Glossary

Actor’s Equity Association (AEA) A union for theatrical actors and stage managers. Commonly referred to as Equity, AEA, or Union. Theaters or productions working with AEA actors must follow all union rules so stage managers should acquaint themselves with the policies and guidelines before working on any AEA productions. Information packets and all necessary paperwork are available on their website: www.actorsequity.org/

Apron The area of the stage floor downstage of the plaster line. Commonly this extends over the pit and is often curved.

Architect’s Scale Ruler This tool is used to measure drawings that have been drawn to a certain scale in order to translate it into full-scale measurements. The stage manager will primarily use this for taping out the set for rehearsals.

Arena A theater in which the audience surrounds the entire stage. There is no “upstage” and “downstage” but rather the action takes place in 360 degrees to cater to the whole audience. Also commonly referred to as “Theater in the round.”

Batten Long, typically cylindrical pipes hung above the stage, used to hang scenery, curtains, and lighting instruments. These can be dead hung (permanently hung at a specific height) or rigged on a pulley system, meaning they can be brought in and out via the flyrail or automation computer if the theater uses electric winches.

Blackbox A typically square or rectangular room usually painted completely black, created to be a “flexible” space, designed to be set in any of the different types of stage configurations.

Blocking/Staging The movement or path of the actors throughout the production. This term is used both as a definition of the type of rehearsal in which the director and the actors discover the movement of the production (a blocking or staging rehearsal) and as a definition of the movement itself (blocking notes or the blocking).

Board The slang or shortened term for the light and sound control consoles or “boards.” The “board ops” operate these under the direction of the stage manager.

Booth This is the room or place in the theatre where the lightboard / soundboard are located. Typically this is found at the back of the house, often above the audience.

Brush-up Rehearsal/Pick-up Rehearsal A rehearsal that is scheduled in-between longer breaks in performances. At times these may also be scheduled if a performances has gone especially badly and the stage manager feels that the actors/crew may need a “brush-up” on what they are supposed to be doing. This type of rehearsal may also be scheduled if a last-minute change in crew or casting occurs (injury, sickness, family emergency)

CAD Computer-Aided Design. Programs such as Vectorworks and AutoCAD are commonly used by set designers and lighting designers to draft their designs electronically.

Callboard The callboard is where the company goes for important information regarding the production. It is often a corkboard or similar bulletin board and is placed in a centralized location easily accessible in the theater. It typically includes a daily sign-in sheet, the rehearsal calendar, the daily/weekly rehearsal schedule, fittings schedules, and important notifications or announcements. Online callboards are steadily increasing in use, although usually in addition to a physical callboard.

Calls Refers to a specific time or chunk of time when an actor, crew, or other production team member is expected to arrive and be present at a rehearsal or performance.

Caster Wheels used to allow for the movement of scenic pieces on and offstage. Casters can either be swivel (“Smart”) meaning they are free to swivel in any director or straight (“dumb”) meaning they can only roll along a fixed line depending on the direction in which they are mounted.

Catches When a crew member or actor stands ready backstage to grab a prop or costume piece from an actor with a quick transition who doesn’t have time to return it themselves.

Catwalk (Cats) The area above the audience that provides additional lighting positions. Depending on the theater, spotlights may also be located and run from the catwalks.

Center Line The imaginary line that runs vertically upstage to downstage along the center of the stage, splitting the stage into equal halves. Commonly used by stage managers as the y-coordinate in conjunction with plaster line to help with accuracy in tape-out, as well as for marking dance numbers and quarters.

Character Breakdown Character breakdowns provide basic information regarding the characters in the show: name, relationship to other characters in the play, age, brief description. Typically distributed or provided during the audition process.

Cold Reading When an actor is asked to present a piece of text that they have not prepared before the audition. They may be given a few minutes to review or may be asked to read it on the spot. This is especially common during callbacks.

Company Manager Responsible for managing the company (actors, designers, and technicians), including any travel, accommodation, and other day-to-day needs as required

Concept Meeting Meetings for which the focus is to discuss the artistic vision of the production. This is the time during which the director presents their concept and the designers throw around their ideas for their various design elements to help achieve that concept. These tend to be more brainstorming sessions rather than a time for final decisions and logistics.

