The problem you’ll run into is that video tends to use single mode fiber and audio tends to use multimode fiber. They aren’t compatible. You can get converters though they are probably pretty expensive.
For connectors just terminate all fiber to LC. HMA for an install would be very single purpose and very expensive. You can get a set of HMA to LC cables made if you need that. You could also go Opticon duo if you want. That’s really just a rubberized dual LC connector. For a controlled studio environment where you’re unlikely to have the connection cycles of a mobile show I’d probably just stay with plain LC. By doing that you’re able to leverage the low cost commodity parts used in IT around the world. You can also source parts/cables from your local supply house quickly if needed.
This. And if your only tie points are between the rehearsal room and a control room, if someone is bringing in a video crew/package that needs to send lines to your control room, just have a single patch panel in the space with an 8-strand or 12-strand SMF that comes back to the control room, and plan on having plenty of patch cables on hand. This will keep cables from running through doorways unnecessarily.
Also, if the room is large enough to support touring folks using their own cable package, the use of your tie lines is likely to be minimal, though having some MMF HMA to LC for the Digico/Optocore crowd would work (although, not cheap). But Erik is right that pretty much everyone else touring with audio fiber that is not Digico is going to be on OpticalCON, which is a glorified duplex LC in a heavy duty connector.
Also, cleaning supplies. Plenty of fiber cleaning supplies - wipes, sprays, sticklers, etc.
