Profile: Professional Association of Canadian Theatres

In the words of the Professional Association of Canadian Theatre’s
(PACT, Suite 210) Executive Director Lucy White, in thirty years of working
with non-profit theatres on basic issues like funding “lots has changed, and lots hasn’t changed.” One big change for PACT is that they are about to move into a new larger space at 215 Spadina, Suite 555, as they are virtually busting at the seams in their current shared space. The growth of the organization has been gradual and feels like a natural evolution, but if you had asked Lucy six years ago if they would have six people on staff she’s not sure what she would have said.

As Lucy explains, “each leap has been perfectly logical and natural…in hindsight. Each time there’s been an element of risk-taking – should we do this, should we not? What we try to do is work within our existing resources and when we identify new areas we want to work in we very carefully plan out that activity so it can sustain itself over time. That way it’s not entirely dependent on a single line in a grant application or a single revenue stream to create long-term continuity. As an organization we’re not terribly old, but we’re starting to create a legacy and we have to
make sure that everything we do is building on what we’ve done before and towards where we want to go.”

So where has PACT been and where are they going? PACT has worked for three decades doing advocacy work for non-profit theatre companies on a range of issues and ensuring that professional theatres have a voice. They have a solid labour relations portfolio and do collective bargaining with artists associations such as Canadian Actor’s Equity, Playwrights Guild of Canada, Associated Designers of Canada, and L’Association des professionnels des arts de la scène du Québec (APASQ). PACT does research and communications making sure their 143 members have all
the practical information they need. As part of their growth as an organization they are also doing more professional development work: “We are working to identify those things that theatre management requires and create training materials and opportunities for people that are very specific to the theatre environment – the things you need after you graduate from university that will actually help you with the practical skills of running a theatre company.

The wave of baby boomers, representing a huge segment of the work force, are edging closer to retirement affecting the nature of work in most sectors. Not only will there be an increase in high-level openings for new up-and-comers, but it may also mean internal changes to the employment structures and how work is done. “Ever since the first Cana-dian theatre was established it has been constantly evolving. Theatre administration has to be creative in the same way that theatre arts are creative. Where that shift is going specifically, I’m not sure. Each new person in an organization changes the dynamic, so certainly arts organizations are going to change in the same way that audiences and the practice of the art changes. But a profound human connection is at the
core of theatre and that doesn’t change.” In this new climate, there will
be more openings than ever before for fresh young talent to take on the creative task of making theatre happen. Live theatre will evolve to reflect these changes and as always part of that project will be to attract new audiences.  

The connection between theatre and the community has always been strong. Not only in the most obvious sense of communicating with audiences, but also in a broader context relating to how the arts and creativity in general contribute to societal well-being. “Theatre artists have always known that they have a specific role in a community, which is to reflect on, comment, challenge, provoke, and stimulate audiences. What seems to be happening is that decision makers are catching up to what we’ve already known. We’re seeing more and more debate about the important role that creative thinking and expression have in the formation of a really healthy society. The danger is that art then gets seen as simply an instrument of some kind of social policy, so what we have to
explain is that artists need to be central in this discussion and in formulating what our approach is going to be.” PACT will continue to take on the task of ensuring that theatre companies are part of any discussion about city-building and not simply utilized as tools for a creative city agenda or tourism brochure.

It’s hard to know what the future holds for live theatre. Although there are shifts that can be seen on the horizon, what exactly these changes will bring is anyone’s guess. For PACT, they will continue to move with the tide and do their best to anticipate changes and provide the support and resources non-profit theatre needs to continue flourishing. “I think theatre as an art form is also well-positioned to be a natural relief to electronic media and communication. Theatre is about a profound personal connection and to participate in theatre either as an actor or an audience is another connection that is not like sitting in front of your computer screen. One of the more exciting things that we can see is the opportunity to re-engage with audiences and to offer them a genuine human alternative.”

www.pact.ca 

Photo caption: Professional Association of Canadian Theatres’ staff (left to right): Labour Relations + Professional Development Manager Sandy Crawley, Membership Services Coordinator Clelia Farrugia, Policy Intern Jasmine Spei, Advocacy + Development Manager Samantha Fox, Executive Director Lucy White. Absent: Administrative Assistant Nan Carson, and Office Administrator Janis Hobson