Going to the Bench
Apr. 13th, 2005 06:26 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
mrdreamjeansAlternates, Covers, Understudies and Swings... all four terms apply to actors who fill in when the leads and/or chorus members in a show miss a performance. A show is really fortunate when, to use a sports analogy, its bench strength is outstanding. In our final weekend in San Francisco, our bench came through with flying colors.
An “alternate” is an actor who does a set number of performances a week, usually two-three, in place of the show’s lead. They are not in the show in any other track. They exist simply to make a particularly difficult role achievable for eight performances a week. and provide respite for the primary actor in the role. The main two examples of this are the roles of Eva Peron in “Evita” and Christine in “The Phantom of the Opera”. The role of Eva is particularly grueling vocally, but an alternate for Christine never made as much sense to me as one would have for Carlotta. Christine got an alternate because Sarah Brightman couldn't sing eight shows a week and she was married to the composer at the time:)
Usually there is an alternate for the role of Eva, but in the case of our tour, Kathy is contracted to do six shows a week and receives extra money if she does numbers seven and eight. It makes the company a bit more vulnerable, since there are two understudies who have to alternate going on constantly. Their chorus tracks and roles have to be covered by one woman. It may save money, but lacks foresight and leaves us shorthanded. Lots of things can happen on a long tour.
A “Cover” is a term sometimes used interchangeably with “Understudy”, but it’s really more often an actor who only performs when a star is out.... a standby, if you will. Used most often in New York, the actor is on call up till half hour of a performance and even then, must be available in case something happens during the performance. “Victor/Victoria” always had some one on call to fill in for Julie Andrews; currently “Hairspray” uses standbys. You won’t find this person in the cast unless the person in the role they are hired to cover is out of the show.
“Understudies” must be ready to go on at a moment’s notice if an actor calls in sick or gets injured; they also fill in for vacations. There are usually two understudies for each role which can be negatively competitive depending on the maturity of the actors... or a pleasure, where people just take turns based on the needs of the show that day; if they are not on, they have a regular slot or role in the show. If they are on in a role, then a swing fills in for them in their track. I was an understudy for the role of Ubaldo Piangi in “The Phantom of the Opera”. I went on 100 times in the four years I toured in the production. When I wasn’t on as Piangi, I was in the show in my ensemble track.
Understudying can be nerve-wracking because you can go months without a rehearsal and suddenly be on in the middle of the show. Several of the opera tenors they hired would perform the first scene, not perform the High C in the opening aria to their expectation and drop out for the rest of the show. There were several shows where I started out in the ensemble and finished as Piangi which necessitated a major shift for wardrobe and makeup. The one rule I think that holds up for understudies... one that I found to be true... Be healthier than the person you cover. You don’t get many chances and not being prepared isn’t an option.
During our final performance in San Francisco, we had two people out and one new dancer who’s name wasn’t in the program yet. This triggered a series of announcements. When they announced that Kate Manning was playing Eva, the audience collectively let out an audible groan. (Like they knew who Kathy was...they just knew there were several announcements.:) The cast, sitting only a few feet behind a drop, reacted by applauding vigorously for Kate... which in turn made the audience laugh. We knew Kate was a terrific Eva Peron, despite her diminutive stature. Like Elaine Page, Kate’s barely five feet tall, but she’s a mighty mite. We call her Pettita:) At the end of the show, the audience screamed and shouted their approval. With the depth of our cast, we might be shorthanded, but the show maintains its quality, no matter the line-up.
“Swings” have the toughest job in a show, whether on Broadway or on tour. Hired specifically to learn all of the chorus tracks, and sometimes lead roles too, they have to be ready to go on at short notice, at times in multiple tracks. A good swing can sing your vocal part, knows all of your dance steps and acting choices, so that when they fill in for you, there is as little disruption to the performance for everyone else as possible. Jeremy is our male swing and has to know the tracks for 15 men, both singers and dancers. Eileen, the female swing, goes on for any of the 11 women ensemble members. She’s on all of the time because of a lack of an alternate for Kathy. There are 29 cast members on this “Evita” Tour, 27 in the show each evening. Jeremy has been on for 10 of the 15 men and Eileen has been on for all of the chorus women. I admire them, but don’t envy their jobs.
There is so much that goes into the successful mounting of a production. The casting of the talent is key; strong work-ethics by all actors, crew and orchestra can lessen the stress of traveling all the time away from your loved ones; being with mature, responsible, caring individuals is so necessary. I am fortunate to work with such a group of people. The Los Angeles and San Francisco runs tested our depth, It was certainly nice to discover and revel in the information that our show continues to rock even when we go to the bench.
