Jensen v Cultural Infusion
[2020] FCA 358
At a glance
Source factsCourt
Federal Court of Australia
Decision date
2020-03-19
Before
Wheelahan J
Source
Original judgment source is linked above.
Judgment (33 paragraphs)
Introduction 1 The appellants were professional actors who were engaged by the respondent for the performance of a travelling theatrical show. The issue that arises on these appeals is whether, for the purposes of the Fair Work Act 2009 (Cth), the appellants were engaged by the respondent as employees, or as independent contractors. The primary judge found that the appellants were independent contractors, with the consequence that relevant wages and entitlements under the Live Performance Award 2010 on which the appellants relied did not apply to their engagement: Jensen v Cultural Infusion (Int) Pty Ltd [2018] FCCA 2137; 337 FLR 191. 2 The appeals arise out of a largely common set of facts and raise a common issue. The appellants and the respondent agree that the same conclusion should be reached in each of the appeals. For the following reasons, I have determined that the primary judge erred in some respects in applying the multi-factorial approach in evaluating whether the appellants were independent contractors or employees. However, in reviewing the evidence, I have come to the same conclusion as that of the primary judge, namely that at all material times, the appellants and the respondent were in a relationship of independent contractor and principal. Therefore, the appeals will be dismissed.
Background 3 The following summary is drawn from the primary judge's findings of primary fact in respect of which there was no challenge on appeal. 4 The appellants are professional actors. The respondent is a theatre company that is in the business of providing educational and school performances. The respondent engaged the appellants to participate in a series of performances titled the ANZAC Centenary Roadshow: Victoria's Journey of Remembrance. The ANZAC Roadshow was underwritten by the Victorian Department of Premier and Cabinet, and performed throughout Victoria at venues such as Returned and Services League clubs, and at schools. 5 At the start of their engagement in July 2014, the appellants conducted rehearsals of the ANZAC Roadshow over a two-week period at premises occupied by the respondent. Those rehearsals were overseen by Mr Montgomery, the production manager and director, and Ms Suris, the script writer, both of whom were employees of the respondent. 6 Approximately mid-way through their two-week rehearsal schedule, each of the appellants entered into a written contract with the respondent. Their contracts were in substantially the same terms, and the parties agreed that the minor differences in the manner of formation and terms of those contracts were not material to these appeals. 7 The primary judge at [39] described the contracts as "drafted in a somewhat rudimentary form". That was putting it kindly. The contracts appear to have been haphazardly drafted and contain a number of anomalies and inconsistencies. The primary judge stated at [39], and the parties have not challenged, that the "contracts should be construed against the matrix of mutually known facts which underpinned the production of the ANZAC Roadshow and as two honest businessmen would understand their terms: Cohen & Co v Ockerby & Co Ltd (1917) 24 CLR 288 at 300 (Isaacs J); AGL Victoria Pty Ltd v SPI Networks (Gas) Pty Ltd [2006] VSCA 173 at [80] (Nettle JA, Maxwell P and Bongiorno AJA agreeing)." That approach is consistent with more recent High Court authority, including Ecosse Property Holdings Pty Ltd v Gee Dee Nominees Pty Ltd [2017] HCA 12; 261 CLR 544 at [16]-[19] (Kiefel, Bell and Gordon JJ) and [45] (Gageler J), and I have adopted that approach in my construction of the terms of the contracts. 8 I will address some of the relevant clauses of the contracts in considering the parties' submissions. At this point, and by way of background, I note that the contracts provided as follows - (1) The preamble stated that the parties to the contract were the respondent, Cultural Infusion, and an acronym, "ACT", stated to be the relevant actor (Ms Goodwin, Mr Jenson, or Mr Palframan) in their respective contracts "for and on behalf of ACT". At [42], the primary judge construed the references to "ACT" as references to the relevant actor, and the parties have not challenged this construction. (2) Clause 1.1 expressed that the contracts were for a period of not less than one year (or two years in the case of Ms Goodwin's contract). (3) Clauses 1.4.5 and 1.4.6 dealt with the actor engaging other performers or subcontracting. Clause 1.4.5 stated that "ACT may not engage performers not listed as members of ACT without first notifying Cultural Infusion." Clause 1.4.6 stated that "ACT may not subcontract other performers to perform in place of ACT under any circumstances." (4) Clause 1.5 was an express characterisation term. It provided that "The relationship between Cultural Infusion and ACT is that of principal and independent contractor and not that of employer and employee unless otherwise