Carlo Fiorletta is the president of the Guild of Italian American Actors, the only ethnic acting union in the United States. The GIAA may not be as big as SAG-AFTRA or Actors’ Equity—although GIAA members automatically qualify for the latter—but Fiorletta is just as dedicated to protecting the actors he works with, represented by his union since the 1930s.
Tell us about the GIAA. It started as a union for people who came in from Italy, who did Italian-language plays and opera and the like. When other acting unions started, [GIAA] organized to make sure people got a fair wage. I came into the group in 1994 and I moved up. I had theater connections, so we could keep one foot in the theater world rather than just focus on film work, which is something we had been doing.
How many members do you have? We have about 100 members. I’m often chasing people down for dues. [Laughs.] We’re tiny compared to Actors’ Equity or the Variety Artists union; it’s a niche market. Once you join, you’re never really out. If members are sick or hurt, we can make arrangements. I always say that “Godfather” quote with a smile: “Once you’re in, you’re never out.” The size is so special because I’ve met most of the members in person or talked to them on the phone. It’s a very personal union and I’m glad to be a part of it.
Why is this union so important? The concept of ethnic identity is important and so are unions. Unions have been fading since the Reagan era, but everyone deserves to make a living. It’s a real shame when people can lose their house and bank presidents can get raises. Identity is important for everyone, but especially for actors who are supposed to be in touch with their emotions. Every culture has our own rituals involved in our identities; it’s a very close tie to family.
What would you say to a potential member to get them to join? Even if they do weekend shows and club dates, we do our best to get them paid. We honor the other unions’ rates and we don’t undercut anyone. It’s important for unions to respect each other. I pride myself on being informed. I’m also a member of Actors’ Equity. The unions try to help regular people—that’s what it comes down to.
What kind of work do you do outside of the union? I do get asked to do a lot of Italian-American type stuff. I’m a little bit older so I get asked to [play] widowers and things like that. I love to teach people about Italian theater. I work for an educational theater company and I do “Dorian Gray” and Hemingway; you’re educating as well as entertaining. I’m also a licensed teacher in New Jersey. The word “epiphany” came up the other day, and when you watch someone catch something you’re trying to teach, it’s really special.
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