![]() “It really is so lovely to not have to go onstage and feel like you have to fill someone else’s shoes,” Assetta says. It’s not just learning lines and choreography, it’s actually understanding how the whole thing works and being able to prioritise, especially on the fly.” “That’s why swings are there, because it’s their job to have the best view of exactly how the machine works. “Until I did it myself, it was never clear just how accurate that machine metaphor is,” says New. ![]() A musical is a machine with an extraordinary number of moving parts, and swings need to be able to see how they all mesh. They need to know every character’s lines. Swings don’t just need to know a character’s lines. ‘They called me and said “Are you good to do Howard in 40 minutes?” I was like yep, let’s go!’ Chiara Assetta But those options aren’t available in a musical. Six’s resident director Sharon Millerchip says that filling in for sick or injured cast members is simpler in straight theatre: “The idea is that the show must go on, and if an actor goes down you could at a minimum get someone to come on and read it onstage. If someone’s got an injury and they’re managing but they tweak it in the warm-up, there you go 45 minutes notice and you’re on.” “We warm up with everybody else because anything can happen during that warm-up time. “You’re the human insurance policy for the show,” he says. Tom New is a swing on 9 to 5 the Musical.
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