I first learned to mix musicals in the 90s from a sound designer who was a decided minimalist--rent the best, most linear mics and the best, most linear speakers you can and apply the least possible amount of EQ, little-to-no compression, and no effects processing except for special effects.
I've generally carried on with his approach in my work, although I tend to use a bit more EQ and compression than he did, especially when using a digital console. I still rarely apply any effects to the vocals, other than perhaps a very subtle plate reverb to put a little space around the voices.
However, the impression I get is that most designers apply reverb more judiciously than I do, and also use delay frequently. I'd be interested to hear what effects you typically add to vox in musical theatre, and why--especially if you use delays.
I've generally carried on with his approach in my work, although I tend to use a bit more EQ and compression than he did, especially when using a digital console. I still rarely apply any effects to the vocals, other than perhaps a very subtle plate reverb to put a little space around the voices.
However, the impression I get is that most designers apply reverb more judiciously than I do, and also use delay frequently. I'd be interested to hear what effects you typically add to vox in musical theatre, and why--especially if you use delays.