The first rehearsal can be one of the most strenuous times a stage managers faces. It's the first time many people are going to see the entire team. Because of the newness of the situation everyone has a stake in the very first meeting going well. Careful attention should be paid on multiple fronts to insure that the event goes as planned. First of all, I would suggest you sit down with the director and designers at a meeting prior to first rehearsal to discuss what you all would like to accomplish on the first rehearsal. Also, since a read/sing through is fairly normal for the first full gathering of the company you should discuss whether this is the method you'll be using. It's not unusual when rehearsing a musical to postpone the read/sing at the first rehearsal until they've actually had a chance to learn the music. The cast, director, music director, and choreographer might be better served concentrating on an initial with some company business and then jump right in to music rehearsals. It's very had to have a read-sing through unless they know the music. If this is not discussed at your pre-rehearsal meeting you should bring it up. In other cases on dance musicals, some choose to jump right from music to dance. Again, it's very important to get that information flushed out and prepare the cast, artistic, and production teams on the first week of rehearsal.
Generally the first meeting begins with introductions of everyone in the company to each other. In many cases, many of the company are meeting each other for the first time.
Show and Tell:
Show and Tell is the friendly phrase for the director and designers talking about the show, their take on the show, the direction the show will take and the way it will look and sound. Directors get to talk about why they're doing the show, what he show means, etc. everything the director feels that everyone in the room needs to know heading into the production. The designers get to present their designs to the actors. For the Scenic Designer it's often the model. For the Costume Designer the renderings. The Lighting and Sound Designers have far less things to show as much of their work is just beginning.
Preparing the space:
You should be prepare the physical space for the firs rehearsal as well. In most cases your going into a known space so you'll already be aware of the tools you have at your disposal that will assist you in setting up your rehearsal space. Things like chairs, pin boards, pianos (tuned) are likely to already be included in your space. If not and you're going into a rented space then your going to have to spend some more time in the space or on the phone getting as much information you can about the space. You may have to work with your director/producer/company manager if you need to contract for some of the basic necessities. If you're going to do a Show and Tell you should ask the designers what they might need to properly display their designs.
Union requirements dictate that all rehearsal spaces have certain accommodations and that even such things as temperature need to be regulated. Most of these requirements make common sense but you'd be surprised what some producers will ask actors to endure in an effort to get their productions up and running. As I have written in the past, unions list the minimum requirements for union members so you should take a close look at what your rehearsal space requirements might include.
If you haven't thought about it a brief list below will help you in determining if your space is adequately ready for rehearsal:
For an example of rehearsal room requirements, here is a link to the URTA Agreement regarding rehearsal rooms
Paperwork:
You should have your paperwork proofed by the time you get first rehearsal. In college I realize we already have a community therefore some information can be pushed off until first rehearsal. But In professional productions I would have already confirmed everyone's contact information (refer back to contact sheets in an earlier section). While I might ask if there have been any corrections or additions by this time I will have already built my confidential contact sheet and I'll be prepared to hand out the company contact sheet, the phone list, and a wallet card with important phone numbers. This is the 21st century and cell phones are standard. However, a paper copy should be distributed to everyone. While I may have already taken the initiative and established list servs in my address book and call groups in my cell phones I cannot assume that everyone else is as proactive. Therefore, not wanting to take valuable time away from rehearsal, I would pass out my contact information already compiled, ask for any glaring mistakes and hearing none move on to other business.
Refer back to the calendar section, but a hard paper copy of the calendar should be presented at the first rehearsal with at least the first week's rehearsal schedule listed.
An emergency contact sheet is a good idea for any production. It tells you what you can do and what information may be shared with medical personnel should they be called in to action. Some people are allergic to nuts, some to medication, some to cats, etc. It is a good idea to have information that may be useful in the future. Also, whom to call when the emergency personnel has been summoned! I've done productions where an actor/dancer has suffered a significant injury. You should have a sheet that outlines what the individual may want to share with you. They are not required to share any information with you if they choose to not share. But you should have a sheet prepared in case they wish to share the information with you.
Actors Equity supplies medical benefits to its members and there are forms to fill out (if they haven't been already) by the time you get to first rehearsal. You should check with union if there is any additional information they wish shared in paper form at the first rehearsal. They may even wish to be part of the "Equity Meeting" where you elect deputies, etc. Check with them prior to first rehearsal in case they are planning on attending.
The Stage Managers Packet has very useful information. Some of it needs to be posted and some of it needs to be taken care of almost immediately on or after first rehearsal.
Equity Business:
Often we call the meeting between the cast and the stage manager "Equity Business". You may not be stage managing a union show. It doesn't matter what you call it as long as you understand that the overriding concept is that there is time necessary for the stage manager to meet with the acting company to discuss contact information, paperwork, elections for deputies, health care cards, emergency contact information, calendars, line, line notes, etc. This does not need to be with the production team. It should be a separate 1/2 hour somewhere in the first rehearsal where you can get your work done while the director, designers, and artistic team can be doing something else. You could schedule it after the read through and once the designers have left for the evening. Have the director stop rehearsals a little early and turn the company over to you. You're going to need that time so insist that you get it. It's one of the few times you need to have the entire acting company's full attention. Relish it. Prepare for it. Don't waste their time.
1 Mirrors are common in most rehearsal spaces involving musicals. It assists in the choreography. The Choreographer can stand in front of the group and the company can see the work being taught through the mirrors back to themselves. It helps with not only the steps of the dance but the body line and position of the dancers. Ideally, you should be able to close the mirrors behind a curtain when not needed but this is not essential. It is most common to learn the dance towards the mirrors. Unlike auditions, you don't necessarily need to turn away from the mirrors for rehearsals.