New to Theatre? You’re in the right place!

Below you will find a few things that are specific to Lovegood and a list of theatre jargon that is pretty standard. As always reach out with any additional questions you have.

Producing a successful musical is very rewarding, but it requires a lot of hard work and dedication. Theatre is just like any team sport: all the players are important and when one performer is missing, it affects everyone. Before auditioning for a show, please make sure that you are aware of the large commitment involved in participating in a production. We take attendance seriously; we do our utmost to respect your time and ask that you do the same. We aim to apply our core values into everything we do which means we strive for receptivity, ownership, courage and authenticity on stage and off!

Auditions: Auditions are set up for students to succeed. We greet students at the door, give them a name tag and make sure they have sheet music properly put into a binder. They may also get their picture taken (for artistic team reference). When it is their turn the production manager or stage manager will take them back to another room with the artistic team (usually three people, the Director, Music Director and Choreographer, sometimes this number fluctuates slightly) and the accompanist. The student will then say hello and go straight to the accompanist to show them their sheet music. After they sing sometimes directors will ask them to read something, sometimes a monologue is required. We always tell students to stop and restart if they feel the audition is going poorly! We want you to walk out of that room knowing you did your best.

Callbacks: Callbacks are used if an artistic team feels like they need to see more from certain actors. Sometimes they do not! That does not mean they will not cast that actor, they simply know all they feel they need to. Callbacks usually consist of singing, doing sides (pages of the script with other actors) and choreography.

Info Night/Read Through: There will be an Info Night for every production. Students cast in the show usually receive their scripts at that time. The attendance of all parents of students under 18, all students in cast and crew and all production team members is required. If you have a previously stated conflict you will need to contact the production manager before this meeting. At this informational meeting, you will meet some board members and staff, the Artistic Team and cast, crew, and production team leads. We will review some cast & crew expectations, go over the rehearsal and show process and review the online callboard. Those serving on a Production Team will meet with their team and start preparations and there will be time for Q & A.

Rehearsal Schedule Detail: Cast/Crew must attend all of their scheduled rehearsals, however, please note that not all Cast/Crew will be needed for each rehearsal. A student’s individual rehearsal schedule will be based on the role that he or she is playing in the production. We hope to get a full rehearsal schedule to cast and crew as quickly as possible. Please note, however, if a student is not called for a particular rehearsal, that is not listed as a conflict for that student, do not make any non-movable plans for that time block. Schedules can and do change depending on the needs of the show, and unless a conflict is listed on the student’s Audition Form, we assume the student is available during all rehearsal blocks.

Costume Fittings: This day is usually an extended rehearsal block combined with Hair and Makeup Styling. This day they wear their unders (description below) and will try on whatever costumes the team may need them to try.

Unders: Unders are worn underneath your costume but are NOT underwear. They are form fitting shorts and tank tops that keep you covered and comfortable enough to be able to change quickly in front of others. Unders are also there in case of a costume malfunction onstage (and yes these have happened!). You will wear a costume or street clothes over your unders, they are never worn by themselves.

Hair and Makeup Styling: This day is usually an extended rehearsal block when actors bring all their hair and makeup tools they need for the show (this list will be communicated ahead of time). They learn how to do their look from the team lead and/or from other experienced actors. If they already know how to do stage makeup (different than everyday makeup) then they will practice their look. The goal of this day is to make sure everyone is comfortable putting on their look and that the Hair and Makeup Designer actually likes the look for the character or can make any notes/changes.

Costume Parade: This is not an actual parade! ;) Actors will need to arrive with hair and makeup done. This is a long day of finally putting on all the costumes and then standing onstage with their fellow actor groups so that the director and designer can approve the final look. We remind all actors that this is not us judging you! This is a judgement of the costumes themselves and if they are achieving the character we need, or the aesthetic, cohesiveness etc. We typically also take photos of all characters this day for souvenirs.

Cue to Cue: A really long and boring rehearsal for the actors (bring a book) that is absolutely crucial for all stage crew (and some actors) to be able to do their job well and have an amazing show! Just remember, without your crew, you're just a bunch of regular boring people on a blank stage in the dark trying to emote. Every cue to cue looks different, sometimes it’s just a run through but stopping just for tech problems.

Call Time: The time you have to show up ready to start rehearsal or performance, as dictated by your SM. 

Strike: To strike the set means to take down the set and make way for the next production. For us this is a very long night where everyone (I mean everyone) On a smaller scale, you can strike an object from the stage, as in “strike that ladder,” in order to remove it from the stage. This is actually one of the dozens of dictionary definitions for the word “strike,” meaning “to haul down; to dismantle and take away.”

An Aside or To Audience: When a character breaks away from the events of the story to talk to themselves or directly to the audience. They may turn to the audience to make an observation or quippy remark that the other characters can’t hear. 

Avant Garde: favoring or introducing new, unusual or experimental ideas (especially in the arts).

Blocking: The precise staging of the actors, their path of movement in scenes, is known as blocking.

Blocking Directions: Directions are always said from the actors’ perspective standing onstage. (Not from the audience's view.) The stage is typically broken up into 9 quadrants. “Down” refers to the front of the stage closest to the audience; “Up” refers to the very back of the stage. 

Blocking Shorthand: DSL, DSC, DSR, SR, SL, EUSL (for enter upstage left), EXSL(for exit st) ect. You get the idea, take the initials from the stage directions and use that to write where the director has told you to go! It will save you a lot of time, and be easier to erase when changes happen. 

Fight Call: If there is any kind of physical altercation or something physically tricky in the production, a specific amount of time will be set before each show call time to run this, overseen by SM, to make sure everyone is comfortable and safe. 

Finart: (a magical concept that is a noun, verb and adjective) art that tells a story and communicates an unique perspective; art that is perfectly imperfect; art that was created through a beautiful combination of spontaneous inspiration and methodical thoughtfulness; anything that is “fin”

Immersive Theatre: A work that breaks the traditional “fourth wall” that exists between actors on stage and the audience in their seats - this does not exist in immersive theatre! With an immersive production the audience is completely surrounded by the action of the play. 

Moving with a purpose: When a director asks you to “move with a purpose!” you should 1) be moving as your character moves and 2) move at the appropriate rate/pace for what your character wants in the scene/number. When someone in charge asks you to “move with a purpose!” you should move as efficiently and swiftly as a ninja to complete the task at hand.

The Fourth Wall: An invisible dividing “wall” between the stage and audience. Actors will sometimes “break the fourth wall” and interact with or speak directly to the audience.

Thank you 5!: Anytime someone yells, “Take 5” or “2 till places”, you respond “Thank you <amount of time>” so that they know you have heard them and if people around you didn’t hear they now know!

Wings: the area just offstage right and left where the audience can’t see you. (But watch out, they can still hear you!)