I mean, it really depends on why they're being fired. Did they just throw their baton on someone's head? Yeah, they would be sent home as soon as someone can get them out of their podium without stopping the show. Are they affecting the performance? Yup, go home buddy.
You can't just fire a B'way pit conductor, for God's sake. The union would not allow it, just like you can't arbitrarily fire an actor without going through the proper steps.
bk said: "You can't just fire a B'way pit conductor, for God's sake. The union would not allow it, just like you can't arbitrarily fire an actor without going through the proper steps."
You CAN fire (or, more likely, suspend and thereafter fire) anyone, without regard to whether a union is involved. The issue (and I would think this subject has been discussed recently enough that it would be in everyone's short-term memory) is whether the firing was wrongful, either legally or contractually. It it was, then the person may be reinstated. But make no mistake: you can remove someone at any moment, and then suffer the consequences if you cannot justify it.
While the scenario of the question here (and I note it does not state that the conductor was on Broadway or even in a union) makes it unlikely, I think we can all conjure an example of a case where immediate removal would not only be expected but would be deemed justified. For example, if that conductor pulled a gun on a percussionist during the intermission, I don't think anyone would expect to see that conductor back for Act II.
"Ladies and gentlemen, there willl be no more music for the rest of this performance. Thank you for your understanding and enjoy the rest of the show."
The only thing I can think of is maybe an assistant would be conducting the show for the first time with the regular conductor observing, and if they fouled it up badly enough the regular conductor might tell them to step aside and take over.
A drummer friend had his first ever Broadway sub gig at "Aida" a million years ago and since the drums are so crucial to that show, the way it worked was that the first time you played you only did the first act and the regular drummer sat next to you. At any point the regular player or conductor could tag you out and you were done. If you made it through the first act you'd be approved to play a whole show on your own. My friend was utterly terrified that he'd play one song and be asked to move over, but he nailed it and today is one of Broadway's top players with several shows of his own.
I saw the OPPOSITE once during a tour of THE MERRY WIDOW, starring opera diva Roberta Peters. I don't know what upset the conductor, but at intermission he locked himself in his dressing room and refused to come out for the second half.
Miss Peters--bless her heart!--spent 10 to 15 minutes talking to the conductor through his door, until he finally came out and went to his podium. I don't believe I ever knew what he was upset about, and I found his behavior so appalling I didn't really care.