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Here is the Everything Backstage complete glossary of theatrical Stage Management terms! Please click on an item below to view the detailed definition.
A Terms
| Above | “Upstage of” in reference to another object or person on stage. |
| Act | -A section of a play/musical typically around an hour long. A full length show will usually be split into 2 acts, with intermission separating them, then the acts will usually be split further into scenes. Acts are labeled with roman numerals “Act I, Act II, Act III, ect.” -One Act plays are shorter, and contain the entire plot in within one segment -A performing group |
| Acting Area | The part of the stage used for a moment |
| Actor | General term for performers in a production. There are a few different kinds of actors based on their strengths. |
| Actors Equity Association | The union for actors and Stage Managers. Often referred to as AEA or Equity, they are responsible for setting the maximum hours per week, minimum weekly pay, and other housing and working condition standards. Depending on your goals as an SM, you may or may not choose to join Equity. |
| Ad Lib | Improvised lines when an actor forgets their lines, or needs to kill time unexpectedly when something doesn’t happen as intended. |
| AEA | Short for Actors Equity Association. |
| Arena | A style of venue where the audience is seated on all sides. Also referred to as “in the round” |
| Aside | When a character breaks the fourth wall to speak directly to the audience in the middle of a scene. |
| Assistant Stage Manager (ASM) | A member of the SM team, the ASM is typically responsible for running everything on stage. They assist the Production Stage Manager during rehearsals. |
| Atmospherics | Fog or haze affects which alter the way the air looks by adding particles or vapor to it. Falls under the Electrics department. |
| At Rise | “At the very beginning of show” |
| Audition | When actors showcase their skills for the casting team of a production. Typically audition materials aren’t from the show being cast. If their audition moves them to the next round, the actor will receive a callback where the candidates will be narrowed down further. |
| Auto-Deck | Automated scenery that doesn’t fly. Think of Pride Rock in The Lion King, or the boat from Phantom of the Opera. |
| Auto-Fly | Automated flying scenery. Instead of a regular manually operated fly system, this uses hoist motors controlled by a computer and programmed to the needs of the show. |
| Automation | Refers to computer controlled scenery, specifically flying scenery, and computer driven scenery on stage. The two main automation shorthand terms are Auto-fly and Auto-deck |
B Terms
| Back Wall | The rear wall of the theatre furthest from the audience. Could also refer to the back wall of a set, which would just be the furthest upstage wall of the set. |
| Batten | Horizontal pipe above stage for hanging lights and scenery. Can be fixed or part of a fly system. |
| Beat | Acting: an approximate amount of time for an actor to hold before continuing on. Can also reference a short segment of dialogue. Music: a fixed unit of time in music. |
| Below | “Downstage of” |
| Beltpack | Part of the comms system for the crew that connects the actual headset to the rest of the system. So named because it is usually worn on the belt of each person with a headset. Can be wired or wireless. |
| Bible | Another word for the Stage Manager’s Prompt Book. This term is dwindling in usage in favor of Prompt Book. |
| Black Box Theatre | Small intimate theatre space which is much closer up than a typical proscenium stage. Usually done in a fairly large room, the audience is normally seated in chairs at the same height as the acting floor. |
| Blackout | Cut to completely dark stage. Lights out over 0 count. Blackout can also refer to the dark transition between scenes. Not the same as a fade out. |
| Blacks (Stage Blacks) | Black clothing worn by crew backstage. Can also refer to black curtains |
| Blind Carbon Copy (Email BCC) | Used to send an email to a group without others being allowed to see the entire list. Great for sending an email to a group of people who only need to see your email, such as during auditions, when sending an email to a large group of 50 actors. |
| Blocking | The term used to describe the actions of the characters on stage. This will be set during a blocking rehearsal, and should be recorded by the SM team to have written record of what happens on stage at what moments. |
| Blues | Backstage Blue Lights used to light up the backstage areas during performances. Blue light is used today for its fairly low leak onto stage in a blackout, and its ability to make fluorescent colors pop out more than other wavelengths of light. |
| Board Op | Board Operator: the person running the light board or other control systems. |
| Book | Another word for Script. Also see “On Book” and “Off Book” |
| Border | Horizontal masking curtain across the top of the theatre which hides lights and scenery stored in the fly house. |
| Bounce | Light reflected off one surface onto another. Though this is mostly a lighting term, it’s an important concept for stage managers to understand. White surfaces cause more bounce than black surfaces, and this should be kept in mind when setting up a backstage storage area. |
| Brake | the name for a lock on either a rolling set piece, or a fly rail to hold them in place. |
| Break | -A break from rehearsal for people to get water and relax before continuing on. Standar break timing is a 5 minute break after 55 minutes of work, or a 10 minute break after 80 minutes. -An actor losing their character for a moment, usually due to something funny, or out of the ordinary happening. |
| Break A Leg | “Good Luck” |
| Breakaway | When an object is built to fail in a specific way for safety. Could be a glass bottle meant to shatter when thrown, or a chair made to break when hitting someone. |
