I have enjoyed reading your correspondence with Todd Olson -- producing artistic director at American Stage Company in St. Petersburg, Florida -- and honestly, I see solid points made on both sides, as I think you do.
However, one important fact has been obscured in the dialogue: When Olson says his theater is "fully AEA," he means he has a contract with Actors Equity -- NOT that all of the actors he hires are Equity members. I'm not sure what contract he is on now, but he can and does use a fair proportion of non-Equity actors. Such obfuscation is not uncommon among small theaters with Equity contracts, as they rely upon the misperception that Equity = professional and non-Equity = non-professional to puff up their stature with statements such as "fully Equity."
Why does this matter? It matters because many of Olson's points are predicated on the assumption that all of his actors are Equity. Talk of how his actors have access to health insurance, of the struggles of finding a way to pay actors more than scale, of the comparatively low pay to his staff, or of what he considers silly ancillary Equity requirements (breaks, cots, etc.) is disingenuous, given that many of his actors have no insurance, are paid well below Equity scale, and are not entitled to most Equity protections -- although they do share in the breaks, and I suppose no one would object if they fainted onto the cot.
Read the whole letter and I think you will agree that the situation for actors in Florida mirrors that of many regions across the country. This includes Boston, where many actors choose to avoid Equity if they can.