By Dayo Ade
In 2022, I received ACTRA Toronto’s Best Actor award for a leading role, which prompted me to reflect on how this accolade could possibly alter my position as a Canadian actor. In pursuit of further insight, I engaged with some of my industry peers, and interviewed them to both gauge their experiences and points of view.
Olunike Adeliyi, the 2023 Canadian Screen Award (CSA) Best Lead Performance (Web Program or Series) recipient, boasts a diverse portfolio, including roles like Constable Kerns on Flashpoint, Miss Queenie in The Porter, Giselle Bois in Workin’ Moms and Dr. Toni Shakur in Revenge of the Black Best Friend. Olunike’s journey, beginning as a young mother at 18, was significantly influenced by a pivotal conversation with Denzel Washington. She recounted her transformational experience studying at The American Academy of Dramatic Arts in New York, where she gained unwavering confidence. Her return to Toronto marked the start of a promising partnership with a like-minded agent, launching their shared journey toward success.
Kevin Hanchard, the 2017 CSA Best Male Lead winner, is recognized for his role as Det. Bell in Orphan Black. Despite initial aspirations of becoming a lawyer, Kevin’s passion for theatre flourished, leading him to graduate from the University of Windsor with a Bachelor of Fine Arts. My path crossed with Kevin’s when he attended Cawthra Park Secondary School of the Arts, but that’s a whole other story.
Sarah Dodd, an accomplished writer-producer with credits on shows such as Ransom, Motive, Cardinal and Family Law. She’s received a CSA, a Writers Guild of Canada (WGC) Screenwriting Award, and multiple Leo Awards. Sarah’s career began with a paid internship on the last season of Road to Avonlea upon graduating from the University of Victoria. She painstakingly climbed the industry ladder, progressing from script coordinator to co-executive producer before becoming a showrunner. Photo credit: Kristine Cofsky.
My curiosity about the existence and effectiveness of a Canadian Star System led to interviews with these three industry professionals. I aimed to shed light on whether a star system exists in Canada and, if so, wanted to know if it operates effectively.
All three interviewees, including myself, shared the belief that winning awards was never the initial motivation for pursuing a career in the entertainment industry. Instead, we all discovered our passion for storytelling, and cultivating these abilities at young ages, eventually realizing we could make a livelihood and build careers out of it.
Delving deeper, I questioned whether being nominated or winning awards had positively impacted our careers. Olunike admitted a slight impact, while both Kevin and Sarah were more skeptical with a direct, “No.” The interviews unveiled a stark contrast between my optimistic perception, rooted in my experience in the United States, versus the Canadian reality.
I asked all three if they had engaged in talks with their representatives to leverage their nominations and wins to advance their careers. Kevin’s response, laced with humor, revealed a lack of such discussions. He said, “The most clout I’ve ever got out of the award was just being a part of the show.” He questioned the cachet associated with Canadian awards, particularly when negotiating roles for American projects.
Olunike shared her experience of striving to initiate these conversations with her representatives but encountering resistance. Her aspirations to expand her career, especially in light of opportunities like Black Panther and The Woman King, were stifled by her agents’ reluctance to adapt to her vision. “Feeling like I had no governance over my career, both my Canadian and American reps ended up cancelling themselves. We parted ways, and now I’m repped by WME.” I could clearly hear the smile on her face. “See how God works!” Olunike’s persistence paid off and now she’s in the driver’s seat with reps who understand her and her vision.
Sarah humorously dismissed any notions that awards significantly altered her career trajectory. “Of course, the wins are on my resumé and IMDb page but, it’s not like winning an Oscar, at all. I’m not speaking for every writer, but for me I just try to be grateful for it in the moment and enjoy it while it’s happening. I never had any illusions that it was going to change my career.” She acknowledges the transient buzz surrounding award wins on a foundation of humility, “I feel there’s a buzz around you at the moment for about a week or two. I have felt very humble to be in the company of the other award winners over the years.”
Kevin pointed out the absence of a robust star system in Canada, highlighting issues with publicists, investors and overall recognition. He questioned, “Why do prominent Canadian actors, such as Keanu Reeves and Ryan Reynolds, have to achieve success in the United States before garnering appreciation as homegrown talent? It’s not like that with hockey, basketball and baseball.” I agree! Why should film, television and music be any different?
He also touched on the role of technology levelling the playing field between Canadian and American productions. While agreeing with Kevin’s criticism of Canada’s complacency when he said, “We don’t celebrate our talent and work like other nations do. We’re not lifting up our actors, our writers, our production teams and celebrating how great we are at telling stories,” I also question whether this reluctance is ingrained in Canadian culture.
In summary, the interviews uncovered significant challenges within the Canadian entertainment industry, aligning closely with my own observations regarding diversity, compensation, self-investment and unity.
To provoke change, Sarah wished for more investment in writing and increased promotion of Canadian shows. Kevin advocated for the need for pay structures and residual models to reflect the digital age, while Olunike called for better compensation for artists and greater inclusivity in Canadian programming.
From my perspective, Canada grapples with an identity crisis as it often prioritizes consumption and discoverability of foreign productions over its domestic content. While organizations like ACTRA and the Academy of Canadian Cinema & Television diligently strive to elevate awareness and recognition of our homegrown talent and industry through their respective awards, the remaining burden of change and responsibility rests upon our citizens and government, both of whom wield significant influence over the landscape of Canadian creativity.
To thrive globally, Canada must unite and invest in its talent and productions. Only then will we attract external investments in Canadian content.
Even though we are referred to as Hollywood North, Canada lags behind other industries like Bollywood, Nollywood and the Chinese film industry in global recognition. A change in mindset is required – from being content to just attending the party to aiming for gold or nothing.
As I drop the mic on this discussion, the truth is evident: Canada’s entertainment industry has untapped potential waiting to be realized and recognized. I echo the sentiments of my industry peers – it’s time to speak the truth: unite and invest in diverse Canadian talent to drive change that expands borders and thereby competes with the other international industry forces in a unique and truly Canadian way.
Dayo Ade is a versatile actor-producer of Nigerian, Canadian and American heritage who flourished in the arts from his Toronto upbringing. He gained recognition through his breakthrough role in Degrassi Junior High and later relocated to Los Angeles, California, in the late ’90s.
Since then, Dayo has appeared on shows like Lost, Cracked and Workin’ Moms, and is currently reprising his role as “TAYO” on Chuck Lorre’s CBS sitcom, Bob Hearts Abishola. Photo credit: Anna Keenan Photography.
