Understudies: the bedrock of broadway
The recent surge in Covid-19 cases has forced many artists to step away from the stage. Catherine Stone shines a light on the understudies that keep our favourite shows running.
Theatre has developed a distinctive culture on Broadway in New York and the West End in London. Certain casts have amassed a cult following and theatre icons are exalted, forming the public face of theatre and sometimes becoming synonymous with their fictional roles. This unique world of simultaneous precision and chaos, however, couldn’t keep turning without the people working behind the scenes.
The importance of understudies and swings cannot be overstated. These are actors ready to jump into several different roles at the drop of a hat; they must, as a result, memorise different parts, solos, and choreographies. Theatre is a machine and understudies are its spare parts: they are not expected to revolutionise a role. They should, instead, blend into the decor and follow in the main actor’s footsteps by maintaining character consistency. Even though these roles don’t guarantee fame, they are still essential.
Theatre involves the synchronisation of lead actors, understudies, the orchestra, technicians, writers and producers, choreographers, and the costume department on one stage in the hope that everything works smoothly. This collaborative effort must be replicated every night to produce the exceptional performances that Broadway demands. The nature of theatre is constantly changing and unpredictable, as no two shows are the same. While certain performances might outshine others, all actors must revert to square one while waiting for the curtain to lift.
The nature of theatre is constantly changing and unpredictable, as no two shows are the same
There are many different types of backups: standbys, who cover up to three lead roles and are offstage ‘on call’, swings who are offstage and cover the ensemble, and understudies who are always onstage, either as part of the ensemble or in a lead role if needed. Alternates cover scheduled performances and perform regularly. These actors form a show’s security net: if a standby is unable to fill a role, the understudy steps in and a swing performer takes the understudy’s usual place.
In a speech on the importance of understudies, Hugh Jackman highlights how vital their role is, particularly during the pandemic. Many theatres companies are hiring more understudies to deal with the increased numbers of absences. On several occasions throughout the Omicron surge, understudies have stopped the theatre industry from falling apart.
Being an understudy is very technically demanding and requires talented and fastidious actors who can faultlessly remember the lines, movements, essences, and music of several different parts. The musical Come From Away, for example, has 12 actors playing 60 different characters. Understudy rehearsals are scarce and put-ins (dress rehearsals that feature understudies as the leads) often don’t happen until after the opening show. Furthermore, there may be large gaps between understudies’ performances, making it even harder for them to master a role.
As Jackman notes, swings and understudies are undoubtedly the ‘bedrock of Broadway’: they keep the magic of musical theatre alive, but are rarely appreciated for their artistry and extraordinary adaptability.
