Professional Documents
Culture Documents
2021 - 2024
Canadian Theatre Agreement
2021-2024 Material Terms
2:00 SCOPE
2:01 Statement of Intent and Principles of Interpretation
This Article reflects the understanding between PACT and Equity for determination of
adherence to the CTA by members of PACT.
This Article respects the status quo for historical practices by PACT members. It is not
intended to be used to reduce the minimum standards and conditions under which
Equity members are engaged.
2:02 Recognition
A Theatre wishing to undertake an activity outside of the CTA must make an
application to PACT.
(A) The Theatre recognizes Equity as the exclusive representation of all Artists
engaged under the Canadian Theatre Agreement
(B) Equity recognizes PACT as the exclusive representative for the administration of
the Canadian Theatre Agreement on behalf of its Regular, Associate, and
Sector 2 members.
16:00 FEES
16:01 Legal Tender
In Canada, all payments required to be made by the Theatre to the Artist shall be in
legal tender of Canada. All minimum rates of compensation set forth in the CTA, all
other rates of compensation set forth in the CTA, and all other rates of compensation
set forth in every individual contract between the Theatre and the Artist, must be paid
in legal tender of Canada.
18:00 DEFINITIONS
The following terms, wherever used in the CTA unless otherwise provided, shall be
defined as follows:
18:01 Actor
The term "Actor" shall refer to and include all Artists signed to CTA Engagement
Contracts, as Performers, including but not limited to Principals, Chorus, Extras,
Singers, Dancers, Mimes and Narrators.
18:02 Artist
The term "Artist" shall refer to and include all persons who are engaged by the Theatre
under CTA Engagement Contracts including: Actors and other Performers; Production
Stage Managers; Stage Managers; Assistant Stage Managers; Directors; Assistant
Directors; Fight Directors; Intimacy Directors; Choreographers; Assistant
Choreographers; Dance Captains; Fight Captains; Intimacy Captains.
18:03 Assistant Choreographer
An “Assistant Choreographer” is the person engaged to assist the Choreographer in
matters related to the choreography of the production.
18:04 Assistant Director
An “Assistant Director” is the person engaged to assist the Director in matters related
to the direction of the production.
18:05 Assistant Stage Manager
"Assistant Stage Managers" shall work under the direction of the Production Stage
Manager or Stage Manager, assisting in the stage management of productions in
rehearsal and performance.
18:06 Bit Cover
A “Bit Cover” is the performance of a chorus role, or part of a chorus role, which
appears in one (1) or two (2) scenes in a performance. A Bit Cover may involve lines in
up to a total of eight (8) exchanges with other characters, or a monologue of not more
than one (1) minute, and appear in a scene in which the Artist would not otherwise
appear as part of their Role in that performance.
18:07 Child Supervisor
A "Child Supervisor" is a competent person who is at least sixteen years of age;
engaged by the Theatre for the purpose of care and supervision of the child
performer(s); with an adequate knowledge (or training by the Theatre) of backstage
etiquette, the Theatre’s policies and procedures, and the facilities available for the
child performer(s); and who is not an Artist otherwise engaged in another capacity on
the production.
18:08 Children
A “Child” is a person age fifteen (15) or younger.
18:09 Children's Chorus
A "Children's Chorus" is a group of children in a production who appear as part of an
ensemble.
18:10 Choreographer
A “Choreographer” is an Artist engaged for the purpose of devising and setting
recognizable and accepted techniques of dance and repeated specialized movement
in a play or musical.
22:00 NON-MEMBERS
22:01 Non-Members
(A) Requirement for a CTA Engagement Contract
Except where provided for elsewhere in the CTA, all non-members of Equity
shall be signed to CTA Engagement Contracts. A non-member may sign an
unlimited number of CTA Engagement contracts and either voluntarily join
Equity, or remain a non-member.
Members of other Unions or Associations
Individuals who are not members of Equity, but who are members of ACTRA,
Union des Artistes (hereinafter called UDA), or any other performing artists'
association or union, shall be signed to CTA Engagement Contracts.
(B) Requirement to Remit Filing Fees
Where a non-member is engaged under a CTA Engagement Contract, the
Theatre shall deduct and remit to Equity the amounts as set out in 3:02(B).
(C) Membership Information
A Theatre will provide information supplied by Equity, which outlines the full
benefits of being a member of Equity, to non-members.
22:02 Touring Into the USA
A non-member engaged under a CTA Engagement Contract, that includes touring into
the USA, shall be offered a limited membership in Equity that will extend for the
duration of the CTA Engagement Contract.
