Copyright © 2023 Ailsa Smith

All rights reserved. This book or any portion thereof

may not be reproduced or used in any manner whatsoever
without the express written permission of the publisher
except for the use of brief quotations in a book review.

To request permission, contact ahsmith412@gmail.com

First Edition 2023

Cover photograph by Ailsa Smith

Includes materials from Audrey Babaoglu, Ryan DuBray,
Carly Evans, Laura Gardner, Kaleigh Gothie, Connor
O’Beirne, Kat Shepard, Ailsa Smith, Kit Verweij and
Sydney Williams.
 This is not meant to be a comprehensive guide, but to
provide enough basic guidance to those looking for a place
to start, are otherwise feeling lost or may just have a simple
question they need answered. We hope this provides a good
foundation to keep the tech department on its feet and to
always be here for anyone to fall back on.

Created by Ailsa Smith (‘23)

With special thanks to
Kaleigh Gothie (‘23), Davin Martin (‘21),
Kat Shepard (‘21), Kit Verweij (‘21)
and Sydney Williams (‘23)
for their input, inspiration & support
This book was written during the 2022-2023 school year, based
off of the current circumstances. While this was written to be
as timeless as possible, obviously things change so please allow
for any discrepancies.
 CONTENTS
Stage Management
Responsiblities...................................................................2
Paperwork......................................................................3
Lighting
Responsiblities...................................................................9
Design.........................................................................9
How-Tos...........................................................................13
Paperwork......................................................................16
Sound
Responsiblities.................................................................20
How-Tos...........................................................................21
Paperwork........................................................................23
Running
Responsiblities.................................................................26
Paperwork........................................................................27
Props
Responsiblities.................................................................29
Paperwork........................................................................30
Costumes
Responsiblities.................................................................32
Design...............................................................................33
Paperwork........................................................................34
Tips, Tricks & Advice..............................................................38
Index............................................................................................40
1
 STAGE MANAGEMENT

Roles
Stage Manager (SM)
Assistant Stage Manager (ASM)

Responsibilities
The stage management team is responsible for most of the paperwork that
keeps tech in sync with the cast. They are required to attend every rehearsal so as to
have any information needed by other crews. This information is shared via email
with the crew chiefs and director in a rehearsal report. During rehearsal, they also
take cast attendence, take line and blocking notes, and work on the run sheet (see
Running Crew section).
When a production meeting is held, the SM fills out a production meeting
report to record what was discussed. They are also responsibile for creating the
contact form and sharing it with everyone on crew.
During cue-to-cue and paper tech, the stage manager’s main job is to record all
of the lights, sound and (if applicable) fly rail cues in their script.
Shorthand for cues:
Lights- LX (ie LX 50 is Lights Cue 50)
Sound- SD, SQ, FX or SFX (ie SD 35 is Sound Cue 35)
Fly Rail/Running- Typically just the name of the
object and in/out, or pipe number if applicable.
Video/Projections- AV or just Projection (ie AV 8 is Video Cue 8)
When calling cues, a standby is given five to ten seconds ahead of time.
Oftentimes lights and sound will have a cue at the same time, so feel free to give both
at once (ie LX 81.5 and SQ 81, go).

2
 Paperwork
Most of the stage managers’ jobs is the paperwork, so there’s
a lot of it. It’s what keeps the show functioning and provides that
communcation between the cast and crew.

An N/X Sheet is usually filled out by the ASM, and it documents when the actors enter and
exit the stage. It’s usually used by costumes so they know when every actor is going on and
off so they know how much time they have for any costume changes. Props also uses it, so
they know what side of the stage a prop needs to be on.

3
 The stage manager fills out and emails a rehearsal report to all the tech heads
and the director in order to let them know what happened at that day’s rehearsal.
A rehearsal report is also used to communicate any questions or needs to the crew
chiefs, as seen on the next page. A production meeting report looks roughly the same,
just with different information.

4
5
 Line notes are filled out once the actors are supposed to be off-book. Whenever an actor
messes up a line, it will be recorded what line it was, what page number, what was changed,
and what they were supposed to say. This is then shared with the cast after rehearsal so they
can look over it before the next rehearsal. Can be filled out by the SM or ASM.

6
Attendance is taken at every rehearsal. Usually in spreadsheet form, it’s just marking off
who is and isn’t at rehearsal so it can be put in the rehearsal report later and so that you
know who to send the blocking notes to.

7
 Shorthand symbol
examples ->

Blocking notes are used to record all the blocking that happens during rehearsals (typically
in shorthand). They’re often used by the lighting designer so they know where all the actors
will be on stage without having to actually have the actors there. Blocking notes are also used
to fill in any actors on the blocking that they missed if they were absent from a rehearsal.

