prior to the load-in 297 some ideas to consider when the stage time clock runs out: · Cananyworkbeaccomplishedpriortothe beginning of the load-in? Is it possible to pre- hang masking, other soft goods? Install the deck? Is it possible to bring any other trucks in before the load-in begins? · Howmanyhoursoftimeexistpriortothefirst performance? If the call is departmentalized, how many people are allocated per department? · Istheretimeallocatedforthebasiclightingtasks: a hang session, a hot test session, a focus session, a cue level setting session, a technical rehearsal, and a dress rehearsal? Can any tasks be combined? · Howmuchlightingequipmentisbeingsupplied by the show? How is the rental gear packaged? Any chance to change that, and speed the hang? Can any house gear be pre-hung that might save time? Or might it instead lose time? · Istheshowcarryingitsownlightingconsole?Is it possible to pre-write any cues prior to load-in, either in the shop, on another console, or using off-line editing software? While there are many important dates and meetings on the production schedule, one of the more important time periods prior to the load- in is the run-though. Or, if you're lucky, the run throughs. watchIng the run through The run-through is often the final scheduled work session for the cast in the rehearsal space. While more than one run-through may appear on the schedule, after the final one, the rehearsal hall is cleared of the production's equipment. The show gear and all the personnel then move into the theatre in order to start the technical rehearsals onstage. There are multiple reasons for a run-though. From the director's perspective, the run-though may be the first and last time to see the overall rhythm and flow of the show, without getting slowed down by the technical elements like transitions, costume changes, or light cues. It's also the director's only shot to see if, as the show runs, the overall produc- tion concept succeeds. For the performers, the run-