My MEAA Story: Joti Gore

Photo: David Li Photography

MEAA Equity Federal Vice-President Joti Gore discusses how he became a performer and why it is important to be a union member.

Sydney’s treasure, 109-year-old Eileen Kramer, who choreographed for my first American dance company that I was in as a child called Trillium Collective, may have subliminally led to my desire to visit Australia. So it was 16 years ago, I made Australia my home, joined the union, and signed with agents/management.

Over the years, I have found ways to be more active from serving on committees to becoming a Victorian delegate and a part of National Performers Committee, Equity Diversity Committee, delegate for ACTU Congress, and writing for the Equity Magazine. Currently, I am serving as Equity Federal Vice-President, MEAA Board Member, and Executive Delegate for FIA (International Federation of Actors).

I am a proud multiracial, member of the LGBTQIA+ community, and touring multi-skilled MEAA, SAG/AFTRA, and Equity performer who has been involved in unions in Australia and abroad for over 30 years and worked in multiple parts of the industry including film/TV, commercial, dance, music, theatre, and voiceovers.

My very first theatre experience was when I was in year 9 at Greenbrier Valley Theatre in West Virginia. I went to my best friend Robbie’s rehearsal of Peter Pan. I was so mesmerised that I instantly fell in love with acting. I walked away wanting to make everyone feel what I felt.

My career as an actor has been very rewarding. I have had amazing relationships with people who recognised my potential and helped me. I would say it has been a career full of surprises, with opportunities on stage, film, television, music, dance, and commercials.

When I told Adrienne Belafonte Biesemeyer, Eileen Kramer, and Cathey Crowell Sawyer that I wanted to go to American Musical Dramatic Academy in New York City, they all supported me. Adrienne told me that her dad would take care of me. I did not realise at the time her dad was Mr Harry Belafonte. His great advice was: “You are a singer, dancer, and actor. Don’t let anybody tell you any different. You are that, so be that.”

Cathey Crowell Sawyer, who directed me in summer stock at Greenbrier Valley Theatre, helped me prepare for my acting audition for AMDA and convinced me to join Actors’ Equity Association during my first tour when I was a teen. It was one of the best decisions that I have made.

In 1999 while on tour in Joseph in St Louis, I was cast in my first SAG-AFTRA feature film, The Big Brass Ring. These opportunities led to working with brilliant actors like Uncle Jack Charles in Woodley, James Franco in Milk, Rosario Dawson and Idina Menzel in Rent, Shah Rukh Khan in My Name is Khan, and HBO series Hunters. Working with directors Chris Columbus, Gus Van Sant, and George Hickenlooper has been a masterclass.

“It is important to be a MEAA member because nothing should solely rest on an individual. Collective action for positive change takes a great deal of work.”

Being union created ginormous opportunities to work with people in theatre like Neal Tate, the first Black musical director on Broadway who directed me in the show Eubie, and Broadway MD Victoria Theodore on the I Get So Caught Up tour, and Charleston Ballet choreographer Kim Pauley who choreographed me as Bernardo in the 50th Anniversary performance of West Side Story.

I’m currently preparing for the most challenging role yet in my show Blacknificense: The Cotton Club Experience debuting at Chapel Off Chapel in late January next year as part of the Midsumma Festival. Blacknificense is an immersive dive into the musical journey inspired by the Cotton Club era.

This year I have been more outspoken in my role in MEAA beginning with the platform of the Represent campaign. I feel it is necessary to give voice to First Nations, BIPOC, LGBTQIA+, and multi-racial groups in particular because of my background and feeling my voice has not been heard or represented enough in the arts community and union. Often, I have felt that I have not been acknowledged as an important contributor to the community. Feeling like an outsider can create a sense of vulnerability and feeling unequipped to work at your best in the industry. Addressing these issues around representation led to keynote speeches, interaction with senior government officials, and Arts Ministers. It also drove the direction of conversations and actions in arts boards, ACTU policy making, facilitating workshops, and collective actions for diversity, inclusion, disability, and access far more reaching and rewarding that I could ever imagine.

The union is a wonderful place to learn, grow, and collectively and individually find your voice. There are many opportunities to study, participate, and be a part of a community that cares about the future and our place in it. Simply finding a group of like-minded people can cultivate change and stimulate your mind and skills to achieve your greatest potential with support.

I think it is important to be a MEAA member because nothing should solely rest on an individual. Collective action for positive change takes a great deal of work. Showing solidarity cross-sectionally means that we can proactively be the impetus and instruments of positive change, create the new foundations for the betterment and inclusion of everyone, and create a work culture shift that represents the beautiful make-up of our Australian community.