I've watched this video many, many times (more than I'd like to admit, actually), and it continues to be one of my very favorites!

Produced By The New York Times Magazine
Starring Javier Bardem, James Franco, Natalie Portman, Jesse Eisenberg, Chloë Moretz, Matt Damon, Michael Douglas, Jennifer Lawrence, Noomi Rapace, Vincent Cassel, Anthony Mackie, Robert Duvall, Lesley Manville, and Tilda Swinton.

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Have some time to waste?  Challenge yourself with a few theatre quizzes created by site users at Fun Trivia.  Some are more worthy than others... Click here to visit the webpage.

Article by Janet Theilke, LA Stage Times
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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.

From "What Theatre Majors Learn" by Louis E. Catron
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Here's a list of twenty-five skills, traits, and qualities of personality that are usually well-developed in individuals who complete four years of undergraduate theatre study. Take special note of them.  They are more extensive and important than perhaps you recognize.  As you think about them, consider how many of these advantages are unique to theatre majors--and that you have far more advantages than majors in most other disciplines.

  1. Oral Communication Skills
Many students find that theatre helps them develop the confidence that's essential to speaking clearly, lucidly, and thoughtfully. Acting onstage teaches you how to be comfortable speaking in front of large audiences, and some of your theatre classes will give you additional experience talking to groups.  Furthermore, your work on crews has taught you that clear, precise, and well-organized oral communications are best.  Oral communication skills are so important to some employers that they often send management trainees to special workshops.  You already have an advantage.

  2.  Creative Problem Solving Abilities
Most people expect theatre students to exhibit creativity in such areas as acting, design, playwrighting or directing, and many companies do recruit creative thinkers.  But employers are not always aware that theatre experience also helps you learn creative problem-solving techniques that are applicable to many jobs. Tell them! For one example, tech theatre work--building scenery, hanging lights, making props, running the show, and so on--is a particularly good way to learn how to think on your feet, to identify problems, evaluate a range of possible solutions, and figure out what to do.  The same is true of almost every aspect of theatre.  Directing.  Design.  Acting.  Playwriting.  Management.  And more. The point here is that your creative ability, what you've learned about using creative processes to solve problems, can be directly applicable to virtually any job you may have. Most major companies believe that a creative problem-solver will become a good employee.  That's you .

3.  More than "get it done"
But theatre students learn that just "getting it done" isn't enough.  Not at all.  It goes beyond that.  You learn to do it correctly.  In theatre we learn that merely "getting the show on the boards" is pure bush league and totally unacceptable.  Whatever your theatrical job--tech, performing, research, management--it has to be done right .  You learn to take pride in doing things at your very best level.  Of course an employer will value that trait.

  4.  Motivation and Commitment
Being involved in theatre productions and classes demands commitment and motivation. These are qualities that college theatre faculty members and, in some measure, you and your fellow students, probably already possess.  By example, we teach each other that success comes to those who are committed to the task at hand.  Few other disciplines you study will so strongly help you develop motivation and commitment.  Many theatre students learn to transfer that attribute from theatre to other activities such as classes and jobs.  For employers, that positive attitude is essential.

  5.  Willingness to  Work Cooperatively
Your work in theatre companies teaches you how to work effectively with different types of people--often very different types!  Theatre demands that participants work together cooperatively for the production to success; there is no room for "we" versus "they" behavior; the "star" diva is a thing of the past.  Your colleagues will usually let you know when you violate the team spirit of a production.  In theatre, it's important that each individual supports the others involved.  Employers will be pleased to know that you understand how to be a team player.

  6.  The Ability to  Work Independently
In theatre, you're often assigned tasks that you must complete without supervision.  Crew chiefs.  Directing.  Putting together this flat, finding that prop, working out characterization outside of rehearsals.  It's left up to you to figure out how best to achieve the goal.  The ability to work independently is a trait employers look for in their workers.

  7.  Time-budgeting Skills
When you're a student, being involved in theatre forces you to learn how to budget your time.  You need to schedule your days very carefully if you want to keep up your grades while you're busy with rehearsals, work calls, and the other demands that theatre makes on your time.  Good time management skills are enormously important to employers.

  8.  Initiative
Personnel managers call people who approach work with initiative and enterprise "self-starters," people who do what needs to be done without waiting to be asked, without needing to be told.  The complexities of a theatrical production demand individuals who are willing to voluntarily undertake any task that needs to be done in order for the production to succeed.  In theatre, we're all self-starters.  We learn how to take initiative, to move a project from initial concept to finality--and to do it well.

  9.  Promptness and Respect  for Deadlines
Tardiness is never acceptable in theatre because it shows a lack of self-discipline, and more importantly, a lack of consideration for others.  Being late for a rehearsal or a work call or failing to finish an assigned task on time damages a production and adversely affects the work of many other people. Theatre demands that you learn to arrive on time and meet scheduled deadlines.  That's a job-skill.  Employers appreciate workers who are on time and do their work as scheduled.

