I emailed out the call-back list the night before, with the music files and pdf's that MD sent me. That took forever, because I had to keep clearing my sent folder and then logging out and logging back in- the files were so big they were filling my mailbox and then I couldn't send email. The only issue we ran into with sending the auditionees the files like this was that some of the songs were 20 pages long, and if you were called back for more than one part, that was an enormous amount of paper and ink to use, especially when they ended up singing one page of that in the actual call-back.
The Director had put the sides online well in advance, so the actors all brought them to the call-backs. Again, we kept them in a holding pattern in the green room, which worked well. The Director had given me a list in advance of the pairings/groupings she wanted to see for each side, so I posted one copy of the list and gave another copy to my ASM to use in rounding up the groups. Everything really fell into place with a minimal amount of effort on my part, which was surprising- especially considering the call-backs I've done in the past that have taken an enormous amount of time & massive feats of scheduling. I think the Director already had a clear idea of what she wanted, which is what made everything so quick and painless. She didn't need to see endless combinations of people or multiple scenes with the same characters.
Again, there was only one minor issue with the way this worked out- some actors, like Leaf and Chip, who were called back for multiple parts, ended up reading several times in a row with different groups, and did not get a chance to read that scene with those people before going on. No one seemed to really struggle with this onstage, but I know it made a lot of the actors nervous while they were waiting.
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