The Actress as Understudy
(Daily Mail [London, UK] - 16th May, 1905)
Ordeal of the Understudy: And Why the "Walking" Understudy Walks
After a play has been put into rehearsal one of the first things a producer does is to appoint a substitute for each of the principal members of the company.
The first business of this "understudy" is, of course to commit to memory the lines of her principal, and then during rehearsals to watch very closely the person whose work she (or he} may have one day to do. Because of that faint chance of one evening being called into prominence, the position of understudy is much sought after.
Young people when they get their first engagement in a small part or in the chorus - particularly in light opera or musical comedy - invariably try to obtain an additional position as understudy. They are enthusiastic then, and believe that if a chance should bring them before an audience fame will be theirs at once. The old hands are less sanguine. For instantaneous success secunred in this way obtains very seldom out of novels.
At the same time, the understudy gets very useful experience, sometimes a little higher salary, and occasionally a chance of impressing the stage manager with his or her ability, or improvement. Once a play has been started on its run the understudies are "called." That is, a notice is posted inside the stage door requesting them to be at the theatre next morning for rehearsa. These rehearsals are carried on until all the understudies are well up in their parts, and if the stage manager - as he often does - finds any of them lacking in the qualities required for the part, the understudy is taken away without much explanation and given to someone else.
In England understudies, are rehearsed in their parts by the stage manager. In America, the principals have to assist in coaching their understudies, and this latter system has undoubted advantages.
At all the West End theatres where actor-managers reign, well known actors understudy the "chiefs," and in the majority of instances they are capable of giving at least a very satisfactory performance.
On the Lyric stage the ladies in the principal parts are, understudied by young actresses, who are nearly always very pretty, and who have good voices, and lack but the one thing - namely experience - to enable them to take leading honours at once.
In many cases "walking" understudies are engaged. A "walking" understudy by the bye is one who takes no part whatever in the play. It is his business to present himself, or herself, every evening at the theatre in good time to dress for the part should any accident compel his or her services. Once the curtain goes up the "walking" understudy must be within easy call of the theatre. His first duty every evening, however, is to report himself present. His movements afterwards must depend on the discretion of the stage manager.
Mr. Maurice Farkoa at the Prince of Wales has a walking understudy, so, too, has Mr. George Graves at the Apollo.
For some plays two understudies, called respectively first understudy and second, are appointed to each part, and there are occasions on record when the second has got (through accident) the opportunity to appear. Miss Marie Studholme has four understudies at the Gaiety, Miss Ethel Oliver being the first.
It is a very trying ordeal to appear as substute for the artist with a big name. The public, of course, pays and expects to see the artist with a reputation, and is not always fair to the young understudy, working with heartbreaking earnestness to make an impression, to win applause, to secure the manager's approval, to win a front place at the footlights and then fame.
If the understudy has ability and ambition the time will come when he, too, or she, will find his or her name opposite the star part on the programme.
A very successful understudy was Miss Constance Hyem who has recently been touring in America with "The Schoolgirl." She understudied Miss Ellaline Terriss in "The Cherry Girl," and was often called called upon to take her part. Her likeness on the stage to Misa Elalline Terriss helped to make her in every respect an ideal understudy.
By the golden age of Edwardian Theatre, understudies had become a critical part of the theatrical scene. Stage productions, especially in London's West End, had reached a zenith of grandeur and sophistication and grown increasingly expensive to produce. But, likewise, the potential profits to be made were massive, so that it was unthinkable to cancel a performance because one or other of the main players was ill or otherwise unable to perform. To this end, it was vital to have stand-bys, ready to take over any of the main roles in case of emergencies.
A well-known actress was indisposed, and her understudy had to take her place. Though not well enough to act, she was not too ill to sit in the stalls and see how her deputy got on. At the end of the performance one of the actresses asked her what she thought of her understudy. "Oh, she's all right enough; but what shocking large feet!" "But, my dear, she was wearing your shoes," laughed the friend.
London Tit Bits. July 1918.
This was (and remains today) the work of the understudy. An understudy was required to learn all the lines of a given role and to attend all rehearsals so as to become as familiar with it's performance as the original cast member. In fact, it was no unusual thing for an understudy to be required to provide cover for several parts, and to be prepared to assume any one of them whenever it might become necessary. Often, to allow them to gain stage experience and not to waste their histrionic talents entirely, they would have some lesser regular role of their own that could easily be dispensed with or covered by some chorus girl in the event that they were required to 'step up'.
Generally, the theatre manager would choose the person he wished to appoint as understudy and would do so purely as a matter of necessity; because, whatever happens, "the show must go on". The star herself would have little say in the matter. Even so, frequently the star and the understudy would become good friends, with the star acting as her younger accomplice's mentor - although it was not uncommon for that relationship to cool somewhat once the understudy had had her chance (especially if she got good reviews) and professional rivalry set in. The star, after all, had a position to maintain, and would in any case be keen to prevent the others longed-for opportunity from ever arising in the first place.
Not every star, however, would or could be understudied in this way. Some were simply irreplaceable. Some stars were of such stature, or shows so centred around one particular star performer, that the public would accept no substitute, and would expect their money back if, for any reason, that person was unable to go on.
