Get-ins and Get-outs

A number of Cambridge venues (most notably the ADC Theatre and the various professional theatres) host one or more shows per week, and consequently time in the venue can be extremely limited. The get-in is the time available to set up the technical equipment before the final two run-throughs known as the technical rehearsal (scenery, lighting, sound and other technical cues are rehearsed) and dress rehearsal (the entire play is performed with no stops to ensure the first performance will run without a hitch).

An ADC mainshow have the Sunday to Tuesday before opening for get-in. A Corpus Mainshow have the Sunday and Monday before opening as get-in. Lateshows usually have their get-in on the day of opening night.

Get-out

The get-out occurs immediately after the last performance (unless there is another show in the space); the set is removed and all technical facilities in the venue reset to their standard settings and positions, ready for another show to get in the next day. In the ADC, the bar opens after the duty manager signs off the get-out.

Get-outs are fun but it's important to stay focused and work as quickly and safely as possible. Generally the entire cast and most of the crew are expected to be present; as the TD it's important to know who will be present in advance. (If there is no TD for the show, a suitable TR should have been nominated.) It's advisable to post on your show's social media platform of choice, telling everyone who you expect to be present:

• That no alcohol may be consumed before or during the out, until the bar is open
• When and where to meet for a briefing
• To bring sensible clothing and shoes; however, you obviously can't assume that many people will have safety footwear.
• To contact you (the TD) in advance if they are unable to attend.

Planning a get-out is different to planning a get-in; important points to consider are:

• Remember that there is more than just the set to deal with. Lights, sound equipment and cloths all need to be tidied.
• Allocate people into teams: the set typically has a dismantle team and a carry-to-skip team. The team on the skip should be careful to pack it efficiently.
• Make it clear where waste should go. It's good for future shows and the environment to save what you can; however, there are limits on the time and space you have for that. A good summary is
  • Long pieces of CLS to the gash rack (explain where this is, and make sure it is tidy before your out if you want it to be used.)
  • Big square-ish pieces of 18mm plywood can also be put in the gash sheet rack
  • All other wood to the skip
  • Screws cannot be reliably reused (cast never believe this!) – in the skip!
  • Deck legs (colour-coded scaffolding poles) live in the workshop: 3'6" to 7' (inclusive) go under the sheet wood rack, smaller pieces go in the boxes by the stage fire exit, 8' lengths go in the marked corner of the pit.
  • Other pieces of metal hardware (especially wheels) are more valuable and should be kept if possible. Put a big tub on stage for this.
• You will also need to tidy the kitchen, clubroom, dressing room and production office; delegate this to a couple of suitable supervisors and give them a small team to deal with it.