| Breasting | To pull a curtain out of the way upstage or downstage to make room for something passing through |
| Bridge | A section of music that contrasts to the normal, and transitions into the next segment of the song. |
| Bus and Truck | A type of touring production where everything and everyone is driven to each location. Often these tours are physically much smaller than a national tour and spend one or two days in each location instead of weeks. |
C Terms
| Cable | A wire that transmits power, or data for lighting, sound or projections equipment. There are many different kinds. |
| Call | Call a Cue: giving a “Go” to the board op to execute their next cue. Call: The time each actor is needed for rehearsal, often sent in the “Daily Call” email. the name dates back to the olden days of landlines, where the SM would leave an outgoing message on the voicemail with the schedule for the next day, and everyone would Call in to hear when they needed to be present for rehearsals. |
| Call Board | A central location for everyone to see the schedule for the day, any relevant rehearsal information, a sign in sheet, and other important documents. |
| Callbacks | The second round of auditions. After the initial audition, the casting team narrows down which actors they would like to see more from. These actors usually receive a literal call from the casting team asking them to come back in again. |
| Calling The Show | Calling cues to board op. Usually done by the PSM (called the DSM in the UK) |
| Carbon Copy (Email CC) | Used when sending an email to a person, and wanting to include someone else on an email for record. |
| Cast | The collective term for all of the actors involved in a production. |
| Cattle Call | Large scale audition process where many actors are seen in a short amount of time. It’s called this for the way actors are “herded” into groups and funneled through the rehearsal process. |
| Catwalk | A walkway above stage height often floating suspended from the ceiling above the audience. These are used to hang lights Front of House over the audience since it is difficult to access these areas from the ground. |
| Center Center (CC in blocking notation) | The very center of the stage, both right to left, and up and downstage. |
| Center Line | The center of the stage from left to right, running the length of the stage. |
| Center Stage | Usually refers to center left to right, with less precision up and downstage. |
| Chaperone | Another term for Youth Supervisor. |
| Cheat Out | Instruction to face out more toward the audience. |
| Child Wrangler | Another Term for Youth Supervisor. |
| Clear | Clearance usually given by the ASM to the PSM when an actor or set piece is out of the way for another action to happen. Example: During a blackout where the PSM can’t see the stage well, they may request a “clear” from the ASM when the last actor is offstage to bring lights back up. |
| ClearCom | Most common headset brand in the US. Sometimes used as another name for headset, similar to calling a tissue a kleenex, or calling locking pliers Vise Grips. |
| Closing Night | The final performance. |
| Coming In | A warning for scenery flying down toward the stage |
| Comp | Complimentary ticket for a performance, often give to the cast and crew for someone to come watch. |
| Company | Collective term for all cast and crew involved in a production. |
| Company Manager | Can be responsible for lodging, transportation, payroll, interdepartmental communications, and handling emergencies. |
| Conduit | A tube that carries something through it, the most common thing in theatre being cables. |
| Contact Sheet | One stop shop for emails and phone numbers of the entire company, creative team, and producing team. |
| Contingency | Backup plan. |
| Control Room | Another term for the Booth |
| Costume Parade | Where all actors put on each of their final looks for the director to see. Usually happens the day before first dress so there is time for last second changes. |
| Count | -Counting in (think “5 6 7 8…”) -Number of lights in a production |
| Counterweight System | Another name for a type of Fly System, which counterbalances the weight hung on a batten with weight placed on the “carriage”. Allows large amounts of weight to be moved by a single person. |
| Crash Box | A box full of junk to create a live crash sound effect. A crew member will literally slam it into the ground and shake it around to create the desired effect. |
| Creative Team | The designers and directors on a production. |
| Crescendo | A build or swell in music or energy level. |
| Crew | -Members of the production working during the performance. -Members of a production department working to maintain or implement things. |
| Cross | An actor moving from one spot to another on stage, usually given with a stage direction. |
| Crossfade | Fading directly from one cue into another. Think of one song fading out as another one starts fading in. |
| Crossover | A backstage way to cross from one side of the stage to the other without being seen by the audience. |
| Cue | A state of a technical element which can be saved and recalled on command. |
| Cue Light | A small light located where visible to each relevant crew member controlled by the PSM. Light on = Standby, Light off = Go. |
| Cue List | The lists created by each designer with their cues written down with important details. |
| Cue Sheet | A complete list of all cues in a production. |
| Cue To Cue | Refers to jumping through the show during tech, skipping sections without cues for times sake. |
| Curtain Call | Also known as bows, where the actors come back on stage after the performance for applause. |
| Curtain Down | End time of the performance. Refers to when the main curtain comes down after the finale. |
| Curtain Speech | A speech given immediately before the performance, usually by the producer, director, or other administrative member. |
| Curtain Up | Start of the performance. Refers to the main curtain flying out at the start of the show. |
