I raised my kids in New York City and I sent them to a school I won’t name here.

I actually loved it at first. The approach was closer to Montessori than anything traditional. Kids learned at their own pace, called their teachers by their first names, sat in clusters instead of rows, and spent a lot of time on the floor doing the whole criss-cross applesauce thing. It felt progressive. It felt intentional.

But there was one thing I couldn’t stand.

They let the kids sound out words and then debate whether that was how the word was actually supposed to be spelled. Instead of telling a child that C-A-T is cat and not K-A-T, they turned it into a discussion. A discovery. An exploration.

For Years — and I mean years — my kids had poor spelling. Junior high. High school. They were never the kids who loved reading either. Part of that was the other half of their DNA, and I’ll leave that alone. But I’ll say this: they were never encouraged to read at home when they weren’t with me, even though I tried to model that behavior every chance I got.

Looking back, maybe the spelling thing was foreshadowed. Because I had my own issues with spelling in elementary school.

The difference is — I fixed it. Quickly.

One of my teacher’s name was Mr. Dougan. He called me up to the chalkboard in front of the whole class and told me to spell the word “business” out loud. I froze. I had no idea. Probably spelled it “bizness” or something close. Just sounding it out, getting it wrong every time.

He didn’t let me off the hook.

He made me try again. And again. Twenty-five different attempts before I finally got it right. Bus. I. Ness. Three syllables. From that day forward, I never forgot how to spell it, and somewhere in the back of my mind, I never forgot what it meant to actually handle yours.

Mr. Dougan didn’t debate with me. He didn’t turn it into a discovery. He stood at that chalkboard and made me get it right, however long it took, however uncomfortable it got. That’s not cruelty. That’s accountability. And it stuck in a way that a classroom discussion never would have.

Now think about what I see happening with musicians every single day. They’re sounding out the business side of their careers and calling it figuring it out. They’re debating whether the word is spelled correctly instead of just learning to spell it. There’s no Mr. Dougan. No chalkboard. No twenty-five attempts. Just vibes and hope and wondering why the money never adds up.

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Here’s the part most people don’t know about me.

I didn’t go to Berklee, or any other music school. That’s what I wanted. My father had other ideas, and I ended up at Howard University’s School of Business. I hated it. The students around me were cold and aggressive in a way that didn’t sit right with me at all. I spent most of my time in the music building with the Fine Arts kids, playing gigs, leading the drumline. Those were my people.

But the business school planted seeds I didn’t even know were growing.

After Howard, I didn’t go straight into music. I stayed in DC for a while, managing record stores and picking up gigs wherever I could. When I finally made the move to New York, I did what a lot of musicians do. Day job to survive, gigs at night to stay alive. I was determined to get where I am now. But it was that business degree that kept me afloat while I was figuring it out. It gave me options when the gigs weren’t enough.

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I spent my first five years in New York City with a day job. Donaldson, Lufkin & Jenrette, handling international reconciliation, tracking foreign currency and money moving across borders. Years later, I moved to MetLife as a financial services representative, got my Series 6 and Series 63 licenses, and spent a few years sitting across from real people talking about their money. Retirement plans. Annuities. Life insurance. People who were counting on me to help them figure out what their future was supposed to look like. Then came Chase, where I worked as a personal banker, meeting with clients, opening accounts, and helping people think through their financial goals.

Kids today call them survival jobs. I get that. But here’s what I know now that I didn’t know then — every job you have, every experience you accumulate, shapes you in ways you don’t fully understand until years later. Those jobs weren’t detours. They were deposits. And when I finally made the jump to full-time musician, I could negotiate. I could walk away from bad gigs. I understood where the money went and why. None of it felt glamorous at the time. But all of it paid off.

Nobody in that pit is going to hand you a financial plan. Nobody’s going to tell you to track every source of income, sort your expenses into what’s fixed and what’s variable, and build an emergency fund so that when the show closes you’re not desperate. Nobody’s going to explain what Local 802 is actually there to do, which is fight for your minimum wages, your overtime, your rehearsal pay, your pension credits. And none of it is automatic. You have to know what you’re entitled to. You have to read the contracts. You have to ask the questions. Because confusion is not an excuse they’ll accept when you leave money on the table. Nobody’s going to sit you down and walk you through the difference between a Traditional IRA, a Roth, and a Solo 401(k) and why any of it matters when you’re a freelancer with no employer doing it for you.

You pick it up yourself, or you don’t pick it up at all.

There’s a whole chapter on this in Broadway Bound and Beyond — the financial side of a Broadway career that nobody teaches you in school, in the pit, or on the bandstand.

Mr. Dougan didn’t let me off the hook until I got it right. This chapter is me returning the favor.

Handle your bus-i-ness.

broadwayboundbook.com

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Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway credits include Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

People can tell when you’re desperate. They knew before you sent the message.

You’re in someone’s DMs asking for a referral, a coffee meeting, an introduction, from someone who barely knows your name. You’re not wrong for wanting the gig. But the timing exposes everything. You only showed up when you needed something.

That’s not networking. That’s asking a stranger for a favor.

My podcast guest Peter Saleh said it better than I ever have: hustle when you have work, not when you don’t. I think about that all the time. Because the instinct is completely backwards for most musicians. They go quiet when they’re busy and loud when they’re desperate. And desperation has a smell. People can sense it before you open your mouth.

But Peter took it further. He said that hustling when you have work helps you remember your dignity. Because when you need something badly enough, you start to shelve it. And it doesn't help. If they don't have work for you, it doesn't matter how you present yourself. What matters is how they remember you — and that gets decided long before you ever need anything from them.

The other half of “who you know” is who trusts you. When a music director needs to fill a slot, they’re not scrolling through a list of the most talented people they’ve ever heard. They’re thinking about who’s going to show up on time, handle the environment without drama, and make the experience easier for everyone around them. They go to the people they already trust. Not the safe move. The smart one.

Peter also reframed something I’d felt for years but never articulated that cleanly. He said that when you’re a sub, it’s easy to feel like someone is on a mountaintop handing work down to you. But that’s not what’s actually happening. You’re being of service to them so they can do other things. That shift in perspective changes everything about how you show up.

LEARN MORE ABOUT PETER SALEH'S SWITCHBOARD PERCUSSION TABLE HERE

When you’re working, you have a different energy. You’re not chasing. You’re contributing. And when you’re busy, you can’t take every opportunity that comes your way. So you pass it along. And who do you pass it to? The people you remember. The ones who were present before they needed anything. The ones who checked in, not to ask for something, but just to stay connected. Not a resume. Not a cold DM. A person.

FUN FACT: I haven't always been on a hit Broadway show. I've sat in that underemployed stretch wondering where the next thing is coming from. That uncertainty is exactly why I started Broadway Drumming 101, why I interview other drummers, why I write these pieces, and why I wrote Broadway Bound and Beyond. I needed this information and nobody was giving it to me straight. But even in the lean years, I wasn't only looking for a job. I was looking for ways to be useful. And that one shift changed everything.

You don’t need to start with Broadway heavy-hitters. You don’t need to cold-email music directors or force your way into places you haven’t earned yet. Start with the people around you right now. The rehearsal pianist. The music assistant. The guitarist in the pit. The sound engineer. The stage manager. Every one of them is part of the ecosystem and everyone talks. Show up prepared. Be helpful. Make their day a little easier. That’s how trust starts.

The relationships I built early, through rehearsal bands, regional theater, club dates, jam sessions, have come back in powerful ways, sometimes years later. Not because I was working an angle. Because I showed up, did the job well, and treated people right. That’s it. That’s the whole formula.

So what does that actually look like? Say yes to the low-profile gigs. The 29-hour reading that pays almost nothing. The workshop for a show that may never see the light of day. The sub opportunity for a regional production two hours outside the city. Those are not consolation prizes. The people running those sessions are the same people hiring for Broadway right now. Say yes consistently, do the job well, and you become a known quantity before you ever ask for anything. Show up somewhere you don’t have to be. A masterclass. A showcase for a friend. A jam session that has nothing to do with theater. Just be present in the musical community, not to be seen, but to actually be there. Face-to-face still matters more than most people want to admit in 2026.

When you hear about a sub opportunity that doesn’t fit your schedule, pass it along to someone it would. When someone’s asking about a contractor’s contact or a piece of software, give them a real answer. The musicians who give freely, information, leads, time, help, are the ones others think of first when something comes up. And if you want advice from someone you admire, don’t say “can I pick your brain?” That’s vague and signals you haven’t done your homework. Reference something specific instead. A podcast they did, a show they were on, something you actually looked into. Then ask one focused, answerable question. It shows effort. It makes it easy for them to help you. And it tells them you’re the kind of person worth helping.

Once you’ve made a connection, maintain it. Not in a clingy or desperate way, just consistently. Congratulate them when they land something. Recommend them when you see an opportunity that fits. Check in a few months after a good conversation, not to ask for anything, just to stay connected. And it doesn’t have to be about music. Some of my favorite conversations with musicians I know go deep into history, politics, books, movies, whatever. Not a word about Broadway or the next show. Those conversations matter. They make you a real person in someone’s mind instead of just a name in the industry. When you call somebody to talk about a book you both love, that’s not networking. But it does more for your career than most networking ever will.

Nobody needs another person who performs interest. They need someone who actually pays attention and shows it occasionally.

Your reputation is what people say about you when you’re not around. Are you ready when you show up? Do you work well under pressure? Do you arrive early? Are you someone people are genuinely glad to be next to? All of that spreads, quietly, steadily, without you saying a word about it. You don’t get to claim your own reputation. Your actions build it and other people carry it. That’s why the work you put in on a regional gig, a low-budget reading, or a sub slot nobody else wanted matters just as much as the work you put in on a big show. Sometimes more. Because those are the situations where people are watching most closely.

Most of the relationships that shaped my career didn’t pay off in a month or even a year. Some took years before they led anywhere tangible. That’s not a flaw in the approach. That’s how real trust works.

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This business runs on reputation and shared experience. You can’t manufacture either one. You build them by being someone people can count on, over and over, across a long stretch of time. The musicians who get hired consistently aren’t the most aggressive about chasing opportunities. They’re the ones who’ve spent years making themselves worth calling. By the time the right opportunity comes up, the decision is easy. The relationship is already there.

