# Basics of Backstage etiquette



## Ken Summerall Jr (Mar 4, 2019)

I help manage a 1000 seat theatre in a very small, rural school district. I have found that because the district has no formal theatre education program that most of the students and teachers that enter the theatre have no clue as to how they should handle themselves when in the theatre. I have thought about putting together a small brochure, pamphlet, or something to educate them on proper theatre etiquette as it pertains to performers and tech folks. I also want to include some interesting facts and traditions in the theatre, such as "Why do we have a ghost light?", "Why do we say 'break a leg'", Why don't we say H****t in the theatre?" along with more practical things like why we don't stand in the wings, drink coffee on the stage, etc.

I have looked around and not found a book or website with these basics. I would love some help in the form of:
1. Any suggestions for where to find this information
or 2. Your own thoughts and anecdotes about these things!

Any help is appreciated!
Thanks


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## derekleffew (Mar 4, 2019)

Ken Summerall Jr said:


> "Why don't we say H****t in the theatre?"


_Hamlet_? Hamlet? Turn around three times!


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## josh88 (Mar 4, 2019)

derekleffew said:


> _Hamlet_? Hamlet? Turn around three times!


Have I been misinformed my entire life? I've always thought you don't say Mackers (Macbeth) in a theatre.


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## SS Minnow (Mar 4, 2019)

You could start with Upstage, Downstage, Stage Right and Stage Left....


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## Van (Mar 4, 2019)

I'll dig around at home. I used to have my "Welcome to Technical Theatre" primer that I used at Summer camp. I usually had 3 day to prep kids, that had never done anything in or on a stage, to completely run a 15 act talent show. It was a blast and I learned that you really can expect a lot from kids and they can really surprise you. 

Oh and Yeah, It's Mac@#th that you don't say. 
The origin, according to some, is that "The Scottish Play" was written specifically for King James VI&I as he claimed kinship to MacDuff, who killed the Thane of Glamis.< BTW My Wife is a direct descendant of MacDuff, which would mean she was related to James the VI&I and I'm a direct descendant of Edward DeVere, whom many think may have actually written Shakespeare's plays... but I digress> James was a HUGE fan of the Occult, in addition to having had the King James version of the Bible written for him he was rumored to have had many tomes of Occult lore compiled for himself as well. Shakespeare, wanting to enamor the king to himself, allegedly asked some real witches for some spells as 'research' Unfortunately he used the actual spells in the original production, revealing the 'Magic' and the Witches cursed the play saying that it would be haunted by strife should the name be uttered. There are thousands of anecdotes about various productions that have suffered cast injuries, fires, deaths, etc. so the legend has grown up that you simply don't say the name of the play instead you say "The Scottish Play". There are many ways to remove the bad luck of uttering the name of the play, one of which is to go outside the stage door, spin around 3 times then spit at the ground. Another is to walk around the theatre 3 times then knock 3 times on the stage door and ask to be let back in. 

Don't whistle backstage. Besides being obnoxious this is thought to hearken back to the earliest days of rigged stages when many of the riggers were ex-Navy men. Rigging commands were often whistled aloft while aboard ship and the thought was that if you whistled the wrong thing someone might think it was a cue and drop a sandbag on your head. 

Why do we say "Break-a-leg"? No body knows. if they say, "This is the real reason" they are full of it. No one knows. There are a million stories from, "If you 'broke the plane of the Leg <masking> in vaudeville you made it on-stage and therefore got paid even if you didn't get to do your whole act or if the SM pulled you back." to " Taking so many bows, with your leg properly extended forward, you fell forward, exhausted, and broke your leg. Nobody knows. 

Why do we call it a greenroom? Just 'cause. 

Why is it Upstage and Downstage? Everyone should know this. It goes back to the days of earlier theatre when seating was all on a flat plan and to enable all the audience to see the action onstage the stage was Raked or tilted up at the back of the house. therefore when you walked to the back of the stage you were literally walking UP stage. This is also where the term "Upstaging" comes from though it originally meant planting yourself further upstage from an area of action in order to tract more attention from the star.