  10.  Acceptance of Rules
In theatre you work within the structure of a set of procedures and rules that deal with everything from shop safety to behavior at auditions, rehearsals and work calls.  You learn that you must be a "good follower."  Theatre teaches you the importance of rules, a concept that's valued in any organization.

  11.  The Ability to Learn Quickly--AND Correctly
Theatre students, whether they're memorizing lines or learning the technical aspects of a production, must have the ability to absorb a vast quantity of material quickly--and accurately . Your work in college theatre will show that you have the ability to grasp complex matters in a short period of time, a highly-valued trait to employers.
Note that part of this ability is another significant trait:  knowing how to listen.  If you don't listen, you're likely to make some major error that will damage the production.  Listening is a skill for any job and an employer will respect your ability to listen and comprehend.

  12.  Respect for Colleagues
In theatre you discover that a successful production requires contributions from everybody who's involved.  Mutual respect is essential.  Working on a production teaches us to respect and trust the abilities and talents of our colleagues.  A prospective employer will appreciate the fact that you have learned the importance of respecting your co-workers.

  13.  Respect for Authority
Only one person can be in charge of any given portion of a production.  The director.  The shop foreman.  The tech director.  The designer.  Theatre teaches you to willingly accept and respect authority.  That's a trait employers look for in their workers.

  14.  Adaptability and Flexibility
Theatre students must be adaptable and flexible. You need to be willing to try new ideas, accept new challenges, and have the ability to adapt to constantly changing situations and conditions. In one production you may be a member of the prop crew; in the next perhaps you're in charge of makeup, publicity or the box office; in a third production you might have a leading role.  A worker who is versatile and flexible is highly valued to most employers; both traits prove that you are able and willing to learn new things.

  15.  The Ability to Work  Under Pressure
Theatre work often demands long hours.  There's pressure--often, as you know well, a lot of pressure.  It's important that everyone involved with a production be able to maintain a cooperative and enthusiastic attitude under pressure.  The ability to remain poised under such tensions in an asset that will help you cope with stress in other parts of your life, including your job.

  16.  A Healthy Self-Image
To work in theatre, you must know who you are and how to project your individuality.  But at the same time, it's important to recognize the need to make yourself secondary to the importance of a production.  This is a tricky balance that, although difficult to accomplish, is a valuable trait that employers treasure.

  17.  Acceptance of Disappointment--And Ability to Bounce Back
Theatre people learn to deal with dashed hopes and rejection on a regular basis.  Who hasn't failed to get a role he or she really wanted or a coveted spot on a tech crew?  You learn to accept that kind of disappointment and move on.  You try again.  Employers need workers who are resilient enough to bounce back from this kind of frustration.

  18.  Self-Discipline
Theatre demands that you learn how to control your life. More than other students, you are forced to make choices between keeping up with responsibilities and doing things you'd rather do. You learn to govern yourself.  An employer will respect that ability.

  19.  A Goal-Oriented Approach to Work
Many aspects of theatre involve setting and achieving specific goals.  In employer's terms, you've learned to be task-oriented and capable of finding practical ways to achieve goals.

  20.  Concentration
Busy theatre students, involved in a production or other theatre projects while also taking a heavy academic load, must learn to concentrate if they are to succeed.  Acting classes in particular stress concentration, and once you have learned that skill as an actor, it can be transferred to other activities.

  21.  Dedication
As you work in theatre you learn to dedicate your very being--to doing your best to create a successful production.  There is dedication to that show...to your home theatre...to theatre as an art.  Many theatre students discover that committing oneself to a given task is deeply rewarding.  Employers respect workers who have learned the value of dedication.

  22.  A Willingness to Accept Responsibility
Theatre students sometimes have an opportunity that is seldom given to students in other disciplines--the chance to take on sole responsibility for a special project.  Being a production stage manager...a designer...a crew chief...a director.  Students with other majors seldom have anything even close to these lessons.  You can expect employers to value this unusual ability.

  23.  Leadership Skills 
As a theatre student, you have many opportunities to assume leadership roles.  You may, for example, assist a director or designer and lead other volunteers, serve as a crew chief, or even design or direct a production yourself.  In the nuturing environment of theatre, faculty help you learn from mistakes so you become a better leader.  Leadership training like this can open the possibility for comparable opportunities in a company that hires you.  Can you think of any other major that offers this opportunity?

  24.  Self-Confidence
Theatre training teaches you confidence in yourself.  Your accomplishments in theatre show you that you can handle a variety of jobs, pressures, difficulties and responsibilities.  You develop a "Yes, I can!" attitude.  Of course an employer will treasure that.