But where an understudy was engaged, one may imagine that the job was easy work, seemingly providing good pay for little effort. The truth, however, was far removed from any such appearance. It was in fact, in many ways, a thankless task, nerve-racking and disagreeable. The understandy had always to be at constant readiness to go on, and preparing every night to play a role only to be disappointed time and time again was anything but pleasant. It required the actress to expend a great deal of effort to learn roles she might rarely, if ever, get the opportunity to play.
For the actress who was only an understudy, without any regular part of her own in the play, it was a lonely existence, obliged to lead a solitary life most of the time as she waited in the wings for an opportunity that constantly passed her by. She might profitably pass her time by seeing every other production playing in the vicinity, no bad thing for an actress, but she must ensure that her manager knew how to find her and could not give her undivided attention to the performance as she must always be expecting a summons to rush back to her own theatre and jump in.
The actress who was engaged to understudy several parts might have a greater chance of being called upon to perform, but her life was no less uncertain for that. Never knowing when she arrived at the theatre each day what part she would be called upon to play or whether she would be told that there was nothing. And when she did get to play she received little recognition. Her name would not appear in the program and, unless she was replacing some easily recogniseable star, the public might not even be aware that any substitution had been made at all.
Adding to the difficulty, was the fact that sometimes the understudy may be called upon to step into a part mid-way through a performance - after the regular actress had already played an act or even two. Not only would she then have to take over where the other left off, she must convince both herself and the audience that she was the other actress, as well as the character they were both playing. She must requite the part in the same manner as the regular actress, with every bit of stage mannerism and every inflection of her voice as identical as she could manage.
Even so, there was no shortage of aspiring young actresses only too eager to take up the opportunity of understudying a major role, for the potential rewards were also great. More than one young unknown would find herself catapulted to overnight stardom when she successfully took over a leading role in time of adversity. And there were other advantages. When a show finished its London run it would often be taken on tour in the provinces. At this time, the leading stars would often leave the company to take up other engagements that would keep them in the bright lights of London. When this happened, the understudies would be ready made replacements. Consequently, some talented actresses would happily turn down the offer of a regular role in some lesser play in order to understudy a star performer in some plum part.
She was investing in a dream, but the alternative might be to spend years working her way up through the ranks, from chorus girl, to small parts, to character roles with touring companies, before ever getting the offer of a decent role in a major production. Many years of hard work and sacrifice, throughout all of which time she knew that if she didn't make a success whilst she was still young and beautiful it was unlikely to happen for her at all. Little wonder that the promise of a shortcut to success should be so alluring. And, for a very few at least of those young hopefuls, their dream would indeed come true.
Reproduced on this page are accounts from contemporary periodicals of the life of an actress understudy.
The Playgoer, Vol II, September 1902.
THE UNDERSTUDY
By MARGARET PURVES.
Miss May Stirling had been a favourite long enough to consider herself a fixed "star" with the fickle British Public. Now and then when pert interviewers wished to know too much - a list, for instance, of bygone "hits" - she became equivocal. It was nearly the end of the season, and this "most charming of women" - to quote her dramatic critics - was beginning to be bored with The Mania of Maria, or perhaps the triumph of her creation had ceased to sustain her; the manager having firmly refused to replace them in a fresh style, though she had purposely gone to the expense of giving him a little dinner at the Savoy.
And now, as she yawned and lounged amongst and upon some artistically up-to-date cushions, and counted the tiny buttons on Worth's latest novelty in tea-gowns, she devoutly wished the next six weeks over.
"I'm sure I don't know why I should always be so healthy!" she pondered dolefully. "Another actress would get a few days off now and then and give her understudy a chance!"
Suddenly she clapped her hands in the naive childish way that had won so many hearts. A little scheme had presented itself, and, all being well, she would carry it out by being unwell on the morrow. And rousing herself an hour later, after planning her course of action, Miss May Stirling assiduously began to practise throwing kisses into the long cheval glass opposite. Her mental vision beheld rows of well filled stalls and a Royal personage or two in the boxes.
"Thank goodness, and an inventive brain, I shan't see any of you," she waved her hands," for some time after to-morrow night!"
In the top flat of a dingy lodging house, a tall graceful girl sat drawing threads out of a long fine slip of linen, and although the dusk had long since fallen, and prudence demanded a light, she still worked anxiously. So engrossed was she in the work that she did not notice the entrance of a stout, smiling, middle aged woman.
"Good gracious me, child, why don't you get a light? You'll spoil your eyesight, and you know. good looks mean bread and butter to you!"
A bitter expression came into the girl's face. "For five years I have striven for success, but I have never had a chance. To-night Hope and I say good-bye to each other!"
Mrs. Middleton put her hands on the slender shoulders and looked tenderly into the dark grey eyes in which angry tears were gathering.
"You mustn't lose heart, my dear; it is a great thing to be Miss May Stirling's understudy; there's only a step between! "
"What is the use of being an understudy unless you have the chance of playing the part? And you know she is horribly robust, notwithstanding the fact that she seldom takes exercise. Fate is against me; but oh, if she only gave me the tiniest chance I should be successful! I feel it in me; perhaps when I am an old woman Fate will suddenly remember me! It must be horribly cruel, but I have been hoping and almost praying that Miss Stirling may be ill, if only for one night, ever since The Mania of Maria was put on!"
