BROS Current Committee Members
Patron - Alan Titchmarsh
To say that BROS Theatre Company changed my life is no idle boast. I joined in 1972, for Half a Sixpence. Over the course of that year I met the girl I eventually married, and the handful of folk who were to become my best friends. Forty-four years on, they are still there – wife included.
President - Bob Salter
I joined BROS in 1974 and have completed 40 years as chorus member, principal, director, committee member, Chairman and now President. Complete failure as back stage crew. Sadly, I will never now play Higgins in My Fair Lady.
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Chair - Louise Ellard-Turnbull
I joined BROS back in 1996 for Chicago, a rare joy for amateurs these days because of it’s incredibly successful West End and Broadway modern incarnation. As one of a fairly large chorus of cell block girls, I twirled my tassels alongside another newbie, Lizzie Brignall, who definitely outdid me as far as twirling of tassels was concerned. But it didn’t put me off and since then I have had the pleasure of being in a total of 25 shows – 6 Richmond, 4 Minack, 12 Hampton Hill, and 3 other small but perfectly formed venues. I’m proud to have contributed to the backstage dressing room drama by helping to create the hair and make- up designs for so many shows, which are too numerous to mention. I’ve also had several stints on the committee over the years, been nominated for 2 Swan awards (it’s fine that I didn’t win, honestly, it’s fine), and most prestigious and highly prized of all, I have a grand total of 3 BROSCARS! I’ve also managed to meet my husband with whom I have had two very gorgeous children, have made the best friends anyone could ever wish to have, and met the British legend that is Alan Titchmarsh! All as a result of joining BROS! So I am particularly proud to be Chair for a society that has truly enriched my life over the past 21 years.
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Deputy Chair - Helen Lowe
I joined BROS in 2005 for the fantastic production of Chess and have enjoyed singing and dancing my way through shows at Hampton Hill and the Minack ever since. It’s been fantastic to make some great friends whilst performing in productions of a really good quality. Please do get in touch if you are interested in being part of this friendly and dynamic group of performers!
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Treasurer - Jonathan Warriss-Simmons
I’ve been performing in musicals ever since university, and joined BROS when I moved to London in 2005. Despite having moved several counties away since then, I’ve continued performing with the society due to their passion, talent and friendship. I’m not an accountant by trade, but enjoy being able to give something back to a group that has had a really positive impact on my life.
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Secretary - Heather Stockwell
I joined BROS in 2010 to help backstage with Crazy For You at Richmond Theatre. Since then I have performed in Guys and Dolls, Into the Woods, Mack and Mabel, City of Angels, Pippin, 42nd Street and Dirty Rotten Scoundrels. Most recently I was behind the scenes once more, beehiving my way through the barnets of the Made in Dagenham ladies. I love being a part of BROS because of the people and the fun that we have on stage!
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Chorus Lines & Notifications Editor - Emma Hosier
Having joined the company in 2014, Emma has enjoyed performing in several BROS shows, with her favourite role to date being Rosemary Pilkington in ‘How To Succeed In Business’. She would strongly recommend joining the company on one of its biennial ‘family holidays’ to Cornwall for a chance to perform at the unique cliff-side Minack theatre (not to mention all the pasties!)
Email – firstname.lastname@example.org
Website Editor - Darren Moss
I joined BROS in 2013, and my first show with the company was City of Angels. Since then, I’ve performed in Pippin, Carousel, How To Succeed In Business Without Really Trying, 42nd Street, The Producers and most recently Made in Dagenham. I’ve loved every show I’ve done with BROS, and made so many new friends in the process.
NODA Liaison - Matt Madeley
I joined BROS back in 2014 after recently moving to London from Sheffield. My first production was playing the titular role in Pippin. I’ve gone on to perform in many fabulous shows since then at Hampton Hill, Minack and at the prestigious Richmond Theatre. I’m always amazed at the quality of the productions, the endless talent on offer and the ever supportive and friendly nature of our membership. BROS has provided me with so many great opportunities to develop my theatre skills and maintain my passion for musical theatre. It is great to be able to contribute back to the society in which one of my primary roles is to act as the NODA (The National Operatic and Dramatic Association) liaison.
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Legal Advisor - Andy Yeates
I’ve performed in over 35 musicals with BROS and more recently directed two shows in what might be described as a ‘varied career’. As a lawyer working in television and other creative industries, I hope that my experience helps in delivering the work of the Committee.