8
 LIGHTING

Roles
Lighting Designer & Crew Chief
General Crew
Spotlight Operators (Often the same as the crew)

Responsibilities
The lighting department is responsible for executing the lighting needs and
the maitenence of the equipment for each production. Depending on the space
(auditorium vs. blackbox) and scale of the show, limitations and demands vary
drastically.
For the musical, a crew of three to four students is standard. There are three
spotlights; two in the catwalk and one in the balcony. An LD is usually hired for that
show, and the crew chief operates the board. For anything in the blackbox a crew of
two to three, including the designer, is enough.
Most responsiblity falls on the designer, including communicating with the
director on what their needs are, delagating jobs for their crew and maintaining the
equipment (cables, replacing lamps, etc.).

Design
*Disclaimer- every designer is different and a lot of this is based off what works for me, so take it
as a starting point to build your own ideas off of.*
The foundation of the plot for every show is the front and top light wash. If
need be, you can do a show with just that. The hardest part is making the wash even,
so be sure to put time into focusing.
For the auditorium, divide the stage into twenty sections (four rows of five).
Each section gets a front and top light. In the blackbox, the current rep plot consists
of two rows of five for top light and three rows of five for front light.
A rep plot is a standardized lighting system which provides general lighting
for rehearsals/events and can be used as the basis for a simple design for a show.

9
 Here is an example of the auditorium rep plot. It shows the down, mid and upstage
front light from the catwalk as well as the top light on each electric. The far upstage
front light is on the first electric. Although this has dual layer top light, the concept
remains the same.

10
 Although you can technically do a show with only the basic rep plot, adding
side light can add color and more dimension to the stage. Divide the stage into thirds
and use lenses of increasing sizes (often 50°/36°/26°) on Source 4s to hit the far,
mid and near sections of the stage. Repeat on the opposite side of the stage. When
working in the auditorium, side lights will need to be hung on two to three electrics
(or on poles in the balcony for downstage) to properly cover the whole stage. Here’s a
diagram example of the sections in the auditorium (the concept remains the same in
the blackbox, although you only need three total sections: SL, CS and SR):

Often a show will require specials, whether it’s for a specific set
piece (such as a window or door) or focused on an actor in one specific
spot (such as if they have a monologue). It’s up to the designer what
they can use a mover for or what needs its own fixture. On a Source 4, a
smaller lens size such as a 19° is usually needed.
Gobos are always a good edition, as they add some texture and
can also help establish the setting. To cover the whole stage, hang one
Source 4 with a gobo and a larger lens (36° or 50°) with each set of side
lights. Having a mover or two out in the house gives the option for a
front gobo as well.

11
 When designing a show, it’s important to have a plan for your approach.
Always try to get a script early on and read it, making note of anything that will
impact the design (ie setting, time of day, specific requests by the playwright). Obtain
a copy of the rehearsal schedule and go watch a couple of run throughs, taking notes
in the script to help develop a vision of how it’s going to look.

There are four main purposes of lighting:

Selective Visibility: The audience should be able to see exactly what you
want them to see, and not see those things that should remain hidden.
Revelation of Form: Revealing the form of the performer will make them
stand out from their background and creates dimension.
Mood: A “light“ comedy should be bright and cheery, while a “dark“ drama is
often darker and shadowy. The lighting helps communicate the mood of the scene to
the audience.
Composition: Stage lighting is often used to compose a picture. Some shows
contain little to no scenery, using lighting to establish the scene.

There are four main controllable properties of lighting:

Distribution: Light can come from the front, top, side, back or foot of the
stage. Each combination of directions has its own unique effect on the shadows and
highlights produced.
Color: Color can be a major player in establishing the mood of the scene (see
diagram). The LD must be careful to coordinate with the set and costumes as well.
Intensity: The intensity of
a light source can range from near
total darkness to painfully bright.
Movement: Refers to
changing the direction, color or
direction of origin.

Cue-to-Cue (Q2Q)
is when you run through the
show, stopping when you
need to program a cue. It
can be daunting at first, but
with enough preparation and
knowledge of the show it’ll
go just fine. Take your time
programming, be sure to ask
for the director’s input and
communicate with the SM.

12
 It would take another whole handbook to explain how to program a show,
but provided LS still uses Eos, ETC has a whole video series on the basics of the
software. Use that to get started, and after that the best way to learn is just practice. A
couple pieces of advice:
Have a system to number cues. If the cue number is also the page number,
it makes it so much easier to find in the script. If there’s more than one cue on a
page, use decimals to indicate how far down (ie 25.5 would be on page 25, halfway
down).
Make a magic sheet. It makes programming so much faster, helps visualize
where everything is on stage and saves you from having to memorize channel
numbers. An example of my magic sheet from Seussical is below.

How-Tos
Safety is incredibly important in lighting, so it’s crucial to ensure everything is
executed correctly. Do not do anything you’re not 100% confident you can do safely.
Prepping Lights:
- On any fixtures that get lenses changed, put on the lens size that it needs.
Unscrew the thumb screw connecting the lens to the fixture (see Source 4 diagram
on page 15) and lift straight up. The gel clip on the lens goes on the top of the light.
Reverse the steps from taking it off. The thumb screw usually goes on top, for ease
of access.
- On a PAR, the lens is replaced differently. Most of the time a wide flood lens
(WFL) works best, but if you need to change it there’s a clip that pushes in to loosen
it. Don’t drop it, glass shatters.

