Encore A–Z

Music Supervisor Director

9 min read

Music Supervisor Director

At a Glance

  • You oversee everything that sings or sounds. Vocal teaching, music direction, plus live orchestra if present.
  • First responsibility: do no harm to developing voices. See Music Supervisor’s Guide.
  • Your closest partners: Director (vision), Choreographer (timing, breath), Sound Designer (mics, balance), Vocal Associate.
  • Where you live in the process: Pre-Production through Tech; ongoing during a run only if there’s a live orchestra.

Position Overview

The Music Supervisor oversees every musical aspect of a production — music direction, learning and teaching vocal parts, and (when a live orchestra is involved) recruiting, contracting, and conducting musicians. The role coordinates closely with the Production Manager, Stage Manager, and Director to keep the musical and overall production calendars aligned.

The Music Supervisor’s work spans assisting with casting, selecting material, licensing and clearing music, plus collaborating with the Director and Producer to establish the musical vision and tone of the show.

For the Encore-specific philosophy — healthy vocal technique for developing voices, material selection, working with live orchestras at Encore, the pre-show warm-up, and conducting — see Music Supervisor’s Guide.

Key Responsibilities

  • Music Conceptualization — Conceive and design music and auditory elements that align with the Director’s vision and serve the storytelling. Create soundscapes that evoke time period, setting, and emotional tone.
  • Collaboration — Work closely with the Director, actors, musicians, and team to integrate music with the artistic vision.
  • Music Composition / Selection — Compose or source music, sound effects, and ambient sounds that enhance the production. Original work or selected existing tracks.
  • Sound Engineering — Work with the Sound Designer and Director on setup and operation of sound equipment (mics, speakers, playback). Ensure balance and clarity during rehearsals and performances.
  • Budget Management — Manage the budget allocated for music, including cost estimates and cost-effective solutions.

When Using a Live Orchestra

  • Recruitment and Hiring — Recruit and contract musicians; create calendars; oversee rehearsals, recordings, substitute musicians, and performance schedules.
  • Schedule Management — Coordinate rehearsal space/recording studios, manage calendars, attend all sessions. Work with the Production Manager to distribute orchestral parts, vocal scores, and other sheet music.
  • Conducting — Conduct the orchestra, or oversee the designated Conductor and ensure the job is executed proficiently.

Qualifications

Essential

  • Strong music direction instincts with the ability to teach vocal parts to mixed-ability casts.
  • Solid keyboard skills sufficient to support rehearsals.
  • Working knowledge of musical theater repertoire, vocal production, and group singing techniques.
  • Music notation skills and comfort with current accompaniment / playback software.
  • Knowledge of healthy vocal technique for developing voices.
  • Collaborative skills to work with the Director, Choreographer, and design team.

Preferred

  • Prior music direction experience in musical theater or educational settings.
  • Conducting experience (for productions using a live orchestra).
  • Knowledge of the Southern Utah music community (for live-orchestra hiring).
  • Familiarity with Encore’s Production Bible framework.

Personal Qualities

  • Creativity — imaginative mindset for the auditory fabric of the show.
  • Attention to Detail — vocal work, harmonies, backtracks, and recordings executed reliably.
  • Leadership — keeps musicians and singers oriented, prepared, and confident.
  • Vocal Care First — never compromises a developing voice for a result. See Music Supervisor’s Guide.

Ongoing Knowledge and Oversight

  • Know the score and the music techniques needed for the current production.
  • Maintain communication with the Stage Manager, Director, Choreographer, and Sound Designer.
  • Stay current on rehearsal backtracks, accompaniment software, and performance tracks.
  • Keep up with trends in musical theater performance.

Working Conditions

  • Commitment: Roughly 2–4 months per production, longer when a live orchestra is involved.
  • Schedule: Evenings and weekends for vocal/music rehearsals; daily during tech week; performance-week presence depends on whether a live orchestra plays.
  • Environment: Rehearsal rooms with a piano or keyboard; performance venue; production meetings monthly.
  • Reports to: Director (artistically) / Producer (administratively).
  • Compensation: Milestone-based per Payment Structure; specifics in the Creative Team Proposal Template. Live-orchestra productions carry separate musician contracts.

Success Measures

  • A cast that arrives at tech with secure parts and healthy voices.
  • Clean musical handoff to the Stage Manager — backtracks tested, cues confirmed, sub musicians (if any) properly briefed.
  • For live-orchestra shows: an orchestra that’s rehearsed, organized, and supportive of the cast on stage.
  • A pre-show vocal warm-up routine the cast inherits and can run themselves.

By Phase

Inception

Welcome to the Encore fam! Be sure to complete your onboarding items below — we look forward to building an incredible show that builds life skills through stage skills for young artists.

Onboarding

  • Complete child safety training.
  • Submit background check.
  • Submit W-9.
  • Sign and return contract.
  • Complete onboarding process.

Initial Production Work

  • Begin reviewing the score; identify musical scope and orchestration needs.
  • For productions using a live orchestra, begin early conversations with the Producer and Production Manager about budget and feasibility.
  • Attend the onboarding meeting with the full production team.

