BROmanual Eternal Edition March 2020

Table of Contents Welcome to BROS!............................................................. 3 The BROmandments............................................................ 4 BROS Non-Discrimination Policy........................................... 5 BROS Tips for Conversation................................................. 5 Sexual Harassment Policy.................................................... 6 Safer Spaces...................................................................... 8 BROS Comment Box............................................................ 8 Drinking Beer..................................................................... 9 The Chicago Theatre Standards......................................... 10 Concern Resolution Path.................................................... 10 WHAT TO DO IF SOMETHING IS WRONG!.......................12 BROS Organization Map...................................................14 Board of Directors..............................................................15 BROS Artistic Council.........................................................15 BROS Staff........................................................................16 BROS Captains..................................................................17 Volunteer Resources...........................................................18 HOW TO BRO.................................................................. 20 Logging Hours...................................................................21 Show Perks........................................................................21 Additional Info.................................................................. 22 BROStock................................................................. 23 Giving and Receiving Criticism.................................... 24 BROS Artistic & Community Values............................. 26 2

2020 Design by Heather Markle Welcome to BROS! Baltimore Rock Opera Society (BROS) is a passionate community of artists who create unforgettable experiences through live original rock theater. By giving your blood, sweat and tears to BROS you’ve agreed to be an important part of our vision to make every face a melted face. We’ve put together the BROmanual to give you a basic understanding of how things work in Baltimore’s most epic rock theater troupe. This is our manual for working on shows and working together. Remember, always look to your fellow brojans for more info, helpful advice, and a deeper understanding of this crazed community of rock-opera artisans. ROCK ON!! 3

The BROmandments You’ll find members of BROS cite the BROmandments in meetings and conversations and look to them for guidance frequently. 1. BE POSITIVE: The BROS environment is positive and fun! Make every interaction foster good feelings, strong community, and forward progress towards production goals. 2. COME PREPARED Arrive fully prepared to participate in creating the greatest art ever known to mankind. This means you are physically and emotionally ready to work with your fellow BROS without distraction, conflict, or inebriation. 3. FIND YOUR ROLE AND SEE IT THROUGH Make sure you understand the specific duties of any job before agreeing to do it, and make sure it gets done. If you have any problems, your Department Leader or BROS staff members are ready to help. 4. HELP YOUR FELLOW BRO Other BROS will often need help. Support the process and help lighten workloads for other departments when you can. 5. SHOW IS GOD Remember it’s WE, not ME. Always keep the bigger picture in mind and trust leadership to make decisions that will create the best possible experience for audiences. Communicate actively and frequently with the production team about the work you are doing and seek out information and conversation with other departments when you don’t understand why something is happening or a decision that has been made. “The secret sauce is empathy and respect.” -Dusty Peterson If at any point during the show you experience an issue with the BROmandments, you can ask your Department Leader or a member of BROS Staff for assistance and guidance. 4

BROS Non-Discrimination Policy The Baltimore Rock Opera Society does not discriminate on the basis of race, ethnicity, national origin, religion, sex, gender, sexual orientation, class, ability or age in the recruitment of volunteers, production team members, staff members or board members. We also don’t assume to know what pronouns (she, he, they, or others) a BRO prefers. Share your pronouns freely and ask others what they prefer. The only requirement for joining the BROS is an enthusiastic commitment to mind- blowing rock theater and an ability to execute the duties assigned to you. This is how we rock hard, party hard, and help the BROS reign for 7000 years of inclusive rock-righteousness! Gabba Gabba Hey! We accept you! BROS Tips for Conversation Paraphrased from Dance & Bmore’s CJay Philip 1. Speak for Yourself. 2. Step Up, Step Back AKA Share the Air. 3. Make Room for others’ POV, values and approaches. 4. It’s a Shade-Free Space. 5

