I remember my first visit to Phantom of the Opera in the West End many many years ago and we got Wendy Ferguson as our Carlotta understudy and I totally loved her performance. I went back a few days later and we had the real Carlotta who, frankly, wasn't as good as Wendy and I am so glad to see Wendy where she is today. A couple of months ago, I went to see Blood Brothers and Niki Evans was out and we got Viviene Carlyle as our Mrs. Johnstone and she was bloody good, really good! Recently, I went to "Direct from the West End" concert which was performed by members of the West End company, most of them are from the current Les Mis cast, and I think there were all very good and talented. I would pay to see Jeff Nicholson or Killian Donnelly as Javert or Valjean anytime! So, if you can't take the fact that understudies are as good a performance as any real leading stars, then just stick with movies and television dramas where you are sure to be seeing your favourite "stars" in action.
This is what bothers me because from Thailand, where I come from, musicals are becoming increasingly popular but it was still about star power. Without stars, the musicals won't sell. Understudies were named in the programme but they never get to perform. I can imagine if Thai audience goes to a musical and the leading stars, even one of them, weren't on, there will be a big cue asking for refunds! I wish we all could come to love and understand the theatre the way it really is, for its talent and not star power or stunt casting.
Here's a copy of the tweet by Gina Beck:
On Saturday 5th March 2011, @gina_beck said:
I'm angered by a recent series of letters to @thestage complaining about seeing understudies in musicals.. Let me give you a little synopsis: Paul Hanson was "disappointed and frustrated" not to see the big stars in Wicked one matinee despite the show not being sold on 'names': "If this had been a Saturday night performance, would the show have gone ahead with so many understudies?(five)" he asks. John French goes on to imply that young West End stars have no stamina as on the same night that three principles were absent from Love Never Dies " round the corner at the Garrick Theatre where all of the main actors were over 60, they were all present".. no offence but I don't think the actors in the farce "When We Are Married" really need the same stamina and vocal health required for such roles as Ramin's in LND or Rachel Tucker's in Wicked. Paul Younger goes on to say "how would you feel if you bought a Wembley ticket for a Take That reunion show, only to discover a tribute band on stage?" which is not the same thing at all. A musical is hardly ever just a vehicle for a big star to present themselves to an audience, it's a group of actors working together to tell a story. I can empathise that it's disappointing if your favourite stars are absent when you've paid to see them and perhaps if producers are going to sell a show on a 'name' there is a case for having a refund clause, but it seems highly insulting to the rest of the company working so hard to say you felt 'cheated' and that your night was 'ruined' After all, do these writers not realise that stars such as Lee Mead, Ramin Karimloo and John Owen Jones were all understudies once and the very people Paul Hanson would have been "extremely disappointed" to see. rant over!
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