Performance Week: Calls, Warm-Ups, Notes, and Maintaining Consistency

What “Performance Week” Really Means

Once a show opens, the goal shifts from “building” to “repeating.” The performance is now a repeatable event with a fixed schedule, fixed cues, and a consistent standard. Your job is to deliver the same story clearly and safely every night—while staying flexible enough to handle small surprises without stopping the show.

Think of each performance as a controlled routine: you arrive, you warm up, you check what must be checked, you perform inside the established staging, then you reset and report. Consistency comes from doing the same preparation and the same performance habits every time.

Pre-Show Routine: Calls and What Happens When

The Callboard Mindset

Before you do anything, confirm the day’s schedule and any updates (understudy on, prop substitution, mic change, safety note). Treat updates as “new facts,” not suggestions. If you’re unsure, ask early—before the half-hour call—so fixes don’t become emergencies.

Standard Calls: Half-Hour / 15 / 5

Many productions use timed reminders leading up to curtain. The exact wording varies, but the purpose is the same: everyone is in place, warmed up, dressed, and ready.

• Half-hour call: You should be in the building (or already arriving), checked in, and beginning your personal warm-up. This is when you confirm costume pieces, props, and any special needs (tape, rosin, water, inhaler, etc.).
• 15-minute call: You should be moving toward “performance readiness.” Many actors aim to be mostly dressed, makeup underway, and done with any nonessential conversation. If you have a mic, you should know when and where mic check happens.
• 5-minute call: You should be fully ready: costume complete, mic on (if used), props preset or collected, and positioned for your opening traffic pattern. This is not the time to hunt for items or adjust complicated costume pieces.

Mic Check (If You’re Mic’d)

Mic check ensures your microphone is working, placed correctly, and balanced with the sound system. It also prevents last-second feedback or dead batteries.

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Step-by-step:

• Arrive at the designated mic station on time (often between half-hour and 15).
• Confirm your pack and mic are labeled for you; do not swap without permission.
• Put the mic on exactly as trained (placement matters for sound quality and costume noise).
• Speak a short sample at performance volume (not whispering, not shouting). Use a consistent phrase if requested.
• Listen for instructions: “closer,” “lower,” “turn your head,” “reduce costume rustle,” or “battery swap.”
• After check, avoid touching the mic capsule and avoid rubbing costume fabric against it.

Practical tip: If you must cough, turn your head away from the mic and cover gently; don’t grab the mic.

Fight Call (If There Is Stage Combat)

Fight call is a safety check and a muscle-memory refresher. It is not optional if you are involved in any choreographed violence, falls, weapon work, or intense physical partnering.

Step-by-step:

• Arrive early enough to stretch and be mentally present.
• Run the fight at reduced speed first (“marking” or “walking through”), confirming spacing, grips, and targets.
• Increase to performance speed only when everyone is aligned and the fight captain (or designated leader) approves.
• Confirm weapon condition (tight, safe, correct prop) and stage surface condition (no moisture, debris, or hazards).
• End with a clear “done” so no one repeats a move unexpectedly.

Rule: Never “improve” a fight for excitement. Consistency is safety.

Wig/Makeup Call

Wigs and makeup often have their own schedule because they take time and require consistency for the character’s look under stage lights.

Step-by-step:

• Arrive at the wig/makeup area at your assigned time (not “when you feel like it”).
• Follow the established design: placement, color, and style should match the show’s approved look.
• Do a quick comfort check: pins secure, no pulling, no loose pieces that could fall during movement.
• Confirm any quick-change needs (extra pins, backup lash glue, sweat barrier, etc.).

Practical tip: If something feels wrong (itchy pin, slipping wig), fix it before places. Small discomfort becomes big distraction onstage.

House Opening and “Places”

When the house opens, the audience begins entering. Backstage should shift into quiet focus. This is when you avoid loud conversations, unnecessary running, and last-minute experimentation.