Costume Shop The space in which costumes are created and/or altered. This can either be located in the theater or off-site.

Crossover Paths that actors can take backstage to get from stage right to stage left without being seen by the audience. This can be a hallway just outside of the theater, a space behind a curtain upstage, or even outside around a building.

Cue Light A light mounted offstage that serves as a visual cue. It is controlled by the stage manager at their station and can be used to cue anyone from stage crew to actors to fly crew to the conductor. These are especially common when a vocal cue is not possible (lack of headsets or backstage communication) or on productions with a large number of simultaneous or quick sequence cues. The light is turned on to indicate a standby. When the light is switched off, this indicates a GO for the cue.

Cue to Cue (Q2Q) A technical rehearsal in which the show is run through in order, skipping, just as the name suggests, from cue to cue. Used to help acquaint the stage manager, tech crew, and actors with the cues of the show.

Cueing The time when the lighting designer sets the level (intensity) of each and every light for the show. This is typically done during “dark time” when all the work lights on the stage can be turned off and no one is working onstage. These levels are usually programmed into a computerized lighting console for recall later during the process and show. *In a perfect world this happens and is completed before the tech process because tech is for all technical areas, not just lighting.

Cyclorama (Cyc) A (typically) white curtain stretched tightly and cleanly along the back edge of the stage and used for lighting and/or projection. Light gray and blue are also common colors.

Dance Numbers A visual breakup of the stage floor used in musicals and other shows with dance or choreography. The breakup is indicated by numbers taped or written at consistant increments along the downstage edge of the stage, starting at 0 at center stage and growing larger as they move offstage in both directions.

Deck Another term for the stage. Used commonly in reference to the stage crew (aka deck crew).

Dramaturge Provides information about the script, time period, writer, and anything else relevant to the production. They may provide a glossary if there are a lot of unusual words or find articles that give context to an aspect of the setting of the play.

Dress Rehearsal (Dress) A rehearsal that takes place after tech, in which all elements of the production are put together, including all technical elements. These rehearsals are meant to simulate a performance but without the audience and should be run without stopping unless absolutely necessary.

Dry Tech A technical rehearsal in which everyone except the cast sits in the performance space and goes through the show cue by cue and (if necessary) scene shift by scene shift. This gives the director a chance to look at and listen to each cue. It also allows the stage manager to become familiar with the cues and where they will be called.

Electrics Battens that hang above the stage and are designated for hanging lighting instruments. Typically these are numbered from downstage to upstage (Electric 1 being most downstage). In some theaters these are always the same, in others they are flexible and can be moved anywhere.

Elevation A term used in drafting to indicate a front, side, or back view of scenic elements.

Entrance/Exit Flow Chart Very similar to a French scene breakdown, this charts every entrance and exit of every character throughout the show. This can be very useful as reference while scheduling rehearsals and for determining when actors are offstage during the production.

Fight Call A practice run of all choreographed fights in a production. It typically takes place 15–30 minutes (depending on the number of fights) before the rest of the cast is called for rehearsals and performances and is run by the stage manager and the fight captain.

Fire Curtain Only found in larger proscenium theatres, this curtain is made of a flame-retardant material, it lowers typically around the plaster line. The curtain can usually be triggered manually in case of a fire, most fire curtains also have a fusible link (link that melts at a relatively low temperature) and will trigger automatically if the heat reaches a certain point. The fire curtain line (where the curtain will fall) may not be obscured by any permanent scenery or props, anything placed on the line (furniture, hinged flat/wall) must be easily movable in the event of a fire. If something will be placed in the fire curtain line a plan should be made with the crew during technical rehearsals about how to clear the fire line in the event of a fire. Fire curtain regulations vary by local legislation.

Fire Proofing Coating a scenic element, costume, or prop with a fire retardant to reduce its flammability. This is especially important if the item is near open flame (candle, lit match etc).

Flat A piece of scenery that typically makes up a wall. Hollywood flats are hard flats covered with Luaun and Broadway flats are soft flats covered with muslin. Flats can be constructed in all shapes and sizes but typical stock sizes are 2 × 8, 4 × 8, 4 × 10, 4 × 12.

Flyrail Area in the wings where the machinery controlling the fly system is housed and where the fly crew will run the show.

