Assistant Musical Directors (AMDs)

The role of an Assistant Musical Director (AMD) in theatre, can vary significantly from production to production. In addition to playing in the band, AMDs frequently take on responsibilities such as rehearsal support, conducting, and administrative tasks. Duties and payment structures vary widely, so it is essential to agree on all terms and remuneration in writing before you start. 

The MU’s collective bargaining agreements (CBAs) and in-house agreements generally apply only to players’ contracts. The MU does not set Musical Director (MD) or Assistant Musical Director rates, but we monitor fees where possible and provide guidance to help members where we are able to, to make informed decisions. 

Buyouts explained for Assistant Musical Directors

It's common for the engager to offer an AMD a buyout fee, on top of the weekly playing fee, to cover some or all of the required duties. Other terms, conditions, and certain fees may refer to one of our Theatre Agreements. 

All-inclusive buyouts

Some engagers will offer an all-inclusive buy-out fee to cover ‘Duties as Assistant MD’. It is not advised to accept such a clause unless the duties are specified and you are happy that the buy-out figure would be sufficient to cover all eventualities. This is, however, incredibly difficult to predict, so it is crucial to ensure that the buyout terms are clearly defined in the contract. 

Rehearsal period

An AMD will often be required to attend cast rehearsals to support the Musical Director (MD), act as the rehearsal pianist, learn the show, and help teach the music to the acting company. Rehearsal, tech, production and preview periods often involve longer, unpredictable hours than performance weeks. During these weeks, you may be offered the same weekly wage despite working significantly longer hours—unlike players who might earn above their usual rate. Alternatively, the engager may propose a weekly buy-out, which usually includes subsistence and travel. 

Where possible, the Assistant Musical Director and the engager should agree on a buyout fee that reflects the anticipated workload and establish clear boundaries regarding working hours. 

If additional time is expected, consider agreeing on mechanisms to manage it, such as provisions for extra hours and overtime. For additional hours, a good benchmark is either the pro-rata hourly rate based on your weekly playing fee or the prevailing MU rehearsal pianist rate. For overtime, you could use the overtime clauses for players as a reference, as set out in the relevant MU collective agreement.

Rehearsal fee and hours

If you are working under the MU/UK Theatre Agreement, we don’t recommend that the Assistant Musical Director rehearsal fee be paid for the Production Period, as the hours for this are outlined in the MU/UK Theatre agreement (Schedule 1 - Definitions – Production Period). 

We also don’t recommend that unused rehearsal hours during the Production Period be carried over to subsequent weeks. Under the MU/UK Theatre Agreement, the maximum number of hours that can be worked during the Production Period is 40.  Any rehearsal hours not used during that period should be forfeited—it should be a use-it-or-lose-it policy. 

Common Assistant Musical Director duties

Usually expected, and included in the contract:

• Conducting: Assistant Musical Director contracts typically include a minimum of one or two conducts per week. Additional conducts are usually paid as extra—either as a flat fee per show, or on a sliding scale, reducing for each extra conduct, and up to a set limit. Many AMDs prefer a fixed rate for additional conductors to ensure consistency and parity with other musicians. 
• Rehearsals: Includes cover/swing rehearsals, clean-up calls, or new cast rehearsals. An Assistant Musical Director contract will usually include a maximum set number of additional rehearsal hours per week (anything between 3 and 6 is common). Additional rehearsal hours are usually paid at an additional hourly rate, which should be agreed in advance. 
• Vocal warm ups: Some MDs will do all of the vocal warm-ups, some will split them with the AMD, and some will expect the AMD to do all of them. It is strongly advised that this be agreed between the MD and AMD prior to signing a contract. Vocal warm-ups usually take place up to 1.5 hours before the show starts, which can add several hours to your working week. 
• How you get paid: Information on whether you have to submit invoices or if you will be on the payroll. 

Sometimes expected and included:

• Children’s rehearsals: Where there are children in the cast, and there is no Children’s MD, the AMD is sometimes required to rehearse the children. This can include rehearsals on a get-in day, which are often before the sound check time. 
• Mandatory training (e.g. EDI, Safeguarding): Aim to negotiate payment for any time spent outside the agreed buyout. 
• Terms following players’ contract: Some terms may follow the players’ contract, and they may be engaged under an MU in-house or Collective Bargaining Agreement.

Sometimes expected, and NOT included:

• Working relationship with the MD: Make sure you both understand how the partnership will work for the whole contract and agree on a basic outline of the duties you’ll be expected to carry out. 
• Music librarian duties: The AMD may be expected to distribute band parts on a get-in day, and collect the music after the last performance in a venue. 
• Giving notes to cast and band: In some instances, the MDs will expect the AMD to give notes to the acting company and/or players on their behalf. 
• Billing: Billing as ‘Assistant Musical Director’ in the programme and any other promotional materials. We would encourage this wherever possible. 
• Being ‘on call’ outside contracted hours:  This is sometimes expected without compensation. Clarify this upfront. 
• Tech responsibilities:  AMDs may be required to trigger effects and may also be asked to assist with programming, click tracks, playback systems, or liaise with sound teams. Minimum payments for any duties beyond core playing should be agreed in advance, proportionate to the scale, responsibility, and impact on the show, and in line with any MU minima and agreement in place at the time.  
• Emergency rehearsals:  may be asked to do additional rehearsals outside your scheduled hours—for example, to address unforeseen issues or changes during the production. Whether these are paid depends on your agreement, so make sure the contract is clear and doesn’t leave payment to chance. 
• Music copying and preparation: Where changes are made to a score during the run of the show, the MD may require help with copying and preparing parts. If this isn’t included in your fee, you might find it helpful to refer to our Arranging, Music Preparation and Orchestration Rates and Agreements. 
• Arranging or composing: Sometimes, you might be asked to creatively contribute to the score, such as arranging or composing, this can sometimes happen informally or evolve during the production process. Unless this was something you expected and agreed to from the outset, it should be treated as additional work and agreed separately. Make sure you understand exactly what’s being asked and that the scope and fee reflect the extra responsibility. While initial discussions may start verbally, they should always be confirmed in writing before you begin any creative work. In short: if you’re creating music, get it in writing, ideally before you start the work. 
• Further guidance on composing and songwriting is available via the MU’s Composing and Songwriting page.

MU Theatre Agreements have strict rules regarding the use of recorded music, meaning you may be asked to create or supply material that the production is not permitted to use under the relevant agreement, so check with your Regional Office if you have concerns. 

Recording Clauses

We do not recommend agreeing to recordings being bundled into your fee or granting blanket consent. Your contract may include a full buyout of rights, meaning the Producer would own all recordings made and could use them in perpetuity without any further payment beyond your playing fee. This undermines potential earnings from streaming, broadcast, or other exploitation. If recordings are genuinely needed, we’d advise you to contact your regional office before you sign. 

All of these requirements mean that an Assistant MD’s working hours can vary considerably week to week. It is important that the AMD is happy that the buyout fee will be appropriate when averaged out over the course of the contract, and that proper remuneration will be paid in the event of extra hours being worked.