One of the first things I learned in Broadway pits is that being on time is not good enough. If you walk in at the last minute, even if the downbeat hasn’t happened yet, you’re already sending the wrong message. The silent rule in every pit is simple: if you are on time, you’re late. Most people hear that line and think it is a cliché, but it’s not. It is how the job actually works.
Broadway music directors, contractors, and other players are not just listening to your playing. They are watching how you carry yourself. Nobody wants to wonder if you will make it through traffic or if you’ll still be setting up while the house lights go down. They want confidence, not doubt. Showing up early is about being prepared and about respect for the show, for the people around you, and for the audience who paid to be there.
Bill Lanham, who played Les Misérables, Cats, Evita, and other shows, summed it up perfectly. Don’t be late. And he doesn't just mean the downbeat. Get there early. He tries to arrive an hour and a half before showtime.
That is what professionalism looks like. Being early means you have time to settle in, check your gear, warm up, and mentally lock in before the curtain rises. It tells everyone in the pit that you take the job seriously.
Jake Goldbas, who played for Dear Evan Hansen, said it simply. If you are not early, you are late. Live by that rule and you separate yourself from the pack.
These small details are what separate someone who shows up for a gig from someone who builds a career. They never teach this in school. Nobody tells you that your arrival time is part of your musicianship, but on Broadway it absolutely is.
I have seen plenty of talented players lose opportunities not because of their playing, but because they were unprofessional or unprepared. They figured their chops would do the talking. Playing may get you noticed, but professionalism keeps you working.
These are the kinds of things I wrote about in my new book Broadway Bound and Beyond. The book is not just about drumming. It’s about building the habits and mindset that make a career possible in the unpredictable world of theater. From preparation to negotiation to relationships to consistency, it’s filled with real stories and strategies from my own path, as well as from the incredible musicians I have interviewed over the years.
If you want to move from the practice room to the pit, start with the details that matter most. Being early, being consistent, and being prepared may not sound glamorous, but they’re the foundation of trust. And in Broadway pits, trust is everything.
This post is adapted from my book Broadway Bound and Beyond. If you want the full roadmap of what it takes to build a career, order your copy and learn the lessons that no classroom can teach. https://www.broadwayboundbook.com