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Understudy

An understudy is an actor in a theatrical production who learns the lines, blocking, and choreography of a principal performer to serve as a substitute if the primary actor is unable to perform due to illness, injury, or other emergencies.^[1] This role ensures the continuity of the show, allowing performances to proceed without interruption, and understudies often participate as ensemble members during regular shows.^[2] The term "understudy" originated in the mid-19th century, with the verb form first appearing in 1874 to describe studying a role under another actor for potential replacement, and the noun form emerging around 1882.^[3] Rooted in the idea of a junior performer learning from a senior one, it reflects the apprenticeship-like tradition in theater where backups prepare meticulously without guaranteed stage time.^[4] Over time, the practice has become a cornerstone of professional theater, particularly in long-running productions like Broadway musicals, where understudies balance their own parts with the demands of covering leads.^[5] Understudies play a vital role in the industry's resilience, as highlighted during disruptions like the COVID-19 pandemic, when they frequently stepped into prominent roles to keep shows running.^[6] Many acclaimed performers, including Shirley MacLaine and Elaine Stritch, launched their careers as understudies, turning temporary substitutions into breakthrough opportunities.^[7] Distinct from swings, who cover multiple ensemble tracks, or standbys, who focus solely on leads without onstage duties, understudies typically handle specific principal roles while contributing to the chorus.^[8]

Definition and Origins

Definition

An understudy is a performer who learns the lines, blocking, and choreography of a principal actor or actress in a production, prepared to substitute in the event of the lead's illness, injury, or other unavailability.^[1] This role ensures the continuity of the show without significant disruption, particularly in live theater where performances occur on a fixed schedule.^[5] Key functions of an understudy include shadowing the principal performer during rehearsals and performances to observe nuances in delivery and movement, attending all production rehearsals to stay aligned with the director's vision, and maintaining readiness to step in with little to no additional preparation time.^[2] Understudies must internalize the role thoroughly, often without the benefit of full run-throughs dedicated solely to their coverage, emphasizing precision and adaptability.^[9] Unlike general ensemble members who contribute to group scenes without specific substitution duties, understudies concentrate their preparation on designated principal roles to enable a seamless replacement that preserves the production's integrity.^[10] This focus underscores their role as a critical safety net in live performances, where an actor's sudden absence could otherwise halt the show entirely.

Etymology and Early Usage

The term "understudy" derives from the prefix "under-," denoting a subordinate or secondary position, combined with "study," referring to the diligent learning of a theatrical role. This compound word emerged in the context of 19th-century English-language theater, where it described performers preparing to replicate a principal actor's part.^[4] The noun form of "understudy," meaning a backup performer who memorizes lines and actions for substitution, was first recorded in 1882, while the verb form, indicating the act of learning such a role, dates to 1874. Early applications of the term appeared in American and British theater, particularly amid the growth of professional stock companies in the late 19th century, where ensembles performed a repertoire of plays in fixed venues. These companies relied on junior members to observe and replicate roles, formalizing the understudy's preparatory function to ensure continuity in long-running productions.^[4]^[11] The understudy practice built upon earlier informal apprenticeships in 18th- and 19th-century stock companies, where aspiring actors gained experience by assisting and shadowing established performers in resident theater troupes. Cultural influences from vaudeville, with its fast-paced variety bills requiring quick substitutions for absent acts, and from operatic traditions, where "covers" learned demanding vocal roles to replace principals amid rigorous schedules, further shaped the role's development in legitimate theater.^[11]^[12]

