Following a Cue List Without Touching a Wire

A cue list is a numbered script for the people who run sound and light during a show. It tells you what happens, when it happens, and who makes it happen. You do not need to know how a dimmer or a speaker works to follow one. You just need to know how to read it and who to ask when something is unclear.

What is a cue, exactly?

A cue is a single action that happens at a specific moment in the performance. It might be bringing up a light, fading a sound effect, or playing a piece of music. Each cue has a number, a short description, and a trigger. The trigger is the thing that tells you the cue is coming: a line of dialogue, a piece of blocking, or a musical beat. In a typical community theatre production, the stage manager calls the cues over a headset, and the operators execute them. You are not expected to invent timing on the fly. You are expected to listen and respond.

Who actually calls the cues?

The stage manager usually calls the show. That means they watch the stage and the script, and they say "LX 12, go" or "Sound 4, go" at the right moment. The light and sound operators hear that and press their buttons. This is not a power trip; it is a way to keep everything synchronised. The American Association of Community Theatre describes stage management as practical and organisational support for the director, performers, designers and crew, and notes that responsibilities vary with the scale of the production. In a small show, one person might call cues and also run a board. In a larger one, those are separate roles. Either way, the person calling is the one coordinating, not the one doing every job.

What does a cue list look like?

Most cue lists are tables or spreadsheets. They have columns for the cue number, the type (light, sound, or both), the trigger, the action, and sometimes a standby note. A standby is a warning: "Standby light cue 15." You hear that, you get ready, and then you wait for "Light cue 15, go." The list is usually kept in the prompt book, which is the master copy of everything that happens in the show. If you are new, ask to see a sample page before rehearsal. Reading it once will make the whole system feel less mysterious.

How do I know when to do something?

You listen for the trigger. The trigger is written on the cue list, but it is also spoken aloud by the stage manager. For example, the list might say "Trigger: after Maria says 'I'm leaving.'" The stage manager will hear that line and then call the cue. You do not need to watch the script yourself unless you are asked to. Your job is to be ready, to listen, and to act on the call. If you are unsure whether a cue is yours, ask before the run. It is far better to ask during a rehearsal than to guess during a performance.

What if I miss a cue or something goes wrong?

You stay calm and you keep going. In community theatre, everyone understands that mistakes happen. If you miss a cue, do not try to rewind or apologise over the headset. Wait for the next cue, and follow that. If a cue fires at the wrong time, the stage manager will often adjust and move on. The show continues. What matters is that you do not freeze. If you are running a board, you can usually recover by following the next instruction. If you are new, tell the stage manager before the run that you are learning. They can give you a simpler set of cues or pair you with someone experienced.

How can I be useful if I am not technical?

You can be the person who keeps the cue list tidy, who writes down changes, or who confirms that the standby was heard. You can be a second set of eyes during tech rehearsal. You can also learn to spot when a cue is coming by watching the stage action, which helps you anticipate rather than react. Many productions need people who are reliable and attentive more than they need people who know electrical systems. If you want to understand how your role fits into the larger production, start by seeing how a production fits together. And if you are joining a company you do not know, it is fine to say up front that you are new to cues.

Decision checklist: are you ready to take a cue?

Use this checklist before you commit to running cues in a rehearsal or performance. It is not a test; it is a way to know what to ask for.

Question	If yes	If no
Have you read the cue list or seen a sample?	Ask for a walkthrough of the first few cues.	Request a copy or a short orientation.
Do you know who calls the cues?	Listen for their voice on headset.	Ask the stage manager to introduce themselves.
Do you know what "standby" and "go" mean?	Practise by repeating them back in rehearsal.	Ask for a two-minute explanation.
Have you been shown the board or the sound desk?	Ask which buttons or faders are yours.	Say you need a hands-on demo, not a manual.
Do you know what to do if you miss a cue?	Keep going and wait for the next call.	Ask what the recovery plan is.
Have you practised with the actual show?	Do a full run with cues before opening.	Request a cue-to-cue rehearsal.

This checklist is a conversation starter, not a formal certification. It is meant to help you ask better questions at notes and during rehearsal.

How do I ask for help without slowing everyone down?

Ask during a break or after rehearsal, not in the middle of a run. A short, specific question is easier to answer than a general "I don't get it." For example: "When you say standby sound 3, do you want me to fade it up or just be ready?" That is a good question because it shows you are listening. If you are not sure whether a cue is yours, say so early. It is better to clarify than to guess. The stage manager is there to support the production, not to catch you out.

What is the difference between a light cue and a sound cue?

Light cues usually change what the audience sees: brightness, colour, focus, or a blackout. Sound cues usually change what the audience hears: music, effects, or microphone levels. Some cues are both, and they may be numbered separately or together. The cue list will say which type it is. If you are running lights, you watch for light cues. If you are running sound, you watch for sound cues. If you are the stage manager, you call both. You do not need to know how the equipment works to know which cue is yours.

If you keep the cue list nearby, listen for the standby, and act on the go, you are already doing the job. The technical parts can be learned over time. The human parts, being present, being honest, and being willing to ask, matter just as much.