| Cyc | Pronounced like “Psych” and short for “cyclorama”, it is a large usually white fabric which covers most of the back of the stage. This is usually lit with colors to create a backdrop for the scene. The shortened version is almost exclusively used in conversation rather than the long version. |
D Terms
| Daily Call | The schedule sent out the night before each day of rehearsal or performance. |
| Deck | The stage floor, often shortened for easy reference. |
| Department Head | The person in charge of each production department. Scenic = Technical Director, Electrics = Master Electrician, Stage Management = PSM, etc. |
| Deputy Stage Manager | The UK equivalent of the PSM, though their duties vary slightly from the US. Stands for Deputy Stage Manager. |
| Dimmer | The electronic control for a stage lighting circuit. Dimmers in theatrical lighting are controlled by the light board via DMX signal. |
| Director | The person who builds the vision of the show. The Director provides blocking to actors, gives acting feedback, and decides most of the details when it comes to actors. They will have a central vision for the production which the Producer will approve, then designers work to contribute to the central vision. They are contracted through opening of the production, then the SM is responsible for maintaining their original vision. |
| Dock | Short for Loading Dock. The area where large scenic pieces and equipment are loaded in to the theatre. Usually in smaller theatres there is an intermediate room like a scene shop between the loading dock door and the stage to help limit noise pollution. |
| Downstage | The edge of the stage toward the audience. Originates from the Italian Renaissance era where stages were angled toward the audience. |
| Dramatic Pause | When an actor pauses a beat longer than normal before delivering a line. The extra moment creates suspense in the audience, and can either be a good or bad thing, depending on the director’s vision for the show. |
| Drape | Curtain. |
| Dress Rehearsal | A full run of the show with all technical elements treated as a performance. There are usually a few dress rehearsals prior to the first public performance or preview to allow for adjustments. Equity contracts require at least one full dress rehearsal prior to the first public performance. |
| Drop | A large piece of fabric often painted or cut out to represent something. Short for Backdrop. |
| Dry Tech | Technical rehearsal without actors. Helpful to talk through cue sequences and run the basics without using up actors hours for the week. |
E Terms
| Electrics | – Batten wired with lighting circuits and DMX. – The lighting department. |
| Elevation | A close up view of each individual element showing details. Scenic build elevations for example will show details like trim pieces, size and shape of shelves, etc. |
| Entr’Acte | The musical number coming back from intermission which lets the audience know the show is beginning again. Usually it’s much shorter than the overture. |
| Entrance | The moment an actor comes on stage for a scene. Can also refer to a location on stage for actors to enter. |
| Equity | Short for Actors Equity Association. |
| Escape Stairs | Stairs to provide access to a raised platform from backstage. Escape in this case refers to actors “escaping” a platform to the backstage area. |
| Exeunt | Leaving for the final time to end a scene or act. |
| Exit | Actor leaving the acting area of the stage for backstage. |
F Terms
| False Proscenium | Built proscenium which is used rather than the regular proscenium, typically for aesthetic purposes to fit the show. It will usually have a slightly smaller stage opening to hide the main proscenium. An example would be the Wicked proscenium. |
| Fight Call | A 15 minute rehearsal right before half hour call where any stage combat is run. This ensures muscle memory for the performance, and drastically improves safety for all involved. |
| Fight Director | The person responsible for directing all stage combat scenes, similar to the regular director for acting. They choreograph the scene and tell actors exactly what them must do in which moments. |
| Finale | The last number in a musical, or final moment in a play. |
| Find Your Light | This is said to an actor when they aren’t standing where the light is focussed. Often they are standing out of the hot spot of the light, or they are standing just too far upstage so the top of their head is in darkness. |
| Fire Curtain | The fire resistant curtain in some theatres which automatically drops in the case of a fire alarm. This setup is independent of the fly system, and acts as a safety barrier for the audience in the case of a fire on stage. This falls on the plaster line. |
| Fire Marshall | The fire safety official who makes the rounds to enforce fire regulations. They will make random inspections and can fine the theatre for safety violations. In some places, you must receive permission from the fire marshall to have an open flame on stage such as a match. |
| Flame Retardant | Because almost nothing is completely “Fireproof”, this is the term given to materials which are extremely unlikely to actually catch on fire. Fabrics might be labeled FR, to show they are treated to be Flame Retardant, or NFR for Naturally Flame Retardant |
| Flat | A one sided wall in theatre is referred to as a Flat, and can be covered with wood or fabric, which will be painted. |
| Flies | The term used for the crew running the fly system during a performance. |
| Fly | When something is attached to the Fly System, it is said to “fly” as it can magically be raised and lowered. The item is attached to the system of ropes, pulleys, and counterweights which allows large objects to be lifted by a single operator with ease. |
| Fly Gallery | Area above the stage where scenery, curtains and lights hang when “flown out”. |
| Fly Rail | A railing with all the locking levers for the fly system. This is where the system is operated from during the performance. There is usually an area at the grid where weight can be loaded and unloaded, which allows weight to be added or removed from the arbor while the pipe is flown all the way in. |