Historical Development

Origins in Theater

The role of the understudy emerged informally in pre-20th century theater through the repertory systems of Elizabethan and Restoration companies, where actors, particularly apprentices, were trained to perform multiple parts and cover for absent performers to maintain production schedules. In Elizabethan theater, playing companies like the Lord Chamberlain's Men relied on boy apprentices bound to senior actors, who learned lines for various roles—including female parts—and stepped in during illnesses or other disruptions, as companies rotated through a demanding repertoire of up to six different plays per week.^[13] This system ensured continuity in an era of frequent performances without modern backups, with apprentices often handling both minor and substitute roles amid the physical rigors of touring and open-air venues.^[14] Restoration theater, following the 1660 reopening of English playhouses, continued this tradition within the two patent companies (King's and Duke's), where stock ensembles adapted to a similar repertory model, with junior members covering leads in comedies and tragedies to mitigate risks like actor indisposition from travel or health issues. The 19th century saw further formalization amid the expansion of professional touring companies and the star system, particularly in Shakespearean troupes and American stock theaters, where visiting celebrities performed with local ensembles, necessitating supporting actors to understudy principal roles against the hazards of long journeys and live shows without recordings.^[11] Health risks, including epidemics and stage accidents, amplified this need, as cancellations could devastate touring revenues.^[15] Key milestones in institutionalizing the understudy came in the late 19th and early 20th centuries through emerging theater organizations and unions. By the 1880s and 1890s, as touring proliferated—reaching 282 U.S. companies by 1886–87—theater managers began incorporating understudy arrangements in contracts to safeguard investments, though these were often ad-hoc and producer-driven rather than standardized.^[15] The pivotal advancement occurred with the founding of the Actors' Equity Association (AEA) in 1913, which advocated for performer protections; following the 1919 strike, negotiated agreements introduced formal understudy provisions in standard minimum contracts, requiring managers to specify understudy duties and ensuring compensation for extra performances, marking early union-backed requirements in American theater.^[16] These measures addressed longstanding challenges in Broadway's nascent days, where replacements relied on available ensemble members, highlighting the understudy's evolution from informal necessity to contractual safeguard.

Evolution in Film and Television

The advent of film in the early 20th century marked a significant adaptation of the understudy role from its theatrical origins, as productions shifted to recorded formats that allowed for reshoots but introduced challenges like actor injuries from hazardous location shoots or unpredictable scheduling.^[17]^[18] The transition to sound and the television era in the 1950s further evolved the understudy's function, particularly during the "Golden Age" of live broadcasts, where anthology series adapted plays directly from Broadway and required immediate replacements similar to stage productions, blending theater's live urgency with TV's technical setup.^[19]^[20] As television moved to pre-recorded formats in the late 1950s and 1960s, the role shifted toward voice-over artists and dubbing performers who matched the original actor's delivery for post-production fixes, reducing the need for on-set readiness but emphasizing vocal and visual synchronization. Post-1960s labor actions influenced broader contract standards in film and TV, with unions like SAG establishing protections for performers, including minimum fees for those learning dialogue or routines in addition to base pay. In the streaming era since the 2010s, understudies handle contingencies in long-form series and reality formats, such as reshoots for viral episodes or actor departures, under contracts that now encompass platforms like Netflix. SAG-AFTRA rules distinguish understudies, who learn full roles including dialogue, from stand-ins, who focus on physical resemblance for technical setups without performing lines.^[21] Key differences from theater emerged as film and television prioritized technical precision over live improvisation: understudies focus less on full-performance readiness and more on elements like physical resemblance for close-ups, lighting setups, or dubbing matches, allowing edits to mask absences rather than demanding seamless onstage substitutions. This adaptation reflects recorded media's flexibility, where contracts distinguish understudies from mere stand-ins only when performance elements like dialogue are involved, emphasizing scalability for budget-conscious productions.^[21]

Role and Responsibilities

Preparation Process

Understudies integrate into the rehearsal process early in a production, often attending all principal rehearsals from table reads onward to observe performances closely, typically from the wings or seating areas. This immersion enables them to independently memorize lines, blocking, stage directions, and cues while fulfilling any assigned ensemble roles. In many cases, understudies join the company from the outset, participating in initial blocking and character development sessions alongside the leads.^[22]^[23]^[24] Skill development techniques emphasize script analysis to grasp character motivations and relationships, physical mirroring of the lead actor's mannerisms and movements, and vocal matching to replicate tone, pacing, and delivery. Understudies practice these elements through repeated line runs at home, mental rehearsals, and visualizing stage actions to build muscle memory. Preparation typically unfolds over the production's rehearsal period, which for Broadway shows often spans 6 to 8 weeks, ensuring full readiness by opening night. Under the US Actors' Equity Association Production Contract for Broadway, dedicated understudy rehearsals must commence no later than two weeks after the first public performance or one week after the official opening, whichever is later, with ongoing sessions at least once every two weeks thereafter.^[25]^[26]^[27]^[28]^[29] Support resources for understudies include access to assistant directors or vocal coaches for targeted guidance, video recordings of principal rehearsals and performances for self-review, and periodic "put-in" rehearsals that simulate onstage substitution with costumes, props, and technical elements. Cast members frequently offer informal assistance, such as running lines or demonstrating blocking, fostering a collaborative environment. Stage management teams coordinate these elements, ensuring fittings for costumes and wigs occur in advance.^[23]^[24]^[22] Preparation presents challenges, particularly in balancing understudy responsibilities with ensemble duties, which can fragment time for focused memorization and practice. Understudies must also build psychological resilience for high-stakes scenarios, managing the emotional strain of limited performance opportunities and the pressure to seamlessly replicate the lead without prior audience feedback. Limited dedicated rehearsal slots often require self-advocacy to secure additional time or resources.^[27]^[23]

