Rehearsals
Working Draft - Refined Version
Active Roles
The following roles are most active in this phase. Each role’s specific tasks live in their own doc’s By Phase section, and the orientation paragraph for each role × phase lives in Phase Overviews.
Director · Music Director · Choreographer · Stage Manager · Assistant Stage Manager · Production Assistant · Production Manager · Set Designer · Costume Designer · Costume Coordinator · Light Designer · Sound Designer · Prop Designer · Technical Director · Culture & Community Coordinator · Marketing
Introduction
Maintaining a well-structured, healthy, and inquisitive atmosphere throughout a rehearsal process is essential for nurturing creativity and achieving the full potential of a theatrical production. Such an environment encourages open dialogue, the exploration of ideas, and the development of Encore’s young artists. It fosters a sense of trust and collaboration, allowing artists to take risks, make discoveries, and adapt their performances. Inquisitiveness sparks innovation and fresh perspectives, leading to a richer, more dynamic production that will ultimately resonate with audiences.
“Success isn’t about the end result, it’s about what you learn along the way.”
The following is a progression of how a story should be built. The timing and order of how these events unfold are ultimately up to the director, creative team (Music Director and Choreographer), and stage manager.
Examine the Play
It is important that the cast spend time together collectively examining the story. Understanding the underpinnings of the show’s designs, sharing thoughts about the script with the cast and creatives, and asking questions about the production is a phase that should not be skipped or shortchanged.
Design Presentations
The designer shares their designs, explaining how they came to them and how they serve the story. Specifically, the Set and Costume designers should be prepared to share visuals/renderings of the different looks of the show, scenes, and characters.
Important: The renderings, or a copy of them, should stay in the rehearsal room for the cast to reference as the rehearsal process continues. This is a wonderful opportunity to show the young artists all the work that has gone into creating the world of the play and invite them into it.
Table Work
Reading through the script as a cast and allowing time for the young artists to stop and make observations and ask questions along the way. The Director, or other creatives, may point out a significant line or event that has shaped their vision of the show. The renderings from the set and costume designers might be referenced.
The idea here is to examine the story as a whole, preparing young artists to create three-dimensional characters that will further the story and director’s vision.
See [Table Work for Encore](Table Work.md) for a detailed guide.
Learning Material
Now that there is a thorough understanding of the story, the young artists can begin to learn material. With musicals, it is often best to start with music, as this will inform the atmosphere and, at times, the literal tempo of the show.
Note: Actors should be given an “off-book” date and encouraged to be memorized sooner rather than later. Choreography can also begin to be introduced at this stage.
Building the Play
Staging, Blocking, and Choreography
Building on the understanding of the show as a whole and the words and music that define it, we can start to find how it lives in a physical space. As blocking and choreography are being created, continue to reference the design renderings.
Be sure to think through:
- Transitions
- Costume changes
- How staging takes shape
It is important to think of transitions as an extension of story — the connective tissue that takes us from one scene to the next. There is tremendous opportunity in creating a clear and specific story in transitions. To not take them into account leaves you at risk of the story losing its way.
Runs
Sequential Reviews
Running the shows in order, starting with a run of act one, then a run of act two, and eventually running the show in its entirety. You may find the term “sequential review” is easier on the actor’s psyche than “run.”
It is important to get a few of these in to give actors a sense of pace and ownership as a whole piece. Once the tech process begins, it will likely be days if not more than a week before a full run can take place. Leaving the rehearsal room with as much of a sense of what the show is as a whole is paramount before navigating tech.
Important Landmarks
Each of these landmarks should be understood by all parties. They should also be included in production and rehearsal calendars:
- Photos and Videos for Marketing — Footage of rehearsal or even actors in costume are taken for the purpose of promoting the show.
- Add Prop Deadline — The last day the Director can add/request a prop be added to the production.
- Off Book Day — The last day actors can be on book, although they should still be able to call for line.
- Designer Run — Building off the runs, the cast should present a full run of the show which all the designers should attend.
Designer Run
All designers should come in with a fully realized design yet be ready to be flexible and collaborate with the other members of the design team. This is when we begin to examine all designs and see how they will move into one big design that tells one big, clear, and moving story.
Depending on the director’s discretion, this is often an opportunity for the director to sit with the lighting designer (LD) and Stage Manager to share specifics about lights (colors, mood, areas that should or shouldn’t be lit). The LD can take notes to begin programming the board. This also gives the LD lead time to discuss what may or may not be possible given the space and lighting instruments available.
Important: The designer run should always be followed by a post-designer run production meeting, either immediately or within a few days, where questions and discrepancies can be addressed. This meeting should essentially set the table for tech.
Rehearsal Etiquette and Expectations
Establishing clear expectations for rehearsal etiquette is essential for creating a productive and respectful environment. All young artists should adhere to the following guidelines.
Preparation and Attire
- Wear closed-toed shoes (preferably sneakers or dance shoes).
- Dress in appropriate, comfortable clothing that allows for movement or informs how a character would move.
- Bring a water bottle, script, pencil, and rehearsal notebook.
- Avoid wearing excessive jewelry or accessories that might interfere with movement.
Timeliness and Readiness
- Arrive 10-15 minutes before the scheduled start time.
- Be prepared to start exactly at call time.
- Know what is on the agenda for that day’s rehearsal.
- Be ready to work on scheduled scenes, songs, or dances.
During Rehearsal
- Take notes during the rehearsal process.
- Stay engaged even when not actively in a scene.
- Observe other performers and learn from them.
- Keep side conversations to a minimum.
- Listen actively to direction and feedback.
- Be willing to try new approaches and take risks.
- Respect the physical boundaries of fellow cast members.
- Stay in the rehearsal space unless given permission to leave.
After Rehearsal
- Review notes and work on implementing feedback.
- Practice material between rehearsals.
- Communicate any concerns or questions to the appropriate person.
- Leave the rehearsal space clean and organized.
Communication with Production Team
Maintaining open and effective communication with the production and design team throughout the rehearsal process is crucial for a successful production. The following strategies should be implemented.
Tracking Changes and Concerns
- Keep a dedicated document or section in the rehearsal report for tracking changes or concerns that arise about the original designs.
- Document any alterations to blocking, choreography, or staging that might affect design elements.
- Note any challenges with costumes, props, or set pieces as they are discovered.
Regular Check-ins
- Schedule weekly production meetings to discuss any changes or concerns.
- Ensure the Stage Manager communicates relevant notes to designers who aren’t present at rehearsals.
- Create a system for urgent design concerns that need immediate attention.
Collaborative Problem-Solving
- Approach design challenges as opportunities for creative solutions.
- Involve relevant team members in discussions about necessary changes.
- Consider the ripple effects of any alterations on other design elements.
- Always reference how changes serve the story and director’s vision.
Conclusion
The rehearsal process is where the true magic of theater happens. It’s where ideas transform into action, words become character, and movement tells a story. By maintaining a structured yet creative environment, young artists can flourish and productions can reach their full potential.
Remember that the goal of rehearsals is twofold: to create a compelling production and to provide a meaningful educational experience for young artists. With clear communication, proper preparation, and a spirit of collaboration, both of these goals can be achieved in harmony.
Related
Status: Working · Portal: Team · Last reviewed: 2026-05-11 · Owner: Rhett