minimum Chorus

'QJ18~e-~.:~u_ridi~~+~Q_I~-~k: "'x'' Language: Italian

L Orfeo (Orpheus) F Euridice F Amor F Ombra Felice/Euridice S Ombra Felice (Blessed Spirit

of Euridice) 12 Minimum Chorus

;o:rt~illiiP'~~<G~: FEJfiffcteT~-;r> , -- _-,,-.- ·.' Language: Italian

L Orlando L Angelica L Dorinda F Medora F Zoroastro No Minimum Chorus

fpffu1rtQJ>;::t.~~:·ca.v.a!!J ,:~~

Language: Italian

L Ormindo, Prince ofT unis L Erisbe, Queen of Morocco &

Fez F Amida, Prince ofT amisene F Side, Princess of Susio F Erice, Nurse to Side F Mirinda F Ariadeno, King of Morocco &

Fez S Nerillo S Melinde S Osmano 16 Minimum Chorus

fOi'ph~UStittiihtf.U_t\Qeh_\I:Orfd - <:, c~ : .. _,I0f,phee-:aux'J;Otei_~):"',

- __ ,_:,_offen_bach-~ --:- · ,;2 -- -, ;t~~·

Language: French

L Eurydice L Pluto L Jupiter F Public Opinion F Orpheus F Cupid S Venus S Mars S Diana S Juno S Mercury S John Styx 8 Minerva B Three Secret Policemen 18 Minimum Chorus

'Pl~J[ii~ RQ!iffii.r!! :: ;c ' Language: Italian

L Otello L Desdemona L lago L Roderigo F Emilia S Elmira S Gondolier 24 Minimum Chorus

jpJE;iJ~: ~;_\(~r:Cij£-Language: Italian

L Otello L Desdemona L lago F Cassia F Emilia F Lodovico S Roderigo S Montano B Herald 36 Minimum Chorus

lfj~JJJf8:~~L-~l.~Q)'J~a\ftf0Q;'.-,:,~- ~

Language: Italian

L Canio L Nedda L Tanio F Silvio F Beppe CB First Peasant CB Second Peasant 24 Minimum Chorus

~F}~~}t~:t-~;;.~ij[r)_~_'}-

Language: German

L Amfortas L Gurnemanz L Parsifal L Kundry F Klingsor S Two Knights of the Grail S Four Esquires S AVoice S Six Flower Maidens 36 Minimum Chorus

i8i:ltt~HQP:~ ~i'4®I:9~±ltrtP~rjc:rg~n~:er Language: Italian

L Partenope L Rosmira L Arsace F Armindo F Emilio S Ormonte 16 Minimum Chorus

"PaSSkiil_>Ot,J 9n_attia-tf:W_a-~~-.:-~r~re:-~;;;- · #-: ~- .,car_usle_;FI_oyc;t·,-:: - -

Language: English

L Jonathan Wade L Celia Town send L Judge Gibbes Twonsend F Enoch Pratt F Lucas Wardlaw S Nicey S Lieutenant Patrick S Wounded Confererate Soldier S T. Tertius Riddle S Judge James Bell B 2 Carpetbaggers B Young Girl CB Sergeant Branch CB Man on Barrel CB Two Soldiers CB Rector CB 2 Black Senators CB 5 Friends of Lucas CB Black Driver 32 Minimum Chorus

iP8_ti"ence:·Of:'Bunth_Or_rter_S,'-B}jde __ --~::-:' >-Arthur,Sulliva_n :·,'

Language: English

L Patience L Reginald Bunthorne L Archibald Grosvenor F The Lady Jane F Colonel Caverley F The Lady Angela S The Lady Saphir S Lieutenant, The Duke of

Dunstable S Major Murgatroyd S The Lady Ella MuteMr. Bunthorne's Solicitor 24 Minimum Chorus

; ?~Jti ::ialJ~-9~-P.-~~-'-~Jlijfr! -_;: -,;_-Language: English

L Paul Bunyan L Tiny L Johnny lnkslinger L Hot Biscuit Slim F Narrator/Ballad Singer F Hel Helson S John Shears S Western Union Boy S Sam Sharkey S Ben Benney S Fido S Moppet S Poppet B Jen Jenson B Andy Anderson B Pete Peterson B Cross Crosshaulson B First Wild Goose B Second Wild Goose 8 Third Wild Goose 8 Quartet Of the Defeated Possible Combined Roles: F Fidoffhird Wild Goose F Moppet/First Wild Goose F Poppet/Second Wild Goose Chorus Roles: CB Four Young Trees CB Heron CB Moon CB Wind CB Beetle CB Squirrel CB Solo 1/Swedish Lumberjack CB Solo 2/French Lumberjack CB Solo 3/German Lumberjack CB First Crony CB Second Crony CB Third Crony CB Fourth Crony CB Tenor 1 CB Tenor 2 CB Baritone 24 Minimum Chorus

t_RtiCfietir~::oes;_Peri_e-~';_t;Fes;(~The?": --Pe_ari:FJsh_er~):7 __ ~~:z:~t: ~ Language: French

L Leila L Nadir L Zurga F Nourabad 24 Minimum Chorus

2007~2010 Opera Agreement] Page 55

~P~J!e~s_:gt:tf~~n~·iri~ti~ _(!Jl!~lis~y Language: French

L Pelleas L Melisande L Golaud L Arkel F Genevieve F Yniold S A Physician B A Shepherd 18 Minimum Chorus

;Jien~troi~]kEf_ t~-Qtt~Kii~~.:': _Y Language: French

L Don Andres L La Perichole L Paquillo L Don Pedro L Tarapot S Guadalena S Estrella S Virginella S Old Prisoner B First and Second Notary B Ninetta B Frasquinella B Brambilla 8 Manuelita 18 Minimum Chorus

~P-~t~l-~~1-tf!l~'S:ck~f~lf~h:-~~: :) i ~ Language: English

L Peter Grimes L Ellen Orford L Captain Balstrode F Auntie F Swallow S First Niece S Second Niece S Bob Boles S Mrs. Sedley S Reverend S Ned Keene S Hobson S Boy (acting role) 8 Dr. Thorp (mute) 40 Minimum Chorus

:!.?hnem~-n~:eti§-~1iCi.t:T~g:UHPJr Language: French

L Philemone L Baucis L Jupiter L Vulcan S A Shepherdess 24 Minimum Chorus

:·prri~fQr~;~:~D~oo;s;-JJ$1i!!!V~rt ,--Language: English

L Sir Joseph L Captain Corcoran L Ralph Rackstraw L Josephine F Little Buttercup F Dick Deadeye S Bill Bobstay 18 Minimum Chorus

'e_kl,~_~_:,~~rn'~;'(tHe.>~u~en':d(-_-_:,;~~<f· - _:::;'-'' ~Spa_(teSb_T~tlaJ~c)y$!{_y> ~

Language: Russian

L Lisa

L Herman L Countess L Tomsky L Pauline I Daphnis F Yeletsky F Pauline F Naramov I Plutus S T chekalinsky S Sourin S Governess S Chloe S Daphnis S Plutus B Tchaplitsky B Naramov B MajorDomo 8 Mary 32 Minimum Chorus (and

Children's Chorus)

Language: Italian

L Imogene L Gualtiero L Ernesto F Adele F ltulbo S Goffredo 24 Minimum Chorus

ffi\!f~tf~:Ofj~_e_t1?M~!!I_-_;fijEJ'~''5U1liYM-~

Language: English

L Major-General Stanley L The Pirate King L Frederic L Mabel L Ruth F Sergeant of Police S Samuel S Edith S Kate B Isabel 20 Minimum Chorus

;_ffds_tCajditi{ri,,~grg,_cc()_--t~Af9:ent9

Language: English

L A Lady with a "Cake Box" L A Lady with a Hand Mirror/An

Operetta Singer L A Lady with a "Hat Box~ I A

Foreign Singer

L Mr. Owen, Man with a Paint Box

L A Man with Old Luggage/First Puppet/An Operetta Singer

L A Man with a Shoe Sample Kit/Second Puppet

L A Man with "Cornet Case"/ A Puppet Maker

S 2 Entertainers B A Puppet Maker No Chorus

;~_o-Stman:Ai1fi_aYS :Rrn:~~- iWfc;e~:_The: - - --?P-ciulu~ - - - -

Language: English

L Frank Chambers L Cora F Nick Papadakis F Katz (Lawyer) S Sacket (District Attorney)

8 Cop (Jail} 8 Kennedy, Katz' Sidekick No Chorus

i FQiQY.~iiH~f' ;~Efss·-_f-'G_~TSti\V_f'f_;.~ f i' Language: English

L Porgy L Bess L Crown L Sporting Life F Clara F Jake F Serena S Robbins S Maria S Mingo B Detective 8 Maria 8 Frazer B Policeman B Undertaker B Annie B Nelson 8 Crabman B Strawberry Woman B Coroner B Police Sargeant B Solo bit parts 24 Minimum Chorus

;~r!t.:ce~Ig-gr 't':t\:o_r9:ct!Hr '- -,- -/ Language: Russian

L Igor Sviatoslavitch L Jaroslavna L Vladimir Jaroslavitch

(Galitzky} L Kontchakovna F Vladimir lgorevitch F Kontchak S Ovlour S Skoula S Erochka B Jaroslavna's Nurse B A Young Polovetsian Maiden

40 Minimum Chorus

fPP~rlta_P"i~---r.:sawnr -Language: Italian

L Elvira L Lord Arturo L Sir Giorgio L Sir Riccardo F Lord Gau]tiero S Sir Bruno S Enrichetta 24 Minimum Chorus

~-~U_<lt_ro_:~_u~teQ~i;:f-(The;_~-Q~_r:~ :-:_ ~ _,, ·~'-:'-_:"O_Rulfians) :':';W_ol~-F~r,rar!-___ _

Language: Italian

L Margarita L Felice L Lucieta L Lunardo L Marina L Simon F Cancian F Maurizio F Count Riccardo B Maid No Chorus


(

~auret:~-~ac_~/A~,(origln~t--Y_~'rSi.oflr_2--: >---Leon_ardil3erris . .e!rC · · -

Language: English

L Dede L Junior L Sam F Francois S Funeral Director S Bill S Susie S Analyst S Doc S Mrs. Doc CB Seven voices 24 Minimum Chorus

tQ~IetlPia_ce/A!,(R_eVfs!!d'Y-~fsiolij_-_· - - : -:.,;oleo!lard,'-Berns~ein :-t ~ ~ ·- -

Language: English

L Sam L Dede L Junior L Dinah L Young Sam F Francois S Funeral Director S Bill S Susie S Dinah's Analyst S Doc S Mrs. Doc S Jazz Trio CB Seven Voices 24 Minimum Chorus

:RadainiS-to·-:~;Ge~rQeifreaetiC'

-::3,:_~:HaQdel <:: .. t· Language: Italian

L Radamisto L Zenobia L Polissena F Tiridate F Fraarte F Tigrante S Farasmane No Chorus