Activation and Performance

Understudies are activated to perform when the principal actor they cover is unable to appear due to illness, injury, personal emergencies, or scheduled absences, with the decision typically made by the director or producer often within hours of the performance.^[30]^[31] In rare cases, activation can occur mid-show if an emergency arises during the performance.^[30] This process relies on the understudy's prior preparation through rehearsals, ensuring they can step in seamlessly.^[32] Once activated, the on-stage process begins with announcements to inform the audience, often via program inserts, foyer signs, or a verbal statement from the stage manager before the show starts, which can foster audience support and excitement for the substitution.^[33] Understudies then undergo rapid adjustments, such as wardrobe and makeup changes, microphone checks, and a quick space walkthrough, typically completed within 1-2 hours of notification.^[31]^[34] During the performance, they replicate the principal's blocking, timing, and style to maintain the production's rhythm and safety, with audiences often responding positively to the added layer of live theater unpredictability.^[35]^[36] Following the performance, understudies may participate in debrief sessions with the director, stage manager, and cast to review the run and address any adjustments needed for potential repeats.^[36] If the principal's recovery is delayed, the understudy could perform for an extended run, continuing until the original actor returns.^[30] Contractually, under Actors' Equity Association rules for Broadway productions, understudies receive additional compensation when substituting for a principal role, typically an extra one-eighth of the weekly minimum salary per performance—approximately $340 as of 2025—on top of their base pay.^[31]^[37]^[38] Performing as an understudy involves risks such as heightened adrenaline from short notice, variable audience reactions that can range from supportive applause to scrutiny, and the need to adapt to last-minute script or staging tweaks while ensuring physical safety in complex scenes.^[31]^[39] Understudies mitigate these by relying on detailed run sheets and muscle memory from rehearsals, with limited room for improvisation—such as adjusting an accent or line delivery—to stay true to the production.^[31] Notable examples include Shoshana Bean stepping into the role of Elphaba in Wicked mid-performance after just seven minutes of preparation, improvising seamlessly to complete the show.^[31]

Understudies in Practice

In Live Theater

In contemporary live theater, understudies are typically assigned one per lead role, ensuring coverage for principal actors while allowing multiple understudies across a production's ensemble and supporting cast. This structure enables seamless substitutions without disrupting the overall performance. In large-scale musicals, a hierarchy often exists among understudies, with a designated "first understudy" given priority for activation due to their primary readiness and rehearsal focus on that role.^[40]^[41] Broadway productions impose greater scrutiny on understudies compared to regional theaters, where the commercial stakes and high-profile nature amplify expectations for precision and consistency in long-running shows. Regional venues, governed by agreements like the League of Resident Theatres (LORT) contract, emphasize practical coverage with similar assignment practices but lower visibility pressures. On Broadway, announcements of understudy performances often create audience buzz, drawing theater enthusiasts eager for fresh interpretations and occasionally boosting ticket sales through dedicated tracking resources that highlight these opportunities. As of October 2025, the newly ratified Actors' Equity Production Contract (effective through 2028) eliminates paper understudy slips in Playbills, shifting to digital or alternative announcements.^[42]^[43]^[29]^[37] Actors' Equity Association regulations standardize understudy support across professional theater, mandating dedicated rehearsals and fair compensation to maintain preparedness. In regional LORT theaters, understudy rehearsals are capped at 10 hours per week after opening, separate from regular company time, to balance workload while ensuring proficiency. Compensation includes a base weekly addition of at least 4% of the production's minimum salary for principal understudies, plus 1/8th of the minimum salary per performance when activated; on Broadway, under Production Contract terms (as of the 2022-2025 agreement, with no reported changes in the 2025-2028 contract), similar increments apply, with principal understudies receiving $60 weekly per assignment and performance pay scaled to the role's value. These rules also require understudies to be listed in programs and provide at least one week of rehearsal before performing, promoting equity and reliability.^[29]^[44]^[45] Understudies enhance the cultural fabric of live theater ensembles by actively participating as company members, often in supporting roles, which cultivates camaraderie and shared investment in the production's success. This integration fosters a supportive environment where understudies contribute to rehearsals and backstage dynamics alongside principals. Additionally, some productions organize understudy showcases—dedicated performances or events—to spotlight their skills, increasing visibility for career advancement and celebrating the depth of the cast.^[40]^[6]