26:00 PERFORMANCES
26:00 Preamble
All performances or rehearsals for which admission is charged (except bona fide
benefits permitted by the CTA) are to be counted and considered as performances for
which the Artist is to be paid.
26:01 Half-Hour Call
All performances must include a half-hour call.
Notes may not be given to the Actor during the half-hour call or any intermission
except by Equity Stage Management or under the supervision of Equity Stage
Management where the note concerns health or safety.
At the Theatre's discretion, the "half-hour call" shall be deemed to be either thirty (30)
or thirty-five (35) minutes. The Theatre shall advise the Artist which half-hour call it is
using.
35:00 CONTRACTS
35:01 Standard CTA Engagement
A standard CTA Engagement Contract is a contract which does not in any way amend
the basic minimum provisions of the CTA with respect to the minimum period of
engagement.
35:02 Run-of-the-Play CTA Engagement
A Run-of-the-Play CTA Engagement Contract is a contract in which the basic minimum
provisions of the CTA are specifically amended within the CTA Engagement Contract
to prohibit termination for a period of one (1) year from the beginning of the
engagement except by mutual consent of the parties to the contract following
consultation by the Artist with Equity and receipt of Equity's approval or by virtue of
company closing.
A Run-of-the-Play CTA Engagement Contract may not contain an option with respect
to an extension of the engagement period.
(A) Rider
The standard CTA Engagement Contract may be designated a Run-of-the-Play
CTA Engagement Contract by the addition of a rider which stipulates:
The Theatre and the Artist agree that this CTA Engagement Contract is
designated as a Run-of-the-Play CTA Engagement Contract pursuant to the
provisions of Clauses 35:02, 35:11, 38:08, 38:11, and 38:15(C).
CTA Engagement Contracts which do not contain this wording will not be
accepted as Run-of-the-Play CTA Engagement Contracts.
(B) Period
The period of engagement for a Run-of-the-Play CTA Engagement Contract
shall be for the run of the play to a maximum of one (1) year in the first instance,
and shall begin on the date of the first rehearsal. The run-of-the-play fee
requirements will also begin as of the first rehearsal. After the first twelve (12)
month period, extensions of Run-of-the-Play CTA Engagement Contracts shall
be for a minimum of three (3) months, to a maximum of one (1) year.
(C) Application
A Run-of-the-Play CTA Engagement Contract can only be applied to a single
production which has no scheduled closing date.
(D) Fee
The Artist's Contractual Fee for a Run-of-the-Play CTA Engagement Contract
shall be not less than as specified in the current CTA Fee Booklet per week
above the applicable minimum fee.
38:00 TERMINATION
38:01 Notice Period
(A) Two Weeks Minimum
The minimum period of notice of termination for the Artist shall be two (2) weeks.
(B) More Than Two Weeks
If an Artist's CTA Engagement Contract specifies a notice of termination greater
than two (2) weeks, said greater period shall be substituted for "two (2) weeks"
where used in the CTA. However, such notice of termination may not be longer
than one-third (1/3) of the total length of the engagement period, but in no case
longer than four (4) weeks.
38:02 Delivery of Notice
(A) Written
It is the essence of all CTA Engagement Contracts that all notices thereunder,
company and individual, must be in writing. Copies of all notices must be filed
with or mailed to Equity immediately by the party (Artist or Theatre) giving
notice.
(B) Methods For
All notices to the Theatre must be given to its designated representative in
writing. Notice to the Artist must be given to them personally in writing unless
they are not at the theatre location, in which case it may be given by registered
mail to their last known address and by email copying Equity.
(C) Call Board
All communications which refer to the company in general shall be posted on the
call board.
(D) Timing
(i) Individual notices of termination given at or before the half-hour call on the
first performance day of the Engagement Week and which take effect at
the end of the final day of the week following shall be deemed two (2)
weeks' notice.
39:00 UNDERSTUDIES
For the purposes of this Article, Understudy shall include Performing Understudy,
Standby and Swing.
Should a Theatre elect to engage Understudies, the following Clauses shall apply.
39:01 Programs
The names of all Understudies shall be listed in the program, except that the Actor
may, at their option, require a rider to the Artist’s individual CTA Engagement Contract
exempting the Artist’s name from such listing.
39:02 Rehearsals and Performances
(A) Line Rehearsal
There shall be at least one (1) "line rehearsal" per production completed before
the opening of said production. If this is in addition to the regular rehearsal
hours, the Artist shall invoice the Theatre at the rate stipulated on line one (1) of
Schedule "A" in the current CTA Fee Booklet.
