While appearing on Broadway in her Tony-nominated role of Jeanette in The Full Monty in August, 2001, Equity member Kathleen Freeman died of lung cancer. Equity Councillor Jane A. Johnston, a longtime friend and executrix for Ms. Freeman’s estate, later discovered among Ms. Freeman’s papers a document containing A Code of Ethics for Theatre Workers. Ms. Freeman was a daughter of a small time vaudevillian team. Her childhood experience of touring with her parents inspired this Code of Ethics, Ms. Johnston writes. She also notes: “What is particularly interesting about this list of dos and don’ts for the theatre is that it was written in 1945 when Kathleen was establishing one of the first small theatres in Los Angeles and she was 24 years old. I wish I had been told some of ‘the rules’ when I was a young actress instead of having to pick them up as I went along.”
The theatre was the Circle Players (with Charlie Chaplin among its backers), which later evolved into the Players’ Ring. Although there is no record that either company used an Equity contract (they certainly pre-dated the 99-Seat Code in Los Angeles), Ms. Johnston confirms that all the participants were professionals.
Foreword to the Code
“A part of the great tradition of the theatre is the code of ethics which belong to every worker in the theatre. This code is not a superstition, nor a dogma, nor a ritual which is enforced by tribunals; it is an attitude toward your vocation, your fellow workers, your audiences and yourself. It is a kind of self-discipline which does not rob you of your invaluable individualism.
“Those of you who have been in show business know the full connotation of these precepts. Those of you who are new to show business will soon learn. The Circle Players, since its founding in 1945, has always striven to stand for the finest in theatre, and it will continue to do so. Therefore, it is with the sincere purpose of continued dedication to the great traditions of the theatre that these items are here presented.”
The “rules” follow:
1. I shall never miss a performance.
2. I shall play every performance with energy, enthusiasm and to the best of my ability regardless of size of audience, personal illness, bad weather, accident, or even death in my family.
3. I shall forego all social activities which interfere with rehearsals or any other scheduled work at the theatre, and I shall always be on time.
4. I shall never make a curtain late by my failure to be ready on time.
5. I shall never miss an entrance.
6. I shall never leave the theatre building or the stage area until I have completed my performance, unless I am specifically excused by the stage manager; curtain calls are a part of the show.
7. I shall not let the comments of friends, relatives or critics change any phase of my work without proper consultation; I shall not change lines, business, lights, properties, settings or costumes or any phase of the production without consultation with and permission of my director or producer or their agents, and I shall inform all people concerned.
8. I shall forego the gratification of my ego for the demands of the play.
9. I shall remember my business is to create illusion; therefore, I shall not break the illusion by appearing in costume and makeup off-stage or outside the theatre.
10. I shall accept my director’s and producer’s advice and counsel in the spirit in which it is given, for they can see the production as a whole and my work from the front.
11. I shall never “put on an act” while viewing other artists’ work as a member of an audience, nor shall I make caustic criticism from jealousy or for the sake of being smart.
12. I shall respect the play and the playwright and, remembering that “a work of art is not a work of art until it is finished,” I shall not condemn a play while it is in rehearsal.
13. I shall not spread rumor or gossip which is malicious and tends to reflect discredit on my show, the theatre, or any personnel connected with them-either to people inside or outside the group.
14. Since I respect the theatre in which I work, 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.
15. I shall handle stage properties and costumes with care for I know they are part of the tools of my trade and are a vital part of the physical production.
16. I shall follow rules of courtesy, deportment and common decency applicable in all walks of life (and especially in a business in close contact with the public) when I am in the theatre, and I shall observe the rules and regulations of any specific theatre where I work.
17. I shall never lose my enthusiasm for theatre because of disappointments.
In addition, the document continued:
“I understand that membership in the Circle Theatre entitles me to the privilege of working, when I am so assigned, in any of the phases of a production, including: props, lights, sound, construction, house management, box office, publicity and stage managing-as well as acting. I realize it is possible I may not be cast in a part for many months, but I will not allow this to dampen my enthusiasm or desire to work, since I realize without my willingness to do all other phases of theatre work, there would be no theatre for me to act in.”
All members of the Circle Theatre were required to sign this document. And they must have-because the theatre, and the group into which it evolved, was successful for many years.
Feature image of Kathleen Freeman courtesy of the following WEBSITE
I had the great good fortune to have worked with Kathleen Freeman in a production of HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING at the Sacramento and Fresno Music Circus many years ago.
She was a consumate stage performer, and a wonderfully supportive ensemble player.
Years later when I was on the West Coast Board of Actors’ Equity, I got to know more about Kathleen’s dedication to the her fellow actors.
I was inspired by her selflessness in her untiring efforts for AEA.
When I moved to LA permanently,by chance I bought a house for my family about two minutes from Kathy’s residence on Orion in Van Nuys.
The proximity allowed us to spend some quality time together over the years.
I had not read her Code of Ethics, although she spoke about it often in various ways.
It is both comprehensive and succinct. How she could have written, at such a young age, such perceptive and important guidelines for actors’ responsibilities to the profession,their peers, and themselves attests to the special artist and person who was Kathleen Freeman.
I urge all actors to follow her Code
of Ethics.
A quick note of clarification. I did work at the Player’s Ring and Gallery theaters in the early 1960s and we did work with an Equity contract. I don’t remember the details or name of the contract but it required a small number of Equity actors who I believe were paid in the area of $75.00 per week, also an AEA stage manager. The contract did not creaete restricting circumstances but set up a high standard of professional acting.