In Film, Television, and Other Media

In film productions, understudies primarily function as stand-ins or photo doubles, emphasizing physical and sometimes vocal similarity to the principal actor rather than comprehensive performance preparation. Stand-ins assist with lighting, camera blocking, and rehearsal setups while the principal actor is unavailable, allowing technical teams to proceed efficiently without delaying the schedule. According to SAG-AFTRA guidelines, stand-ins classified as background performers may be reclassified and compensated as understudies if required to memorize dialogue, choreography, or routines, ensuring they receive principal performer rates for any performative elements.^[46] Photo doubles, a specific type of understudy, are photographed in close-up or insert shots during reshoots to maintain visual continuity when the original actor cannot return, prioritizing resemblance in features like hair, build, and skin tone over full character embodiment.^[46] For dangerous stunts, understudies often overlap with stunt doubles, who are hired for their precise mimicry of the actor's physique and movements to perform high-risk actions safely, with post-production editing blending the footage seamlessly.^[47] In television and streaming series, understudies provide coverage for extended multi-episode arcs, particularly during table reads and pickup shots where schedule conflicts arise. During table reads—the initial scripted read-through attended by the cast and crew—understudies may step in to voice roles temporarily, helping directors gauge pacing and chemistry without halting pre-production. SAG-AFTRA contracts cover these roles under background or principal agreements, requiring understudies to be available for such interim performances while the production adapts to the recorded format's flexibility, unlike the immediacy of live theater. For pickups, or additional filming to refine scenes, understudies facilitate reshoots by matching the actor's appearance, often in non-speaking capacities to avoid costly full replacements.^[46] In other media, understudies adapt to non-traditional formats, such as concerts where backup singers maintain vocal harmony if principals are sidelined. These understudies rehearse harmonies and stage positions in advance, stepping forward briefly to sustain the performance without drawing focus from the lead. In virtual productions, stand-ins enable LED wall and CGI integration by providing physical proxies for actors, allowing visual effects teams to test interactive elements before principal involvement.^[48] Technological aids have expanded understudy roles through body doubles integrated with CGI, reducing the need for exact performance replication. Body doubles perform actions or appear in partial shots, with computer-generated imagery overlaying the principal actor's likeness for seamless composites, as outlined in SAG-AFTRA's policies on digital doubles. These contracts include non-performance clauses, stipulating that understudies or doubles consent only to specific technical or hazardous tasks without assuming full acting responsibilities, protecting performers from unintended on-camera exposure. For instance, in post-production, CGI can alter doubles' appearances to match principals precisely, emphasizing contractual safeguards around image rights and compensation.^[49]^[46]

