when tracking backstage] I take along a tape recorder, and write down the notes later.

Or in Chicago, we had so many people off one day that we did “Cell Block Tango” with one empty chair! Flying on adrenaline makes you feel so awesome!

physically exit and re-enter a room to help “change hats.”

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

the most important part of casting Swings is finding those with the “Swing Brain.” This factor can be difficult to teach and is basically a combination of organizational skills, a “level head,” spatial awareness, and a “go-with-the-flow” attitude.

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.

ERIC WOODALL (Casting Director, Tara Rubin Casting)

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

If I am auditioning for a show that I know is looking for Swings then I make a point of noting that I have swung several Broadway shows. If I am really hoping to be cast in the Ensemble then I don’t list the