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## derekleffew (Mar 4, 2019)

No running. Be quiet. Keep your hands to yourself. 
That's really all anyone need to know.


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## SteveB (Mar 4, 2019)

And never, ever wear high heals to a work call. Regardless of gender. 

This might get banned....


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## BillConnerFASTC (Mar 4, 2019)

I think an introductory speech is needed. Maybe try to plan everyone have an introducrioi. The historical bits are nice but try to instill a respect for the craft. And point out the unique hazards of a stage, the unguarded stage edge or pit being a prime hazard people unfamiliar with stages should be made aware of.

I accept the reason a green room is green was because of lime light, which was greenish, and trying to get performers eyes use to the shift. But YMMV


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## jtweigandt (Mar 4, 2019)

I am onstage acting and singing sometimes, offstage sometimes, am local MacGuyver, make it work guy... I call that title the Howdowe.. How do we do this or that? 

That being said, when I design set, do lights or direct, I make sure I tell actors.. What you folks do up there  on stage is fine..... as long as you remember.. it's all about Tech


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## Jay Ashworth (Mar 4, 2019)

Some of this material is covered in the Lawrence Stern book, which anyone who works on a stage should get and read, even if stage manager isn't what they do.

If it's not, an edition 2 or 3 back is just as good and much cheaper; if you're doing it for real, get the current one; it's still a third the price of the Donavan rigging book.


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## Ancient Engineer (Mar 5, 2019)

Fortunately for me I am too old and bitter to believe in magic, luck, ghosts, superstition, or fables.

However... safety, terminology, attitudes, and locations are super duper important items for the empty minds to be filled with.

I'd much rather see the neophyte engaged initially with the ability to navigate the space safely before riddling them with stories of ghosts, magic, luck, faeries, and chance.


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## Van (Mar 5, 2019)

Sorry, I looked through old papers and I don't have the text of my old, "This is a stage, here's how to behave" paper. Happy to do some brain mining to see what I can remember.


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## SteveB (Mar 5, 2019)

derekleffew said:


> No running. Be quiet. Keep your hands to yourself.
> That's really all anyone need to know.



Be on time. Always. 10 minutes before call time is on time. When you are late, everybody else is now doing your job.


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## Ancient Engineer (Mar 5, 2019)

To be early is to be on-time.
If you arrive on-time you are late.
To be late is to be left.

<famous band> European tour '94 Crew Handbook: the entire contents of page one.

29 stops (one cancellation) and I was never left...


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## macsound (Mar 5, 2019)

I find that especially in a school environment, there are many people who don't have actual background in a subject are still very able to teach about it. 
Usually I'm able to find someone who is good at public speaking or organizing groups, make sure the 10 minutes is on the schedule for a show or event's first day and get them to include all the tech in the general spiel about what is going on and who is doing what.
Very rarely do people show up at a new venue and know what is happening, so there's usually a time and place that the importants can be added into.


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## egilson1 (Mar 5, 2019)

_Listen to the stage manager and get on stage when they tell you to. No one has time for your rock star BS. None of the techs backstage care if you’re David Bowie or the milkman. When you act like a jerk, they are completely unimpressed with the infantile display that you might think comes with your dubious status. They were there hours before you building the stage, and they will be there hours after you leave tearing it down. They should get your salary, and you should get theirs._


~ Henry Rollins,


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## Ken Summerall Jr (Mar 6, 2019)

Van said:


> Oh and Yeah, It's Mac@#th that you don't say.



Yep, I was having an old man moment and writing a little too quickly! Thanks for the gentle correction!!


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## Ken Summerall Jr (Mar 6, 2019)

Ancient Engineer said:


> Fortunately for me I am too old and bitter to believe in magic, luck, ghosts, superstition, or fables.
> 
> However... safety, terminology, attitudes, and locations are super duper important items for the empty minds to be filled with.
> 
> I'd much rather see the neophyte engaged initially with the ability to navigate the space safely before riddling them with stories of ghosts, magic, luck, faeries, and chance.



