A Bounty of Riches – Part 1 (Broadway)

Two years ago, if you’d told me that I would be simultaneously working on a Broadway show and getting ready for the release of my first novel, I would have laughed at you. Nay, guffawed. I had no plan to return to The Great White Way, was happily ensconced in regional theatre, and had barely begun looking for an agent to represent my book. But the world whirls on its merry way whether you like it or not, and I keep wishing there was some way I could put the brakes on both projects just long enough for me to sit back and appreciate the bounty of riches that has landed in my lap. I decided I’d blog about them, as a way of stopping time a bit.

So I’ll start with Broadway first. I’m currently understudying the legendary Patti LuPone and swinging three ensemble roles in WAR PAINT, now in previews at the Nederlander Theater. I’ve had a number of non-theatrical friends ask me “what does a swing do?” and I can now tell you from experience that it’s one of the hardest jobs in show business (right up there with stage management, in my opinion). A swing’s job is the same as an understudy’s, except that a swing covers multiple tracks (a track being a particular performer’s journey through the show, including their spoken lines, sung material, entrances and exits, set or prop moves and costume changes). The swing must be ready to “swing into” any of those tracks when a performer is absent or otherwise unable to perform.

What this translates to in real life is that I spent most of my rehearsal time sitting and watching and taking copious notes. In the studio I was parked at a table off to one side with the other swings (there are five of us), but once we moved into the Nederlander our table was up in the mezzanine, which afforded a great view of the stage and made it a lot easier to observe specific moves. We also had the freedom to move about the theater and watch the show from different angles.

As Ms. LuPone’s understudy, I was (and still am) occasionally called on in to step into the role of cosmetic titan Helena Rubinstein during our daytime rehearsals. It’s a taxing role, and in order to give Patti plenty of time to rest (especially if there’s a show that evening), she isn’t called when we’re focusing lights or running transitions from scene to scene or doing other tweaks and adjustments to the show. Last week, prior to our first preview, we did a run with our wonderful orchestra, mostly for the sake of timing the show. I had the great privilege of standing in for Patti that afternoon, and even though I was not in costume and occasionally had script pages in hand, it was still thrilling.

Costumes – can I just say the costumes for this show (by the amazing Catherine Zuber) are absolutely stunning? I had my first fitting with her last week, to try on “emergency” costumes for the Rubinstein track. My own set of Rubinstein costumes are being constructed as I write this, but the “emergency” ones were pulled from stock against the very slim chance I’d have to go on before mine are completed. Even so, the care that Ms. Zuber and her staff took with fitting those costumes and choosing all the attendant accessories was just awesome. I’ll also have a set of costumes for the ensemble tracks I’m swinging, so a lot of fittings are in my immediate future. (I’ve already been fitted for wigs; I’ve seen a couple of them in the wig room but haven’t had a chance to try them on yet. Stay tuned.)

Once the show has its official opening (April 6th), then I’ll rehearse four hours a day, twice a week, with my fellow swings and the other understudies.( “Other understudies?” you may be asking. Yes, indeed. Typically, in a Broadway show, each major role is covered by two people: a swing and a cast member who performs in the ensemble.) Meanwhile, I’m required to be in the theater for every performance, “standing by” in case I’m needed. I hope I’m not. But to quote the Immortal Bard, “the readiness is all.”

Next up: A Bounty of Riches – Part 2 (Getting Published)

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One comment

  1. Pingback: A Bounty of Riches – Part 2 (Getting Published) | Donna Migliaccio

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