Taylor Mosher is a Cal Poly journalism major appearing in the current production of “Rodgers and Hammerstein’s Cinderella” from Children’s Musical Theaterworks. She’s been “shadowing” me for a few days this week so she can find out how working arts journalists spend their days. I thought it would be fun for Mosher to share some behind-the-scenes insights of what it’s like to appear in a CMT show. Here’s her take.
DOUBLE CASTING: A DOUBLE-EDGED SWORD
By Taylor Mosher
As a double casted actor, I share everything with my double — even sweat.
Sydney Swearengin and I trade costumes during every performance of Children’s Musical Theaterworks’ “Cinderella,” and the stage lights are anything but friendly when combined with the extravagant costume of “Marie,” the character we play, which is 11 layers thick. During each performance, we glance at each other with a look of apology as we help the other into the drenched costume. Just one of many unexpected “perks” of double casting!
For the production team of CMT’s Cinderella, double casting means taking on two princesses and two princes among other roles into the same production. We are asked to share everything — notes, rehearsal time, stage time, costumes, dressing rooms, props, microphones and even the role itself. This is custom of CMT and is expected when entering auditions, and this process can be seen occasionally within other companies locally, including CenterStage Clovis Community Theatre. The immediate and obvious benefit of having two casts, particularly for a children’s theater company, is to provide more opportunities for local youth to develop their love for the arts and hold leading roles. The company is a place of learning where youth are given the chance to work in a professional setting and grow as an actor, but to double the cast is also to double the stress in many ways.
As a local theater veteran, I have performed in 23 productions locally, three of which have been with CMT and two of which have been double cast. My first experience with double casting was back in 2010 during the hit run of “13! The Musical,” in which I played Kendra. The following year I played Mitchie in ‘Camp Rock’, though the director chose to cast me solely. In my current run with Cinderella, I play “Crazy Marie”, the fairy godmother with a fresh, 2013 Broadway twist. The role, like all but one in the show, is double cast. For those who crave the spotlight, this may be a deterrent, but for those seeking an opportunity to grow as a performer, this is the perfect place.
PRO: The promise of double casting can draw a number of actors toward auditioning. In auditioning for a dual cast, you double your odds of winning your dream role (which also excites the parents). In “Cinderella,” two girls were awarded the title role. I would say this is one of the strongest draws toward CMT.
CON: Casting men. This has become an increasingly difficult challenge in today’s theater world as the women to men ratio has become completely off balance. In many instances, this has led CMT to double cast most women’s roles and not the men, simply because there were not enough men to double cast. For “Cinderella,” we were blessed to have a number of talented male actors. The only actor that performs in both casts is Jacob Moon, who plays Lord Pinkleton.
PRO: It’s a lesson in humility. In this show, I found myself sharing the spotlight with Sydney, who I had not known previously. The role belongs to me, but only during four of the eight performances. Otherwise, it belongs to Sydney. You must respect the other person as a performer and as an equal, sharing the show and sharing the applause that follows.
CON: You cannot help but compare yourself to the other actor or actress. You watch in rehearsals and performances as they perform the same scenes and you evaluate where you feel they may have been stronger than you. I have struggled to swallow my envy when the director commends Sydney for having done well in an area that I struggle in or when the audience laughs more enthusiastically at a line during her performance than they did during mine the night before. This is true for both performers and unfortunately, it cannot be avoided …
PRO: … but it can be used constructively. In a strange way, having a double challenges you to perform to the best of your ability. I have found that it motivated me to put in more work and to push myself to always match Sydney’s level, and this seems to have proved true for her as well. In this way, it is almost a race to learn your lines and blocking. You don’t want it to seem as though you haven’t put in the same amount of time that your double has. In most cases, doubles are cast opposite each other because they were evaluated during auditions as having a similar level of talent. This provides a certain amount of healthy competition between the two individuals.
CON: In sharing the show in its entirety, you must share valuable time. In a double-casted show, each cast is allotted half of the rehearsal time and half of the shows. This means in a six-week rehearsal period, you may be given the equivalent of three weeks of rehearsal time for your role, adding a whole new element of stress. In my case, this structure of show required a great deal more work to be done on my own time, rehearsing and singing into my bedroom mirror.
PRO: On my off nights, I join the ensemble. Suddenly, the pressure is off. I am allowed the joy of being on stage while not having the added gravity of a spotlight or a body mic. There is suddenly more down time backstage, far fewer lines or entrances to remember, more people to interact with, and more opportunity to help those who need it behind the scenes.
CON: This can get confusing. Suddenly you have virtually two shows to remember and in each performance you switch between the two. Sometimes I find myself preparing for an entrance that does not belong to me or starting to take the wrong costume off of the hanger when I arrive. Playing a different character each night has proven a bit of a brain game.
PRO: This gives you valuable time to learn from your double. While you are not onstage, you can watch as they perform and learn from them. I often find myself picking up different ideas from watching Sydney perform and seeing how the audience responds to different elements that she adds. This can help you not only see what you want to “steal” but also what isn’t quite working.
CON: The audience watching your opposite is not watching you. What I mean by this is you may find people that you know or friends of yours in the audience on your off night. In these cases, it’s hard not to be hurt that they did not see your cast, but you have to realize that this puts your friends in a strange position as well. Perhaps they wanted to see the show, but can only make it to a performance that does not belong to you. Or, they may have friends in both casts and not enough money or time to see both so they have to make a decision. Either way, I have to remind myself in these instances to be grateful that they came and supported our production.
PRO: Potentially, you may swing larger audiences each night with a dual cast. Double the actors equates to double the family and friends that are coming and hopefully sharing their experiences with others. Some people actually insist on seeing both casts because it’s a different show every night!
CON: It’s a different show every night. For the crew and orchestra, that means learning to read the cues and learn the movements and quirks of all of the actors. Where one prince may need his microphone levels lowered during particular moments, the other prince may require just the opposite. Where I may jump straight from my line into a verse of song, the orchestra must listen and follow quickly, but this could change every night should Sydney take more time. Having crewed my share of double-casted performances, I understand this headache. This also complicates costuming. My double and I have very different body types, as do the two Cinderellas and princes. In some cases, costumer Trina Short had to make separate costumes for the same role or develop creative methods of altering pieces each night. The woman is crafty with Velcro.
PRO: I have found a friend, a fan, and an ally in my double. Two heads are better than one. We help each other into costume, we double check one another on props and entrances, and even give a few constructive notes here and there. Having another person at your disposal who knows your role just as well as you do can be a tremendous benefit and comfort backstage. If you draw a blank, you have someone to turn to who is watching your every step along the way.
Overall, being cast opposite another talented individual has its challenges but they have all served to better me as an actor. With a job, college classes, and half of the time to produce the highest quality possible, I have had to push myself to be proactive. Being double-cast has helped me to share the spotlight, challenge myself, and practice humility on and offstage. I may not be taking my solo bow every night, but in a way, I share in Sydney’s applause. Behind the scenes, we are a team making “Crazy Marie” come alive. Sharing that with another person can be, truthfully, a stressful and jealous mess, but when it’s all said and done, I have learned more than I ever would have on my own. There’s something to be said for a theater company that sacrifices the uniformity and simplicity of a single cast for modesty and growth among them. I hate that I love it.
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Photo: Taylor Mosher in “Cinderella.” Photo by Kyle Lowe.