Fly Space The area above the stage used for storing hung scenery and curtains. Not available in all theaters and the amount and height of fly space varies from space to space.

Focus The time when a lighting designer points and positions the lights where they need to be for the show. If an electrics crew exists this will be done by the crew, with the designer indicating proper placement and location.

Foley Sound effects that are created live backstage, rather than with pre-recorded sound effects running through a soundboard.

French Scene Breakdown French Scenes are delineated by any entrance/exit of an actor (there may be multiple french scenes in a single book scene). This type of breakdown is useful for plays that are not broken down into acts and scenes.

Front of House (FOH) This refers to the area of the theater through which the patrons are taken and also to the staff that manage it. This includes the box office, the lobby, the bar or concession area, etc. The personnel includes box office managers, house manager, bar staff, and ushers.

Gaffers Tape Colloquially known as gaff, this is one of the most commonly used tapes in the theatrical world. It is a fabric tape, which allows it to be ripped cleanly and easily on two planes. It comes in a variety of colors and typically doesn’t leave residue like duct tape. However, it is a strong adhesive and can easily pull off paint or other surface finishes. Gaff tape, especially cheaper off-brands, can get very sticky in hot weather.

Gel A colored piece of polyester or polycarbonate that is placed in front of theatrical lights to color them.

Ghost Light A single bulb, typically on a stationary or rolling stand, that is left illuminated on the stage of a theater when no one is actively using the space. Practically, it is there for safety purposes so no one trips over the set or off the stage in the dark. The name originates from the theatrical superstition that ghosts inhabit all theaters. It is said that the light is left illuminated to allow the ghosts to perform, thus appeasing them and reducing the likelihood of supernatural mischief.

Glow Tape Glow tape is specialized tape coated with photo-luminescent pigments that absorb and store energy from ambient light. In a blackout, the tape glows, allowing actors to see without needing to wait for their eyes to adjust. Most commonly used for safety purposes, glow tape only works when it has been exposed to ambient light (for example, stage lights), so it is best for use on stage where there is consistent exposure. When used backstage with limited light exposure, the tape must be “charged” in order to glow (a flashlight works well for this). However, white gaffers tape is a better alternative.

Go The magic word in all theatrical performances, during techs, dresses, and performances, it should never be used unless the command to “GO” is actually being given. To avoid confusion over headsets and intercoms spelling the world “G-O” is the best way to avoid prematurely moving forward.

Gobo (Template; Pattern) A lighting accessory used in theatrical lights, commonly made of either cut metal or etched glass, used to project an image or pattern.

God Mic A handheld microphone used by the stage manager and/or director during technical rehearsals and performances to communicate with the entire company without the need for shouting.

Grand Drape (Main Drape, Main Curtain, Main Rag, Act Curtain) The main, most downstage curtain in a proscenium theater.

Green Room A lounge area for the company. Typically located backstage of the theater. This is a common area to house the callboard, to gather the company for announcements, and may sometimes double as an extra dressing room.

Grid The area above the stage used for hanging lighting instruments and sound equipment. Also can be used when referring to the steel structure holding up the overstage rigging mechanics

Groundplan The bird’s-eye view of the set, drawn to scale. This will be provided by the scenic designer and will be used for taping out the set for rehearsals and for reference throughout the production process. It can also be scaled down and used in the blocking script.

Hand Prop Props that are handled and moved on/offstage by the actors (e.g., cups, books, pencils).

Handoff When a crew member or actor stands ready backstage with a prop or costume piece to be handed to an actor with a quick transition who doesn’t have time to grab it themselves.

Heads A common warning called out when someone working overhead drops something. The proper response is to cover one’s head with one’s arms and move away from the direction of the “heads” call. Do not look up and watch what is falling.

Headshot Headshots are professional quality photos provided by the actors. They are typically 8" x 10" photos of an actor from mid-chest up, and can be either portrait or landscape and black and white or color depending on personal preference.

House The term used to refer to the audience and/or the area in the theater in which the audience is placed for a performance.

House Lights Used during preshow and postshow to light the audience to help with seating. These are typically dimmer than work lights and help to set the mood for the performance.

Legs Vertical curtains, typically black, used at intervals on the sides of a proscenium to help mask the wings from the audience.