Plant the seeds now. The harvest comes later.

This article draws from Chapter 7 of Broadway Bound and Beyond: A Musician's Guide to Building a Theater Career. Available at broadwayboundbook.com and wherever books are sold.

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Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway credits include Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

16 years. That’s how long it took me to get my first Broadway show.

I drove from DC to New York in 1993. Dreams of being a rock star. A drum kit and something that wasn’t really a plan.

Seven years later — my first Broadway tour. Eight years in — my first Off-Broadway show. Sixteen years after I crossed that bridge — Memphis: The Musical. My first Broadway chair.

And I wasn’t even actively chasing it. I was just doing the work, staying in the game, and building toward something I couldn’t fully see yet.

I thought I was behind the whole time.

I wasn’t behind. I was measuring myself against the wrong clock.

Here’s the part that humbles me: I know musicians who have been at this for decades and never gotten that call. Not because they weren’t good enough. But because this business doesn’t move on your timeline — and getting one show doesn’t guarantee the next one. After Memphis closed, I had to start over in ways I didn’t expect. The next chair didn’t just appear. It never does.

There’s a sequence to how Broadway careers get built. And it doesn’t start with a Broadway show.

It starts in places nobody is watching.

A regional theater in a city you’ve never heard of. A bus and truck tour where you’re living out of a suitcase and learning how a professional production actually runs. An Off-Broadway show where the budget is tight and everybody has to figure it out together. Sub gigs where you have maybe one rehearsal — sometimes none — and you better play it right.

That’s the training ground. That’s where the reputation gets built before anybody on Broadway knows your name.

But here’s something else nobody talks about: Broadway is not the music you should be focused on in your formative years.

Get out there and play everything. Jazz gigs. Rock bands. Latin music. Funk. Gospel. Wedding bands. Club dates. Churches. Bars. Theaters in other cities. Stages in other countries. Play in situations where nobody is telling you what to do and you have to figure it out on the spot.

Play music that ISN’T Broadway first.

My podcast guest Javier Diaz spoke to this directly.

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The musicians who show up to a pit truly prepared are the ones who have played all kinds of music in all kinds of styles in all kinds of venues in all kinds of states and countries. That’s what seasoning actually looks like. You can’t fake it and you can’t rush it.

If you’ve only ever played one kind of music, people can tell. If your entire résumé is theater, contractors notice. If you haven’t done the bad gigs — the ones that paid nothing, that went sideways, that taught you how to hold it together when everything around you is falling apart — you will be exposed the moment the pressure is real.

Those bad gigs aren’t obstacles. They’re the education.

And yet most young musicians skip all of it. They graduate from college, move to New York, and spend the first two years confused about why nothing is happening. They’re talented. They’re serious. But they’re knocking on a door that only opens from the other side — and the only way to get there is to go earn it somewhere else first.

Broadway doesn’t recruit. It selects. And it selects people who have already proven they can handle the pressure somewhere else first.

The calls don’t come because you’re good. They come because the right people have seen you be good — under real conditions, more than once, without anyone holding your hand.

That takes time. More time than you think. And the musicians who make it are almost never the ones who were in the biggest hurry.

My podcast guest Noah Hadland gets this. He called it exactly what it is: the long game. If you haven’t heard his episode yet, it’s worth your time.

Listen here:

Once I understood the sequence, I stopped chasing and started positioning. The calls started coming. 26 years later I’m in the pit at the Broadhurst Theatre eight shows a week.

That sequence is in the book.

Broadway Bound and Beyond → broadwayboundbook.com

—Clayton Craddock

P.S. I’m at the Broadhurst right now for Cats: The Jellicle Ball. Eight shows a week. That didn’t happen by accident.

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Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway credits include Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

There’s no application process for Broadway pit work.

No open auditions. No website where you upload your résumé and wait for a call. No one tells you what the path looks like — because there isn’t one. Not an obvious one, anyway.

So how do people actually get these gigs?

Trust. Reputation. The right person thinking of your name at the right moment. That moment comes faster for some people than others — and it’s not always about who plays better.

This roadmap breaks down why.

What’s inside:

• How the Broadway hiring system actually works

• Why talent alone won’t get you in the room

• What contractors and music directors are really looking for

• How to build the reputation that gets you recommended

• The mistakes that keep good musicians stuck

This isn’t theory. This is how the business runs — from someone who’s been inside it for over 26 years.

Download it below:

How To Land A Gig On Broadway

16.6KB ∙ PDF file

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The Broadway Drummer’s Roadmap is a practical guide to how Broadway hiring actually works. You’ll learn how musicians get recommended, what contractors and music directors are really looking for, what it means to be sub-ready, and the common mistakes that stop players from getting called. This is not about talent alone. It’s about trust, preparation, and positioning yourself the right way before you ever step into a theater. Built from real experience on Broadway.

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Broadway Is Not the Finish Line

A lot of musicians think of Broadway as the top achievement. You land the job, play eight shows a week, and picture yourself doing it for decades. It seems like the dream: steady work, respect, and proof that you’ve succeeded.

That’s the version people chase. Broadway becomes the validation, the mountaintop, the proof that you’ve arrived.

But after some time in the business, you realize something important. Broadway isn’t a retirement plan or a final goal. It’s just one part of a career that keeps moving forward, ready or not.

In my book Broadway Bound and Beyond, I talk about how Broadway is a business. Running a theater is expensive, and shows are like tenants. If the money doesn’t work out, the show closes, no matter how good the band is or how strong the reviews are. The numbers decide. Once you understand that, you stop tying your identity to one show and start thinking about building a lasting career.

So the real question isn’t just how to land a Broadway job. It’s how to build a career that keeps going after you get it.

When you finally get that chair, things change. You gain structure, routine, and respect. It feels stable, and in some ways it is. But experienced musicians know the chair doesn’t protect you—it just gives you a spot. If you treat it as protection, you play it safe and hold back. If you use it as a stepping stone, you grow from it.

The ecosystem that helped you get there is the same ecosystem that keeps you relevant once you’re in. Workshops, 29-hour readings, club dates, teaching, recording sessions, side projects. Those aren’t stepping stones you abandon once you get a show. They are the threads that keep you connected to the larger music world.

Look around most pits and you’ll see it in action. The guitarist next to you might be rehearsing a new piece during the day. The music director could be supervising another project. The percussionist may be tracking sessions from a home studio between shows. The people who last in this business stay active. They don’t disappear into the chair.

Many musicians believe that getting a Broadway job solves the problem of job instability. But that’s not necessarily true. Broadway offers steady work, but there’s always some risk. Every show ends at some point. The real test is whether you’ve stayed connected enough that, when your show closes, you’re already moving forward instead of starting from scratch.

Now let’s move from ideas to practical steps.

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I started out with the classic $100 gig. Like many young musicians hoping to play professionally in New York City, I accepted almost every offer when I first arrived. I was eager, curious, and trying to figure things out. Back then, it seemed normal. You played, met people, learned how to fit in, and gained experience.

The problem isn’t that those gigs used to exist. It’s that they’re still around at the same pay in the country’s most expensive city.

If you adjust for inflation, that $100 gig from the late 1990s would be about $300 today. Rent, food, and transportation have all gone up. Everything costs more now, except what many live music gigs pay. That’s worth thinking about.

Even so, I don’t think every low-paying gig is a mistake. Early in my career, I saw some of those jobs as a way to get paid to practice. I gained experience, learned to work with different people, read the room, follow leaders, and deal with situations you never see in a practice room. That’s valuable when you’re just starting out.

The important part is that it’s only true at a certain stage.

If you’re new to New York, eager to work, and trying to join the scene, you should probably play lots of different gigs. Wedding bands, jam sessions, club dates, readings—anything that gets you out of your apartment and into rooms with other musicians. That’s how you learn the city, start relationships, and figure out where you belong.

But this is when your perspective really matters.

In my book Broadway Bound and Beyond, I share something I call the “Rule of Three.” This simple approach has helped me avoid burnout, bad gigs, and extra stress.

Whenever I get a gig offer, I consider three things:

The Money
Does the pay make sense for the time, energy, and costs involved?

The People
Are the people respectful, professional, and easy to work with?

The Music
Is the music fulfilling, challenging, or does it fit with where I want to go?

If at least two of these aren’t solid, I usually say no.

When you’re starting out, it’s tempting to say yes to everything, especially if you want to get established or meet people. Sometimes that’s the right move. But not every opportunity is truly helpful. Some gigs seem good at first but end up draining your time, energy, and momentum.

Early on, the $100 gig often checks the people and music boxes. You’re learning. You’re meeting people. That can be enough for a while. The problem comes when years go by, and nothing changes. Same pay. Same expectations. Same math that no longer works.

If the pay is low, the environment is toxic, and the music doesn’t help you grow, that’s not a stepping stone. It’s a dead end.

At some point, you need to ask if a gig is still helping you or just keeping you stuck. Growing doesn’t mean forgetting your roots. It means knowing when a gig’s role in your life should change.

I’m not complaining. This is just how the business works. There are always more people looking for meaningful music work than there are good-paying gigs, so rates stay low. Passion alone can’t fix that, but being aware of it helps.

So here’s the real question, and I don’t mean this in a negative way: When will the $100 gig finally catch up to reality and become the $300 gig it should be today? And when does a low-paying opportunity stop being a stepping stone and start becoming a sign that it’s time to rethink your direction?

Until then, how do you figure out which opportunities are really moving you forward and which ones are just keeping you busy?

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Clayton Craddock is the drummer for the upcoming Broadway musical Cats: The Jellicle Ball, opening at the Broadhurst Theatre on April 7th. He is also the founder of Broadway Drumming 101 and the author of the forthcoming book Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway and Off-Broadway credits include tick, tick…BOOM!, Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and The Hippest Trip: The Soul Train Musical, along with extensive subbing on shows such as Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the TONY Awards, and has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

Lately, I’ve had a bunch of people asking me how to land a drum chair on a first national tour of a Broadway show. It’s a great question—and it’s not as straightforward as you might think. So I figured it’s time to break it down and share what I’ve learned over the years, both from my own experience and conversations with drummers who’ve been doing it.

