It's good to know, the sooner the better, about booms, towers, projectors, foggers, rovers, or anything else that will be in the wings or backstage, so we can make allowances for it sooner than later when planning out the backstage paths and scene shifts. Ditto for onstage practicals and where their power is coming from.

As far as cueing, I like it when the LD takes time to sit down and do a "paper tech" with me before we actually start tech rehearsals, letting me get lighting cues at least penciled in to the book ahead of time. I personally prefer when the LD tells me what the cue does and some approximation of fade time, and leaves it to me to precisely place it. Since I have typically been in more rehearsals than they have, I generally have a better idea of actor timing. Also, if there has been some delay or change, I have a better chance of getting the cue to land as it should if I know what it's doing. As in "That brings up a doorway special, it's a 5 count, and it needs to be complete before Maria comes through the door", rather than "Call Cue 23 on the "G" of "Garden" in Joe's line".

Along with that, I'd rather an LD give me a chance to place the cue slightly differently rather than leaving cue placement as a fixed mark and fiddling with fade counts throughout tech to achieve the desired result. I understand, that in self defense after dealing with Stage Managers who don't call well, it may be easier to just dictate where cues go, and attempt to control the nuances with fade times, but I like when they let me participate in the process.

I like when LD's give me a cue list, or at least let me know when there are places or sequences that have autofollow and linked cues.

More an ME/Programmer thing, on any show with spotlights or slide projectors or effects that are triggered through the board, I like to make sure that the Board Op has a plan in place to deal with them or bypass them if something goes awry. I really like them to have inhibitive submasters. Or at least access to the power source. It only took one show with an intern falling asleep at the "Source 4 on a stick" spotlight and a board op who didn't know and couldn't find channel or dimmer numbers for me to learn that one. It's also why I like to have a copy of magic sheets or other relevant paperwork.

Particularly in small spaces, I like when the LD remembers to make allowances for backstage running lights, both in terms of power and in terms of masking. I like it when the LD sits down with me (and usually, the Director) to discuss scene shift lighting. If the LD wants dead black scene shifts, and the Director needs the crew to accomplish a complicated change in a short amount of time, we need to figure out a plan or a compromise, hopefully before tech rehearsals start, so that we can prepare accordingly.

On a musical, I like if the LD has thought about stand lights, and how they are going to be dealt with. Masked? Gelled? Dimmed? I'd rather this issue was thought of and dealt with before we have 30 people onstage and in the pit and a Conductor with hands on hips to contend with.

I appreciate, in a tech rehearsal, if we have stopped to deal with a lighting issue, if the LD lets me know when they are done and ready to move on. And, if we have stopped for some other issue, I endeavor to do the same. This reduces the number of "mexican stand off" moments we get, where the LD is fussing with cues since we're stopped anyway, and we are holding because the LD is fussing with cues.

Along those lines, I try to train my actors to stay put when we stop for a lighting issue, so that the lights will be adjusted to where they will actually be. (I also try to get them to wear either dark clothing, or something the same color as their costume.) That being said, if what you are dealing with is an issue that isn't related to the actors, I appreciate if you let me know, so I can let actors know that they are free to move while you work. Also, actors (and spotlight operators!) really appreciate it if you kill the spots while you are working on a lighting look if the spotlights are not integral to the look you are adjusting.

I like when the artistic staff, including the LD, go through me to give instructions or make requests of the actors or backstage crew. It helps me to keep in the loop of what is going on, and continue to coordinate the big picture, and it helps me to be able to resolve conflicting desires without confusing everyone on deck.