Screws and Nails

Screws should be used sparingly, and then preferably driven in with a hammer. Nails are simpler to use and cheaper. They often work loose, but a quick round with a hammer before each performance will ensure that the set hangs together for the evening. With any luck the end of the run will arrive without major catastrophe. Exclusive use of nails ensures that striking the set at the end of the run requires only a hammer.

Spirit Levels

These are never used. Judging where the little bubble thing is requires good eyesight and takes time. Much better to put the set up so that it fits where it touches and then align it with tape and paint. Larger gaps are easily covered with hardboard.

Set Squares

See spirit levels. Set squares do however make useful emergency hammers.

Doors

It is usual to hang these so that they naturally swing open. This intrigues the audience, who get to see some backstage activities. Where this is deemed inappropriate some genius can always be persuaded to rig up a string-and-pulley contraption to keep the door closed.

French Windows

Are not fitted with glass for safety reasons. Also, a simple catch, accessible from only one side is then adequate since the actors can easily reach through from the other side to release the door.

Sight Lines

These should be considered carefully during the planning stage. Most of the audience will not be concerned, but to some the facility to see at least a few off-stage areas is important. These people should not be disappointed. Regulars get to know which seats give the best view, so it is not necessary to consider the whole auditorium when setting sight lines.

Revolve

Although rarely used, this apparatus affords the opportunity for some backstage light relief. The operator requires muscles and good timing so that the set dressers on the back half are given their moment of glory as the revolve turns a fraction earlier and quicker than last night.