13
 - The lens should click back into place if you line it up correctly. It takes a lot
of trial and error and takes a while to get the hang of. It’s just annoying.
- If the fixture it LED, it needs to be addressed. There’s usually a screen on
the back of the light, if it’s not easy to navigate you can look up the manual to figure
out how to correctly address it.
- Some LED fixtures have different modes that take different parameters and
amounts of addresses, so make sure everything’s on the correct mode.
- If the lamp in an incandescent needs replacing, do that.

Hanging a Fixture:
- On a c-clamp, first hang the fixture on the pipe and hand tighten the square
bolt.
- Fully tighten with a wrench. Double check the bolt connecting the yoke to
the clamp as well.
- EVERY LIGHT GETS A SAFETY CABLE. Put it around the yoke and
pipe, but not around any cables.

Focusing:
- Loosen the tilt knob(s) on the side of the yoke to adjust the tilt, and loosen
the bolt connecting the yoke to the clamp to pan the fixture right or left. This can be
tough, use a wrench. Once it’s centered on where it needs to be, tighten everything.
- The thumb screw on the lens loosens, and sliding the lens in or out changes
the sharpness of the beam. Be sure to tighten it when it’s focused.
- On a fixture with shutters (ie Source 4), the shutter on the right adjusts the
left side of the beam, and vice versa. It’s the same for top and bottom.
- Use the shutters to shape the beam so that it doesn’t completely overlap the
one next to it, but enough that there’s no dark spot in between. This can be tricky and
take some trial and error, so take your time with it.
- You can check for dark spots by holding up your hand onstage and walking
across the stage, watching to see if the light on your hand changes.
- Incandescent PARs sometimes have a ring to rotate the lens. Since the beam
is an ellipse, use this ring to align it correctly.

Source Four PAR

14 Diagram
Changing Lamps:
*Gloves make this so much easier*
- Make sure it’s unplugged and not receiving power
- Unscrew the gold screw on the back of the light until the back can
come off. Pull it straight out, being careful not to hit the lamp on anything.
- DON’T TOUCH THE GLASS. The oils on your hands will
damage it and shorten its lifespan. Set the lamp housing down flat and squeeze the
little prongs together, allowing them to lift up.
- Using the base of the lamp, carefully pop it out. This can take some
force at times. If it’s dead, wrap it in the foam, put it in the box and throw it out. If it
still works, do the same but write the date it was changed on the box and put it back
with the rest of them.
- Take the replacement lamp and line it up so it’s level. Again being
sure to not touch the glass, push down firmly and evenly on the base until it clicks
into place. Put the prongs back in place, carefully insert back into the fixture and
tighten the gold screw.

Electrics:
The auditorium has four electrics and 14 pipes. The numbers on the electrics
indicate the circuit number, which is the same as the address in Eos. As of when this
was written, the two circuits furthest stage left on each are non-dim power, so any
LED fixtures can be plugged into those with a stagepin to edison converter.
When lowering a pipe or electric, ALWAYS be sure to call out the number
and whether it’s coming in or going out (ie “second electric coming in”). Especially if
there’s people around.
15
 Paperwork
Unlike some other departments, it’s possible to do a show (at
least in LSB) without any paperwork. However, it can be incredibly
helpful for organization especially with bigger shows. It’s also a good
skill to learn in high school if you’re planning to continue with theatre
in college. Multiple example are included since it can vary so much by
show.
One-Acts Channel Hookup: Draft 4 January 14, 2023

Strand SLs LED Source 4 Lustrs

Number Address Channel Position Number Address Channel Position
1 39 1 Front Cool 1 100 211 SR R Side 50°
2 40 2 Front Cool 2 110 212 CS R Side 36°
3 34 3 Front Cool 3 120 213 SL R Side 26°
4 35 4 Front Cool 4 130 214 SR L Side 26°
5 22 5 Front Cool 5 140 215 CS L Side 36°
6 30 6 Front Cool 6 150 216 SL L Side 50°
7 38 7 Front Cool 7 50 301 USR Special
8 41 8 Front Cool 8 60 302 USL Special
9 36 9 Front Cool 9 70 303 DSR Special
10 23 10 Front Cool 10 80 304 DSL Special
11 43 11 Front Cool 11 90 200 Prison Gobo
12 33 12 Front Cool
13 37 13 Front Cool SolaFrame 750s
14 31 14 Front Cool Number Address Channel Position
15 32 15 Front Cool 1 400 101 HL
16 21 21 Front Warm 2 450 102 HR
17 11 22 Front Warm
18 9 23 Front Warm PARs
19 6 24 Front Warm Number Address Channel Position
20 3 25 Front Warm 1 28 41 DS Top
21 20 26 Front Warm 2 29 42 DS Top
22 10 27 Front Warm 3 16 43 DS Top
23 12 28 Front Warm 4 15 44 DS Top
24 5 29 Front Warm 5 17 45 DS Top
25 2 30 Front Warm 6 27 46 US Top
26 19 31 Front Warm 7 25 47 US Top
27 8 32 Front Warm 8 26 48 US Top
28 7 33 Front Warm 9 14 49 US Top
29 4 34 Front Warm 10 13 50 US Top
30 1 35 Front Warm

