Going to the Bench

[mrdreamjeans]

Alternates, 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.

Comments

[mikiedoggie.livejournal.com]

This just sounds so stressful and complicated. I thought my job was bad but at least I almost always know what to expect in my day.

[mrdreamjeans.livejournal.com]

Since it's part of the routine of our jobs, we get used to it. It's just how it works, so you learn what to expect, but it's different every day (which I kind of like:) I just wanted to share with my friends what happens in a long running show when they see or hear of a change in the line-up:) It's not always a bad thing. In fact, the contrary!

[mikiedoggie.livejournal.com]

What I find fascinating about what you've described is how much you have to know. I don't necesssarily have a great memory for certain things, one of which would be multiple dance and lyric parts. LOL. The variety must be nice, and I suspect the ability to perform, and hopefully perform well under last minute changes and stress must be a good ego booster. ;-)

[ciddyguy.livejournal.com]

Wow, nice post, yet again!

Having been somewhat aware of swings etc in a show and from your previous postings, it's nice to read of what exactly does a swing do etc.

Very interesting and informative I might add. :-)

I have full respect for actors and such, having dome some stagecraft in HS and that'd be where I'd be if I did theater at all.

Thanks for sharing!

[nlotic.livejournal.com]

That Sinfeld Episode "Rachelle Rachelle" with Bett Midler is going through my mind.

[mrdreamjeans.livejournal.com]

As odd as it sounds, I never saw Seinfeld. I was always working. What happened in the episode with Bette Midler?

[bruinwi.livejournal.com]

I know we've touched on this before, but you really SHOULD write a book on this stuff. This entry alone read like a very engaging text book. I've read the terms before in playbills, and knew that swings, understudies and alternates acted as substitutes for various roles, but I didn't know the subtleties that differentiated between the groups.

Thanks for a very informative post, professor. =o)

[mrdreamjeans.livejournal.com]

.... and thank you for the encouragement. I really do intend to gather the essays together and see if I can get some interest in publishing them in book form. I'm willing to do the work. Btw, I loved reading about the retreat weekend. Sounds like you went with reluctance, but wound up having a wonderful time. I'm that way too. Hugs!

Who Am I This Time?

[crunchmd.livejournal.com]

This reminds me of a production of "Two Weeks With The Queen" (based on the Australian children's book) I did 2 years ago. There were 2 major roles that had to be covered during our 6-week run, for various reasons. Although it was an "amateur" (read: unpaid) production, our covers were flawless, and the audience and the cast quickly forgot they were not working with/seeing the original cast. It became a running gag: "Who's going on tonight?". I took it as a testament of the professionalism of both the cast and the subs to give a seemless performance, despite the odds.

It also reminds me of another production I did years ago when I was called to replace the lead in a murder mystery. I was called because I had a reputation of being a quick study, yet I only had 6 rehearsals to learn the part. I think I counted over 300 lines of dialogue. How I did it, I'll never know. There was only one brief scene in which I was not onstage (for a costume change). I'll admit that I ended up using "crib notes" taped to various set pieces; not for the dialogue, but for the incredibly difficult prop sequences. Because it was a murder mystery, the sequence of events was critical (lock the door, hide the key, mix the poison, etc.). Ironically, I got the best notices of my theatrical career in that show. I can't imagine being a swing and knowing 15 male parts on a moment's notice, let alone in a musical. Now *that's* talent!

Re: Who Am I This Time?

[mrdreamjeans.livejournal.com]

The story of the murder mystery is fascinating! I can't imagine learning 300 lines on such short notice; tho I must admit, I usually wait until the pressure of a deadline kicks my adreneline into overdrive to get dialogue down. I usually read the dialogue over and over, wean myself from the script gradually and then try to con a friend into reading with me till I'm letter perfect. I want to be word for word as the author has written it.

I'm glad you were rewarded with great reviews. That type of show, prop hell included, takes so much focus and commitment and you did it on short notice! Yay you!!

