Having an Effective Table Read: A Guide for Directors

In a professional setting, a table read is a common first rehearsal activity. The director, actors, and stage manager sit around a large table and read through the script. Oftentimes other department heads are there (set design, costume design, props, etc.). Sometimes the department heads will give a design presentation to the cast.

Should you do a table read in an educational setting? Let’s talk about why they’re a good idea and how to make your next table read an effective way to set your production up for success. 

Why are table reads good for directors?

Table reads are a great way to hear how the voices are going to blend together. It’s usually the director’s first opportunity to have the whole cast together at the same time.

They’re also the director’s first chance to hear the show out loud from beginning to end. The director probably heard a few scenes during auditions, but never the whole play. Directors spend so much time poring over the script, silently reading to themselves. And it’s inspiring to actually hear the show out loud. It’s a reminder that plays are living things, not just words on a page.

A table read is when the director starts building the community that is going to put on the show. It’s a message to everyone that the director is the leader, but we’re all part of the same team with the same goal.

Things for Directors to think about: 

• How do the actors’ voices blend together, and do any adjustments need to be made for clarity or balance?
• Are there any tricky spots in the script, lines, pacing, or technical challenges that I need to address before rehearsals continue? Are there some actors who are going to need more help than others? 
• How can I use this table read to build a sense of community and clearly communicate my vision for the production?

Why are table reads good for actors?

Some actors get nervous at the start of a rehearsal process. A table read is a low-pressure activity to calm actors’ nerves and get them accustomed to the fact that they’re there, the role is theirs, they were chosen for a reason, and they’re going to be putting on a show.

The table read is an opportunity to hear the story as a whole and understand every character’s role in the story. Actors often only focus on their own role and their own place in the text. The table read is a chance for actors to hear from the other characters in the show, get a sense of what’s happening outside of our own goals and objectives, and see the show as a whole. 

Lastly, the table read is a great introduction to the fact that putting on a play is a community effort. We are a team; we all have to contribute together to make the play work. 

Things for actors to think about: 

• How does my character fit into the story as a whole, beyond just my own lines and objectives?
• What can I learn about the other characters and their relationships by listening carefully during the table read?
• How can I contribute to the team and help make this first reading a positive, collaborative experience?

Why are table reads good for stage managers?

During the table read, stage managers often read the stage directions aloud. This helps the team to visualize the physical action and get a better understanding of how the show will come together physically.

Stage managers also use the table read to get a rough timing of the show. The final running time of the show will change quite a bit from the running time of the table read but an experienced stage manager will be able to come up with a pretty accurate estimate.

The table read is an opportunity for the stage manager to clarify the tricky technical aspects of the show. Are there going to be tight costume changes or scenery changes? Is there likely to be a tight set of cues that weren’t apparent before? 

Things for stage managers to think about: 

• Are there any technical challenges that need to be clarified during the table read?
• How can reading the stage directions aloud help the cast and crew better visualize the physical action of the play?
• What initial timing or pacing information can I gather from this table read to plan rehearsals and anticipate adjustments?