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.
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.
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