Do you have any secrets for memorization? I'd like to hear your thoughts on the subject. Thanks for sharing your memories! Hugs!

Re: Who Am I This Time?

[crunchmd.livejournal.com]

I can only attribute my success then to youth and sheer terror. At the time, I used to memorize lines like you. Nowadays, I use a tape recorder. If possible, I try to tape the first read-thru and use that so I can hear the cues with the other actors saying them. If it's a musical, then I have the rehearsal pianist play just my parts without vocals. Then I run the tape in my car while commuting for several days, speaking the lines aloud and/or singing. I'm sure people passing me think I'm talking to myself!

Re: Who Am I This Time?

[mrdreamjeans.livejournal.com]

I used to stand in the subway stations in NYC and sing/rehearse for auditions as the trains entered and exited the station. It was the only place where I could sing without disturbing people. Couldn't warm up in my apartment... and renting a warm-up space was too costly. It also helped at times to be perceived as crazy or as a Tourette's personality in the streets of the Big Apple:)

Re: Who Am I This Time?

[crunchmd.livejournal.com]

That's funny, but effective!

[bearchitect.livejournal.com]

wow!

[mrdreamjeans.livejournal.com]

Enjoy New York and the Opera this weekend and please give pagerbear a hug for me! I enjoy reading his posts a lot. I'll just hope our paths cross in June when I'm in the general area of Baltimore.

[bearchitect.livejournal.com]

I have all the intentions of enjoying "Don Giovanni" -a kind of baptism by fire for me, tho I've seen it before (and been IN it) this is my first time at The Met, I'm glad I'll have that waskally wabbit Pagerbear by my side to guide me along. Also meeting my brother (the new dad) and MY dad there, we're celebrating his 78th b'day!!

I'll make it a point of getting together when you're in this here parts... :)

[mrdreamjeans.livejournal.com]

A Very Happy Birthday to your father!!!! I love that your family rendevouses all over the country:)! Remind me sometime to tell you a story about my first time viewing an opera at the Met ... in standing room:) Hugs!

[bearfuz.livejournal.com]

Yay! I love it that you are educating everyone about this stuff. You say it so WELL, too!

I'm appalled that you have to do this show with only two swings. In Les Miz we had two of each gender, and they were kept VERY busy.

[mrdreamjeans.livejournal.com]

"Phantom" always had two swings of each gender too, as the divisions between singer and dancer are delineated more strongly in that show than any other I've worked on. It's rare to find someone who is equal in both abilities; usually they err on the side of dancer for "Evita" since the Buenes Aires and Money numbers are quite difficult. At one point last week, Eileen was covering parts of three womens tracks and Jay the same on the male side. Several other people filled in where needed. My track is so busy, I'm seldom asked to do anything else, but I have taken on a couple of vocal solos without rehearsal.

I'm not the only one educatiing people on theater from the inside out. I really enjoyed your posts about your conducting debut and other topics! Hugs! Enjoy St Louis!

[daltxfurry.livejournal.com]

I so love reading your posts.....since you are like me and LOVE live theater. The nerves/stress/thrill of having to put someone in at the last minute and so forth. I have done many shows (admittedly only community theater) where I have walked into the theater 1/2 hour before my first call (I always get there early to "settle in" in the theater before the show) and another performer or the director or choreographer comes up and says "so and so was in an accident/hurt/sick/etc" and we have to get people together to rework scenes and choreography.

Have you seen BROADWAY - THE GOLDEN YEARS? There is a wonderful segment with Gretchen Wyler talking about being an understudy during out of town tryouts for a show and previews for a show.

Standbys/understudies and their ilk are so important. I have read lately where they have had to go on in the middle of a show. Actually, Shoshana Bean (currently starring as Elphaba in WICKED in New York) had to jump in for Marrisa Jarret Winouker in HAIRSPRAY. Marrisa had injured herself during the "Mama I'm A Big Girl Now" number and was able to finish the scene, but had to tell the SM that she couldn't continue for the performance. They stopped the show for 10 minutes while Shoshana got into costume and make up and went on stage.

