Chapter Eight
Rehearsals

Types of Rehearsals

Typically, the very first rehearsal for a play will consist of a table read, in which the whole cast sits around a table and reads through the entire script, each reading his or her role. The stage manager may be asked to read the stage directions aloud or provide sound effects. The director may elect to do this instead— determine this before the rehearsal begins. Be sure to time all read-throughs of the script. This will give a frame of reference for approximately how long the play will be once it is in performance. Invite designers to this rehearsal. This is a great time for them to meet the cast, get to hear the script out loud, and give a brief presentation on their preliminary design ideas.

Another type of rehearsal that may take place in the first week or two is called table work. Similar to a table read, these rehearsals are also seated. The goal is typically to work slowly through the script, stopping to talk about character, pacing, story background, etc. For any table work rehearsals (including the table read), it is courteous to come prepared with plenty of pencils, pens, highlighters, and pencil sharpeners.

If you are working on a musical your first rehearsal may be a sing-through. If not on the first day, this will likely happen sometime during the first week. This is much like a read-through but with the music and typically run by the music director. For this rehearsal, a piano or keyboard and the rehearsal accompanist will be necessary, so prepare accordingly (e.g., have the piano tuned). If they are available, music stands can be very helpful so that the actors can group around the piano or keyboard and still have a place for their scripts.

The other type of rehearsal inherent to musicals will be, of course, music rehearsals. Coordinate with the director and the music director about when these rehearsals will take place. On those days, a piano or keyboard will need to be provided. Chairs gathered around the piano should be provided for the actors as well. Mostly, music rehearsals are pretty hands-off for the stage manager. This is the time for the music director to work on notes, style, and technique with the actors. In these rehearsals, the stage manager is there to monitor breaks, keep track of time, and lend a hand when help is required. This is a good time to get familiar with the music and expectations of the music director to help you with calling and maintaining the show later in the process. Sometimes, music rehearsals will take place simultaneously with staging rehearsal in order to increase the efficiency of rehearsal time. In these cases, a separate room will need to be reserved. Ideally, there should be a member of stage management present in each rehearsal room. However, music rehearsals tend to be very self-sufficient. If you are working on a show solo and have simultaneous music and staging rehearsals, always attend the staging rehearsal.

Once table work has been completed, the actors will get on their feet. Sometimes, they will jump directly into blocking, typically starting at the top (beginning) of the show. Other times, there may be a day of movement in which the director and choreographer (if there is one) will run through some exercises to see how the actors move and interact together. This is typical for shows with dance or choreography, or in highly stylized pieces. For these rehearsals, a clear rehearsal room is best. For blocking rehearsals, be sure to come in with all previously agreed upon rehearsal furniture, props, and costumes (if applicable) and have the floor taped out in preparation.

Logistics for Musical Rehearsals

A crucial aspect of rehearsals for musicals is staging and choreographing musical numbers. Depending on the production, you may be working with a rehearsal pianist or with pre-recorded rehearsal tracks.

If you are working with a rehearsal pianist, there are a few things you need to add to your to do list. First, be sure to include the pianist in your schedule distribution list. Note specifically which rehearsals they will be required to attend and what time (if they will not be utilized for the entire rehearsal). As much as possible, give them a heads-up as to what will be worked on at each rehearsal as well as the type of rehearsal it will be (they will need to prepare differently for a first-time choreography rehearsal than for a run-through of a full act). Additionally, you will need to coordinate with your rehearsal space and your producer to provide a piano or keyboard at all musical rehearsals. If it is a piano, check that it is reasonably in tune. If it is a keyboard, be sure that power, cords, and any necessary amplification are accessible in the rehearsal room.

If a rehearsal pianist is unavailable or if there is not the budget for it, you will need to have rehearsal tracks. The best way to do this is to coordinate with the music director to record all musical numbers. Ideally, this will all be done in one session. However, if the recording needs to be in multiple sessions, prioritize according to the rehearsal schedule. If the official recording matches the score, you can work from the cast album. Either a recording or a pianist MUST be available at the time the number is rehearsed. When using rehearsal tracks be sure to have speakers or access to the sound system so that tracks will be loud enough to be heard by all while singing in full voice.

Running a Rehearsal

Daily Rehearsal Prep

Immediately prior to every rehearsal, there is a certain amount of preparation that stage management must complete. The specifics of this preparation are, of course, dependent on the company, the director, the space, and the type of rehearsal taking place, but the basics remain the same. Arrive at every rehearsal prepped with the promptbook, stage management kit, stopwatch, something to take notes on (electronic or paper), your phone, and a positive attitude.