These gigs are competitive. They’re high-profile, pay well, and can be a major stepping stone to a Broadway chair or steady work in the theater world. But here’s the thing, there’s usually no job listing on Playbill. You don’t just send in a reel and get the call. These chairs usually go to people who are already in the mix—people who’ve proven themselves, built relationships, and are ready when the opportunity shows up.

In this post, I’d like to share what I know about: how to position yourself, how tour tiers actually work, how contractors make decisions, and how you can become the drummer they call when the seat opens up.

What Is a First National Tour?

A First National Tour is the first large-scale U.S. touring version of a Broadway show. It usually launches within a year or two of the opening in New York and plays major markets across the country: Chicago, L.A., San Francisco, D.C., Boston, Philly—you get the idea.

These aren’t scaled-down productions. They’re high-budget, union-backed, Broadway-quality shows, sometimes with the similar or even the same gear, sets, and orchestrations used in New York.

But not all tours are built the same. Let’s talk about the main types:

The Four Main Types of National Broadway Tours

What Musicians Actually Need to Know

If you’re thinking about touring, understand this upfront: not all “national tours” are the same.

From the outside, they can look identical. From a contractual and financial standpoint, they are very different worlds.

Here’s how the touring landscape actually breaks down.

1. Full Production – Pamphlet B Tours

These are the top-tier, full-production union tours. In practical terms, this is Broadway on the road.

They are covered under the Pamphlet B Touring Theatrical Musicals Agreement of the American Federation of Musicians (AFM), which covers musicians employed in touring theatrical musical productions and sets minimum wages, benefits, and working conditions.

In April 2024, touring musicians ratified a successor Pamphlet B and SET agreement, which runs through February 28, 2027 and includes wage increases, improved health and pension contributions, and expanded protections:

https://internationalmusician.org/new-pamphlet-b-agreement-ratified-by-musicians/

Under Pamphlet B, musicians receive:

• Guaranteed weekly minimum wages

• Per diem

• Employer-provided housing

• Transportation

• Health and welfare contributions

• Pension contributions

• Detailed rules governing rehearsals, travel days, doublers, cartage, and more

These tours feature full orchestration, union crews, and full production values.

Compensation is built around higher fixed weekly scale. According to TouringBroadwayMusicians, Full Production tours “receive higher weekly wages than SET” and “do not receive overages,” meaning the model is steady and predictable rather than box-office dependent.

FAQ:
https://touringbroadwaymusicians.com/faq

These gigs are widely viewed as career-defining. Solid pay, union protections, pension and health contributions, and a more stable structure.

Important note: the contract defines the tour, not the city. A long sit-down in Chicago or Los Angeles does not automatically mean Full Production. It depends on how the show is contracted.

Touring agreements are renegotiated periodically, so musicians should always confirm current terms directly with the AFM or the applicable local.

2. Short Engagement Touring (SET) – Tiered Pamphlet B

SET tours are also union. They fall under the Short Engagement Touring Theatrical Musicals Agreement, included within the broader Pamphlet B framework.

SET tours differ in several key ways:

• Lower base salary than Full Production

• Still fully union

• Per diem, housing, travel, health, and pension included

• Heavier routing, more split weeks, shorter stays

Where SET gets interesting is overages.

TouringBroadwayMusicians explains that musicians on SET tours “receive a lower base salary than full production tours, but share in the profits of the show through overages.”

FAQ:
https://touringbroadwaymusicians.com/faq

Overages are additional payments triggered when weekly grosses exceed certain thresholds. When a show is strong at the box office, overages can significantly increase weekly pay. When it is not, you are working at base scale.

Because of the economic structure, orchestration and scale may differ from Full Production tours. Routing is often more aggressive. But it remains a fully union contract with meaningful protections.

3. Non-Union or Bus-and-Truck Tours

These tours are not covered by AFM contracts.

That means:

• No AFM-guaranteed minimum wages

• No union health contributions

• No union pension contributions

• No union contractual protections governing rehearsal, travel, and working conditions

The AFM has written directly about the impact of non-union touring:

https://internationalmusician.org/non-union-touring-shows-weaken-us-all/

In practice, these tours often involve:

• One-nighters or split weeks

• Heavy travel

• Long bus days

• Quick load-ins and load-outs

• More doubling responsibilities

A drummer might be covering drum set, auxiliary percussion, and playback. Housing may be shared or budget-level. Per diem can be limited or folded into a flat weekly salary.

Many early-career musicians cut their teeth here. It can be a proving ground. You learn discipline quickly.

The key difference is contractual protection. Union tours build structure into the agreement. Non-union tours rely on whatever the producer chooses to provide.

4. Promo, Hybrid, and Short-Run Tours

Some projects do not fit neatly into the national tour model.

These can include:

• Short promotional tours tied to an upcoming Broadway production

• Limited out-of-town engagements

• Developmental runs

• Hybrid nonprofit and commercial models

If they are union, they fall under whichever AFM agreement applies to the producer and venue. That might be Pamphlet B, SET, a local theatrical agreement, or another AFM live-performance contract.

If they are not union, terms are negotiated case by case.

Pay, housing, and per diem can vary widely. There is no single standardized touring scale in these situations.

For musicians, these gigs can be strategic. You might get involved early in a project’s life. You might build relationships with creatives and contractors before a show transfers to Broadway or launches a major tour.

They are not always stable long-term, but they can be smart career moves.

The Reality Behind the Contracts

Contracts explain pay structure. They do not explain lifestyle.

Full Production may offer stability.
SET may offer financial upside through overages.
Non-union may offer opportunity and grind.
Hybrid projects may offer access and positioning.

All of them require stamina.

Before you say yes to a tour, ask:

• What agreement is this under?

• Is there overage participation?

• What is the routing like?

• What are the housing terms?

• How many doublings are required?

Touring can change your life. It can also burn you out.

Know what you’re walking into.

For more, read this: https://touringbroadwaymusicians.com/faq?utm_source=chatgpt.com

I cut my teeth on the bus-and-truck tour of Footloose back in 2000. It wasn’t glamorous, but it taught me how to survive the road and be consistent every night. We were doing six shows in five cities, loading in and out constantly, and dealing with tight quarters and tighter budgets. I learned how to adapt fast, travel light, and still make the music feel good, night after night.

Fast-forward to 2024. I got the chance to sub on the first national tour of Hadestown. That was a different world. The tour ran under a Modified Pamphlet B agreement. It was still a union contract with solid protections, but not quite at the full Set Tour level. These Modified Pamphlet B tours follow a tiered structure, with musicians paid based on how well the show performs at the box office.

And Hadestown was doing really well. REALLY well.

Because it consistently pulled in strong grosses, the tour paid overages. That is extra money added on top of the base salary once the show hit a certain revenue threshold. That’s one of the major benefits of being on a successful union tour: when the show wins, you win. Those overages made a noticeable difference.

If you want to know what that experience was really like—including the moment I realized I’d be sight-reading most of the show in front of 3,000 people—you can read the full story here:

It’s a wild ride, and I learned a lot from it.

Something To Think About: Start with Your Peers.

Before I go further, let’s talk about something that gets overlooked way too often: your peer group.

If you want to land a national tour, Broadway gig, or even a high-level workshop, the truth is: your colleagues are the ones who will open those doors. Not just contractors. Not casting notices. Not a flashy reel. The people on your level, your fellow players, will recommend you, vouch for you, and put your name in the room when you’re not there.

That’s how it’s always worked for me.

I met Kenny Seymour back in 2009 when he was the music director for Memphis The Musical. We’ve been working together ever since. We’ve built trust over years of gigs, rehearsals, and making music together. That relationship is the reason I’ve been called for countless opportunities since. It’s the same thing with Jason Robert Brown and Jamie Eblen. Jamie’s been playing with JRB forever. Jason trusts him. Kenny trusts me. That connection leads to gigs.

Here’s how this works in the real world: you’re on a pickup gig or a regional show, and the music director ends up booking a reading, then a workshop, and then…boom! The show goes to Broadway or out on tour. Who do they call? The drummer they already know can play. That’s your way in.

So if you’re serious about touring, start building trust with the people you’re playing with right now. You never know who’s going to get the next call, and who they’ll call next.

Want to hear a great story about this in action? Listen to my Broadway Drumming 101 episode with Ron Tierno, where he talks about getting his first tour chair and how those relationships paved the way.

Getting the Chair: What Really Matters

Now that you know the types of tours out there and what to expect, let’s talk about how people actually get hired.

Build Real Relationships With Contractors

Contractors are the gatekeepers. They staff Broadway pits, readings, labs, workshops, and tours. They’re trusted by producers to hire the right musicians.

What they look for:

• Musicians who are prepared and professional

• Clear and quick communicators

• People who bring good energy and no drama

• Players who make the MD’s job easier

How do you get their attention? Sub for someone they’ve hired and do an excellent job. Show up early. Be easy to work with. Play well and stay out of the way when it’s time to.

Sub Early While the Show’s Still New

If you want to be in the running for a tour, the best time to sub is during the first few months of the Broadway run. That’s when the creative team is still refining things. If you prove yourself then, you become part of the circle. When the tour launches, they’ll already know you can play the show.

That’s how Q. Robinson got the chair for the Ain’t Too Proud tour. He subbed for me on Broadway, nailed it, and when they were hiring for the road, he was already the obvious choice.

Let People Know You’re Interested

This is simple but important. Don’t assume anyone knows you want the gig. Just say it.

“Hey, I’ve really enjoyed playing this show. If a tour comes up, I’d love to be considered.”

That’s it. You’re not begging. You’re being clear. Quiet professionalism is fine, but silence doesn’t help you get hired.

Be Road-Ready in Every Way

Touring isn’t just about the music. It’s about the gear, the travel, the people, and the business.

Know your equipment. Be ready to adapt to the backline or whatever “or equivalent” gear they may provide. Be the kind of person others want to share a van or green room with. Have your business structure in place—most tours run through payroll companies or want to pay through your corporation. I use Broadway Drumming 101 Inc. and highly recommend you think about setting up your own if you're serious about working at this level.

Final Thoughts

There’s no perfect formula for landing a tour chair. But the best shot you’ve got is by:

• Knowing your peer group

• Building real trust with contractors and MDs

• Subbing early on the Broadway version of the show

• Expressing your interest clearly

• Showing up with the skills, attitude, and gear to deliver every night

This business runs on relationships. One solid connection can open the next ten doors. That’s how Q. Robinson made it happen. That’s how I’ve made it happen. And that’s how you can do it too.

