The examples and experiences I most often encountered regarding this type of situation is that the actor always had an understudy. If the scheduling issues are so great that not even an understudy is sufficient, the director might have to recast the part and either drop the initial actor altogether or they can cast them into a less important role which wouldn’t need his prolonged presence at the rehearsals.

There’s really insufficient information here to make an informed statement. If the actor was contracted with these conflicts then there should have been a plan in place. If the conflicts arose after starting then the actor may need to be reminded of their contractual obligations. If they are asking for the accommodations then there needs to be a discussion with management about what can be accommodated without jeopardizing the production.

If the actor cannot rearrange his/her schedule to be available, and the production can’t accommodate the actor’s erratic schedule, then you replace the actor as soon as possible.

Einen Einspringer organisieren oder gleich von vornherein bei großen Rollen eine Zweitbesetzung bzw. ein Cover anbieten und/oder vorschlagen.

Well run companies will be clear well in advance about rehearsal and performance schedules, and will have suitably rehearsed understudies as needed. Actor conflicts, barring emergencies, should be cleared in advance. If the actor has more conflicts from the outset than are tenable, don’t cast them. If the conflicts are unexpected emergencies, then pull in the understudy as needed.

Scheduling for all actors is usually done before rehearsals even begin. Actors have to commit to that schedule and performance schedule. However if there is a need to reschedule, the said actor will be reminded of his obligations as per the contract signed. If he still cannot reschedule to suit the production schedule, he is promptly replaced with no compensation. Usually if it is a big production we have an understudy.

Poor Production,when there is no Understudy🥲 In a production of theater or film, there absolutely must be a second cast to correct such abuses.

When a director asked me to be Miss Hannigan and "Annie", I turned down the offer because 3 of the performances were on the dates for our daughters College graduation. He then asked me to come to auditions to give him my opinion on casting. I accepted. Walked into the room and he said, "This will be Miss Hannigan." I was shocked. He then looked at me and said, "I have an understudy for you for that weekend." Issue was resolved. I was Miss Hannigan for the 6 week run of the show.

S'il y a des problèmes d'horaires avec l'acteur principal il faut essayer organiser le tournage en conséquence. Si cela pose aussi des problèmes, il faut tenter, le dialogue avec lui/elle ! En cas d'échec, lui démontrer qu'il serait intelligent, judicieux, et professionnel de se remettre en question, et de tenter d'aider le tournage grâce à sa bonne volonté !! Il y a 1 exemple connu dans ce domaine . Maïwenn et Johnny Depp : il n'était pas toujours présent, chaque jour, au moment du tournage :Elle a réussit à le convaincre d'être un peu plus ponctuel. (ils sont restés amis !!)

In the productions I have spent most of my time working with. contracts are through Actors Equity. There is an understudy for small incidents of conflict, and pre planned missed shows. When this industry is your job, consistent attendance is the expectation. Smaller budget productions and community theater shows are equally as important to the theatre world. So for such productions with bigger competition of the priorities of life; if a recasting can’t be done, an understudy won’t be accomplishable, then worst case ASM reads and blocks the part as a worst case. The show must go on!