Libretto The combined script and vocal score used for most musicals.

Light Hang The time when all the lights are hung up in the theater in the location specified by the lighting designer. The lights are also typically plugged in and gel (color) may be added at this time, although sometimes the color is added during focus.

Light Plot A graphic representation of the layout of the lighting instruments for a given production. The light plot includes information such as type of instrument, color, channel, dimmer, and other relevant information. This will be provided by the lighting designer or the master electrician.

Line 1) The words spoken by a character in the text of the play.
2) Request from an actor for a prompt when they have forgotten their words.

Line Notes Notes taken by the stage manager once actors are off-book, tracking any errors made in the text, including paraphrasing, skipped words, and inaccurate ordering of words or phrases. Some stage managers will also take note of when an actor calls for line. These notes are split up by actor and distributed on an individual basis after each rehearsal off-book.

Load-In The day (or days) in which the technical elements of the production are brought into the theater. This is when the set is installed, the lights are hung, the sound is set up, and the costumes, props, and furniture are moved into the theater. Typically this takes place a few days to a week before tech rehearsals begin.

Marley Tape Translucent tape named for its original use of taping the seams of Marley Floors used for dance. Most common use for stage managers is to help protect spike marks from wear and from pulling up off the floor. This tape comes in multiple different colors, but for this use clear is the best option.

Master Carpenter The lead carpenter on the set-building team. They work closely with the scenic designer and the technical director to create the set.

Master Electrician The lead electrician, typically responsible for hanging, running cables, and focusing all lighting instruments and associated equipment. They work closely with the lighting designer to achieve their plot. This will typically be the person to contact with any technical difficulties with the lighting equipment throughout the run of the production.

Model (White Model) A fully designed miniature 3D version of the set. A white model is typically one color and simply represents the shapes and functions of the set. A full production model will also include accurate textures and colors of the final set for reference.

Monitor Either an audio or video monitor that projects the action on stage in real time. When onstage, this allows the actors to hear themselves as the audience is hearing them to adjust for volume, pitch, etc. for the best performance. When offstage, audio monitors are often mounted in the dressing rooms, hallways, and/or green room for everyone to follow the show and be ready for their cues. Depending on the calling location, a video and/or audio monitor will be mounted at the stage manager’s podium for use in calling cues.

Not To Scale (NTS) This abbreviation is commonly found on drawings and indicates to the observer that this drawing is not in any scale. It has simply been sketched out for quick reference or design concepts. Do be careful not to use NTS drawings for tape out!

Off-book Refers to when actors are expected to have fully memorized their lines so they no longer have their scripts in hand during rehearsal. Also true of musical numbers.

Page To hold a door or curtain open to allow for smoother exits/entrances by actors or crew members.

Paper Tech A meeting involving the stage manager, director, lighting designer, and sound designer at which you talk through the script in order and take notes about cue names, placement, and intent.

Performance Report A report generated to note what happened during a performance. Performance reports should include a brief overview and evaluation of the performance as well as relevant notes for every department, noting late cues, broken items, and absences or injuries if they occur. These are to be distributed to the production and design team following each performance and with enough time to address any repair or maintenance notes before the next performance.

Period Piece A production which takes place during a very specific time period in history. Although it could refer to any time period, this term is commonly used when referring to pieces taking place during the Romantic era and usually indicates the need for elaborate costumes and sometimes wigs.

Personal Prop Props that are kept in an actor’s possession throughout the show (e.g. pocket watches, fans, canes).

Photo Call A dedicated call used to take staged production photos, usually for use in portfolios and archives, rather than publicity. Commonly takes place during dress rehearsals or sometime during the run of the performances and typically lasts around one hour. This call should be arranged and run by the stage manager.

Pit 1) The orchestra
2) The area in the theater designated for the orchestra. In proscenium theaters, this is commonly located below the apron, underneath the stage, with the conductor positioned facing upstage so as to see both the orchestra and the actors.

Plaster Line In proscenium theaters, this is an imaginary horizontal line that runs the width of the stage at the proscenium arch (mimics the line of the grand curtain, whether one is present or not). In non-prosceniums, this line can be arbitrarily designated. Commonly used by stage managers as the x-coordinate in conjunction with the center line to help with accuracy in tape-out.

