jayzehr - key in your question is the phrase "appropriate professional response." And we could even drop "professional" to avoid semantic complications vis-a-vis amateur vs professional, equity vs community theater.

I'll go on record as saying that if you audition for, and get cast in, a production, you implicitly (at the very least) agree to the "rules", as it were, of the house, director and producer.  As an actor, you are effectively an employee.  However this particularly theater operates, that's what you do, without complaint (which could subvert the "community" part).  After the last bow, you gather your stuff and run into the night, never to return again.

So it might make sense to ask not only what is the rehearsal schedule, but what is expected of each and all in their contribution, above and beyond line memorization, hitting your mark, and making your exit.   

Coming late to the table but I'd have to agree with Tony Di on this topic (though somewhat long winded).   I don't really care how you as an individual prepare just don't get me involved with all the touchy feely navel gazing exercises.  I'll take care of myself thank you.   And I never, ever participate in any of it even when the director insists that I do.   What was all that rehearsal for?  And yes I'm a pretty darn good actor and very low maintainence as many of my castmates will agree.

Originally posted by TonyDi And someone mentioned the issue of not going along with things when you were cast and that's the way things are run with the show and everyone should simply be in compliance regardless.  Well believe me, I let ANY director know up front that if I am being considered I DO NOT engage in those kinds of prep games.

Tony, that was me in a post above.  For the record, I've never been in a CT show where touchy-feely took place, at least not as part of the rehearsal/warmup/preshow session.  And I think it's fair enough as the actor to have your own set of "rules" as long as you're up front at audition/casting about them.  I do have my own warmup routine that does not infringe on anyone else, and I am always ready to deliver 100%, so maybe I count myself lucky.

That said, I would still put it under the realm of showing up when the director says, not when you want, or being off-book when you're supposed to, and those sorts of things.  You are an "employee" of the theatre, and work for the director and producer, so to speak.  And like any job, if you don't like your job description, you are quite free to find employment elsewhere. So chatting up the director at day one and getting such things clear is the professional/mature/proper/whatever way to approach it.

Unfortunately, my experience in CT has been that there are a number of rules of etiquette that sadly need review every show, if not every rehearsal, and I have worked at compiling a list of them (adding as needed) and presenting them at auditions with the rehearsal schedule. Now, I suppose one thing I ought to add in there is that we will NOT be doing touchy-feely at any time inside the rehearsal hall (nor smoking or drinking) so you'll need to take care of that on the ride in.

As for pickups, yeah it seems to be the "norm" and it's probably because "everyone else does it".  Not ever sure why, though. After 2-3 months of rehearsal, and a couple shows, if I forgot my lines or blocking in a couple days, I'd also probably be found wandering the streets in dirty clothes with a stubble beard mumbling to myself.  Now, that I could use some help with.

The "warm-up" type activity I liked the best was simply the cast of the show holding hands in a circle and singing (not songs from the show).  It served as a vocal warm-up, and helped people in the cast who were strangers get more comfortable working together.  Other shows I've been involved in had no warm-ups, or only vocal warm-ups for only those who were singing in the show.  I don't think anyone should be forced to participate in this sort of stuff.  We did a directed "exercise" in HS, working on projection, where one was supposed to throw one's name to the back of the room.  I refused to participate, alas, less than professionally.  I have excellent, not to say excessive projection. 

Here's an interesting way to get people to vocal warm-ups.  We are currently in production for Urinetown.  The second night of the show, the Musical Director changed curtain call during the vocal warm ups, leaving those of us who had skipped the warm up session absolutely clueless as to what the hell was going on after we took our bows.  All of the sudden people were singing a song many of us had never sang.  Those lights could not go out soon enough.  I still won't attend warm ups but at least now I ask what went on.