Unlock and Turn On

The stage manager is almost always the first person in the space. Arrive at least forty-five minutes prior to rehearsal to allow time for preparation. First, unlock doors (outside, rehearsal room, bathrooms, green room, dressing rooms, etc.), and turn on lights and sound systems (if applicable). Update the callboard. This is also a good time to check supplies in the bathrooms and first aid kits. While you won’t necessarily be accountable for replacing these items, you should contact the technical director or space coordinator if supplies are running low.

If you have assistant stage managers, they should arrive at this time as well. Take a couple of minutes to talk through the schedule for the rehearsal and assign responsibilities for the day (who is taking blocking notes, who is monitoring actor arrivals, who is tracking props, etc.).

Clean the Rehearsal Space

For safety and out of consideration for the actors, do a thorough sweep of the space before each rehearsal. A good sweeping is especially necessary if rehearsal takes place on the stage where scenery is in the process of being built (common for academic productions), as wood splinters, stray screws, and other potential safety hazards can remain after a day of shop work. If actors will be barefoot or on the floor, mop the space as well. Pick up any trash and generally tidy up. This is essentially the production’s office, so make the space presentable. A clean, welcoming room will better foster productivity, creativity, and positive attitudes.

Prep Your Workstation

Set up a table facing the playing area, ideally close to the door. This will be to seat stage management and the director, as well as any visiting designers, choreographers, etc. who may be sitting in on rehearsal. Run a power strip to the table. The stage manager is up and down constantly throughout rehearsal, so settle in a place where you can easily get in and out without being disruptive. The director should also be set up in such a place. Include a cup with extra pencils, pens, and highlighters for the actors to borrow. It is also a good idea to keep a box of tissues on the table.

Review the rehearsal schedule for the day and keep a copy next to your promptbook for easy reference. Open your promptbook to the first section being worked on, prep a blank sheet of paper or document for notes, and prep your station with a pen, pencil(s), and an eraser. Have a blank rehearsal report ready to fill in as rehearsal goes along. Keep your stage manager’s kit nearby and pull out commonly used items for quick access (for rehearsals, these would be spike tape, gaff tape, sticky notes/tabs, Scotch tape, and spare paper).

First Rehearsal Paperwork

If it is the first rehearsal, there is some extra paperwork that you should bring for distribution:

• Contact sheet (one copy)—pass around for people to double-check info, then update before the next rehearsal for distribution. If it is already updated and accurate, bring enough copies to distribute to the full cast (including the director and assistant stage managers).
• Sign-in sheet (see Appendix I)
• Emergency contact forms (these are typically theater specific)—have the actors fill these out sometime during the rehearsals (either on a break or if they have downtime) and return to you before the end of the day. These should include dietary restrictions and allergy information as well as any pertinent medical information.
  • Take this into account when planning for any edible props or company meals.
• Copies of the company handbook (if one exists)
• Relevant rehearsal/company information (e.g., parking maps, dramaturgical research packets, etc.)—bring enough copies to distribute to the full cast.
• Rehearsal schedule—enough copies for everyone present, including yourself
• Scripts (if they haven’t already been distributed/picked up)
  • If they are being returned at the end of the show, number them and have a sign-out sheet to keep track of them.
  • Include a damage waiver if applicable.
  • Keep a copy of the sign-out sheet in your promptbook for easy reference and in case of lost/ destroyed scripts.

At all times, keep at least one extra copy of the script in your stage management kit. If the script goes through any revisions, keep this copy updated as well. This will serve as a backup in case anyone forgets or loses their script, if any new members join the cast, for any stand-in actors (such as an assistant stage manager) during a rehearsal where the primary actor is absent, or for a designer/choreographer/ producer to look at while sitting in on a rehearsal.

Prep the Rehearsal Space

Discuss with the director ahead of time what will be happening during this rehearsal so proper setup can be planned. Set up chairs and tables if table work or a read-through is planned. If blocking is planned, make sure the space is properly taped out and all the rehearsal furniture is easily accessible. Set up chairs outside the playing area for the actors to set their belongings on and to sit when they aren’t onstage.

Check Attendance

Ten minutes before rehearsal is scheduled to begin, check the sign-in sheet to see which actors have arrived. Start calling those who haven’t yet checked in to confirm they are on their way. Establish early on that being on time for rehearsal is of the utmost importance, as any delay can take away from what is already a precious amount of rehearsal time. Encourage all of the company members to maintain open communication with you and to always contact you if they know they will be late to rehearsal. It still isn’t good for them to be late, but if you know ahead of time, you and the director can adjust the rehearsal plan accordingly.