;-R~k~:~~~f9~QJ;e,~~,',;''$ft~\1i_D_Sl{y::~.:·

Language: English

L Ann Truelove L Tom Rakewe\1 L Nick Shadow L BabatheTurk F Truelove F Mother Goose S Sellem S Keeper of Madhouse 18 Minimum Chorus

&R~A~-:C)t:L;-ugr~_t!~.'~JQ~_--.:-_~I~n\:~---

Language: English

L Male Chorus L Female Chorus L Lucretia F Collatinus F Junius F Tarquinius S Bianca s Lucia No Chorus

!R~9~ri~~'~$1_t~tei[L -Language: English

L Regina Giddens L Birdie Hubbard L Ben Hubbard F Horace Giddens F Alexandria Hubbard F Addie S Leo Hubbard s Cal S Jabez B William Marshall CB Manders CB Belle 18 Minimum Chorus

1Rhf¥!!ldQiM/:tf~~---;;l'!JifY11~'~--Language: German

L Wotan L Loge L Alberich L Mime L Fricka L Erda F Donner F Froh F Fasolt F Fafner F Freia S Woglinde s Welgunde s Flosshilde No Chorus

;Rra·ers'¥iH~e::sea:~\Va~g~-an',2 .-J:i··:--: -}-_;~ :,·'~-~Willii:irrtS-:-,_- _., >:-:::-'-

Language: English L Maurya F Cathleen F Nora S Bartley 8 AWoman 12 Minimum Chorus (Women Only)

Language: Italian L Duke of Mantua L Rigoletto L Gilda F Monterone F Sparafucile F Maddalena S Marullo S Borsa B Giovanna B Countess Ceprano B Count Ceprano B A Page 12 Minimum Chorus (Men Only)

'Rito·rno:rtUJ_isse:i~'P:_i(tri_ci;":~a>-:--_ · __ , >-\1\/i_Qn·t~Ye_rdl-: o:: ,_. ----:: __ __

Language: Italian

L Penelope L Ulisse (Ulysses) F Telemaco (Telemachus) F Minerva F Antinoo F Nettuno (Neptune) s Ericlea (Eurykleia) s Melanto (Melantus) S Eumete

S Eurimaco (Eurymachus) S Ira (lrus) S Pisandro (Peisander) S Anfinomo (Anphinomus) S L'umana Fragilita (Human

Frailty) S II Tempo (Time) S La Fortuna (Fortune) S Amore (love) S Glove (Jove) 8 Tenor Solo 8 Mercurio 8 Giunone (Juno) No Chorus

i_R.ob_eoo:_-o-evereux,·~::G~e_ta'!~~, ' -··ocirl_~ettj ;-;-->' - -

Language: Italian L Elisabetta L Sara L Roberto Devereux L Duke of Nottingham S Lord Cecil B Walter Raleigh CB A Page CB Nottingham's Servant 28 Minimum Chorus

iR9~~1i!i_'~~"-~:G~~t9~:-~ff.d~!!~,'flaiT_CfSJi Language: Italian

L Rodelin_da L Bertarido L Grimoaldo F Eduige F Unulfo F Garibaldo Mute Flavia No Chorus

: ftOPJ.f¥_Q,·eJ.JJ.tttett~;i_'t~~JiifQ'p_ : Language: French

L Romeo L Juliette L Mercutio F Friar Laurent F Capulet F Tybalt S Duke of Verona S Stephana B Gregorio 8 Gertrude B Benvolio B Paris 18 Minimum Chorus

iRo-ndiile;:Lci_{rhe~~w_auo~r~·_>:>-- -, ' -:, -<Pu-ccinr-------

Language: Italian L Lisette L Rambaldo L Magda L Ruggero L Prunier F Suzy F Yvette F Bianca S Gobin S Grebillon B Perichaud 8 Steward B Singer CB Chorus Bits 24 Minimum Chorus


tR~~@ ,ooa:rre ~'~r!Iflr-Language: English

L Rose-Marie LaFlamme L Jim Kenyon F Lady Jane F Sergeant Malone F Hard-boiled Herman F Edward Hawley F Wanda s Ethel Brander S Emile LaFlamme S Black Eagle 24 Minimum Chorus

:f{l:i~.~-n)a_Va1fefT;~~f5~$tF~tfS~.\ Language: German

L Marschallin L Ochs L Octavian L Sophie L Von Faninal F A Singer F Marianne F Valzacchi F Annina S Notary S Police Commissioner S Leopold (mute) S Majordomo of Faninal S Innkeeper S Negro Boy (mute) B Majordomo of Princess B Three Orphans B Milliner B Animal Vendor 8 Hair Dresser {mute) 18 Minimum Chorus

~Ro~·s,tgri·_o·l_i.jL~";(t~~w~j~,~,_i!)_~aJ_~J~~:-~-- :, ~ <-: ,'.--.Str:ayins)Sy -::: ·:i_-:--:-_:- :- - · ·