Lenses
50°- 2
36°- 7
A channel hookup is used to easily find the address, channel, etc. for every
fixture
26°- 2 in the show. Including the position makes hanging and focusing go quicker,
as it’s easy to find where each light needs to go. Depending on the size of the show,
it may contain different info. For the One-Acts, shown above, it’s relatively small.
For larger shows that go over 512 addresses, I like to include universe number as a
separate column as well. Another example is on the next page. I just make these in
Google Sheets.
16
Seussical Channel Hookup: Draft 5 November 11, 2022

S4 Lustrs (9 Addresses) Colorados (AR2.Z- 7 Addresses)

Number Address Channel Universe Position Number Address Channel Universe Position
1 300 101 1 LSL 19 Balc Pole 1 200 301 2 DS Top
2 310 102 1 LSL 26 Balc Pole 2 207 302 2 DS Top
3 320 103 1 LSL 36 Balc Pole 3 214 303 2 DS Top
4 330 104 1 LSR 19 Balc Pole 4 221 304 2 DS Top
5 340 105 1 LSR 26 Balc Pole 5 228 305 2 DS Top
6 350 106 1 LSR 36 Balc Pole 6 235 306 2 MS Top
7 10 107 2 DSL 26 Side E2 7 242 307 2 MS Top
8 19 108 2 DSL 36 Side E2 8 249 308 2 MS Top
9 28 109 2 DSL 50 Side E2 9 256 309 2 MS Top
10 37 110 2 DSR 26 Side E2 10 263 310 2 MS Top
11 46 111 2 DSR 36 Side E2 11 270 311 2 US Top
12 55 112 2 DSR 50 Side E2 12 277 312 2 US Top
13 64 113 2 MSL 19 Side E3 13 284 313 2 US Top
14 73 114 2 MSL 26 Side E3 14 291 314 2 US Top
15 82 115 2 MSR 19 Side E3 15 298 315 2 US Top
16 91 116 2 MSR 26 Side E3 16 305 316 2 UUS Top
17 100 117 2 USL 19 Side E4 17 312 317 2 UUS Top
18 109 118 2 USL 26 Side E4 18 319 318 2 UUS Top
19 118 119 2 USL 36 Side E4 19 326 319 2 UUS Top
20 127 120 2 USR 19 Side E4 20 333 320 2 UUS Top
21 136 121 2 USR 26 Side E4
22 145 122 2 USR 36 Side E4
23 360 510 1 DSL Truss- Shin
24 369 511 1 DSL Truss- Mid MH6s (14 Addresses)
25 378 512 1 USL Truss- Shin Number Address Channel Universe Position
26 387 513 1 USL Truss- Mid 1 350 501 2 Back E3
27 396 514 1 DSR Truss- Shin 2 364 502 2 Back E3
28 405 515 1 DSR Truss- Mid 3 378 503 2 Back E3
29 414 516 1 USR Truss- Shin 4 392 504 2 Back E3
30 423 517 1 USR Truss- Mid 5 432 505 1 DSL Truss
31 481 255 2 USL Gobo E3 6 446 506 1 USL Truss
32 490 256 2 USR Gobo E3 7 460 507 1 DSR Truss
8 474 508 1 USR Truss

Source 4s
Number Address Channel Universe Position Spectra Cycs (604- 5 Addresses)
1 9 1 1 DS Front Number Address Channel Universe Position
2 14 2 1 DS Front 1 410 401 2 Floor
3 20 3 1 DS Front 2 415 402 2 Floor
4 25 4 1 DS Front 3 420 403 2 Floor
5 30 5 1 DS Front 4 425 404 2 Floor
6 10 6 1 MS Front 5 430 405 2 Floor
7 13 7 1 MS Front 6 435 406 2 Floor
8 19 8 1 MS Front 7 440 407 2 Floor
9 26 9 1 MS Front 8 445 408 2 4th Electric
10 29 10 1 MS Front 9 450 409 2 4th Electric
11 11 11 1 US Front 10 455 410 2 4th Electric
12 15 12 1 US Front 11 460 411 2 4th Electric
13 21 13 1 US Front 12 465 412 2 4th Electric
14 24 14 1 US Front 13 470 413 2 4th Electric
15 28 15 1 US Front 14 475 414 2 4th Electric
16 111 16 1 DS Platform Front
17 125 32 1 DS Platform Front
18 103 18 1 DS Platform Front
19 133 34 1 DS Platform Front VL2000s (Standard 16B- 14 Addresses)
20 94 20 1 DS Platform Front Number Address Channel Universe Position
21 124 41 1 US Platform Front 1 245 201 1 HL Goalpost
22 127 42 1 US Platform Front 2 265 202 1 HR Goalpost
23 130 43 1 US Platform Front
24 131 44 1 US Platform Front
25 134 45 1 US Platform Front
26 72 81 1 Pit- Balc Rail Strand SLs
27 70 82 1 Pit- Balc Rail Number Address Channel Universe Position
28 68 83 1 Pit- Balc Rail 1 77 91 1 HL Balc Rail
29 63 84 1 Pit- Balc Rail 2 55 92 1 HR Balc Rail
30 61 85 1 Pit- Balc Rail
31 1 251 1 LSL Gobo
32 34 252 1 LSR Gobo
33 89 253 1 DSL Gobo E1 LED Strips (3 Addresses)
34 118 254 1 DSR Gobo E1 Number Address Channel Universe Position
35 58 260 1 Who Stairs- Balc 1 504 901 2 Proscenium
36 75 261 1 Who Aisle- Balc 2 507 902 2 Proscenium
37 65 1970 1 Disco Front 3 510 903 1 Proscenium
4 500 904 1 Set
5 40 1011 1 Light Booth
6 45 1012 1 Sound Booth
Disco Ball
Number Address Channel Universe Position