Want to go deeper?

Check out the Broadway Drumming 101 Podcast and listen to the Paul Hannah episode. He wrote a whole book on being on tour as a show drummer. It’s real-world education, from someone who’s been there:

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Clayton Craddock is the drummer for the upcoming Broadway musical Cats: The Jellicle Ball, opening at the Broadhurst Theatre on April 7th. He is also the founder of Broadway Drumming 101 and the author of the forthcoming book Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway and Off-Broadway credits include tick, tick…BOOM!, Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and The Hippest Trip: The Soul Train Musical, along with extensive subbing on shows such as Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the TONY Awards, and has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

I recently spoke with someone who was preparing to move to New York. Instead of asking about auditions or landing a Broadway job, he asked a much simpler—and honestly, more important—question.

“Where do I go to hang out and meet people?”

His question reminded me of my own experience back in 1993.

When I moved to New York City, I didn’t have a detailed plan. I just wanted to be a rock star, or at least make a living as a full-time drummer. I worked a day job and lived in New Jersey for a while. Gas was about a dollar a gallon, and I’d pay what felt like a lot at the time—four dollars—to drive into Manhattan through the Holland Tunnel.

I spent my days at work, then drove into the city, hung out until two in the morning, and repeated it the next day. It wasn’t glamorous—just repetitive and tiring—but it was exactly what I needed, and it was exciting!

I wasn’t thinking, “This will get me to Broadway.” I didn’t have a set career plan. I did it because that’s where the music and people were. I played all kinds of gigs, in different places, with all sorts of musicians. I hung out, said yes often, watched more than I talked, listened, and kept showing up.

That’s how you really build a network.

One Friday night gig at a Ramada Inn introduced me to guitarist Matt Beck. At the time, he was playing Broadway shows but also doing the same gigs I was. He liked my playing and later recommended me for the Footloose tour, then tick, tick…BOOM!, Rent, subbing, Altar Boyz, and eventually, I got my own Broadway chairs through the work I did, and met other musicians on the scene. None of this was planned or happened because I waited at home for the “right” opportunity.

That same approach also led me far beyond theater.

Showing up led me to gigs with Chuck Berry, Ben E. King, The Stylistics, Deniece Williams, Laura Benanti, Ari Hest, and The Rock Orchestra. These were all different worlds and styles, but I used the same approach each time. One hangout led to a call, one gig to another. It wasn’t magic. It was about being present, building trust, and being patient.

Sometimes, “showing up” didn’t even mean performing on stage.

I remember practicing alone in a rehearsal studio one day, playing along to Barry White’s Playing Your Game, Baby. If you know that song, you know how great it feels to play. If you play it well, people notice. And if you play it like Ed Greene did, people really notice.

During a break, another drummer knocked on my door and complimented my feel and groove. That started a conversation, which turned into a connection. Years later, that connection led to gigs. I wasn’t trying to impress anyone or create content. I was just doing the work, not knowing who might be listening.

That’s something people often overlook now. Rehearsal studios aren’t just for practice. They’re places where others can overhear you and notice how you play when you think no one is watching. Musicians also hang out there too! Quiet professionalism in those moments says more than any highlight reel.

The city has changed. The scene has changed. The economics have definitely changed. But the main truth remains the same.

If you want to work in this business, you need to get out into the world. You have to be around people and be part of something real, not just something visible online.

So if you’re moving to NYC, or if you’ve been here for a while and feel stuck, here’s a practical list of places where musicians actually go to hang out, play, and meet other musicians.

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Before I share the list, there’s one important thing I want to clarify.

This list isn’t complete. I’m sure I’ve missed some places. I don’t go out as much as I used to, so there are spots I don’t know, places that opened after my main years of hanging out, and some I just haven’t visited yet. Some of these I’ve played in often, some I know well, and a lot of them are new to me.

What I do know is this: if you’re young, eager, and serious about becoming a full-time musician in New York, you should know about all of these places.

This is your training ground. This is where you put in your hours. This is where you go from being a rookie to someone people recognize, from the minor leagues to the majors. No single place will hand you a career, but these are the rooms where you learn how to work with people in real situations.

You don’t become a Broadway musician by waiting for Broadway. You get there by playing, hanging out, listening, and showing up again and again in places like these.

Manhattan

• Smalls

• Mezzrow

• Village Vanguard

• Blue Note

• Birdland Jazz Club

• Dizzy’s Club (Jazz at Lincoln Center)

• The Bitter End

• Arthur’s Tavern

• Terra Blues

• The Red Lion

• Groove

• Haswell Green’s

• The Rum House

• The Cutting Room

• The Bowery Electric

• The Flatiron Room NoMad

• Madame George

• Prohibition

• Shrine

• Harlem Nights

• No Work Allowed

Brooklyn

• Brooklyn Steel

• Brooklyn Paramount

• Music Hall of Williamsburg

• National Sawdust

• Elsewhere

• Public Records

• Warsaw

• Brooklyn Bowl

• LunÀtico

• Barbès

• Brooklyn Music Kitchen

• St. Mazie Bar & Supper Club

• The Owl Music Parlor

• Baby’s All Right

• Ornithology Jazz Club

• The Red Pavilion

• ShapeShifter Lab

• Pete’s Candy Store

• BrownstoneJAZZ

Queens

• Queens

  • Terraza 7

  • The LetLove Inn

  • TV Eye

  • D’Antigua Restaurant & Bar

  • Favela Grill Steakhouse

  • Bloom Botanical Bistro

  • Jackson Room

None of these places can promise you a spot on Broadway, but that isn’t the main idea here. What truly matters is getting noticed, meeting people, and sticking around long enough to build trust and your network. That’s how it worked for me when I first came to New York City in 1993, and it still works today. The venues, people, and cost of living may have changed, but the approach and long-term results are the same.

I want to mention one more thing.

Posting on Instagram is helpful and can get you noticed. But meeting people in person is much more valuable. I’ve seen musicians share perfect, polished videos online, but then have a hard time during a real performance. It’s not because they aren’t talented. It’s just that who they are online isn’t always the same as who they are when playing with others in person.

This business still depends on trust, listening, how you respond and communicate, and how you deal with problems as they come up. You can’t learn that from a highlight reel. You pick it up by spending time with others, hanging out, playing together, and putting in the work over time.

Social media is useful, but the real progress happens when you show up in person.

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If you think this list needs changes or additions, leave a comment. Let’s keep it up to date and helpful for anyone trying to figure out where to go next.

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Clayton Craddock is the drummer for the upcoming Broadway musical Cats: The Jellicle Ball, opening at the Broadhurst Theatre on April 7th. He is also the founder of Broadway Drumming 101 and the author of the forthcoming book Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway and Off-Broadway credits include tick, tick…BOOM!, Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and The Hippest Trip: The Soul Train Musical, along with extensive subbing on shows such as Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the TONY Awards, and has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

I’m about halfway through the audiobook Truly by Lionel Richie, and I highly recommend it, whether you read it or listen to it. One part really stood out to me, not because it was dramatic, but because it captured something I’ve seen in the music business for years.

Lionel talks about the late 1970s, a period when the Commodores were at their peak. Hit records. Sold-out shows. At the same time, his solo career was taking off, and he was writing massive songs for other artists, including Kenny Rogers. By any external measure, this was success on every level. Yet for years during that time and in the early 80s, Lionel didn’t win a Grammy. He couldn’t understand why. From his perspective, the work was there, the impact was undeniable, and the results were obvious.

At one point, Quincy Jones pulled him aside and told him to relax, saying his time would come. Then Quincy said something Lionel never forgot, and it stuck with me too:

It’s not who you know in this business. It’s who knows you.

This idea is true throughout the music industry, but it matters even more in New York City, especially if you want to break into Broadway. I talk about this often on the Broadway Drumming 101 podcast, in posts on the site, and in my book Broadway Bound and Beyond. The book explains how theater careers actually get built, not just how people think they do.

https://broadwayboundbook.com

If you move to New York hoping to play on Broadway, you’re not alone. You’ll be one of thousands of drummers. Many are talented and motivated, all competing for the same few spots. The city is full of great players. But how do you stand out in a room where everyone can play?

This is where people may want to rethink their approach when reaching out to chairholders. Musicians may want to focus on how many people they know, but that doesn’t matter as much as they think it does. What really matters is whether those people know you, trust you, and feel comfortable connecting their name to yours.

Here’s why.

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Once a show opens and people know who’s playing each chair, those musicians are constantly contacted. Emails, DMs, and texts come in from all over the city, the tri-state area, and even from around the world. Everyone wants a chance to sub and be next in line. Most of these messages come from skilled drummers who look great on paper and in Instagram clips. So what makes someone say yes?

Trust.

Trust means you’ll play the music correctly and not cut corners. It means you’ll sound right in that room, in that style, with that conductor. It means you’ll show up prepared, stay calm under pressure, communicate clearly, and avoid causing stress. Broadway pits don’t need heroes—they need professionals. That kind of trust rarely comes from a cold introduction. It builds over time through shared experiences. People want to know how you handle difficult charts, what you do when things go wrong, and if you can stay focused on the conductor.

Yes, you can introduce yourself and say, “Hi, I just moved here, and I’m an incredible drummer.” Confidence is good and expected. But confidence alone won’t get you the call to sub on a show. Your reputation will.

Your reputation doesn’t just come from your social media. It usually comes from playing music with others in real-life situations. Playing all kinds of gigs in all kinds of settings with different guitarists, pianists, bassists, music directors, string players, woodwind and horn players, and singers. People remember how you listen, how you support the group, and if you make the music feel better when you play.

That’s why it’s so important to get out and play outside of musical theater. Jazz clubs, singer-songwriter gigs, off-Broadway shows, club dates, readings, showcases, and even the small, odd, or low-paying gigs early on all count. These are the places where people get to know you—not just your playing, but your attitude and professionalism.

Most Broadway musicians also work outside the pit. You’ll run into them at places like Birdland, on recording sessions, concerts, club dates, or corporate gigs. You might not meet the Broadway drummer directly, but you may play with someone who knows them well. That’s often how real opportunities begin.