Language: French

L The Nightingale L The Fisherman F The Cook F The Chamberlain F The Bonze F The Emperor of China F Death 8 First Japanese Envoy B Second Japanese Envoy 8 Third Japanese Envoy 24 Minimum Chorus

~~~:C(i!lti9T~::{-$U(ii_V§n'}" ~ ·-1 Language: English

L Sir Ruthven Murgatroyd (Robin Oakapple)

L Rose Maybud L Richard Dauntless L Sir Despard Murgatroyd F Mad Margaret S Dame Hannah S Adam Goodheart S Sir Roderic Murgatroyd B Zorah 8 Ruppert 8 Jasper 8 Lionel 8 Conrad CB Ruth Mute Desmond MuteGilbert

(

Mute Mervin 32 Minimum Chorus

Language: Czech

L Rusalka L The Prince L The Spirit of the Lake

(Watergnome) F Jezibaba (The Witch) F The Foreign Princess S 1st Wood-Sprite S 2nd Wood-Sprite S 3rd Wood-Sprite S Gamekeeper (The Forester)

S Turnspit (The Kitchen Boy)

B Voice of a Huntsman (Hunter)

CB 3 Echos {off-stage)

24 Minimum Chorus

;s·ain(Franc·o·ifd_'Ai.Si~e-_~":OuVier'~ , '·Messiaen:"'-!- ·. - -- .

Language: French

L Francis L Angel F Leper S Leon s Massee S Bernard 8 Elie B Silvestre 8 Rufin 150 Minimum Chorus

i~S::ciiilfQf~Ie~kQJ'iStree~ ~The:·,~-:-' '"'-~:-'iM¢n_dttr ~,:~_~:--:::-;:j-: <""\'~:·-,,-. ·

Language: English

L Carmela L An nina L Michele F Assunta F Maria Corona F Desideria F Don Marco s Salvatore B Concettina B A Young Man B An Old Woman B Bartender B First Guest B Second Guest B A Nun B A Young Priest CB Chorus Bits 18 Minimum Chorus

i_s_~(Q~-·;:S!fiiti_S~f';

Language: German

L Salome L Herod L Herodias L Jokanaan F Marraboth F Page of Herodias F First Nazarene S Two Soldiers S Five Jews B ASlave B Cappadocian C8 Second Nazarene No Chorus

1~~11:!-SQQ-'~jrD_~tJt~~:S~lrit£5~~0_5~:

Language: French

L Samson L Dalila L High Priest of Dagon

F Old Hebrew S Abimelek 8 Philistine Messenger

B Philistines 24 Minimum Chorus

~SChW~iQSame;Fr:au;:--I:?ie;I:rhe_-:s,ite_nt~; ' · -,:·::-~-Wo!J1at1);.,;'~-:_;_SJr~l,l~-s,>- "" --~

Language: German

L Sir Morosus L The Barber (Schneidebart)

L Henry Morosus (Nephew of

Sir Morosus) L Aminta, his wife F lsotta F Carlotta S The Housekeeper, of Sir

Morosus S Morbio S Vanuzzi S Farfallo B A Parrot CB A Voice 32 Minimum Chorus

~Sti.~'Q\m.:.thJ"~ :T:.i~~:a~(eJ;t('..-- -,-Language: English

L Irina Arkadina L Constantine L Nina F Masha F Boris Triyorin S Sarin S Medvedenko S Dr. Darn S Shamrayeff B Pauline Mute Bit Yakov, a servant 16 Minimum Chorus

,~e-gret&_;ot_.sus·atlna:tttiffse_t_ret_,:dt:_,

-~- ·-.'::$~~8_n_ne}::,Wolf'"f:_err~rl :c'c"· /

Language: Italian

L Count Gil L Suzanne S Sante No Chorus

:~~m:et~·;;;;·a11Qct~J, <:'"' :···.··,.· '' Language: English

L Semele L Jupiter L Juno L Juno/Ina F Ina F Athamas F Somnus S Cadmus S Iris 8 Apollo B Chief Priest of Juno 20 Minimum Chorus

~serrnra_m_l#f~A'{~~-~lHL , . ----- -Language: Italian

L Semiramide L Arsace


(

L Assur L ldreno F Oroe S Azema S Mitrane S Ghost of Nino 32 Minimum Chorus

;s(~QJI-@!,~'-W;,i97l~f~:~~)

Language: German

L Siegfried L Mime L Wotan L Brunnhilde F Alberich F Fafner F Erda S Forest Bird No Chorus

r~rmon~_aQ!i9a~_gra:::v~r~L,:'--~-

Language: Italian

L Simon L Jacopo Fiesco L Amelia Grimaldi (Maria) L Gabrielle Adorno F Paolo S Pietro 8 Capitain B Angel d'Amelia 24 Minimum Chorus

_:-siy~;p;vvero~L~~<t;;_~99~f1aa"it)~-'--:-_ ~~-"--<~ ..:-~.Dorm_i_en,_te. '1RISv~_9._!1_at.P:.·.,:._; <;. _-_-; T:--i~~~t _:"oErmarino~V'I-Oif~~~rrid:i:_!: \;-: .. -

Language: Italian

L Sly L Dolly L l1 Conte de Westmorland

F L'Ostessa F Joan Plake S II Nobile Francese/11 Musico

S 1st Nobile/ un Mora S 2nd Nobile/ un Pellerossa

S 3rd Nobile I un Vecchio servo

S 4th Nobile! un Cinese S 5th Nobile I un Dettore S 6th Nobile I un Gran

Carimoniero S La 1st Ancella S La 2nd Ancella S La 3rd Ancella S Un Paggetto 8 Snare 8 II Giudice Campestre B Rosslina 8 Un Soldato B ll Garzone B 1st Servo B 2nd Servo B 3rd Servo B Un Beane Solo CB Un Vetturale CB 11 Cuoco CB 5 Voce lnterna CB Un altro Beane CB Au altro ancora Beane CB Un Beane solo C8 Un Tenore Solo (studente)

CB Un Tenore solo (core interne)

24 Minimum Chorus

tSoOil~iTibUia~_;-~a-:_(JJie-__ st~~p_Watke!-)_:-= -, ;~;Sei!i_ni --> - - -

Language: Italian

L Amina L Elvina L Rodolfo F Usa S Alessio S Teresa B Notary 18 Minimum Chorus

i_$:9:f¢~~};o;t!f~/$_Vn!V~Jl Language: English

L Sir Marmaduke L Alexis L John Wellington Wells L Aline F Constance F Doctor Daly S Lady Sangazure S Mrs. Partlett B Notary 24 Minimum Chorus

I$J!tteno::pv~raJ';, Language: Italian

L Stiffelio L Una L Stankar F Raffaele F Jorg S Dorothea S Federico 32 Minimum Chorus

~$.lf~l;-$Z._@rre,-_~:,~Htt~w~~r~:- "-Language:English

L Rose Maurrant L Sam Kaplan L Anna Maurrant L Frank Maurrant F Greta Fiorentino F Emma Jones F Harry Easter S Olga Olson S Carl Olsen S Henry Davis S Daniel Buchanan S Lippa Fiorentino S Mae Jones S Dick McGann B Jennie Hildebrand B Abraham Kaplan B George Jones B Willie Maurrant B Mrs. Hildebrand 8 Two Nursemaids CB Two Graduates CB Shirley Kaplan CB Steve Sankey CB Vincent Jones CB Dr. Wilson CB Officer Murphy CB City Marshall CB Fred Cullen 18 Minimum Chorus

:$J~~~-ht '_ettn~~-'?Ttitt;R~Jli:il:Q:rg~-: Language: German

L Dr. Engel L Prince Karl Franz

L Kathie F Lutz F Princess Margaret F Detlef F Von Asterberg F Lucas S Grand Duchess Anastasia S Von Mark S Gretchen S Ruder S Toni/Lackey IV S Captain Tamitz B Hubert B Countess Leyden B 4 Lackeys B 3 Girls B Nicholas B Captain of the Guard -

Grasby B Toni CB Freshman CB 4 Huzzars CB 4 Friends of the Huzzars CB 4 Sopranos (singing with

Gretchen) CB 4 Students CB 2 Secretaries 18 Minimum Chorus

;$4QfAfili'Q1Jp_a~-~-:~tre~Im ,o-

Language: Italian

L Suer Angelica L Princess S Abbess S Mistress of Novices B Alms Collector B Suor Genevieve B Suor Osmina 8 Suer Dolcina B Aspirant Sisters B Nursing Sister 18 Minimum Chorus (Women Only)

t~tlfrRIHEif}~d;:~~ill~_i{~}·gf~I~Y·-" Language: English

L Alma Winemiller L John Buchanon, Jr. F Reverend Winemiller F Mrs. Winemiller F NellyEwell S Alma, child S John, child S Dr. Buchanon S Rose Gonzales S Papa Gonzales S Mrs. Basset S Roger Doremus S Rosemary S Vernon S Archie Kramer No Chorus

t$il~-~rtrt~:~:n~JQya--t:-:- ,, Language: English

L Susannah Polk L Olin Blitch L Sam Polk F Little Bat McLean S Elder McLean S · Elder Gleaton S Elder Hayes S Elder Ott S Mrs. McLean


B Mrs. Hayes B Mrs. Olt B Mrs. Gleaton CB Two Men 18 Minimum Chorus

:S~eeney ~to:~d;"~r~efperru:it{8,8f!Jei- _-; ' · · · -_~!,_lil_e_~-~_:$~~~-h~:~tQph_~rF

.-Son!Jheim '> -~ Language: English

L Sweeney Todd L Mrs. Lovett F Anthony Hope F Johanna F Tobias Ragg F Judge Turpin F Beggar Woman S (Beggar Woman without Aria) S Pirelli S Beadle B Jonas Fogg CB Bird Keeper (w/Jonas Fogg=

B) 24 Minimum Chorus

tt@~HP/U,-,~:;P,~uJ~~tnL;;~ --Language: Italian

L Michele L Luigi L Giorgetta F II Tapa F La Frugola S II Tinea B A Song Vendor 8 Lovers 15 Minimum Chorus

8;ar~;ttlr;il.:£i~~t:ear:,,r;eu'~£I-Langua9e:

L Laura Gates L Tracy Gates F TheWoman F The Girl F The Soldier F Chorister 8 Minimum Chorus

'-tart~f~tt-! --~_,RQ-~¥tiJJ Language: Italian

L Arigirio L Tancredi L Amenaide F Orbazzano F lsaura F Roggiero 18 Minimum Chorus

:jS:rilfu{f§f;'th:~I.$hii_i&1~:;~1cirthfflfi,- .- -~ Language: English

L Katerina L Petruchio F Baptista F Bianca F Lucentio S Hortensia S Gremio S Vincentia S Trenio S Biodello S Grumio B Curtis 8 A Peasant B Tailor

No Chorus

Jt~:~_ntJ~ii-~lli:Wmitl~r;' Language: German

L Tannhauser L Wolfram L Elisabeth L Venus L Landgraf Hermann F Biterolf S Walter der Vogelweide S Reinmar S Heinrich der Schreiber

S A Shepherd CB Four Pages 24 Minimum Chorus

fti!~-P119rt1i~ :rn~:g;_oo~n9ffr-~ Language: English

L Lucy L Ben No Chorus

tr~JtipjS!>tHE;:;t-:m;ll?~ ~ Language: English

L Prospero L Miranda L Ariel L Caliban F Ferdinand F Gonzalo F Alonso S Trinculo S Stephana S Sebastian S Antonio S Iris S Cere!'> S Juno CB 6 Courtiers CB Soprano Solo 32 Minimum Chorus

~IeD_d~l-'Ltirld,-;,;1}~---~-~CPPt~lif

Language: English

L Ma Moss L Laurie L Top L Martin F Grandpa S Mr. Splinters S Mrs. Splinters S Beth, a child B Mrs. Jenks B Mr. Jenks CB Chorus Bits 8 Minimum Chorus

iifiBiS}M"~~iriet-:

Language: French

L Thais L Athanael F Nicias F Palemon S Albine S Crobyle S Myrtale S La Charmeuse B Slave B Five Solo Cenobites 24 Minimum Chorus

(

tT_h_~r~~(;-~~.;iss·eD~J::·:~

Language: French

L Therese L Armand de Clerval F Andre Thorel B Morel B An Officer B Another Officer B Municipal Official CB Voice of a Woman CB Voice of a Man CB Man's Voice CB Child's Voice 20 Minimum Chorus

;rllre'e~~~~y;ope-ra·;-:;)1~:-tQiff.;--,:-::-:;_::;<;: · -:"Qrt:J:i'gt:o~cl)ef19P~rr:...£w_em:.: ·_3

Language: German

L Die Spelunken Jenny

L Jonathan Jeremiah Peachum

L Mrs. Peachum L Polly Peachum L Meacheath F Anstufer (Narrator) S Brown Actors and Actresses: Lucy Filch Die Platte (The Gang) Hakenfingerjakob Munzmatthias T rauerweidenwalter Ede Sage robert Jimmy Huren (Whores) Smith Pastor Kimball 8 Minimum Chorus

\Tie~~ritlt{ThEl :LOWJBrid~) ~~-'E~:- -~-'-' -',; ,,D'AiberP ,

Language: German

L Sebastiana L Marta L Pedro F Tommaso F Moruccio F Nuri S Pepa S Antonia S Rosalia S Nando CB AVoice MutePriest 24 Minimum Chorus

q:Q~·c:c:(fR~.t~~thJ.:'_i_'-:.--

Language: Italian

L Floria Tasca L Mario Cavaradossi L Scarpia S Angeletti S Sacristan S Spoletto S Sciarrone B Shepherd Boy B Jailer 24 Minimum Chorus


(

~J~t~;st_~CW~Pi~\tJK()r:DQOJ(:k

Language: German

L Marie/Marietta L Paul F Fritz S Frank s Brigitta S Juliette S Lucienne S Gaston S Victorin S Count Albert (Graf)

~-;-..c

-c,-'3--- ~s

S Marie- Die Erscheinung Mariens 24 Minimum Chorus

f:rf~.n_s!grro-~'fQns -_~J:::~fifiitt)i!IS~ , , -~ Language: English