Sexual Harassment Policy BROS has a zero-tolerance policy for sexual harassment, abuse, or assault, written to protect victims and protect our community. BROS policy is to make sure that victims are heard and believed and that action is taken at their discretion when possible. Harassment is broadly defined (by the Equal Employment Opportunity Commission) as unwelcome sexual advances, requests for sexual favors, and other verbal or physical harassment of a sexual nature. In addition, BROS is using the Chicago Theater Standards (CTS) definitions of sexual harassment since these apply more specifically to a theater environment. tHoa..r.assment in a broader sense includes, but is not limited • Inappropriate of insulting remarks about a person’s gender, gender identity, sexual identity, racial or ethnic background, color, place of birth, citizenship, ancestry, creed, or ability; • Persistent unwanted questions or comments about a participant’s private life outside the boundaries of consent established in rehearsal; • Posting or displaying materials, articles, graffiti which may cause humiliation, offense or embarrassment. Sexual Harassment in a theatrical workplace: • In a theatrical context, harassment can be additionally defined as one or a series of comments or conduct which is known or ought reasonably be known to be unwelcome/unwanted, offensive, intimidating, hostile, or inappropriate. • Unwelcome remarks, jokes, innuendoes, taunts about a person’s body, attire, gender, sexual orientation outside the boundaries of consent or production content. • Any unwanted or inappropriate physical contact such as touching, kissing, massaging, patting, hugging, or pinching outside the boundaries of consent or production content. 6

• Unwelcome inquirires or comments about a person’s sex life or sexual preferences outside of the boundaries of consent or production content. • Participants have the right to be free from: • Sexual solicitation or advance made by a person in a position to confer, grant, or deny a benefit or advancement outside production context. • Reprisal or threat for the rejection of a sexual solicitation or advance where the reprisal is made by a person in a position to grant, confer, or deny a benefit or advancement outside production content. Please read page 22-24 of the Chicago Theater Standards for more detailed definitions of sexual harassment in normal interactions and inside a theatrical environment. BROS rock operas are loud, bawdy, profane, and hard-rocking but as a company, we have firm boundaries and encourage a culture of consent that nurtures a positive creative environment, including during rehearsals, workshops, and BROS-sponsored events. Any concerns about harassment, safety, or a negative environment should be reported using the concern resolution path (see below) and all concerns will be treated with the utmost respect for the safety and well being for all involved. 7

Safer Spaces BROS takes harassment very seriously in all environments but we have a specific set of policies that governs guest interactions in our venues. BROS has partnered with Hollaback! Baltimore and taken their Safer Spaces pledge to ensure that any event we host is harassment-free for both our members and our audiences. BROS has Safer Spaces trained leaders at every public event we host. If you see somebody get harassed tell a BROS Staff member or Department Leader right away and a trained member of leadership will resolve the issue swiftly! Please visit their website (bmore.ihollaback.org) or view the Safer Spaces binder in our office for more information. BROS Comment Box Sometimes you really need to give feedback anonymously, and now you can! There is a locked physical Comment Box installed in BROS HQ as well as a digital Comment Box attached to No Floaters! You can also use this comment box to suggest improvements to the BROS process, structure or physical spaces. We take feedback very seriously—so help us improve! http://www.baltimorerockopera.org/commentbox All comments will be kept confidential and will only be viewed by the BROS Volunteer Coordinator. 8

Drinking Beer We drink beer (and other beverages) to celebrate, to enjoy ourselves, and to increase our ecstatic enjoyment of the art-making process. Many times alcohol is a great lubricant for creativity or fun, but in some cases drinking alcohol can have a negative effect on our process. Any behavior that negatively affects your ability to uphold the BROmandments, results in negative social behavior, negatively impacts your work or the work of others, or impacts safety for anybody in the company is not acceptable. BROS leadership will be swift in taking corrective action in these situations. BROS also requires persons participating in high-risk activity to refrain from drinking alcohol entirely until those activities are finished for the night: • Fight choreography or any scripted contact. • Most types of dance choreography including flight. • Many activities involving power tools, cutting implements or ladder work. If you notice alcohol causing a fellow BRO to break a BROmandment or have a safety concern, follow the steps of the Concern Resolution Path (see page 10). All person involved with BROS (guests, volunteers, staff or audience members) must be 21 or older to drink alcoholic beverages. No exceptions. 9

BROS Concern Resolution Path Glitterus: Dragon Rising 2020 Creating a safe and comfortable environment for all BROS is important to this company. We take concerns very seriously and seek to address issues in a sensitive and timely manner. Level One If you feel comfortable doing so, we encourage you to first directly address your concern with the individual(s) involved. This helps foster an honest and open community and is often the fastest path to a resolution. The following individuals are available to help you resolve any concerns or issues that may arise. We encourage concerns of level 2 and above to be made in writing when possible. Level Two - Participants in Glitterus production only If you are not comfortable directly addressing the individual(s) involved, or if no resolution can be agreed upon, AND you are participating in Glitterus, your next points of contact are the following: NAME: Liz Richardson NAME: Sarah Doccolo TITLE: Stage Manager TITLE: Director EMAIL: [email protected] EMAIL: [email protected] PHONE #: 443-564-7722 PHONE #: 301-606-4415 Level Three - People who are NOT participating in Glitterus If you are not participating in the Glitterus production, are not comfortable addressing the individuals in Level Two, or if no resolution can be agreed upon, your next points of contact are the following: NAME: Jordan Cahoon NAME: Lance Bankerd TITLE: Volunteer Director TITLE: Production Director EMAIL: [email protected] EMAIL: [email protected] PHONE # : 713-614-9662 PHONE #: 443-977-0004 10