When a sub is needed, and your name comes up, it usually sounds like this:

“I know him. I played with him on a club date.”
“We did an off-Broadway project together.”
“He was prepared, solid, and easy to work with.”

That sentence is the key. When Lionel Richie said, “It’s not who you know, it’s who knows you,” he wasn’t talking about fame or status. He meant trust that’s earned over time, a reputation built by being consistent, and relationships formed through real work.

If you want to play on Broadway, take it seriously. Learn lots of styles of music, practice a lot, and be prepared. But don’t just stay behind your practice pad waiting for the perfect chance.

Get out and play.
Meet people.
Be reliable.
Have good people skills.
Be a good hang.

Be the kind of person other musicians feel good about recommending when your name comes up. That’s what will get you more gigs over time.

If you have gigs coming up, share them in the comments! I’d love to know where people are playing, meet some of you, and hear some great music too!

Thanks for reading!

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Clayton Craddock is the drummer for the upcoming Broadway musical Cats: The Jellicle Ball, opening at the Broadhurst Theatre on April 7th. He is also the founder of Broadway Drumming 101 and the author of the forthcoming book Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway and Off-Broadway credits include tick, tick…BOOM!, Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and The Hippest Trip: The Soul Train Musical, along with extensive subbing on shows such as Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the TONY Awards, and has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

Every once in a while I get an email from a Broadway Drumming 101 subscriber that reminds me why I started this whole thing in the first place. Someone reaches out with a real question, trying to figure out how to make a life in this business, and it brings me right back to when I was in their shoes.

I thought I’d share one of those notes here along with my reply, because I know there are a lot of musicians walking the same path and asking the same things.

Dear Clayton,

I’ve been listening to the Broadway Drumming 101 podcast for a long time. Your interviews have been a huge part of my education outside the classroom. I also want to say that I heard that you’re doing Cats: The Jellicle Ball next year and wanted to congratulate you on getting that gig. I’m really looking forward to seeing it next summer and to reading your book when it comes out.

Here’s my situation. I’m a jazz performance major finishing my last year of college. I played drums in my high school musical productions and I’ve played a handful of shows in college too. I’ve fallen in love with theater work and want to build a career in New York. I know that’s a big jump, going straight from college to the most competitive scene in the country, but after listening to your podcast and hearing how so many drummers built their careers, I feel like I have a clearer picture of what it takes.

I want to move to New York right after I graduate next spring. I’d love to know where to look for work on Broadway, how to start meeting the right people, and what I should be thinking about before making the move. I know subbing is a long process and that nothing happens overnight. I just want to enter the city with the right mindset and realistic expectations. If there is anything you wish someone had told you before you moved to New York, I’d appreciate hearing it.

Thanks again for everything you share. You’ve been one of the voices guiding me as I get ready to take this leap.

My reply:

Thanks for writing and thanks for listening. Hearing that the podcast helped you while you were still in school means a lot. And I appreciate the congrats on Cats. I’m looking forward to that run.

Since you’re finishing a jazz performance degree and already have experience playing high school and college musicals, you’re in a better place than you think. You’ve already spent time in a pit, learned how to follow a conductor, and you understand the basics of storytelling through music. That helps. But here is the most important thing you need to hear.

When you move to New York, don’t show up with the idea that you’re only there to play theater. Move with the intention of playing everything. Big bands, weddings, church gigs, jam sessions, be-bop, funk bands, rock bands, singer songwriter gigs, off off Broadway, regional theater, all of it. The variety is what makes you a better musician. The people who survive in New York are the ones who can adapt. Theater work demands that. You need seasoning and that comes from doing many different types of gigs with different kinds of musicians.

Unless you’re independently wealthy, understand that moving to the most expensive city in America is no joke. Think about having two or three roommates. Keep your overhead low because things in this city are really expensive. You’re probably not going to move here and live comfortably on day one.

The truth is, you’re moving here to grow. Your priority is to get to the city, get on the scene, and start building relationships. Go out and hear music. Sit in when it’s appropriate. Meet musicians. Learn how different drummers approach different styles. New York is a full time classroom. The more you absorb, the stronger you become.

As for theater specifically, understand this. Yes, you want to play Broadway someday. But that isn’t usually step one. Look to off off Broadway first. These are the smaller, low budget productions in places like the East Village, Brooklyn, and small midtown houses. They often pay modestly but they give you real experience, real contacts, and real opportunities to show reliability. Many working Broadway musicians came through those rooms. There is also regional theater in places like Paper Mill Playhouse in New Jersey, Goodspeed in Connecticut, Hartford Stage, and other houses that have a direct pipeline to Broadway. Get to know contractors there. There is real overlap.

Another thing… go see shows. Look into the Instagram feed @broadwaymusicians and see who is playing on what show. Reach out to them and ask if you can go watch what they do. Sit in the pits of drummers all across the city and simply watch the musicians who are already doing the job you eventually want to do. Try not to go with the intent of asking for a job as a sub or asking for anything other than the opportunity to observe and connect. Go in to watch. Learn their setups, how they follow a conductor, how they handle transitions. Shake hands. Let people see your face. As good as social media is, face to face meetings are what make people remember you. When I recommend subs for gigs I can’t do, I usually think of the people I’ve spoken to recently or seen in person. Out of sight often means out of mind. Show up.

Since you mentioned wanting to sub someday, here’s something important. When you’re getting to know drummers, don’t ask them for a copy of the drum book. Even if your intentions are good, it puts them in a tough spot. The drum book for a show isn’t theirs to hand out. It’s copyrighted material owned by the production. Subs only get copies because they are officially hired by the show, and they need that material to do paid work at a professional level. Someone who isn’t a sub doesn’t have a reason to have the book, and asking for it can make you look inexperienced about how this business works. If a drummer wants to keep you in mind, the last thing you want to do is accidentally signal that you expect access to protected material. Show your interest by showing up, listening, learning, and building trust. That’s what gets people recommended.

And here is the part people skip. Let’s say you get an off Broadway show and it closes. What then. You need other ways to make money. That’s why you build a network across styles and across scenes. The drummers and musicians you know are the ones who will call you when something opens up. They are your safety net.

Move to New York with an open mind, a strong work ethic, and a willingness to play everything. That’s how you grow. That’s how you build a career. And that is how you position yourself for theater work that lasts.

You’re doing the right thing by thinking ahead. Keep preparing, finish school strong, and when you get here, come ready to keep learning. You may soon be done with college, but the real-world training starts here in New York City.

Clayton

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Clayton Craddock is the drummer for the upcoming Broadway musical Cats: The Jellicle Ball, opening at the Broadhurst Theatre on April 7th. He is also the founder of Broadway Drumming 101 and the author of the forthcoming book Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway and Off-Broadway credits include tick, tick…BOOM!, Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and The Hippest Trip: The Soul Train Musical, along with extensive subbing on shows such as Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the TONY Awards, and has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

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

Leave a comment

Clayton Craddock is the drummer for the upcoming Broadway musical Cats: The Jellicle Ball, opening at the Broadhurst Theatre on April 7th. He is also the founder of Broadway Drumming 101 and the author of the forthcoming book Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway and Off-Broadway credits include tick, tick…BOOM!, Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and The Hippest Trip: The Soul Train Musical, along with extensive subbing on shows such as Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the TONY Awards, and has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

A few weeks ago, I saw a video of someone in the film industry talking about how much they loved their work. They said they had a “get-to” job, not a “got-to” job. They wake up excited to do what they do instead of dragging themselves through the day just to pay the bills.

That line stuck with me and it made me think about my own path.

When I started subbing on Broadway, I knew it was something special, but I didn’t fully appreciate it at first. I was in survival mode. Learn the book. Nail the parts. Prove I could handle the pressure. When I landed my first full-time chair on Memphis The Musical in 2009, it finally hit me. I get to do this for a living.

That was a dream moment, but getting there took years.

Very few of us shows up in New York and gets handed a Broadway show. I spent years grinding. Subbing, hustling, and staying ready. Before Memphis, I played off-Broadway shows like Tick, Tick… Boom! and Altar Boyz. Great gigs, but not guaranteed and definitely not steady.

And even when you get the big one, nothing lasts forever.

Memphis ran for almost three years. That is long by Broadway standards. But when it closed, that steady paycheck disappeared overnight. You go from packed houses every night to asking yourself what comes next.

That is why I tell musicians to think long-term.

A Broadway show is not a nine-to-five. Even when you have one, you still need to network, study, prepare, and position yourself for the next opportunity. If you’re lucky, you will get another show. If you’re really lucky, you will get a few.

I’ve had three Broadway chairs so far with another one coming in spring 2026. This business has its ups and downs, but I wouldn’t trade it. This is a get-to job.

If this is what you want, stay at it. Play everything you can. Meet musicians. Go see shows. Learn new styles. Build real relationships. It takes time. Usually years. But when it happens, it is worth every struggle.

That is why I created Broadway Drumming 101. To share the real story of what it takes to play on Broadway.

I’ll be diving deeper into all of this in my upcoming book, Broadway Bound and Beyond, publishing in mid-December—right before the holidays. If you want to get on the list for updates, head to BroadwayBoundBook.com.

Because one day, if you stay ready and keep pushing, you might just find yourself sitting in a Broadway pit, looking around, thinking:

“Damn, I get to do this for a living.”

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Most drummers who end up holding a Broadway chair start as subs. It makes sense. Subbing is where you learn the pace, the pressure, the discipline, and the expectations of this business long before you’re the one playing the book every night.

That’s exactly how I started. My first shot wasn’t a big Broadway debut. It was an off-Broadway run of tick, tick... BOOM!. From there I subbed at Rent, then picked up more and more shows over the years. I earned trust one gig at a time. It took a long stretch of steady subbing before I ever had my own chair, and those years were the real training ground. They shaped how I play, how I prepare, and how I carry myself in the pit.

Most musicians never get a roadmap for that phase. They walk in blind, hope their playing is enough, and get blindsided by things that have nothing to do with chops. That’s why I wrote The Broadway Sub Playbook. I put everything I wish someone had told me at the beginning into one short, direct guide.