Start Rehearsal

When it is time for rehearsal to begin, close the door to the space (if possible), posting a sign on the outside stating “Quiet please, rehearsal in progress.” Call the company to attention, announce the start of rehearsal, and give a quick reminder about the plan for the day. If the director wants to jump right in, have the actors set for the scene being worked on. If they want to speak with the company first, pass the attention to the director and let them take over the rehearsal.

During Rehearsal

By this point, you and the director should have discussed how rehearsals will be run and what your role will be. The stage manager’s primary job is to support the director by running an efficient, smooth, and productive rehearsal to accomplish the work expected for the day. This relationship will develop over time as you each grow accustomed to your working relationship. Whatever happens, never get into an argument or a major disagreement in front of the rest of the company. Let the director take the lead and keep rehearsal moving forward. Pull them aside after rehearsal (or, if absolutely necessary, during a break) to work out any issues privately.

Take Notes

So much happens during rehearsal and the only way to keep track of it all is to write it down. Never assume you will be able to remember something. There is no reason to allow something to be overlooked or forgotten about because you relied on your memory rather than jotting down a quick note.

Rehearsal Report Notes

One of the stage manager’s responsibilities during rehearsal is to create a rehearsal report. This will lay out anything important that occurs in rehearsal, as well as any notes that need to be passed on to the various departments. This includes any added props, any repairs that need to be addressed, any blocking notes that could affect costumes, set, etc., script changes (including cuts/additions) that will affect costumes or lighting, etc. A section should be provided that includes the original rehearsal plan and a summary of what was actually worked, as well as start, end, and break times. Any injuries, late arrivals, unexcused absences, or unusual circumstances should also be noted in these reports.

Prep a new report at the start of each rehearsal and add notes as they come up. It will be easier than trying to remember everything at the end and that way nothing will be left out accidentally.

Approach the director at the end of each rehearsal to review the report together and to see if they have any additional information that they would like add before sending it out. These are distributed to all members of the production team, but not the cast. Be sure to send out all rehearsal reports the same day or before the start of the work day the following day (see Appendix J).

Personal Notes

Take note of any action items for yourself. This may be a reminder to send out the new fitting schedule, to look up the correct pronunciation of a foreign word in the script, or to buy more sticky notes.

Script Notes

There are two types of scriptural notes: blocking notes and script notes. Blocking is a record of the movements the actors make, and script notes track any changes in the script.

Recording Blocking

The key to blocking is to find a system in which one can write as little and as quickly as possible while still being able to interpret what is written. Be precise. The first step is to create a shorthand key (see Figure 8.1). Include character abbreviations (which may be circled). All stage directions should be in all caps. Create shorthand for all furniture pieces, as well as any entrance/exit locations.

All notes taken in the script should be written in pencil. Come to every rehearsal with multiple pencils, some large erasers (the white Pentel hi-polymer or Staedtler Plastic erasers work very well), extra paper, and some patience. The blocking will change and there will be a lot of erasing and updating as progress is made. Never write blocking in pen.

Margin Notation Method

One method of recording blocking is to write it directly in the margins of the script (see Figure 8.2). Next to the line where the actor moved, write down in shorthand their path and where they end up. This method tends to take up a large amount of space in the margins, which can make it difficult to also

use that same script as the calling script. However, if blocking or the cues are light or if you don’t mind having two separate scripts in the promptbook, this is a very viable and commonly used option. It is also a good method to use when first becoming acclimated to taking blocking, as it involves the fewest steps.

Groundplan and Numbering Method

Another method of recording blocking is to use a groundplan and numbered movements tracking sheet (see Figure 8.3). With this method, print a small groundplan on the back of each script page and include space to write down your blocking. Write a number next to the line in the script where the actor moved and, on the opposite page under the groundplan, write the number and their movement in your blocking shorthand. Use the groundplan to plot a particularly complicated set of movements or a strange path followed. The groundplan is also very useful for large group scenes in order to keep track of lots of characters at once.

Pictures and Video Recording Blocking

When working on a musical or other large production, it can be difficult to keep track of blocking/choreography/fights (there is only one of you and so many of them!!!). A helpful trick is to take a video of the rehearsal. Record large group numbers, complicated choreography, and fight rehearsals. These can be used to help accurately check blocking, as well as a reminder for directors/choreographers. The stage manager can also distribute videos to the cast as a guide. These should be updated whenever the blocking changes, just as with your normal blocking notes. Sometimes it is useful to take pictures of large group scenes where it will take too much time to write down everyone’s names—go back and look at these after rehearsal to update your script.

