Integrating Technical Elements: Tech Rehearsals for Directors Who Want Control Without Chaos

1) What Each Tech Phase Is For (and What It Is Not)

Technical rehearsals are where you integrate performance with lights, sound, set automation (if any), projections, props, costumes, and scene shifts. Your job as director is to protect story clarity while keeping the room orderly. The fastest way to lose control is to treat tech like a normal rehearsal. The fastest way to gain control is to define the goal of each tech phase, then communicate through stage management so information moves cleanly.

Cue-to-Cue (Q2Q): goal = build the cue sequence

• Primary goal: establish the order, timing, and calling language of cues (lights, sound, projections, deck moves) with minimal acting.
• What you run: jump from cue to cue; actors “mark” lines/moments that trigger cues; you stop often.
• What you are not doing: giving performance notes, exploring choices, or polishing emotional arcs.
• Director focus: confirm why each cue exists (story beat + focus), and whether it supports the audience’s attention.

Dry Tech: goal = integrate crew movement and safety without actors

• Primary goal: rehearse scene changes, automation, fly cues, prop handoffs, quick-change choreography, and backstage traffic.
• What you run: transitions and shifts repeatedly; you measure time, noise, and bottlenecks.
• What you are not doing: actor pacing work; you’re building a reliable machine that actors can safely join later.
• Director focus: ensure changes support the story rhythm (e.g., a tense blackout vs. a fluid visible shift) and don’t steal focus.

Tech Runs (with actors): goal = make the show repeatable

• Primary goal: run longer sections (or full acts) with cues, costumes, props, and scene changes as close to performance conditions as possible.
• What you run: fewer stops; you only stop for safety, major cue failures, or story-breaking issues.
• What you are not doing: rewriting the show; big conceptual changes here create chaos.
• Director focus: confirm that the audience’s focus lands correctly and consistently, and that the show can be repeated with the same timing.

Communication rule: one voice to the room

In tech, communication must be routed through stage management (SM) so the room stays coordinated and the record stays accurate.

• Before tech: align with SM on stop/start protocol, how cues will be numbered, and how notes will be captured and distributed.
• During tech: avoid calling across the room to designers or operators. Speak to SM: “Hold, please. Note for LX 23…”
• After each session: confirm with SM what changes are approved, what is pending, and what needs a test.

Practical script for stops:

Director (to SM): “Hold, please.” (Wait for SM to confirm hold.) “We need to adjust the timing of SFX 12 to land after the door fully closes. Can we take it again from two lines before the close?”

2) Build a Cue Map That Serves Story Beats and Focus Shifts

A cue map is a director-friendly overview that links technical cues to story events and audience focus. It prevents “cue soup” (lots of cues that don’t clearly serve anything) and helps you diagnose problems quickly: if the audience focus is wrong, you can see which cue is responsible.

Step-by-step: create a cue map in one pass

1. Mark trigger moments: in your prompt book, highlight the exact word/action that triggers a cue (a line, a door slam, a look, a blackout).
2. Label the story beat: write a short beat label (e.g., “threat revealed,” “decision,” “cover-up,” “release”). Keep it functional.
3. State the focus target: who/what must the audience look at immediately after the cue (Actor A, the letter, the doorway, the upstage platform).
4. List cue purpose: choose one: reveal, hide, shift location/time, increase tension, release tension, support transition.
5. Define success criteria: a simple observable test (e.g., “Audience can read the letter,” “Door slam is heard clearly over music,” “Shift completes in <20 seconds without crossing DS sightline”).
6. Assign ownership: who executes it (board op, deck crew, actor, ASM, automation).

Example cue map table (director view)

Use this cue map during Q2Q to decide quickly: keep, cut, move earlier/later, or change intensity. If you can’t name the beat and focus, the cue is likely decorative rather than functional.

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3) Common Tech Challenges (and Fixes You Can Apply Immediately)

Challenge A: Timing drift (cues slowly stop matching performance)

Symptoms: a sound cue lands late by the end of the act; a blackout consistently happens before a line finishes; scene-change music runs out early.

Likely causes: actors vary pacing; operators are cueing off “feel” instead of a trigger; transitions have variable crew traffic; music length doesn’t match shift length.

• Fix 1: change the trigger to something repeatable. Swap “after the pause” for “on the word ‘fine’” or “when the suitcase hits the floor.”
• Fix 2: add a standby earlier. If an operator is surprised, they’ll be late. Give SM time to warn: “Standby SFX 12… SFX 12 GO.”
• Fix 3: build a timing buffer. Extend transition music, loop an underscore, or add a hold state in lighting so the crew isn’t racing.
• Fix 4: standardize actor tempo at cue points. You’re not giving performance notes in Q2Q, but you can set a technical consistency rule: “At this door close, we need a clean beat before the slam.”

Challenge B: Sightline problems (audience can’t see what matters)

Symptoms: key action is blocked by a set piece; a reveal is hidden from one side; a practical light blinds a section; crew silhouettes appear in transitions.

• Fix 1: adjust focus with light, not just blocking. A tighter special or a softer wash can redirect attention without restaging.
• Fix 2: raise or cheat the object. Put the letter higher, angle the photo outward, move the important prop to a more visible hand.
• Fix 3: re-route traffic. If crew crosses a sightline, change their path or add masking. In dry tech, rehearse the new route until it’s automatic.
• Fix 4: test from multiple seats. Don’t rely on center orchestra. During tech runs, watch from extremes (house left/right, front row, back row) for at least one sequence per session.

Challenge C: Noisy props and practical effects (unwanted sound steals focus)

Symptoms: a glass clink covers a line; costume jewelry rattles; a rolling suitcase is louder than the underscore; a prop table squeaks.