While I agree with you about magic, luck and ghosts, I have found that folks will engage with me more if can answer all of their questions with a little levity and humor. For example, when closing down the theatre for the night, setting the ghost light on stage always gets strange looks and questions. I could simply say that it is there for safety, but it's a lot more fun to tell them that it is there so that the ghosts have a light to perform by AND to keep me from falling off the stage when the lights are off!

It is my desire that I can create something that will engage and entertain the people that work in our theatre, 99.9% of whom have absolutely no experience in theatre. The intent is not to perpetuate myths and superstitions but educate and illuminate!


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## dolphinmother (Mar 6, 2019)

Ken Summerall Jr said:


> I help manage a 1000 seat theatre in a very small, rural school district. I have found that because the district has no formal theatre education program that most of the students and teachers that enter the theatre have no clue as to how they should handle themselves when in the theatre. I have thought about putting together a small brochure, pamphlet, or something to educate them on proper theatre etiquette as it pertains to performers and tech folks. I also want to include some interesting facts and traditions in the theatre, such as "Why do we have a ghost light?", "Why do we say 'break a leg'", Why don't we say H****t in the theatre?" along with more practical things like why we don't stand in the wings, drink coffee on the stage, etc.
> 
> I have looked around and not found a book or website with these basics. I would love some help in the form of:
> 1. Any suggestions for where to find this information
> ...


Google "Backstage Theater etiquette" and you'll get way more than you want.


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## Ken Summerall Jr (Mar 6, 2019)

dolphinmother said:


> Google "Theater etiquette" and you'll get way more than you want.


Believe me, I have done that and what you get are hundreds of thousands of pages dealing with AUDIENCE behavior. That is why I specifically asked about Backstage etiquette. I know what to do to educate my audiences but I want to compile information to help educate the students and teachers that use the space. 99.9% of whom have NO backstage experience.


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## dolphinmother (Mar 6, 2019)

http://www.apacape.org/wp/2012/02/15/theater-etiquette/ is one of the many sources I found when I googled "backstage theater etiquette". Sorry, I edited my response to say "backstage theater etiquette" and the "backstage" didn't get added. Actually, the first source up is from the Rockettes [ https://www.rockettes.com/blog/etiquette-101-20-backstage-rules-you-should-follow/ ] and it's pretty good, too!


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## Jay Ashworth (Mar 6, 2019)

We have a pic of Rollins with that copy hanging in our booth.


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## teqniqal (Mar 6, 2019)

FWIW: This thread is also being discussed on the EdTA community forum. My post there was this:

Teach your students about how to go through a door stealthily. Learn to be a 'stage ninja'. Almost every door that exits a stage is a Fire Door. It has special requirements about closing and latching. Even if your particular performance space does not have Fire Doors, teach the students as if they are Fire Doors so they learn the skill and understand the purpose of the Fire Doors. Performers and crew need to learn to press the crash-bar slowly and gently, and wait for the latch to disengage _before_ pushing on the door. Similarly, release the crash-bar _slowly_ so as to minimize the clatter of the door hardware resetting, then help the door close _gently_, not with a crash.

Many times I see people try to reduce the clatter of doors by taping over the door latch, propping the door open, or disasembling the automatic door closer. ALL OF THESE ACTIONS ARE GROSS VIOLATIONS OF THE FIRE CODE. Do not do these things. The only two ways to legally hold a Fire Door open is to have a person hold it, or to use an electromagnetic door holder that is automatically released by the Fire Alarm system. 'Temporary' door props are also illegal. Many fire doors have been illegally modified to have a kick-down (fold-down) holder to keep the door open. These should be removed immediately. They are an illegal modification to the door.