The Broadway Sub Playbook
Download for $7.99
https://signaturebrandworks-shop.fourthwall.com/products/the-broadway-sub-playbook

What Makes Playing Drums on Broadway So Unique

Broadway drumming is different from any other kind of work. You’re supporting a story, pacing, choreography, lighting, transitions, and the conductor. You’re not just playing grooves ans songs—you’re holding an entire production together.

What matters most:
• Musical storytelling
• Following the conductor
• The ability to play with a click track
• Staying calm under pressure
• Delivering the same quality every night

If you can do that, you become valuable. If you can’t, you get replaced.
The Playbook breaks these expectations down in a clear, practical way.

What You Need Before You Ever Enter the Pit

Being “good” is the starting point. Broadway expects a lot more.

Key things you need to have as a sub:
• Strong reading
• Eye contact with the conductor
• People skills
• Quick learning
• Comfort on someone else’s setup
• Clear markings and organized notes

The Playbook includes a four-week training plan that helps you strengthen these skills fast, even with a tight schedule.

Why Most Subs Don’t Get Called Back

Most subs lose opportunities for reasons that have nothing to do with playing.

Common problems:
• Not being prepared
• Not knowing your place and role in the pit
• Missing cues
• Not playing with dynamics
• Forgetting that you have to lock in with the orchestra
• Letting nerves take over

All of this is avoidable. The Playbook walks through each issue with solutions built on real Broadway experience.

How Broadway Musicians Actually Get Hired

Broadway runs on trust. People hire the drummers they know will show up prepared, consistent, and drama-free.

How subs get on the list:
• Another drummer recommends you
• A music director hears good things
• Your reputation grows on gigs in town and from playing off-Broadway shows
• You prepare quickly and deliver
• You stay consistent and are a good person to be around

The Playbook explains how to build that kind of trust before your first show.

Your First Show Sets Your Reputation

Your first night can open doors or close them. Broadway remembers who delivers and who doesn’t.

What to focus on:
• Stay locked in
• Watch the conductor
• Be prepared for transitions
• Match the show’s intensity
• Trust your preparation and be OVER prepared

The Playbook walks through your first night step by step so you know exactly what to expect.

The Resource Broadway Subs Have Been Missing

When I started, nobody explained any of this. I had to figure it out show by show. How to prepare. How to navigate the pit. How to earn trust. How to support the story without overplaying. How to stay consistent under pressure.

So I wrote the guide I wish I had.

The Broadway Sub Playbook
A clear, direct, four-week path to becoming a trusted Broadway sub.

Download for $7.99
https://signaturebrandworks-shop.fourthwall.com/products/the-broadway-sub-playbook

Inside you’ll find:
• A complete four-week preparation plan
• Pit etiquette every musician is expected to know
• A method for learning a book quickly
• Ways to avoid rookie mistakes
• A realistic picture of Broadway work
• A mindset that gets you invited back

If you’re serious about playing Broadway shows, this will move you forward.

Ready to Take the Next Step?

Broadway rewards drummers who prepare with intention. If you want to build the habits that open doors, start here.

Download The Broadway Sub Playbook
$7.99
https://signaturebrandworks-shop.fourthwall.com/products/the-broadway-sub-playbook

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Clayton Craddock is the drummer for the upcoming Broadway revival of Cats: The Jellicle Ball, opening at the Broadhurst Theatre on April 7th. He is also the founder of Broadway Drumming 101 and the author of the forthcoming book Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career.

His Broadway and Off-Broadway credits include tick, tick…BOOM!, Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, and The Hippest Trip: The Soul Train Musical, along with extensive subbing on shows such as Rent, Motown, Evita, Avenue Q, and the Hadestown tour.

Clayton is currently on tour with The Rock Orchestra and has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the TONY Awards, and has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

www.claytoncraddock.com

I’m in the final stretch of finishing my book Broadway Bound and Beyond, which will be out this December. But while that’s coming together, I wanted to give you something you can dig into right now.

I just released a new eBook called The Broadway Sub Playbook. It’s $7.99, and it’s built from the lessons I’ve learned about what really matters when you’re trying to break in—and stay—in this business. Most subs never get asked back. It’s not about chops alone. It’s about preparation, trust, and how you handle that all-important first show.

This guide is short, clear, and straight to the point. It covers the things no one tells you but everyone expects you to know—the small details that make a big impression. Think of it as the system I wish I had when I first started subbing on Broadway.

I’m proud of this one because I know it will save drummers from the missteps I made early on. If you’re serious about being a successful player on Broadway, this playbook is a real tool you can use.

Grab your copy here:
👉 https://signaturebrandworks.com/products/the-broadway-sub-playbook

And while you’re at it, check out the Broadway Drumming 101 merch—shirts, hoodies, mugs, and more. Every purchase helps keep this community alive and growing.

Get your merch HERE: https://signaturebrandworks.com

Clayton Craddock is the founder of Broadway Drumming 101 and the author of the forthcoming book Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career. His Broadway and Off-Broadway credits include tick, tick…BOOM!, Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical, along with extensive subbing on shows like Rent, Motown, Evita, Avenue Q, and the Hadestown tour. He has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the TONY Awards, and has performed with artists from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis. www.claytoncraddock.com

A few days ago, the New York Times ran a piece about the state of Broadway musicals. I’ve been talking it over with colleagues, and while there’s truth in some of what they reported, there are also things that were left out—or perhaps intentionally omitted—that paint a more complicated picture.

The timing of this article is interesting. Right now, the Broadway League is in negotiations with Actors’ Equity and Local 802. That alone made people question whether the piece was designed to influence public opinion, or even union members themselves.

I also came across a post from Tim Hughes on Facebook that lays out some important context the Times didn’t bother to include. He points out revivals that have recouped since the pandemic, new musicals that are still running strong, and tours that have recouped as well. What the Times framed as a dying business looks very different when you bring these details into the conversation.

One particular red flag for me was the Andrew Lloyd Webber quote. According to the article, he’s “worried” and doesn’t see how things can sustain. Yet I know for a fact that Cats: The Jellicle Ball is set to open at the Broadhurst in the spring of 2026. That makes me skeptical about the way his comments were framed.

Here’s the Tim Hughes post in full. Take a look and let me know what you think:

“Today the Actor’s Equity Union is holding an emergency meeting to discuss the difficulties it has been facing in negotiating the Broadway Production Contract with the Broadway League. It is highly suspect that this article, with a misleading title and very selectively chosen facts, has been published the same day. What this article fails to mention is that since the pandemic, the following Revivals have recouped or came very close to breaking even by closing performance: “Company”, “The Music Man”, “Parade”, “Sweeney Todd”, “Merrily We Roll Along”, “Into the Woods”, “Gutenberg”, and “Funny Girl”.

Also, isn’t it possible that fewer new musicals are opening this season because theaters are currently occupied with new musicals showing enough promise that the producers are keeping them open? The article mentioned 3, 2 likely to recoup, and a more expensive “Death Becomes Her” (that still could), but failed to mention “Maybe Happy Ending”, “Operation Mincemeat”, “Buena Vista Social Club”, “The Great Gatsby”, and “Hell’s Kitchen”. Plus, the National Tours of “Mrs. Doubtfire” and “Beautiful Noise” that have also recouped in a post pandemic environment.

They quote a “worried” Andrew Lloyd Weber who “doesn’t see how it can sustain” and yet he will likely grant permission for two of his shows to return to Broadway: the upcoming “Cats: The Jellicle Ball” and the possibility of Jamie Lloyd’s “Evita”. Musicals have always been a risky investment! What is concerning here is the incomplete picture of the state of the “Broadway Musical” described in this article not coming from concern for the health of the theatrical ecosystem, but coming from powerful members of the Broadway League hoping to influence public narrative, or worse, insight fear in Actor’s Equity members.”

Clearly, there’s more to the story than what the Times laid out. And if you scroll through the discussions happening on Tim’s Facebook page—since I’m sure most of you aren’t “friends” with him, so you can’t see firsthand—you’ll find even deeper debate. People are weighing in on whether shows like Hell’s Kitchen, The Great Gatsby, and Death Becomes Her can realistically recoup, whether rising costs are the main culprit, and how much producer choices and storytelling impact the financial success of new musicals. Some argue the Times was right to highlight financial risks, while other people believe the article glossed over thriving productions and used selective framing at a moment that conveniently coincides with contract negotiations.

Are Broadway’s challenges a sign of deeper crisis, or was The NY Times intentionally negligent in omitting crucial details to further a narrative?

I’d love to hear your thoughts.

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READ: The Broadway Musical Is in Trouble:

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Clayton Craddock is the founder of Broadway Drumming 101 and the author of the forthcoming book Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career. His Broadway and Off-Broadway credits include tick, tick…BOOM!, Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical, along with extensive subbing on shows like Rent, Motown, Evita, Avenue Q, and the Hadestown tour. He has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the TONY Awards, and has performed with artists from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

Broadway isn’t booming the way it might look from the outside. Weekly grosses can flash big numbers, but that doesn’t tell the full story. At the end of the day, it comes down to profit—and like any business, if the money coming in doesn’t exceed the money going out, the show doesn’t last.

The New York Times just ran a piece that lays it out plain: none of the 18 musicals that opened last season have turned a profit. Big-budget revivals have crashed, brand-new shows with $20 million price tags have vanished in months, and the economics are getting uglier by the year.

Meanwhile, the long-running juggernauts like Wicked, Hamilton, and The Lion King are still drawing crowds and money, but new work—the lifeblood of Broadway—is suffering. Producers, musicians, actors, designers, and stagehands put in years of work only to see projects collapse under the weight of impossible costs and thin margins.

This is the reality of the business we’re in. Broadway is not just about art and applause, it’s about risk, debt, and the harsh math of recouping investments.

Take a moment to read the full article in the Times. It’ll give you a clear sense of where the industry really stands, and why so many of us worry about what the future holds for new musicals.

READ IT HERE: The Broadway Musical Is in Trouble

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Clayton Craddock is the founder of Broadway Drumming 101 and the author of the forthcoming book Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career. His Broadway and Off-Broadway credits include tick, tick…BOOM!, Memphis, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical, along with extensive subbing on shows like Rent, Motown, Evita, Avenue Q, and the Hadestown tour. He has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the TONY Awards, and has performed with artists from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.