Every theater in this country should have this posted in their green rooms.
Every. Single. One. From the biggest equity theaters with their own buildings to the ensembles carrying it around in a bag to post in the theater they are renting.
Scripted. Sketch. Improv. Doesn’t matter. Every Actor from learning Stanislavsky to Meisner to Spolin should have this.
I can’t imagine a modern 24 year old writing a code of ethics, much less adhering to one over a lifetime…
The world is a less fortunate place without those who understood the rules and responsibilities of society…
God’s blessings on Kathleen Freeman
Not a bad code for technicians either.
To Nathan Bean: Your comment about 24 year olds betrays an impoverishment of your imagination or experience. I’m a geezer and I know and have worked with many very principled, very serious, very professional young actors — on both sides of 24 — who are admirable in their dedication to their craft and their love of the theatre. They may not have penned a code of ethics, but they appear to abide by one all the same.
If Angela Lansbury could go the entire run of “Blithe Spirit” without missing a performance, then any actor can. I have heard from several people who went to see the new production of “West Side Story,” and a certain young Tony-award winning actress wasn’t “in” that day. This happened on three different occasions, just from people visiting NYC from the Akron area. (Yes, I was one of those disappointed patrons.) Completely Ridiculous! Especially with the price of a theatre ticket these days, those actors should get their acts together and show up for work! I am not saying they should work when sick or injured, but come on… it’s your job! Quit being a diva and work your social life around your performance schedule, not the other way around. As a theatre educator, I hope that my student actors will emulate Kathleen Freeman’s code of ethics, and not those of the spoiled and full-of-themselves actors.
Bless Kathleen Freemen and her knowledge. These rules are the basis of all good actor/technician professional education and experience. If they are new to you, go back to your school and ask for your money back. To be in the theatre is indeed a privilege. To step on the stage is to step into a sacred space. If you don’t know that or believe that, you have missed the point and perhaps you need to get out of the theatre.
Wow. Thanks for sharing this.
I am going to post this in both dressing rooms at 24th STreet Theatre. What a wonderful guide for all actors. If this attitude was prevalent in L.A., 99-seat theatre would be viewed very differently by the public.
Very very sad that alot of theatre’s have fallen out of this code. I am going to post it in MY house so that I am the FIRST one to follow this and then I am going to pass it out to all my students so that they understand the unwritten rules of professionalism are not so UNWRITTEN……they were written and adhered to for years.
Thank you.
B
Beautiful! I was looking for this forever! I agree, this should hang in every theater backstage!
I am not an “actor”. I am a children’s entertainer. a “birthday party clown” if you will. (though I do not put on Makeup) and I find these to be a wonderful list of ways to be a PROFESSIONAL at ANY work you do. entertaining certainly, but I have worked in virtually any kind of business from sales to manufacturing and these rules or something like them should be posted in EVERY workplace!
Treat your profession as if is the most important thing in the world! In My case, that means treating EACH and every child I speak to as at LEAST an equal! they may be SMALL, but they are my customers and clients. they deserve every bit of respect due to the most venerable of adults! treat every performance as if it is the most important in your life! Even for ONE child!
Papa Balloon
I wish I had this wonderful list while in college. I was a total newbie caught in the world of theatre with no knowlege of conduct.
Specifically number 9. woops
# 17 should be inscribed over every green room door.
While there are still many dedicated, talented, wonderful theater professionals that adhere to this code, there are many, many younger individuals that have absolutely no work ethic at all.
We’ve had people audition for us who claim to be totally committed to the production, IF hired. Then, when they are hired, hand us a list of conflicts, scheduled “vacations” requested for “job sharing”… you name it. One of our ex-actor’s posted a “double booking” on his Facebook page the night that he called in a “family emergency” unable to do the show - 2 hours before curtain! Later that evening, he went back on the Facebook page and “shared” that he was looking for someone to go to a movie with him that same night. Yes, he had the stupidity of sharing with his producers. ARRGH!
I am currently working my first post-undergraduate acting job. I have had the great fortune of growing up at the hands of many talented and dedicated theatre artists. I am very lucky that many of these rules were beginning to be ingrained in me by the time I was four. But I could not be more grateful to have found this code. Every single theatre person (professional or otherwise) should have a copy somewhere - on his wall, in his wallet - so that we can all remember that a theatrical life truly is a privileged one.
Some really great points. Wonderful find!
Would like to run this on my site for actors, as well. Thank you.
im a theatre student and aspiring to be a working actress. a great deal of this i thought was almost like common “theatre” knowledge. im surprised that there are folks WORKING who dont carry this respect. but reading dinner producer and kathy ringley’s comments im not so much. this was an incredible find. thanks to lastage and blogstage for passing this along. think i have a new she-ro in miss kathleen freeman.
Thank you for sharing this remarkable find! I have published the Code on ChicagoStageReview.com and provided a link to your fascinating article.
Thanks Again and Best Wishes!
The work ethic described is very good, but #2 is a little too extreme. I think allowances must be made for a severe illness or the death of a close loved-one.
I saw Ms. Freeman in The Fully Monty on Broadway! She was wonderful.
Hi,
Thank you for the great quality of your blog, each time i come here, i’m amazed.
black hattitude.