17
1 87 1980 1 Pipe 1
 A lighting plot is similar to an architectural blueprint that is used to illustrate
where each fixture needs to be hung. It can also include informaton on lenses, gels,
addresses or anything else deemed necessary. The industry standard for drafting
software is Vectorworks, which has a free educational version. An exmaple of a more
complex plot from Seussical is shown on the next page.

18
19
 SOUND

Roles
Crew Chief/Board Operator
General Crew

Responsibilities
The sound crew is responsible for all the mics, operating the sound board and
organizing and running the sound effects. The needs are different depending on the
show and location. Typically mics are only used for the musical, and everything in the
blackbox is just music and effects.
For the musical, a crew of about four is recommended. One person stays
backstage with mic tape to fix any that come loose during the show. Someone else
runs QLab (can also be someone from lights, as it’s good practice running cues),
which is a macOS software for playing back sound and video cues. The person
mixing is cued by someone else with a script in front of them, indicating when to
turn what mics off and on.
Typically, every other show only needs one to two people. Splitting up duties
when there’s a lot of cues makes it easier, and it’s a good time to train younger crew
members as well.
If possible, it’s helpful to have a monitor backstage so the actors can tell
what’s happening onstage. This job can fall on the lights or sound crew, or really
whoever knows how to do it.

Pre-show announcement
example

20
 How-Tos
Miking Actors:
Every actor should be assigned a mic number, typically in a logical order
based on size of the role. The body pack clips onto the back of the actor’s pants,
undershirt, shorts, etc., and contains the battery. The element is the actual mic part
that is taped to the actor’s face and runs down their back to attach to the body pack
- Put the battery into the body pack and turn it on. Attach the element if it
isn’t already.
- Clip the pack onto the most conveniant part of the costume and feed the
mic up and out at the nape of the neck. Actors can sometimes do this themselves.
- Place a piece of mic tape on the back of the neck (with enough slack to
comfortably turn their head), behind the ear and on the face right above the end.
Don’t cover the mic with tape!

Mic Check:
- Once everyone has their mic, all the actors should go stand on stage.
- Call their names one by one, in order, and have them sing/speak their
loudest line in the show. They’ll probably have to say it multiple times in a row.
- Make sure the main is at unity (0db) and all the faders are at the same level.
Adjust the gain/preamp on their mic until it’s not peaking (the meters should be
around the green/yellow range). It takes practice to develop an ear for it, so be
patient.
- The faders are then used to adjust levels during the show

Pre-show Announcement: (example on previous page)

The SM usually writes or has the script for the announcement. Either have a
lead actor or someone with a good speaking voice record it. Find a quiet location to
record, which is usually the booth. If you’re in the auditorium, turn off the amps or
mute the mains so the entire room doesn’t hear the recording.
- How exactly to record it depends on the board you’re using, but most have
some sort of “USB Record“ feature if you poke around. Or you can record it onto a
computer through another interface.
- Export the file to a USB drive and import it into QLab.

Sound Cues:
QLab is the program used to run the sound cues (effects and music) for every
show. As of now it’s only supported by macOS, so be sure to have a dedicated iMac
or MacBook. It’s pretty inuitive to learn, and as always there’s plenty of info online
that explains the different features.

21
 The number of cues can range from just a handful to into the hundreds, so it’s
crucial to stay organized and ahead of schedule. Most files can be found on YouTube,
or sometimes the director will have a specific files that they’ll send to you.
Once all of the cues are in QLab and in order, you need to play through each
cue to check the levels, trim them, etc. First set a volume for the computer and the
board/output device. Make sure that this doesn’t change! Take a photo or write it
down it down if need be. Then adjust the volume for each cue accordingly. Some may
also need a cue added to fade and stop the effect.

