The question that every prospective student should be asking programs but aren’t

By Matthew Teague Miller, Guest Editorial

‘Tis the season, when Musical Theatre BFA coordinators are beginning to meet with prospective students to field their questions and woo the “chosen ones” into their programs.  (From the outset, it is important to acknowledge the major flaws in this system, which places students in the position of feeling that they are powerless and at the will of the “all mighty professors,” who hold students’ destinies in their hands.  When in reality, the student is the consumer who is shopping for the right fit and is mutually responsible for the final matchmaking decision… but I digress).  

Every year I am struck by the consistency of the questions that I receive at these meetings, which are thoughtfully prepared by students who have been told what to prioritize by their parents, their parent’s Facebook groups, and a broken system that only prioritizes one type of credit as a measure of Musical Theatre success. 

I have answered the questions “Do you have a senior showcase? What is the success rate of your alumni? Are Freshmen allowed to audition?” So many times I should have pre-recorded responses on my desktop that allow me to press play and take a much-needed drink of coffee while it answers. 

Occasionally, other questions are peppered in, like “what type of acting training do you offer? What is the teacher-to-student ratio?” And in recent years, the growing question “What is your commitment to diversity and inclusion” (which is HUGELY important, but if you have to ask after looking into a program, the program isn’t doing enough). All of these are fine questions that, for certain students, are applicable, interesting, and relevant.

But there is one question that I have never heard and that every student should be asking: 

“Will I have the opportunity to understudy and/or swing on a mainstage production, and will you teach me how to do it?”

In the theatre, if the past four years have taught us anything it is that understudies and swings are the heroes of every production. 

On Broadway, Regionally, and at the Community theatre, understudies make the world-go-round and consistently save the day, the show, and the health of others in a production.  Yet for years, at the educational level, they have served as a token gesture that is bestowed on the “runner up” for a role or the student who “needs to be thrown a bone” (not my words).  In many a university and high school production, once the cast list is posted, the understudy is forgotten or tossed aside, demonstrating just how empty the gesture was, to begin with.  

Being an understudy or swing is a skill.  A skill that is as valuable and important as singing, dancing, acting, entrepreneurship, and advocating for inclusion.  A skill that some may have natural attributes for and others may not.

Regardless, the position requires a learned set of tools for the on and offstage components. Onstage tools that will get students jobs include the organization required to cover multiple roles at once, compartmentalizing one’s brain to be able to focus on the role that you are on for and not the ones you aren’t, learning choreography for both sides that mirror each other, and so many more. 

Offstage tools that will get students hired back comprise navigating the bizarre social dynamic of being someone’s standby while working hard enough to be ready to go on but not so visibly that it feels like you’re stepping on the principal’s toes, being present enough to get the blocking and details without taking too much space, and creating a system to go on with a moment’s notice for a role you haven’t played in months. These tools are best explored in the safe setting of an educational institution rather than in one’s first professional contract.  

Reliable understudies and swings are incredibly valuable members of the professional theatre community.  Many Musical Theatre performers’ first big job includes an understudy assignment, while others can make an entire career performing this invaluable role. 

I think it is very likely that we are going to see productions hire more and more understudies and swings per production to ensure they do not lose revenue.  This will create more and more potential jobs for our students!  Perspective students who are looking for a program that will give them as many employable skills as possible should consider adding “what is your understudy training” to their list of questions when meeting with program coordinators to make the most of their education.

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About the Author: Matthew Teague Miller is the Musical Theatre Program Coordinator at Chico State, and the co-host of the Musical Theatre Educators podcast, Carefully Taught: Teaching Musical Theatre with Matty and Kikau.  He served as the president of the Musical Theatre Educators Alliance from 2020 to 2022