| Flying A Performer | Similar to flying any other element, this is when you use a system to lift a performer into the air via cables. This is almost never done with the normal counterweight system used for fixed items, and is extremely dangerous. This is something only experts should be responsible for. |
| Flying in | A batten which is moving down toward the floor. “Lineset #___ Flying In” is used to announce a flying object is about to begin moving down. Depending on the setting, it may not be called if all moving objects stay above head height (EX: Electric flying in from the grid to a trim height of 25 feet). |
| Flying Out | A batten which is moving up away from the floor. “Lineset #___ Flying Out” is used to announce a flown object is about to begin moving towards the grid. A fly line that is up as high as it can go is referred to as being “Gridded”. |
| Fog | An atmospheric effect which is thick enough to hide a person or object behind it. Different from Haze, which is thinner. |
| Follow Cue | A cue programmed to happen automatically following another cue. These cues don’t need to be called. by the SM. |
| Follow Spot | A specialized spot light manually controlled by a person during the performance. The light can pan and tilt as well as iris, fade, and change color. |
| Foot Light | Lights located on the stage floor or at foot level on a platform. These shine up on the actors from below, giving a “spooky” flashlight under the chin kind of look. |
| Fourth Wall | The imaginary barrier between the audience and the actors. It gets its name from the audience watching through one of the walls of a hypothetical room, and since the audience can see 3 of the “walls” in this room, the downstage edge becomes the Fourth Wall. If an actor talks directly to the audience during the show they “Break the Fourth Wall”. |
| Freezing the Show | Locking in the performance and technical aspects of the show so no more changes will be made. This allows for understudy rehearsals to begin and the performance to settle into a groove. |
| French Scene | A “Scene” defined by a character entrance or exit. Each entrance or exit begins a new French Scene, even though it may be within a book scene. |
| Front of House | Anything on the audience side of the edge of the stage can be described as Front of House (or FOH). It may refer to staff, lighting positions, booth positions, etc. |
G Terms
| Gaff Tape | The duct tape of the entertainment world, except better. Gaff tape is easy to rip by hand, and sticks extremely well without leaving residue behind when removed. |
| Genie | Brand name of aerial work platforms (scissor lifts, etc.). Although most people are moving away from the term as a blanket name |
| Ghost Light | A light that is left on while the theatre is empty to illuminate the room for safety. Basically a lamp without a shade on wheels. |
| Glow Tape | As it sounds, this tape glows in the dark. It is used to illuminate hazards like the edge of a platform or a wall someone walks past in a blackout. |
| GO | The only word used to execute a cue by the Stage Manager. Each cue is executed as soon as the SM says “GO.” |
| GO Button | The button on any console which the operator presses to fire a cue. On computers with a normal keyboard like sound or projections systems, the Space Bar will usually act as the GO button for the selected cue. |
| God Mic | The mic given to the Stage Manager which is sent to the entire theatre during tech. The SM should use this for all announcements and any information which everyone should hear, especially for calling HOLD. |
| Going Dark | The announcement made by the lighting department when they are unexpectedly going into a blackout. Meant to give notice to anyone walking near edges or hazards to stop moving until they are able to see again. Not called when running a blackout, since people are aware it’s coming. |
| Going Out | Another common way to say something is “Flying Out”. Serves as a warning for anyone on stage to stay clear of the batten which is about to move. Not called while running the show. |
| Grand Drape | The main curtain which hides the entire stage upstage of the proscenium from the audience. This curtain is usually more decorative than your normal masking curtains since it is meant to be seen instead of ignored. |
| Grid | The area above the fly gallery which is meant to act as a working space. The floor of the grid is usually a grate or a wire system which allows chains for hoist motors to run through it. In Fly system terminology, an item which has been “Gridded” is flown all the way out as high as it can be. |
| Gridded | A fly line which is flown out as high as it can go. The Arbor is at its lowest position when the batten is at the grid. |
| Ground Plan | A view of the floor plan looking straight down from above. This is said to be created by cutting off the top half of the building about 6 feet above floor level, and including any raised platforms. This shows all scenic elements on the ground which allows planning of traffic patterns. |
H Terms
| Half Hour | The 30 minutes prior to the start of a performance. This is when actors are called to the theatre for a show day. |
| Haze | A thin atmospheric effect, which lasts a long time, and allows beams of light to be visible through the air, but does not obscure what is behind it. |
| Heads! | The Exclamation used when something is dropped when working overhead. If you are on the floor when someone calls heads, you should cover your head with your hand and remain looking forward. Looking up is the natural reaction, but just means you will get hit in the face instead of the top of the head. |
| Headset | The communication device used to talk to the other members of the crew during tech and performances. |
| Hit Your Mark | Finding the exact same spot on stage for a certain moment. |
