Choreographers who rely on choreologists are concentrated in Europe; BMN has been slow to take off in the U.
Because they are asked to fulfill too many roles and expectations, company choreologists often complain that they are rarely able to complete master scores and worry that their working scores may only be fully intelligible to themselves (something like the difference between a neatly written letter and a quick note to yourself).
And in the short term it is extremely useful to all concerned, including choreologists.
And while few dance companies are rarely in a position to invest in anything, it is a testimony to the effectiveness of notation that over twenty companies now employ full-time choreologists.
Throughout the world choreologists are now rehearsal directors, ballet masters and mistresses, repetiteurs, assistants, teachers, professors, and arts administrators.
My friend and colleague Kristin once met someone who knew what a choreologist was.
Choreologist Michele Braban (now rehearsal director of Rambert Dance Company), in a paper entitled "Freeze Frame or Fast Forward," written for the 1993 Benesh Institute Congress, recounts the difficulties she faced after the Royal Ballet commissioned her to produce a "definitive score" of Frederick Ashton's La Fille Mal Gardee.
When a choreographer builds a lasting rapport with a choreologist, they will then notate and restage works with a combination of the accuracy of BMN and the knowledge and understanding that can only grow from working closely with someone over a period of time.
Unfortunately, even in a company with a long tradition of notators, you, as salaried company choreologist, may still find that the dancers, your colleagues, and the director have only a very rudimentary idea of what you do and what the process involves.