By Joy Tanner
I don’t know about you, however, this has been one of the most challenging periods I’ve ever experienced both as an artist and as a human being in the world at large. Last year, the “Summer of the Strikes” bled into every crevice of the social fabric. And rightfully so. There is an immense amount of inequity with regards to the uneven distribution of resources as well as ever-changing technological disruptors impacting the screen-based industry (here’s looking at you AI!). For artists, while precariousness is an uncomfortable reality, trying to find some balance has come to a tipping point. We head into IPA (Independent Production Agreement) negotiations in November. This is a regularly scheduled event for which your union diligently prepares; it is not something that is fabricated at the last minute. Your sitting Council, staff and negotiations team start preparations months in advance with a great deal of consideration and effort. In doing so, strategies are not only carefully constructed, such as who should sit on the negotiating team, as well, what our most significant “asks” of the producers should be, based on input from members about the current environmental pressures facing actors. And that is a process in and of itself. Because frankly, while we’d like to ask for the moon, in reality, we may only make headway on a limited number of “asks.”
Negotiating is indeed an art.
And doing so requires us not to be in a position of fear, but rather preparation and hope. Hope that through these prepared and strategic negotiations, we can further work collaboratively with our industry partners. And bring multiple generations of performers into the present and near future with a collective agreement that allows us to not worry that we will be replaced by AI and that we will be able to thrive in our communities while doing the very thing we love so dearly.
For this round of negotiations, the number of ACTRA bargaining team members has doubled to bring more perspectives and voices to the table. Historically, we had a 12-member bargaining team, which now stands at 22 (with ACTRA Toronto members accounting for 50 per cent (+1) of the group) as well as the National President (Eleanor Noble), National Officers (Keith Martin Gordey and Theresa Tova) and Observers from the UBCP/ACTRA branch.
With that said, please meet and support your Toronto 2024 IPA negotiating team. We think we’ve put together one heck of a lineup!
Angelica Alejandro (Alternate; ACTRA Toronto Child Advocate)
Angelica is the current ACTRA Toronto Child Advocate. Experiences as a mother of a performer and having been an OSLO (On Set Liaison Officer), she is passionate about ensuring our younger performers have a safe and respectful workplace. She has served as a past ACTRA Toronto Councillor and Vice-President as well as an ACTRA National Councillor. She is engaged in initiatives for her fellow members with a focus on safety and education, such as teaching the Respect on Set course for new members. She is a current member and past juror of the Academy of Canadian Cinema and Television. Angelica is also a member of Canadian Actors Equity Association (CAEA).
What made you decide to participate in the IPA bargaining committee?
It is an honour to participate as an Alternate. As the current ACTRA Toronto Child Advocate, I hope to represent the voices of the minors whom I champion. These performers work in many different categories and, as minors, they need continuous protections and guardrails in the workplace.
What are your hopes for the negotiations this fall?
With everyone I have spoken to, my hope is the same; that both sides are able to work together towards a sound agreement. Based on my experiences as a mother of a performer and having been an OSLO (On Set Liaison Officer), I am passionate about ensuring our younger performers have a safe and respectful workplace.
What does member solidarity mean to you?
Representing our members’ voices and, in my case as the current ACTRA Toronto Child Advocate, making sure the voices of our younger performers are heard.
George Alevizos (Alternate; ACTRA Toronto Councillor & Executive Vice President)
George Alevizos is a graduate of the joint Theatre and Drama Studies program with the University of Toronto/Sheridan College. He has worked on multiple on-camera projects, including a guest-starring role on the CityTV hit show Hudson & Rex, a recurring role on the CBC Gem/TV’s You’re My Hero, Amazon Prime’s Gen V and featured on CBS’s Star Trek: Discovery. As well, he is no stranger to commercial work. George is also well known in the theatre community, working with Drayton Entertainment, Cahoots Theatre, LemonTree Creations, Shakespeare in the Ruff and EveryBODY on Stage. He also serves as an ACTRA Toronto Council Vice President Executive as well and sits on the ACTRA National Council. Being one of the first graduates in a wheelchair of any professional training program in the country, he is a huge advocate for actors with disabilities in the industry, and will continue to fight until there is proper and equal representation amongst all minority groups.
What made you decide to participate in the IPA bargaining committee?
For the longest time, I felt like I wasn’t seeing changes that were necessary in the industry and felt quite discouraged. Then I got involved at ACTRA. It was the only way for me to help make the necessary changes so that all minority groups feel empowered with their union. The way to do that is to fight alongside them for shifts in our governance. That includes strengthening our agreements so everyone feels represented. The only way to make tangible changes is to make sure things are updated in the agreements, which will help facilitate a stronger and more inclusive industry.
