Congratulations! You followed my advice in “Rehearsals 101” [see September 2011} about showing up on time, wearing appropriate attire, and being clean. Now it’s time to tackle the dos and don’ts when you arrive at rehearsal. As I mentioned last month, some of what we’ll cover in this two-part series may seem obvious, but it could make the difference between moving up to the next level or not getting called back and never knowing why.
Expectations
Generally speaking, you are expected to arrive at the first rehearsal with your music 100 percent prepared and memorized (unless it is a concert in which you are using scores), ready to stage or rehearse musically.
Covers, you’re not exempt! Usually a company will let you know ahead of time if you’ll be expected to sing, but emergencies do arise and, after all, that’s what you’re there for. You have a great opportunity to make a good impression and perhaps move up the ladder by being ready to sing your cover role start to finish from day one.
Chorus work is a little different, since you are sometimes presented with new music at the rehearsal and expected to sight-read. Your director will let you know what to expect. However, you should plan to spend time outside of rehearsal perfecting your music and, if you are hired as a soloist, you should show up with your music learned.
You should never leave a rehearsal space without having been specifically released by the person who is in charge of the rehearsal. This includes stretches of time when you are not being used and the end of the day when rehearsal is winding down. If you need to slip out for a moment to use the facilities or make a phone call, let the person in charge know and don’t stray far. The stage manager or director should never have to come looking for you during a rehearsal, and you should not go so far that you can’t be immediately called back. If you’re released for a break, make sure you keep track of time and are back when the break is over.
It is perfectly acceptable to bring a book or quiet project to long rehearsals for those periods when you’re not onstage. If you are covering a role, you should be paying attention in rehearsal as if you were going to be doing the role yourself—because you might very well be!
It is not acceptable to chat or do anything which may distract from the work onstage. Even if you are backstage, sound carries onto the stage and can be very distracting to the performers who are working, so be considerate and save your conversations for the green room. One of my biggest pet peeves is choristers or soloists who chat onstage during rehearsals or performances. It’s rude, distracting, and unprofessional. Makes a body want to whip out a squirt gun filled with pickle juice and tag you in that overactive pie hole. Equally distracting and unprofessional is stepping out of character in rehearsals or performances. Stay focused. There’s plenty of time to joke and play in the green room.
Visitors should never be brought to rehearsals without permission. Different companies have different policies—some are very relaxed about having visitors at staging rehearsals, and often visitors are welcome at dress rehearsals. But you should always ask stage management before extending an invitation. You should also instruct your visitors to enjoy the rehearsal as an observer—keeping quiet and not touching props, sets, or costumes—and to save their questions and comments for later.
Social Media
In these fast-moving electronic times rife with social media obsessions, it is very important to be aware of a company’s policies on backstage photos and posting to social media such as Facebook or Twitter. Many of the bigger companies have strict policies prohibiting backstage photos, and a transgression could cost you the gig. Many smaller companies welcome the publicity, but you should always check before taking photos of ongoing rehearsals or productions and posting them. It is rude to post photos or video of colleagues rehearsing without their express permission and, in fact, it’s quite rude to even snap photos or take video when people are working unless they’ve given permission. It’s disruptive to the rehearsal process, and many companies prohibit it.
Along the same lines, be very careful about tweeting, posting to Facebook, or blogging while rehearsals are going on. Some companies will perceive you as not paying attention and won’t appreciate it. And, needless to say, you must be very careful about what you do post about your experiences, even to a site you perceive as private or personal. You may mean no harm, but it’s easy to misconstrue humor as snark or an observation as criticism. If you must publicize your opinion about a company you’re working with, make sure it’s unmistakably positive.
Working with Colleagues
In opera companies, the stage manager is usually in charge of rehearsals. (Smaller companies may leave this duty to the conductor or stage director). In choruses or symphonies, the conductor is usually the one running the rehearsal.
You are there to do a job, hopefully under congenial circumstances. Make sure you address any concerns to the proper person at the proper time. If you have a question about the music, speak to the conductor. If you have an issue with staging, speak to the director (and you can usually review blocking questions with the stage manager, assistant director, or assistant stage manager). Minor staging issues with colleagues can usually be worked out between yourselves, but if there is any conflict, take it to the director immediately. If there is an issue with safety or a question about something to do with the physical rehearsal space, stage, or actual rehearsal process, ask the stage manager. And if you’re working with a chorus, under no circumstances should you attempt to give them direction! If you need something from the chorus, you should approach the director privately and let him know that Miss Light Shark is breathing down your neck during your aria or Mr. Enthusiastic and his colleagues may need to be instructed not to actually jab you with their bayonets during the arrest scene.
