In this article Cramer explains the idiosyncrasies of theatre interpreting and sketches out some best practices. She points out that communication in a theater setting is different from usual communication situations, as the ‘meetings’ are not designed to generate exchange of new information between the persons concerned. Texts are more or less set in advance, and because of the visual dimension of theatre plays, synchronicity in interpreting is particularly important, which requires solid advance preparation. Because of the visual dimension of plays, the physical positioning of the interpreter also requires a lot of thought, since Deaf spectators need to keep looking at the actors’ positions and body language and at the same time see the interpreter signing. Somehow, interpreters need to blend in, both in physical positioning and in attire. The author advocates extensive advance thinking and preparation on the part of the organizers of theatre events, and in particular preparatory dialogues with Deaf advisors. In this paper, the ideology which considers that interpreting should aim to give equal rights/opportunities to barrier-free cultural experience, comes up explicitly.