L Princess 1 L Anne Sexton/Witch II F Good Fairy Ill F Wizard IV F Magic Object V F Prince VI F King Vll F Neighboring King VIII No Chorus

Language: Italian

L Violetta L Alfredo L Giorgio Germont S Gastone S Baron Douphol S Dr. Grenvil S Flora B Marchese d'Obigny B Annina 18 Minimum Chorus

~trf§~--rr:wncr!!;O).ttif:~::\iYjQfi1f~2--: ;_ ,- --Language: German

L Tristan L King Mark L Isolde L Kurvenal L Brangaene S A Shepherd S A Sailor's Voice B Melot B Steersman 16 Minimum Chorus (Men Only)

ZTi-(mli~(Bmf:Ci-eS'_Sid--if:-;£WJiilarri>: -~ W~ttO_r!_; ~" -_ ----t L-

Language: English

L Troilus L Cressida L Pandarus F Calkas F Diomede S Antenor S Evadne S Horaste B A Priest B A Woman's Voice CB First Soldier CB Second Soldier CB Ladies-in-waiting CB Another Priest 60 Minimum Chorus

iTrO_U~Ie;_iO:'Jatiitl :;;;Le0n_3r(:l ·' ' _B~r:nst~in -- ·

Language: English L Dinah L Sam S Jazz Trio No Chorus

tfiiQYiitQ:~i'~!Ff:V~t~t ~' · Language: Italian

L De Luna L Leonora L Azucena L Manrico F Ferrando B Ruiz I Messanger 8 Inez CB Old Gypsy 18 Minimum Chorus

:_rroYerl_S~'t:es;c:rhe::t[~jarlSj :~--'-, ,c·.serliQz.; ' -

Language: French L Aeneas (Enee) L Dido L Cassandra (Cassadre) F Chorebus (Chorebe) F Anna F Narbal S The Shade of Hector I The

Ghost of Hector S Panthus (Panthee) S Ascanius (Ascagne) S lopas s Hylas S Helenus S King Priam I The Ghost of

Priam S Hecuba I The Ghost of

Cassandra B A Trojan Soldier B A Greek Captain Mime Andromaque (Pantomime) Mime Astyanax (Pantomime) B First Sentry (Soldier) B Second Sentry (Soldier) B The Ghost of Cassandra B The Ghost of Chorebus B The Ghost of Hector 8 The Ghost of Priam B The God Mercury CB Polyxene CB The High Priest of Pluto CB 2 Trojan Chiefs 60 Minimum Chorus

;fsar;s·:sri_de~·;_The;_(T~cirs~~i~ < -,,:.·---:.:;:Nevesta);'::·'Ri_msk:i~-," ,·-

. ·:::;~;,K:c;.rsaK9Y(, :::·:.->;:._-· __ ··~',:.,:

Language: Russian L Gregor Gregorjevitsch

Grjasnoy L Ljuba (Ljubasha) L Martha (Marfa) L Wassili Stepanovitsch

Sobakin L Boyar Ivan Sergeitsch Lykov F Damna lvanova Saburova F Jelissei Bomelius S Gregor Lukianovitsch Maljuta

Skuratov S Dunja

S Petrovna CB A House-Maid CB A Young Man CB A Servant 48 Minimum Chorus

'-t4fanil~1J-eY:&9I!ii Language: Italian

l Turandot L Calaf L Liu F Timur F Ping S Pang S Pong S Mandarin B Emperor Altoum B Two Ladies CB Prince of Persia 36 Minimum Chorus

~t~rantr~t!:-:ff i-~~:u:~9hf ,~.---Language: Italian

L The Emperor Altoum L Turandot L Calaf F Adelma F Barak F T ruffaldino S The Queen Mother of

Samarkand S Tartaglia S Pantalone B A Singer Mute The Executioner 36 Minimum Chorus (Includes 8

Doctors-4 Tenors & 4 Basses)

-TUrCC:dllEitaliil;,W(thi:hiUI'.k:in;ftaiY:) ~-, ', -_ - 'iR'o's'siriF;'' "· ·' '"- ,·,A'i]-'-":~ '' );;· · -·

Language: Italian L Fiorilla L Narciso L Poet L Selim L Geronio L Zaida S Albazar 18 Minimum Chorus

1J:M9E~Jih~''~ffe:W':_L~i;fr(H~D?''::~ Language: English

L Governess L Quint L Miles L Flora F Mrs. Gross F Miss Jesse! S Prologue S Steffens S Lecturer S MajorDomo No Chorus

\M~J1:~SSij·;77~~1JJ~f_' Language: English

L Vanessa L Erika L Anato! F The Old Baroness F The Doctor S The Major-Domo


CB AFootman Mute The Young Pastor 24 Minimum Chorus

~ye~-PI:LSi_~iilai1i~-jj:L~S ·,~e~r"eS' , · ,~~slciU~n~~-~-JI~~;Sici_Uan_''

:y!j!:~p~r§)~~·Vefdi--"' ~-

Language: French L Dutchess Elena (Helene) L Arrigo (Henri) L Guido di Monforte (Monfort) L Giovanni da Procida S Danieli S Ninetta S Roberto (Robert) S Tebaldo (Thibault) S De Bethune S Count Vaudemont S Manfredo 60 Minimum Chorus

fY(cta·r~Nve:-·;~a_,~:~_am~',:z::-~-~

Language: Spanish L Salud L Paco L Uncle Sarvaor F The Grandmother S A Singer S Manuel S Voice in the Forge I Voice of

Street-seller/Distant Voice B Carmela 18 Minimum Chorus

~VieW JrO_ITdfi~lBtid:Qef0A,~~~Wil_li_aijl' Bd_lq_q~-:- · , "\: ;:~>~ >::'·::;2 ·:>: <· Language: English

L Eddie L Beratrice L Catherine L Rodolfo F Alfieri F Marco S Tony S Louis S 1st Customs Officer S 2nd Customs Officer B Mike CB A Woman CB Soprano CB Baritone 32 Minimum Chorus

cj(fU~eJ3lhQet/th:~t~t~i!iYfU'~ Language: English

L Candace Whitcomb F Wilson Ford F Alma Way F William Emmons S Minnie Lansing S Jenny Wilkins S Todd Wilkins S Brent Freeman S Rev. Pollaid S Nancy Ford No Minimum Chorus

':\'1iia9e·'Ro_n1BQ:anthOaJi~t;"A~: 'D_~I_i~S;<~ "'{;_(:F: ::c·,;y~-~ ->

Language: French L Vreli l Sali F The Dark Rddler

--------

(

S Manz s Marti B First and Second Peasants

B First, Second, Third Women

8 Gingerbread Woman B Wheel-of-Fortune Woman B Cheap Jewelry Woman

B Showman B Merry-Go-Round Man

B The Slim Girl 8 The Wild Girl B The Poor Horn Player

B The Hunchbacked Bass Fiddler

B Shooting Gallery Man B First, Second, Third

Bargemen 18 Minimum Chorus

~v!ltl,1L~ ttii~\WJjpfie:sr ~:-a_#Q~Lnt<

Language: Italian

L Roberto (Robert) L Anna L Guglielmo Wulf 24 Minimum Chorus

}V[Si~!ign;·t@_,.:_:~j::_$~_ff0[j~f~~-

Language: English

L Carter Jones F Preacher F Presiding Officer F Mrs. Claiborne F Teena F Uncle Albert F Pulisi S Bill S Frank S Joe S Landlady S First Man s Chuck S Mr. Claiborne S First Policeman S Held S Patterson S Deacon B Inspector 8 Mattie B Second Man B First Companion B Second Companion CB Mill Hand CB A Man CB Another Man 48 Minimum Chorus

iVOi~·=_HUilia_irle;:=Lit;tfti~=_t:iUnjah --~::-~·--,y_O'icE!) ~:f;-:poti_lenc --

Language: French

L Etle (She- the Woman)

~it.lk~ie_}:t;it~;~ :wa=gn~f:\'"-~

Language: German

L Siegmund L Sieglinde L Brunnhilde L Wotan L Fricka F Hunding S Eight Valkyres No Chorus

---'0"

Language: Italian

L Wally L Giuseppe Hagenbach of

Selden L Vincenzo Gellner of Hochstoff

F Walter F Afra S Stromminger S I! Pedone de Schnals

(Wanderer) 36 Minimum Chorus

,~~To=arJdJ~eaCtt(Votna~Y;~M\1:)-_~_ · · - ;-_;pro_kofiev ·" -

Language: Russian

L Prince Andrei Bolkonsky

L Natalya Rostova (Natasha}

L Count Pyotr Bezukhov

(Pierre) F Maria Dmitrievna

Akhrosimova F Count llya Andreievich Rostov

F Helene Bezukhova

F Prince Anatol Kuragin

F Dolokhov L Prince Mikhail Kutuzov

F Napoleon Bonaparte

s Sonya s Princess Marya Bolkonskaya

s Prince Nikolai Bolkonsky

s Dunyasha s Colonel Vasska Denisov

s Tikhon Scherbatsky

s Fyodor s The Old Vasilisa s Matveyev s Madame Peronskaya

s Platon Karataev s Marshal Berthier B Host (at the ball)

B Balaga B Matriosha B Metivier B Adjutant to General Compans

B Adjutant to Marshall Murat

B Adjutant to Prince Eugene

B Monsieur de Beausset

B General Bennigsen

B General Barclay de Tally

B General Yermolov

B General Rayevsky

B Choir Leader (off~stage solo)

B Captain Rambal!e B Lieutenant Bonnet

B Jacque-B Gerard B Young Factory Worker

B Shopkeeper B Mavra Kusminitchna B Ivanov B Marshal Davout

B A French Officer B Old Valet- (to Prince

Bolkonsky) B Major-Domo (to Prince

Bolkonsky) B Housemaid (to Prince

Bo!konsky) B Gavrilla (Akhrosimova's

butler) B General BeUiard


(

B Adjutant to Kutuzov (Kaizarov)

CB Lackey (at the ball} CB A French Abbe CB Trishka CB Two Pruss ian Generals

(Klausewitz & Wolzogen) CB Orderly (to Prince Andrei)

CB Staff Officer #1 CB Staff Officer #2 CB Voice Off-Stage (orderly) CB Aid-De-Camp to Napoleon CB Konovnitsin (General)

CB First Madman CB Second Madman CB First French Actress CB Second French Actress CB Voice Off-Stage CB Russian General! CB Russian General II Mute Bit Third Madman Mute Tsar Alexander the First

Mute Marquis de Caulaincourt 48 Minimum Chorus

7~~ft!J.Qfi~,~~~ier!et:.I-:: Language: French

L Charlotte L Werther F Sophie F Albert F Bailli S Schmidt S Johann B Katchen B Bruhlmann No Chorus

1-W"iEUf~t.,,fi[Uf ;_ :J:~:$ij'i.tU_S_f~>::·--Language: German

L Gabriele, Gratin Zedlau (Countess)

L Balduin, Graf Zedlau (Count)

L Prince Ypsheim-Gindelbach

(Prime Minister) . . F Demoiselle Franziska Caghan

(Franzi) F Josef F Pepi Pleininger S Kagler S Usi B Lori B Graf Bitowski (Count) B Marquis de Ia Fassade

(Diplomat) B Lord Percy (Diplomat)

B Principe de Lugando (Diplomat)

B Anna (Franzi's Maid) Minimum Chorus

'.W!h9s_-~~Hff~;~p:gxe:~:M®N-:;-

Language:English

L Kate Croy L Miles Dunster L MillyTheale F Lord Mark F Homer Croy F Aunt Maud Lowder S Susan Stringman S Madrigallist S Minstrel 6 Minimum Chorus (Women Only)

!WQ#~,~k--~<~~rli Language: German

L Marie L Wozzeck F Captain F Doctor S Drum Major S Andre S Margaret B Two Apprentices B Idiot CB Soldier 24 Minimum Chorus

\-VvUt_h_~ifQff;Het9tlf!f:f-::c:-:f;;IQY(f: Language: English

L Catherine Earnshaw (Cathy) L Heathcliff L Nelly L Edgar Linton F Isabella Linton F Hindley Earnshaw S Mr. Earnshaw S Joseph S Lockwood 24 Minimum Chorus

:Xi!x~~::t§~rs~r ;:~~Jfc!eJ':;:~ Language: Italian

L Xerxes (Serse) L Romilda F Arsamenes (Arsamene) F Amastris (Amastre) F Atalante F Ariodates (Ar'1odate) s Elvira 16 Minimum Chorus

~Ye0fmin,;o_f:_th~'-:$liar~; _;r~e:{~~e:,_ __ , -~,):::-_1'.1~rry_mci_~:>ciiJ_d,_~iscMBit:!)--:-:

-- --->Attliur,~S~IIiVan __ :/ --Language: English

L Phoebe Meryll L Jack Point L Colonel Fairfax L Elsie Maynard F Sergeant Meryll F Dame Carruthers F Wilfred Shadbolt S Sir Richard Cholmondely B Kate B Leonard Meryll 8 Solo Second Yeoman CB First Yeoman CB First Citizen CB Second Citizen 28 Minimum Chorus

;_zau~ertJot~;:otfi~;<:tti~iM_~gtc; f_l~te >::~: -- :'MQzart'~;,-_.-

Language: German L Sarastro L Tamino L Pamina L Queen of the Night L Papageno F Three Ladies F Monostatos F Papagena F High Priest (The Speaker) S Two Priests S Three Genie B Two Armed Men 18 Minimum Chorus

f~~-~-aA~~Qn~~~~'mi;:.------Language: Italian

L Zaza L Milia Dufresne L Cascart

2007-2010 Opera Agreement J Page 63

S Anaide S Natalia S Bussy S Courtois B Floriana B Signora Dufresne B Marco 8 Augusto

Toto (child) No Chorus