Platform A piece of scenery that is walked on and can be used to create an additional level onstage. When casters are added it becomes a wagon (see wagon). Typically a 2-inch by 4-inch frame with a plywood top.

Play The text of the show (i.e. script).

Practical An audio or lighting element of the set that functions—a bedside lamp that lights up, a cell phone that rings, a radio that plays from its own speaker, an LED “Open” sign on a shop door, etc. This may be controlled by the actors onstage or hooked up to the light/sound board and controlled by a cue.

Preshow The time prior to the start of a performance. This is the time during which all actors and crew members prepare for the show, including setting props and scenic elements, getting into costume, hair, and makeup, and checking lighting and sound systems to make sure everything is running smoothly.

Prep Week The week preceding the start of rehearsals during which a stage manager prepares for the productions (including paperwork, rehearsal space prep, creating the promptbook, and any communication with the company in preparation for rehearsals).

Preview Essentially a trial performance for an audience. These performances take place prior to opening night, allowing the cast to perform for an audience and the creative team to continue to make adjustments to the show to make the best performance possible. Typically tickets are sold for a discount and the audience is warned that it is possible the show might be stopped mid-performance for adjustment or technical difficulty, although this rarely occurs.

Producer Manages the overall financial functions of a theatrical organization. They hire and fire, sign paychecks, and typically have final say over all decisions.

Production A specific company’s interpretation of a script (a fully realized performance of a particular text). The performance as a whole, including all technical elements.

Production Analysis A detailed breakdown of the text, created by the stage manager during prep week, that accounts for all design elements mentioned in the script. Used as a baseline for the final design decisions for a particular production.

Production Meeting Meetings for which the focus is to discuss the logistics and progress of the production. Typically take place once a week during the rehearsal period with the whole creative team in attendance. This is the time to check in on progress of plots, set and costume building, the prop search, budgets, and to answer/clarify any questions that have arisen during rehearsals.

Promptbook The promptbook, sometimes called the “Show Bible” or “The Book,” is a binder containing any and all important information pertaining to the show as well as the script. This book is created and maintained by the stage manager.

Prop (Property) Anything movable or portable on a set. Any item that cannot be classified as scenery, electrics, or wardrobe falls under this category. Furniture is considered a prop in most theatres, although there are some exceptions.

Props Designer An individual tasked with designing the props for a production. Typically, props designers are only found on shows wherein many of the props must be built by hand (for example, shows involving puppetry). In some companies, the props designer may double as the props master or these might be two separate people.

Props Master The person responsible for gathering and shopping for props. Depending on the theatre and staff this may be done in concert with a props designer or the scenic designer.

Proscenium The most common type of theatrical stage. It is easily identifiable by the iconic proscenium arch that frames the opening of the stage and the audience seated on only one side of the stage. These theaters typically have a large amount of wing space and fly space, which allow for large productions with elaborate sets.

Quarters Another type of visual breakup for a stage, similar to Dance Numbers, used to help dancers place themselves accurately for choreography. For this, the stage is broken up into equal quarter sections, with center stage marked and then halfway offstage on either side. Some choreographers may request 1/8th marks as well for more accuracy.

Quick Change A costume change that must take place in a constricted amount of time. These commonly take place in the wings or behind the set, rather than in the dressing rooms, and often require an extra person or two to assist.

Raked Stage A stage built on an incline, with the area of the stage closest to the audience the lowest and gradually rising as it moves to the back of the stage. These were common long ago when the audience were all seated or standing on the same level, so the raked stage allowed for more people to see the action. The origin of the terms “upstage” and “downstage” come from these types of stages, when downstage was literally down and upstage was up. Raked stages are a safety hazard and so are no longer commonly found.

Rehearsal Prop A stand-in prop of similar size, shape, and weight to the final prop that is used during rehearsals. The stage manager is often in charge of finding and keeping track of the rehearsal props.

Rehearsal Report A report generated to note what happened during rehearsal as well as any questions or changes there may be. It should be comprehensive in the information it includes and be distributed to the production and design teams immediately following every rehearsal.

Rendering A digital or physical drawing depicting the set as it will appear in 3D.

