BroadwayGirlNYC: Ode to the Understudy

Sometimes you go to the theatre to see a star, but you end up seeing something different -- or stumbling upon something even better.

This past weekend, I went to two Broadway shows that had understudies.  In both cases, I was entirely happy with what I saw.

Friday morning, I scored front-row student tickets to Memphis for myself and my friend Liz, who was visiting from out of town. For her birthday earlier this year, I'd gotten her the cast album; she loves the songs -- and was excited to see Chad Kimball and Montego Glover perform them live in person.  We got up early and stood in line at the Shubert (I pointed out the location of the magical moment that launched my love of Broadway), and she was both surprised and thrilled when I told her we'd be sitting in the front row.  We were both so excited that we missed seeing the understudy board... which said that Chad Kimball was out of the show.  His understudy, Bryan Fenkart, would be playing Huey instead.

We didn't realize that Chad was out until that night at 7:45, when we arrived at the theatre and the little white papers fell out of our Playbills.  Liz' face fell, and she wondered aloud whether we should seek a refund on our tickets.  But luckily, I had seen Bryan perform the role of Huey at Broadway on Broadway -- and I knew he would be fantastic.  I convinced Liz that we should stay, and by intermission she was glowing.  This understudy was giving the performance of his life, and we were there in the front row to enjoy it.

I've written before about the intricacies of performances featuring (permanent) replacement cast members.  Understudy shows are similar -- they provide a great opportunity to examine which elements of a role are infused specifically by each actor (rather than the characteristics that remain no matter who is performing, which are most likely dictated by the director).  In the case of this past Friday's Memphis, Liz and I got to see a guy fully engaged in the show (an actor would have to be, if he only goes on as the lead every once in a while).  And we got to see a full cast interacting with someone new, which I'm sure brought them into the moment in a way their everyday cast-mate might not.  

I had seen Memphis several times before.  I like Chad Kimball's performance, but I have to say that I enjoyed Bryan Fenkart's even more.  He played the role with exceptional passion, heart and a chemistry with Montego Glover that gave us, in the first row, goosebumps!  Liz was thrilled that we had decided to stay, and I was delighted that I had come back to see the show for a fifth time.  We jumped to our feet during the curtain call.

Liz was in town for two days, so of course a show on Saturday was in order.  For the second day in a row, we got up early for student rush tickets, this time to see Best Revival of a Musical Tony winner La Cage aux Folles.  And for the second day in a row, we were so excited to get them that we totally missed the understudy board!  I'm not sure how happy I'd have been if I'd known in advance that Douglas Hodge, who fully deserved his Tony win for Best Actor in the role of Albin, would not be in the show.  

We arrived at the Longacre Theatre just a couple of minutes before curtain on Saturday night, and took our seats in the right box just as the overture began. We hadn't even had a chance to open our playbills.  So when Albin came out onto the stage, and in anticipation of Hodge I started to applaud... I was shocked to see actor Chris Hoch in his place.  

Despite my positive experience with an understudy the previous day at Memphis, my heart fell.  I had so loved Douglas Hodge's performance, and I wanted Liz to hear what I'd been raving about for months!  I have to admit that I was taken out of the world of the play for a bit.  "I'm sure this guy is fine," I said to myself, "but there's no way he compares to Douglas Hodge."

But then, "A Little More Mascara" began, Albin's first big number in the show.  Not only did the (male) character of Albin transform into Zaza, his female stage alter-ego, as he sang; but sure enough, Chris Hoch became Albin.  After he totally nailed that number, I was no longer at all disappointed that Douglas Hodge was out of the show for the night.  I settled in and enjoyed the fabulous production, including being awed at Hoch's flawless performance.  And guess what?  Liz never even knew the difference.  She saw an actor worthy of a Best Actor Tony, and so did the rest of the audience.  (What makes Hoch's performance even more impressive is knowing that he also understudies Kelsey Grammer's role, Georges.  Between the two roles, he has practically the entire show memorized!)

I go to the theatre so often that I end up seeing understudies in many roles.  Admittedly, sometimes it's disappointing (especially if there's a particularly beloved actor missing the show); but I've found with very few exceptions that the understudies are fantastic.  Surely any actor hired to play a lead on Broadway (even every once in a while) is going to be a great talent. And since they only go on from time to time, they're likely as excited as we are to be there!  

This weekend taught me an important lesson, one that every frequent theatre-goer should learn.  It's not a let-down to see an understudy on Broadway; it's a gift! Because while any number of fans can say they love Chad Kimball or Douglas Hodge, a much smaller number can sing the accolades of Bryan Fenkart or Chris Hoch.  When you see an understudy, you're seeing a show that's distinctly different -- which is what makes live theatre so wonderful in the first place.

So here, here, understudies!  Allow me to sing your praises.  You're great at what you do -- even if many days you're stuck waiting in the wings.

 

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