~~~!.Q-t'lfB!~-J:tq~s_tpj ~ ,-Language: Italian

L Zelmira L Antenore L Polidoro L llo L Leucippo F Emma S Corista 8 Gran Sacerdote 24 Minimum Chorus

!ZiQ~unerba_rori/:De~~-(The}GY~~y_:~---:-.:~-" - -~':?"BaronJ_-:_strausg;: -

Language: German L Sandor Barinkay L Kalman Zsupan L Saffi F Arsena (Arletta) F Czipra S Graf Peter Homonay S Conte Carnero (Kareska) S Mirabella S Ottokar B Pali 8 Franzi 8 Vanya 8 Mishka 18 Minimum Chorus

( (

Upon request by the Engager, Equity shall provide electronic engagement contract templates. The templates shall not be modified in any

way, and any such modification shall be considered a breach of this Agreement and render the contract null and void at the option of Equity.

Use of electronic contract templates is contingent upon the Engager maintaining sufficient security year round in accordance with Clause 25

of the Opera Agreement.

iAP;_~~lltb,{~~¢_f¢~S1tiPl.~ftej::O}_U(I"d~_fS{a-n_CiJilQ'i~ir,T~tfSI}i-9l\:-Ai:(~-'~iitj!fj3J~i:Oteftii)[f;

The Engager confirms that no Artist's fee for a subsequent engagement in an equivalent role will be reduced specifically as a result of the

changes to the compensation model in the Opera Agreement. The intent of this commitment is that no Artist will have their ability to

negotiate for above-scale compensation reduced or eroded by virtue of the new inclusive compensation model. For any Artist who had

previously negotiated a contractual fee above the applicable minimum fee and below the Engagement Bonus threshold for an equivalent role,

the Artist's negotiated contractual fee for the future engagement shall be not less than the amended contractual fee based on the formula

outlined below. Should any dispute arise as to what is considered to be an "equivalent" role, all aspects of the roles including stage time,

prominence, difficulty of the music, etc. shall be considered, and it is agreed that the question cannot be determined solely on the basis of the

Categorization of Roles in Appendix A.

For engagements which commence after June 3oth, 2007, the negotiated contractual fee of all engagement contracts negotiated and

executed prior to August 1st, 2007 shall be amended using the following transition formula. Pending ratification, it is understood that all

contracts executed on or after August 1st, 2007 will be negotiated on the basis of the new compensation model.

For all Artists except Stage Management who have the status of citizens of or landed immigrants in Canada and to all Artists who

have the status of citizens of the United States of America:

If the Artist's Current Contractual Weekly Fee is less than or equal to $1, 960.61:

Amended Contractual Fee =Current Contractual Weekly Fee + 3% of CCWF + 4% of CCWF + $16.00

If the Amended Contractual Fee is less than the applicable minimum fee, the Artist's contractual fee shall be increased to the applicable

minimum fee.

If the Amended Contractual Fee is equal to or greater than the Engagement Bonus Threshold, the Artist shall not receive the Engagement

Bonus for this engagement only. However, the Artist will receive the Engagement Bonus for future engagements with an equal or greater

contractual fee.

If the Artist's Current Contractual Weekly Fee exceeds $1, 960.61:

The Artist shall be paid the Engagement Bonus in addition to his/her current contractual fee.

For aU Stage Management Artists:

If the Artist's Current Contractual Weekly Fee is less than or equal to $1, 960.61:

Amended Contractual Fee= Current Contractual Weekly Fee+ 3% of CCWF + $16.00

If the Amended Contractual Fee is less than the applicable minimum fee, the Artist's contractual fee shall be increased to the applicable

minimum fee.

If the Amended Contractual Fee is equal to or greater than the Engagement Bonus Threshold, the Artist shall not receive the Engagement

Bonus for this engagement only. However, the Artist will receive the Engagement Bonus for future engagements with an equal or greater

contractual fee.

If the Artist's Current Contractual Fee exceeds $1, 960.61:

The Artist shaH be paid the Engagement Bonus in addition to his/her contractual fee.

For aU Artists who do not have the status of citizens of or landed immigrants in Canada and who are not citizens of the United

States of America:

Amended Contractual Fee= Current Contractual Weekly Fee+ $16.00

:AfJ1'gNP!>q;p:4 ~s!dr~J.~tfetj~~g\iii'dlhQJfj·e APPJ!9~tiQfi,6f~¢i~l.(s~H &olr' -~-(1) Without prejudice to the historical interpretation and application of Clause 1608 of the Opera Agreement, an Artist shall not be required

to rehearse more than two (2) calls of up to three (3) hours each per day.

(2) Without prejudice to the historical interpretation and application of Clause 1608 of the Opera Agreement, if necessary, once per

production, an Artist may be required to rehearse in more than two (2) calls, provided that each rehearsal call is not less than one (1)

hour, there is a break of at least one (1) hour between rehearsal calls, and the span of day for the Artist does not exceed ten (10) hours.

Equity will consider such scheduling on more than one (1) occasion where the Engager can demonstrate that there is no other

reasonable alternative available to the Engager. However, Equity's prior consent shall not be required in the event of an emergency or

other unanticipated event which necessitates an immediate and unforeseen change to the rehearsal schedule, and where there is no

other reasonable alternative available to the Engager. In such case, the Engager shall notify the Artists affected by the change

immediately and Equity as soon as possible thereafter. The notification shall include reasonable explanation of the circumstances which

necessitated the change.

(3) CAEA and the Opera Producers will establish a joint committee to examine rehearsal practices and origins of the Opera Agreement as

well as in other professional opera companies across Canada and internationally. The Committee shall not be empowered to negotiate

any changes to the Agreement and all discussions within the committee shall be non-binding and without prejudice. The findings of the

Committee will be made available to both CAEA and the Opera Producers for their individual purposes in future negotiations.

2007-2010 Opera Agreement\ Page 64

INDEX

Absences from the Engager's Point of Origin .• Actor •••• AGTRA

... 2 .. 8

Agreement, Preserved Perfolmances (Recordings} and Broadcasts •. Contract, Preserved Perfonnances {Recordings) and Broadcasts

Additional Duties, Compensalion ...

........... 22

Additional Duty, School and Community Oulreach ••.• Addlllonal Engagement..

Chorus Singer Conlracted to Sing Solo Roles .... Concurrent Engagement Contracts •.•.•• Subsequent Engagement...

Additional Services Fees •• Per-Performance Fees White on Tour ••.••..

Advertising Of Artist's Name Air Conditioning & Ventilation

Minimum Temperature ........ . Minimum Temperature Achieved

Appendix A- Categorization of Roles .. Appendix B- Side Letter on Electronic Contracts .•

... 21 ... 6 32

... 6 .... 6 .. 6 .. 6

... 5 .... 5 ... 5 ... 5

.. 20 . 14 . 14 .. 14 .36

Appendix C- Side letter Of Understanding Fee Transition And Future Protection .. Appendix D -Side letter Regan:fmg the Appf1caflon of Clause 1608 ..

.. 64

.. 64

.. 64 Apprentice Stage Manager Programme ............................ . Maximum Number .. Minimum Engagement... Minimum Number Per Season Reduction of Staffing Provisions Registration ......

Ap ~entice, Pel"former .. Arbitration .....

Appointment of Arbitrator •.• Arbitrator's Compensation and Expenses •. Award of the Arbitrator Binding .. Binding Nature of Arbitration Demand for Arbitration •. Disagreement Between the Engager and Equlty Discipline .. Equity's Power to Act for Members .... Failure to Comply ... No Modification of Agreement No Recourne to a Court of Law Notice in Writing .. Procedure for Arbilrafron ... Rulings of the Arbilralor Binding .. Specifics of Notice TimeUmits ..

Archival Recordings .. Custody and Control ........................... . Distribution or Exhibition .. Electronic Encoding No Additional RehearnaL. Notice ... Use •.

Artist... Assignment of Artist's Contracl Breaches .. Deemed to be Walking .. Engagement for Casual Presentations .. Engagement for Concerts and Recitals Exclusive Service .. . In leading Role .. . Independent Contractor ... Not Required to Render Services ...... . Ph~ical Appearance ....... . Physical Condition .... Rules and Regulations ..

Arlisl Responsibilities.. . Absences from the Engager's Point of Origin ....• Contraclual Obligations .. Independent Contractor. ..... Membership in Equity •• Rules and Regulations •. Services Provided by the Artist

Artists' Categories .. Actor .. Artist ...................... . Assistanl Stage Manager Child .. Complimarios .. Cover ...•.. Direclorn and Assistant Directors .• Extras .. Non-Professionals •• Presentalions .. Production Stage Manager ... Stage Manager. .. Understudy

Artists' Obligation To Equity •.. Equity Constitution & By-Laws •.• Membership .. OA Engagement Contract ...

Assistant Stage Manager Tenn of Engagement...

.. 27 . 28

.. 28

.. 28

.. 28

.. 28

.... 1

.. 33 .. 34 .. 34 .. 34 .. 34 .. 34 .. 33 .. 34 .. 34 .. 34 .. 34 .. 34 .. 34 .. 34 .34

.. 34

.. 34 .. 23 .. 23 .. 23 ... 23 ... 23 ... 23 ... 23 ..... 8 ... 18 ..... 5 ... 32 ... 35 .34

... 18

... 13

..... 2

..... 4

..... 2

..... 2

..... 2

..... 2

. .... 2

..... 2

..... 2

. .... 2

..... 2

..... 2

..... 8

..... 8 ..... 8 ..... 8 . .... 8 ..... 9 ····· 8 ..... 8 ..... 8 ..... 8 . .... 9 ...... 8 ..... 8 ..... 8

. ..... 2 ..... 2 ..... 2 . .... 2

......•.. 8, See Stage Management .... 25

Audition Code Accompanist .. Annual Audillons in Major Centres .. Call Backs .. Casflng Authority .... Dance Auditlons ...••. Equity Arranged Appointments. Equity Members .. Groups .. Notice Specifically Requested Material .. Venue Suitability ......... .

Backstage Area, Control of .. Bereavement Leave •.. Billing

School Touring And Community Outreach Programmes Stage Directors And Choreographers .. Stage Managers ..

B!lllng ·In Use of Produclion Photos .. Not Relative to a Specific Produclion Relative to a Specific Production ..

Billing, Photos And Programmes ....... . Artist Leaving a Cast... .... Artist No Longer Under Contract .• Billing for Specific Production .•... Bilflflg In Use of Producflon Photos .. Biographical Materials in Programmes ... Breaches of Billing .. Errors or Omissions •.. In Town •.. Programmes .. Specific Provisions .. Touring .•

Biographical Ma!Bria!s in Programmes •• Artist's Right of Approval .. Length of Biography .....

Breaches .. Billing .. Breaches by Artist.. Breaches by Engager Provision for Termination ..