*Side Note:* Fire Doors _must_ be inspected and tested _annually_, just like Fire Curtains, Smoke Vents, and other fire protection devices. Ask your maintenance supervisor for the inspection records for your theatre building systems. If they can't produce them,_ find-out why_!


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## BillConnerFASTC (Mar 6, 2019)

Taped stage doors are nearly an epidemic in this country. Proper design eliminates this by including a sound and light lock at all entrances to an auditorium and stage. Stage side simple push pull and no latch. Fire rating is the second door. Solves the problem forever and blocks noise and light. It's one of those features that you get with a theatre consultant, and not from a vendor providing design advice.


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## macsound (Mar 7, 2019)

Funny, I've worked in theatres where this was totally thought of, but only on SR and only for one set of doors. 
The doors leading to the greenroom were exactly as you stated- simple push pull with no latch into a vestibule, then fire door into the greenroom.
Trouble was the doors on SL + SR that led to the staiwells had crashbars.


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## gafftaper (Mar 7, 2019)

BillConnerFASTC said:


> Taped stage doors are nearly an epidemic in this country. Proper design eliminates this by including a sound and light lock at all entrances to an auditorium and stage. Stage side simple push pull and no latch. Fire rating is the second door. Solves the problem forever and blocks noise and light. It's one of those features that you get with a theatre consultant, and not from a vendor providing design advice.


...and taped stage doors are what happens when the school district is cheap and goes with the lowest bidder.  It's so frustrating how they never seem to seek out the advice of the right people to ask what is really important.


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## Drannabelle (Mar 7, 2019)

Okay I also thought it was Macbeth.. so..


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## What Rigger? (Mar 13, 2019)

BillConnerFASTC said:


> I think an introductory speech is needed. Maybe try to plan everyone have an introducrioi. The historical bits are nice but try to instill a respect for the craft. And point out the unique hazards of a stage, the unguarded stage edge or pit being a prime hazard people unfamiliar with stages should be made aware of.
> 
> I accept the reason a green room is green was because of lime light, which was greenish, and trying to get performers eyes use to the shift. But YMMV



Bill is right. You have to do it in person. A flyer, pamphlet, email, etc... will immediately fall by the wayside. Nobody will look at or remember any of it.

But if you get people together on deck and explain "Why you need to be aware in all directions" and then show them how legs fly in and out- that will stick. It's like job training, and you might have to do it every time a new group comes in. I worked for a large children's company (pay to play, 300 bodies onstage for "Lonely Goatherder" in The Sound of Music...get me?) with an all parent volunteer crew. And we took them all through the same training before the start of tech week for every show.
And it worked almost perfectly. Have patience, be a teacher, and you will see positive results.


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## BillConnerFASTC (Mar 14, 2019)

gafftaper said:


> taped stage doors are what happens when the school district is cheap and goes with the lowest bidder.



It's more they don't know. When would anyone in a public school district ever have been exposed to the concept of a sound and light lock, let alone a fire resistive barrier with rated doors and exit access hardware?


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## TheaterEd (Mar 14, 2019)

Ken Summerall Jr said:


> While I agree with you about magic, luck and ghosts


This is a topic that I go over with my tech class, but only because I can control them a little better than the general public. If your average high school student reads about the Mac-myth, you're going to have twenty-five kids whispering "macbeth" to each other. I'd keep your myths and ghost stories as something to be told via word of mouth, that way it feels like you're letting the kids in on a secret and they will be more respectful of these traditions.

One thing I don't see mentioned is cellphones. No phones in the wings!!!


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## Ancient Engineer (Mar 14, 2019)

I try to get the kids to basket them outside of the entrance to the performance space. That way if they "have" to use their cell phone they have to leave the performance space, dig through the basket, text their whomever, and then reverse all that.

Most yutes these days are too uh... energy efficient... to want to go through all of that.

Usually after a few hours (days?) of grumping they realize that they actually are focusing more on the show and start self-policing.