And I am sure you know the infamous story Elaine Stritch tells of being an understudy for Ethel Merman in CALL ME MADAM, right?

How long are you going to be back home in Houston by the way? Maybe I should come down for a weekend and we can talk theater til we fall asleep on the sofa!

[mrdreamjeans.livejournal.com]

Whether it's community theater or professional theater, the experience of having sudden changes or replacements in the show is the same for all of us, so I know you understand of what I speak:)

Shoshana seems to be making a career of taking over in an emergency. She's now playing Elphaba in "Wicked" on Broadway. Idina Menzel, during her final performance as Elphaba, was injured when the trap door she was exiting through, malfunctioned. The show was stopped for 45 minutes while Shoshana turned "green". She then finished as Elphaba.

I'm in Brenham at my folks' home for just four more days and then on to Florida. I keep hoping Dallas is added to the schedule. Just so you know, I am planning to call you this evening. I have an address for you to send your BC/EFA contribution to and I have your poster ready for mailing. I brought it home with me:) Hugs!

[daltxfurry.livejournal.com]

Dang...only 4 more days.....oh well...was worth a shot! :-)

Yeah...Shoshana the one to jump in. Which says a lot for her. I remember reading when Idina took that fall. It was the day before her final peformance and you can't imagine how crushed many of the fans were on what was to be her final performance and she couldn't do it. I know Idina was pretty upset as well, as she had a GREAT track record for almost never missing a performance. I think in the year and a half she did the show she only missed like 5 or 6 performances (one was weather related and a few were job related...she was filming a movie role)

I am hoping that Stephanie Block, who is touring as Elphaba, does the Sat. matinee of WICKED when I go to see it. I really want to see her in the role!

Looking forward to hearing from you tonight! What number are you calling, my home number or my cel number?

[mrdreamjeans.livejournal.com]

I'll try both:) We'll speak on whichever you answer:)

[carharttmo.livejournal.com]

I am so glad I found your journal. It has been very interesting getting to know how a show runs/works.

As others have said... thanks a ton for sharing!

[mrdreamjeans.livejournal.com]

I appreciate the support!!! I sometimes think that no one will be interested in these types of posts, but since I am determined to chronicle this experience with "Evita", I am delighted that others outside the theater community read and enjoy them too. I'm reading everything you write too:) Hugs!

[deebee.livejournal.com]

i recently did the rocky horror show which had swings on riff raff and frank n furter.... and the 2 guys were equally great in either role, but equally different in how they portrayed whomever they were portraying on a given night.... i never could make up my mind as to "which one i liked best as ..." cuz they did such a damn good job

we even had a swing on the eddie/dr. scott roles, played by 2 different women and then we had an alternate janet and an understudy for me who filled in one night when i couldn't be with the rhs cast... i was singing elsewhere that night

whew!

[mrdreamjeans.livejournal.com]

Isn't it interesting that ever since they did the Broadway production of "Rocky Horror" that the roles played by Meatloaf in the movie were taken over by women? Lea Delaria was excellent when I saw the show in New York, but then again I was a bit envious, since that would have been the roles in the show for which I was castable:)

I've often felt as you do about seeing and working with multiple actors in a specific role. It's hard not to pick favorites, because people are so different in how they interpret a part and yet be equally successful. I've worked with 14 Evas in "Evita" over the years, 5 Phantoms, 8 Christines, etc... I can make a case for how much I like any one of their performances with only one or two exceptions. Sometimes, my perception of their talent or how they do in the role can be colored by who they are as people offstage:)

Have a great run of "Cuckoo's Nest"! I'd like to see it and Rosenberg isn't that far from where I live, (I used to be in Sealy), but by May,"Evita" will be settled in at the Princess of Wales Theater in Toronto through early June. Thanks for commenting!