.............. 3 .. 3

. ...... 3 ............. 3 .............. 3

.. 3 .......... 3

.............. 3 .... 3

.............. 3 ........... 3

......... 3 ............ 27 ............ 20

. ........... 32 ........... 24

............ 26 .. ..... 18

........... 18 ..18

.. .... 18 ............ 18 . ........... 19 . ........... 1g

..... 18 ........ 19

............ 18 ............. 19

. ....... 18 . ............ 18 . ........... 18

. ............ 18

. ............ 19

. ............ 19 ..... 19 . ...... 5

............. 18

. .............. 5

. .............. 5 . ........... 20 Broadcast.. ............ See Perserved Performances

Bus Transporiation .. Arrival at Destination and Travel to and from Theatre .. Calculation of Travel Time .. Comfort and Safety •... Comfort Stops .. Meal Stops .... Prohibited Travel Time .. Replacement of Bus ....

Call Backs .. Canadian Actors' Equity Association Special Provisions ..

Audition Code .. Benefds •. Communications Committee ... Deputies and Representatives •• General or Special Membership Meetings Privilege of Ariisls to Attend .. Secret Vote ... Sex and Nudity •. Special Power to Act for Artist ••

Canadian Statutes .. Casual Engagement.. •

Development Activities •. Performances ..

Changes or Alterations .. Checkllst, Production and Non-Professionals ..

Equity Artists .. Non-Profess-Ional Chorus Members and Comprimarios .. Non-Professionals in a Supporting Role ..

Child .. Between Rehearsal and Performance Calls .. Consistency .. Oressing Rooms .. Engagement as an Equity Member ... Engagement Without Reference to an Equity Contract Individual Records .. Note from School .. Notification of Accidents .. Parental Contact.. Punishment Prohibited ... Supervision .• Supervisor Ratios .. Training .. Travel..

Choreographer

. ............ 31 . ............ 31 ............. 31 . ............ 31 ............. ::11 .. ........... 31 . ............ 31 . ............ 31 . .............. 3 ............... 2 . .............. 3

. ..... 2 .............. 3

. .............. 3 . .... 2

.. ............. 3 .. ............ 4

. .............. 2

. ............. 2

............. 17 . ........... 17

. ............. 17 ....... 1

................ 8

. ............... 8

. ............... 8

................ 8

. ............... 8 ..9 .. 9

. ............... 9

. ............... 8 ..8 .. 9 ..9

. ............... 9 ..9

..............•. 9 ..8 ..9 .. 9 ..9

Concerts and Recitals... .. ............ 34 Choreographer Duties.. . ............. 24 Duties.. . ........... 24 Limited Movement and Dance Sequences.. . ............. 24 Multiple Assignments.. • ............. 24 Promolion and Publicity Appearances..... . .......••.... 24 Stage Management Duties.. . ............. 24

Choreographers ... See Also Stage Directors and Choreographers, See Also Stage Directors and Choreographers


( (

INDEX

Chorus Music Preparation, Dsfinilion •..

Chorus Singer Contracted to Sing Solo Roles ..

Claims Time Limit in Lodging Claim ... Waiver or Release Not Permissible ...

Classffication Determination ...... of Work.. ..

Communications Committee .. Compensation ....

Additional- Understudies .... Additional Duties .... Additional Engagement.. Additional Services ••

.. ....... 10 ... 6 .. 16

.: ......... 16 .. 16

. ....................... 17 . .. 12

...3 .............. 5

... 20

..... 6 .......... 6

Contingent Compensatlon, On Weekly Gross-Net Receipts, Profits ....

Engagement Bonus •..

... 5 ...... 7 ..... 7 .... 6

Fees-Pro-Rated ..• Itemized Deductions and Payments ..

Local Touring .. Minimum Fees .. on Tour.. Overnight Touring .. Partial Week Payment .. Production And Non-Professionals Checklist •.

Salaries Paid in Legal Tender ..

Salaries, Non or Partial Payment ..

Second Stage Fee Structure .. Term of Agreement. .. .

Comprimarios ..................... .

Concerts And Recitals .. . as Part of a Pre-Packaged Show ..•..

Definition .•.. EngBgement of Artist.. Engagement of Stage Management..

Promotional Recital .. Concurrent Engagement Contracts ..

Conflict of Interest .. Consultation After Signing ..

Stage Director Consultation on Decisions ..

........ ................. . ......... 6 .... 7

.. 7 ............ 7

.... 7 .... 7

.. 8 .. 5

........ 6 .. 7 .. 7

.............. 9 ... 34 .... 35

............ 34 ........... 34 .......... 34

.. 35

.... 6 .. 3

..... 24 ... 24

Contingent Compensation, On Weekly Gross-Net Receipts, Profits .. .. 7

Continuous Engagement. ..

Contract, Individual Engagement.. .• Change in Classification ..... Changes and Alterations .•... Determination of Classification ..

Effect of Contracts .. Effective Date •... Quadruplicate Conlmcb ..•... Requirement to File .•. Signing ..

Contracts ... Artist Contractual Obligations .. Casual Engagement.. Continuous Engagement .. Emergency Replacement ..

Guaranteed Period .. Individual Engagement Negotiation .. .

Most Favoured Nations Prohibited .... .

OA Engagement.. ................................. .

Costume Fittings .. Prior to First Public Performance ..

Cot15 Cover

ASM for SM -Payment.. Definition ..

Criminal Code Contravention •. Duly Not to Contravene ..

Duty to Report. Withdrawal from Contract ..

current Affairs Program •... Dance Auditions .. Deductions ..

and Payments, Itemized .. Equity Dues ..••.. Equity Member Benefits .. Membership Fees and Assessments ..•

Defaulting Engagers .. Engager Not in Default... Requirement to Work ...

Definitions .. Chorus Music Preparauon ..•.

Concerts and Recitals ...... . Dress RehearsaL .. Emergency Rehearsal .•• Engagement Week ••.. Extraordinary Risk Final Dress Rehearsals with Audiences Present..

Free Day ... Half-Hour Call .. Making Calls. overnight Rest •. Performance Day ... Place of Residence ... Point of Origin ... Rehearsal .... Rehearsal Day •.. Run-Out Tour .. Run-Through Rehearsal .•

.......... 17 ......................................... 17

... 17

... 18 ........... 17

...... 18 ............................. 17

.. 18 ·········· 17 ........... 18

..... 17 ... 2

.... 17 .......... 17

............ 17

......................................... 17 .... 1 .. 17

.. 2 ..... 13

...... 32

........... 26 . ...... 8

. .... 5 ..5

. ................................ 5 . ....... 5

22 ........ 3, See Audllion Code

.............. 1 . ...... 6 ...... 1

.. 1

.. 1

.. 5 ...... 5

. ..... 5 . g

• ............. 10 .34

.... 10 .... 10

..... 9 .............. 9 ••........ 10

.... 10 .10

.......... 27 ..... 10 ..... 10

.. g ..• 9

........... 10 .... 10

........... 28 ... 10

Season .. Stage Fighting ...• Touring ..• Work Week .•

Depu~es and Representatives .•. Director. ..

Concerts and Recitals ..

Directors and Assistant Directors- Definition

Discrimination .. Ariist Not Required to Render Services ..

Personal and/or Sexual Harassment

Pregnancy and Parental Status •. Prohibition of Discriminations

Discrimination For Equily Activity

Prohibition of... .... Dispute ... Dress Rehearsal, Definition ..

Application of Clause 1609 and Double Casting ..

Final Dress Rehearsal ...• Final Dress Rehearsal Beyond Eleven Thirty PM

Dress Rehearsals .. Dressing Rooms .. Dues .. Duty to Report .... Emergency Rehearsal, Dsfinilion •..

Emergency Replacement .. Engagement Bonus .. Engagement of Artist.. ..

Casual Presentations •.. Concert or Recital as Part of a Pre-Pacll:aged Show ..

Reduction of Minimum Term

Engagement Week, Definition ...•.

En gager Breaches .. Dsfinition .. Interpretative Powers of .•.. Nolin Default.. Rights •. Transportation of Artist. .•..

Equity Artist Responsibility for Membership. Artists· Obligation to Constitution & By-t.aws ...

Audition Code- Members .. Disagreement Between the Engager and Equity ....

Logo .. Member Benefits .. Membership ..

...... 10 .. 13 .. 10

....... 32 . .... 3

.. ........... See Stage Director .............. 34

..... 8 .... .4

. . .4 . ..... .4 . ...... 4

. ....................... .4 ........... 5

...... 5 .20

• .. 10 .. ... 10

10 .10

.. ... 11 ..9

. ... 1 . ......... 5

..10 . ..... 17

. ... 7 ..34

.. ............ 35 . .... 35

.. .. 34 ... 9

............... 5 . ..... 1 . ... 2

. .............. 5 .. ... 34 . ... 16

. ...... 2 . ............. 2

. .... 3

. .. 33 . .................. 1

. ...... 1 . ....... 2

NollficaUon of Preserved Performances (Recodings) and Broadcasts ..

Power to Act tor Members In Arbilr<~Uun ..

.21

" Powers of Council.

Engager, /fllerpretative Powers of ...

Interpretive Powers of Equity Council .. Recogni\ion .. Recognition of.. Right to Inspect.. Stage Management ..

Equity Membership .. Artists In Good Standing .•... Deductions ... Performer Apprentices .... Reciprocal Agreements ..

Exclusive Service Of The Artist... Assignment of Artist's Contract.. Exclusive Service ....

Expiration Of This Agreement ... Expiration Data .•.. Submission of Proposals .....

Extraordinary Risk, DefiniUon .. Extras .. Fee .... Fees ••..

Minimum Additional SeNices. Point of Origin (In-Town) ..

Per Performance ..• Stage Directors and Choreographers •.

Weekly ...... . Fees-Pro·Rated .. .

Baginning of Engagement Period .•..

End of Engagement Period ... Invocation of Arbitration Procedure ..

Fight Directors ...... . Changes Contracts .. Director and Choreographer Clauses ..

Engagement of a Fight Director .. Pre-production Meeting . Rehearsal Requirement for a Fight Director Travel.. ....... ..

Final Dress Rehearsal, Definition ..

Final Dress Rehearsals wilh Audiences Present, Definition

Audience Present .... Deemed Performance ..

Free Day, DefiniUon Free Day, service •..• General ..

Recognition of Equity ..

. .. 2 2

.. .... 2 . .... 1

... 1 ..15

. .... 24 . ... 1

. ... 1 ..1

. ....... 1

. ....... 1 ..18

.............. 18 ........ 18

.... 34 . ... 34 . .. 34

. ....... 9 . ...... 8

..64 .. ....... 5, See Compensation

......... 7 . . .7

.. .... 7 . ... 13

....... 23 . ........ 13

. ..... 6 ..6 ..6

....... 6

. .... 28 ...28 ..28

. ............... 28 .. .... 28 ...... 28

...28 . .. 28

........ 28 . .. 10 . .. 10 .••. 10

. ...... 10 . ..... 10 .... 33

.. 1 ........... 1


INDEX Guaranteed Period •.••........••.••.•... Hair Style or Colour .. Half Hour Call..... .. .................. .. Half-Hour Call, Definition .. . Harassment, Personal and/or Sexual .. Health and Safety .. Hiatus

Beginning of Engagement. ..... End of Engagement.. School Break .. School T oiuring ....... School Touring Return Transportation to Artist's Pi ace of Residence ....... School TouringNo Services Provided Subsequent Engagement

Illness, Notification of ...... In Town .. Laws Governing This Agreement And Clauses ...

