If you’ve ever seen someone waving their arms frantically in front of the stage at the theatre, you’ve probably spotted the musical director. In musical theatre, the MD is the person who keeps the cast, orchestra and story all moving in perfect harmony. But what does a musical director in theatre actually do? Let’s take a behind-the-scenes look.
Long before rehearsals even begin, the musical director has been immersed in the score. It’s much more than just a surface level read through – it’s a deep exploration of how the music tells the story. For me, the process usually begins with the lyrics. As Sondheim put it, songs are “one-act plays, to move … from point A to point B dramatically.” Looking at word choice, punctuation, and phrasing can reveal character motivations, or important emotional shifts that guide how a piece should be performed.
The melodies and motifs are equally important. Musical theatre is full of leitmotifs – recurring phrases that carry certain themes through a show. Perhaps the best known example in theatre might be the ‘bean theme’ from Into the Woods. The five note theme that’s played when Jack is first given the beans gradually grows throughout the show to become a countermelody in ‘Children Will Listen’. Recognising and highlighting these motifs helps shape performance choices later on.
Next come the harmonies, and how different character’s vocal lines are fitting together. Sometimes, a clever vocal arranger will have hidden little musical easter eggs throughout the score. In Phantom of the Opera, for example, one of the counter harmonies in “Prima Donna” eventually gets used later as Christine’s solo for “Twisted Every Way” – something that might escape the attention of someone seeing the show for the first time, but definitely not to be missed by a musical director!
Equally important is spending time learning the orchestration. Every instrument adds a different colour and texture to the overall piece. Sometimes, the budget might not stretch to the full 32-piece orchestra from the original Broadway production, and a smaller chamber sound is required. In those instances, I’m still looking at the full orchestrations, so that when I reduce it down to a smaller ensemble, I can keep as much of the original intention as possible.
By the time rehearsals begin, my score is heavily marked with notes about dynamics, tempos, motifs, ideas, and anything else that might be useful to point out to performers in the rehearsal room.
The next step for a production is the audition process, where the creative team begins assembling their vision for the show. This is a crucial stage, and the MD’s expertise plays an important role in shaping the musical foundation of the production. Sometimes, the MD will be required to accompany the auditions as a pianist as well – a part of the process I particularly enjoy.
During the audition, I’m listening for vocal range, pitch accuracy, tonal quality, and overall musicality. Early audition rounds focus on a broader picture, whilst later recalls allow me to focus on specific characteristics. At this stage, performers are often given material from the show. The insight I offer as an MD will help the casting director, as well as the rest of the creative team, make informed decisions . The goal is to assemble a cast capable of meeting the technical demands of the score, whilst also making sure they’ll work together as an ensemble. It’s a giant jigsaw to puzzle out.
Auditions also allow the MD to identify any potential challenges early on, such as whether a song might need to be transposed to accommodate a performer. In this way, the Musical Director’s work during auditions is both evaluative and preparatory — ensuring that the musical heart of the production is strong from day one.
Once rehearsals begin, the MD’s role shifts from studying the score alone to actively collaborating. Day One usually involves everyone gathered around a piano, learning their vocal parts. At this early stage, it’s more important to get the rough shape of the show, rather than perfect polished performances. Cast members will record their harmonies, and my job is to guide them through the music. Without all of the preparation outside the rehearsal room, this day could easily be overwhelming.
As rehearsals progress, the show gets more refined. I’m working in collaboration with the director and choreographer to ensure that the music supports the dramatic vision and physical storytelling. Sometimes, a choreographer might want a longer dance break, or to change the tempo of a section. Where possible (usually depending on licensing), I’ll adapt the music. Sometimes, that’s included full dance break re-orchestration, a challenge that I always enjoy! It’s the creative side of the job that I love – finding ways to make the music serve the production whilst still respecting the composer’s original vision.
Towards the end of the rehearsal period, I’ll get a chance to rehearse with the band. Often, there is only a single dedicated band call, where we go through the whole show from top to bottom. This is the first time that I’ve heard the orchestration played live. Being surrounded by talented musicians as we all work together to bring a score to life is always such an exciting part of the production process. Any changes from the rehearsal room (such as cuts, dance breaks, or re-orchestrations) are given to the band, who mark up their scores. I’ll point out musical moments that I want to hear more of, and make suggestions for things like style and techniques.
Shortly after, the cast and band come together for the sitzprobe (a German word, meaning ‘seated rehearsal’). It’s a magical moment, putting it all together. Often, there’ll be other departments here (like the sound department), so that they can learn what they need to know for the show before we enter technical rehearsals.
Once the show opens, the musical director remains at the heart of the production. Whilst the rest of the creative team might move on, the MD is responsible for conducting the show, whether that’s with a baton or from behind a keyboard. Each performance begins with vocal warmups to prepare the cast. Consistency is key: the audience should expect the same musical quality on a Wednesday matinee as they would on a Saturday night.
Live theatre is unpredictable. Microphones can fail, cues can be missed, and the unexpected can happen at any moment. The MD needs to be ready to respond immediately, whether that means holding the band in a vamp (a short loop of music), adjusting the tempo to accommodate dialogue, or responding to a show stop. It’s a role that requires both steadiness and adaptability.
The work of a musical director is both creative and meticulous, technical and collaborative. From studying a score, to shaping arrangements, from teaching harmonies in rehearsal to conducting live performances, the MD ensures that the music always serves the story. Without them, musical theatre wouldn’t reach the audience in the same way.
Q: Is a musical director the same as a conductor?
A: Not exactly. There’s a bit of overlap , but the role of musical director is much broader – they also teach the cast, and guide the overall musical aspects of the show in rehearsals. Sometimes the musical director will also conduct the show, but the conductor isn’t always the musical director (it could be an assistant or associate musical director, or even a deputy conductor).
Q: Do all musicals need a musical director?
A: Most professional and large-scale productions will have a musical director. In smaller productions, one person might multi-role (i.e a director who also does the MD’ing). Whatever the circumstances, it’s essential to have someone leading the musical side of the storytelling, and making sure that the score supports what’s happening on stage.
Q: Can a musical director change the music in a show?
A: Changes to the score will depend on licensing and copyright restrictions. I’ve worked on licensed productions where changes are not permitted, and I’ve also worked on new productions where I’ve collaborated with the composers to make new arrangements. It will also depend on the scale of a change – a new dance break might not be allowed, but changing the tempo of a song slightly is permitted.
Q: What skills are essential for a musical director in theatre?
A: Musically, it’s good to have a foundation in theory, harmony, and arranging. You’re needing to teach other people the score, so being able to learn it yourself in advance is necessary. It helps if you can play piano, but that’s not essential. As a member of the creative team, good leadership, clear communication, and flexibility will help when it comes to collaborating with directors, choreographers and performers.
If you still have questions about what a musical director does, or want to know how an MD can support your production, feel free to get in touch. I’d love to hear from you, and share more about the behind-the-scenes magic of theatre.