Between the Staves: Choral Questions, Candid Answers, is fresh take on the classic advice column—this time for all things choral music! Modeled after the beloved “Dear Sally” format, this blog will answer your questions about choral music education, performance, and leadership. Whether you’re curious about vocal technique, rehearsal tips, repertoire selection, or the “other” side of our profession (business, fundraising, scheduling, recruiting, communication, audio engineering, etc.!), Between the Staves will have you covered.
This Month’s Question Is:
When I first started at my current position I worked on both the middle school and high school musicals as a music director. However, after starting a family and the demands of life, I stopped working on these shows. Currently, I feel a lot of pressure from my community to once again contribute to the musical. I think a lot of choir directors feel, or are obligated, to work on school musicals. My questions are:
- Should it be expected of high school choir directors to work on school musicals?
- What is a professional way to put my foot down and say “I will not be doing this at all” that won’t burn bridges with my administration and theatre colleagues?
- What alternative rehearsal models are schools using that do not require full-time work during the day plus a 2-3 hour musical rehearsal after school?
Submitted by Becky O.
This Month’s Responses Are:
Should it be expected of high school choir directors to work on school musicals?
Only if the program has the resources, personnel, and desire to do so. It should not be expected at the expense of the program. High School programs could greatly benefit from doing musicals, but it should not be expected if it is not feasible for the program.
What is a professional way to put my foot down and say “I will not be doing this at all” that won’t burn bridges with my administration and theatre colleagues?
Ask the quiet questions out loud. I find that when a conversation is leading towards an anticipation of my participation or leadership, I quickly ask the quiet question out loud, “So, who are we thinking of asking to do this?” or “Who should we get to lead this project?” If the response is, “We were thinking you would be the perfect person…”, simply respond with certainty how it is imperative that you keep certain boundaries in order to best serve the school/organization/project. A simple, “This sounds like a great opportunity, but I have to pass. I’m sure we can come up with another option.” People respect when someone is clear about their boundaries, they may not like the boundary, but they know exactly what it is and will most likely adhere to it.
What alternative rehearsal models are schools using that do not require full-time work during the day plus a 2-3 hour musical rehearsal after school?
Some colleagues use class time to rehearse for musicals, especially if most of the choir is in the musical. This can be a great use of time if your musical is programmed at a different time of year than your Festivals/Contest. You could also have students submit recordings of their scenes for feedback. If two students are in a scene together, ask them to work together outside of rehearsal and record their session. You offer feedback and see the results at the next rehearsal. It may be an option that can work out for all parties.
Angelica Brooks, Director of Choral Activities, Johnson C. Smith University
Should high school choir directors be expected to work on school musicals?
No. It’s important to recognize that our primary role is to lead and develop the choir program. Expectations for involvement in musicals are not always transparent when we accept positions, and those expectations often manifest in the form of pressure from administration. Ideally, involvement should be a mutually agreed-upon responsibility that respects the director’s workload and professional boundaries.
Setting boundaries without damaging relationships:
I struggle with this. I am a “people pleaser” and never want to let anyone down. That said, I have learned to do my best in communicating my boundaries clearly and respectfully. I try to use an approach that asserts my limits but also emphasizes collaboration and shared goals. You might say something like:
“I fully support the success of our school musical and appreciate the collaboration with our theatre department. However, to maintain the quality and focus of the choir program, I need to prioritize my responsibilities during school hours. I’m happy to contribute in ways that fit within my schedule and expertise, and I look forward to working together while trying to balance everyone’s commitments.”
Alternative rehearsal models that reduce extended after-school commitments:
I cannot speak for other districts and their approach, but I am VERY happy with the rehearsal model we have in my situation. We have an entire team of educators that work for the success of our annual spring musical. Our positions are divided and play to the strengths and availability of each individual. This allows us to accomplish a lot without the burnout.
- Director/Lighting Design
- Assistant Director/Music Director
- Producer
- Costumer
- Choreographer
- Set Design
- Set Construction
A few of the benefits and strategies we are able to employ:
- Rotate rehearsal leadership among directors
- Integrate musical preparations into existing class periods (when possible).
- Sectional rehearsals led by student leaders selected by the music director
- Employing digital rehearsal tools for individual practice outside scheduled times
Jennifer Recker, Choir Director, Lake High School
Working on the school musical can be one of the most joyful parts of our job, but it’s also one of the most demanding. As choir directors, we’re constantly trying to balance a full day of teaching, the work of preparing students for concerts and competitions, and our responsibilities at home and to ourselves which leaves us very little time or energy to be the music director for a musical.
Should it be expected for the high school choir director to be involved in the school musical? That really depends on your campus, district, and community. In some places, musical direction is clearly written into the job description, comes with a stipend, and is understood as part of the assignment. In others, the musical exists because a choir or theatre director once said “yes,” and over time that “yes” quietly turned into an expectation.
The question of “putting your foot down” is where it gets tough. I don’t think you can say, “I will not be doing this,” and expect it to have no impact on your relationships with administrators, theatre colleagues, parents, or community members. Musicals often bring more people into the auditorium over a single run than most concerts do all year. They are very public events that give you a chance to showcase your students, highlight your fine arts programs, and put your school and district in the best possible light. It matters to a lot of people, especially our students. A more realistic and sustainable approach is to establish boundaries while showing you’re willing to be on the team, by having honest, student-centered conversations that define the limited, specific ways you can help.
As far as alternative rehearsal models, this is where creativity, technology and people can really help.
- Rehearsal tracks and flipped learning: Create practice tracks for chorus members and leads with part-dominant recordings, slowed-down spots, or simple piano tracks. Students can learn notes and rhythms outside of rehearsal so in-person time is about character development, and musical nuisances, not endlessly pounding out notes.
- Student recordings and feedback: Have students submit short recordings of specific sections so you can check their progress and offer audio feedback on your own schedule.
- Shared staffing and coverage: Enlist the help of an elementary music teacher, middle school choir director, student teacher, or a music major from a local college to help rehearse the chorus throughout the week while you focus on leads a few days a week.
In the end, it doesn’t have to be all or nothing. The goal is to find a role in the musical that you can sustain over time without sacrificing your health, your family, or your choral program. Communicate, set clear limits, and leverage the talent of others. This will show you’re still invested in the musical but in a way that lets you show up fully for your choir, your colleagues, your family and your own life beyond the stage.
Omar Samaniego, Fine Arts Music Coordinator, McAllen ISD (McAllen, TX); 21 years experience in choral music education, survivor of 20 musicals
Additional Resources:
Vehar, Christina and Sierra Manson Randall. “A State of Stress: Self-Care Strategies for Combating the Effects of Burnout.” Choral Journal, 65, no. 3 (October 2024): 16–21.
Have a question you’d like addressed on the blog? Send it in by clicking the button below. No question is too specific or too big-picture–ask away, and let’s all grow and learn together!
Between the Staves is an initiative of the ACDA Education and Collaboration National Standing Committee. For questions, contact John McDonald at .
Leave a Reply
You must be logged in to post a comment.