(B) Blocking Rehearsal
(i) Primary Understudy Tracks
Blocking rehearsals for primary Understudy tracks culminating in a
complete run-through rehearsal on stage must be completed within
fourteen (14) days of the first public performance of each production. In
repertory and Sector 2, blocking rehearsals including a minimum of one
four (4) hour priority rehearsal call and culminating in a complete on-stage
run-through rehearsal, must be completed within twenty-one (21) days
after fourteen (14) public performances of each production.
Rehearsals for Understudies must commence no later than two (2)
working days following the first public performance of each production.
Such rehearsals may take place under the supervision of the Resident
Director or Assistant Director if there is one, or the Stage Manager.
(ii) Secondary Understudy Tracks
When the Theatre has cast secondary Understudy tracks, blocking
rehearsals culminating in a complete run-through rehearsal on stage must
be completed within fifty-six (56) days after fourteen (14) public
performances for the second set of Understudies.
(iii) Extending Timeline
Should an Understudy not receive a run-through rehearsal on stage within
the timelines outlined in this Clause, the Theatre shall pay the Artist an
additional one-eighth (1/8) of the Artist’s Contractual Fee for each week or
part thereof until the run-through rehearsal has been completed.
To ______________________________
(name of Theatre)
Re ______________________________
(name of Production)
Consent of Chaperone
I, ________________________________ (name of Chaperone), have read and familiarized
myself with Article 59:00 of the CTA and the script with respect to the role to be played by
(name of Child Performer).
I understand that my responsibility is to ensure that the best interests of the Child Performer in
my care prevail at all times, and I consent to assume this responsibility. I warrant that I am at
least eighteen (18) years of age.
Dated ______________________________
Chaperone’s signature print name ______________________________
Chaperone’s signature ______________________________
Chaperone’s telephone number ______________________________
Witness print name _____________________________
Witness address ______________________________
______________________________
______________________________
______________________________
To ________________________________
(name of Theatre)
Re ________________________________
(name of Production)
I, ________________________________, am the parent or legal guardian of a Child
Performer, who is a Child Performer engaged under the terms of the CTA, and I hereby
authorize the Theatre or its designate to arrange for provision of medical treatment for my
child in the event of an emergency. This authorization will be used only when I or another
parent or legal guardian of the Child Performer is unavailable to provide the consent.
Dated ________________________________
Parent or legal guardian’s print name _______________________________
Parent or legal guardian’s signature ________________________________
Parent or legal guardian’s telephone number__________________________
Witness print name _______________________________
Witness address ________________________________
________________________________
________________________________
________________________________
6. Where the Theatre has elected to post or insure a bond, the payment schedule is set
out as above.
Where the Theatre has elected to forgo a bond, the Theatre will remit to the Artist the
full payment due at the commencement of this agreement.
7. The Artist declares, and assumes responsibility to be and remain, a member in good
standing of Equity.
8. The Theatre on behalf of the Artist will deduct and remit to Equity insurance premiums,
RRSP contributions and working dues as required by Equity. Remittances for the total
duration (re: insurance) or value of this agreement (re: RRSP and Dues) shall be
forwarded to Equity in advance of the start date of this contract if the total
remuneration is paid to the Artist in advance. Otherwise, remittances will be made on a
weekly schedule as payment to the Artist.
9. The Artist is a member of Canadian Actors’ Equity Association and is being engaged
under the terms of this agreement. The Artist has been informed of the expectations of
this contract, including anticipated hours of work, accommodation and travel
arrangements (if any). It is understood that the term of engagement may include work
within communities outside the Artist’s regular place of residence and such locations
have been consented to by the Artist.
10. It is further understood that the project spans the term stipulated above and may
include unpaid hiatuses, which will be consented to prior to signing of this agreement.
During any such hiatus, the Artist is no longer under obligation to the Theatre, however
the Theatre must remit insurance payments for any hiatus week or part thereof, which
amounts shall be added to the total/weekly fee. The insurance premium for these
activities shall be $20 per week.
11. When performing in a PACT Signatory Member’s venue, the producer warrants that
the fee for each performance will at least meet the venue’s applicable minimum fee on
a weekly or pro-rata basis for the duration of the performances.
12. The Theatre confirms that the Artist will be protected by no less than the minimum
standards of applicable health and safety laws and regulations and will meet the
minimum standards of provincial or federal labour standards, as applicable.
13. The standard CTA Clauses for Termination and Article 9:00, Harassment and
Discrimination apply to this agreement.
14. It is understood that the use of any recording made of the activity in its entirety for
commercial purposes requires the agreement of ACTRA.
National Office
44 Victoria Street, 12th floor
Toronto, ON M5C 3C4
Tel: 416-867-9165
Email: communications@caea.com
Western Office
Tel: 604-682-6173
Email: woffice@caea.com
www.caea.com
www.pact.ca