Staging rehearsals are the time to work out as many details as possible—but when you get onstage and add the costumes, props, and set, as well as spatial changes, there’s going to be a certain amount of reworking. Be patient and keep a sense of humor. Be nice to the wardrobe folks, the props folks, the lighting designer, the sound guys, the stage managers, the techies, and all the backstage personnel. They are working hard to make you look good and keep you comfortable and safe. Thank them for their work. Make an effort to learn their names. Ask politely for what you need, but do not offer them unsolicited advice. They are highly trained professionals, just like you. They are your colleagues, not your servants. Without them you’d be standing there naked on a bare stage. Appreciate them.
Once you are in run-throughs or dress rehearsals, don’t stop a rehearsal (especially one with orchestra!) unless there is a very good reason such as a safety issue which requires immediate attention. Let the stage director or conductor be the one to call a stop if they see fit. If you have a problem, be sure to bring it to the attention of the director or conductor during the post-rehearsal notes section.
Backstage
Backstage is a busy place and it can be dangerous. Generally speaking, you should stay out of the backstage area until you are called for an entrance. When you are backstage, be aware of your surroundings. Stage managers, technical personnel, and performers making entrances and exits have “right of way” and may be moving quickly, in the dark. Many backstage spaces are crowded with people, props, set, and equipment. There’s not room to hang out. But young singers often learn by watching from the wings, so ask the stage manager if this is possible and, if so, where you can stand or sit to be out of the way. For some rehearsals, it may be acceptable to sit in the house and watch until you need to be onstage, but you should always make sure you are there in plenty of time for your entrances.
Never touch anything backstage that isn’t yours. Would you want the sound engineer or props master to walk onstage while you were singing and start poking your throat or rearranging your costume? Well, just like your big brother or sister, they don’t want you messing with their stuff, either. Don’t pick up and play with props. Don’t sit on set furniture. Don’t touch equipment. If something is in your way, ask the appropriate person to move it or ask the director if you can change an entrance. Never move it yourself unless it is an immediate safety issue.
Respect your costume. Don’t eat or drink (other than water) while wearing it and never, ever leave the theater in costume. Hang it up when you take it off and keep the accessories together. Pick up the train of your dress instead of letting it drag on the floor. Don’t embellish, alter, or trade costume pieces; it’s insulting to the designer and to the wardrobe mistress. If you have a costume issue, ask your dresser or the wardrobe mistress for help. The same goes for wigs, which are delicate and very expensive. Unless you are instructed to do so, never touch your wig. Don’t attempt to restyle it or remove it yourself.
When you first begin rehearsals in the theater, there will be a sign-in sheet for you to initial to let the stage manager know you are there for your call. You should always go there first and sign yourself in, but don’t sign in for others unless they are standing right there! It’ll come back to you if your friend was late for a call.
The stage manager and her assistants are in charge of rehearsals. Listen carefully to their directions—not only are they responsible for making the show run smoothly, but they are also responsible for the safety of everyone there. Never step out onstage unless the stage manager has given you clearance to do so—and pay attention to calls of “heads up!” which mean that a piece of scenery may be coming in or something’s falling.
Take your calls seriously. Part of your job is to know approximately when you need to be onstage and to keep track of where you are in the show. This may mean giving polite feedback to wardrobe and makeup personnel who are helping you prepare: “I don’t mean to rush you, but they are going to call me to the stage in about two minutes, and I still need to put on my shoes.” When the stage manager calls “places,” you should immediately go to your place. Don’t make a stage manager call you repeatedly. Don’t wander off where you can’t hear your calls. And pay attention to the ASMs (assistant stage managers) as well—part of their job is to cue you when to go onstage. Be helpful and respectful, for they are there to help you.
Never bring visitors backstage without the express permission of the stage manager. Often there will be a list to sign up your backstage visitors; a stage manager will bring them to your dressing room after the show. Don’t invite visitors to your dressing room before or during the show, and certainly you should not bring them to the stage unless you have the permission of the stage manager to give a tour. Also, if you’re sharing a dressing room, make sure it’s okay with your roommate to have visitors in the room.
As you may have surmised by now, most of professional rehearsal etiquette comes down to respect, consideration, and common sense. Every company you work with will have slight variations on protocol, and you should never be afraid to ask for clarification. And don’t worry too much about all the rules and regulations—just be yourself, but the best version of yourself. Use your Sunday manners and you’ll not only be a joy to work with, but you’ll receive the highest of all compliments from your colleagues: “She’s a real professional.”
