The Replacement

“Faster at Quick Changes than a speeding Set Transition,

More Powerful Paperwork than the operation manual for a Locomotive,

Able to tackle complicated prop tracking in a Single Bound.

Look – Backstage! It’s a Ninja, it’s “god”, it’s…

The Stage Manager!!!”

Okay, so maybe I’m not a Superhero, but I have gained myself a reputation as being occasionally referred to as “The Prop Ninja.”  I specialize in busy backstage shows, with tons of props and quick changes, specifically on a lot of “brand new” or “in development” work.  I have a very clear system on dealing with new pages/rewrites on an original piece; and I pride myself in the ability to cohesively complete the puzzle of prop tracking that’s inevitable in any busy show. “There’s more than one way to skin a cat,” I know this, but usually this is something brought up after the technique I’ve tried backstage on a particular move isn’t working.  I’ve recently landed a job in my first, ever, remount – and things couldn’t be more different.

It’s difficult to be on a remount, as a replacement that was in no way involved [nor did I see] the original production.  Some make careers out of being “the replacement” [an interesting interview with Brooke Shields on this, and how she finally got to originate a role], but I can’t help but think how creatively stifling it can be.  I spoke to a good friend who was landed a replacement role in a long-running Broadway show, and his experiences were surprisingly different: he was shocked at the amount of creative freedom and artistic attention he received while he was in the rehearsal process.

What’s weird for me is that a few of my actors know the show way better than I do. It puts me in a slight panic-state, when – just as I develop a clever system to track _____ prop, before I can get an idea out – it’s met with “well, this is how we did it last time and it worked.”  [there’smorethanonewaytoskinacat; there’smorethanonewaytoskinacat; there’smorethanonewaytoskinacat] Sure, both options work, but I can’t help but be frustrated that one of my favorite parts of the process has already been done for me.  It’s unsettling for a Stage Manager [ASM in this case] when the actor knows the show more than you do.  I’m used to actors counting on me to know the props better than them [that’s how I was dubbed “The Prop Ninja”… a name that has occasionally preceded me when I’ve gone to interviews, and landed me the job].  Even one of the “newbie” actors on this piece commented “I feel behind because [so and so] knows this so much, I keep forgetting that it’s okay I’m not at their level yet.”  It’s unsettling to be the “newbie.”  And occasionally frustrating that my ideas/plans seem sub-par.  It’s no ill-intent, I assure you, just a very, very different experience for an SM/ASM who’s used to working on world premieres.

How do you deal with it?  As an actor, I have little to advise.  I will say that the director is very conscious of “just because this worked for [so and so] in the previous production, doesn’t mean it will work for you, and that’s okay.”  If you have a director who is receptive of creativity, which I would hope you would, s/he will welcome change so I wouldn’t be afraid to bring what you can and make the role your own.  As a Stage Manager, I’ve gone to: let’s improve upon the system instead of re-inventing the wheel.  When I hear remnants of unnecessarily complicated prop tracking being spewed off in rehearsal, I offer an alternative solution.  Sometimes, the work in place is more appropriate, and sometimes my idea is received like the light at the end of the tunnel.  It’s not the easiest experience [morethanonewaytoskinacat, morethanonewaytoskinacat…] but it is my job to run backstage in a way that is best fitting for the production.  It’s a fusion of old and new; it is a brand new show to the audience that don’t care how it’s done as long as they see a quality piece of theatre.  I’ve felt almost useless at times because I see my work’s already been done – or that [so and so] knows more about [such and such] and maybe I should just ask how it was done in the past.  It’s a challenge of a different kind. And I thrive on challenges.

Have you ever been part of a remount or been a replacement?  How did you deal with this unique experience?