Notable Cases and Impacts

Famous Replacements

One of the most celebrated instances of an understudy stepping into the spotlight occurred in 1954 during the Broadway run of The Pajama Game, when Shirley MacLaine replaced the injured Carol Haney as Babe Williams for a single performance. Her energetic portrayal caught the eye of Hollywood producer Hal Wallis, who was in the audience and promptly signed her to a contract, launching her film career with roles in movies like The Trouble with Harry (1955).^[7] In the 2010s, understudies in high-profile productions like Hamilton gained widespread recognition, particularly as social media amplified their performances during absences or health-related disruptions. For example, ensemble members and understudies such as Andrew Chappelle, who covered roles like John Laurens and Philip Hamilton, delivered standout interpretations that contributed to the show's enduring appeal and helped maintain its momentum amid cast changes.^[50] Similarly, in long-running hits like Wicked, replacements received praise for infusing fresh energy into the production, often leading to sold-out houses during their tenures.^[51] These replacements frequently resulted in critical acclaim and extended runs, as seen in The Phantom of the Opera during the 1990s, where understudies like Hugh Panaro, who took over as the Phantom in 1999, earned rave reviews for their vocal prowess and dramatic depth, contributing to the show's record-breaking longevity on Broadway. Such "understudy fever" has driven box office surges; for instance, buzz around substitute performances often fills seats in long-running shows, with producers noting increased attendance during cast switches. Understudy activations are particularly common in extended productions, ensuring seamless continuity.^[52]^[6]

Career Trajectories of Understudies

Understudy roles often serve as a critical launchpad for emerging performers, providing essential experience that propels many to starring positions in subsequent productions. For instance, Sutton Foster began her Broadway career as the understudy for the lead in Thoroughly Modern Millie during its out-of-town tryout, later stepping into major roles that earned her multiple Tony Awards. Similarly, Shirley MacLaine gained her breakthrough as an understudy in The Pajama Game in 1954, replacing Carol Haney and catching the attention of Hollywood scouts, which led to her film career. Other notable examples include Elaine Stritch, who understudied Ethel Merman in Call Me Madam before headlining her own shows, and Anthony Hopkins, whose early theater work included understudy duties that honed his skills for international acclaim. These trajectories illustrate how understudy activations can transform peripheral performers into leads, fostering skill development in high-stakes environments.^[40] Beyond performance opportunities, understudy positions offer substantial networking benefits and informal mentorship. Performers gain direct exposure to directors, casting directors, and producers during rehearsals and activations, often leading to future auditions and collaborations. For example, understudies observe and interact closely with principal actors, absorbing techniques and receiving guidance that refines their craft without the full pressure of originating a role. This proximity to creative teams builds professional relationships; as one theater professional noted, understudies are "privileged to be part of a company of actors and fellow creative artists," enhancing visibility in an industry reliant on connections. Such experiences not only expand networks but also provide mentorship through daily immersion in professional workflows.^[26]^[26] Despite these advantages, understudy careers present notable challenges, including financial strain and potential long-term hurdles. Understudies typically receive the ensemble minimum salary—as of November 2025, $2,717 per week on Broadway—plus a modest stipend of $60 for principal understudies, far below the elevated pay for leads, who can earn thousands more weekly based on star power and contract negotiations. This disparity, often resulting in earnings less than half of principal rates for comparable experience, contributes to economic instability in an already precarious profession. Additionally, the demands of learning multiple tracks alongside ensemble duties risk burnout, while frequent understudy work may lead to typecasting as a reliable backup rather than a versatile lead, limiting diverse role offers.^[44]^[37] In the post-2010 era, social media has amplified understudy performances, turning unexpected activations into breakout moments that accelerate career momentum. Platforms like Twitter and TikTok have enabled performers to share highlights from substitute appearances, garnering viral attention during events like the COVID-19 surge when understudies frequently took center stage, as seen in increased Broadway coverage from 2020 onward. Complementing this, diversity initiatives by organizations such as the Asian American Performers Action Coalition (AAPAC) and theater leagues have promoted inclusive casting, indirectly expanding understudy slots for underrepresented artists through targeted hiring reports and equity training since the mid-2010s. These trends have democratized visibility, allowing understudies from diverse backgrounds to leverage digital buzz for broader opportunities.^[53]^[54]