Before recording any rehearsals, check with your director and/or producer. If you are working with union actors or in a union house (Actors’ Equity Association or otherwise), it is strictly against code to video or audio record ANY rehearsals. You also need to be cautious about distribution of the videos, to avoid any issues with copyright infringement. Any recorded material should be distributed for use by only the actors and the production team.

Tracking Script Changes

Generally, for artistic integrity and copyright purposes, no changes should be made to the script. However, if you are working on a new piece or directly with a playwright, it is possible that script changes will be made during the rehearsal process. In these cases, it may fall to the stage manager to keep track of any and all of these changes. Note them in the script, make announcements of all permanent changes to everyone (including the production team, as script changes can affect them as well!), and keep a running document noting the change and the date the change was made. Be sure to keep this document updated and available for perusal in case anyone has questions or missed a change.

Technical Notes

Rehearsals are also the time when the director discovers the reality of the production. This is when prop lists are revised, light and sound cues are discovered, and set requirements are updated. Keep note of any and all things the director says in regards to anything technical. This particular task can be tough for first-time stage managers and is a skill that definitely develops over time and with experience. It requires strong focus, multitasking skills, and detailed note taking. Don’t get too frustrated if you aren’t able to get everything down. Write what you can and take note of the items you need to follow up on. Go over these notes with the director at the end of the night because sometimes they say things in the spur of the moment that they later decide they don’t want or they were joking about.

Keep Rehearsal on Time and Monitor Breaks

Much like production meetings, it will fall to the stage manager to keep track of the time and keep the rehearsal as close to schedule as possible. Give gentle reminders to the director when you are nearing a break or the scheduled time to move on to a new scene or task. Agree on the best way to do this prior to the start of rehearsals (sometimes it is verbal, sometimes with hand signals, or a note passed on the tech table). Avoid giving these reminders in the middle of a scene or during a speech from the director. For many directors, this will take them out of the moment or derail their train of thought, which is frustrating. This is another skill that you will develop over time and will vary (sometimes dramatically) from director to director.

The director will also look to you to keep the rehearsal focused. Help keep side conversations and noise to a minimum and rein in the focus onstage if the action derails or if the director digresses too much during a speech. Rehearsals should be fun, but also productive. Jokes and hilarious line flubs can and will happen. It is fine (and important!) to allow the company to enjoy these moments. However, don’t be afraid to step in with a gentle “Focus, please!” after they’ve had a moment of fun and keep the rehearsal moving forward.

Breaks

It is important to give the actors breaks during rehearsals. Union rules state that breaks must be provided according to the following breakdown: a five-minute break for every fifty-five minutes of rehearsal or a ten-minute break for every eighty minutes. Many companies follow these guidelines, whether they are union or not, but discuss this with the director and the producer (if applicable) prior to the start of rehearsals. Keep an eye on the time so that breaks occur as required and set a timer so rehearsal can start again as soon as possible.

Monitor Staggered Actor Calls

Just as at the start of rehearsal, check in ten minutes before any actor calls to make sure they have arrived or are on their way. Also, keep open communication with the director about releasing actors early who will not be needed for the full rehearsal. Never release an actor without the permission of the director. Similarly, no actor should ever leave the rehearsal without being released by the stage manager. Make this point clear at the first rehearsal.

Set Changes

Since the rehearsals are unlikely to have a tech crew of any kind, it will fall to stage management to make any scene changes. These often occur during breaks or need to happen quickly to keep the rehearsal moving forward. Execute these as quickly and as accurately as possible, including props and costumes as necessary. Make sure to dress appropriately for rehearsal to be able to quickly and safely accomplish the changes.

Spiking

Once furniture is set in place on the stage, it is stage management’s duty to spike each piece with spike tape. This will allow for easy and accurate placement of furniture as it moves from scene to scene and for when it needs to be placed for rehearsal. Spike furniture at the end of rehearsal before striking it for the evening or within the rehearsal once the director is happy with placement. Use different colors of tape for each separate scene or locale (as much as possible) and keep a record of which color is for which scene.

