It certainly has been a tumultuous 26 years, a period marked by major changes for Actors' Equity Association. The economy and the zeitgeist undoubtedly played their roles. But so did Guy Pace, Equity's former assistant executive director for national finance and administration. He recently stepped down from his post to serve for an interim period -- two years, he speculates -- as a senior advisor and consultant. He will not be coming to work on a daily basis, but he will still maintain his corner office, he admits with a chortle.
Looking back, the Malta-born Pace reflects on the evolution of the issues facing the 45,000-member union and his contributions to the resolution of those issues. Among the areas in which Pace has played a spearheading role: resolving commissions disputes with agents, fighting for the passage of the Tax Reform Act of 1986, redrafting the union's constitution to make national representation a reality, and establishing a more equitable dues system.
"Until 1980, Equity had a single dues system," he recalls during a phone interview. "Those dues were determined on the basis of what an actor made each year. Because we were facing a deficit, we knew we'd have to set up a two-fold system of dues. For those actors who were not working, there were just basic dues. For those actors who were working, there were the basic dues plus 2 percent dues on earnings."
Pace admits that two-fold dues represented an increase for everybody, and it was a two-year battle to get it passed. Nonetheless, this was a necessary and equitable move, he says, if for no other reason than to lower the union's deficit. It was such a rational decision, Pace insists, that SAG and AFTRA followed suit with similar plans.
And then there was Pace's heady experience with the antitrust violation suit brought by agents against the union, which went all the way to the U.S. Supreme Court. At issue was the size of agents' commissions. "It dragged on for three years, but in 1981 we won!" Pace says.
Not all of Pace's activities were so emotionally fraught. He recalls with pleasure his lobbying efforts for the Tax Reform Act of 1986, which created an income tax provision favorable to performers: "It meant that for the first time, actors who made less than a certain amount of money would be able to deduct all of their expenses, not unlike a low-income independent contractor. It was a lot of fun to see actors on the far right, like Chuck Heston, and actors on the far left, like Ed Asner, in agreement and working for the same goal."
But perhaps the achievement that most satisfies Pace as he reviews his tenure was redrafting the Equity constitution in 1992, which led to national representation: "For years, members from around the country were complaining that they were not represented on the council, which is based in New York. It took us five years to write a plan that would guarantee equal representation across the country. Essentially, what we were saying was 'No taxation without representation.'
"At one time, most of the members were living in New York," Pace continues. "But membership has decentralized. Many of our members are in Los Angeles and Chicago, a great theatre town. The regional theatre movement, which started in 1965, produced a mass exodus out of New York and that exodus has been growing."
Theatre and Unions
Pace was clearly a natural for his role. But consider how he got into it -- surely an unexpected career move while also, paradoxically, profoundly logical. As he tells it, he always had an interest in drama and taught theatre (and English literature) for ten years at Catholic high schools in New York. At the same time, he served as union president of the Lay Faculty Association of New York. When a friend suggested he merge his two vocations -- theatre and labor -- the next step was obvious. He joined Equity as an administrative aide and within short order he was tapped for his executive post.
During his 26 years at Equity, he has seen major growth, including a rise in membership, earnings, and workweeks: "In 1979, there were 189,000 workweeks. By 2003, it was up to 288,000. Similarly, in 1978, we had $76 million in earnings. Compare that with the $290 million earned by the end of last year." More significant is the growth of theatres nationwide and union coverage (with a separate Letter of Agreement) for increasingly smaller houses, Pace reports. "There is more work and salaries are up. As a result, the number of our dues-paying members has more than doubled since 1978, when we had only 22,000 dues-paying members."
Pace also oversaw Equity's computerization and its establishment of a network and website. Equally important was his negotiation of a "sweetheart real estate deal" on the Equity building, which allows the union to reside in the property for an extended time at a low rent.
Pace is leaving his position on a high note. In addition to his consulting work with the union, he is looking forward to "reading, teaching perhaps, and traveling. I'd like to spend time in northern Thailand, a place I love."
None of this is to suggest that Pace believes the job is done. Indeed, his replacement, Steven DiPaola, has his work cut out for him.
"The union's big issue for the future will be health insurance, health insurance, and health insurance!"