Quick Q&A: Three Swings

I taked with three performers about the unique challenges of working as a swing.

MICHAELJON SLINGER
West Side Story

What is the biggest misconception about swings?

That we get to watch DVDs all day in the dressing room! There is some sitting around but you have to be alert.

How many roles, or tracks, do you swing in West Side Story?

I have nine tracks that I swing, both Jets and Sharks. I cover Diesel, 4H, and Snowboy and understudy Gladhand. I was initially hired to swing Jets but I’ve actually gone on more as a Shark than as a Jet as it’s turned out. I’ve been on about fifty times already. It’s such a big cast and the choreography is so demanding that it’s not uncommon to have somebody out of the show. It’s happened that some of the swings have been called to jump in mid-show because someone’s been injured.

Are Sharks different on the body than Jets?

it is different and part of it is I think because I’m not Puerto Rican, and Arthur Laurents made such a big effort to cast people who really had Puerto Rican blood in them, or had that background, or could at least speak Spanish. I rehearsed as a Jet from day one so that’s in my body – it’s much more grounded – while the Sharks are more well kept with a different sense in the movement. I find it easier to perform Shark tracks with costume and make-up especially.

How do you keep yourself ready to go on in any one of your nine tracks?

It is a lot about memory. Back at the beginning of the job during rehearsal I felt overwhelmed. But I made a swing book that breaks down every track that I do with cheat notes – what wing I come out of, what number I stand on. At this point now it’s just about glancing at my notes before I go out. The job of a swing is also about being able to deal with your nerves: the scariest thing is doubting yourself or that you won’t be where you’re supposed to be. You really have to trust that you know what you’re doing and trust your gut. That’s especially true in West Side anyways because there’s so much scene work and so much loose blocking especially with the Jets. I rely on my cheat notes, but it’s hard to make them totally specific.

ALEJANDRA REYES
In The Heights

What’s the biggest misconception about swings?

One of the biggest misconceptions, which I also had a long time ago before I knew anything about swing work, is that swings are less talented than the people who are on stage every night with their own track. Not true at all. You have to be just as talented if not more because there’s so much more required of you. Some of the most talented people I know, some who now star in shows, started out as swings. Karen Olivo, who’s used to be in In The Heights and is now in West Side Story, started out as a swing in Rent years ago.

Did you audition specifically to swing In The Heights?

I auditioned the week of my graduation from Fordham last May and I didn’t hear back from them. I went back in in October for a role, but the person who was going to be replaced decided to stay with the show. Then I started going in for the dance calls – they had been seeing me as a singer and actor. Finally in January I got the call for a swing. It wasn’t what I was planning, but I love the show so much I decided to take it. I cover five tracks. It’s very rare for a whole week to go by without me going on.

Tell me about the experience of making your Broadway debut as a swing.

I had been warned that I was probably going to be thrown on stage. Usually you’re supposed to get a put-in rehearsal with the cast but I didn’t get that, I had only practiced in the studio by myself. There were a few layers of people sick one weekend, and they had to go to the third understudy for one of the leads and I had to go on in her track as Woman #1. It was one of those phone calls in the morning – last minute, sort of an emergency. I’m grateful it happened that way – I might have psyched myself out if I had had the put-in and the date. There was no time to think, just time to do.

Is swing work uniquely tough on the nerves?

You’re always on your toes. It doesn’t matter how much you prepare yourself, there’s always something that’s going to go wrong. As a swing you just have to accept that you’re not going to always be as perfect as the person who does that track every night because you’re constantly switching around. Sometimes even if your brain knows the step, something else comes out in your body because your body is a little confused. When that happens you worry that the person you’re dancing with might be upset with you. You can only do your best and make sure that your traffic is on point because that’s really important for everyone’s safety. You want to be perfect and get the little details and technicalities right for your castmates. They are thinking about their own show, but swings are thinking about everyone else’s show.

MITCH DEAN
Altar Boyz

What roles do you swing and which is your favorite?

In this show I cover all five boys. I was also a swing on the tour where I covered Matthew, Mark and Luke and another swing covered the “ethnic” roles which are considered to be Juan and Abe. Now the both of us cover all five; we’re our own Swing Nation. My favorite, honestly, it’s a toss-up between Mark and Luke. Mark is the…hmmm, let’s say the sensitive one, and Luke is the bad boy. In my world he’s ghetto – I do him Eminem style. They’re at opposite ends of the spectrum as characters and vocally: Mark sits on the high end of the harmony and Luke is at the low end. For Mark I have this nasal thing I do, his voice is pinched with some air in it, and then to sing him I place my voice forward so it meshes with his speaking voice. Luke I gravel out as much as I can without hurting my voice. Think James Brown.

Do you usually have advance notice that you’ll be performing?

I know for scheduled vacations. Apart from that, the guys in the show are really in touch with their bodies and can tell if they are starting to feel off. Sometimes you can tell when you are going to have to go on next performance from listening to how they sound in the show.

Do you always watch the show when you’re not on?

I do that a lot; I’ve seen the show a whole bunch of times. Otherwise, they were gracious enough to get us a Wii backstage and we might play with that, or we go to watch The Toxic Aveneger Musical or other shows in the complex to support other swings or friends in other shows. It’s like a community there.

How much of the job is still about learning the tracks?

I don’t have to look at my notes for three of the tracks anymore if I know I am going on; to practice I’ll get there thirty minutes before half hour call and walk my traffic. The stage is like a numbers game, like Battleship, the first times – Scene A, Number 1, Stage Left. Once you go on a few times it’s easier. We have some moving lights in Altar Boyz and it’s sometimes difficult for swings because you need to know their rhythm. Sometimes I walk my lights so I won’t ever wind up in the dark.

As a swing, do you get any love from the Altar-holics?

For the most part the Altar-holics love the show, and they love you because you’re in the show, but it’s not a crazy fanatic experience. They were especially good to me when I first got in the show and made me peanut butter cookies and cards. They come and tell other Altar-holics about you in the show. It’s fun for a swing because you feel like you already have this fan base.

What is the biggest misconception about swings?

People automatically assume that you have some goal to replace the people you cover. I have no desire to replace any of the guys in the show. I would have to worry about wrecking my voice if I were singing this show every night. On another show, it might be a different story.