Level Four If an issue is not resolved through Levels One through Three, or if you are an individual named in Level Two who needs assistance to resolve the issue, your next points of contact can be any of the following people. The contacts at this level may consult with each other and review and legal or other implications of any decision. NAME: Claire Costantino NAME: Aran Keating TITLE: Board Member TITLE: Executive Director EMAIL: [email protected] EMAIL: [email protected] PHONE #: 281-798-4195 PHONE #: 410-212-4473 If an issue or a complaint needs to be reported anonymously, there is a physical comment box on the wall to the right of the inside doors in BROS HQ that is checked regularly. An electronic comment box is available at baltimorerockopera.org/commentbox. Comments are only seen by the Volunteer Director. A complaint that includes allegations of civil or criminal misconduct or liability may require legal advice or action. In case of physical emergency or criminal activity, call 911. The Chicago Theatre Standards (CTS) & Concern Resolution Path (CRP) This set of policies was created in 2017 by representatives of small theaters in Chicago who wanted to protect their communities from harassment and create safe working spaces where great art can thrive. BROS has decided to adopt the standards they have laid out that address working conditions, interactions, harassment, and other ways to ensure a safe and produc- tive working environment even when dealing with difficult content. Starting in 2020, BROS has begun to adopt pieces of the Chicago Theatre Standards (CTS) into our practice. Look to the CTS that accompanies every BROmanual for guidance anywhere the BROmanual comes up short. Every BROS production has a Concern Resolution Path (CRP) that is the first place to go when you encounter an issue inside a production. 11

WHAT TO DO IF SOMETHING IS WRONG! Who you gonna call? Here is a quick guide to your options when something is awry: A person (anybody!) is having a health emergency or is in physical danger: •Call 911 first! Alert BROS staff via phone or text AFTER you call 911 Theft or robbery or any crime is in progress at BROS HQ or another BROS space: •Call 911 first! Alert BROS staff via phone or text AFTER you call 911 There is a problem at BROS HQ (non-emergency): •Post to the BROS Slack Channel #hq. •Or contact [email protected]. •Or [email protected] for things that need more urgent attention. I have been harassed myself OR I have seen somebody else harassed at a BROS event: •Find any Staff member or Captain and they will take over from there using Safer Spaces Training policies. 12

I’ve been harassed by a person working with BROS at HQ or backstage: •Tell your Volunteer Director or other staff member you are comfortable talking to right away. We can work to fix this problem before they harass someone else! •Look at the current Concern Resolution Path for the current production. If applicable, follow the resolution path suggested there. I have a concern about a member of BROS leadership or a fellow volunteer (worried about their health, they made a comment I didn’t like, something is off about their behavior): •Look at the current Concern Resolution Path for the current production. If applicable, follow the resolution path suggested there. •Talk to the Volunteer Director (via email, phone, or in person) to get their help resolving your concern. •Use the anonymous comment box only if uncomfortable using the other methods. I’m having a conflict or concern about a member of the BROS staff: •Contact BROS Executive Director: Aran Keating [email protected] I’m having a conflict or concern with the BROS Executive Director: •Contact the BROS Board of Directors: [email protected] 13

BROS Organization Map Board of Directors Artistic Counsel (volunteer) (volunteer) Executive Director (part-time paid) BROS STAFF (part-time paid) (Managing, Volunteer, Development, Marketing, Production, Outreach Directors) BROS Captains (volunteer) Production Designers (puppets, HQ, Shop, & Department Leaders Kitchen, Social Media, (small stipend) Fundraising, Events, etc) (show production staff, costumes designer, stage manager, music director, lead technicians, front of house lead) VOLUNTEERS (show perks only) Cast, Crew, Band Members, Front of house volunteers, build team members, committee members 14

