Charter

Teamwork

• Production Quality – we commit to working together to create productions that we can be proud of, with the resources we have available to us.
• Fun – having fun is important to us, and we continuously aim to strike a balance between ‘hard work’ and having fun throughout the production process.
• Teamwork - we work together as a team; sharing workload, carrying out what we promise to do, supporting each other and fostering an inclusive environment.
• Opportunities – we give equal opportunity to all members to act in productions, making sure that if people have expressed an interest but were not chosen for a certain production, that they are considered for the next.
• Respect - we acknowledge that we are an eclectic group of people, with all sorts of ages, lifestyles, viewpoints, likes/dislikes and opinions – as such we respect each and every individual equally for what he/she brings to the group and wishes to enjoy from it.
• Open Communication – we commit to open and frank communication that ensures everyone feels fully informed and heard, and that takes others’ needs into consideration as well as our own.
• Resolving Issues - If one of us is not happy with any aspect of life in the Oakridge Players, we will take the responsibility of raising our concern with the person/people involved, in a considered and balanced way, with the intention to help find a solution. If it doesn’t seem to resolve, or if we feel too uncomfortable talking to the person/people for any reason, we will seek support from one of the OP committee members.

Choosing Productions

• Choice - we aim to put on a mix of productions, so as to appeal to different Players’ preferences, and also considering what most attracts our audience.
• Selection - We listen to all ideas for new productions and/or, if necessary, pull together a sub team to research and shortlist.
• Decision - as a decision ultimately has to be made, this responsibility will lie with the Productions Co-ordinator, having taken into account people’s views.
• Timeframe - In order to do this we will follow our ‘Annual Production Schedule’ to give ourselves plenty of run-up time for productions (aiming for not less than 16 weeks for a main production).

Personal Commitments

• When I am part of a production, I commit myself fully to the task and to teamwork – whether I am acting, directing or part of the production crew.
• When I am not part of a production:
  - I commit to helping out in some way, whether it be e.g. putting up posters, selling advance tickets etc.
  - I aim to attend one of the performances to lend my support.
  - I aim to still attend social evenings so as to maintain the team spirit amongst those not in the production
• When I am acting:
  - I commit to clearing my diary for the rehearsal dates and to attend at least 85% of them.
  - I acknowledge there may be extra rehearsals added near the performance dates, and try my very best to attend these.
  - I commit to learning my lines within the schedule that the director proposes.
  - I commit to turning up on time for rehearsals.
  - I commit to raising any issues with the director before they escalate.
• When I am directing:
  - I commit to using a fair process to select cast members, ideally during a read-through with those who have expressed an interest.
  - I commit to ensuring that rehearsals start and finish on time.  On the whole, we will aim to finish before 10pm so that we have the choice for some social time at the pub afterwards.
  - I commit to being open to the actors’/crew’s ideas, and to incorporate these wherever they work well, and also know that I need to make the final decision on these things.
  - I commit to listening to any issues that cast or crew raise, and aim to help solve these. As such we will build in 5 or 10 minutes at the end of rehearsals to allow time for any questions or concerns.
• When I am part of the production crew:
  - I commit to carrying out the role that I have offered to do, as a team with the rest of the crew, cast and directors.
  - I commit to raising any issues with the director before they escalate.

Author

Penelope Newton