
Broadway Swings: Covering the Ensemble in Musical Theatre

Once I became comfortable in a few tracks to the point where I didn’t have to focus or think as much about where I was going, I began to track while onstage.
Lyndy Franklin Smith • Broadway Swings: Covering the Ensemble in Musical Theatre
definitely employed Swing teamwork on A Chorus Line. In fact, on one of the first days of rehearsal, Jeffrey Schecter (who played the role of Mike) was injured and one of our Understudies, Mike Cannon, had to step in for him for almost all of the studio rehearsal period. Mike Cannon also understudied the role of Mark. But, it was difficult for him
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I once “triple-tracked” in Rock of Ages, playing a Principal and two Ensemble tracks in one show. We were stuffing wigs and hats together to try and make me look like different characters. I was underdressed in three separate costumes at one point. I remember after the curtain call I walked off and fell in a heap and just cried in relief.
Lyndy Franklin Smith • Broadway Swings: Covering the Ensemble in Musical Theatre
“Scene Partner” app There is an app that can help Swings to learn their lines more efficiently, called Scene Partner. Scene Partner is a mobile app for iPhone, iPad, and iPod Touch that helps Actors learn their lines. It uses text-to-speech technology, to turn the text of your play into speech, so that you can listen to just your lines, just your c
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it is a Broadway tradition that, at the end of each week, Actors tip their Dressers (the Wardrobe Crew who help Actors make their costume changes). The current standard is $10 per week, for an Ensemble member’s main Dresser.
Lyndy Franklin Smith • Broadway Swings: Covering the Ensemble in Musical Theatre
ERIC WOODALL (Casting Director, Tara Rubin Casting)
Lyndy Franklin Smith • Broadway Swings: Covering the Ensemble in Musical Theatre
When I teach at George Brown College in Toronto, I make all of my students practice swinging. I choreograph three pieces over the semester, where they are only in two. They must then create a Swing book for the piece they have not been choreographed in, and at the exam, I “swing” them into the piece to see how they do. It’s a skill that you end up
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Rob Ashford pulled me aside after the closing night party at David Hyde Pierce’s house and he said, “You know, everyone is very happy with your work, I want you to continue with the show when it happens in New York as Dance Captain, but I want to give you the option of either being onstage or offstage. It’s your choice.” I was really grateful and f
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