As you prepare for upcoming negotiations, what have you been shocked to learn (so far)?
I have been shocked by the sheer amount of work it takes to create a proper package for the other side. People put so many hours into this to make sure we can fight the fight and get what we want, without having to give up the important things that members want us to fight for. The staff at ACTRA have done an incredible job to facilitate so many member meetings to make sure our outreach is such that we feel prepared. Even though not everything will end up in the agreement, negotiations are so much more than just bargaining; it’s preparing for the fight and making sure members feel supported and mobilized if need be.
What are your hopes for the negotiations this fall?
I want unionized Canadian actors to feel respected and dignified in our industry. I want us to fight for better wages and support for marginalized groups. Additionally, really fight for AI and the big looming threat AI poses for our industry. We have a strong Canadian sector in this country, and it’s time everyone sees what Canadian performers are all about.
What does member solidarity mean to you?
Member solidarity is knowing the members have our backs during this difficult time and will fight alongside us when needed. Being on a bargaining team is so difficult, and sometimes can be quite heartbreaking to be in a room and not be heard. I think, however, if we can keep members in the know about what we are fighting for, it will help galvanize the negotiating team when the going gets tough at the table. Then we can come out with a satisfying agreement for all.
Paul Constable (Alternate, ACTRA Toronto Treasurer)
Paul Constable is the current Treasurer of ACTRA Toronto. A resident of this city for almost three decades, Paul has appeared in various theatre, film and television projects. He got his start at Toronto’s Second City and has somehow created his own Hallmark universe with appearances in Laughing All the Way, Fly Away With Me, Baby It’s Cold Inside and A Christmas Crush. He played the role of Stanley on the series She’s the Mayor, but most people know him as the spokesperson for Canadian Tire. Sadly, the NCA lockout ended the decade-long-plus relationship with this beloved character, Gary, the Canadian Tire Guy.
What made you decide to participate in the IPA bargaining committee?
It seems like every day you read about a new union threatening to strike. Bargaining is one of the most important tools in our arsenal to get what we need to continue to have an industry on this side of the border that our members can work in comfortably. Plus, I was told there might be snacks.
As you prepare for upcoming negotiations, what have you been shocked to learn (so far)?
Artificial intelligence should scare the bejeepers out of all of us. Since the government seems hands-off about regulating it, we better set some new rules in our collective agreement to help keep human actors safe. (ChatGPT did not write this).
What are your hopes for the negotiations this fall?
I’m hoping the other side brings some ideas to the table. It’s felt like ACTRA has been doing most of the heavy lifting in the past, while the other side just reacts to proposals and drags its feet. Also, I heard there were snacks.
What does member solidarity mean to you?
It means if you’re down, even when I’m up, I need to help you get back up on your feet. And if I’m down and you’re up, what can I do to actually get even higher? It’s about helping to make the whole group stronger. My old drama teacher used to say a chain is only as strong as its weakest link. I’m hoping we go into these negotiations with no weak links.
Cory Doran (Alternate, past Voice Committee Chair)
Cory Doran is one of Canada’s most active Animation Performers. He is also a proud ACTRA member and member advocate. His animation credits include My Little Pony, Scott Pilgrim Takes Off, Wild Kratts, Total Drama Island, Transformers: Bots Bots, Saving Me, True and the Rainbow Kingdom, George of the Jungle, Rubble & Crew, Zokie of Planet Ruby, Thomas and Friends, Blue’s Clues, Super Wish, Snoopy, Clifford and Hotel Transylvania.
What made you decide to participate in the IPA bargaining committee?
It’s an honour to have been asked to be a member on the IPA Bargaining Committee. For those who have worked with me before, you know I am a passionate advocate for the rights and wages of performers, for every performer that falls under the umbrella of Voice Performance. It is my priority to ensure Voice Performers are accounted for; that AI checks and restraints are put in place for the first time in the Canadian film and TV landscape; and that the gains with streamers our sibling unions to the south were able to achieve are applied here as well.
As you prepare for upcoming negotiations, what have you been shocked to learn (so far)?
Great question. There are two things that have shocked me. First, how long it has been since many of our incidentals, such as per diem, travel pay and late fees, have been updated to reflect current economics. Some of them haven’t been updated since before I even started in the industry. Second is how unified I’ve found our membership to be when it comes to the key issues of AI and residuals (in terms of streamers). There’s an amazing unity of understanding that these issues and how we handle them today, will define the future of our ability to make a viable living as artists in Canada.