Board of Directors Stewards and protectors of the company’s mission, these experienced community members often serve on multiple committees dedicated to company growth, fiscal oversight, legal compliance, budgeting, contracts fundraising and lots of other special projects. They clear the way for the staff and volunteers to do the work that makes this company great! [email protected] Jessica Garrett [email protected] Dan Reck (President) [email protected] Dominic Cerquetti (Secretary) [email protected] Aran Keating [email protected] Vicky Schneider [email protected] Dylan Koehler (Treasurer) [email protected] Claire Costantino [email protected] Artistic Council The BROS Artistic Council is composed of veteran BROS each with a long history of excellence in building and working on BROS shows. They help shape our programming and ensure that all our work is a great example of the BROS aesthetic. They also manage the Pitch Party and pitch selection process (see more about the Pitch Party later in this manual). [email protected] 15 Anna Platis [email protected] Heather Graham [email protected] Naomi Davidoff [email protected] Jacob Dillow [email protected] John DeCampos [email protected] Greg Bowen [email protected] Erica Patoka [email protected] Chris Allen [email protected] Sarah Doccolo [email protected]

BROS Staff These salaried members of BROS are responsible for the majority of the work that keeps the company running outside of shows. Staff meetings are held weekly on Wednesdays evenings at BROS HQ. Executive Aran Keating [email protected] 410 212 4473 Director Jordan Cahoon [email protected] 713 614 9662 Volunteer Director Community Petula Caesar [email protected] 410 493 7559 Engagement Director Naomi Davidoff [email protected] 610 764 3563 Development Marvin Roxas [email protected] 443 739 8625 Director Lance Bankerd [email protected] 443 977 0004 Tyler Merchant [email protected] 301 514 5836 Managing Director Production Director Marketing Director 16

BROS Captains BROS Captains have specific functions related to the day-to-day opera- tions of the company beyond our production schedule. They are estab- lished leaders who work their asses off to help make this company run! Shop Captain Maxwell Sobolik [email protected] Chris Reuther [email protected] Puppets Captain Macy Peterman [email protected] Kate Smith-Morse [email protected] Costumes Captain Alan Schnittman [email protected] Props Captain Brad Bukowsky [email protected] Lit Captain (LEDs Anna Platis [email protected] & Electronics) Kitchen Captain Darcy Elliott [email protected] Special Events Amiel Nuchovich [email protected] Captain Social Media Katelynn Zimmerman [email protected] Co-Captain Social Media Brent Tomchik [email protected] Co-Captain Video Captain Greg Chaprnka [email protected] Audio Captain Kerry Brady [email protected] Information Technology (IT) Captain Finance Overlord 17

Volunteer Resources NO FLOATERS!: This email newsletter is the single best source of BROS volunteer information. All BROS public and private events, links, volunteer opportunities, open positions, and news will ALL be announced here. Sign up at http://baltimorerockopera.org/support/ volunteer/ to be placed on the mailing list. Volunteer Director: Jordan Cahoon is BROS’ current Volunteer Director. Her job is to help all volunteers understand what BROS is and who bros are, how they can contribute to and find their place in the BROS community, and to help resolve conflicts. Email her at Jordan@ baltimorerockopera.org. BROS Intranet: All the information in the BROSmanual plus production resources, comment box, links to calendars, expense reporting, hours tracking, and more. Go to Intranet.baltimorerockopera.org. BROS Slack Workspace: Go to BaltimoreRockOpera.Slack.Com in order to add yourself to any of the public chat channels that pertain to BROS Production, HQ, committees or general conversation. Having trouble? Email [email protected] and our IT team will help you out! BROSBOOK: A private facebook group for participants in BROS. All staff members and Artistic Council members are admins and we’re happy to add you if you DM a request! 18

Department Email Lists: When a production is in full swing, our designers and show leaders will communicate about their departments using the following email lists to coordinate with their teams and to share build dates and progress on designs. Get in touch with our Volunteer Director ([email protected]) to be added to any mailing list that interests you. • [email protected] (Contacts all costumes volunteers) • [email protected] (Contacts all food/cooking volunteers) • [email protected] (Contacts all FOH volunteers) • [email protected] (Contacts all gore/makeup FX volunteers) • [email protected] (Contacts all “Lit” volunteers- soldering, LEDs, electronics) • [email protected] (Contacts all props volunteers) • [email protected] (Contacts all puppets volunteers) • [email protected] (Contacts all sets volunteers) • [email protected] (Contacts all street team volunteers) • [email protected] (Contacts all tech, lighting, audio, crew volunteers) • [email protected] (Contacts all wigs, hair, and makeup volunteers) 19