Backstage Monitors:
This can fall to anyone who has time, typically lights or sound. You can also
send audio backstage through an AUX or MTX.

Auditorium Show:
- Set up any camera with decent quality on top of the projector and plug it
into an available SDI port. You may need an HDMI converter if the camera doesn’t
have SDI. Make note of the number it’s plugged into.
- On the video patch bay in the booth, use one cable to go from the port
number to the Extron In. Then send the Extron Out to the tie in the blackbox. Make
sure the Extron input (4) is selected on the rack.
- Plug any large TV into the correct SDI tie in the blackbox (a converter will
be needed here). Select the correct HDMI input, and it should work.
- You can send the main out from the board to the blackbox matrix. Just
unmute it and bring the fader up slightly, until you see signal. Be sure it’s not too loud.

Blackbox Show:
- Set up a camera either mounted on the ceiling or just on the corner of the
booth and plug it into the SDI port on the wall by the booth.
- In the auditorium video patch bay, send the blackbox booth tie to the Extron
In. Turn on the projector and switch to the Extron input.
- To be able to hear the actors onstage, it’s recommended to have a pair of
hanging mics in the blackbox. Don’t send them to the blackbox mains, but there
should be an out to the auditorium set up.
- On the audio patch bay, send the blackbox audio to any open channel.
Check that you have signal and bring the fader up slightly. Be sure it’s not too loud,
and feel free to tweak it during a tech rehearsal.

22
 Paperwork
Sound Crew typically doesn’t have much offical paperwork, but
you will receive some and having a couple spreadsheets for the sake
of organization can be a huge help.

The director should provide a list of sound effects they need with the page numbers.
If there’s a specific effect they want, they might also include a YouTube link. You’ll have to
ask for specifics on length, fade out or stop, volume, cue, etc.
The list usually comes in the form of a google doc, like the first example. It can also
be helpful to create a spreadsheet, as seen above.
You can easily find any effects needed on YouTube and then convert them to MP3
files to download.

23
 Depending on the complexity of the show, the director may provide a more detailed
breakdown of all the cues. The example above is from Puffs, and outlines exactly when to
start and fade out each music cue. If this isn’t provided it can be helpful to make it yourself
as it can speed up the workflow in QLab and make it easier for the stage manager to record
everything in their script.

24
 It can also be helpful to use a spreadsheet to figure out mic numbers and headsets.
Before everyone learns the mic numbers, it’s nice to have a clear guide that everyone can
reference when miking the actors. Especially for the musical, comms can be harder to figure
out. Being able to see how many are needed and on what channels made it a lot easier to get
it set up.

25
 RUNNING

Roles
Crew Chief
General Crew

Responsibilities
The running crew is responsible for getting every set piece on and off stage
during each scene transition in the show. Each set piece is spiked with spike tape, the
back two corners of a chair or table are recommended, so it’s easier to find where it
needs to go in the dark. With so much moving around, it’s the running crew’s job to
maintain organization backstage.
Before each run of a show, the stage needs to properly swept. With two
people and two push brooms, start upstage on either side and sweep to form a line of
the debris center stage. Make sure no one steps on it! Continue downstage, and then
sweep up everything. The stage also needs to be preset with every set piece on the
correct side of the stage. If any spike marks have faded or come off, those should be
re-spiked.
The crew chief is in charge of making the run sheet, assigning transitions and
general organization. The size of the rest of the crew can vary drastically depending
on the demands of the show, but it typically ranges from 4-6.

26
 Paperwork
The only paperwork that running crew needs is the run sheet,
created by the crew chief. It’s typically started by the ASM during
rehearsals based off of the blocking notes. It details who is bringing
what on or off, when and the position all organized by scene.

27
 It may also be a good idea to have a separate sheet for presets, especially with
a more complicated show like Collage (example above). If a set piece ends up on the
wrong side of the stage it can mess up every transition and this helps avoid that. Go
through it before the run and check that nothing is missing and each side is properly
set.

28
 PROPS

Roles
Crew Chief
General Crew

Responsibilities
The props crew is responsible for finding, making and organizing every prop
needed for the production. The size of the crew can vary depending on the demands
for each show, but 4-7 is a good middle ground. Some productions may also require
more props to be made rather than found or ordered. In those cases it’s a good
idea to have a larger crew of more artistic people, as supposed to some shows with
relatively standard props that can be found in the closets.
Most of the props crew’s job involves searching through the two props closets
to options for props and taking inventory of anything that needs to be made or
found elsewhere. Make sure to run all options for props by the director so they can
approve it. It also needs to communicated to the director what you’re missing and
what orders will need to be placed or materials found.
The crew chief is mainly responsible for organization, delegating jobs to the
rest of the crew and being the main communicator with the director and the rest of
tech as need be. Any paperwork is also managed by the crew chief, and they’re the
main person in charge of the props table.
The props table is the table backstage designated to store the props during the
shows. Each prop should have its own spot, usually labeled and sectioned off with
tape. Half your job is policing this table; no one should touch a prop that isn’t theirs!

