A common misconception….
This is especially common among people who are in love with the idea of “fame” and being on stage, but have never considered that acting on stage takes more than just learning a list of words and actions. 

“ All I have to do for a theatre show is to learn my lines and where I stand. “

Yes, that misconception has had me grumbled at more than once for insisting on a bit more than that.  I was physically attacked once for suggesting it. 
Certainly, without learning your lines and where you stand, you won’t be able to set foot on stage in a play, but what about bringing life to your character? What about creating a performance that the audience will enjoy with believable interesting characters? 

Here’s an imaginary dramatic scene: 

-Rose kneels on the stage, shaking with suppressed tears
-John enters, and pauses, watching her.
-John: "The same fate befell another thirty men. But Kenneth was the bravest of them all. Out of the four captains he was the only one to speak out. You should-"
- Rose: (interrupts) "how can you say that? You stood by as the Emperor had him shot in the city square with his men. You know-"
- John: (interrupts) "yes, and if I hadn’t, your son would have died too."


Now even with no more context, there’s a lot going on there. Just walking on the stage, standing in a designated area and saying the lines will lead to a flat scene with no emotion, nothing which encourages the audience to believe, or buy into, the reality of the situation that Rose and John are experiencing.

Both actors need to analyze what is happening with those lines. Rose is obviously mourning the execution of Kenneth, someone very important to her. She is distraught and also angry at John. 
John is trying to rationalize and explain his decision to not help Kenneth, in order to save someone else.

Learning to analyze a script is a critical tool for an actor. New to this? Here is a link to help: 
How to Analyze a Script 

Both characters are going to be feeling intense emotions. They are arguing, interrupting one another.
If either actor just stands(or kneels) in their spot saying the lines they have learned, parrot fashion, there will be no emotion. It will be flat, unconvincing, at best conveying a completely different meaning for the characters and at worst appearing ridiculous and false.

Only by analyzing the script and exploring how those characters feel, and developing ways to express that in tone, body language, physical and vocal dynamics, can the actors bring that to life on stage.
Only by practicing together numerous times, can the actors create the dynamic. Interrupting one another needs numerous rehearsals to time it correctly.  Reacting to the other characters emotions and expressions take time. As they work together, the interaction gets more and more nuanced, and the relationship better developed. 
Creating an emotional scene needs the actors to build a rapport and energy between them. That again only happens over time.

It is only in this way, for numerous rehearsals, that the "realism" of the characters can be created for a convincing performance. 

It is for this reason that we insist on a lot of rehearsals and excellent attendance. If one actor in a scene is not participating in this process or not turning up to rehearse, the dynamics of the whole scene are ruined - someone "reading in" is not able to create the same dynamic. 

When marketing a theatre production, it is incredibly important to look at the marketing from the point of view of a potential audience member. Forget that you know all about your production, and the venue. Remember, that the audience member doesn't. They may have never heard of your company or your shows before. 

You want the potential audience member to be able to judge if this is a show to their/ their familys taste, and to encourage new visitors. 
I recently conducted an online study across various theatre audience discussion groups, mainly based in the UK, in the autumn of 2020, especially focussed on what information is often missed out by venues and production companies, in marketing theatre shows, and consolidated the main feedback. 
Where a reason may be more obscure, I have included an explanation as to why people like the information. 
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For us as a company, this information will be used to redesign our box office page, as well as creating a template document of production information for the box offices/ marketing managers of all venues which we tour to, in addition to the usual supply of posters and usual marketing materials.

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Content notes that people like to know

• Swearing
• Nudity/ sexual content
• Violence
• Synopsis (what is it about, what genre etc?)
• Loud sounds (unexpected loud sounds can cause distress to people with some forms of autism, though with warning ahead of time, they are usually fine.)
• Strobe / flashing lights (can induce seizures for people with epilepsy)
• “if this show were a film what rating would it be?” (helpful to people who may be unsure if they are able to bring children of a certain age – this was one of the biggest reasons families don’t book for new shows, especially in London-based audience groups).
• Is there an interval?
• Running time?
• Is there a social/ political/ religious bias to the show (is it promoting a certain agenda?)
• Who is in the show? (Main cast, technical crew, etc). 
  

Access notes that people like to know

• Where is the nearest carpark?
• Where is the nearest bus stop and what buses run from it?
• Are there “relaxed” performances suitable for people with neuro-diverse family members?
• How is the auditorium accessed? (is there space for wheelchairs, etc)
• Are there captioned or signed performances?
• (from one person) what are good local restraunts for a pre-show meal?
• Is there merchandise from the show available to buy? (one person also requested price list)
• Are there toilets available to use?
• Does the venue have a dress code?

More specialist things that got suggested by several people apiece:

• Has the company created an education pack suitable for children/ students (especially important for Shakespeare/ classical work/ educational works)
• Is there a "social story" available as a downloadable book or video, to show neuro-diverse people what to expect when visiting the theatre to see your show? 
  

This is probably the one political post you will ever see from us. As an organisation, we are strictly non-political, we work without political bias, but on this pivotal day in history, with Great Britain leaving Europe tonight, we wanted to acknowledge how our working with European nationals utterly saved this company.

So last winter, we were in late rehearsals for our production of Shakespeare's Macbeth. It was a "make or break" show for the company after some difficult months.and it was about ten days before the show, when the lead actor found he was unable to continue with the production.

Recasting Macbeth with 10 days before opening night required a miracle. Either an actor who had already played Macbeth, or an actor with an exceptional learning ability who would be able to learn it in time. We usually only cast locally in south Devon, UK, but we had only one place that we could find an actor who could pull this miracle off. French-Italian actor, living in the republic of Ireland, Christophe Lombardi, whom our company director, Laura, knew of, due to being friends with Christophe's wife.
That same evening, an urgent message was sent to Christophe and his wife; and to everyone's extreme relief, he agreed to take on the role.
For the next week, Christophe was learning the role online, and with video conversations, as travel to England was arranged. Christophe was now learning the uncut text, in a "Second language", in ten days.

He arrived at the theatre for dress rehearsal - and had it down perfectly. Singlehanded, he saved the production from needing to be cancelled- and the probable ensuing closure of the theatre company.

The productions of Macbeth continued through 2019, with two tours, ensuring the survival of The South Devon Players, and winning a theatre award in New York, as well as incredible audience feedback.

Following this, Christophe again took a lead role with us, playing local Victorian Brixham trawlerman Bob Sheppeard in our historical production The Great Gale of Brixham 1866, utilizing his unique skills to help bring local Devon history to life.

Working with this highly talented European actor, and maintaining cross border working relationships has, with no exaggeration, saved this small British theatre company, allowing people from across the Southwest of England, access professional acting opportunities, in an area where such chances are hard to find. Without this working link having saved us, it is highly unlikely that we would still be able to exist.

We remain always, immeasurably grateful to Christophe, and hope that as the political climate settles down, we will all be able to work together again.

Find out more about this amazing actor on his website: ​www.christophelombardi.com