How to BRO The best way to get involved in a production is to dive in as a volunteer. No experience is required and we love helping new volunteers find a fun way to contribute to one of our massive productions. Here is a basic outline of how to do that! 1. Look for opportunities, meetings, and openings for volunteers on the NO FLOATERS! newsletter. 2. Learn about the various departments at the BIG VOLUNTEER MEETING that kicks off each production where the designers share their designs and project lists and also let everybody know what kind of help they will need. 3. Introduce yourself to your department leader in person, via email, or by getting onto the DEPARTMENT EMAIL LISTS by filling out the current VOLUNTEER SURVEY baltimorerockopera.org/volunteersurvey 4. Commit to showing up to a department’s WEEKLY BUILD. You’ll have a much more meaningful experience if you are a reliable part of a team for a show. Feel free to try out different departments and even be part of two departments if you have the time. 5. LOG YOUR HOURS at Baltimorerockopera.org/hours which helps us with giving out your perks. 6. Help out during the run by signing up for a Front of House or backstage shift. 7. Lend a hand with load-in, load-out, or Girderpurge (HQ clean-up session) after the show wraps. 8. Fill out the show post-mortem survey baltimorerockopera.org/ pmsurvey so we can hear about your experience and improve for the future. 9. Come to the Cast/Crew WRAP PARTY a few weeks after the show is complete, pick up your show perks and toast another amazing production! 20

Logging Hours It is endlessly helpful to the company leadership when our volunteers log their hours. Not only is it important to keep track of who is doing what, we use this info to apply for grants and define our impact for audiences, funders, public officials, and anybody else that needs convincing how much your hard work matters. Go to BaltimoreRockOpera.org/hours to fill out a VERY SIMPLE form to log hours. Please do this every time you put in volunteer hours! Show Perks Volunteers who have logged more than 6 hours on a show are eligible for show perks. Each show has different perks but usually consists of one or more of the following items: • Complimentary ticket to the show (you can give it away if you’re in the show) • Special show pin • BROS T-Shirt • Show soundtrack CD/Bandcamp Download Code • Invite to Wrap Party 21

Additional Info 22

BROStock BROStock is the annual BROS volunteer appreciation party held every summer. Usually the party begins on a Saturday afternoon in August and ends 24 hours later on a Sunday. The company foots the bill for venue rental and usually the party features an open mic, local bands, swimming, BBQing, field games, board games, a bonfire, beer, and revelry. • Any person who has participated in a BROS production is welcome to attend for no cost. • All attendees are encouraged to camp overnight. Drunk or buzzed driving is illegal and dangerous. • Water, some beverages, and food will be supplied by BROS for all 24 hours of the event. • The party is also a potluck so bring something tasty to eat or drink. Grilling supplies and power provided. • There is a “suggested donation” for BROStock each year that helps to cover expenses beyond what BROS can subsidize. • Participants should be prepared with their own basic overnight camping supplies and bringing some of your own food and drink is also recommended. • A limited plus-one policy means that it’s ok to bring your close friend or partner but please make sure they contribute to the party by paying the suggested donation or bringing food or drink to share. • Info will be shared on BROSbook and NO FLOATERS! when announced. 23

Giving and Receiving Criticism Criticism isn’t griping about things you don’t like. Proper, contextual criticism is a powerful tool we have to help each other grow as artists and produce high-quality productions. Learning to frame criticism is a valuable skill that not everyone has learned as part of their practice, as is learning how to take it! Lots of stuff has been written about criticism, but here are a few general rules for how to critique another BROS work. These rules are a mashup of the Critical Response Process and Tim Gunn’s mentorship guide. “I HAVE THOUGHTS…” - a guide for giving critique 1. There’s a time and place for criticism. Criticism when a work is in flux is just a distraction. Ask your fellow BRO if they are looking for critique. 2. Always critique the product, not the producer: “This zipper is on fire and that is problematic” rather than “You are so bad at sewing you make costumes ignite into flames.” 3. Critique is not opinion. It is a way for creators to question and reflect on our choices. Try framing your criticism as a question rather than a directive or prescriptive advice: “Is there a reason for this burning zipper? Are the flames essential to your design?” rather than “I would never set a zipper on fire and you shouldn’t either.” 4. Good criticism isn’t just constructive, it’s productive. If you point out problems also try to become part of the solution. “Here let me help you stamp out this fiery costume” rather than “You should really do something about this fabric inferno.” 5. The most valuable thing you have to give your fellow creator is honesty. Be truthful when you respond but temper your honesty with empathy. Give the criticism you would want to receive - kind and constructive. 24

