Chapter Twelve
Dress Rehearsals

Dress rehearsals should be run as though they were performances. All possible final aspects of the show should be in place and actors and crew should act as though there is an audience in the house. At this point, actors should no longer be sitting in the house during the run. Actors should be in full costume and crew should be in blacks or costume. Since many times this is the first run with costumes, holds may need to be called for changes that cannot be made, but when possible, avoiding holds is preferable. Depending on the complexity of the change and its impact on the timing of transitions, you may run a few of the costume changes before the first dress rehearsal.

Management should arrive in time to completely prep the performance space. This call time will vary depending on the preset list and how long it takes to get prepped. Plan for at least forty-five minutes to start.

Preshow Setup (Checks)

Preshow for the stage management team means insuring that all aspects of the production are in their proper place, on, and functioning for the run of the show. Just as during rehearsals, stage management arrives first to unlock doors and turn on lights. Next, the stage must be swept and/or mopped in preparation for preset. By this point, the crew has arrived and preset can begin. In accordance with the preset checklists, each crew member should be tasked with specific assignments that they complete for each show so that nothing gets missed (see Appendix N.1). During this time, the stage manager will prepare their own area, insuring that their promptbook is open and ready, that all cue lights work, and headsets and monitors are on and functioning. If the show has minimal or no crew, the stage management team will be responsible for all preset tasks.

Once all scenic elements are in place, props have been set (both onstage and off), and quick change costumes have been set, stage management (or the stage manager and a crew member, if there are no assistant stage managers on the production) will perform “checks.” This means to walk the set with preset list in hand, checking that every element of the show is in its correct place for the start of the show. By doing checks with two people, one can read off the preset list while the second can put eyes on each item and verbally verify that it is accounted for. This greatly reduces the chance for something to be missed or skipped over. The house cannot be opened until checks have taken place.

Time Checks

The stage management team will be relied upon to keep track of time for the performers, crew, house manager, and audience members. As stage manager, it is your job to keep careful track of what time it is and call warning times backstage. Either in person or over a headset, call out the amount of time and what the countdown is to (e.g., “Five minutes to warm-ups!” “Ten minutes to house open,” or “Places!”). When a time is called, it is up to the stage management team to relay this information to everyone else. When receiving a time call, it is proper etiquette to respond with “Thank you ____” (“Thank you places,” “Thank you ten,” etc.). This confirms that they have received the information. Maintaining this communication backstage is very important, so don’t slack in this regard! The actors, crew, and front of house need to know the time calls in order to properly gage their preparation. It is up to you what you count down to, but be consistent (some people call “To places” while others call “To curtain,” etc.). Typical calls are half hour, fifteen minutes, and five minutes.

Mic Checks

If microphones are used during a show, typically time must be set aside before the house opens for mic checks. These should happen as soon after the actors arrive as possible to allow time for any troubleshooting. The sound technician should arrive with enough time to get all mics prepped before the actors arrive. Have actors put on their makeup and then their mic (to avoid getting any makeup in the mic) and send them onstage for mic checks. Prior to the first use of mics, have the technical director or sound technician give a tutorial to all actors on proper mic handling to avoid any damage to the units. It is important that actors do not reposition their mics after the sound/mic check.

Fight/Dance Call

If the show involves any fights, you will need to have a daily fight call. This should take place ten to fifteen minutes prior to the full actor call time (depending on how much time you need to run fights) and will be supervised by yourself and the fight captain (a cast member chosen by the fight choreographer). Run through all fights as instructed by your fight choreographer, making sure everything runs safely and smoothly. For safety, there should be silence apart from any noise from the fighting actors during the fight call. Fight calls typically are at half speed for the first run-through. If everyone involved feels comfortable, then the speed can be ramped up to three-quarter speed, which is usually the fastest you will ever run a fight, even in a performance.

An early call can also be given to complicated dances or choreography. For this, call all actors who are involved in the number, as well as the dance captain (again, a cast member chosen by the choreographer), ten to fifteen minutes prior to the full actor call time.

Sound/Light Check

Prior to opening the house for each performance, the board operators should run light and sound checks. The designers should instruct them on how to do this during tech rehearsals. This is to make sure that the sound cues are functioning and that levels are correct. It also checks that all lighting instruments are functioning and that the focus hasn’t changed. This can be the stage manager’s job if they are also acting as a board operator.

Actor Notes

Following all dress rehearsals, the director will likely gather all the actors to the stage or to the house to give notes. Typically, actors are given five to ten minutes to get out of costume and grab something on which to write notes. Keep careful track of this time and gather everyone as quickly as possible so as to release them at a reasonable time once notes have been given. Stay and listen to this notes session, both to keep it efficient and also to gather any notes that may apply to you or the crew. Quiet postshow cleanup and shutdown can take place during these notes as long as it is not distracting to the actors and director.

Tech Notes

Just as with the actors, tech notes will also be given after each tech/dress rehearsal. Make sure that all crew heads, designers, directors, and any other personnel requested by the director stick around after the run to get notes. These commonly take place after actor notes; however, if possible suggest to the director that while actors are getting out of costume and makeup tech notes could be given and allow the designers to take action sooner. Take notes during this discussion and include them in the rehearsal report.

Postshow Cleanup

After each run of the show, everything must be cleaned up and put away for storage until the next show. Collect all props (especially personal props, which tend to walk away in actor pockets or be hidden in costumes), turn off all lighting, sound, and projection equipment, including monitors, collect microphones, and clean the stage of any spills or messes that may take place in the show. Dishes should be washed and any edibles must be disposed of or refrigerated if necessary. Just as with preset, assign specific tasks to each crew member that they will be responsible for throughout the run of the production so that nothing is overlooked. Use a checklist similar to the preshow list to insure that all tasks are complete. Once everything is complete and everyone is out of the building, turn off the lights and lock up.