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.
I have to agree with the comment above that the first two seem unduly rigid. I’m a professional stage actor, and I hope that if/when a family member dies, people will forgive me if I miss a show. Likewise, I do musical theater – if I were to get laryngitis and be unable to produce any sound, I would think that people would rather see an understudy than suffer through my “performance.” Sometimes actors do get so sick that they cannot perform the role as it is written. That’s why understudies exist.
All that said, there are some wonderful rules in this document that we would all do well to remember.
To those who see this as evidence we live in post-lapsarian times, I’d point out that if every actor in 1945 just naturally adhered to this code, Ms. Freeman would not have had to write it up.
In any society at any time, there are those who enhance the industry in which they work and those who detract from it. Please don’t use this excellent piece as a reason to pit “the kids today” against veterans of the craft.
I have a very similar document that was given to all of the actors working in a haunted house that I did the casting and managing for. They are no truer words to live by in all walks of life! Thank you for sharing them with us!!!
I’m thinking there is something a little bit off in calling this a code of ethics. It seems to me more like an agreement between actors and producers for a particular theater. It incorporates some things that remind an actor of aspects of their craft, but some of the stuff, especially concerning doing other jobs around the theater, are just particular to being a company member. A professional Equity actor today has a contract with each theater company that spells out rules like these plus many more specifics, but a couple or few of these rules would not apply.
I met Kathleen when she was performing at the Hayloft Dinner Theatre in Lubbock, Tx. She, as did many of us, suffered at the hands of the producer, Les Craver (now dead). He was a piece of work! At my house one evening after a performance and obviously after a set-to with Les, Kathleen, drink in hand, vented her anger. “I have never been treated so badly in my entire professional career! And believe me, honey, I’ve played some toilets!” She was a wonderful actor with a wonderful work ethic and it was a pleasure to know her even briefly. She was my kind of gal.
This was printed in Equity News about 6 or 7 years ago. I printed it out and had it displayed on the call board and in the green room of the theatre I was working at. Its pretty perfect. Nice to see it making the rounds again.
This kind of cloying self-seriousness is partly responsible for why theater is dying a slow but pointlessly melodramatic death.
@Peter — how sad you should feel this way. If you are a stage actor (and I hope you are not), it is definitely time for you to get out of the ‘business.’ If you are a film or television actor, then you should know that most of the best of that breed have come from a theatre background, and many of them revisit the stage as often as possible. There is nothing like a live performance — for both the audience and the performer — for each and every performance is a moment in time never to be repeated exactly in the same way. Most actors crave the ‘electricity’ that can only come from being a part of a live theatre event. If you are not an actor at all, Peter, (and I can only assume you are in this category), it’s time to turn off the television/videogame/internet, forget the multiplex movie theatre and find a place in a real audience in a live theatre house. You won’t believe what you might find yourself!
This is okay. I just don’t like #2. If someone in your family DIES, you should be able to be excused from performance, unless you WANT to actually perform.
Well @Peter, it folks like you who thinks its cool to show up unprepared, late for rehearsals and/or shows, break the furniture show up in your Spiderman outfit texting on Foursquare to your friends at the concession during intermission, and heading out to Burger King during the performance making people wonder while onstage covering for your late entrance “What the hell happened to him” That is making audiences say: If I’m going to see crap, at least I’m going to see crap on film and not live with this guy onstage. A guy who doesn’t give a rats because he hasn’t given his pants back to costume to wash and you can literally *smell* his crappy performance.
Have fun performing in the back of bars to the people who feel like you. You will find your niche audience of people just like you: showing up late to the theater halfway into the performance turning on their cell phone and talking through half of the monologue you are currently “Going up On” Because, they don’t give a crap what you are doing either. They came just to wait until you are done so Karaoke can start.
Or may I recommend you not dealing with people at all and consider a one man show? This also includes you running and doing your own lights, sound and costuming. You can be as cloyingly hipster unprofessional and lazy all day long.
I agree with Jamie and #2 I think anyone should be let go from a performance due to death in the family. Hence why I think on a production side something also needs to be done: Hire Understudies and swing actors in case of these emergencies.
I get it as when this was written in 45…work ethic was absolutely different and there was also not leeway (or laws) in regular professions to take that time off of work for death. So yea. That is the only one that is outdated in terms of not only theater…but any profession.
This is the most specious thing I have ever seen. In a lot of ways it’s so disgustingly binding. It is horrible! This code takes anything artistic whatsoever out of theater. It gives no freedom to the actors. It leaves no room for mistakes, strokes of genius, improvisation, organic ideas, or any freshness whatsoever. Isn’t that what theater is really about after all? It’s not about handing out perfect Xerox performances, it’s about really sharing and bringing to life a moment. Perfection is for the movies or an OST, not the stage. Any true actor would feel creatively stifled by such guidelines.
[...] Players Theatre. This “Code of Ehthics for Theatre Workers” was written in 1945. Click here to see the original post. I wanted to go through the code and see how much of it applies to actor’s today. So please, [...]