specified." (5) Clause 1.6 provided that "all performers are responsible for their own Public Liability, Work Cover Superannuation, Police Checks and Working with Children Certificates". (6) Clause 3 imposed obligations on the actor to undertake marketing and publicity for Cultural Infusion. The actor was obliged (inter alia) to be available, at no cost, for two publicity or promotional performances (clause 3.1); to allow Cultural Infusion to arrange publicity photographs (clause 3.2); to provide all necessary material for publication in the brochure and teacher resource notes (clause 3.3); to verbally acknowledge Cultural Infusion at the conclusion of all performances (clause 3.4); to display Cultural Infusion signage at all performances when supplied (clause 3.5); and to carry Cultural Infusion business cards and/or brochures when supplied, and/or forward contact details of Cultural Infusion to potential clients of Cultural Infusion (clause 3.6). Further, the actor was prohibited from undertaking other advertising or marketing ploys without written permission from Cultural Infusion (clause 3.8). (7) Clause 4 set out (inter alia) the actor's obligations in relation to rehearsals and performances. Clause 4.18 provided that "Although Cultural Infusion provides extensive marketing, publicity and management support, we cannot guarantee or determine how much work will be available." (8) Clause 5 provided that the actors were to provide a valid tax invoice to Cultural Infusion and that Cultural Infusion would pay the actor the fee prescribed in Item 2 of the Schedule. (9) Clause 7 provided in detail for the manner in which the actors were to invoice Cultural Infusion for performances. (10) Clause 9.1.3 provided that - Any approach relating to a future engagement, that arises from a direct result of a CULTURAL INFUSION performance, brochures or other event or promotion must be channelled through CULTURAL INFUSION. • Direct being defined as repeated bookings from the school, or private functions held by the school. • Indirect being defined as any bookings that result from the original booking made by CULTURAL INFUSION including bookings for other venues or private functions. (11) Schedule 1 prescribed the actor's rates of pay and allowances. The daily rate was $246.80 with additional allowances for extra hours, food and living away from home. (12) The contracts did not contain any clauses that entitled Cultural Infusion summarily to dismiss or terminate the actor, or that expressly reserved in any detail the manner in which Cultural Infusion would retain control over any particular aspect of the performances, or conferred any entitlement on the actor to annual leave or personal leave. 9 After their two-week rehearsal schedule, the appellants began touring and performing the ANZAC Roadshow. The show went for about 50 minutes and the appellants presented it up to three times per day. The appellants performed the show at more than 100 venues, over approximately 100 days of performances, over a period spanning nearly a year. The volume of work fluctuated from week to week, with some weeks during school holidays having no work at all. The respondent provided the appellants with a roster, which provided about four weeks' notice of each upcoming performance. 10 The appellants made up the whole of the cast who performed the ANZAC Roadshow. The appellants performed the show according to a script. The appellants gave evidence that they would suggest changes to the script from time to time, but that the director had the final call. At the end of at least some performances at school venues, the appellants engaged in a discussion with students and teachers using a set of suggested topics provided by the respondent. 11 The appellants travelled to and from the respondent's premises to their shows in a van provided by the respondent. The appellants were accompanied by the director and production manager, Mr Montgomery. Upon arrival, the appellants and Mr Montgomery would "bump" (or carry) in the various costumes, props, lighting and other items required for the show. All of that equipment was provided by the respondent. After the show, the appellants would "bump" (or carry) the equipment back to the van. 12 The appellants each had their own ABN and invoiced the respondent for their work on a monthly basis. The appellants tendered invoices in evidence before the primary judge that were stated to be GST free. The respondent paid the appellants' invoices and did not deduct personal income tax. 13 The appellants incurred no personal expenses and took on no personal financial risk in the engagement. When the ANZAC Roadshow toured regional areas, the respondent met the costs of the appellants' accommodation. The appellants did not accrue or take any paid leave from their work for the respondent. If one of the appellants was unavailable to perform a scheduled show, the respondent engaged an understudy to perform the role. During the period of their engagement with the respondent, all of the appellants performed other work for other entities, variously as contractors or employees, and as actors or in other industries.