I agree with dougb.

On the larger note of feeling slighted about not being given the right curtain call treatment, I've never taken too much offense at being given too early a curtain call.  I do mind a little when I have a large-ish role and I'm lumped together with too many other people.  Obviously, that's understandable with a large cast.  But, as an example, I was in a production of Little Shop where Mushnik, Orin, and Audrey II all came forward and bowed together.  Seemed a bit unnecessary.

But, in the scheme of things to worry about in a play, getting upset about curtain call's a small matter.

Yes, you follow directions.  The call is part of the show.

That said:  I HATE curtain calls, as an actor.  "Pour your impersonal love out upon me, oh strangers in the dark."  What I really want to say to them is:

If we shadows have offended,
Think but this, and all is mended:
That you have but slumbered here,
While these visions did appear;
And this weak and idle theme,
No more yielding but a dream,
Gentles, do not reprehend.
If you pardon, we will mend.

I guess curtain calls are necessary; the audience wants to say "Good job" somehow.  Anyway, it's better than going out into the lobby IN COSTUME and getting your accolades that way.  Ugh.

The curtain call is to thank the audience - I've seen shows where they don't do one and I think that's so rude.

But yes - follow directions - it's still part of the show

Ahhhh Curtain Calls.

I was always taught by my acting coach to behave myself during curtain calls. He was always very clear on how to bow, and be appreciative of the audience.

I was in a show once in which the whole cast danced around and acted like fools during the curtain call, much to the delight of the director. If you can't beat them join them I guess. But its the director's call.

Personally, I like to keep my curtain calls short, sweet and polite to the audience.

I don't have a problem with community theatres doing receiving lines, although it is very awkward if the show really stinks. I just tell everyone congratulations. A lot of theatres I've been to recently have small cast meet & greets afterwards. Not really a receiving line, but the cast can come gather in the lobby or receiving area in or out of costume and chat with patrons. Its much less formal than a line of people to walk past when you are on your way out.

I was always taught by the teacher/director of my college theatre that curtain call is for the ACTORS. This is their time to get thanked for their hard work on the show. She has them come out to the lobby, but NOT in a reception line - they are required to mingle if they want to do that (as many of them want to come talk to their friends / family who came to the show).

Something she does, that I've 'stolen', is that once the actors bow, she usually has them take a pose in character while the others finish bowing. Then, the full list of actors take their bow, they give a sign to the tech booth to get them their applause (which, as a techie, is welcome as - as mentioned above - most people forget them, and it's at this time it's helpful to remind the audience how much work went into this to make it look - hopefully - easy). Then, they go back to their pose while the lights go out.

My two bits,

Angie

Curtain Call--yes.  A show seems empty without one, and I have seen a few without a curtain call.

However, I don't block the curtain call until I feel my students have earned the privilege of one.  Otherwise, they get an ensemble call--everyone lines up at the front of the stage and bow.  (I've done this once in 12 years.)

When blocking a curtain call, group your minor actors into logical segments.  When one group is bowing, the ones who are next should already be moving from the wings.  If your curtain call lasts more than 60 seconds, you are straining the patience of the audience--some of whom are probably dying to use the restroom.  If you are doing a musical, you can have them move to the finale and pick up the song after they've all had their chance to get applause.  This releases the audience from having to clap the entire time, and it gives the curtain call a natural ending.

Receiving line--NO.

I watch plays at a local semi-professional theatre (a step above community but not Equity or Equity-waiver).  They always do a receiving line in the lobby, which is cramped to begin with.  I find that if the kids want to meet the actors, it's great, but leave space for the rest of the patrons to exit.  If it's not a children's show, skip it.  Hold special performances for children and have a question-and-answer time with a picture/autograph session immediately following the performance for interested parties.  This actually promotes the childrens' interests in theatre and allows the actors to share basic information about acting, working in a theatre, etc.

I teach high school theatre, and although we don't do a receiving line, I do allow the students to meet and greet the audience after the show because most of them are friends and family.  Also, this year I allowed a select group out at pre-show, staying in character, asking the audience if they had seen other characters (it went with the plot of the play).  I let another group out at intermission.  I found this helped keep the backstage jitters down on my main characters at the beginning, and it kept the chorus from driving me nuts at intermission.  I wouldn't do it in all situations--but it worked last year.  Also, they got a chance to meet and greet the audience, so the audience felt a part of the show before we even started.

MIss C

P.S. Unless you have a true Broadway star in your cast, save the standing ovations for the professionals.  Don't cheapen the importance of one.

Take the bow.  It is the only true response you will ever get out of an audience in regards to your performance.(sometimes)

I once did a musical performance that had the four leads take a combined/staggered group bow at the end of curtain call, while several secondary principles each got a solo bow.  It was slightly frustrating as an actor, but one of the secondary principals stood out as performer, and received the worthy applause.  I on the other hand got lumped with a lack luster leading lady, and had to share applause with her, but still heard a noticeable pop from the audience when I took my bow within the group.

If you don't get the POP, then you can estimate a clear understanding of the audience reaction.

As for receiving line, I regret that they are sometimes necessary.  I was taught that an actor never goes out in character, costume or makeup, but when a receiving line is required by the theater, you make exceptions.

Receiving lines are generally used to make the subscribers feel welcome.  In community theater, a receiving line can add season ticket subscribers, and is a free marketing tool.  The issue I stress is to keep it short and simple.  If the audience compliments or thanks you for the wonderful job; thank them in return and express gratitude that they enjoyed themselves.  Try not to linger with too many patrons, a keep yourself in an accessable locations that do not block the flow of traffic or appear needy.

Always remember!!! An applause is immediate, a face to face meeting in a receiving line will net a whole different set of comments, but at least you can get a read on their sincerity.