What are your hopes for the negotiations this fall?
More than anything, I hope negotiations will result in the Bargaining Committee bringing forward an updated and AI-containing IPA the membership as a whole can be excited to vote on.
What does member solidarity mean to you?
Member solidarity, to me, means being able to understand, deep down, that despite our different views and experiences, we as performance artists have only one way to ensure a future for ourselves and other ‘soon-to-be’ artists. Unified and strong, we can afford to live, to dream and to continue to create art.
Tonjha Richardson (Co-Chair, ACTRA Toronto Women’s Committee)
Tonjha Richardson is an accomplished actor, writer, dance mom and creator with principal roles in productions such as Da Silva Mystery (Hallmark), Accused (Sony Television/FOX), Transplant (NBC) and Diggstown (CBC). Born and raised in Scarborough, Ontario, she discovered her passion for acting in Grade 6 and has since dedicated her life to storytelling. With a focus on resilience, triumph and amplifying underrepresented voices, Tonjha’s work serves as a powerful conduit for education, inspiration and empowerment. A natural collaborator, she thrives in team environments, creating performance art that entertains, enlightens and uplifts audiences around the world.
What made you decide to participate in the IPA bargaining committee?
I decided to participate in the IPA bargaining committee because it felt like the natural next step in my journey of advocacy. Over the past four years, I’ve been actively involved in ACTRA Toronto, serving as Co-Chair of the Toronto Women’s Committee, Co-Chair of the Disability Alliance Sub-Committee and Facilitator of ACTRA’s “Respect on Set” program. Each of these roles has deepened my commitment to building a stronger, more inclusive union. Joining the bargaining committee allows me to continue this work on a broader scale, ensuring our members’ voices are heard and that we create a more equitable environment for all.
As you prepare for upcoming negotiations, what have you been shocked to learn (so far)?
As I prepare for the upcoming negotiations, I’ve been shocked to learn just how much we have to fight for every basic protection. There’s a significant disconnect between what producers understand nor care what’s actually happening on the frontlines. It’s surprising—and frankly, disheartening—how often fundamental safeguards for our members are either overlooked or outright discounted. One of the most alarming aspects has been the issue of protecting minors as well as ensuring our images and voices aren’t reproduced in AI without our consent. The fact that we have to wrestle so hard for these protections is a clear indication of how crucial this negotiation process is. It’s been an eye-opening experience that has only strengthened my resolve to advocate fiercely for our members’ rights.
What are your hopes for the negotiations this fall?
My hope for the negotiations this fall is to get every top-priority proposal matched. I’m aiming to secure an increase in wages, along with the additional protections we’ve discussed, such as safeguarding minors and ensuring our images and voices aren’t exploited by AI without our consent and compensation. These are essential steps toward building a stronger, more equitable environment for all our members, and I’m committed to fighting for these outcomes.
What does member solidarity mean to you?
Member solidarity means standing together as a united front, recognizing that our collective strength is far greater than any individual effort. It’s about supporting each other, amplifying our voices and ensuring that every member’s rights and concerns are addressed. Solidarity is the foundation of our power in negotiations and our ability to create lasting change. When we stand together, we send a clear message that we will not settle for less than what we deserve and that we are committed to protecting and uplifting every member of our union.
Ana Sani
Ana Sani is an actor, writer and voice actor who has worked on a variety of film, TV and animation projects. She has lent her voice to many beloved characters, including Izzy Moonbow in both My Little Pony: Make Your Mark as well as Strawberry Shortcake in Berry in the Big City. Other notable voice credits include Cocomelon, Angry Birds, Bakugan and The Dragon Prince. On the screen, she plays Anika, in The Boys and Tessa in Ruby and the Well.
In addition to her voice acting work, Ana is an animation writer (Go Dog Go!) and content creator. In her free time, Ana enjoys gaming and video editing. She can often be found tinkering away at the piano or cuddling her fluffy pets. @anasani14
What made you decide to participate in the IPA bargaining committee?
I’m a huge advocate for fairness in wages and improved working conditions for our members. With the magnitude of these upcoming negotiations, it is imperative the voices of our members are heard. Being active in film, TV and voice-over categories has allowed for me to have insightful conversations with other members in understanding what changes need to be made to our current IPA. This opportunity allows me to bring those conversations to the table.
As you prepare for upcoming negotiations, what have you been shocked to learn (so far)?