Stand-ins and Body Doubles

Stand-ins are performers hired in film and television production to substitute for principal actors during technical preparations, such as lighting setups, camera focusing, and blocking rehearsals, without delivering dialogue or appearing on camera. They are selected primarily for physical resemblance to the actor they represent, including height, build, hair color, and skin tone, to ensure accurate replication of the actor's positioning for the crew's benefit.^[48] This role facilitates efficient workflow by allowing directors of photography and gaffers to perfect shots while the principal actors rest or prepare, and stand-ins typically work under SAG-AFTRA contracts that classify them as background performers with specialized rates. Body doubles, in contrast, are employed to stand in for actors during actual filming of specific scenes where the principal's involvement is impractical or undesirable, such as those involving nudity, stunts, or physically demanding actions, and their faces are usually obscured to avoid detection by audiences.^[55] Selected for close bodily resemblance and sometimes specific skills like athleticism or flexibility, body doubles perform on camera but remain uncredited in most cases, enabling seamless integration into the final product.^[56] For instance, they are commonly used in intimacy scenes to respect actor boundaries or in action sequences to minimize risk to stars.^[55] While both stand-ins and body doubles support production without full acting demands, they differ fundamentally from understudies, who learn and rehearse an entire role to perform it onstage or on camera if the principal is unavailable, emphasizing role mastery over technical facilitation.^[48] Stand-ins focus exclusively on pre-filming logistics and never appear in the shot, whereas body doubles contribute to captured footage in limited capacities; these roles are standard in film and television, streamlining operations in the majority of scripted projects. The practice of using stand-ins emerged in Hollywood during the 1920s, driven by the need for close-up filming efficiency and popularized by stars like Pola Negri, who advocated for lookalikes to replace her during downtime at Paramount Studios.^[57]

Understudies vs. Swings and Covers

In theater productions, understudies are typically ensemble performers assigned to learn and perform specific principal or lead roles in the event of an actor's absence, allowing them to maintain their own ensemble track while preparing for substitution.^[10]^[32] This role-specific focus distinguishes understudies from broader backup positions, as they rehearse both their primary duties and the targeted replacement, often stepping into the spotlight only when needed.^[29] Swings, by contrast, serve as versatile off-stage ensemble members who cover multiple minor or chorus roles, ensuring production continuity without being tied to a single track.^[10]^[32] They learn choreography, blocking, and vocals for several positions—sometimes up to 12 or more in large musicals like Wicked, where swings might handle 5-10 ensemble parts—and are called upon particularly when understudies perform principal roles, requiring a "swing bible" to track assignments.^[10] Under Actors' Equity Association contracts, swings receive specialized pay increments, such as 10% of the weekly minimum salary for full swings covering all chorus roles in musicals, plus additional fees per performance (4% of weekly salary), reflecting their flexibility and readiness.^[29] Partial swings, who perform some chorus duties while covering specific numbers, earn increments of 5% (up to 50% of chorus roles) or 10% (over 50%).^[29] The term "cover" is often used interchangeably with "understudy," particularly in UK theater, where it refers to performers prepared to replace specific roles, overlapping with U.S. understudy designations and receiving comparable compensation like 4% of the weekly minimum per role covered under Equity agreements.^[29]^[58] Unlike understudies' lead-oriented scope or swings' ensemble versatility, covers prioritize similar contingency planning for performer substitution in professional theater.^[32] These roles are most prevalent in large-cast musicals and union productions, where Actors' Equity mandates rehearsal credits, minimum preparation times (e.g., one week for understudies), and program listings to ensure fair treatment and operational reliability.^[10]^[29] Understudies (or covers) focus on high-stakes individual replacements, swings on adaptable group support, collectively minimizing disruptions in professional theater.^[32]

