I'm a musician by trade and I hit this quite often when playing for musical theatre. I don't feel super experienced at it as I haven't done lots and lots of different shows, but I have done somewhere between 750 and 1000 performances in total which might count for something. So far it's been possible to deal with it on a case by case basis. If you're doing reasonable simple stuff that has constant timing (and an identifiable beat) and doesn't go through a whole bunch of vamps and off tempo interjections, which you probably won't with kids, all you should have to do is count them into cold starts like you would with anyone.

Solving the more complicated problems... well. Usually I am playing to click which is not that hard to do, just a metronome will do it for rehearsal, or work out some electronic device, there's lots of them. On very rare occasions where more is needed the musical director will usually make some comment into a mic whether that's a headset or in one case where the show is being run by a piano player, it's on a stand on the top of his keyboard rack, so he can mutter directions to everyone. That's not a special thing because I'm there, it's something that's done all the time, but sometimes they do say extra stuff if I need it.

Problem solving attitude, it'll be fine.

I'm thinking bass / kettle drums and not a lot of tempo changes, fermata, etc. Might re-arrange seating to get the more VI people closer to podium. For myself, my eyes were often glued to the music, and the ( Italian ) director was often yelling at us to 'watch' him. We were all generally considered 'sighted', but still had problems watching everything at once.

Marching Band music. We would memorize the stuff. Sousa, John Phillip.

I think sometimes our conductor would tap on his music stand with the baton, or yell at us "ONE, two, three, four" . . . especially in rehearsal.