Mrs. Middleton sighed. "It is hard on you, child; for I believe you could play the part every bit as well as May StirIing."
"I know I could," the girl replied in a low, intense voice. "Sometimes I ache to run out of the wings and show her how to cry! At the rehearsal I even started forward!" She laughed mirthlessly. "I shall never be an understudy again; it makes me feel so desperately wicked; to long for someone else to suffer so that one can have a chance!"
She buried her head in her hands and sobbed. Mrs. Middleton said nothing, but turned on the light and started to set their frugal supper.
"Come, dear," she said, when preparations were ready, "take my word for it, this day next week your chance will have come and gone and your name will be made!"
But Leslie was used to such cold comforting, knowing, as she did, that nothing ever came of her aunt's presentiments. And that night she sobbed herself to sleep and dreamt that she stood before the footlights playing the part she knew so well.
"What a frightful draught!" Miss May Stirling called out sharply as she entered her box of a dressing room. "Shut the window at once!"
Mrs. Middleton, her dresser, hastened to obey, murmuring something about having just upset the methylated spirit, but it took her some time to refasten the window. The last act had just finished, and May felt unusually tired.
"Your fingers are as cold as ice!" the sleepy actress remarked irritably, as her dresser unfastened the few inches of bodice.
Mrs. Middleton, apologising profusely, carefully wrapped the actress's furs round her. The younger woman slipped a coin into her hand.
"I've been cross," she said, and then, to the dresser's surprise, a sunny little smile came over the pretty childish face. "I suppose you consider your niece a genius and very pretty? I believe she would make a hit at once if she got an opening!"
Mrs. Middleton stared hard at the speaker, and a dull flush rose to her sallow cheeks. But May did not notice it, and the next moment the actress was being taken home in her smart brougham.
Now Miss Stirling's scheme was to feign illness to-morrow. She would impose upon a young medical student, a friend of hers, and get him to write a certificate, for the manager, confirming her indisposition. When, therefore, she woke next morning with a violent cold in her head and found all her plans neatly nipped in the bud, she indulged in a very bad temper. She forgot that her first idea had been to get rest and change.
"It is really too bad," she mused, "just as I had made up my mind to give that girl a chance, to have the credit taken out of my hands. Anyhow," she told herself savagely, "I'll have the satisfaction of telling her, and of seeing her miserable attempt at sorrow. That will be some little amusement to wile away the time."
So she rang her bell and sent a message to Leslie to call as soon as possible. The Summons reached the girl just as she was going out with her aunt. It stunned her for a moment; then she looked at Mrs. Middleton and understood.
"How did you do it?" she queried sharply.
"Left a window open," was the laconic reply.
"She may die!" Leslie cried, in an agony of despair.
"It will be a queer thing if she doesn't!" Mrs. Middleton snapped. This was all the thanks she got; the girl was a born fool!
A little later a gentle tap came to May's door, and Leslie, white-faced and anxious, entered. The invalid was propped up in bed and wore a most becoming little jacket of lace and ribbons.
"Take that chair," she commanded; "why, you look as white as a ghost! Have you had any breakfast?"
" Yes, thank you," Leslie replied, looking at May with wide-open, worried eyes. "Do - do you feel very ill?" she ventured, scarcely above a whisper.
May looked at her guest sharply; then she held out her hand. "Why, you are a good little thing!" she exclaimed impulsively. "I do believe you are genuinely sorry!"
"It's all my fault!" Leslie said, turning her face away. "I - I wanted this to happen!"
The popular actress laughed delightedly. "Oh, I love you more than ever!" cried she; " I must kiss you! "
But Leslie shrank further away.
"You - you don't understand."
"My child, I do perfectly. Let me enlighten you: don't you see my illness is the best possible thing that could have happened for you? And now I must tell you a secret; strangely enough, only last night I determined to give you a chance by pretending to be ill!"
To May's dismay the words, instead of soothing her listener, brought forth a sudden storm of tears.
"You are the strangest girl; I'd no idea that there was still left in the world a tiny bit of disinterestedness, especially in our set!"
Regardless of risk, she jumped out of bed and flung her arms round Leslie.
"There, silly child, I'm not going to die! Not a bit of it; don't imagine you're going to have quite a clear coast yet awhile! Dry those pretty eyes, for you must look extra best to-night!"
But Leslie, finding it impossible to shake off the impulsive little woman, threw her head back in melodramatic fashion, and exclaimed -
"My aunt left the window open on purpose!"
"Say the tragic lines like that to-night, little one, and your fortune is made! So you planned to kill me between you, eh? Oh, it is too delicious, too funny! Really, childie, I am thankful you were so merciful! Kiss me at once, and ring the bell for breakfast. You must have a second one with me! There, not a word! But remember to-night, after the theatre, you must look in and let me see how your eyes are shining!"
And this is how it happened that Miss Leslie Farley took London by storm and put her dainty little feet on the first rung of the ladder of success.