| Hold | Called during tech and rehearsals when the show needs to stop. During tech this is mostly called by the SM to look at actors positions for lighting, but can also be called by anyone for safety concerns. |
| House | The entire audience area of the theatre, usually used when talking about the seats specifically. |
| House Is Open | When the audience is able to enter the theatre. Means the visible areas of the stage must be set for the top of show. |
| House Left | The Left side of the stage when sitting in the audience/house (Opposite of Stage Left) |
| House Lights | The lights dedicated to the seating area and aisles. Controlled separately from work lights and stage lights. |
| House Right | The Right side of the stage when sitting in the audience/house (Opposite of Stage Right) |
I Terms
| IATSE | The stagehands union. Includes most stagehands and technicians, but not Stage Managers, Actors, or designers. |
| Improv | When an actor makes up lines on the spot. Can either be on purpose as part of an improv show, or during a normal performance when an actor forgets their line and makes something up to keep the show moving. |
| In | Fly system line set flying down toward the stage floor. |
| In the Round | Theatre when the audience is seated on all sides. Named for the typically round shape of the stage in these venues. |
| In The Round | Performance with the audience seating on all sides of the performers. |
| Intermission | The break between the first and second act of a show. In theatre it’s usually 15 minutes. |
| Inventory | The items available in house to be used. Lighting inventory would include the number of each type of light, the number of accessories, the gels, etc. |
J Terms
| Jukebox Musical | A musical where the songs are pulled from the period or artist instead of written new for the show. For example an Elvis musical would have only Elvis songs with a couple other songs from his life. |
K Terms
| Kill | To turn off a light or electronic device. |
L Terms
| Ladder | – Ladder to climb up to something. – Lighting accessory which looks like a pipe ladder hangs down from then end of an electric. Used to hang more lights at the end of the batten. |
| Lead | The main characters in the show. These roles are cast a bit more specifically with people who fit the director’s vision. |
| LED Tape | Tape with LEDs spaces along it to allow for even lighting in small spaces |
| Legs | Masking curtains which hang vertically to hide the wings. |
| Level | – Something sitting flat so a marble can sit still on the surface. – The sound term for volume, since volume is less correct when used in a theatrical or other entertainment setting. |
| Libretto | The actors script pages, music score, any any other documents provided in one bound book from the distributor. |
| Lift Call | Similar to fight call, used to run any lifts in the performance to warm everyone up and practice for safety. |
| Light Plot | Paperwork to show the position that lights hang for the show. Usually printed on 24×36 inch paper. |
| Line | – An unbroken section of one characters words printed on the script page. – Called by an actor who forgot a line during rehearsal to request the SM start prompting their next line. |
| Load In | Bringing everything needed for a show into the theatre and setting it up. |
| Loading Bay | The area with large doors used to load in and out the set into a truck. |
| Lock | Immobilizing a set piece with a brake or locking pin. |
| LORT | League Of Regional Theatres. You will hear this to refer to a contract as a “LORT” contract. |
| LX | Shorthand for electrics, commonly used by the SM to write light cues into their book. |
| Lyrics | The words in the songs. |
M Terms
| Marley Tape | Clear plastic tape meant for use on dance floors. Used by SM’s to tape over spike marks so they don’t peel up. |
| Masking | Curtains or flats used to hide something from the audience’s view. |
| Masking Flat | Stage flat used to hide something from the audience. |
| Model | A small built-to-scale recreation of the set, which is usually made of foam core board. |
| Moving Head | Another name for a moving light fixture. |
| Musical Director | The person responsible for teaching actors their musical parts and rehearsing them. They may give feedback on delivery of sung dialogue based on their relationship with the Director. On local shows, they leave after opening. |
N Terms
| Notes | Changes requested by the director or SM. After each dress rehearsal or full run-through, there will be a notes session to communicate any small changes which don’t need to be rehearsed. |
O Terms
| Off Book | When an actor has their lines memorized, and no longer needs their script (AKA book) in hand. |
| Offstage | Not in view of the audience. |
| Olio Drop | A rolling drop which is usually painted. The drop is rolled up to give the illusion of a flying item when there is no room to fly items out. Most common in small spaces. |
| On Book | When an SM is following along in the script to feed lines if an actors forgets and calls “line”. Most common during the first few rehearsals after the Off Book date, though actors will still call line all the way through tech. |
| On Book | – An actor who still needs their script in hand. – The member of the SM team tasked with prompting actors when they call for a line. |
| Onstage | Anything visible to the audience. |
| Open the House | Allowing patrons into the theatre to be seated. Usually 30 minutes prior to the performance. |
| Opening Night | The official first performance of the production where things are no longer allowed to change. This is when the designers and director are contracted through, so most leave town after opening. |
| OSHA | Occupational Safety and Health Administration which regulates workplace safety. Typically spoken about as “OSHA would not be happy if they saw this”. Usually said in smaller spaces when unconventional (and unsafe) practices are used to complete a task where they don’t have the budget or tools to complete something in a safe manner. |