• House opens: You should already be moving toward readiness; the building is now “live.”
• Places: When called, go to your starting position via the correct route, with the correct props, and in the correct costume state (coat on/off, hat on/off, etc.).

During the Performance: Staying Consistent While Staying Alive

Staying in Character Without Losing Awareness

Consistency does not mean being robotic. It means repeating the agreed-upon staging and story beats while remaining responsive to your scene partner and the audience’s energy.

• Stay inside the given circumstances: Your character’s objective and relationships remain the same every night.
• Keep “actor awareness” running quietly: You can be emotionally present while still tracking safety, spacing, and cues.
• Don’t chase laughs or applause: If a line gets a bigger reaction than usual, hold your pacing and pick up the next cue cleanly.

Backstage Traffic Rules in Motion

Backstage is a narrow hallway of moving people, props, and quick changes. Traffic rules prevent collisions and missed entrances.

• Use assigned routes: Enter and exit using the planned paths; don’t invent shortcuts.
• Keep clear of “runways”: Some areas are designated for fast movement or scene shifts—don’t stop there.
• Silent communication: Use agreed signals (a tap, a hand sign, a whisper) rather than loud calling.
• Prop discipline: If you pick it up, you are responsible for returning it to its preset location unless the show’s plan says otherwise.

Handling Unexpected Issues Without Breaking the Show

Unexpected issues happen. The skill is to solve them while protecting the story, the safety of the company, and the audience’s experience. Your priorities are:

1. Safety first (no one gets hurt).
2. Keep the scene moving (don’t stop unless it’s unsafe).
3. Protect the plot (make sure the audience still understands what must be understood).
4. Return to the plan as soon as possible.

Post-Show: Notes, Reset, Care, and Reporting

Notes: What They Are and How to Use Them

Notes are performance adjustments given to keep the show clean, safe, and consistent. Notes might address pacing, spacing, clarity, prop handling, or a repeated technical issue.

How to take notes professionally:

• Listen fully before explaining. Most notes are about outcomes, not intentions.
• Write it down in your own words, including the moment it occurs (scene/page/landmark).
• Ask one clarifying question if needed: “Do you want the cross earlier or just faster?”
• Apply it at the next performance, not “when it feels right.”

Resetting Props and the Space

Reset means returning the stage and backstage to the starting conditions for the next show. A clean reset prevents tomorrow’s panic.

Step-by-step personal reset:

• Return handheld props to their labeled preset spots (or to the props team if that is the system).
• Check that any consumables you used are reported (water, letters, breakaway items).
• Do not “improve” the preset. If something seems wrong, report it rather than rearranging the system.

Costume Care Basics After the Show

Costumes last through a run only if they’re treated like equipment.

• Hang items on the correct hanger/rack; close zippers and fasten closures so garments keep shape.
• Place sweaty items in the designated laundry bin, not back on the rack.
• Return shoes, hats, jewelry, and accessories to their labeled homes.
• Report damage immediately (loose button, torn seam, broken zipper). Small repairs are easiest when caught early.

Reporting Problems: What to Say

When you report an issue, be specific and factual. A useful report includes: what happened, when it happened, what you did in the moment, and what might prevent it next time.

Contingency Basics: Common Problems and What to Do

The goal in any contingency is to keep the show moving and the story readable. Use the simplest fix that preserves safety and clarity.

Missed Entrance

If you realize you missed your entrance:

• Do not sprint onstage in a way that breaks the world of the play.
• Enter at the next logical moment that doesn’t interrupt a line or a cue.
• If your entrance carries essential information (a letter, an announcement), deliver that information as soon as it can land cleanly.
• After the scene, report it so the team can identify what caused it (traffic, quick change timing, unclear call).

If someone else misses an entrance and you’re onstage:

• Hold your objective. Don’t “call for them” in a way that reveals the mistake.
• If the script allows, use a neutral cover line or action that buys time (e.g., crossing to pour water, checking a door) without inventing new plot.
• Be ready to pick up the scene wherever the missing actor re-enters.