• Fix 1: dampen contact points. Felt pads, gaff tape, foam, rubber feet, fabric wraps inside drawers.
• Fix 2: change the prop handling choreography. Place instead of drop; set down on a marked soft spot; handoff at a quieter moment.
• Fix 3: re-balance sound design. If the prop noise is unavoidable, reduce competing frequencies in underscore or shift the cue earlier/later.
• Fix 4: create a “quiet prop check.” Add to preshow: crew tests the noisiest items onstage in silence.

Challenge D: Costume restrictions (movement, quick changes, mic packs)

Symptoms: an actor can’t sit, kneel, or lift arms; shoes change gait and timing; quick change runs long; mic pack placement blocks a costume piece.

• Fix 1: lock the costume-dependent blocking early in tech. Identify moments where costume changes movement and standardize them (stairs, turns, lifts, floor work).
• Fix 2: re-choreograph quick changes like scene changes. Treat them as timed sequences with assigned tasks (zip, swap, mic, wig, preset prop).
• Fix 3: build “costume-safe alternatives.” If a kneel is impossible, replace with a grounded lean or sit that keeps the beat readable.
• Fix 4: coordinate with sound on mic logistics. Decide who touches the pack, where it routes, and what the emergency plan is if it fails mid-run.

Challenge E: Scene-change bottlenecks (traffic jams and slow shifts)

Symptoms: transitions run long; crew collides; props are missing; actors enter before the deck is ready; the same doorway is used by everyone.

• Fix 1: assign lanes and “no-cross zones.” Mark backstage traffic patterns and keep them consistent.
• Fix 2: preset with intention. Move frequently used props closer to their point of use; reduce cross-stage carries.
• Fix 3: split the shift into parallel tasks. Two smaller moves at once beat one big move in series—if paths don’t conflict.
• Fix 4: add a cue that protects the shift. A longer blackout, a masking look, or a sound cover can buy time without feeling like a delay.

4) Note Discipline in Tech: Keep It Trackable and Keep the Room Calm

Tech creates a high volume of changes. If you mix performance notes with cue notes, you’ll slow the room and lose the paper trail. The discipline is simple: cue notes are for integration and repeatability; performance notes are for later sessions unless they directly affect a cue or safety.

Two note categories (use them consistently)

• Cue/Integration Notes: timing, levels, visibility, audibility, transition choreography, safety, calling language, prop/costume logistics that affect cues.
• Performance Notes: acting adjustments, intention clarity, emotional calibration, comedic timing (unless it changes a cue trigger), line readings.

Rule of thumb: if the note changes what the operator/crew must do, or changes the trigger moment, it’s a cue note. If it changes how the actor plays the moment but not the trigger, park it for later.

Template: cue note format (copy/paste)

CUE NOTE #: ____   DATE: ____   SESSION: (Q2Q / Dry Tech / Tech Run) _______________  PAGE/SCENE: _______________  CUE ID: (LX/SFX/PRJ/DECK/FLY) ____   PRIORITY: (Safety / Story / Speed / Polish) _______________  ISSUE (what happened): ____________________________________________________________  DESIRED RESULT (what should happen): _____________________________________________  PROPOSED CHANGE (specific): ______________________________________________________  TRIGGER (exact word/action): _____________________________________________________  OWNER (who executes): ____________________________________________________________  TEST PLAN (how we’ll verify): ____________________________________________________  STATUS: (New / In Progress / Tested / Approved / Rejected) ________________________  FOLLOW-UP DATE: ____   NOTES/RESULTS: ____________________________________________

Method: keep changes trackable in real time

• Use a running change log: SM (or an assigned note-taker) numbers each cue note and records status.
• Confirm approvals out loud: “Approved: LX 19 snap becomes 1.5-second fade.” This prevents “I thought we were still testing.”
• Batch tests: don’t re-run the same 8 bars for every micro-change. Collect 3–5 related adjustments, then test once.
• Freeze when it works: once a cue solves the story problem, stop tweaking unless there’s a clear reason. Consistency beats novelty in tech.

Safe Rehearsal Method for Complicated Sequences (Cues + Movement + Props)

For sequences with layered cues (e.g., fight-like urgency, fast entrances, moving scenery, practical props, or low light), rehearse in a controlled ladder so safety and repeatability come first.

The “Layer Ladder” protocol

1. Walkthrough at work light: no cues, no speed. Everyone learns paths, handoffs, and stop points. Identify pinch points and trip hazards.
2. Add crew choreography: still at work light. Run only the deck/crew moves until they are consistent.
3. Add props and costume constraints: introduce the items that change balance, grip, noise, or visibility. Keep it slow.
4. Add lighting states (no sound): run the sequence with the actual light levels so you can see what disappears and where sightlines fail.
5. Add sound/projections: confirm audibility and timing. If dialogue is present, test the worst-case overlap.
6. Increase speed in steps: 50% → 75% → 100%. Only increase when the previous speed is clean twice in a row.
7. Lock triggers and calling: finalize the exact standby/go language with SM and operators.
8. Emergency stop plan: agree on a universal stop word and what each department does on a stop (freeze, lights to work, sound out, automation halt).

Micro-drill for a 20–40 second “problem knot”

When a short section keeps failing, isolate it and drill it like choreography.

• Define start/end: choose a clear start line/action and a clear end picture.
• Run 3 reps without notes: let the team feel the rhythm.
• Give one note only: pick the highest-impact fix (usually trigger clarity or traffic).
• Run 3 reps with the fix: if it improves, lock it; if not, revert and try a different single fix.

This method keeps you in control without flooding the room with commentary. It also gives stage management clean, testable changes to track.