A reader recently asked me: what's the difference between an understudy, swing, and standby? Are they interchangeable? Are there other titles besides those that I don't know about?
First of all, thank you for the questions! I love interacting with the readers and talking about what you want to talk about!
Second of all, I'd love to answer these questions; this is a really interesting topic and side of the industry that we don't discuss (nor applaud those it affects!!) enough. Let's jump in!
*As usual when it comes to these kinds of "industry explanation" posts, I'll simply say that the below is the most typical definitions for these terms. They may vary based on the given contract, but in general, these are the base meanings.*
Understudy
An understudy track is someone who covers for a principal role and is in the cast elsewhere, often playing a smaller part or an ensemble role. This is probably the "most common" form of cover you'll see across theatre -- from the professional space all the way down to community level. Also, the word "understudy" probably causes the most confusion because it has become the blanket term to replace "cover". But don't let its misuse mislead you -- now you know!
Swing
In its most traditional definition, a swing track is someone who steps into the ensemble to fill an understudy's track when that understudy is covering a principal role. But nowadays, it can also mean covering a principal track if, for example, a show does not have an ensemble: a swing at that point would have to be ready to step into any number of principal roles while being offstage coverage. And you read that right -- a swing track often covers multiple tracks, from both the ensemble and/or the principal cast, and has to be ready to go on at a moment's notice.
Standby
A standby track is, in a way, a combination of an understudy and a swing: they cover for a principal role, but they do not have a place in the ensemble / in the show when not performing the track they cover. In general, a standby only covers one role. This type of cover is often necessary within a show with a highly demanding role (i.e. roles like Elphaba in Wicked, Christine or the Phantom in Phantom of the Opera, Drew in Rock of Ages, etc), and they also often exist to cover a "star vehicle" (i.e. Hugh Jackman in The Music Man, Ben Platt in Dear Evan Hansen, Lindsey Mendez, Jonathan Groff, and Daniel Radcliffe in Merrily We Roll Along, etc.). Standbys are the "first line of defense", so to speak: they are the first call to go on for the principal role before an understudy.
Alternate
You asked if there are other types of cover tracks, and wouldn't you know it: there is another kind! An alternate track is someone contracted to always step in for certain show(s) in a given week. For example, an actor playing a demanding role may be contracted to only perform six or seven times in a week, meaning their alternate would always step in for one or two of the eight shows a week (typically a matinee or a mid-week evening performance, not the "high volume" performances). Their schedule is laid out in their contract, meaning the alternate always knows beforehand when they are stepping in (would always step in for Tuesday evening performances, for example).
It's a lot, isn't it? And the differences between these titles can be so minute, it's not surprising that even people that have worked in the industry for a long time get all of these mixed up! But I hope I've helped to clear up some confusion, and you can take this information to impress all your friends at your next dinner party.
One last thing I'd like to talk about in terms of cover roles in the theatre. Outside of the professional theatre community, it seems to me that there's a lot of misunderstanding and lack of respect for cover tracks. Here in NY, everyone in the theatre community knows how crucial they are and gives them the accolades they absolutely deserve, but away from here and/or even amongst general audiences? There's an audible groan that goes up every time a cover is surprise announced just before the curtain rises. And there are eye rolls when an actor is offered a cover role in a community setting. I don't know if it's a lack of knowledge for what they do, an (appallingly incorrect) assumption that they must be less talented than the principal cast, or an irritation that it means they may never get the chance to perform, but covers are the unsung heroes of the theatre, period, exclamation point. The amount of trust and belief a casting director places on an actor by putting them in a cover position is SUCH an honor -- it's more faith than they put on the principal cast, in all honesty!
So, my dear readers, if you've ever been in that camp of misunderstanding, I hope that, if nothing else, this post has reminded you of the incredible, invisible work that covers do to ensure that a show can go on without a hitch. And if you've ever had the opportunity to be a cover? I hope you wear that badge of honor with immense pride. The amount of work it takes to be a good cover is no joke, and if casting saw something in you that gave them the confidence to know that you'd excel in multiple positions -- and you prove them right -- trust me when I say that you will always have work available to you.
Thanks for reading, #DreamTeamHLJ, and let's have a round of applause for the covers!
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