Run Light (Clip Light) Colored light bulbs or dark-gelled lights (traditionally blue) used to help ease navigation backstage in the dark during performances.

Run Sheet Indicates scenic shifts and costume changes (usually only quick changes or complicated ones that are relevant to the run crew). This also tracks prop movement throughout the show.

Run-Through A rehearsal in which large sections or the full show are run with minimal or no stops. The intent is to build continuity and allow the cast and director to get a feel for the show as a whole.

Scale A term used in drafting to indicate the size of a drawing or model in relation to the real size. Common scales are 1/4" and 1/2" in US Standard, 1:5, 1:10, and 1:20 in Metric.

Scale Ruler Typically a triangular ruler that on each side and end contain a different scale, used for measuring draftings printed in scale.

Scene Shop The space in which the set is built. This can either be located in the theater or off-site.

Scenic Breakdown A piece of paperwork created by the stage manager that gives a quick reference of each scene in a script. It details such information as Act/scene, page numbers, characters in the scene, location of the scene, and a brief description of the action for easy identification.

Scenic Charge Individual that works closely with the scenic designer and is in charge of painting the set.

Score The sheet music for a musical. This is usually located at the end or in a separate book than the script. The conductor’s score is the most complete and will include all music in the production. Many rented scripts will provide chorus-vocal books per character that include only the musical numbers that that character sings.

Set 1) The scenic elements that create the physical world in which the production takes place. It may be one single unit that stays the same throughout the production or be made up of many different pieces that move, change, and transform throughout the show.
2) A term meaning to place an item or items on stage in a predetermined location.

Set Dressing Prop items that are used for the purpose of decorating the set and lending to the design, rather than for practical use by the actors (e.g., mirrors, vases, lamps, picture frames, window dressing, rugs).

Sides Selected scenes or portions of scenes from a play to be used as audition material. Usually these only involve a few characters and are only a few pages long.

Sightlines What the entire audience can see unobstructed from their seat in the house.

Sing-through Similar to a table read, this is a chance for the cast to sing through all of the songs in a musical production. This takes place in the first week of rehearsals and is typically run by the music director.

Sitzprobe A musical rehearsal that takes place prior to tech in which the orchestra and the actors perform together for the first time. This is a chance to set tempos, volume, and other musical adjustments as necessary. If microphones are used during the production, these are set up and run by the sound board operator to set levels. This rehearsal should be co-run by the stage manager and the musical director, with input from the director.

Soundscape Sound design that creates the audio world of the show. Different than sound cues (such as a gunshot, doorbell, phone ring, etc.), this is the ambient sound of the outside world (the background sound of battle, gunshots, men shouting, and shells in a war; birds chirping, dogs barking, children playing and wind blowing at a park, crickets chirping at night) and helps to give body and realism to a show.

Spacing Rehearsal Typically the first rehearsal in the theater in which the director and choreographer take the time to take the blocking and spacing created in the rehearsal space and translate it to the actual stage, especially as it relates to the scenery. Blocking may be changed and spike marks may move in order to best fit the space, sightlines, and the needs of the production.

Spike A semi-permanent indication of where a prop, set piece, or person is meant to be set onstage, marked to ensure consistency from performance to performance. These are most commonly marked using spike tape, a type of gaff tape that comes in a large variety of colors for easy identification.

Spike Tape A type of gaff tape, usually cut to 1/2 inch width, that is used for taping out sets and for spiking furniture, props, and set pieces for consistent placement throughout the run of the production. It comes in a large variety of colors, including neon and glow, to allow for color coding and easy identification.

Stage Directions In reference to within the text of a play, stage directions are the notes included regarding action, sound or lighting effects, and other details regarding the visual aspects of the production not portrayed in the lines. Typically given in italics.
In reference to the physical stage, stage directions are the guidelines that dictate which area of the stage someone or something is (Upstage, Downstage, Stage Right, Stage Left, and Center).

Stage Manager’s Kit A toolbox (sometimes literally) of basic supplies that might be necessary in rehearsal or in performance. Depending on the theatre, a stage manager may use a personal kit or the theatre may have one for use by the stage manager.

Stage Manager’s Station The area in the theater where a stage manager is stationed during the performance to call their cues. Depending on the theater and the production, this may be in the booth or backstage in the wings. Commonly this is a podium with space for the promptbook and has a headset, a monitor, and cue light control. Sometimes known as the calling station.