“I THINK I MIGHT BE PERFECT” - a guide for receiving critique 1. Make sure you are in a good place in your work process to receive criticism knowing that response may upend your approach. If someone asks if they can give you feedback reflect on why you would say no and make sure you aren’t being precious about your ideas. 2. Ask questions! A good way to get the feedback you need is to direct the criticism. The Liz Lerman method advises starting with statements of meaning, the initial reaction the viewer has to your work, what was challenging or unique or compelling. This gives the responder a “palette of choices through which to define and express their reactions”. Be engaged in the process and direct the critic with specific questions of your own if necessary. Use criticism as a way of feeling out ideas. 3. Explain, don’t defend! If criticism is constructive, don’t be combative. Try explaining your process without defending it. Critique is a time for reflection, not defense. You don’t have to use every suggestion but at least hear them out. 4. Reflect, don’t argue! If you hear something you didn’t want to hear, ruminate on the critique before you try to respond. Spend time considering the advice before you. 5. If you think the person giving you feedback is not doing so in good faith, bring your concerns to an appropriate third party (see the CRP) to get help resolving the issue. 25

BROS Artistic & Community Values As the Baltimore Rock Opera Society grows and changes into the company that we will be for the remainder of our 7,000 year mission, let these values remain unchanged henceforth: BROS ARTISTIC VALUES 1. Original Productions – Ideas that are brought to the stage should be born from within the community. Opportunities such as pitch parties and other application-based processes for bringing great ideas and great people to the front of a creative process are essential. 2. Collaborative Process – Collaboration should be at the core of the show’s creative work. Even if certain aspects are led by a single person’s vision, community input, feedback, constructive criticism, and group ownership should be instilled in all levels of the project. 3. Innovation and New Creative Paths – Concepts and stories in BROS shows should be forward-looking and innovate rather than retread paths and tropes well-worn by popular media, theater, television and musicals. Telling new stories, using conventions of genre in interesting ways and innovating the format of the large-scale rock musical is a priority for any original work. 4. In Panton Redundo – The BROS Latin motto, roughly translated to mean “In everything, excess.” Whenever possible, the needs of building a manageable theatrical process should be weighed against the unquenchable and maddening desire of every brojan to build the most face-melting, mind-blowing, reality-shattering over-the-top overwhelming blitzkrieg of theatrical spectacle that the universe has ever known. 5. Unibräu – BROS strives to have a wide appeal to the theater- going and music-loving public, but the work that we create should not exist in a comfortable middle ground of art. Instead it is both a marriage of the high-brow with the low-brow arts known as unibräu. We believe there is space in every BROS show for expressions of high culture, thought-provoking scripts, complex and sometimes experimental expressions of emotion and experience. In addition, BROS is interested in speaking directly to the masses of people and including many great examples of lowest-common-denominator thrills to each and every guest. Low-brow humor, incredible spectacle, 26 shocking twists and turns of plot, awe-inspiring cheer moments,

dramatic lighting and tear-jerking musical moments in a relaxed environment are very important to the company. 6. Gesamstkunstwerk – Translates to “a total work of art” or synthesis of many different art forms under a single work. This is the dream of all BROS productions. BROS is a space where many different media of artistic expression can be come together in service of single work. Attempts will be made in each show to make a unified work of total art by combining many different mediums to portray the show’s message. BROS COMMUNITY VALUES 1. There will be beer – BROS work hard and play hard. We bring the joy of creativity and satisfying hard work together with the excellence of free-flowing beer and responsible partydom. 2. Inclusivity – The rock n’ roll mindset is for all persons. We strive to create a community that is as inclusive as possible and create opportunities for anybody with a good attitude and skills to contribute to a rock opera 3. Positivity – We come together to create out of love for the artform. Members of BROS should strive to create a positive environment so that the seed of rock can be spread far and wide and so that stressful or negative experiences are minimized for both the audience and BROS members. 4. Artistic Investment and Personal Pride – The joy of seeing your work on stage and contributing to a large-scale artistic project is essential to the functioning of our company. Each person inside of BROS should have a stake in the success of BROS creations as well as the larger company, and all members should feel invested in the company’s success. BROS production processes will be designed to maximize the personal investment each BROjan feels. 5. Transparency – Great communication builds great trust. 27 Leadership of BROS will work to give all BROS members excellent communication and openness about processes and decision-making. BROS members will come to leaders with questions and concerns without fear of reproach or scorn. Communication lapses will be corrected swiftly.