29
 Paperwork
Props doesn’t have a lot of paperwork, and some is provided
by the director. However, it is incredibly useful for organization,
communication, and to help keep the show running smoothly

The first and most important paperwork you get is the props list provided by the
director. This will include every prop needed in the production, some details regarding what
characters/scenes they’re for and specifics on appearance or function. It’s helpful to take this
list and mark it up with what you have, need to buy, etc. and how many are needed.

30
 It is also helpful to have a preset checklist, like the one above. This outlines where
each prop starts at the beginning of each run, making it easier to double check everything
and make sure nothing’s missing or in the wrong place.

31
 COSTUMES

Roles
Costume Designer & Crew Chief
General Crew

Responsibilities
The costumes crew is responsible for designing and organizing the costumes
for each production. The size of the crew can range from a just a handful of
people to a large crew of ten to twelve. It entirely depends on the demands of the
show; some may only require the actors to wear basic outfits that they can provide
themselves, while others require a large amount of complicated period costumes.
A designer is usually hired for a bigger show like the musical, but a student
does the rest of them. There is overlap with lighting design in terms of mood and
color useage, so it’s worth speaking to them to make sure you’re on the same page
(also see color diagram on p.12). It’s then the designer/crew chief ’s job to direct the crew
to find the pieces they need.
Most of the crew’s job involves finding costume pieces in the closet and
making note of what needs to be bought/fixed/made or otherwise aquired. For some
shows, actors may be asked to bring in some of their own costume pieces. Make sure
they know what to bring by when. At some point each costume should be run by
the director to allow them to make any suggestions, it’s usually a good idea to do this
during Q2Q when the actors aren’t needed onstage. This is also a good time to fit the
costumes to the actors and make any alterations as needed. Coordinate with props
which pieces are your responsibility. Some things like purses or jewelry can fall to
either crew, so make sure that’s made clear.

32
 Design
Initial Prep:
Begin each show by reading the script and taking notes on how many
outfits each character has, and what clothing would line up with their personality
and timeline (examples are given in Paperwork). Meet with the director to get a photo
reference packet for each character, and use Pinterest to make mood/inspiration
boards. These can be printed out so people understand what you’re looking for.

Pulling & Fitting Pieces:

Start by pulling general pieces you think would fir the themes of the show and
could definitely be used, using the initial notes you took as a guide. Once the show
is cast, you can start deciding on outfits and checking them off. Do this as early as
possible to make time for fittings. Once an outfit is fitted, you can mark the items
with a piece of masking tape with the actor’s name on it. Place all items together with
a labeled circle tag.
When the cast list is sent out, use rehearsal hours to get measurements for the
actors. This typically consists of;
- Waist measurement in inches
- General shirt size
- Shoe size (if needed)
If you decide it’s needed to make or buy anything, try to buy second hand and
start early. Shipping/finding in store and crafting takes time. If you buy anything, save
the receipt and give it to the director for reimbursement.

Working With Actors:

Actors should be warned if they need to wear a specific undergarment with
their costume. If so, it can be left at the school for the duration of the show days but
they should be told to take it home immediately after the last show or it will get lost.
Sometimes actors will have to wear itchy costumes or something they find ugly
or unflattering. If a garment is too small or too revealing for their comfort, then you
should take the time to swap it out.

33
 Paperwork
Paperwork is mostly used for organization perposes and for ease
of communication with the director and rest of the crew.

Once everyone is cast, create a spreadsheet such as this one that includes each
character/actor and how many outfits they need. Throughout the show prep fill in the boxes
with descriptions of the outfits selected. Having a color-coding system can help as well.

34
 This is an example of some costume descriptions provided by the director that
outlines the basics of what each character needs and the general description of their vision
for the costumes. This is a good baseline to build off of and to start pulling pieces.

35
 This is an exmaple of a photo reference sheet provided by the director. Unlike basic
costume descriptions, this also includes photo examples of what the director is looking for.
This can be helpful to visualize and gain an idea of the mood of the show.

36
37
 TIPS, TRICKS & ADVICE

Stage Management
- Emergency breath mints for any shows that require it
- Shared google folders are amazing
- Find a template for paperwork that works for you and keep it for life
- Collaboration is important!
- Don’t be afraid to annoy people until they respond to you/listen to you
- Practice cueing! Especially if you have a lot of cues at once
- Keep up to date with rehearsal reports
Lighting
- Always backup the show file
- Keep older show files for reference and to build off of
- Keep the vestibule and cables organized
- Each circuit is 2.4kW. Don’t overload them!
- If you need more than one universe, you can send DMX through a mic port.
Patch that port to universe 2 on the audio patch bay.
- Learn the audio patch bay. Some sound knowledge never hurts.
- You won’t have a cue-to-cue for every show, so get used to programming at
home or finding free time at school to get it done.
- Bring your own adjustable wrench, the school ones float around and it’s so
much easier to just have one in your bag.
Sound
- Label mic numbers on the board with the characters’ names
- Learn the patch bays, they’re really useful
- If possible, wireless headset priority goes to the running crew or anyone who
may need to move around. Booth people can deal with wired if they have to.
- Keep track of XLR (3-pin) cables, they float around and are also used for
lighting. Make sure you have enough of various lengths.
- Have a decent system when you mic people, it can get a little chaotic. If
there’s enough people helping (have some lighting crew help too) it goes pretty
smoothly.
- If there’s cables where people may trip, gaff them down. (Lighting too)