| Out | Flying something up away from the stage floor and toward the grid. |
| Overture | The musical number before the show starts, which introduces the musical themes of the show. No singing happens during the overture, but it serves to bring the audience into the show and get them ready for the characters to enter. |
P Terms
| Pace | The speed of the performance. |
| Paging | To pull a curtain out of the way stage left or right to make room for something passing through. |
| Paper Tech | When designers gather with the SM to go over cue placements and intentions with each other before regular tech. This helps smooth the process of writing cues as everyone is on the same page ahead of time for when cues will line up |
| Per Diem | An amount set aside for food on, usually provided on touring shows. |
| Performance Report | A report of the relevant details sent to everyone involved technically on the production. Will include notes of necessary fixes, audience reactions, and problems which occurred during the performance. It serves as a way to document each performance, as well as fill in the people who aren’t present with any relevant information. |
| Piano Dress | A dress rehearsal with only a piano accompaniment. Used when the band is unavailable due to scheduling conflicts or union hour limits. |
| Piano Vocal Score | The copy of the sheet music often used by the Music Director. It includes piano backing which sounds very similar to the full orchestra, as well as vocal parts for helping actors learn their parts. |
| Pipe | Another term for a batten, which is a horizontal metal pipe for hanging scenery and lights. |
| Pit | The area where the band plays from. Can also refer to the area directly in front of the stage. |
| Places | Called by the Stage Manager just prior to the start time of the performance to let actors and crew members know to make their way to their top of show positions. |
| Plaster Line | An imaginary line on the stage at the upstage edge of the proscenium. This line runs SL to SR. |
| Platform | A built up section meant for walking on. Can be just a few inches tall or a second story which people can walk under. |
| Playbill | The Program handed out to the the audience with the names and roles of each of the actors, designers, and technicians. |
| Playing Space | The part of the stage where the performance happens. Can also refer to smaller subsections of the stage, such as “the upstage left playing space”. |
| Pneumatic | Air operated machinery or mechanism, run by pressurized air. |
| Point Cue | An added cue between two whole numbers. For example, a cue added between 95 and 96 could be numbered 95.5. |
| Portfolio | A collection of your work used in the hiring process to help show the interviewing team how you work and that you know what you are doing. |
| Practical | A light fixture which the audience can see which will actually light up. Think of a table lamp sitting on a corner table which an actor turns on during the production. |
| Prelude | The very beginning of a show which helps bring the audience into the story and provide them with some background information. Not every show has a prelude. |
| Preproduction (Prep Week) | The week prior to the first rehearsal when the Stage Manager is contracted to prepare the paperwork necessary to begin the rehearsal process. |
| Preset | Setting the stage prior to the performance beginning. This includes scenery, props, costumes, and anything else which needs to be in a specific place on or offstage before the show begins. |
| Preshow | anything happening prior to the performance beginning. Preshow music is music played in the house while the audience is entering and finding their seats. |
| Production Calendar | The calendar with most of the major dates listed. This will serve as a basic |
| Production Manager (PM) | Acts as a sort of general manager of the entire production process for every show put on by a theatre company. Many Stage Managers become Production Managers because of the similarities in skillset, and the more set hours. |
| Production Meeting | A meeting of all production team members to discuss things with the entire group. Typically the Production Manager runs the meeting, but the PSM may also be tasked with it. Try to keep the discussion on things for the entire group, and talk to individuals after the meeting. |
| Production Stage Manager (PSM) | The highest member of the SM team. Typically calls cues during performances, schedules rehearsals, sends reports, rehearses understudies, and creates the Prompt Book. In the UK, they use the title Deputy Stage Manager. |
| Production Team | Department heads and members of the group who create the ideas designers draft. |
| Projections | The department who runs all things projector related. |
| Prompt Book | The Stage Manager’s book which holds everything needed to recreate the production exactly as is. Should include all technical details, contact info, schedules, etc. |
| Prompt Desk | The place the SM calls the show from. Contains cue light controls, comms systems, clock, god mic, visual monitors, and anything else necessary to call the show. |
| Prompt Script | The copy of the script the Stage Manager uses to call the cues for each performance. |
| Prompter | The person feeding lines to the actors when they call for them, usually a member of the SM team. |
| Prop Master | The person in charge of tracking and maintaining all props for the production. |
| Prop Table | A table for storing exclusively props, which will have a taped spot for each specific prop. |
| Properties | Items picked up and used during the performance. |
| Props | Short for properties, these are items the actors will pick up and use, as opposed to set dressing which is never touched during the show. |
| Proscenium | The archway which frames the stage in a typical indoor theatre. Built in from the sides of the house a bit, and down from the ceiling to help hide the wings and provide offstage areas. |
| Push Broom | A broom with a wide blade for sweeping large areas at once. |
Q Terms
None.