Broken or Missing Prop

If a prop breaks in your hand:

• Stay calm; avoid sharp pieces and keep others safe.
• Use a safe substitute action: set it down, pocket it, or switch to a secondary item if one exists.
• Preserve the story function: if the prop’s purpose is “a document,” you can often treat a different paper as the document; if it’s “a weapon,” do not substitute unsafely—adjust staging to remove risk.
• After the scene, report exactly what broke and where it ended up.

If a prop is missing before your entrance:

• Quickly check the agreed backup location (if your production uses one).
• If you can’t find it in seconds, go on without it and adjust the business to keep the scene readable.
• Do not delay an entrance to search unless your stage management has instructed otherwise.

Costume Malfunction (Tear, Zipper, Shoe, Wig Shift)

Onstage response:

• Choose the least visible fix: turn upstage, move to a darker area, or use furniture to cover.
• If a piece is falling off, secure it quickly (hold it, tuck it, remove it if safe and motivated).
• Do not attempt a complex repair onstage; prioritize continuing the scene.

Backstage response:

• Tell wardrobe immediately at the next possible offstage moment.
• Use the planned emergency tools (pins, snaps, tape) only as trained and only on the correct garments.
• If the malfunction affects movement safety (shoe coming apart), adjust choreography and report it urgently.

Mic Dropout or Sound Issue

If your mic cuts out:

• Keep acting; do not stop to tap the mic or look at the pack.
• Increase projection slightly and face more downstage to help acoustic clarity.
• Avoid turning your head away on key lines; keep diction clean.
• At the next offstage moment, alert sound or stage management so they can swap a pack or fix placement.

If you hear feedback or noise:

• Don’t grab the mic. Continue the scene and reduce contact with costume areas that may be rubbing.
• Maintain spacing if the issue is triggered by a specific position; adjust subtly if it doesn’t break staging or safety.

A Simple Consistency Framework You Can Use Every Night

1) Hit Marks (Where You Stand and Why)

Your marks exist so lights, sound pickup, sightlines, and partner spacing work reliably. Consistency means arriving at the right place at the right time with the right body orientation.

• Know your critical marks: solos, key reveals, mic-sensitive moments, and scene transitions.
• If you must cheat a mark for safety (obstacle, slippery spot), choose the smallest adjustment and report it after.

2) Pace (Timing, Energy, and Scene Shape)

Pace is the rhythm of the storytelling. Consistent pace keeps cues aligned and prevents the show from running long or feeling rushed.

• Keep transitions efficient: enter with purpose, exit cleanly, avoid lingering.
• Let audience reactions happen without “waiting for them” longer than the show’s established timing.
• Watch for pace leaks: slow prop business, slow costume handling, or extra pauses that weren’t rehearsed.

3) Projection (Audibility Without Strain)

Projection is not shouting; it’s supported, clear speech that reaches the audience. Consistency means your volume and clarity don’t depend on how you feel that day.

• Use breath support and crisp consonants, especially on names, numbers, and plot points.
• When upstage, increase clarity and intention; don’t throw lines into the floor.
• If mic’d, still articulate—mics amplify sound, not meaning.

4) Cue Pickups (Keeping the Machine Running)

Cue pickups are the moments where your action or line triggers the next event: a light change, a sound cue, a scene shift, or another actor’s entrance. Consistency means delivering these moments reliably.

• Identify your cue lines and cue actions (the exact word, gesture, or placement that triggers something).
• Don’t paraphrase cue lines. If the cue depends on a specific phrase, keep it exact.
• If you drop a line, aim to land back on the next cue pickup point rather than trying to “fix everything” mid-scene.

Quick self-check before places: MARKS (where) + PACE (when) + PROJECTION (how) + CUE PICKUPS (what triggers what)