To spike, rip or cut two small pieces (approx. 1 inch each) of spike tape and stick them together to make a right angle. Use these to frame the upstage corners of the furniture/set piece (chair legs, platform corners, etc.). For abnormal-shaped pieces, mark all four sides. For most chairs and tables, marking the two upstage legs will be enough. For smaller chairs and tables, especially those where the angle of the furniture piece doesn’t matter, sometimes it is better to mark an “X” directly at the center of its placement, rather than marking legs.

If furniture placement changes, be sure to move the spikes or make new spike marks. Be sure to remove all old spike marks in order to avoid confusion! Sometimes it is helpful to write directly on the spike tape what each spike is for. Use a Sharpie or another thick pen so that you can read it.

As mentioned, it is a good idea to use a different color of spike tape for each different scene. Pick these colors carefully, according to their purpose. For rehearsals, bright, bold colors are best (yellow, pink, orange, light blue) or, if the rehearsal space has light-colored floors, dark colors for contrast. For most shows, it is preferable not to see the spike marks onstage, so you should stick to darker colors and ones that can blend into the floor color (but not so much that you can’t find the mark!), especially in raked houses where the floor can be more easily seen by the audience. For scene changes that occur in darkness, it is better to use brighter colors that will be easier to find (blues and light greens are nice for this). You may even use glow tape to mark these, if finding the spike mark in the dark is too difficult.

After Rehearsal

Actor Dismissal

Thank everyone for their work and cooperation for the day. Give a quick reminder about the time/location of the next rehearsal, as well as what will be rehearsed (if this hasn’t changed due to the current rehearsal) and any other important notices/reminders.

Director Check-in

Have a five to ten minute check-in with the director once the actors have left. Go through your personal notes to clarify any questions or give them any reminders. Go through the rehearsal report together and see if they have anything to add. Confirm the next rehearsal schedule and if they have any specific tasks/requests that need to be fulfilled before that time. Thank them for a good rehearsal and wish them goodnight.

Complete and Distribute the Rehearsal Report

Add any final notes from the director, making sure all notes are clear and concise. Double-check that all of your information, including headings, is accurate and up to date. Distribute the report as soon as possible. As with all distributed documents, always send it in PDF form so as to avoid any formatting issues or accidental changes to the document.

Distribute Rehearsal Reminder

E-mail the cast with a reminder of the time, location, and summary of the planned work for the next rehearsal, as well as any important notices/reminders given at rehearsal and as requested by the director.

Clean Up the Space

Put away all props and rehearsal furniture. Clean up your table. Leave the space the way you found it, especially if it is a borrowed or rented space. If the rehearsal space will be used exclusively by your company during the run of your production, speak with the technical director or space coordinator about how much must be struck (put away) each night. In some cases, the table and some furniture can remain in the space, making for a simpler rehearsal setup each night.

Close Down

Shut off lights and sound systems, take down rehearsal signs, and lock the doors.

First Rehearsal Off-Book

When creating the rehearsal schedule, or sometime in the early days of the rehearsal process, establish with the director a specific rehearsal in which actors will be expected to be off-book (have their lines memorized). This may happen all at once or, more likely, in sections (one act or a couple of scenes at a time). In professional productions, scenes are typically expected to be off-book the second time they are worked on in the rehearsal room.

In the days prior to any off-book rehearsal, remind the cast (through both verbal and written reminders) of the upcoming off-book date and that they need to have all of their lines memorized by this time.

Prompting

Once a scene is off-book, a new job for the stage management team is to be on-book. This means that someone is following along word for word in the script, ready to give the next line to an actor if they become lost. This is called prompting. As trivial as this may seem, this is actually a really big responsibility— the longer a performer has to wait for their line to be delivered, the more “out of the moment” the cast becomes and the less productive the rehearsal is. It is very important to stay right on the text and jump immediately in with the line if someone calls for it. Even if it seems as though the actors know all of their lines for a scene, stick closely with the script; the moment you look away will inevitably be the moment someone forgets a line. Eliminate nearby distractions (phones, computer, etc.) to avoid becoming drawn away from the text. If there are multiple members of the stage management team, decide who will be on-book for each rehearsal and stick with the same person for that entire rehearsal block to avoid confusion. If that person needs to step away for any reason, reassign the job until they return.

Only feed a line to an actor when they call “Line.” When prompting, speak clearly and loudly. Enunciate. Read them the first few words and continue the line until they begin to speak or pick it up. This will become more natural with practice and you will learn to pick up on the actors’ clues as to when they need a line the more you work with them.

