Theatre Corner

Theater 101

By Marci Appelbaum

Many improv groups have begun to move away from the barprov scene and are performing limited runs in theater spaces or venturing into interactive theater.  This move from bar to theater brings in a different audience (hopefully a less drunk one,) and allows for greater versatility in terms of lighting and set design.  The following is a practical guide to working in a theater space.  It is the who, what, and how that will help improvisers who do not come from a theater background get the most out of working in a theater.

Who

Director:  The director should be the final voice on everything prior to the actual performance.  This person has creative control over all aspects of the show.  It is the director’s vision that is carried out by everyone else involved.  Once the show has begun, the director’s job is done and they need not even show up at the performances.  Occasionally, the director may choose to watch the show and take notes to keep the show tight and well executed.  Should they decide to do this, they should quietly take a seat in the audience and not disturb the working of backstage.  This need not be different in improv.  In the case where the director is also performing in the show, he/she should don his “performer” hat during the show and have the stage manager or assistant director take notes from the house.

Stage Manager (SM):  The stage manager is the director’s right hand man prior to performance.  They keep track of rehearsal schedules, scripts, props, and actors during the rehearsal process.  Once the run of the show has begun, the stage manager is in control of everything that happens backstage or onstage. They will give the actors and technicians calls (see procedure) and make sure that everything is running smoothly.  Under no circumstances should the stage manager be a performer in the show.  In a case where the director is performing in the show or decides to no longer attend, it is up to the stage manager to uphold the director’s artistic vision.  In short, the stage manager should work as the director’s partner, helping execute the production and making sure that all aspects of it run smoothly.

Technical Director (TD):  This is the person in charge of all things technical.  The TD hires lighting designers and set designers and oversees their work.  They answer to the director prior to the opening of the show and to the stage manager after the opening.  In many improv shows, the TD will be your only technician and will run the lights and sound during the show.

House Manager:  This is the person in charge of the lobby and audience.  They may hire a box office manager (the person in charge of the tickets, money and reservation list) and ushers (those in charge of seating the audience and handling programs) and oversee the work of all of these individuals.  The house manager works hand in hand with the stage manager (see procedure) and just as the SM is in charge of everything backstage; the house manager has autonomous power concerning everything “front of house.”

Where and What

Stage Right:  Right from the point of view of the actor onstage facing the audience.

Stage Left:  Left from the point of view of the actor onstage facing the audience.

Upstage:  The portion of the stage farthest from the audience.

Downstage:  The portion of the stage closest to the audience.

Lip:  The edge of the stage.

House:  Where the audience sits or the actual audience.  When inquiring about a theater, you might ask, “How big is the house?” and the answer will refer to the number of seats the theater has.  If you ask the same question during a show, the answer will refer to how many people are actually in the audience at that time.

House Right/ Left:  The right or left side of the area of the theater where the audience sits from the point of view of a person sitting in a seat facing the stage.

Wings:  The offstage space that is on the sides of the stage.

Fly Space:  Offstage space that is above the stage and often out of view of the audience.  When set pieces are stored above the stage and are lowered on a pulley system or hydraulics, they are said to be “flown in.”

Cross:  To walk from one place to another as in “Please cross from stage right to stage left.”

Curtain:  The time that the show actually begins.

Call/Call Time:  The time which performers are supposed to arrive at the theater prior to a show.  For example, if curtain is at 8pm then call is usually at 7pm.

Strike:  After the show or the run of a show is finished, to strike the show is to take down the set, lights and props and return the theater to its “neutral” state.

Cue:  The signal that you are given to move or say your next line.  A cue might be the actor’s line that comes before yours, a sound effect (i.e. a doorbell rings prompting you to walk to the door and open it) a light change, or a movement by another actor (i.e. Joe grabbing his stomach is your cue to say “Joe, are you okay?”)   In an improv game such as Entrances and Exits your cue is hearing your designated word that would then prompt you to either enter or exit the scene.

Mark:  A designated landing spot.  If you are supposed to walk across the stage and end up one foot to the left of the couch, that specific place one foot to the left of the couch is your mark.

Blocking/To Block the Show:  Blocking is all of the moving around onstage that is part of a show.  When a director blocks the show, they instruct the actors on where to move.

Procedure

15, 10, 5 and 2 Minute Calls:  These are warnings given to the actors by the stage manager so they know how much more time is left before the show begins.  When a stage manager says “We are at 15 minutes” they mean “The show starts in 15 minutes.”  In order to let the stage manager know that you have heard this call, actors should respond by saying “Thank you 15.”

Places:  The stage manager will tell the actors that it is “places” meaning that all actors should immediately go to where they are at the beginning of the show because the show is about to start.

Places and Holding:  Holding is when the start of the show is delayed due to a technical problem or because the house manager is waiting for late audience arrivals.  When the stage manager tells the actors “we are at places and holding” it means that the actors should remain alert and ready for the “places” call.  It lets the actor know that curtain time is delayed, but they should be ready to begin the show any minute.

The House Manager/Stage Manager Connection:  The only people who should be making the decision to start the show late thereby making the call “places and holding” are the house manager or stage manager.  If the house manager decides to wait for audience members, they should inform the stage manager who will then inform the actors.  Should the stage manager decide to start the show late due to technical trouble, they must remember to inform the house manager.  This reduces confusion for both the front of house staff and the backstage staff.  Once the night of performance is upon you, the director should NOT be making these decisions.  All decision making power is turned over to the house manager and stage manager.

Notes:  Notes should be given by the director either directly after the show or at call time.  Please do not give notes mid-performance.

While not all of these things will be used during the average improv show, many of them will help your show run smoothly and reduce confusion and backstage stress.  Just as when you are performing in a bar, it is important to know who is in charge of the television volume and who will help with the unruly patron, when working in a theater, it helps to know the lingo, the balance of power and how everything works so that you may have the best show possible.

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Marci Appelbaum is a contributing writer to Improv Review.  She holds a B.A. in Theater from Florida State University and is Executive Director of Attic Salt Theatre Company, Inc.  Marci is co-author of a theater education book to be published by Scholastic Press in 2001.