I think that in biographical shows, the lead person is on stage most of the time. For example, Carolee Carmello was hardly off stage as Aimee Semple McPherson in SCANDALOUS... and I don't think Rob McClure was off stage much in CHAPLIN either, but I could be wrong. (I can't really remember to be honest!)
Billy in BILLY ELLIOT. In Act 1 he is offstage for the first 3 minutes, and then is pretty much on stage for the rest of the act. In Act 2 he is on stage from the beginning of the Act to the end of the Dream Ballet. THen leaves for the scene where Dad visits Mrs. WIlkinson and decides to cross the picket line. THen he comes back and is on for the rest of the act. In the 2 and a half hour musical, the actor playing Billy is offstage for about 8 to 9 minutes.
Jo in Little Women Max Bialystock in The Producers Jekyll/Hyde in Jekyll & Hyde Man In Chair in The Drowsy Chaperone
"You drank a charm to kill John Proctor's wife! You drank a charm to kill Goody Proctor!" - Betty Parris to Abigail Williams in Arthur Miller's The Crucible
He's not onstage as much as some of the roles being listed, but Horton is on stage for most of SEUSSICAL or about to enter. Having played the role, the only times I got to go to the dressing rooms were after "Here on Who" until "Alone In The Universe" as well as during "Having A Hunch." People seem to think the Cat is the more demanding role as a narrator, but he has much more downtime than Horton does.
Also, Dorothy in WIZARD OF OZ (and I'm assuming THE WIZ).
"I saw Pavarotti play Rodolfo on stage and with his girth I thought he was about to eat the whole table at the Cafe Momus." - Dollypop
Bobby Child in Crazy for You is pretty demanding, and from my memory barely leaves the stage.
I am a firm believer in serendipity- all the random pieces coming together in one wonderful moment, when suddenly you see what their purpose was all along.
It's been a while since I read/saw PRELUDE TO A KISS, but my recollection is Peter is onstage the entire show.
Words don't deserve that kind of malarkey. They're innocent, neutral, precise, standing for this, describing that, meaning the other, so if you look after them you can build bridges across incomprehension and chaos. But when they get their corners knocked off, they're no good anymore…I don't think writers are sacred, but words are. They deserve respect. If you get the right ones in the right order, you can nudge the world a little.
I just saw a regional production of The Drowsy Chaperone. They performed it without an intermission. The Man in Chair only leaves the stage once. He talks about intermissions, then tells the audience he needs to use the restroom and then they have the Chinese number. He then comes running back in to switch records.