We do about the same amount of "total" rehearsal time.. Six weeks for a straight and eight for a musical. As far as total number of days, that varies some on the directors style, the complexity of the show and the collective skill of the cast. We have been known to do as little as four a week, but sometimes as many as six again, depending. Five is our norm. You mentioned a shorter "blocking time" Blocking, hopefully, doesnt take up all that much of the rehearsal period, and lines are already expected to be learned off site. Of course that being said, many don't learn them, and truthfully, due to learning styles, many can't learn them (at least well) until they have blocking and buisness to associate them too (Good old kenestitic learners)  We have pushed shows through in four weeks, but thats with a director who has ALL of his ducks in a row, and cream of the crop cast and of course a show that is not all THAT difficult.. I hear your problem about not having enough directors, thats why we often have one director doing multiple shows each year. And yes, whenever the poll about what theaters pay for directors, we raise our hand on that one too.. I understand and agree with your decision to not use directors who have had problems in the past. Your best hope is to try and "raise" a few new ones... Incourage some of your regulars by pointing out thier good skills that would make them director material. Have workshops on the basics.  Encourage Assistant Director positions with the goal of learning and moving up...  Just some thoughts...

Hmmm ... That's tough one.  My first thought is, at least in my case, the Blocking Period is relatively short to begin with, and the entire rehearsal period just isn't an issue for me.  For me it is all the time spent outside rehearsal time working on the show -- I mean I love doing it, but that is where the real time commitment is and generally few are aware that it is happening (my wife is aware of it  ).

I use a one or two rehearsal process.  I block the entire show ahead of time, in a script with the set outline on the back of each page so that when the script is opened I can see the set and a page of dialogue.  I mark the movements in the script and draw what I want on the diagrams.  I hold a rehearsal early on, usually the first week, and at that rehearsal dictate all of the blocking.  I usually have the stage or a representation set up so that I can walk through the movements myself if there are any questions.  If it is a shorter rehearsal, less than three hours, then I will stop after the show has been dictated, and then go through any difficult sections.  If it is a longer rehearsal, like a 4-5 hour Sunday rehearsal, then I will have everyone move through the blocking in the set-up, this occurs on the second rehearsal if they are shorter periods.  I find that this works extremely well, though it does require a lot of focus from the actors, and a bit of extra work on my part.  My crews LOVE this as it allows them to attend ONE rehearsal to determine the lighting, set, and other technical needs.  I find that the actors, though skeptical at first, end up loving the process as well as it leaves more time for RUNNING scenes and learning music/dances.  The one thing that this does require that I find lacking in some directors is the ability to admit when you are wrong.  If you can't do that then don't use this system, as you will inevitably have to make slight adjustments to accommodate the actors needs, and if you can't say, "hey guys, that was my fault, let's try something else" then you won't like this at all.