Production Innovations
Cue Calling- Learning to Call Dance Choreography
Calling my first dance concert required me to approach cue calling in a different way than I would for a traditional play or musical. One of the biggest innovations I brought to the process was adapting my cue calling and tracking methods to movement instead of relying on dialogue, blocking, or scripted moments. I memorized choreography, formations, transitions, and musical sections so I could recognize exactly where cues needed to happen. I also brainstormed on different ways to format and organize my cue script to better notate said cues. This allowed me to anticipate movement and call lighting and sound cues accurately while continuously watching the stage.
Safety and stage maintenance became another important part of my role. Because the dancers performed on Marley, keeping the floor clean and safe was an ongoing responsibility. I helped mop and maintain the Marley before performances and as needed throughout the production process. This was a simple but important part of keeping the performance space ready for the dancers and reducing potential safety concerns.
With multiple choreographers, three lighting designers, sound, costumes, dancers, and technical operators, I had to create a system that kept everyone informed and on the same page. I tracked technical changes, communicated notes, confirmed presets, and made sure information was reaching the appropriate people. I also worked closely with the dancers and choreographers to understand the specific needs of each piece