I had the opportunity to work with Kathleen Freeman when she played my mother, Mrs. Brice in a Las Vegas production of Funny Girl. We shared a dressing room. I did not know about this code but I can attest to the fact that she LIVED it completely. When she knew I was upset about something personal, Kathleen called me that evening and spent hours trying to help me resolve it. I recall how important it was to her that I get past my problem — it was affecting my performance. I now realize her “code” did not allow anything to interfere with the theatre. She was kind and generous with her time and clearly conveyed the fact that I had a job to do and a responsibility to the production. Although I can’t say I was then “healed” and fine…she was correct and helpful. One other funny tidbit — I remember she would sit at her dressing table with her costume shoes on. I sat barefoot or in flip flops. I asked why she sat in those shoes for at least 45 minutes before she needed to. She said, “If I have my shoes on, I’m ready to go.” Kathleen explained that if something happened and she had to run on stage (hair and makeup were unimportant), all I have to do is grab my costume and run. She was a special and memorable lady.
This is perfect. If I had to write a code of ethics I hope it would come out something like this. Thanks. James.
Sad to say, but those of you that find these ethics rigid…YOU are what’s wrong with theatre today. The world is full of spoonfed people who think the world owes them a living but they shouldn’t have to commit or be dedicated to their craft in return… Peter and Justin, you “get it” least of all… If you feel it’s ok to let down your fellow actors and your loyal patrons for ANY reason, you should not be in this industry… The Show Must Go On is gospel, and comes from a time when people took responsibility seriously…if you don’t believe in it, find another line of work, you don’t deserve the stage, and the stage certainly deserves better than you!
People are reading too much into #1 & 2. Notice the clause “to the best of my ability.”
Respect for Lily Rabe was not lessened when she cancelled appearances (in Merchant of Venice) to attend her mother’s funeral. If anything, it was increased when she returned after missing only two shows.
Jan Maxwell was hit by a minivan after a Saturday afternoon matinee of Follies, and of course she took off; but she was back in on Tuesday.
A heck of a list.. i act/teach high school drama and i may post this backstage- harder still is living by them..
The wonderful Uta Hagen, while performing in “Six Dance Lessons in Six Weeks,” fell off the Geffen Theatre stage during the Act One blackout. Four feet down and she was 81 at the time! (amazingly she did not break any bones!!) She protested from the back of the ambulance that she had to go on for the 2nd act! As I remember, she was back the next day. I worked with her on “Collecting Stories” in NYC and during the 7 month run she didn’t miss a day. She didn’t need this code of ethics posted on the green room board, since she lived it, but perhaps some younger actors do.
Actually, this set of actors commandments dates further back than Kathleen Freeman. In researching a book on actor George Reeves, I found this exact document in the Pasadena Playhouse files circa 1936. My sense was that it was created by someone there.
Hear! Hear!
Too bad this was lost so long. Perhaps now that it has been found, we might rejoin the effort to adhere to it ideals.
Justin, I’ve been working in professional theatre for 40 years. I’ve done about 90 plays (not to mention a lot more TV and films). If you truly hold the attitude reflected in your note about the “specious, …disgustingly binding” code described above, I truly hope I never have to work with you. I believe that any method that gets you to a good performance is a good method. Any method that includes professionalism, that is, and this list is as excellent a definition of theatrical professionalism as I’ve ever seen. I posted it myself backstage during my last run. I think it’s a damn good way for actors to behave in their chosen life, and that it in no way stultifies your precious freedom to be creative. If you think these are bad ideas, I hope I never have to look at you across a stage or a dressing room. Sorry.
For every one of us too brilliant, too tired, too offended, or too distracted to give a damn tonight, there are 10,000 others out there willing to throw off their cares and bleed for the privilege of doing so. Any one of them, on any given night, would be infinitely better than anything less than our best.
I also had the Good Fortune to have worked with the amazing Ms. Freeman and I garnered so much.
I am always trying to adhear to these ethics in every Production I am in. This was my upbring and my training and the difference between professionals and not. Period. You think any of this is Old fashioned Or rigid, than You don’t belong on a stage. You don’t deserve the opportunity to share In something as communal and glorious as being given the opportunity to create a World, first breathed By the author. At least, for God Sake, respect the people with You enough to give Your proper cues. Please!
I am not sure I understand the comments that dismiss this as too “rigid.” I think the first two could have been worded better. I doubt anyone would blame you if you were very ill or someone in your family passed away. But to claim that this stifles you or theater in general? Really? Virtually all of this is about proper respect paid to your craft, your fellow performers, the technical staff, the author, and the audience. You take on a serious responsibility when you CHOOSE to perform in a play, and contrary to your belief, it’s not about YOU. My biggest pet peeves are those that regularly miss rehearsals because, well, they have things to do, are chronically late and make everyone wait for them, don’t put in the effort to be prepared for rehearsals, and worst of all, those that criticize a production and others involved in it while it is still in rehearsal. It’s the biggest poison in theater, this selfish attitude that so many actors display, that they are so much better than the cast and the director, and have to trash the play to fellow cast members and to others. And Justin, you strike me as just that kinda person. I have had it with selfish divas in my company, so take my name down, and don’t audition for me, please.