Plan cues (Music and drama performances)

  1. Interpret production documentation. (This may be a script, text, daily production schedule or running sheet, event running sheet, artistic plan or a cue synopsis/list.)
    1. Re-check any technical requirements in the the production document.
    2. Check with a colleague that you have interpreted it correctly.
    3. Make notations on the document.
  2. Write in all cues
    1. Plot all technical cues, including appropriate technical notations. Chec that they are clear and accurate.
    2. Make notations for all artistic elements of the production.
    3. Calculate any necessary measurements that need to be incorporated into the reference.
    4. Write in the the most appropriate method for cueing.
    5. Finalise the cue reference material and incorporate other relevant production documentation.
    6. Make necessary changes as required to ensure the document is up to date.




Plan run sheets

Plan your run sheets. These documents outline what people need to do at particular times.

For a music gig, run sheets are often printed in landscape because they have so many columns, for example:

  • Clock time
  • The activity
  • The focus (where you want people to be looking)
  • Sound tech requirements (e.g. microphones)
  • Vision on screen
  • Stage lighting
  • House lights

A drama production needs a similar but separate runsheet for backstage with columns for items such as:

  • Act and scene
  • Stage manager
  • Cues
  • Wardrobe
  • Makeup
  • Props
  • Curtain
  • Scenery




Plan and run rehearsals

Select and book a suitable venue

  1. Determine what you need in a rehearsal facility by discussing it with colleagues and reading the production documentation.
  2. Develop a complete list of specifications for rehearsal venues so you know exactly what you will need.
  3. Research potential rehearsal venues.
  4. Assess suitability of venues by comparing their services against your specifications.
  5. Assess the risks of potential venues and consider your findings when making a decision.
  6. Negotiate with personnel from potentially suitable venues to ensure that they can meet your requirements and to address any potential problems.
  7. Brief your colleagues on venue options, and give your recommendations and rationale.
  8. Confirm venue arrangements accurately in writing when you have made a decision.

Set up the venue

  1. Organize physical elements for rehearsal. These may be:
  • sets
  • props and costumes
  • technical equipment
  • musical instruments
  • suitable flooring
  • mirrors
  • resin box
  • production desk
  • notice board
  • secure storage
  • warm-up and waiting areas
  • storage for personal property
  • etc.
  1. Measure and mark up the rehearsal facilities according to the production design specifications.
  2. Arrange transport of physical elements to and from the rehearsal facility.
  3. Check that physical elements are correctly set up, operating correctly, and are safe.
  4. Inform your collegues about any limitations of physical elements.

Run rehearsals

There are seveal kinds of rehearsals, and they depend on the kind of event. For example a technical rehearsal for sound and lighting, a part rehearsal, a full rehearsal, and a full-dress rehearsal. The latter should be the same as the final performance.

  1. Rehearse cues
    1. Prepare materials for technical rehearsals in advance and in consultation with colleagues.
    2. Rehearse cues based on agreed process and the kind of rehearsal.
    3. Make notations and adjustments to production documents based on rehearsal outcomes.
    4. Check that all relevant safety procedures are followed, with particular reference to requirements for potentially hazardous sequences.
    5. Liaise with other production personnel in a way that fosters good teamwork.
  2. Run full rehearsals
    1. Check that rehearsals go well.
    2. Calculate and record performance timings for use in production documents.
    3. Participate in production meetings or post-rehearsal note sessions to identify any problems and resolve them with the minimum of disruption to the rehearsal and budget.