I overheard a 15 year old inform their mom that they were "... just not going to be reachable during rehearsal.", and if it was an emergency to call the director.

The mom was grumpy and the kid said "Look, mom, I am taking this seriously. Please let me focus on the show."

Mom okayed and in all those weeks of rehearsals never called the director...


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## Jay Ashworth (Mar 14, 2019)

Ancient Engineer said:


> I try to get the kids to basket them outside of the entrance to the performance space. That way if they "have" to use their cell phone they have to leave the performance space, dig through the basket, text their whomever, and then reverse all that.



I understand your goal, but you're volunteering to buy someone a replacement for a stolen phone at some point, by implementing it that way.


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## Ancient Engineer (Mar 15, 2019)

<knocks on forehead> ...thus far... no thefts have occured. But I see your point clearly. I will look into storing the basket away from the troupies.


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## mikefellh (Mar 23, 2019)

Don't say that name that starts with "M"!!!! Refer to it as "The Scottish Play":


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## TimMc (Mar 25, 2019)

Ancient Engineer said:


> <knocks on forehead> ...thus far... no thefts have occured. But I see your point clearly. I will look into storing the basket away from the troupies.


A "valuables box" that is lockable and under the eye of a responsible person (usually the stage manager or company manager) is the most common way of dealing these issues. Each actor is given a zippered bag (like a bank deposit bag, but smaller) with their name on it. They put their valuables in it and drop it in the VB in the presence of the custodial person; in some companies the drop is logged, too. After the actors are out of costume and makeup, they meet the SM/CM and sign for their VB return. Cell phones must be turned off, not just set to vibrate.

One road show used the valuables box as the SM's foot rest. Our symphony orchestra has a road case for player's valuables (there are typically 50-60 performers) but the idea is the same - stage manager locks up the box and is present to return individual bags to players.


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## John Scrip (Apr 11, 2019)

We're usually dealing with pros - but we do a lot of rental stuff also with "kids" (and the parents of kids). I normally try to give a "speech" of sorts if there is time. Upstage, downstage, stage left, stage right, where the term "break a leg" came from (shocking how people freak out on that), how expensive and fragile the cyc is (STAY AWAY FROM THE CYC!!!), where the exits are and that sort of nonsense. 

Invariably, someone touches the cyc anyway...


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## What Rigger? (Apr 11, 2019)

John Scrip said:


> We're usually dealing with pros - but we do a lot of rental stuff also with "kids" (and the parents of kids). I normally try to give a "speech" of sorts if there is time. Upstage, downstage, stage left, stage right, where the term "break a leg" came from (shocking how people freak out on that), how expensive and fragile the cyc is (STAY AWAY FROM THE CYC!!!), where the exits are and that sort of nonsense.
> 
> Invariably, someone touches the cyc anyway...


Make "the speech" a priority/condition of rental. It will save you tons of headaches long term.


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## Buttmonkey (Oct 29, 2019)

Ken Summerall Jr said:


> I help manage a 1000 seat theatre in a very small, rural school district. I have found that because the district has no formal theatre education program that most of the students and teachers that enter the theatre have no clue as to how they should handle themselves when in the theatre. I have thought about putting together a small brochure, pamphlet, or something to educate them on proper theatre etiquette as it pertains to performers and tech folks. I also want to include some interesting facts and traditions in the theatre, such as "Why do we have a ghost light?", "Why do we say 'break a leg'", Why don't we say H****t in the theatre?" along with more practical things like why we don't stand in the wings, drink coffee on the stage, etc.
> 
> I have looked around and not found a book or website with these basics. I would love some help in the form of:
> 1. Any suggestions for where to find this information
> ...


Make a habit of keeping people from putting hands in their pockets, their more likely to stand and not ask for help, you remind them, if you're working your hands shouldnt be in your pocket. Nicely of course but it makes them get moving and asking people to help set up


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## GreyWyvern (Nov 20, 2019)

Since I can't be blamed for a necropost, thanks/bad @Buttmonkey, and this is a good thread, I'll throw my two cents in on this.