Email – firstname.lastname@example.org
Technical Advisor - Meg Hird
I’ve been with BROS for a few years now, and while you can usually find me in blacks behind one desk or another, I have had the pleasure of being backstage with the company for three years now. My favourite shows have been Dirty Rotten Scoundrels at the Minack, Made in Dagenham and How to Succeed in Business Without Really Trying at Hampton Hill Theatre, and 42nd Street at Richmond Theatre. I’m really enjoying being on the committee and giving something back to a company that has always made me feel welcome, valued and part of the family.
Email – email@example.com
Social & Events - Lizzie Brignall
Email – firstname.lastname@example.org
Archivist - Wes Henderson Roe
Joined in 1989, Much of my life revolves around theatre – musical theatre in particular. I first worked with BROS as Stage Manager for ‘Trial by Jury’ and ‘HMS Pinafore’. If I could play any part I’d be Jacob in ‘La Cage Aux Folles’
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BROS Theatre Company Code of Conduct
BROS TC and its officers expect all those participating in a show in whatever capacity, i.e. cast, production team, creative, technical, backstage teams to recognise that each individual has a right to be in an environment which encourages respectful, considerate, dignified and non-sexualised working relationships.
It is expected that every participant treats their fellow BROS TC members with dignity and respect and we are opposed to harassment and bullying in any form.
Every participant is responsible for their own behaviour in this regard and any threatening, aggressive, bullying behaviour, harassment or unwanted sexual attention, language or behaviour is not acceptable and will not be tolerated by the BROS TC officers.
Conduct or comments become harassment when they are unwelcome to others or make others feel uncomfortable or threatened, even if they are intended as a joke. Intention is not the same as impact.
This policy on harassment and bullying applies to all participants of BROS TC productions during all rehearsals and subsequent performances at all rehearsal and performance venues.
It is the responsibility of BROS TC through its trustees and other committee members, Directors, Musical Directors, Head Choreographers, Production Managers, Company Managers, Technical Managers, Stage Managers and Assistant Stage Managers to ensure this policy is upheld and clearly communicated to everyone.
We ask everyone involved in a BROS TC production to consider the impact that their actions or comments may have on others and to take responsibility for their own behaviour.
Harassment/Bullying: behaviour that is offensive, intimidating, humiliating or hostile which interferes with an individual’s work, which causes stress, anxiety, fear or sickness on the part of the harassed person. Types of harassment can be based on age, sex, race, disability, sexual orientation, gender re-assignment, ethnic or national origins, religion or belief, sexual nature.
Sexual Harassment: any unwanted conduct of a sexual nature, or other conduct based on sex, affecting the dignity of individuals which can include unwelcome physical, verbal or non-verbal conduct whereby the behaviour is inappropriate, offensive or distressing for the recipient and as such, creates an intimidating, hostile, humiliating or sexualised working environment for the recipient.
Actions to take in the instance of bullying, harassment or sexual harassment
This policy is endorsed and supported by the BROS TC trustees and other committee members, who undertake to support the current production team in managing cases which may result in cautions and/or removal from the current production.
The trustees and other committee members recognise that experiencing harassment can be complex and that thoughts and feelings around a particular incident may change during the reporting process.
The procedure for reporting is outlined below. Cases will be taken seriously and treated sensitively.
- If you feel comfortable doing so, we encourage you to firstly directly address your concern with the individual(s) involved. Call it out straight away, even if it is awkward to do so. Don’t feel shame. Use this language _ “That is not appropriate – it makes me feel uncomfortable”. This helps to foster an honest and open community and is often the fastest path to a resolution.
- Empower yourself and others. No one is alone. Everyone has a responsibility to stand up for each other, to call behaviour out and report it. Do not be a bystander. We encourage everyone to report instances of sexual harassment and/or bullying and encourage their peers to do the same. Peer to peer support will help to create a culture where inappropriate sexual behaviour or language, or bullying behaviour is unacceptable and can be challenged either in the moment or through a more formal reporting procedure.
- Incidents of bullying, harassment or sexual harassment should in the first instance be reported verbally, or in writing by email, to the Production Manager or Company Manager or Stage Manager or anyone else involved with the production that you trust.
- The Production Manager or Company Manager or Stage Manager or trusted BROS member will share the information with the chair, deputy chair, secretary or treasurer (if available in the first instance) and/or any other available committee member, and this group will discuss what action should be taken.
- Two members of the committee will meet informally with the complainant in a safe, confidential environment to talk more about the events and to assess how they feel. This is an informal, gentle meeting and must be approached with sensitivity and a bespoke response.
- The two committee members will meet the person against whom the complaints/reports are brought. Again, this must be a safe, confidential environment.
- The two committee members will discuss the outcomes of these meetings and include the production manager/company manager/stage manager in that conversation.
- Actions are agreed and communicated to both parties.