If you're looking to break into Broadway, one of the smartest strategies isn't about focusing on your performance skills, sight-reading ability, or even the quality of your email when asking to sit in the pit. It also doesn't hinge on how well you network or your punctuality. Those are the basics. They're expected. They get your foot in the door, but they don't decide whether you get the call when a chairholder on a Broadway musical suddenly can't make the show.

There is one other issue that many haven't even considered, and it's something people rarely mention. It isn't glamorous, and it isn't even musical, but it can shape your chances more than anything else. It's where you live.

Musicians arrive in New York believing that chops and hustle are all it takes. They think that by practicing enough and meeting the right people, opportunities will naturally appear. But geography is part of the hustle, too. If you're two hours away from the theater district when someone needs a player in a Broadway pit in thirty minutes, you're not even in the running.

Here's what you need to know.

New York is expensive. That's the reality. But part of the price of admission is being close enough to Midtown to make it count. If you're living in Astoria, Williamsburg, or Brooklyn Heights, you can hop on a train and be in Manhattan in under thirty minutes. The same applies to DUMBO, Downtown Brooklyn, Greenpoint, Fort Greene, or even Park Slope, if you know the train lines and timing.

These neighborhoods aren't cheap, but they put you close enough that when the phone rings, you can say yes without hesitation. Harlem and Washington Heights work too, and I used to live in Inwood, where I could still be at the theater in twenty minutes when the trains ran on time. The point is that proximity matters.

Contractors and chairholders care about one thing above all else: reliability. If a pit musician can't make it because they're sick, stuck in traffic, or caught in transit, the person who gets the call is the one who can actually get to the theater on time. Living in lower Manhattan, Astoria, or Brooklyn neighborhoods just over the bridges gives you a huge advantage. Williamsburg, Clinton Hill, Fort Greene, and even Bed-Stuy or Brownsville are filled with musicians for that very reason.

If you have a car, you can be in Midtown quickly, without worrying about whether you'll need to drive to a train station, hope the LIRR or Metro-North schedule lines up, or gamble on a delayed New Jersey Transit train. While someone commuting from Morristown, NJ, Stamford, CT, or Plainview on Long Island is still trying to make their connection, you're already walking into the pit ready to play.

Yes, there are exceptions. I know a few veterans who live out in Connecticut or New Jersey and still get calls. Some of them have even been guests on my podcast. They know their limitations, and they're not the ones running around town covering multiple shows in a week. They don't have to. They've built reputations and careers that keep them in the loop. But if you're starting out, you don't have that cushion. You need to be close enough to swoop in at the last minute and keep the show on track.

That's exactly what happened to me in the summer of 2024.

I had just finished subbing on the Hadestown national tour, covering for the drummer who had injured himself. I was back in New York working on a workshop for The Hippest Trip: The Soul Train Musical. A few days earlier, one of my close friends had been in a terrible car accident. He almost lost his life, so when I was driving home, I saw him and picked him up to chat. We were sitting in my car parked on the side of the road near the Javitz Center on 34th in Midtown. My full attention was on him, and I wasn't thinking about anything else. My phone started lighting up with calls and texts, but I ignored them because my concentration was on him, not anyone trying to reach me.

After a series of messages buzzing through in a matter of minutes, I finally picked up. On the other end was the music coordinator for Hadestown, and his first words were, "How close are you to the Walter Kerr Theatre, and how soon can you get here?" Mind you, this was 7:10 PM. The show was supposed to start at 7 PM, but due to the scramble, they had already delayed the curtain. By 7:12 PM, I was on my way, and by around 7:20, I was pulling into the lot right next to the theater.

There had been a mix-up with the sub who was supposed to play that night, and the Broadway show had already started without a drummer. The in-house contractor had gone through the list of subs who had played the show before, but nobody was in town. That's when he reached out to music coordinator David Lai. David had hired me to sub on the tour, so I can only assume I was the first person he thought of. I had just gotten off the road, and I was in the city.

I had never played Hadestown on Broadway before. I had no idea what was waiting for me in that booth. But I had my sticks in the car, I had my iPad loaded with the tour music, and I was only minutes away. That was enough. I rushed inside, and the stage manager met me at the door. He hustled me through the theater as the show was already in progress. I could hear the music thumping from the stage above as we climbed the stairs toward the drum booth.

The band was in the middle of "Livin' It Up on Top." Near the end of the number, there's a short break where Orpheus stomps his feet four times to cue the band to come back in and finish the song. That was the exact moment I got settled behind the kit. I came in right with the band on that downbeat. The dancers and musicians all turned their heads because suddenly there were drums in the mix. Nobody expected it, and the whole theater lit up with the kind of energy only live drums can bring.

By the time the curtain fell on Act One, I climbed down from the booth, and the cast was cheering because the show had been saved. It was overwhelming. Meanwhile, I was panicking for a different reason. I hadn't expected to be thrown into the fire like that, and I needed to find a restroom before I passed out. The whole thing was nerve-racking, hilarious in hindsight, and unforgettable.

Being in that booth on Broadway was its own challenge. Ben Perowsky's setup on Broadway wasn't the same as what I had played on the tour. Things were in different places, it was pitch dark, and the sound in my Aviom was unlike anything I had heard on the road. Nothing felt familiar. But that is part of what it means to sub. You get thrown into situations you can't prepare for, and you either find a way through or you don't. That night, I did.

Stories like this are why in-house contractors care so much about where subs live. When I was playing Ain't Too Proud, the contractor asked me for a list of my subs. Not just their names and numbers, but also their proximity to the theater in miles. That proximity was used to rank them. If something happened to me and I couldn't make it, the order of the calls depended on who could physically get there the fastest. You can be the greatest player in the world, but if you're two hours away, your chances shrink.

So if you want to make Broadway part of your life, think carefully about where you live. You don't move to New York to play country music. That's Nashville. People come here for jazz, theater, and Broadway. But if you're stuck spending hours every day just trying to get in and out of the city, you're setting yourself up to miss the very opportunities you came here for. You want to be close to the action because the closer you are to the action, the more likely you are to get the call.

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This is just one of the many lessons I share in Broadway Bound and Beyond: A Musician's Guide to Building a Theater Career. The book goes deeper into the mindset, the skills, and the strategies that matter if you want to turn your talent into a sustainable Broadway career.

And if you want a head start right now, I created a free resource called 20 Questions Every Musician Should Ask Before Saying Yes to Any Gig.

It's a checklist I wish I had when I was starting out, because it forces you to think about the things that can make or break a job — everything from pay and rehearsal schedules to contracts, gear, and expectations.

You can download it for free by signing up at www.broadwayboundbook.com. Here's the direct link: broadwayboundbook.com/book-launch-checklist.

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Your career isn't just about playing well. It's about understanding the business, making wise choices, and being ready when the moment comes. Where you live, how you prepare, and the questions you ask before you say yes all matter. The more you understand that, the more you set yourself up not just to break into Broadway, but to thrive once you get there.

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Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.

Clayton’s Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, The Hippest Trip: The Soul Train Musical, and The Gospel at Colonus (featuring Kim Burrell). As a skilled sub, he has contributed his talents to notable productions, including Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, and the national tour of Hadestown, among many others. He has also appeared on major shows including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards. He has performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.

Clayton is the author of the forthcoming book Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career, the only guide you’ll need to succeed in the competitive world of musical theater.

Sign up to be the first to know when the book drops: www.BroadwayBoundBook.com

He proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.

Learn more about Clayton Craddock at www.claytoncraddock.com

One of the most common questions I hear from musicians who want to break into Broadway pits is, "How do I get on a sub list?" The next question usually comes right after: "Once I sub, how do I make sure I get called back?"

I know the struggle. When I was first introduced to Broadway, I was on a bus and truck tour of Footloose back in 2000. Before I hit the road, one of the first people I called was Gary Seligson, who was playing Aida at the time. I went to watch him play, and I was blown away. Seeing him in that pit opened my eyes to the level of professionalism and consistency it took to succeed in that world.

After Footloose, I was fortunate to land the off-Broadway show tick, tick… BOOM!. That gig introduced me to Jeff Potter, the drummer for Rent, and it showed me what it really meant to navigate the world of subbing. I started asking questions, reaching out to musicians I admired, and showing up wherever they were playing around the city.

I remember hearing Rich Mercurio live for the first time at a club in town. The way he locked in with the band made me stop and think, "This is what I need to learn if I want to make it here." I connected with him later, and he was generous with his time and advice. Those conversations stuck with me.

Not long after, I had the chance to sub on Little Shop of Horrors. Walking into that pit for the first time felt like stepping into another world. Playing on stage in Rent had been loud, raw, and right in the middle of the action. The pit was the opposite—tucked away, but just as demanding. The intensity came from precision. Every note mattered, every cue from the conductor had to be caught, and the balance between players required complete trust. I focused on the dynamics, the timing, and the subtle interactions between the musicians around me, all while locking in with the musical director.

That experience showed me a new side of Broadway. Each gig built on the last, and every connection added another piece to the puzzle. Little by little, I began to see how this world really worked.

My girlfriend has a saying: if you want to meet musicians, find them in their natural habitat. A Broadway pit is not the natural habitat for most players. You are far more likely to meet them in clubs, at concerts, or at jam sessions. That is where real connections are built.

Here are some practical ways to connect with Broadway musicians:

• Go where they play. Pit musicians don't just live in Broadway theaters. You will find them playing in jazz clubs, rock clubs, and jam sessions, but also in cabaret venues like 54 Below, Joe's Pub, or The Green Room 42. Many freelance with orchestras at Lincoln Center or Carnegie Hall, play regional theaters or summer festivals, pick up studio sessions, or even hold down church gigs on weekends. The key is to show up where they're already making music. That is where real connections happen.

• Use Instagram as a tool. The Instagram account Broadway Musicians lists players currently working on Broadway. Look them up, follow their Instagrams, and pay attention to the gigs they are posting about. It is an easy way to find out where they are playing outside the pit.

• Connect on social platforms. Do not stop at Instagram. Reach out on Facebook or LinkedIn and see if they're performing nearby. If you can, go in person. Meeting face-to-face leaves a far stronger impression than sending a cold message online.

• Build rapport before you ask. Walking up to someone and immediately asking to sit in their pit can come off as transactional. A better strategy is to develop a genuine relationship first. Get to know the musician, support their gigs, and talk music. When you finally do ask, they will know you respect them and are not just looking for a quick favor.

