While waiting for a show to begin, most of us spend those final moments before the curtain rises opening our programs to learn about the cast. In doing so, you’ll inevitably see a list of “understudies” and “swings” but you may not be aware of the vital function they serve. In fact, if just one cast member is unable to perform, there is usually an intricate process in place to fit all of the pieces into the puzzle so the show goes on as scheduled.
As a general rule, an understudy, sometimes called a cover, is a cast member who learns and rehearses one or more of the principal roles in the show. Understudies will learn the lines, blocking and choreography of a principal role and if the lead actor cannot go on stage to perform, the understudy will go on in their place. Depending on the size of the show, an understudy may have an ongoing role in the ensemble unless needed to understudy a principal role. For smaller shows without an ensemble, the understudy is off-stage unless needed to perform for the lead actor. For shows with demanding leading roles such as WICKED, LES MISERABLES or THE PHANTOM OF THE OPERA, an actor is hired as an understudy for a specific role and will only go on stage if the lead actor cannot perform.
Swings, on the other hand, are members of the cast who are not called for by the script. Typically, a swing will understudy several ensemble roles. When an ensemble member cannot perform or, in some cases, is performing in a principal role for which he or she is the understudy, a swing performs in the ensemble member's place. If all the actors playing the principal and ensemble roles are present for a performance, the swings will not perform. If they are not performing, they are usually required to be backstage and available in the event they are needed.
In most shows, there are generally one or two male swings who understudy all the male ensemble roles in the cast and one or two female swings who understudy all the female ensemble roles. There can be as many as three ensemble members who understudy a principal role.
In some cases, particularly if a role is demanding, an actor is hired as an “alternate.” An alternate serves as an understudy for the lead role but will also play that role in certain performances. For example, the role of Christine in THE PHANTOM OF THE OPERA or Eva Peron in EVITA is performed six times a week by the lead actor and the alternate performs the other two performances.
Chuck Rea is currently an understudy with the First National Tour of THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE. Because the show lacks an ensemble, Chuck is one of two male understudies for all of the male roles and he only goes on stage if one of the principal actors cannot perform. Rea is the primary understudy for three of the roles and serves as a “2nd cover” for the other two roles.
“It does require a certain skill set,” Rea says, “but a lot of times it comes down to a versatility (skill and physical appearance) that becomes apparent during the audition process.” Rea was sent for an open call and auditioned for the role of Leaf Coneybear. “I had to leave town for several weeks and thought my chances of being cast in this show were over.” Upon returning, he found out they were still casting understudies. He was invited back but this time they wanted him to perform the role of Chip the next day.
His versatility paid off and he is now touring with the production. Rea’s favorite aspect of being an understudy is that it allows him to work on several characters in such a character-driven show. It’s also the most difficult aspect for him. “The hardest part for me is learning five different harmonies.” For SPELLING BEE, the understudies rehearsed for six days in New York and then three days a week once the tour started. He says the rehearsals are important because an understudy and swing have to know the blocking for the show and each role they cover. “We have to be sure we’re in the right place at the right time or it will throw off the rest of the cast and affect the whole show.”
Anything can happen with live theatre and sometimes an understudy will have to go on at the last minute. On the opening night in Baltimore, Rea and the other understudies were in the audience when one of the female principal actors walked off stage. “I knew she’d been sick and I looked at her understudy and told her to get ready,” Rea says. Sure enough, the lead actor had to leave the stage again and they saw the director coming down the aisle in their direction. The female understudy had to rush backstage, get ready in five minutes and take over the role. “She nailed it!”
When he’s not on stage performing, or backstage in the wings, you can find Rea and the other three understudies out in the lobby prior to each performance finding volunteer spellers from the audience to participate in the performance. “It’s an added perk that comes with working on this show.”
By: Nancy Parrott
