A) Selling tickets to the show.
B) Designing the costumes.
C) Building the set.
D) Interpreting and realizing the play's script on stage.

A) Thorough script analysis.
B) Writing the play.
C) Choosing the theatre's paint color.
D) Ordering catering for rehearsals.

A) Creating a physical barrier on stage.
B) Preventing actors from seeing each other.
C) The color scheme of the set.
D) The actors' movements on stage.

A) A summary of the play's plot.
B) A detailed list of props.
C) The director's personal diary about the play.
D) A unifying idea that shapes the production's interpretation.

A) Consider them thoughtfully and respectfully.
B) Reject them immediately.
C) Implement them without question.
D) Publicly ridicule them.

A) Having a cast party.
B) Integrating technical elements (lights, sound, etc.) with the performance.
C) Rehearsing lines one last time.
D) Auditioning new actors.

A) The cost of the production.
B) The size of the theatre.
C) The speed and rhythm of the play's action.
D) The number of acts in the play.

A) The play's title.
B) The stage directions written in italics.
C) The unspoken meaning beneath the dialogue.
D) The actors' costumes.

A) Constructing the set.
B) Designing the playbill.
C) Selling advertising space in the program.
D) Selecting the actors who best fit the roles.

A) To avoid making any personal decisions.
B) To delegate all responsibilities to others.
C) Because the director lacks any creative vision.
D) To effectively work with designers, actors, and crew.

A) The color of the stage floor.
B) The director's personal style.
C) The amount of furniture on stage.
D) An actor's ability to command attention on stage.

A) A complete record of the production, including blocking and notes.
B) A collection of play reviews.
C) A book of jokes to tell during rehearsals.
D) A book of inspirational quotes for the actors.

A) To have a costume parade.
B) To practice folding the costumes neatly.
C) To run the show as if it were a performance with costumes and makeup.
D) To decide which costumes to throw away.

A) The actor's mode of transportation to the theatre.
B) The actor's payment.
C) The speed at which the actor delivers their lines.
D) The reason behind a character's actions.

A) The number of acts in the play.
B) The imaginary barrier between the actors and the audience.
C) A secret code used by the actors.
D) The wall at the back of the stage.

A) To create a captivating and engaging theatrical experience.
B) To limit the number of scene changes.
C) To make sure the audience knows what time it is.
D) To ensure all actors speak at the same volume.

A) To personally greet every audience member after the show.
B) To provide occasional notes, but primarily step back.
C) To rewrite the play based on audience reactions.
D) To fire actors who made mistakes.

A) The cleaning of the stage after a performance.
B) The selling of tickets at the box office.
C) Small actions performed by actors on stage.
D) The director's financial dealings.

A) When the actors forget their lines.
B) When the audience knows something the characters do not.
C) When the costumes are too small.
D) When the lights malfunction during a performance.

A) The type of music played during intermission.
B) The overall speed or pace of a scene or the entire play.
C) The type of lighting used on stage.
D) The temperature of the theatre.

A) Constructively and specifically.
B) Publicly and harshly.
C) Only give positive feedback, even if it's not warranted.
D) Avoid giving feedback altogether.

A) The arrangement of scenery and stage properties in a play.
B) The French term for 'thank you'.
C) A type of French dessert.
D) The director's autobiography.

A) A bulletin board for posting announcements to the cast and crew.
B) A stage prop resembling a telephone.
C) A list of phone numbers of potential investors.
D) A type of bird that lives in the theatre.

A) Stealing props from the set.
B) Looking at the audience directly.
C) Angling one's body slightly toward the audience.
D) Trying to get away with not rehearsing.

A) To use character development only to bore the audience.
B) To make sure all characters are completely unlikeable.
C) To create believable and compelling characters.
D) To make the actors look as attractive as possible.

A) To emphasize emotions or create tension.
B) To signal the end of the play.
C) To allow the audience to fall asleep.
D) To indicate that the actors have forgotten their lines.

A) A type of pool stick.
B) A line of dialogue that is often forgotten.
C) A musical instrument.
D) A signal for an actor or technician to perform an action.

A) The script cover's color.
B) The physical spine of the director.
C) The playwright's preferred method of writing.
D) The central action or driving force of the play.

A) A flub.
B) A curtain call.
C) An encore.
D) A perfect take.

A) The area of the theatre where the audience sits.
B) The stage itself.
C) The place where the actors live during the production.
D) The theatre's administrative office.