Van said:


> Why do we say "Break-a-leg"? No body knows. if they say, "This is the real reason" they are full of it. No one knows. There are a million stories from, "If you 'broke the plane of the Leg <masking> in vaudeville you made it on-stage and therefore got paid even if you didn't get to do your whole act or if the SM pulled you back." to " *Taking so many bows, with your leg properly extended forward, you fell forward, exhausted, and broke your leg.* Nobody knows.



What I've heard and makes the most sense to me lines up with the line in bold. The idea was that the main curtain has to be raised up for additional bows so many times that it eventually breaks the wood on the rail, otherwise known as the leg. Although, as Van said, "No one knows. There are a million stories..."


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## RonHebbard (Nov 20, 2019)

Buttmonkey said:


> Make a habit of keeping people from putting hands in their pockets, they're more likely to stand and not ask for help, you remind them, if you're working your hands shouldn't be in your pockets. Nicely of course but it makes them get moving and asking people to help set up


 If you're entering either a rehearsal or performance either via FOH or backstage, DON'T slam the door, close the door as silently as possible to not divert attention and disrupt proceedings. 

*A personal peeve: * Lighting guy (Me) arrives early for a rehearsal, parks down the block: 
*a*; To leave the lot clear for actors about to attend rehearsal. 
*b*; To make a quick escape without being hemmed in by actorine's vehicles.
I'm intending to haul out 14' ladder, do one quick touch-up focus on a tight FOH special, clear the ladder and exit prior to the arrival of cast and interfering with their rehearsal: 

Haul out ladder, muscle into place in FOH, turn on special to 80%, switch off fluorescent work lights, leaving all in darkness other than special. 
Climb ladder (violate safety rules) stand on very top of 14' ladder, both arms stretched over head, in the midst of finessing shutter cuts. 
Early arriving pseudo star enters via rear door, sticks hand into pitch black back stage entrance ( Having seen parking lot empty and all in darkness, assumes he's alone in the building) and snaps on the fluorescent stage and house, working / cleaning fluorescents. 

192 lineal feet of cool white fluoresents SNAP ON while I'm standing in the dark on the top step of a 14' ladder with both arms stretched o'er head, staring at a tight special and finessing shutter cuts. 

Not wishing to startle anyone's sensitive artistic temperament by suddenly bellowing: 
'Turn the phuquing lights off while I'm focusing on my time 30 minutes prior to your call time, let alone your scheduled time on stage.' 
I calmly and quietly said: "Good evening." with the intention of making the 'sensitive' pseudo-star aware he was not alone in the building. 

The moment I spoke, the 'sensitive' pseudo-star tore me a new anal orifice berating me, a mere techie, for having the gall and rude audacity to speak to a STAR and startle him within an hour of his needing to be calmly in character and striding the boards. 

'Didn't I know anything regarding proper behavior and reverence to talent in a theatre*?*'
(I'd about a decade of employment with Canada's Stratford Shakespearean Festival behind me at that point but clearly I was a rude urchin fresh from the gutters who'd found my way into Mr. Amateur pseudo-star's hallowed environment and clearly needed to be schooled in the proper ways.) 

*Jump to today*; November 20th, 2019. By pure happenstance, about three days ago I was speaking with an old friend, she mentioned an amateur production presently in rehearsal and asked if I'd ever met / worked with Mr. Greg Fl...*?* 
Yes; I'd definitely had the experience and, yes, he was definitely memorable. 

There are several lessons in the above including (and not limited to): 
- Never break the rules by standing on the very top step of a ladder. 
- Always be politely courteous to your associates, regardless of volunteering or being well paid. 
- Treat associates as you'd like to be treated. 
- And never leave home without your Kevlar undies firmly in place. 
Served me right for trying to get in and out sans any disturbing disruptions to the sensitive egos of others.
There are many more lessons; I'll leave them for others. 
Toodleoo! 
Ron Hebbard


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## mrtrudeau23 (Dec 12, 2019)

Jay Ashworth said:


> We have a pic of Rollins with that copy hanging in our booth.