25.  Enjoyment -- "This is Fun!"
You've discovered already that theatre people mystify civilians when we say we're having fun.  Non-theatre folk shake their heads when we tell them that, and they ask how it is possible to have "fun" in a job that keeps us working night after night, sometimes until after midnight, doing something that calls for a grinding rehearsal or work schedule day after day after day, that makes us miss going to a movie or a concert. "That's fun?" Yes.  It is.  We've learned how to find enjoyment in what we do.  That's a valuable attribute. We can adapt that to other jobs, find ways to enjoy other activities.  That positive attitude will mean a great deal to any employer.

AND MORE.  MUCH, MUCH MORE!

You get the idea.  That list of 25 advantages is a start.  No doubt you can add to it.  It seems almost incidental at this point to mention that theatre majors also learn about theatre.  Most students who choose a theatre major do so because their training will prepare them for a career in the theatre, and it will.  Theatre students learn to use their voices and bodies and minds and hearts to make magic on stage. Clearly, though, they learn much, much more.  Few people choose to set out on a difficult, demanding four-year course of theatre study because it will make them good candidates for employment in other fields. 

But it will.

By Greg J. Anderson

Welcome to 2012!  It may only be another number—another month, but the beginning of the year is a great time to make some fresh starts.  Plus, you need to consider the impending apocalypse.  So, before the year ends and Tim Tebow uses his connections to bring about the end of days, why not make some quality resolutions?

But HOW do you keep those resolutions?  Ahhh, there’s the catch.  Resolutions fail for a number of reasons:  lack of willpower, unrealistic goals, your favorite sports team ignoring all of the quality advice you yell to them through your TV screen, etc.  If you’ve kept a resolution all the way through a year, good on you and shut up.

But fear not, readers!  I, Greg J. Anderson, have devised a strategy whereby you can accomplish your goals and feel great about yourself.  I call it the “Anderson Method” – but only because “Monroe Doctrine” and “Heimlich Maneuver” were already taken.  The Method is simple:  Set your goals after you’ve accomplished them!  Results are almost 100% guaranteed.  Don’t believe me?  Consider my year so far:

JANUARY 1st
Goal:  Ring in the New Year with some good friends.         Result:  BINGO
Goal:  Relax in a hot tub outside.                                             Result:  Ka-CHING
Goal:  Get out of the hot tub and make a snow angel in your bathing suit.
                                                                                                          Result:  See for yourself…

That’s right – I made this amazing piece of art.  In fact, it’s so spectacular that I’m convinced angels really wear swim trunks instead of flowing togas.

JANUARY 4th
Goal:  Shop for discounted Christmas items at WalMart.
Result:  In addition to a new Santa hat, Stetson cologne/aftershave, and a pine-scented candle, I bought a gingerbread house kit.  I was a steal at $3.99.  I had no intention of constructing it.  It was delicious.  There is no photo.

JANUARY 6th
Goal:  Finish 2011 Christmas shopping.
Result:  I spent an hour in Target muttering under my breath…and accomplished my goal!  (It’s Twelfth Night, people, and it’s still the holiday season.  So stop your judging.)  Luckily, I did NOT resolve to have my nephew enjoy his gift. (“Is this for ME?  I’ve already seen this.”)  I might just mess with his mind and get him a DVD of The Smurfs every year.  Take that, punk.

JANUARY 10th
Goal:  Finish writing my first blog post.
Result:  I’m sort of operating on faith here that I’ll finish this item before I close Microsoft Word. 

So now, it’s up to YOU.  Accomplish some things and THEN make them resolutions!  Of course, you may have to do some prep work if you want to accomplish larger things.  For instance, do you want to take an outdoor plunge like I did?  Why not join the Rubber Chicken Polar Bear Plunge team?  That doesn’t exactly get you in the water, but you can adjust your goal as you go along.  Maybe just looking at Lake Superior in February is worth recognition.  The point is, manage your expectation according to what you accomplish.

I think it’s safe to say that I’ve accomplished my goal of writing a mediocre blog post.  YAY!  That deserves a beer…

(Stay Tuned)

By Minden Hultstrom, Season Coordinator

Hello and welcome to the new Rubber Chicken website!  Thank you for dropping in to check us out!  We'd love to hear what you think, so leave a comment or send us an e-mail anytime.

Our next production is the 4th Annual Holiday Revue, a sketch comedy show written and performed by the cast.  "The Running (Unopposed) Man" opens on Friday, December 2 and runs through December 31.  Prepare yourself for hilarity as the Rubber Chicken team takes on holiday humor and pokes fun at local events over the past year.  Check out the UPCOMING EVENTS page for more details.

On Saturday, December 3, a few Rubber Chickens will be donning a pair of heels and participating in the fantastic fundraiser Walk a Mile in Her Shoes, which raises awareness and funds against domestic violence.  Check out the JOIN US page for more details on this and other upcoming community events.

Thank you again for your support of Rubber Chicken Theater!  We look forward to seeing your smiling faces in the audience and on the stage!