PUNCTUALITY

You’ve heard about it your whole life and being a professional means there are no excuses for lateness to a rehearsal or performance. There are moments when a real crisis may disrupt you from your appointed arrival time, so PLAN for those moments by arriving well before the designated time. Those extra minutes will allow more time to warm-up, build an ensemble, or get you in the right frame of mind. If lateness is truly unavoidable, you must call your Stage Manager and let him or her know your expected arrival time.

 

READ WHAT YOU SIGN

Read every contract before you sign it. EVEN FROM THE THEATRE GUILD.

 

REHEARSALS

For many, this is the most exciting time of being in a show. Take time to explore your character (Why do you cross on that line?), fine-tune stage business or justify your choreography. Even if you can’t wait to get in front of an audience, let those Actors who love it, relish it.

 

CELL PHONES

Turn them off when entering a rehearsal or performance space. There are appropriate times to use them, so hang up!

 

DIRECTOR’S NOTES

Getting them: Always be gracious, even if you disagree. Say “Thank you” after the director gives you the note, or “May we speak about this later?” if you don’t understand or disagree. The note session is not therapy for your character, but rather a session of quick fixes for MANY elements of the show. Find time for you and the director to solve issues that affect you or your character only.

 

Giving them: NEVER, (Did you read that?) never give another Actor notes and never allow yourself to receive notes from another Actor. A response could be, “Thanks for your help, but I think it’s best we do this kind of thing through the Stage Manager or Director.” There is no room for flexibility here. Wouldn’t you resent it?

 

COSTUME FITTINGS

These are tricky. Let the designer know your concerns but avoid doing his or her job. Too much unwanted advice to a designer, and you could end up in a tube top or out of a job.

 

GOSSIP

You know it’s wrong. We heard you say it.

 

QUIET!

As you learned in the last rule, sometimes keeping your mouth shut is a good thing. We will expand on that theme — keep the noise down when you are backstage. Avoid all talking and/or whispering, some theatres actually DO have good acoustics. Keep your voice and laughter down even when in the dressing room.

 

TECH REHEARSALS

You know what we’re going to say, right? That is the only time the designers get to fine tune their work with you there. So, pay attention. Don’t disrupt their rehearsal and stay close to the stage, because they’re always going to go back a few scenes when they resume.

 

BACKSTAGE DRAMA

Just because we play dramatic characters onstage does NOT mean we must portray them off. When you are in a show, the theatre becomes a tiny universe. Remember, it is temporary, and there is a REAL world outside those theatre doors. Don’t be the stereotypical diva or demanding Actor. If love should bloom while in a show, great! Keep it outside! If you have a personal struggle, sorry, but keep it outside. You were selected for your performance abilities; perform.

 

HALF-HOUR is a misnomer.

The Stage Manager may set ANY reasonable arrival time for any Actor in any show. You should welcome your time in the theatre. So get there early; there are many things to do.

 

PROPS

Two major rules here -- never play with a prop and always check your props before each show (luckily you got there before “half-hour”). Those two rules seem instantly understandable but are rarely followed. Follow them. The first night you discover the climactic letter in your pocket is missing before your entrance, you’ll understand.

 

COMMITMENT

All cast and crew shall forego all social activities which interfere with rehearsals or any other scheduled work at the theatre, and shall always be on time.

 

ILLNESS

There are sick days built into many contracts; use them when you NEED to.

 

AD LIBS AND CHANGES TO SCRIPT

As the performances wear on, you may feel that you understand the character better than the playwright. You don’t, so quit making up lines. You therefore should not change lines, business, lights, properties, settings or costumes or any phase of the production without consultation with and permission of the director, writer or producer, and you shall inform all people concerned.

 

OPENING NIGHT

Congratulations! Have fun at the party but remember, you have a show tomorrow night.

 

DURING PERFORMANCE

You never leave the theatre building or the stage area until completing the performance, unless specifically excused by the stage manager; curtain calls are a part of the show. Your business is to create illusion; therefore, it is important that you not break the illusion by appearing in costume and makeup off-stage or outside the theatre. Regardless of your role in the performance you will do your share to strike the set and will not leave until every piece of set, costumes, props and any other piece of equipment is cared for and returned to its proper place.

 

MARKING A PERFORMANCE

The lone audience member today paid the same ticket price as the full house that loved your performance last night. You have a responsibility to all involved to perform the show as rehearsed and to do your best. If that doesn’t sway you, that lone audience member may be someone important in the business. Now, you’re listening.

 

MAINTAINING A PERFORMANCE

You can look at a long run either as a chore or the world’s best acting class. You get to ply your craft and test your choices in front of an audience (“Why did I get that laugh last night and not tonight?”). Quit complaining and stay fresh. There are worse things than having a job.

 

PUBLIC IMAGE AND REPRESENTATION

As a member of the Theatre Guild, you will ensure that any and all communications generated by you to the public represent the best interest of the Guild, highest quality. You will maintain a professional manner when representing the Theatre Guild, to the community when requesting services of any kind including but not limited to program ads, advertising and donations.

 

INFLUENCES

The comments of friends, relatives or critics does not mean the actor/ actress has a right to change any phase of the work without proper consultation. Beyond that, the performer should forego the gratification of their ego for the demands of the play and never “put on an act” while viewing other artists’ work as a member of an audience, nor make caustic criticisms from jealousy or for the sake of being smart. The performer must respect the play and the playwright and, remembering that “a work of art is not a work of art until it is finished,” so desist from condemning a play while it is in rehearsal.  

 

CARE

Since I respect the theatre in which I work, and perform.  I shall do my best to keep it looking clean, orderly and attractive regardless of whether I am specifically assigned to such work or not.

 

RESPECT

We appeal only to the basest of reasons for having respect (Remember, nothing spreads faster than your reputation):

For Staff— They can hire you again.

For Crew— They can hurt you.

For Directors— They can make your life miserable.

For Designers—They can make you look stupid.

For Theatre Guild—They can help you.

For other Actors—They can upstage you.

For Yourself…That means, value your contribution to the show by following the above guidelines and taking care of yourself when rehearsing or performing. Keep healthy throughout the run. You were chosen over many other Actors for this role, so respect yourself and live up to everyone’s belief in you. You will take care of my fellow cast and crew and treat them as my theatre family.

 

REPEAT

I will follow Stanislavski's admonition to "love the art in yourself, not yourself in art!" and I will abide by the Rules and Regulations of the Theatre Guild.