Prior to reaching this rehearsal, discuss protocol with director. Some directors may want to correct the actors on incorrect line readings, even when they have not called for a line. Work out a game plan as to how this will work before starting rehearsal. Once this has been worked out, be sure to share this information with the cast and with any assistant stage managers, so that everyone is on the same page as to how rehearsal will be run.

Line Notes

Once actors are off-book, you will also need to start giving them line notes, so they know exactly which lines they need to work on. There are many different ways to take line notes, so experiment until you find a method that works best for you. Follow along closely in the script and take notes of any and all mistakes that the actor makes. Like with blocking, this is a fast-paced process so using shorthand is to your advantage. It makes the most sense to take line notes when you are running big chunks; it is, generally, unnecessary to take line notes while you are just working through scenes.

At the end of the rehearsal, line notes will need to be distributed to the actors. Some stage managers hand-write their line notes and distribute before the actors leave for the day. Others type up the notes and distribute via e-mail. If you are using a digital script you might be able to highlight, copy, and paste—depending on the program (see Appendix K). Like rehearsal reports, line notes should be issued as soon as possible after rehearsal so the actors can work on correcting their mistakes.

If you do not have any assistant stage managers, you will be responsible both for being on-book and for taking line notes. On-book responsibilities always take higher precedence than line notes or any other stage manager duties. Mark as much as you can using your shorthand as you go along, but don’t fret if you miss some line mistakes. Like all aspects of stage management, this is a skill that will become easier with time and practice.

Maintaining Blocking

Once the blocking has been set, keep an eye out for consistency here as well. Just as with lines, be prepared to prompt the actors as to where their next move is if they get lost or to gently remind them of the correct blocking if they wander too far astray. For many directors, the blocking will not be set completely in stone until dress rehearsals or even opening night (with minor tweaks being made to account for spacing or lighting or the set). With this in mind, treat all blocking reminders as just that—a reminder of what was written down last time, with the knowledge that the director may prefer what the actor just made up and that the blocking may change from what is in your book.

Just as with prompting, discuss protocol with your director before rehearsals begin. Have a plan on how and when you should make comments on the blocking. (Should you interrupt the scene or let it play out and address the change when the scene is complete? Should variations be discussed with the full group or privately with the director?)

Run-Throughs

About halfway or two-thirds of the way through the rehearsal process, you will reach a point when the cast is ready to run large chunks of the show. These types of rehearsals are often referred to as “stumble-throughs” and are exactly what they sound like. The intent is to start building continuity and get a feel for the show as a whole. Blocking will be clunky, props and transitions will be forgotten, lines will be a mess, and character intricacies are often lost. However, the goal is to keep pushing forward, as much as possible, and give notes at the end. Depending on the show and the length of the rehearsal period, the stumble-through may be a small chunk of scenes, a single act, or the whole show at once.

After stumble-through rehearsals, you will have at least one run-through rehearsal. Like the stumble-through, this may be taken a single act at a time or the whole show at once (again, usually dependent on the show and on your rehearsal period). By this point, the cast should have an idea of the continuity. Now the intent is to re-integrate all the things they discovered in scene rehearsals with character, as well as to have a second chance to get technical things correct (blocking, lines, prop tracking, and transitions). As with stumble-throughs, run-throughs should not stop unless absolutely necessary.

One of the run-through rehearsals (or the run-through, if there is only one) should be deemed the designer run. This will be a chance for designers to see the show before they integrate their design elements into it. Have this rehearsal on the calendar as soon as possible and send reminders about it. Before the rehearsal, provide seating for all designers. This is also a good time to get your crew in to see the show if possible. It may be the only chance they have to see a full run.

Be sure to get timings of any stumble-throughs or run-throughs. If possible, get timings not only for the whole show, but also for individual acts and scenes. At this point in the process, the specificity will assist you and the director in determining which scenes need to be tightened up. It can also be useful information to have available for your sound and lighting designers, to help with timing the length of their cues prior to tech. The front of house staff may also need this information.

As with all points in the process, the more prepared you are for these rehearsals, the smoother they will run and the less stressful it will be for all parties. Carefully track props, have a game plan for all transitions (any that are not accomplished by actors will be taken care of by you), and be ready to be glued to the book. Lines will be the first thing to slow down these rehearsals, so make sure you are not the one holding rehearsal up. These rehearsals will also be a major test of your multitasking abilities. It will be extraordinarily stressful and things will go wrong, but this is why we rehearse. You are not expected to have all the correct answers yet, or else the show would be in performances. Answer questions as best you can, take note of things that need to be solved, and remember to breathe!