R Terms
| Rake | An angled stage floor. Raked stages are less and less common because of the risk of injury and physical challenges they impose on the actors and crew. |
| Re-mount | Putting on a show again using the same designs and general feel of the original production. The Prompt Book is a vital part of the process of a re-mount, since it contains every technical document about the original production |
| Read-Through | The first time the entire company meets and reads their lines aloud with the group. Helps the company learn which roles each person will have, and understand the show as a whole prior to starting rehearsals. Sometimes shortened to Read-Thru, or referred to as the Table Read. |
| Rehearsal | Learning and practicing the production with the Director’s guidance. Creates a cohesive production rather than everyone learning the production on their own. |
| Rehearsal Report | A report sent to all technical departments and admin staff to relay information o them about the rehearsal. Includes start/end times, what was covered or rehearsed, any new developments which designers may need to know, and any general notes for the group. |
| Reprise | The shortened version of a musical number which has the same basic melodies as the main number. Often used to provide some entertainment during transitions, or to call back to an earlier moment in the show with a very different emotion. |
| Restore | A cue which brings the stage back to the way it was prior to the last change. |
| Resumé | A list of your experiences and related skills which is used to apply for jobs. |
| Rider | An extension of a contract which includes extra requirements, specifications, etc. |
| Run | Performing a scene in character to explore options or to view changes. |
| Run Sheet | Acts as a cheat cheat for everyone involved to see which parts of the performance are coming up next, and where they are needed next. includes scenic pieces and who moves them to which spike marks and the cue line. |
| Run-Through | Performing the whole show or act with actors in character to take notes and fix after. Sometimes shortened to Run-Thru. |
S Terms
| Scene By Scene | Miniature ground plans used as quick reference for what elements need to be where during each scene. |
| Scene Change | A transition from one look on stage to another, usually through either a lightling change, or through moving scenic elements. |
| Scenery | Anything physical which adds to the stage picture for the audience. Might be walls, doors, rolling platforms, furniture, etc. |
| Scissor Lift | A mechanical lift used to access high places without needing a ladder. Your best friend for speed and efficiency. |
| Score | The sheet music for each production number. Different versions of the score are available for each member of the production team. |
| Script | The words written down for actors to learn their lines. Lyrics will be included in the Script in capital letters. |
| Segue | A transition from one thing directly into the next. Usually used in relation to music, where one number ends, then immediately the next begins. |
| Set | Another way to refer to the scenery as a whole. |
| Set Dressing | Small items placed around the set to bring the set to life, includes pictures on the walls, banners, decorations on shelves, random clutter to fill the space, and things like that. Basically anything on the set which isn’t actively used as an official prop by an actor. |
| Show Deck | A built up or added stage floor on top of the original stage. Usually brought in when things need to be built into the floor like tracks for automation, or pipes for steam or fog. |
| Sides | Small sections of the script prepared for auditions or callbacks which the director/casting team feels are representative of the characters involved. Helps place actors into the correct roles. |
| Sight Lines | The line of where the audience can see into the offstage areas. Sight lines are sometimes taped onto the floor as a visual representation of where not to stand. If you can see the audience, they can see you. |
| Smoke Pocket | The “pocket” which holds the track or cable that guides the Fire Curtain as it falls |
| Snag | When something gets caught on an edge or protruding screw. Can be small like a thread, or large like a set piece caught on a curtain. |
| Sound | The department responsible for making sure the audience can hear everything happening. They play prerecorded sound effects, run and maintain microphones, and coordinate with the orchestra. |
| Spike | A colored mark on the floor to indicate where a scenic piece or furniture should be set. Color coding helps differentiate positions. Always mark the upstage corners to keep the marks as far from the audience as possible. |
| Spike Plot | A map of where every spike mark is located on stage to reproduce from the rehearsal hall to the theatre. |
| Spike Tape | Colored tape used to mark positions of objects. |
| Sprung Floor | A stage floor meant for dancing. It has more give than a solid to it to allow for softer landings to protect dancer’s joints. |
| Stage Crew | The people responsible for moving scenery during the performance. |
| Stage Directions | Upstage, Downstage, Stage Left, and Stage Right. These are from the perspective of someone on stage. Stage Managers must get used to using stage directions even when sitting in the house so they can relay them to actors easily. |
| Stage Left | The Left side of the stage when facing the audience (Opposite of house left) |
| Stage Manager (SM) | -The person in charge of every aspect of the production. Abbreviated SM, they call cues, schedule rehearsals, and coordinate all technical elements of the show from first rehearsal through closing. -In professional (paid) theatre, the First Assistant Stage Manager is billed as the Stage Manager. Although it’s confusing, in most non-professional (unpaid, high-school/community theatre) productions, the title of SM is used instead of PSM for the highest person on the SM team for simplicity. For more on the titles of the SM Team and the responsibilities of each member, read our article here. |
| Stage Right | The Right side of the stage when facing the audience (Opposite of house right) |
| Stage Weight | A Steel plate cut to fit exactly on the arbor of a fly system. Often referred to as Bricks, there are usually two different thicknesses. The weight varies based on manufacturer, so let the Technical Director or Riggers figure exact weights based on their knowledge of the system. |