Canadian Statutes .. Provincial Jurisdiction .. Provisions Affected .. Statutory Conflicts.. .. ....................... ..

Lodg'1ng In The Point Of Origin .. .. Alternative Accomodation .. Engager's Responsibility ... List of Accomodation .. Rates

Major Centres, Annual Auditions .•• Make-up

Final Dress RehearsaL .................... .. Services Provided by the Artist...

.. ..... 17 . ........ 14 .. ..... 13 .. ..... 10

.. ......... 4

.. ....... 27

.. ......... 6

........... 6

.. ....... 32

.. ....... 32 ...32

........ 32 ........... 6

.21 .. ....... 18

.. ....... 1 .. ......... 2 .. ......... 1 ........... 2 .. ......... 2 ......... 15 .. ....... 16

...15 .. ....... 15 ......... 15 ........... 3

......... 10 ............ 2

Make-Up ... .. ..... See Shoes and Make-up Make-Up and Shoes .. Making Calls, Definition Management R1ghts ..

.................... . ......... 13

Material Requested for Audition ..... Maximum Number of Presentations Per Five Day Week .. Maximum Working Hours in a Week .. Meal Break

Pre and Post Perfonnance .. Stage Management- Set ups and Strikes .. Working Day.. . ..................... .

Meal Breaks .. 9 Days Prior to Opening .. Costume filling .. Musical Theatre ....... Stage Management- Additional Services Stage Management- Examples .. Stage Management- Scene Change Rehearslas and Cueing Sessions .. Stage Management Responsibility to Call ..

Membership Meef1ngs, General or Spacial- Privilege of Artists to Attend ..... Most Favoured Nations Prohibited .. Musical Theatre .. Musical Theatre, Rehearsal Hours ... Non-Profess'lonals .• Non-Professionals, Definition ... Note from School .. Notificalion of Tourina Status .. Nude Photographs .... Open-Air & Ten! Theatres .. Opera & Operella Rehearsals, Rehearsal Hours .. .. Opera, Rehearsal Hours .................. .. Operetta, Rehearsal Hours .. Overnight Rest ..

Definilion .. Stage Management stage Management- Move to new Location .. Stage Management Rehearsals .. Travel by Van. Understudy Reaarsal ..

Overnight Rest Period .. Overseas Rider Parental Contact.. Partial Week Payment .. Payment For Excess Perfonnances .. Performance Day Rehearsal ...

Day of First Public Perfonnance .. Following a Matinee Performance .. Following an Evening Pefonnance .. .. following First Publlc Perfonnance .. . Solo Bit Role Artist ...... . Two Performance Day .. .. Two Performances of Less Than One Hour ..

Performance Day, Definition ... Perfonnances ...

Artist in Leading Role .. Half Hour Call .... Maximum Number of Pertormances in a Day .. Maximum Number of Pertormances in a Three Day Period .. Musical Theatre No!ificafion of Changes .... Number ... Per Performance Fee Performance on the Free Day .. Perfonnances ...... . Provisions for a Two Perfonnance Day .. Weekly Fee ....

........ 27 .. .......... 1 . ........... 3

.. ..... 33 .. ....... 32

.......... 33

.......... 27

.......... 33

.......... 12

.. ........ 11

.. ........ 13 .......... 12 .......... 25 .......... 25 .......... 26 .......... 26 ............ 2 .......... 17 .. ....... 13 .. ........ 12 .. .......... 8 .. .......... 1 ............ 9 .. ........ 33 .. ........ 19

..14 . ......... 12 . ......... 11 .. ........ 12 .......... 11 .. ........ 10 .... 25, 27 .. ........ 26 .. ....... 26

.. ........ 31 ..13

...... 33 .......... 32 ............ 9 . ........... 7 .......... 33 .......... 12 .......... 12 .......... 12 ........... 12 .......... 12 .. ........ 12 .......... 12 ........... 12 ........... 10 .. ......... 13 .......... 13 ........... 13 .. ......... 13 ........... 13 ........... 13

.. .... 13 ........... 13 ........... 13 . .......... 13 .. ......... 13 . .......... 13 .. ......... 13

Performances (Recordings) And Broadcasts .. .. ........... See Archival Recording Performances And!Or Rehearsals Lost..... .. ..... 20 Performances in a Day, Maximum Number. .. ........... 13 Per-Perfonnance Fees ............... 5 Photograph Calls And Publicity ..... 19

Artist's Availabilily.. .. ........... 19 Commercial Product.. ...................... .. ........... 20 Notice of Photo Calls.. . 19 Nude Photographs.. .. ... 19 Payment for use of a Photograph...... .. ........... 19 Photo Calls.. .. .. 19 Use of Artist's Image (Still Photos) for Promotional Purposes ....... 19

Photograph Use, Payment .. 19 Boo~ .. 19 Choristers.... . .. ........... 19 Commercial Product... ...19 Commercial Product for !he Benefit of the Engager.... ..19

Photos.. .. ..... See Billing, Photos and Programmes PI aGe of Residence, Definllion .. .. .............. 9 Point of Origin

Lodging ln .. Point of Origin, Defln!lion.. .. ................. . Posting of Calls, Pertormance Schedules and Casting .. Pregnancy ...... Pregnancy and Parental Status .. Presentations.. .. ................ .. Preserved Perfonnances .. Preserved Perfonnances (Recordings) And Broadcasts ...

ACTRA Agreement .. ACTRA Contract.. Additional Services Rate .. Archival Recordings .. Current Affairs Program .. Dismissal or Release ... Live-to-Tape Recordings (Exclusive of Radio) .. Live-to-Tape Recordings (Radio) .... No Recording on a Two Performance Day ... Notice. Notification to Artist.. Notification To Equity ... . Participation by Artist ..................... . Payment .. Preserved Perfonnances .. Promotional Recordings . Rates • Recordings on a Day with No Perto1111ance .... Rehearsal .. Scope .... Specially Prepared R"l'Ordings .. Specially Prepared Recordings, Calls ... Televison Spot Commercial..

Rehearsals ..

.. ............ 15 .. ............. 9

. ............. 11

.............. 20 • ............... 4 . .............. 9

.............. 21

.. ...... 21, 23

.. ............ 22 .21

.............. 22

.. ............ 23

.. ............ 22

. ............. 23 .. ..... 21

.. ............ 21 ...22

.. ............ 22 .............. 22 .. ............ 21

.......... 22 . ............. 23 .. ............ 21 ............. 22 .............. 22 .. ............ 21 .............. 22

.. ...... 21 . ............. 21 .............. 21

....... 22 .......................... 32

Production Stage Manager..... .. ...... 8, SeeS! age Management Production Stage Managers and stage Managers.. .. ............ 25

Term of Engagement... .. ............ 25 Programmes.. • .. 18, See Billing, Photos and Programmes

Programme Credits and Photographs. .. ............. 18 Programme Notice... .. ............. 19

Promotional Recital.. .. ............ 35 Promotional Recordings.... .. ............ 22 Property... .. ............. 16

Fadli!les for Safe-Keeping... .. ............ 16 Reimbursement.. .. ........... 16

Provincial Jurisdiction.. .. .............. 1 Provisions Affecied.. .. ............... 2 Provisions for Termination.. . .............. 20

Breaches.. .. ............................. 20 Mutual Agreement.. .. ............. 20 Pregnancy... .. ............. 20

Rales... .. ............. 22 Live-Tape--Recordings (Exclusive of Radio)..... .. ............ 22 Radio.. .. ............. 22 Speclally Prepared Reoordings (Exclusive of Radio).. . .............. 22

Rates for Preserved Performances (Recordings and Broadcasls).. .. ............................. 24 Minimum Payment for Choreographer.. . .............. 24 Minimum Payment for Director.. .. ............................ 24 Roya!ty... .. .......... 24

Reciprocal Agreements.. . ................ 1 Recordings.. .. .... See Perserved Perfonnances, See Archive Recording, See Preserved

Performances Reduction of Minimum Tenn .. Rehearsal and Pertonnance Conditions ..

Activities Included in Working Day ... Additional Services .. Additional Services Rehearsals ... Calls on a Free Day .. Maximum Hours of Work .. Meal Break .... Overnight Rest Period . Span of Day .. Statutory Holidays ...

Rehearsal Day, Definition ..

.. ............. 34

............... 25

............... 25 .. ........ 25

.. ............. 26

............... 26 ............... 25 .. ............. 25 ............... 25 ............... 26 . .............. 25 ............... 10


Rehearsals ... Dress Rehearsals •.•

Brush-Up and Cast Replacmenet

Commencement ..•............•..•..

Definllion .. Meal Breaks ...•. Notes ..• Notice of Additional Rehearsals •.

(

Onstage Rehearsals for Understudies and Double-casts ..•

Posting of Galls, Performance Schedules and Casting ••...

Preparation for ... Rehearsal Hours for Performing Artists ...

Rehearsal on a Performance Day .... .

Rehearsals on a Free Day...... . ..................... .

Rehearsals Prior to Opening .•

Rest Periods .. Stage Flghling ..•• Understudy (Rehearsals Only) ...

Reimbursement for Travel Expenses ••

Reimbursement, Property .. Re-Opening Of Production .. Rest Periods ..

During Rehearsal.. Overnight Rest ..

Return to the Point of Origin

After Contract .... Application .. Under Contract.. •..

Return Transportation to Artist's Place of Residence ......

Right of Approval, Artist ..

Road Conditions and Weather ....

Royalties .. Amount ••.. RevivaL.

Run-Through Rehearsal, Definition ....

Safe And Sanitary Places Of Ergagemenl..

Air Conditioning & Ventilation Aisles .. Arena Theatres .... Blackouts .. Col Provision .. Dressing Rooms .. Drinking Water ...... Equitys Right to Inspect.. .. Fire Exits & Procedures ..

First Aids Kits .. Hazardous Materials .. Intercom System .... Open-Air & Tent Thaa\res .. Perceived Risk Separate Dressing Rooms .. Smoking .. Surfaces ...... Threats to Safety.. • ................. ..

Salaries, Non or Partial Payment ..

Failure to Make Payments .. Non or Partial Payment ..

Schedule Fol\owing the First Public Performance ....

Schedules, Individual Regional..

School Touring And Community Outreach Programmes ......

Additional Duty ... Bitnng .. Clauses Not Applicable ... Company Rules Provided ..

Engagement of Equity Members .....

First Aid Kits .. Hiatus .. Requirement for Equity Stage Manager ...

Travel .... Understudy Parts .... Work Week and Working Hours ...

Season, Definition •. Second Stage Fee Strw:ture .. Security Deposit (Bond).And Security Agrsement ....

Maintenance of Satisfactory Security ••

Posting of Security. Security Agreements .....

Separate Dressing Rooms.. • ................. ..

Services Provided by the Artist .. Physical Appearance ..

Physical Condition ... Sex and Nudity .•.