38
 Running
- Be sure to wear black during every show (never wear white); if your shirt/
shoes aren’t entirely black, gaff tape is a lifesaver
- Write each set change in your script. The run sheet is helpful, but it’s better
to have a visual of when each change is
- Write down where the set piece is coming on from/off to and the color and
general area of the spike tape
- Watch out for actors, don’t run anyone over
- Practice quick or difficult changes ahead of time
- If a show doesn’t require too many set changes (ex. Maybe the one acts,
maybe the spring show, etc.), ask if props need to be pre-set and how you can
organize things backstage
Props
- Gaff tape fixes everything
- Keep closets organized and use the top shelves!
- Michaels is a lifesaver, and don’t be afraid to order off of Amazon, but you
do have to confirm with the director
- Temporary fixes are for a night, but always try to permanently fix it
- Hot glue works for a lot of things, but glue is hard to paint
- Fabric from costumes is available, but check with the costumes team. Same
with paint, but you don’t need to check
Costumes
- Run each costume by the director to get their approval
- Knowing how to sew is helpful
- Hang accessories in bags on each actor’s hangers.
- Find out everyone’s schedules and when rehearsals are, then make a weekly
schedule from there.
General
- Communicate! Make sure everyone on tech knows when they’re called, who
they need to report to, etc. They should communicate with their crew chiefs any
conflicts that come up. Hold them to this!
- Check your email. Please.
- Tech call time is usually two hours before the show
- Have a meeting during ACA for each show so everyone that’s interested can
ask questions and sign up
- Google form sign up! Makes it easy to then generate a spreadsheet and look
at all the info at once
- Go to the production meetings, they’re necessary and really useful.
- Don’t be afraid to ask for help.
- Take care of yourself and don’t forget to have fun!

39
 INDEX

A design;
actor; 3, 6, 8, 20-22, 25, 32-33 costume, 32-33
address; 14, 16-18 lighting, 9-13
alterations; 32-33 designer
assistant stage manager; 2-3, 6, 27 costume, 32
attendence; 2, 7 lighting, 8-9, 11-12, 32;
auditorium; 9-10, 22 director; 2, 4, 9, 12, 23-24 , 29-30,
32-33, 35-36
B
backstage monitor; 20, 22 E
blackbox; 9, 20, 22 electrics; 10,15
blocking notes; 2, 8 element; 21
body pack; 21 emails; 2, 4
Eos; 13, 15
C Extron; 22
channel hookup; 16-17
color; 11-12, 32, 34 F
composition; 12 fitting; 33
contact form; 2 fly rail; 2, 15
costume focusing; 14
changes, 3 front light; 9-10
descriptions, 33, 35-36
pieces, 32-33, 35 G
crew chiefs; 4, 9, 20, 26-27, 29, 32 gels; 18
cue-to-cue; 2, 12, 32 See also Q2Q gel clip; 18
cues gobo; 11
programming, 12-13
shorthand, 2 H
sound, 20-24 hanging; 14
D headsets; 25
distribution; 12 HDMI; 22

40
I
intensity; 12 Q
inspiration; 33 QLab; 20-22, 24
Q2Q; 11, 32 See also cue-to-cue
L
lamps; 15 R
LEDs; 14-15 rehearsal report; 4, 7
lenses; 11, 13, 18 rep plot; 9-11
lighting plot; 18-19 run sheet; 26-27
line notes; 2, 6
S
M scene transtions; 26
magic sheet; 13 script; 2, 12, 13, 20, 32-33
measurement; 33 SDI; 22
mic check; 21 selective visibility; 12
mics; 20-21, 25 set pieces; 26, 28
mood; 12, 33, 36 side light; 11
movement; 12 sound
mover; 11 board, 9, 20, 22
musical; 9, 20, 25, 32 effects, 20-21, 23
source 4; 11, 14, 15
N specials; 11
N/X sheet; 2-3 spike tape; 26
spotlights; 9
O spreadsheet; 7, 16, 23-25, 27-28
ordering; 29 stage manager; 2, 4, 6, 12, 24
sweeping; 26
P
PAR; 13-14 T
patch bay; 22 top light; 9-10
period costumes; 32
photo reference; 33, 36 U
preset checklist; 31 unity; 21
pre-show announcement; 20-21 universe; 16
production meeting report; 2 USB; 21
projections; 2
props V
closets; 29 video; 2, 13, 20, 22
list; 30
table; 29
pulling; 33
41