| Stage Whisper | An actor “whispering” loud enough to be heard completely by the audience. Can be played as a regular whisper, or exaggerated for comedic effect. |
| Stagehand | A crew member who is helping on stage with running the show. They may also help with Load-In and Load-Out. |
| Standby | The call given about 10 seconds before the “GO” is called for each cue. It lets the board op know a cue is coming so they are ready to execute it on your command. |
| Stipend | A set amount you are paid for the whole run of a show. Stage Managers should be EXTREMELY careful of stipends, since they are almost always taking advantage of the person who accepts the role. Calculate your pay for how much you will get paid hourly to see how bad it is. Most stipend gigs end up paying less than $3 an hour when divided out. |
| Strike | – Removing a prop or other object from stage. – Tearing down the set after the show closes. Usually takes a fraction of the time that building the set does. – Union term for refusing to work to protest working conditions. The power here is that all union workers will refuse to work at the same time, forcing the company to take demands seriously. |
| Stumble-Through | Usually the first run of the show, which happens when the whole show has been blocked, but not rehearsed. There are almost always a few hiccups along the way as people put the show together for the first time. Allow 20-30 minutes on top of the intended run time for the first stumble through of a full length show. |
| Swing | A member of the cast who normally plays one role, but learns one of the leading roles to act as a replacement. After Covid, Swings and Understudies are more common as actors may be required to quarantine with almost no notice. |
T Terms
| Table Read | The first reading of the script during the first rehearsal. The actors each read their characters lines in the script, and the SM reads stage directions (when necessary). This may be when some of the smaller roles are assigned to ensemble members. |
| Tech | Short for Technical Rehearsal. |
| Tech Table | A temporary table set up in the house as a working surface during rehearsals and tech. Designs vary greatly from theatre to theatre, since the seats height, floor height, rake, etc. are all different. |
| Tech Week | The week where technical rehearsals begin through the first public performance. It usually isn’t a week exactly, and refers to it in a general sense. |
| Technical Rehearsal | Rehearsal specifically focussed on the technical elements of the production. Programming lights, sound, projections, scene changes, and any other technical elements get worked during tech. |
| Tempo | A transition from one look on stage to another, usually through either a lighting change, or throuhg moving scenic elements. |
| Top of Show | The very beginning of the show, first moment with lights up on action |
| Tops And Tails | Shorthand for running the beginning and end of each scene including transitions during tech. |
| Tormentors | Another word for Border |
| Trap Door | Section of floor which is removable to allow for people and props to appear or disappear through the floor. |
| Traveller | – A small masking curtain on a track which can move a few feet on or off stage – The piece which sits in the curtain track which allows it to glide freely. |
| Treads | The top piece of each step in a staircase. |
| Trim Height | The set height of a flying element. Curtains, flying Electrics, and scenic pieces all use this term. |
| Triple Threat | An Actor who can Sing, Dance, and Act well. Many actors only excel at 1 or 2 of these skills. |
U Terms
| Upstage | The edge of the stage away from the audience. Originates from the Italian Renaissance era where stages were angled toward the audience. |
V Terms
| Vamp | A measure (or a few measures) of the musical score meant to repeat as needed. These allow extra time as necessary for scene changes and other events which may vary in time slightly. from night to night |
| Visual Cue | A cue which you “Give” to a crew member to execute on their own. An example is a production with a fake light switch which the actor flips, which the SM can’t see, but the board op can. Calling “GO” for the light cue would be a guess, so instead the SM relies on the board op to take the cue as the actor flips the switch. |
| Vomitorium (Vom) | A passage through from backstage into the house. This term is falling out of use with time, but still a good term to know. |
W Terms
| Wagon | Official terms for a rolling platform. |
| Walk Through | – Safety walkthrough of the set prior to first rehearsal on the set. – A lower energy version of the scene which is being watched for logistics purposes. Used when walking running a scene for the fifth time in tech, where running full energy isn’t required, and will only serve to wear out the actors. |
| Wardrobe | The Costume crew working on the production are typically referred to wardrobe crew. |
| Warning | A warning given to crew members a few minutes prior to a cue. Usually reserved for extremely large scene shifts, or when there has been a long gap in cues for a department. |
| Wet Tech | Tech with actors. Usually only used when talking about Dry Tech to clarify which version of tech you are talking about at the moment. |
| Wings | Areas of the stage hidden from the audience by masking. Can be used broadly to refer to the entire offstage area OR to refer to a specific gap in the masking by including a number (SL Wing 1 = Furthest DS gap in masking). |
| Work Lights | A bright general wash for working on stage, typically separate from the light board to keep lights up when the board is turned off. |
| Work Through | Like it sounds, running the show or scene to work anything which needs to be addressed as it comes up. This usually means lots of starting and stopping. |
X Terms
X=0
Y Terms
Y r u looking here?
Z Terms
Zero things to see.
# Numbers
| 10-out-of- 12 | Equity term for 10 hours out of a 12 hour span of day during tech. AEA sets the number of 10 out of 12 hour days allowed on a per contract basis. Some theatres are getting rid of the 10 out of 12 hour day in favor of shorter days. |
| 8-out-of-10 | Equity term for working 8 hours out of a 10 hour span during tech. These are common among regional theatres now since they are easier to fit into a schedule. |
