Some of the hardest working members of a Broadway musical remain anonymous. That’s because they’re swinging. When they are on stage, you won’t know who they are. Until now.

A “swing” is a dancer who is not a member of the ensemble but learns the different positions or tracks of each of the dancers who are and can substitute for anyone of his or her gender who moves up to cover a principal role, is out sick or on vacation. If the show has a large chorus, there will be more than one swing per gender and they will split the covering between them. When a swing goes on for a member of the ensemble, you will see the same quality show. You won’t turn to your friend and say, “Geez, the swing is on.” You actually never know.

Each ensemble member’s track is different yet critical to the overall choreography and, ultimately, the success of a musical number. A swing has to learn and memorize every track and be ready to step in at any time. He or she must be able to visualize the production as a giant puzzle, fit the pieces and, most importantly, handle the pressure. A terrific dancer is not necessarily a good swing. It takes a special kind of person to excel at swinging.

Mason Roberts has been a swing on the national tour of The Drowsy Chaperone (coming to San Francisco this summer) since the tour began over six months ago. He covers six roles.

“In the beginning, the hardest part was feeling overwhelmed by the amount of staging, choreography, lines and vocals I had to learn coupled with the awareness that I could be thrown in at any time and needed to be on my game,” he explains. “I continually need to review each of my covers to keep things fresh in my mind.”

The process of learning and rehearsing the tracks is as varied as the swings themselves. Most create some version of a playbook that they keep with them at all times. When they get word that they’re going on, they can refer to their detailed notes and diagrams before the curtain goes up. And, the rest of the ensemble takes extra care to help them out on stage. Yet every now and again a swing moment occurs. Some call it “swingitis” but every swing has one eventually— a mental meltdown and suddenly her or she is lost on stage. Instantly, everyone adjusts, the swing snaps out of it, and the audience most likely is unaware.

Mason covers identical twin actors who play the two gangsters in the show. His swing moment came early on when he could not tell them apart and couldn’t keep track which actor was playing what part and had which lines. Trying to learn their “tracks” in the beginning was nearly impossible. “It was such a challenge because their parts are only slightly different from each other in choreography and lines,” Mason explains. “I really have to keep a strong focus when I’m on for either one.”

Often a swing is also the dance captain of the company—teaching the steps to new replacements and maintaining the show's overall choreography. Since they are strong dancers, versatile performers, and regularly watch the show when they are not performing, a swing can be perfect for this role.

Tiffany Haas was a swing in Wicked on Broadway and has been a swing and the dance captain for The Drowsy Chaperone tour since it launched last September. She currently covers four roles and insists “you never get bored because you do a different role each time you go on.”

The same is true for Mason. “The most enjoyable part is that it remains exciting for me every time I go on and that I get to eventually perform different roles and not just the same one every night.”

It’s easier on your body, too. Swinging provides diversity and balance—none of the repetition of movement that can plague an ensemble member. Swings command a tad over the standard ensemble salary and, unlike understudies, are paid whether or not they perform. Essentially, swings are compensated for what they know not how often they go on.

If they weren’t swinging, what would be the role of their dreams? For Mason, “one that’s maybe being written right now that I could help create and bring to life.” It would be Maria in West Side Story for Tiffany, “I would love that!”

Moving up to a principal role is not easy to do when you’re a swing. Not because he or she isn’t talented but because swings are so valuable.

Former swing Jeannette Bayardelle currently plays the lead role of Celie in national tour of The Color Purple (at the Orpheum Theatre last fall). Jeannette swung the show—covering 11 different roles—and eventually took over the lead on Broadway before being cast for the tour. She continues to receive rave reviews for her remarkable performance.

“To me The Color Purple is one big song.” Jeannette explains. “Because I was a swing, I know and love every number in the show. But when you’re a swing, they don’t want to let you go, they depend on you because not everyone can do it.”

Now, just as reference for your next game of Cranium, here are the basic differences between a lead, a standby, an understudy and a swing: Leads perform major roles in every show. Understudies perform other roles, are often in the ensemble but are ready to move up to a more important or lead role if that actor is out. Standbys know the principal roles and are ready to go on at anytime. Swings know all of the minor roles of their gender and are ready to replace understudies when they move up or are out. Leads and understudies perform every day. Standbys and swings are “on call” and only perform when needed. Got it?

Photo from The Drowsy Chaperone by Joan Marcus

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