State Fair and All Shook Up were two shows that I was the sound designer and mixer. 20 mics, 50 kids. Five days for each show, and one of the most echoey rooms I've worked in to-date. Still it gave me particular need to have the speakers as tuned as I could make them, as well as have a distinct plan on action, paperwork and show files so that I could focus on the acoustics. Having a raucous pit is an awesome thing for a rock and roll show, but it did mean that communications had to be especially important so that the band was happy with monitor, I could manage their output, and the actors could be heard over the pit without feeding back.
So in some ways, it was back to the basics, but of course, the basics become complicated when the room is a strange shape and you only have four days before you strike. I had some great assistants who were on top of mic switches and trouble shooting and so that was great that I didn't have to worry about that. Instead, I had the chance to keep my head in the script and mix the show.
Side note: During the last performance apparently I had a woman behind me watching me mix. I didn't realize this at the time, but apparently I air conduct and keep time while I'm mixing. She said it was a great show, but it was a little embarrassing.