Standby A warning call given over headset to crew members to indicate an upcoming cue. Standbys are given about half a page prior to a cue being called. Depending on the production, number of cues being given, and personal preference of the stage manager, crew members may reply to this with “Standing by”, “Heard”, by repeating the cue name, or any other preferred response to indicate that they have heard the cue and are ready to take it when given the “GO.”

Start and Stop A type of technical rehearsal similar to a cue-to-cue in that it is meant to acquaint everyone with the technical elements of the show, and allow the stage manager time to learn the correct placement of all the cues. These are typical on shows that are heavily cued, like musicals, so rather than skipping from cue to cue, this type of rehearsal runs through the majority of the show; starting, stopping, resetting, and rerunning as necessary until everyone understands what needs to happen.

Strike 1) The time following the closing performance during which all elements of the production are taken down and the theater space is cleaned out and reset for the next production. Commonly takes place immediately following the final performance or in the day or two afterwards.
2) A term meaning to take offstage.

Stumble-Through A rehearsal in which large sections or the full show are run with the intent of not stopping. This is the first time that section or sections will have been run as a full unit and tend to be clunky and have mistakes, hence the name “stumble.”

Table Read The very first rehearsal for a play 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. Also known as a read-through.

Table Work Rehearsals in which the goal is to work slowly through the script, stopping to talk about character, pacing, story background, tone, etc. These most commonly take place during the first week of rehearsal and ideally include the full cast.

Tabs Curtains that mask the wings from view of the audience.

Tape Out The groundplan for a set represented in full scale by tape on a rehearsal or stage floor for use in rehearsal until the set is available. This should be completed by the stage manager prior to the first blocking rehearsal and should include all major elements of the set.

Technical Rehearsal (Tech) Rehearsals that take place after load-in and are used to integrate all technical elements of the production, with the exception of costumes. These are usually long, full-day rehearsals and can be frustrating, hectic, and difficult. These rehearsals, as well as dress rehearsals and previews, typically take place in the week up to opening which is commonly referred to as Tech Week (or, colloquially, Hell Week, as there are usually high emotions and minimal sleep).

Text The script (see Play).

Thrust A thrust stage typically has audience on three sides of the stage. Thrust theaters typically have smaller scenic elements because the audience needs to be able to see across the stage and large elements will obstruct the view of the audience on the sides.

Tracking The term used for monitoring of where props, set pieces, costumes, and sometimes actors travel throughout the run of a show. This is very important in terms of making sure that everything is where it needs to be at any given time so that no actor is ever left without the prop they need. Sometimes tracking of a single prop is impossible due to traffic patterns and availability of actors/crew, so multiple of the same prop will need to be acquired.

Turntable A round piece of scenery that rotates and can contain multiple scenes or scenic pieces depending on its size.

Understudy A cast member that is responsible for learning the lines, blocking, and choreography of an assigned character in case of injury, emergency etc.

Union 1) IATSE, is the International Alliance of Theatrical Stage Employees. In larger cities many theatres employ IATSE members as Stage Hands, while some theatres are considered “Union Houses” and only hire union members.
2) USA-829 is part of IATSE, but is specifically for designers.
3) See Actors’ Equity Association above.

Ushers Members of the house staff that help people find their seats, answer questions, and give directions around the theatre.

Visual Cue A cue that an operator takes on their own rather than from a verbal cue from stage management to ensure perfect timing.

Vomitorium (Vom) An aisle that runs through the audience that acts as an entrance/exit for the actors during a show. These are most commonly found in thrust and arena theaters.

Wandelprobe A rehearsal where actors, the orchestra and blocking come together for the first time. Essentially, a sitzprobe with movement and possibly props.

Wagon A rolling platform mounted on castors that typically houses a set piece.

Wings The offstage right and left sides of the stage, unseen by the audience. The wings are typically blocked from view by a combination of walls and curtains and used to store props, set pieces, and actors waiting for their entrances.

Work Lights (Works) Overhead lights in a theater or other performance space. Usually fluorescents or other similar source. Most typically they will light both the audience and the stage areas and are used during working hours (not during the performance).