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Aug 22, 2012 · One hour before the performance as the crew sets up the Understudy sees the props, hears a keyboard instead of a piano, gets mic checked, tours ...
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Why You Should Celebrate That Understudy Slip in Your Theater ...
Feb 3, 2022 · Cast members who temporarily step into roles offer audiences opportunities they may not have thought of.
[40]
How To Be an Awesome Understudy - Backstage
Aug 1, 2024 · Acting teacher and 'The Humans' understudy Blair Baker explains how to be an awesome understudy and not succumb to nerves if you go on!Missing: vaudeville practice
[41]
When Understudies Perform - Broadway Message Board & Forum
Jan 20, 2016 · Understudies and swings do NOT receive extra pay when going on for an ensemble member, but do get an extra 1/8 weekly salary per performance ...
[42]
You're Not Just the Understudy: How to Do the Job Well Without ...
Apr 29, 2025 · Being an understudy doesn't mean you're less than. Not even close. It means they trust you to step in without warning and keep the entire production from ...<|control11|><|separator|>
[43]
A Guide to Understudies, Standbys, Alternates, and Swings on ...
Aug 2, 2022 · The most well-known term when it comes to Broadway covers, understudies are there to go on for a lead role when the main performer is out of the ...
[44]
Hello, could you please explain the difference between a swing, an ...
Being 1st understudy means you're more likely to go on in emergency than the 2nd and 3rd understudy. It basically tells of their hierarchy.
[45]
Broadway Understudies Shine Under The Pressure Of The Current ...
Dec 29, 2021 · Some of the unsung heroes of the theatre world, understudies, have been receiving much deserved praise for keeping their productions afloat so ...
[46]
Understudies.org
A resource for tracking understudy performances across New York City. Want to see someone else's interpretation of a role you love?Missing: theater | Show results with:theater
[47]
[PDF] 2023-27-LORT-AEA-Collective-Bargaining-Agreement.pdf
Oct 4, 2024 · Equity Chorus audition shall be required and held in an Equity-approved rehearsal hall or Theatre in a city where Equity maintains an office.<|control11|><|separator|>
[48]
How Much Do Broadway Actors Make? - Backstage
May 16, 2024 · The current Equity weekly minimum salary for Broadway actors is $2,439 per week. Additional minimum weekly earnings include: Swings (understudy ...
[49]
[PDF] Production: Broadway & Sit-Downs 2022 Summary of Changes
Sep 30, 2024 · Keeping Deputies in Equity's sole discretion by removing the word “Deputies” and its obligations from all rules in the Agreement, while ...
[50]
[PDF] BACKGROUND ACTORS CONTRACTS DIGEST - SAG-AFTRA
Jul 1, 2024 · Stand-ins required to memorize or to learn any dialogue, choreography, pantomime or other performing routines are classified as understudies and ...
[51]
Not Just Stand-in' Around: "Second Team" Players Who ... - Backstage
Mar 25, 2013 · Stand-ins are cast by the same people who cast "background actors" (formerly referred to as extras). SAG members are covered under the Special ...
[52]
What is a Stand-In Actor — Job Description Explained - StudioBinder
Dec 31, 2023 · Stand-ins, also known as understudies, play a crucial role in rehearsals by stepping in for actors, allowing the director and other actors to ...
[53]
SAG-AFTRA Statement on the Use of Artificial Intelligence and ...
Mar 17, 2023 · SAG-AFTRA Statement on the Use of Artificial Intelligence and Digital Doubles in Media and Entertainment.
[54]
7 Broadway Stars Who Started as Swings + Understudies - Backstage
Sep 3, 2018 · In honor of these performers, here are seven actors who've taken on the role of swing, understudy, or standby at some point in their careers.
[55]
8 Star Wars Movie Scenes Where Reshoots Are Painfully Obvious
Jan 27, 2021 · Star Wars' worst reshoots! From Obi Wan's changing beard to Palpatine's missing lightsaber.Missing: understudies 1980s
[56]
The Phantom of the Opera Replacement Broadway Musical Cast 1988
James Barbour, who played the titular role in The Phantom of the Opera, has an impressive Broadway resume, including his acclaimed performance as Sydney Carton ...
[57]
How Much Money Do Broadway Actors Make? - Playbill
Mar 29, 2023 · The current minimum salary for an Equity performer on Broadway is $2,439 a week. ... Understudying principal roles can add $60 to the weekly ...
[58]
Twitter Responds on Behalf of Broadway's Unsung Heroes ... - Playbill
Following Cameron Mackintosh's request for understudies to refrain from tweeting when they were going on in a principal role, social media erupted.
[59]
AAPAC's New Theatre Diversity Study Underscores Prominence of ...
Jun 18, 2021 · According to AAPAC's study, white actors were the most represented on stage, appearing in 58.6 percent of all roles on New York City stages.
[60]
What is a Body Double in Film — Definition and Examples
Nov 13, 2022 · In film, a body double is a person who takes the place of an actor in a scene often warranted by their physical similarities.
[61]
How to Work With Body Doubles - Backstage
Sep 5, 2023 · A body double is a professional substitute—whenever a script calls for something an actor is unable or unwilling to do, the body double ...
[62]
Mary Mallory / Hollywood Heights: Stand-Ins Honor Themselves ...
Jan 11, 2016 · Long forgotten by the industry and even audiences, stand-ins fought to be recognized for their own contributions to the creation of motion pictures.Missing: understudies | Show results with:understudies<|separator|>