Disrobing .... General Audllions ••. Prohibitions Required Conditions .. Written Notice and Rider ...

Shoes And Make-Up Body Make-Up ... Cleaning and Upkeep ...... Cleaning Schedule .. Hair Style or Colour .. Kneepads .•. Make-Up .. Rental ... Supplied by Engagar .. Suppf1ed by the Eng agar

Undergarments ..

(

INDEX

....... 11 .... 11 ... 33

...... 11 .. 10

... 12 ..... 13

..11 . .. 13

.. ........ 11 ... 11 .. 11

. ........... 12 .. .... 11

... 11 .......... 11

. ............ 13 .. .. 12

•. 30 .. ......... 16

...... 21 .. 11 ..11

............ 11

...29 ........... 29

.. ........... 29 ..... 32

. .. 19 .... 31

........... 24 .......... 24

..24 .. .......... 10

... 14 ..... 14

... 15 ..15

.. ......... 15 ... 15 . ... 15

.. ........ 15

.. ........ 15 ..... 15 .... 15 ... 15

............ 15 .. ... 14 .. .. 15

.. 14 .. ........ 15

. ......... 15 ... 15 .... 6 ... 6

. ......... 6 . .......... 32

..... 1 . ........... 32

.. 32 ...... 32

... 33 .. 32 ..32

. .......... 32 ..... 32 . ..... 32

.. 33 .. ... 32 .. .. 32 ...10

..7 .. 16

. ...... 17 . .... 17

..16 .. ...... 14

....... 2 ...... 2

... 2

. .. 4

... 4

. .. 4 ...... 4

..4 . .... 4

.14 ...14 .. 14 .. 14

.. .. 14 . .... 14 . .. 14

. ............ 13 .. 13

.. .. 14

Understudies ... Smoking .. Solo Roles, Chorus Singer Contracted to Sing.

Spacial PawertoActfor Artist ..

Authorit)' ... . Consent .. . Reasons Givan for Action ....

Representation ..... Stage Director Duties ..

Avallability .•. Duties ..... Multiple Assignments Promotion and Publlcity Appearances ..

Stage Management Duties ...

Stage Directors And Choreographers ..

Assistant Dlrectors & Assistant Choreographers

Billing .. Choreographer Duties .. Consultation After Signing .. Consultalion Before Signing ..

Duties of a Stage Director ..... Fee. Payment of Fees ....

...14

... 15 ... 6

..... 2 .2

.. ....... 3 .. ..... 3

. .. 3 .. 23

.. .... 23 ..23

.. ........ 24 ...... 23 .. .... 24

..23 .. ..... 24

.... 24 .. .. 24

.. ..... 24 ...... 23

.. ............................... 23 ...23

Rates for Preserved Performances (Recordings and Broadcasts) ..

Royalties ..

.. ...... 23 ..... 24

...24

...13 Stage Fighting ..

Definllion .... Rider ..

Stage Management Apprentice ... Term of Engagement...

Stage Managers .• Apprentice Stage Manager Programme ...

Billing .... Calling of Rehearsals and Other Ca\ls ...

Contracls .... Control of Backstage Area .•. Delegation of Duties .. Duties and Responsibilities of Stage Management. ...

Duties of the Engager ..

Duties of Union Members.. .. ..................... .

Engagement for Concerts and Recitals

Equity Membership .. Exclusions ... Financial Responsibility .. Health and Safely .. Maintenance of Artistic and Technicallntenlions ..

Making Calls .. Organization of Rehearsals and Performances.

1-'aymant for Addition<~\ Dulie" Payments lor Covering ..... Performance of Duties .. Production Score ..... Prohibited Duties .. Rehearsal and Performance Conditions ..

Rehearsals Moved to a New Location .....

Responsibility of Assistant Stage Managers

Responsibility of Production Stage Manager ..

Rest Period .. Running and Control of Performance ..

...... 13

...... 13

See Apprentice Stage Manager .. ..... 25 ..8,24

..27

..26 . ...... 26 ...... 24

.. ........ 27 . ......... 26 . ........ 26

.. ........... 27 .. ............... 27 ................. 34

.. .... 24

.. .... Z7 ..27

.. ...... 27 .. ............. 26

.. .. 27 .. ........... 26

.... 27 .. ..... 26

.. .. 26

.. .. 26 ......... 27

.................. 25 .. ..... 26

.... Z7 .... 27

.. 26 . ...... 27

Scene Change Rehearsals and Cueing Sessions ...

Scheduling of Set-Ups, Stn'kas, Load-Ins and Load-Outs ..

Selection of Stage Management Slaff ..

....... 26 .. 27

............ 27

Serving Meals ..... Stage Mangement Staffing Formula

Understudying and Performing

Vacation Pay .... Vocal Score ..

Statutory Conflicts .. Subsequent Engagement ..... Take-Ins, Set-Ups, Strikes or Take-Outs ..

Televison Spot Commercial... ..

T ann of Agreement .. • Term of Engagement. ..

Assistant Stage Managers .... Payment for Additional Days Production Stage Managers and Stage Managers ...

Termination .. Bereavement Leave .. Dispute .. Provisions for Termination Written Notice ..

Tennina\lon DueT o Accident, Illness ..

Extraordinary Risk ... . Notification of Illness ..... ..

Touring • Compensation ... Contractual Fees .. Definition .. Definition of Run-Out Tour .. Free Day ... Health Insurance .•. Hotel Reservations . Return to the Point of Origin Routes of Travel ..... Tour Itinerary .. Tour Itinerary and Mail.. Travel Conditions ..

........... 27 .. ..... 26

.... 27 ...... 24 ...... 24

.. ....... 2 .... 6

.......... 33 ........ 22

...... 7 ........ 25

.... 25 ..... 25 ...... 25 .. .. 20

............ 20 . ... 20

....... 20 ..... 20 .. .. 21 ... 21

.......... 21 . .... 28

.. ...... 7 ...... 28

. .. 10 ........ 28

..... 29 ... 29 ... 29

.. .. 29 ...... 29

.. 29

..29

..29


Travel Insurance T ransportalion ••..•..

Airplane Boat. Bus .. Prohibited Travel Time .. Prohibilion on Exceeding Limits •. Proof of Insurance •• Rail Transportalion .. Reimbursement for Travel Expenses .. Rest Period Before Departure Rest Period Between Calls •. Rest Period Prior to Presenlation .. Route Sheet and Travel Log ..• Tolerance for Delays .. Travel Time •• Van, Mini Bus or Aulomoblle ..

Transportation And Baggage .•••.•• Ground Travel to and from Airport .. Ground Travel to and from Place of Residence. Transportalion of Artist by Engager •• Transportation Tickets in Advance of Travel •.. Travel to the Point of Origin and Place of Residence .• Use of Artist's Vehicle .. • ••.••.........•.•••...

TraveL Daily HoUis of Travel •.•.••.... Travel by Motor Vehicle ...

Travel by Van, Mini Bus or Automobile Drivers Luggage and Equipment .. . MechaniGal CertifiGation ... . Road Conditions and Weather .. Seating •• Tires, All Season or Winter Radial.. Vehicle Maintenance

Travel Conditions .. Travel Insurance

Monthly Billing Reminder ... Plan Requirement. ..•

Travel Time ..

INDEX ........ 29

......... 29 ......... 30 ......... 31 . ........ 31 . ........ 30 ......... 30

.30 ········· 30 . ........ 30 ........ 30 . ....... 30

········· 30 30

...... 30 . ........ 29 . ........ 31

... 16 . ........ 16 . ........ 16

....... 16 . ........ 16

.16 ......... 16 ......... 33 . ........ 33 . ........ 33

.31 ......... 31 ......... 31 . ........ 31

. ........................................ 31 . ........ 31 .. ....... 31 ......... 31 . ........ 29 ......... 29

. .... 29 ...... 29

. ........ 29

. .••..... 29

Daytime Travel Limits .. Payment for Exceeding Travel Time .•

Undersludies ...... AddiUonal Compensation .. Minimum Contract Prior to Performance .... Music Rehearsals •.•.•... Names in Programme .•.•.•.........•.••... Number of Performances. Performing Artist Engaged to Understudy ..

Understudies and Double-casts, Onstage Rehearsals Understudy

Definition .• Understudy (Rehearsals Only) Venue Suitability .•. Visual Or Sound Recording (Use In Production) ..

Artist Leaving a Cast.. Artist's Agreement .. Recording Sessions •. Requirement ....

Vote, Secret Conflict of Interest.. Determination of Equity Council

Work Week and WorKing Hours Artist Deemed to be Working Brush-Up and Cast Replacmanet Rehearsals .. Definition .. Maximum Number of Presentations Per Five Day Week .. Maximum WorKing Hours in a Week.. Notification of Touring Status .. Overnight Rest Period .. . .................................. .. Payment For Excess Performances .. Payment for Work Done in Excess of Weekly and Daily limits .. Rehearsals Prior to Firs! Public Performance .. Schedule Following the First Public Performance Service on the Free Day .. Take-Ins, Set-Ups, Strikes orT aka-Outs .. Week with In-Town and Out-Of Town Performances .• Working Day ..

Working Day .• Written Notice ..


.30 ............. 29 ........... 30

............. 20

............. 20 ... 20 . .. 20

. ............ 20 ... 20

. ............ 20

............. 13

. .............. 8

............. 12 . ............. 3

............. 21 ....... 21

.......... 21 . ......................... 21

. ............ 21 . ............. 3 ............. 3

........... 3 .32

.............. 32 ........ 33

............. 32 ........... 33

... 32 .............. 33 ............. 33 . ............ 33 ............ 33 .............. 32

.. 32 .. ........... 33

.............. 33

.............. 33

.............. 33

.............. 33

.............. 20

( (

CANADIAN ACTORS' EQUITY ASSOCIATION

National Office

44 Victoria Street, 12th Floor

Toronto, ON M5C 3C4

tel: (416) 867-9165

fax: (416) 867-9246

email: [email protected]

Western Office

505-321 Water Street

Vancouver, BC V6B 1 B8

tel: (604) 682-6173

fax: {604) 682-6174

email: [email protected]

www.caea.com

OPERA AGREEMENT 2007 ~ 2010

Calgary Opera Association

Arrata Opera Centr8 1315-7 Street SW

Calgary, AB T2R 1A5

Edmonton Opera

Winspear Centre 9720 - 1 02 Avenue

Edmonton, AB TSJ 482

Opera Atelier

St. Lawrence Hall 157 King Sl E., 4th Fl. Toronto, ON M5C 1G9

Opera Ontario

105 Main St. E., Suite 905

Hamilton, ON LBN 1 G6

Manitoba Opera Opera Lyra Ottawa

Room 105 555 Main Street

Winnipeg, Manitoba. R38 1 C3

Pacific Opera Victoria

1815 Blanshard Street, Suite 500 Victoria, BC VBT 5A4

2 Daly Avenue, Suite 110 Ottawa, Ontario K1N 6E2

""'$m liot\ 0 PER A - Ontario.ca

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