The Theatre Question Amnesty Thread

In addition to that swings often—but not always—have no normal track of their own, so if every member of the company turns up for work the swings sit around backstage, probably contributing their vocals to ensemble numbers but not appearing on stage.

If you jump on a train why don't u go flying backwards? Would this still be the case if u on top of a moving car and u jumped?

So, is there a career progression path from "normal" ensemble member, with just the one track to belt out night after night, to swing with a range of tracks learnt ready to belt out when required? Or is the path in the opposite direction, from swing to "normal"? And why? Or is it just that some performers prefer either the variety of being a swing or the routine of being a "normal"? Or are some performers much more flexible and more credible in a whole variety of ensemble roles? So many questions ...

There's no progression path from swing to ensemble or vice versa. Personally I think swings are the real stars of a show. To be able to jump into various tracks on short notice is admirable. I have the highest respect for swings.

Yes you can indeed audition specifically for a swing role - and most actors auditioning for these roles will know exactly what they entail. This is more common for longer running shows where they know exactly what they're looking for, they know exactly what each swing track does and what needs to be fulfilled in these tracks, and whether those who are currently in those tracks are leaving or staying on another year.

For a brand new show auditioning, it can be a little more vague in the breakdown, maybe listed as 'MALE/FEMALE (Ensemble)' or something along those lines. This will most likely be because the panel themselves might not know exactly what they're looking to be fulfilled out of these roles that have yet to be created. There may be someone they like, or a recent graduate, but they don't quite fit into the jigsaw of the regular cast, so they will eventually offer them a swing track. Or sometimes it's because someone is so incredibly talented, skilled and - most importantly for a swing - reliable, that they can be trusted with taking on a swing track, most definitely the hardest job in the cast - hence why they are paid the most (out of ensemble/swings - probably leads are on the most).

The process is, more often than not, long and nerve-wracking. First audition will most likely be "2 contrasting songs in the style of the show". A recall would be the next stage, where you may be asked to do material from the show you're auditioning for. Then various dance/movement calls, then what are known as "finals", and then offers may go out. I auditioned for Half A Sixpence at Chichester (didn't get it), but over the course of just over a month, I auditioned 6 times in total, my "finals" panel included the director, choreographer, Stiles & Drewe, Julian Fellowes, Cameron Mackintosh and his casting team. So still a great opportunity in itself.

Because when you jump on a train, you're not starting from a purely stationary position, you're already moving with the train. So although you feel like you're standing still and jumping straight up, the train's momentum means you continue to move forward, which contradictorily is why you seem to not change direction at all and land back on what feels like the same spot.

Physicswise, this would theoretically be the same when standing on top of a moving car and jumping, but I honestly wouldn't advise it, as the top of a moving car is a dangerous place to be.

This is also why jumping just before you hit the bottom if you're in a lift plummeting down a lift shaft wouldn't save you, but up and down rather than backwards and forwards.