See 1 - Inception for the phase overview.

Pre-Production

Script and Score Preparation

  • Obtain the script and musical score as soon as available.
  • Develop a thorough knowledge of the script and score to assist auditions (matching voice types and skill to roles) and to oversee/teach vocal parts.

Production Meetings and Collaboration

  • Participate in all production meetings.
  • Communicate with the Director and Choreographer about any cuts, additions, or adjustments in vocal parts/requirements.
  • With the production team, identify where music may need to be added to support the creative vision.

When Using a Live Orchestra

  • Acquire orchestrations appropriate to the size, talent, and budget available.
  • Hire musicians; manage their contracts.
  • Create an Orchestra Rehearsal/Performance Calendar with the Production Manager. Keep it clearly communicated and updated.
  • Collaborate with the Set Designer and Director on orchestra placement — real estate per instrument, conductor’s sightlines, and any interactions with the cast.

See 2 - Pre-Production for the phase overview.

Casting

Cast size, audition timing, callbacks, and the role-offer process are documented in 3 - Casting. The Music Supervisor’s contributions:

  • Prepare audition music; create music tracks/guides for callbacks.
  • Find appropriate music cuts for callbacks.
  • Attend auditions and callbacks; assess vocal abilities.
  • Provide input on casting decisions.

Rehearsals

Creating a Positive Environment

  • Engage in and respect a harmonious, collaborative working environment.
  • Be prepared and follow the rehearsal schedule to teach vocal parts.
  • Remember you are working with young performers who need positive feedback, reminders, and encouragement.

Vocal Instruction

  • Educate young artists on healthy vocal technique; lead warmups that support these concepts.
  • Teach vocal parts and conduct music rehearsals.
  • Correct mistakes as needed; have high expectations for fidelity to the music concepts and notation.
  • Continually communicate with the Director and Choreographer to keep music expectations aligned.

Designer Run

The tech process really begins at the Designer Run. Come in with a complete understanding of how all music will work, ready to answer questions for other designers and ready to be flexible. The Designer Run should always be followed by a production meeting.

When Using a Live Orchestra

  • Maintain the Orchestra Rehearsal Calendar and rehearse musicians.
  • Communicate any orchestra changes/updates to the Production and Design teams.
  • During the Designer Run, watch for moments where musicians are involved with the action on stage and anything in the staging that might challenge the orchestra.

See 4 - Rehearsals for the phase overview.

Pre-Tech

All tech elements should be as prepared and ready to execute BEFORE the tech process begins — tech is to adjust and finesse, not to finish what was started earlier. The following are sound responsibilities the Music Supervisor should be ready to assist and oversee:

  • Music imported on a computer and tested through the board.
  • Music/sound cues tested in the house — every track working and balanced in the room.
  • Mics connected and tested.
  • All sound cues adjusted and balanced appropriately.

Dry Tech is the design team’s run-through of cues focused on set moves and lights/sound/sets coordination, before actors and costumes are added. Attend primarily to speak to how music can be used or manipulated to facilitate transitions.

When Using a Live Orchestra

  • Oversee that the correct equipment is being set up properly.
  • Assist with setup and placement of the correct mics for the instruments.
  • Ensure instrumentalist placement fits within the set design and provides for balanced sound, and that actors can hear essential musical cues and chords.

See 5 - Pre-Tech for the phase overview.

Technical Rehearsals

  • Work with the Sound Designer so music, microphones, and other sound elements create a balanced sound.
  • During technical rehearsals, ensure music is being maintained and continues to grow as it integrates with other design elements.
  • Assist the Sound Designer with music and sound cues plus balance.
  • Attend production meetings at the end of tech at the Stage Manager’s discretion.
  • Continue collaboration with the Director and Stage Manager.

When Using a Live Orchestra

  • Continue to oversee the Orchestra Calendar — orchestra members know when they’re called and are updated on any alterations.
  • Continue to note and work with the orchestra.

See 6 - Technical Rehearsals for the phase overview.

Performance

Create and oversee (when possible) a 5–10 minute vocal warm-up that becomes part of the pre-show call and is done as a cast. Other than this, unless a live orchestra is being used, the Music Supervisor’s job is more or less complete at this point.

When Using a Live Orchestra

  • Conduct the orchestra, or oversee the designated Conductor and ensure the job is executed proficiently.
  • Arrive at least 30 minutes before curtain (or earlier depending on show complexity).
  • Check that all musicians are present and prepared.
  • Continue to oversee the Orchestra Performance Calendar.
  • Manage and oversee sub musicians — ensure they’ve had proper materials and rehearsal time before subbing in. Communicate and coordinate with the Stage Manager.
  • Assist sound checks — all musicians’ mics working and set properly.
  • Receive and implement notes from Stage Management.
  • Communicate to Stage Management or Production staff about any equipment that needs repair or replacement.

See 7 - Performance for the phase overview.

Post-Production

  • Assist and oversee the return of any borrowed musical instruments or equipment.

See 8 - Post-Production for the phase overview.

Status: Working · Portal: Team · Last reviewed: 2026-05-11 · Owner: Rhett

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