by Meghan Randolph, Assistant Director -
LEND ME A TENOR
It's the most infamous adage of the theatre:
"The Show Must
Go On."
And indeed it must, as the characters learn all too well in
Ken Ludwig's LEND ME A TENOR, produced by
Milwaukee Chamber Theatre in the Cabot Theatre from April 10-27.
The story, set in 1934, centers on the Cleveland Grand Opera
Company and their performance of OTELLO, which is slated to star
infamous Italian opera singer Tito Merelli. Unfortunately, a series
of bizarre events leads producer Henry Saunders to believe that
Merelli is suddenly incapacitated, leaving him with no choice but
to disguise his assistant, Max, as the singer so as not to lose the
support of their eager audience.
What is a producer to do
when a star can't go on? The answer seems simple: hire an
understudy, a substitute performer to play the role in
circumstances that require it. It is the understudy, however, that
can provide an even more complicated problem.
Audiences tend to regard understudies as second best; a cheaper
version of "the real thing," for which they are still required to
pay full price. Understudies for star performers have it even
worse; they are met with disdain and anger when they are called to
do their job. In LEND ME A TENOR, Saunders is advised to have the
understudy, Albert Rupp, perform in Merelli's place. The producer
responds,
"Of course!...Stick a note in the program: 'The role
of Otello will be sung by Albert Rupp. And then, if there is anyone
left in the audience when he takes his bow, they can stone him to
death! The ultimate operatic experience." Indeed, Saunders is
so hesitant to use the understudy that he would rather have Max
perform unrehearsed but disguised as the actual star.
Typically understudies are not asked to directly impersonate
stars, but many are required to come as close as possible in their
interpretations, mimicking the every move of the headliner they are
covering for. They must assume a role so seamlessly that the
audience is not aware that anything is out of the ordinary. In
covering for a famous performer, this is a virtually impossible
task; audiences are often loath to accept an understudy in place of
a star.
 |
| Carol Channing as Dolly |
In 1964's HELLO, DOLLY!, the title role of Dolly Levi was played
by famed Broadway actress
Carol Channing. When
Channing was ill or on vacation, producers employed a devious
tactic: they would make an announcement at the beginning of the
performance stating that the role of "Mrs. Levi" would be performed
by an understudy. They intentionally neglected to use the
character's full name of Dolly Levi and quickly dimmed the lights
so that theatergoers would not have time to look at their programs
to realize that the character of Mrs. Levi was in fact the "Dolly"
of the title. The performance would be underway by the time they
realized that Channing would not be appearing.
The producers of 2003's THE BOY FROM OZ made an even bolder
choice. Rather than allow an understudy to perform in the place of
star
Hugh Jackman, they elected to cancel
performances when Jackman was unavailable. An understudy was hired
and prepared, but never used.
So Saunders' concerns within LEND ME A TENOR are far from
unusual. So why would any actor agree to take the terrifying risk
of being an understudy?
 |
| Shirley MacLaine in THE TROUBLE WITH HARRY |
Though it can be truly thankless, actors accept understudy jobs
not just for their resumes, but for the thrill and potential that
come with the position. Legendary showbiz stories abound in which
understudies fill in unexpectedly and are skyrocketed to stardom.
Shirley MacLaine was seen by a Paramount Pictures
producer when she filled in for
Carol Haney in THE
PAJAMA GAME on Broadway. Soon after, she appeared in her first
feature film, THE TROUBLE WITH HARRY, and eventually won the
Academy Award for Best Actress for TERMS OF ENDEARMENT.
Sir Anthony Hopkins owes his fame to
Sir Lawrence Olivier coming down with appendicitis during a 1965
production of THE DANCE OF DEATH, in which he was Olivier's
understudy. Hopkins went on to create countless memorable roles,
most notably Hannibal Lecter in THE SILENCE OF THE LAMBS.
Catherine Zeta-Jones was first spotted during her
appearance in 42
nd STREET, where she filled in for the
role of Peggy Sawyer after two other actresses fell ill.
 |
| Luciano Pavarotti |
A similar story occurred in the glamorous world of opera in
which LEND ME A TENOR is set. In 1965, famous coloratura soprano
Joan Sutherland was starring in Donizetti's LUCIA
DI LAMMERMOOR at the Greater Miami Opera. Her leading man fell ill
and was without an understudy. She was traveling with a young tenor
familiar with the role in question, and he went on for the lead at
the last minute. It was the American debut of one of the most
legendary opera singers of all time,
Luciano Pavarotti.
Such is the paradoxical life of an understudy. Their jobs
present them with the opportunity to demonstrate skills and earn
fame, cloaked in the possibility that the audience will hate them
before they even walk on the stage.
Actress
Gina Beck, famous for her starring
roles in THE PHANTOM OF THE OPERA and WICKED on London's West End,
defends understudies and their place in the theatre. She insists
that these unappreciated performers bring "energy, enthusiasm, and
a different approach to the part which often enlivens the whole
performance." And while the job can be frustrating, many cite it as
incredibly rewarding. Former Milwaukee Repertory Theater actor
Jeffrey Tambor, now famous for his role as the
patriarch on ARRESTED DEVELOPMENT, recalls,
"All my friends
said…do not understudy. You'll regret it for the rest of your
life…I've never regretted it once."
When their moment comes, the show rises and falls on the
understudy, their ability to improvise and their fearlessness. As
we learn in LEND ME A TENOR, the understudy, whether cast in
advance or implemented at the last minute, is the quiet cornerstone
that allows the curtain to rise.
