I tend to leave a script ‘unfinished’ for as long as possible. Why? Because this allows for afterthoughts, fresh ideas from the team, or even the happy accident that changes everything. A good idea doesn’t care where it came from—it doesn’t wear a mask—so the best approach is to welcome it in.
So When is a script locked?
As I start sharing information with interested creatives, I’m reminded that my process can feel unusual, even unsettling to some. I feel like I have to explain my reasons with every new introduction, but in reality, it’s just my chosen way of working. This week alone, I replaced a character and added a brand-new song.
That raises the familiar question: ‘When do you stop making changes?’
Here’s the precise answer: I consider the script is locked before rehearsals begin. This gives the cast a chance to learn their lines and get comfortable with the material. But even then, the process isn’t truly finished.
Songs get cut (yes, sometimes even my own), dialogue shifts, stage positions are altered, lighting and sound need reworking—the list goes on. These changes often come down to timing, resources, or audience response.
So, in a nutshell: the script is “locked” when it’s printed, but there’s collective decisions to make during rehearsals, which are only finalised once the entire creative team is together.
Choosing the Right Creative Partner
Another key consideration at this stage is who to work with. The Director/Producer relationship is a lot like a marriage—one not to be entered into lightly. Together, you’ll make major decisions that involve every element from growing your team, and career-defining outcomes.
Even if someone looks like the perfect fit on paper, it’s worth taking a few days to think things through. This is the person you’ll lean on through auditions, rehearsals, costume fittings, and right up to opening night. You need someone who will support you, challenge you, and stay the course—and they deserve the same in return.
When you’re exhausted, juggling phone calls, and fielding endless questions, the last thing you want is to feel abandoned by your ‘other half.’
Speed Dating for Creatives
Right now, I’m entering that exciting but nerve-wracking phase which is exactly like speed dating—meeting potential partners in crime. It’s a process that can be incredibly rewarding if you get it right.
If you’re in a similar position, my advice is simple: take your time. Have long conversations. Look for compatibility not just as Director/Producer, but as humans.
Beyond that, you’ll also be bringing in other key creatives—Musical Director, Choreographer, Composer/Arrangers, Costume Designers. Each will shape the look, feel, and heart of your work. At some point, you’ll need to trust them with your vision while keeping the door open for collaboration.
The Takeaway
Trust yourself in choosing your collaborators, and don’t be afraid to say both “thank you” and “that’s not what I had in mind” in the early stages. It makes the process smoother than you’d expect.
If you’re on this journey too, I wish you luck. It’s daunting, it’s thrilling, and if you find the right people, it’s one of the most empowering experiences you can have.
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