...
Check SM kit (see below)
Whatever else you think might be useful (condoms are a perennial favorite)
Meet with producer - go over checklist & calendar.
Meet with director - discuss scheduling preferences, rehearsal preferences. These may include:
How many breaks in a rehearsal, for how long?
How would the director like to be reminded of time constraints?
How should actors be corrected (lines, blocking) if they mess up?
How should warm-ups be done? By director (or actor) at beginning of rehearsal? By each actor individually before rehearsal?
Work with the Director to create a rehearsal etiquette policy to be handed out to all actors at the first rehearsal.
Meet with Assistant SMs (ASMs) to discuss their roles and duties.
Create SM copy of script. A few example pages are included.
...
-If someone is really late, send someone looking for them. A good way to start with this is to call someone you know if their dorm, and have them knock on their doorsdoor. Have someone check lounges, friend's dorms, boy/girlfriend's room, the student center, and anywhere else they might be.
...
-note any planned light or sound cues (don't forget to inform sound and light people about them)
The Props Cart
-Use a shopping cart to carry props to rehearsals
...
-If you have a lot of props, make a separate box/bag with stuff that the SM needs (tape, pencils, tape measure, SM binder, etc) so you can find it all without digging through props
Line notes
-Start taking line notes a week or so after the actors go off book
...
Admit it, a clipboard will make you feel extra cool. Some stuff to put , plus it will provide a place to put stuff without carrying around the whole SM binder now that you need to more a lot more. Some stuff to put on it:
-The nightly schedule of what happens when (call, house opening, etc.)
-All of your actor's phone numbers and room numbers (you can also use this list to keep attendance and figure out who's missing
-A list of who is your run crew/house manager/box office manager/etc. each night. And their phone numbers.
...
-A time keeping device. (okay, I admit, it's hard to attach a clock to a clipboard. But make sure you have some kind of time keeping device with you at all times. If it's your phone, just set it on top of your clipboard)
...
Dry tech is where the director, the SM, the LD Light Designer and the SD Sound Designer get together to finalize cue positioning and length. Each designer will name each cue, and tell you when it must be called. Then they will set its length. At this time all of the cues should be put into the SM book, which is what you'll use to call from.
...
Q2Q: Again each cue is run, this time with actors. The actors should be given some time to walk around the set to get used to things. During q2q, all tricky entrances/exits and all scene changes should be rehearsed until you are confident that everyone can do them well. (usually this is a no-brainer, since they usually coincide with light cues, but not always, so be sure to get them all). (Alternately, if you're run crew won't stay the same througout the run, skip set changes for Q2Q but spend 10 minutes on them at each dress rehearsal and (if needed) before each performance. Your actors may hate you, but your audience will be happier. )
Be sure that everyone understands your terminology. Standard issue is:
Ready = I’m going to call a cue soon (should require a response from the person you’re giving the ready to. i.e., SM: “ready light cue 143.” Light board op: “ready.”)
Go = start from where I told you to start from
Hold = stop exactly where you are, don't move, don't talk
Restore = go back to where we started from before
I prefer to put a subject before my "go" - i.e., "actors go". That way the light board op doesn't get confused (for example).
Remember: BE CONSISTENT. You can say “elephant” instead of "go" if you want, just as long as you’re consistent.
The big thing to remember about q2q is that it's your last real opportunity to practice the logistical side. If you want to run something again, run it again. If you're confused about something, ask, and get clarification. Your goal should be to have Monday's run be as smooth as possible.
Meet with everyone, go over terminology and schedule
Give actors time to explore stage/set
Run each cue sequentially from the beginning.
Before running each cue, state where you'll be starting from. Be sure everyone knows (is listening, can hear) (Cultivate a good projection voice)
Be forceful with your "go/hold/restore"s.
When in doubt, run it again.
Call CAC (3-1391 or 3-1500 or 617-253-1500) to close the space. You must be sure it's secure before you leave! You are responsible!
MONDAY: Tech Dress
Call CAC 1 (617-253-1500) 1 hr before rehearsal to open room.
Fix any notes from the day before (e.g., new glow tape)
Give everyone time to places, and do it frequently. Adjust as needed.
Make sure everything is preset
Make sure boards have control of lights/sound
Make sure sound/lights have run a check
Make sure space is secure before leaving for the night
...