Technical rehearsal is when everything is brought together. The set, the lights, the sound, the actors, all in the same space to create the full show. Tech is when the director is supposed to step aside, as they should be done directing the show in total, and the stage manager takes charge of everything. The first step is paper tech, when the designers tell the stage manager where each cue goes for their situation. Then comes dry tech, where the stage manager, designers, and director move through the show look by look, making sure everything works and looks right. Then technical rehearsals happen, where the performers walk through the show, learning how things work while the stage manager learns how to call cues at the right time. This is also when the crew has to learn the show. Tech rehearsals tend to take a very long time because of all the repetition it takes, and tempers can run high at times. Be sure to have regular breaks to let people cool down. Then rechinical runs happen, which is when the show is run at actual time, as if it was a show.

How it works:

Tech works differently depending on where the stage manager will be during the show. I tend to run the shows from the booth at the rear of the house, meaning that during tech I sit at a table with the designers and am able to talk directly to them during tech. If a stage manager is positioned on stage, most of the communication will occur over the head set system, which can become quite chaotic. I find being in the booth to be easier, for the average show. However, it can be irritating to be stuck far away from the action if something goes wrong and you are forced to let assistants handle the situation. It also depends on the set up of the theatre.

No matter where you are positioned, tech proceeds the same. For the first few days, the focus is on getting the lights, sound, and set looking and working correctly, and called in the right time. The calling is the stage manager's job. The designers will say when they would like each Cue to go, and the stage manager calls it at the right time. The crew member operating the appropriate equipment then proceeds to press whatever button needs pressing. The human delay should be kept in mind, and a stand-by should be written in the script. A rule of thumb is half a page before each cue, call a stand by for which ever area is going next. Example, if the next cue is a light cue, a warning for the lighting operator half a page before, and then the go for the cue. Cues are written into scripts with reference to the type of Cue (L being lights, S being sound, P is props), Cue and the number of the cue (Example LQ 5 is light cue 5). A stand by would be (SB LQ5). All should be written in pencil until opening night, where if there is free time, it can be inked. Some areas require more attention then others. Lights and sound generally rely on the stage manager. Spots tend to be on the same page as lights, and so don't need their own warning. Microphones, if the show has them, tend to need a go for the beginning of whenever they get turned on and off, but not anything else. Set shifts, back stage effects, and actor cues all need go's as well. Go is the key word for a cue. Many operators will do whatever action this next for them if they hear a random 'Go'. Try to avoid using 'go' on headset unless calling a cue, in case someone is not paying attention. Many operators will NOT act unless they hear the word go, as they are conditioned to respond to it.

Tips for Tech:

Calls: calls are about timing. the first call is when people are suppose to arrive. Cast and crew generally have different calls, and crwe often are called at different times depening on jobs. Ask designers about when to call certain people. Then warning calls are given. the standard is to give a 'hour call' an hour before starting, then a half-hour, 15, and 5 minute calls. Also call warning for when breaks end. If during a show, a certain group or person has a long break, it may be a good idea to give a warning call for them. In relation to calls, be sure everyone is present before the tech rehearsal start. Have a sign-in sheet at a certain location, to avoid having to chase down people (make it clear that people can only sign themselves in).

Warm-ups: if doing a full run of the show, and not just a technical work through, allow time for the cast to warm-up, both physically and vocally, do a fight call if needed, and many run through a song and dance for musicals.

Run-sheets: a run sheet is a crew person's version of a prompt book. It has everything they need to do on it and when they have to do it. It is where they take notes and keep track of their show. Make sure you know where they keep their run sheets, and that they do not leave with them. Get copies if possible. Avoid having crew members keeping notes on phones and other such devices, as if it breaks, all the notes are lost.