The Goodman light shop has this quote hanging on their door in the backstage crossover. It was the first time I ever saw it, and loved it since. Not enough people know that quote.

Other rules that I like:
- No one is above sweeping/mopping the stage.
- RE: Crew Duties: No one is done until everyone is done (old summer stock rule for our interns).
- If you only think you know how a tool, light, or whosy-whatsit works, you need to ask.
- Equipment is replaceable. You are not. Safety first.


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## JChenault (Dec 12, 2019)

Van said:


> Why is it Upstage and Downstage? Everyone should know this. It goes back to the days of earlier theatre when seating was all on a flat plan and to enable all the audience to see the action onstage the stage was Raked or tilted up at the back of the house. therefore when you walked to the back of the stage you were literally walking UP stage. This is also where the term "Upstaging" comes from though it originally meant planting yourself further upstage from an area of action in order to tract more attention from the star.



Younar correct that uostage was once up the rake, but not correct on the reasoning ( at least not according to the theatre history I learned).

In the renaissance they discovered how perspective worked. Part of the trick of using forced perspective scenery make the stage appear deeper was to have the stage raked ( and to have the wing and border scenery get smaller as you moved upstage). The renaissance theatres that I am familiar with did not have all of the audience on a flat floor. Most of them had an orchestra, frequently gently raked, with a ring of box seats. The box set dead center of the house, at the perfect height to get the full effect of the forced perspective was known as the King’s box ( or the Queen’s box depending on the monarchs sex )


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## RonHebbard (Dec 13, 2019)

JChenault said:


> Younar correct that uostage was once up the rake, but not correct on the reasoning ( at least not according to the theatre history I learned).
> 
> In the renaissance they discovered how perspective worked. Part of the trick of using forced perspective scenery make the stage appear deeper was to have the stage raked ( and to have the wing and border scenery get smaller as you moved upstage). The renaissance theatres that I am familiar with did not have all of the audience on a flat floor. Most of them had an orchestra, frequently gently raked, with a ring of box seats. The box set dead center of the house, at the perfect height to get the full effect of the forced perspective was known as the King’s box ( or the Queen’s box depending on the monarch's sex )


 *@JChenault* This devout NON ACTOR believes "up staging" was also a term used when actors walked U/S during scenes where they had dialogue with others of their cast forcing their cohorts to turn U/S to face them while speaking which left them with their backs to the paying patrons. 
I understand this was a common / spiteful trick employed by certain actors to focus attention on themselves at the expense of their mates. 
Toodleoo! 
Ron Hebbard


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## BillConnerFASTC (Dec 13, 2019)

JChenault said:


> Younar correct that uostage was once up the rake, but not correct on the reasoning ( at least not according to the theatre history I learned).
> 
> In the renaissance they discovered how perspective worked. Part of the trick of using forced perspective scenery make the stage appear deeper was to have the stage raked ( and to have the wing and border scenery get smaller as you moved upstage). The renaissance theatres that I am familiar with did not have all of the audience on a flat floor. Most of them had an orchestra, frequently gently raked, with a ring of box seats. The box set dead center of the house, at the perfect height to get the full effect of the forced perspective was known as the King’s box ( or the Queen’s box depending on the monarchs sex )


I agree with Van and believe it pre-dated the renaissance and pre-dated the development of forced perspective. Pre-dated Greek theatre I believe.


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## JChenault (Dec 13, 2019)

Cool we have a dispute.

I am not at home ( and near my theatre history books ) but will take a look when I get back. 

Interesting question


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## Van (Dec 13, 2019)

Fight! Fight! Fight!


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## Jay Ashworth (Dec 13, 2019)

Ron's explanation of upstaging is the only one I've ever heard that makes sense (making them turn their back to the audience to face you)...


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