Due to our constantly transforming line of work, there are many dated clauses that require being updated to fit today’s economy and living standards. Similarly, I don’t think anyone could have foreseen the way in which new media and juggernaut streamers have completely altered the entertainment landscape. It’s been eye-opening to learn the ways our current agreement should be updated to fairly compensate our members who participate in these programs and where we are clearly being undercut.
What are your hopes for the negotiations this fall?
Primarily, I am hoping we can come to a consensus about the usage of AI. It’s coming in hot and at lightning speed. This is our one opportunity to ensure it doesn’t completely obliterate what we’ve all worked so hard to achieve. AI isn’t going anywhere and is certain to become a household tool for productions, so it’s our responsibility to be able to set guidelines around it.
What does member solidarity mean to you?
Member solidarity means being united on all fronts; it means doing what’s best for the membership and sticking together when the going gets tough!
Steven Shackleton (Former Toronto and National Stunt Committee Representative)
Steven “Shack” Shackleton started his performing career as a Stunt Driver in the 1990s. He has worked as a Stunt Rigging Coordinator on everything from TV commercials to blockbuster Hollywood movies. Three generations of his family have all worked in the film and television industry. Over his 30 years in the business, he has transitioned from a PA to special effects, stunt driving, stunt performing and, ultimately, a stunt rigging coordinator. Shack previously served three terms on the ACTRA Toronto Stunt Committee and has represented Toronto at the National Stunt Committee meeting for many years. He is very proud to have been elected by the Toronto stunt community to represent their interests at the upcoming IPA negotiations.
In addition to being an ACTRA member, Shack is also a member in good standing at SAG-AFTRA.
What made you decide to participate in the IPA bargaining committee?
I was nominated and elected by my peers in the stunt community to represent them in negotiations, where we finally have a voice at the table. I am humbled and honoured, and take this responsibility very seriously.
As you prepare for upcoming negotiations, what have you been shocked to learn (so far)?
I have been impressed by the amount of preparation that has been done by the folks on the team. Particularly, the depth of knowledge and research the AI team has brought to the table.
What are your hopes for the negotiations this fall?
The ultimate goal and not hope, is to put in new protections for AI and achieve equity for all of our members with other creative unions, as exemplified by SAG-AFTRA gains in their recent negotiations.
What does member solidarity mean to you?
Solidarity means sticking by our brothers and sisters, even when it may not be personally advantageous. For example, supporting our members who have been locked out of commercials for the last two years.
Gugun Deep Singh (Alternate; ACTRA Toronto and National Councillor)
Gugun Deep Singh (he/him/il) is a multidisciplinary performer and producer originally from and now happily returned to T’karonto. His professional career in theatre, film and television began in earnest after training at conservatories in Chicago and New York. What was at first a five-year plan to develop career prospects in Canada, evolved into a permanent recommitment to his hometown, including a new family and a reignited passion for labour advocacy. His efforts on behalf of fellow arts workers have evolved since arriving home. He has served at an ACTRA Council table since 2018. Notable television appearances include satisfying roles on Nikita, The Strain, The Expanse, Transplant and Blue Bloods. His film work has taken him around the world and involved collaborations with Albert Brooks, Gore Verbinski, David Twohy, Kestrin Pantera, Bronwen Hughes, Lone Scherfig and Michael Keaton. He has also played onstage in Canadian theatre, Off-Broadway, Off-Off-Broadway, repertory seasons, and regional productions.
What made you decide to participate in the IPA bargaining committee?
The 2007-2008 WGA strike first prompted me to consider returning home from Los Angeles. I absorbed so much from their members while supporting various picket lines. It led me to study their deal and the related political history, and I kept on studying after that. Fighting for the dignity of artists and applying the insights I’ve gathered were my original reasons to run for Council, and why I continue studying how our union can best serve our growing ranks to counterbalance a rapidly shifting industry.
As you prepare for upcoming negotiations, what have you been shocked to learn (so far)?
The breakneck embrace of machine learning by large employers is what shocks me most. It feels like an existential threat to our craft and our human industry. Many business leaders have acknowledged their eagerness to use it to shield themselves from human labour costs.
I refuse to call it artificial intelligence, or use any derivative acronym.
What are your hopes for the negotiations this fall?
I have no doubt both sides are keen for an acceptable update to this agreement, without a need for disruption. Folks across Canada were deeply impacted (and continue to be) by the American writers and actors’ guilds each going on strike. Those parallel labour actions were anchored upon issues we are focused upon ourselves. I sincerely hope we are not compelled to strike, but doing so remains our greatest tool, so we will not hesitate to happily pull on our boots and form our lines if provoked, and spend as long on the line as it may take to secure sufficiently respectful terms.