Do Your Homework and Overprepare

Getting on a sub list is only the first step. The bigger challenge is proving that you belong there. That means doing your homework and preparing so much that you are practically sick of the music. You need to know the score so well that you're begging the chairholder to let you in because you're ready.

When I subbed on Rent for the first time, I did not own the Roland SPD pad that was essential for the show. Instead of giving up, I built a cardboard replica at home to practice the movements. That extra step might sound obsessive, but it allowed me to walk into the pit confident and prepared. The MD saw I had put in the work, and I got called again.

Preparation is what earns you respect. Consistency is what keeps you on the list. Show up on time, nail the dynamics, and stay flexible when the conductor or stage manager throws last-minute changes at you.

Musicians who get regular calls aren't always the flashiest players. They are the ones who make the chairholder look good by being dependable every single time.

The Bigger Picture

In my book Broadway Bound and Beyond, I go deeper into how to build these relationships and why preparation is everything. The truth is simple: reliability builds trust, and trust builds careers.

If you are looking to break in, remember this: being a good sub is not about being perfect. It's about being prepared, respectful, and steady enough that people know they can count on you.

Do your homework, meet musicians where they live and play, and make sure you are overprepared when the call finally comes. That's how you turn sub work into a long-lasting career.

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Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.

Clayton’s Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, The Hippest Trip: The Soul Train Musical, and The Gospel at Colonus (featuring Kim Burrell). As a skilled sub, he has contributed his talents to notable productions, including Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, and the national tour of Hadestown, among many others. He has also appeared on major shows including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards. He has performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.

Clayton is the author of the forthcoming book Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career, the only guide you’ll need to succeed in the competitive world of musical theater.

Sign up to be the first to know when the book drops: www.BroadwayBoundBook.com

He proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.

Learn more about Clayton Craddock at www.claytoncraddock.com

If you’re serious about building a career as a Broadway musician, chops alone won’t cut it. Thousands of players can read music and play the notes. The ones who last know the business, understand the politics, and develop the mindset that keeps them working long after the excitement of landing the gig wears off.

That’s why I wrote Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career. This isn’t theory. It’s lived experience from the trenches—what really happens inside a Broadway pit, and what it takes to stay there.

Here’s a look at what’s inside:

• How to think like a Broadway musician. Playing clean isn’t enough. You need to understand your role in the storytelling, adapt to last-minute changes, and stay locked in with the cast and conductor.

• The truth about getting hired—and staying hired. Talent gets you noticed, but timing, preparation, and relationships are what keep you in the chair.

• Subbing strategies that actually work. The goal isn’t to stand out—it’s to make the show feel seamless, as if the regular drummer never left. I show you how to prepare, execute, and get called back.

• Surviving eight shows a week. Broadway is an endurance sport. You’ll learn how to manage your body, mind, and energy so you don’t burn out.

• Networking that leads to gigs. How to connect with the right people, without being pushy or desperate.

• Money, mindset, and career longevity. From negotiating fees without losing the gig to creating multiple income streams so you’re not stuck living paycheck to paycheck.

• The stuff nobody teaches you. How your reputation can open more doors than your chops, how to manage your time and health in the chaos of New York, and why adaptability is your most valuable skill.

This book isn’t for someone chasing a lucky break—it’s for musicians who want a real, lasting career. It bridges the gap between what you learn in school and what it actually takes to thrive in the Broadway ecosystem.

Want early access? Go to BroadwayBoundBook.com and sign up. Paid subscribers to Broadway Drumming 101 will get updates, exclusive previews, and first access before the official launch. If you need to upgrade, you can do it here:

Subscribe now

If you’re ready to move beyond the classroom, beyond the jam session, and into the reality of a working Broadway pit, this is your roadmap.

You can go to BroadwayBoundBook.com today and get on the list.

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Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.

Clayton’s Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, The Hippest Trip: The Soul Train Musical, and The Gospel at Colonus (featuring Kim Burrell). As a skilled sub, he has contributed his talents to notable productions, including Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, and the national tour of Hadestown, among many others. He has also appeared on major shows including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards. He has performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.

Clayton is the author of the forthcoming book Broadway Bound and Beyond: A Musician’s Guide to Building a Theater Career, the only guide you’ll need to succeed in the competitive world of musical theater.

Sign up to be the first to know when the book drops: www.BroadwayBoundBook.com

He proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.

Learn more about Clayton Craddock at www.claytoncraddock.com

I've always liked Drumeo videos. My favorites are the ones where a drummer who usually lives in one genre gets dropped into a completely different world. One of the first I remember seeing was Ulysses Owens Jr. playing a Nirvana track. The video was titled, "Juilliard jazz professor hears Nirvana for the first time."

Ulysses is a colleague of mine and a phenomenal drummer. When I saw that video, I was shocked that he had never even heard the song ‘In Bloom’ by Nirvana. But a few months ago, I sat with him in his Broadway drum booth while he was playing What a Wonderful World on Broadway. I asked him about it, and he told me flat out: "Nope. Never heard it." After talking with him about it and hearing his story, I believe him.

He was born in 1982, which would've made him about nine when that album dropped. If you spend your life immersed in jazz, funk, gospel, or R&B, it's easy to miss entire movements of music. As a kid and teenager, you mostly listen to whatever your family and friends are into. There's so much music out there that it's natural to go deep in one lane without crossing into another.

My path was different. At home, I was surrounded by music. My parents filled the house with '60s and '70s soul. My sisters and cousins played Elton John, Kiss, Journey, Led Zeppelin, and Prince. My cousin introduced me to Aerosmith and Led Zeppelin. Pretty soon, I found my own thing. I got hooked on P-Funk, Cameo, Slave, The Time—the groove-driven funk that shaped the late 70s and early 80s.

Then rap exploded in 1979, and I was in it from the ground floor. Kurtis Blow, The Fat Boys, The Cold Crush Brothers, The Crash Crew, Grandmaster Flash and the Furious Five, Run-DMC—that whole first wave hit me like a lightning bolt. Later, it was Rakim, Big Daddy Kane, and De La Soul. That energy was raw, creative, and impossible to ignore. By the early 80s, hip-hop was just as much a part of me as funk.

When I went off to college, I dug into jazz on my own terms. Howard University's library had an incredible record collection, and I'd spend hours there listening to Miles Davis, John Coltrane, Art Blakey, Horace Silver, Sonny Rollins, Wayne Shorter—the masters. And when I discovered Tony Williams, it completely changed my perspective on the drums.

After college, I jumped into the DC record store scene. I started at The Wiz in Georgetown in 1989, moved to Kemp Mill Records in Dupont Circle in 1990, and by 1992, I was managing Record Town downtown—right before I moved to New York City.

Those years were an education all by themselves. Every week, new releases from every corner of music hit the shelves. And it wasn’t just quantity—it was quality. Seal’s debut album. Bob Marley’s Legend. Lenny Kravitz’s first record. A Tribe Called Quest’s Low End Theory. Soundgarden’s Badmotorfinger. The Chili Peppers’ Blood Sugar Sex Magik. Public Enemy’s Fear of a Black Planet. Pearl Jam’s Ten. And of course, Metallica’s Black Album. Say what you want about their catalog, but for me, that record still stands as their best-sounding one.

Working in those stores, I didn’t just hear the music—I absorbed it.

At the same time, I was playing in every kind of band I could find—blues gigs in D.C. with Daryl Davis that eventually put me on stage with Chuck Berry, singer-songwriter sets, jazz gigs, and my own rock/metal band, EvilTwins, modeled after Soundgarden and the other heavy bands of that era. In 1998, we even opened for Creed.

That mix of influences, including funk, rap, jazz, blues, rock, and metal, gave me a toolkit that I still carry with me today.

But like Ulysses, there were still blind spots. Gospel was one of them. Outside of knowing "Oh Happy Day," I really didn't know the genre. In 2016, I began playing Christian Contemporary Music at a church in the Upper West Side YMCA, and I often wondered why this genre wasn't considered "gospel." Over time, I realized that a line had been drawn between the two: "white gospel" was rebranded as CCM, while "black gospel" maintained its own lane. It was musical segregation, plain and simple. A shame, because I came to like both.

That curiosity eventually led me to a true deep dive into gospel when I had to prepare for The Gospel at Colonus and play drums behind the legendary Kim Burrell. That research took me back to Thomas A. Dorsey, Sister Rosetta Tharpe, The Caravans, The Dixie Hummingbirds, Mahalia Jackson, James Cleveland, and forward up through the Hawkins Family. And the more I listened, the clearer it became — all of it connects back to the blues.

By the time I hit Broadway, I had a complete toolkit: funk, soul, jazz, rap, rock, metal, reggae, blues. And that toolkit is exactly why I was able to thrive. When I played Memphis the Musical, David Bryan (from Bon Jovi) would toss out references from the 1950s, 1960s, or 1970s, and I knew them cold. Because I wasn't just reading notes on a page, I had lived the music. That shared vocabulary brought the score to life. It's one of the reasons Memphis wound up being a Tony-winning show.

That’s why those Drumeo videos are so much fun. You’re watching a top-level player walk into a song they don’t really know, break it down, and rebuild it using their own vocabulary. Sometimes it’s messy, sometimes it’s brilliant, but it always shows their instincts in real time.

Being a musician is like being a builder. If all you’ve got is a screwdriver and a wrench, you can put something together—but it probably won’t hold. Add a hammer, a saw, a drill, and a level, and now you can make something strong, flexible, and built to last. With the right tools and the right materials, you can create almost anything.

Music works the same way. If all you know is musical theater, you’ll get by. But if you’ve lived inside jazz, funk, R&B, gospel, rock, hip-hop, metal, and blues, you’ve got a full toolbox. And with that, you can walk into almost any situation and build something that stands the test of time.

That's why I love these videos. They prove that the more styles you know, the more depth and creativity you bring to any situation. On Broadway, that's not optional. It's survival.

Let me know which Drumeo videos are your favorites and share them in the comments below:

Leave a comment

Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.

Clayton’s Broadway and off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson’s Bar and Grill, Ain’t Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he’s contributed his talents to Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, Hadestown (tour), and many more. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.

Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.

Learn more about Clayton Craddock here: www.claytoncraddock.com