As has been said by many smarter and more experienced producers, ( hard as that is for me to admit), first things first. Or maybe that's what my mother said. Anyway. The first step is to decide priorites and needs. Then you need to translate those into a team.  For a musical you need a composer, lyricist, orchestrator and musical  director and of course a director who has a vision similar to the writers. Often more than one person can do more than one task. And often reality smacks you in the face.  When you begin everyone loves everyone. But it is important to remember that behind all the hugs and kisses everyone has their own agenda.  There is no such thing as a handshake to solidify a deal.

For one production I worked on the writer was also the composer lyricist and orchestratos. This gave the production a single vision but in this case it worked. It usually doesn't.  Take for example the  latest musical I am working on. I hired an orchestrator who, as it turned out was only ok.  he was paid for his work, although we didn't have a contract, I paid him what I thought was fair.  As it ruined out he cost me more than he was worth.  He was anal about the music and when we recorded it cost twice what it should have. It was only a demo. Worse than anything, he was rude to the actors.... Almost all of them. And these equity actors were working for practilly nothing.  It was horrible. Since he was paid, we found a brilliant orchestrator/musical director, who as instructed, did not use any aspect of what, let's call him Al, had done.

We moved on.  He did not. And months, maybe years later, he did not.  He sued us. I guess his agenda was to make trouble and money one way or the other. The lesson you learn from this is always have a contract and never hire anyone who among other unattractive qualities, is absent a moral core.  More next time.