Understudies, who needs 'em?

Understudies, what are they and why do I need them? Brilliantly talented actors, in my professional opinion, are frequently the least reliable individuals on God’s green earth. Talent is not a guarantee of discipline which is an essential ingredient for success in almost any endeavor in life.

More frustrating by far than dealing with a less than excellent actor is dealing with one that is never there, frequently leaves early without apology or explanation, or gives excuses instead of results when it comes to being prepared for rehearsal.

In comes the unsung hero of the theatre, the understudy. First let me say that understudies should not be the leftovers, although frequently they are, if you have the luxury of choosing your understudies from a selection of qualified candidates, choose them with the same care you chose your first string.

But regardless of the reality of your situation, make sure that you treat these people as a valuable asset to the team. They may indeed end up being your lifeline.

So, how do you know when it’s time to pull the plug on the wayward virtuoso in favor of the understudy? A couple of factors I recommend you keep in mind. First, if your understudy could have been first team to begin with, you can make the switch with confidence. If, however, they are less than 100%, you may want to make absolutely certain that the offending actor will not straighten up and fly right in time to avoid catastrophe.

There is no hard, fast rule, but make sure of the following: do not lose the confidence of the rest of the cast waiting for a miracle, do not allow your emotions to over rule your common sense, do not harm your relationship with the actor by falsely being nice in extending grace beyond the realm of reason, above all whatever happens do not allow this to become a personal or partisan conflict, keep it professional.

Try to make the decision early enough to be fair to the understudy and the rest of the actors who will be adjusting to make allowances for the new talent. Once the decision has been made stick with it, add rehearsals, work extra with the understudy, under no circumstances should you go back and beg the actor to return, they will own you!

Many of these conflicts can be avoided by taking this advice in the casting process; avoid begging, pleading, or manipulating ANYONE into auditioning or accepting a part. If they hesitate, leave the offer on the table and walk away for twenty-four hours, then come back, if the answer is no, you dodged a bullet, go find another leading man.

Here is a little hope. It has been my experience that an understudy who sticks with you will often give a better performance, regardless of talent, than the flaky star you thought you wanted.

Give them something to shoot for.

Here is a little exercise that I use to help my actors understand how important it is for us to have a common goal. I divide the class into two groups. I seperate the two groups into seperate rooms. I then give each group a paperclip, a pencil and a sheet of paper.To the first group I give the following instructions, "Using this paperclip as an example I want you to write down as many uses for a paperclip as you can think of." I answer no questions, give no examples, I leave the room and go to my other group where I say this, "Okay, I want (pick someone reasonably responsible) this person to be our secretary. Now here's what we're going to do. I want you to come up with one hudred uses for a paperclip, I am giving you five minutes to complete the list. They don't all have to be good ideas, any idea will do." Then
I usually give them one or two examples which I tell them they are free to use.

From that poin on I check on both groups about once a minute. I do not talk to my first group, I continue to encourage the second and keep them posted on how much time, etc. is left.

When the five minutes are up I bring both groups together. Invariably, even with students who know the game, the second group outproduces the first three or four to one. If the first group got 30 ideas, the second will have 90. It never fails.

So break it down to directing. i come into a rehearsal with no goals in mind, maybe not even any blocking notes, I laze around getting started, don't encourage my actors or present them with a specific list of what we are going over, I get crap!

Versus, I come in with notes, tell them what I want to do tonight, get straight to work, amazing results!

One hundred percent of the goals that do not get set will never be reached, try it!

Casting: The Care and Feeding of Actors

So, you chose your script, you found your space, you successfully executed a great audition, now what? You are faced with stacks of audition forms, pictures of strangers and a list of parts to be filled. Good Luck! You're going to need it!

If you find faith at the center of your life you can start where I do, pray! After beseeching the almighty for wisdom sharpen up the old pencil and dig in, because unless you know a trick I don't he whispers advice but he won't write the list for you.

I like to start by dividing the stack into several categories. A: These are the ones you know can handle principal roles, they have the skills and are ready to go. (remember depending on what level you are directing at you might have to grade on the curve, but these are the cream of your crop) B: These are people who are competent, or at least won't fall apart. and C: Here we have those who cannot handle the rigors of the bright lights, but should you be in a position to develop new talent don't discard them completely, recruit here for crew and understudy positions.

If you have the luxury of having more actors than you need to field a team you can immediately remove from consideration the Cs. Next cast anyone that you are already decided in and get them out of the way. I usually have help from an assistant director, choreographer music director and the like. Someone needs to be writing this down. Make a character list and ad the actor's names as the choices are made, also noting on their forms which parts were assigned. Here is a link to a PDF of our most recent incarnation of audition form.

When considering how best to use each actor there are more factors than just talent. A more experienced actor will come to the table with a greater understanding of what it means to act, but can also bring preconceived notions of how they will work that can be difficult to overcome. Rookies can be fresh and willing to try anything, or frightened and unsure, use your best judgement.

There is also the question of availability and willingness to work. If you feel that an actor is brilliant, ask a few questions to try and determine how hard they work at that brilliance. If they are going to rely on talent alone, consider passing them up for your second choice who may be a harder worker. Give the brilliant one a supporting role this time around and check their attitude, you may be glad you did.

Try to consider the whole audition. Were they on time. Did they cop an attitude with the script girl or stage manager only to kiss your hand and smile sweetly? Did they treat other actors with respect and give them what they needed in reading or were they only concerned with themselves?

In addition to thinking of them as individuals you must also take into account how they will work together. Make sure to cast people you believe will be able to get along in principal roles, even if their characters will hate each other. Trust me weeks of backbiting and petty bickering can make you wonder why you do this at all.

Once you have decide on your cast, unless fate intervenes to make it impossible, stick to your guns. Do not waiver or feel the need to over explain anything about your decisions. If an actor truly wants feedback on what to improve for next time,do the best you can to give it. Remember you are here to tell the best story you can with the available resources, not make everybody ecstatically happy.

Hopefully you are working with a group of well balanced mature adults who will take the casting decisions in stride and make the best of it. (What am I saying these are actors, the most neurotic imbalanced people you ever want to meet, I love these guys!) But anyway most people will be Happy to have the opportunity you are providing and will work hard to get it right for you.

Remember to respect them and say please and thank you. try not to be too demanding and always give them your best by being confident and prepared for rehearsal.

One last thing. Be sure to get the list out when you promised, even if you have to stay up late to get it done, they are waiting for it, no matter what they say.