An “alternate” is an actor who does a set number of performances a week, usually two-three, in place of the show’s lead. They are not in the show in any other track. They exist simply to make a particularly difficult role achievable for eight performances a week. and provide respite for the primary actor in the role. The main two examples of this are the roles of Eva Peron in “Evita” and Christine in “The Phantom of the Opera”. The role of Eva is particularly grueling vocally, but an alternate for Christine never made as much sense to me as one would have for Carlotta. Christine got an alternate because Sarah Brightman couldn't sing eight shows a week and she was married to the composer at the time:)
Usually there is an alternate for the role of Eva, but in the case of our tour, Kathy is contracted to do six shows a week and receives extra money if she does numbers seven and eight. It makes the company a bit more vulnerable, since there are two understudies who have to alternate going on constantly. Their chorus tracks and roles have to be covered by one woman. It may save money, but lacks foresight and leaves us shorthanded. Lots of things can happen on a long tour.
A “Cover” is a term sometimes used interchangeably with “Understudy”, but it’s really more often an actor who only performs when a star is out.... a standby, if you will. Used most often in New York, the actor is on call up till half hour of a performance and even then, must be available in case something happens during the performance. “Victor/Victoria” always had some one on call to fill in for Julie Andrews; currently “Hairspray” uses standbys. You won’t find this person in the cast unless the person in the role they are hired to cover is out of the show.
“Understudies” must be ready to go on at a moment’s notice if an actor calls in sick or gets injured; they also fill in for vacations. There are usually two understudies for each role which can be negatively competitive depending on the maturity of the actors... or a pleasure, where people just take turns based on the needs of the show that day; if they are not on, they have a regular slot or role in the show. If they are on in a role, then a swing fills in for them in their track. I was an understudy for the role of Ubaldo Piangi in “The Phantom of the Opera”. I went on 100 times in the four years I toured in the production. When I wasn’t on as Piangi, I was in the show in my ensemble track.
Understudying can be nerve-wracking because you can go months without a rehearsal and suddenly be on in the middle of the show. Several of the opera tenors they hired would perform the first scene, not perform the High C in the opening aria to their expectation and drop out for the rest of the show. There were several shows where I started out in the ensemble and finished as Piangi which necessitated a major shift for wardrobe and makeup. The one rule I think that holds up for understudies... one that I found to be true... Be healthier than the person you cover. You don’t get many chances and not being prepared isn’t an option.
During our final performance in San Francisco, we had two people out and one new dancer who’s name wasn’t in the program yet. This triggered a series of announcements. When they announced that Kate Manning was playing Eva, the audience collectively let out an audible groan. (Like they knew who Kathy was...they just knew there were several announcements.:) The cast, sitting only a few feet behind a drop, reacted by applauding vigorously for Kate... which in turn made the audience laugh. We knew Kate was a terrific Eva Peron, despite her diminutive stature. Like Elaine Page, Kate’s barely five feet tall, but she’s a mighty mite. We call her Pettita:) At the end of the show, the audience screamed and shouted their approval. With the depth of our cast, we might be shorthanded, but the show maintains its quality, no matter the line-up.
“Swings” have the toughest job in a show, whether on Broadway or on tour. Hired specifically to learn all of the chorus tracks, and sometimes lead roles too, they have to be ready to go on at short notice, at times in multiple tracks. A good swing can sing your vocal part, knows all of your dance steps and acting choices, so that when they fill in for you, there is as little disruption to the performance for everyone else as possible. Jeremy is our male swing and has to know the tracks for 15 men, both singers and dancers. Eileen, the female swing, goes on for any of the 11 women ensemble members. She’s on all of the time because of a lack of an alternate for Kathy. There are 29 cast members on this “Evita” Tour, 27 in the show each evening. Jeremy has been on for 10 of the 15 men and Eileen has been on for all of the chorus women. I admire them, but don’t envy their jobs.
There is so much that goes into the successful mounting of a production. The casting of the talent is key; strong work-ethics by all actors, crew and orchestra can lessen the stress of traveling all the time away from your loved ones; being with mature, responsible, caring individuals is so necessary. I am fortunate to work with such a group of people. The Los Angeles and San Francisco runs tested our depth, It was certainly nice to discover and revel in the information that our show continues to rock even when we go to the bench.
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