AEA
Tech
Paperwork
Misc. 1
Misc.2
100

The current initiation fee to join Actor's Equity Association (AEA). 

$1,700

100
Describe ways you can personally prepare for tech as a member of the Stage Management team. 

Sleep, rest, eat a good meal before coming to the theatre, bring snacks, review your paperwork, take some time to make sure your space is set-up how you want it to be (either at your tech table as the SM, or backstage as the ASM).

100

This is the document that details all of the costume changes in a production. 

Costume Change Plot

100

Doing this to a cue light signals the board operator to GO. 

Turning the light OFF. Turning the light on is standby. 

100
A paid public performance scheduled prior to opening night is called: 

A Preview

200

Actors equity contracts dictate that there needs to be rest period of a least this many hours between rehearsals. 

12 hours

200

This is a technical rehearsal with the crew and designers, but no actors that focuses on heavy technical sequences.

Dry Tech

200

The piece of paperwork that is a list of cues, in order, that the crew needs to complete during the run of a show. This document includes everything that happens on the stage deck from the proscenium back. 

The Run Sheet or Master Shift Plot

200

The microphone Stage Managers use to call holds and make announcements to the whole theatre during tech is often called this. 

The God Mic

200

Is it ever acceptable to post reviews on your public callboard? 

No. You need to respect the fact that some cast members do not want to read reviews, it should be each individual's choice on whether or not they seek out reviews. 

300

Break rules dictated by AEA, require you call a break at these intervals. 

5 minute break for every 55 minutes of rehearsal OR 10 minute break for every 80 minutes (1 hour and 20 minutes) of rehearsal.

300

A tech where the actors are present, but you jump from lighting/sound moment to lighting/sound moment - skipping dialogue in between. 

Cue to Cue

300

Name 3 things included on a Performance Report that are not included on a Rehearsal Report. 

Run times, including intermission. Time of the performance, performance number, weather, house count (how many people were in the audience).

300

This member of the stage management team is responsible for working with the understudies so they are prepared to perform. 

The Stage Manager

300

The stage manager's production or prompt book is the property of this entity. 

The theatre that produced the show. 

400
Describe a straight 6 rehearsal day. 

A day where you rehearse for 6 hours, utilizing the standard break schedule and one 20-minute meal break. 

400

It is the responsibility of this stage management team member to make sure backstage runs smoothly during tech and performance, their main concern is always safety. 

The Assistant Stage Manager (ASM)
400

If a production has 2 intermissions you need this many Props Preset documents. 

2

400

This is the document that details where props need to be placed before the show and at intermission. 

Props Preset

400

A member of the ensemble who performs in their own role every performance but also knows the material for one or more leading roles. 

An understudy

500

Name and describe the 4 ways to join AEA. 

Be offered a contract, sister union, EMC points, Open Access. 

500
Describe the difference between moving scenery and automated scenery. 

Moving scenery – this is any scenic item that moves during the production, may or may not be automated

Automated Scenery – these are things that move via a computer controlled motorized winch/mechanical system

500

These are the 5 columns needed on a Run Sheet. 

Time, who, action, location, cue

500

When writing cues in your script they have 3 parts: 

GO, department (lights - LX, Sound - SQ), indentifier (letter or number for that specific cue). 

500

Describe what it means for a Stage Manager to maintain the production after it opens, including some tools or tactics they might use to do this. 

Ensure that the production is the same from performance to performance. The audience who saw the show on opening should be seeing the same show at closing. You maintain the show by giving notes, taking timings, utilizing brush-up rehearsals as needed.