What does member solidarity mean to you?
An ideal relationship between a union and its members is symbiotic: the organization needs to be smart, brave, transparent and progressive so its membership can easily place trust in it. The membership needs to be involved, curious and fiercely loyal to their union, so it can confidently and accountably pursue or apply collective action whenever necessary.
Jennifer Wigmore (Former ACTRA and EQUITY Toronto Councillor)
Jennifer is a multidisciplinary artist whose illustrious career spans the visual arts as well acting and writing. She is currently working on her screenplay Tear Us Apart, an adaptation from Salvatore Antonio’s play S H E E T S. Also well known in theatre circles, she has performed across Canada. Notable recent on-camera credits include James Patterson’s series Cross (Amazon Studios & Paramount Pictures), Dream Scenario (Nicholas Cage), Malory Towers (BBC & BYU TV), Y: The Last Man (FX & Hulu) and Designated Survivor (Netflix). She narrated fellow Edmontonian Todd Babiak’s novel, The Spirits Up, as well as On the Tracks by Pam Mulloy for which she won an Earphones Award for best Biography & Memoir narration. A passionate and tireless advocate for artists, she co-founded AACE (Association Acting Coaches and Educators) to help to bring standards and community to acting education and has worked with other organizations including EQUITY, Got Your Back and NSIP (National Society of Intimacy Professionals).
What made you decide to participate in the IPA bargaining committee?
I’ve never been one to shy away from a fight and this will be the most important negotiation since the invention of the Internet. Significant changes to the industry will have a deep impact on all performers and we need to make sure that we not only address these threats, but that we fight to improve the lives of performers. Having been around this business for the last 30 years, I have the knowledge and experience to bring to the table from all levels of my career.
As you prepare for upcoming negotiations, what have you been shocked to learn (so far)?
How many clauses haven’t been improved upon in many years and have been passed over for larger items. While AI and residuals are the big ones this round, we must improve the small things too, as these have a large impact on the bottom line in the lives of working actors.
What are your hopes for the negotiations this fall?
To capitalize on the incredible gains SAG-AFTRA made and help us close the gap with our sibling union to the south. While I am not expecting parity, I am expecting greater respect for Canadian performers and significant improvements to our wages and working conditions. The time of discounts is over.
What does member solidarity mean to you?
Power, strength and community. There was much to be learned watching the strikes in the U.S. last fall. The incredible solidarity they gained from all levels of artists and across unions was empowering and inspiring. I know we can do the same and stand strong together while facing this significant threat to our livelihoods.
Nova Zatzman (Former Alternate Stunt Committee Representative)
Nova Zatzman is a professional stunt woman and stunt actor. She has been an ACTRA member since 2008. Nova has worked on several productions, including: Chucky, Star Trek: Discovery, The Handmaid’s Tale, Shazam, Workin’ Moms, Hobo with a Shotgun and numerous other films, TV and digital media productions and commercials. Off-screen, she served as an alternate representative member on the ACTRA Toronto Stunt Committee in 2018-2019. In addition to her work in film and television, Nova has spent over a decade working professionally in the Information Technology Industry and has extensive experience with digital media content.
What made you decide to participate in the IPA bargaining committee?
Having been a member of ACTRA for almost two decades, I joined the bargaining committee because I believe my diverse background in stunts, acting, information technology and previous committee experience can significantly contribute to our negotiations. I bring a well-rounded perspective to the team. My aim is to contribute to the negotiation process that addresses our members’ needs and secures a deal that the membership would be proud of.
As you prepare for upcoming negotiations, what have you been shocked to learn (so far)?
Even with my background in information technology, I am shocked by how quickly technology is advancing in media development and how accessible it is becoming. This underscores the urgent need to establish a strong foundation for AI usage in our future IPA to protect performers.
What are your hopes for the negotiations this fall?
My primary goal is that we establish a solid foundation for future success, including the implementation of strong AI protections. Safeguarding our members against potential risks associated with AI technologies will be crucial in ensuring our agreement not only addresses immediate concerns but also assures long-term benefits and security.
What does member solidarity mean to you?
Member solidarity, to me, is the cornerstone of our collective power. It’s about leveraging our collective strength to confront challenges head-on, advocate for each other and drive our common goals forward.
Geoff Scovell (Alternate; ACTRA Toronto Stunt Committee)
Angel Wong (Background and Stand In community)
Interested in learning more about IPA bargaining? Check out ACTRA Toronto’s 2024 IPA bargaining page!
