Through the Eyes of an Understudy

Through the Eyes of an Understudy

Prior to Romeo & Juliet I had been in two productions, Macbeth and Cancel Christmas. At the auditions for each production I remember being calm. I was sure I would make it into the class even if I didn't put all my effort into making the audition perfect. But at the auditions for Romeo & Juliet I felt, for the first time, nervous. There were so many new and talented students trying out that I questioned if I'd be able to make it into the class again. From the day of auditions to the release of the class list I stressed and worried that I would not be in play production for the next semester. When I saw my name on the list of those who had made it into the class I felt a great sense of relief. I was not naive, and I knew what making it into the class would entail. I had weathered through two semesters of play production. I knew that I would be spending countless hours at the auditorium. This was not going to be an easy second semester.

I originally tried out for the part of Mercutio. He was my favorite character; he was witty, crazy and passionate. I worked so hard to understand the role and become the character. I was sure that I had it. But when I read the cast list I was stunned to find that not only was I not cast as Mercutio, I was not even on the cast list at all. I felt a mixture of shock, disbelief, and anger over the next few weeks. How could I get nothing? Had I let my head get too big? Was this karma? Was Mr. Copley mad at me? I didn't understand how this had happened.

On New Years' Eve I received a call from Mr. Copley. I missed the call, so I signed onto my e-mail account thinking that maybe he had messaged me. He had ... I had been cast to play the understudy of Juliet alongside Jose Cotrina. As I read that e-mail I started crying. I hadn't been forgotten! But, Juliet? I tried out for a male character, how did I get the lead female character? I knew that Juliet and I had many things in common, but I had never even considered the role on a serious level. This character would be difficult. Juliet is a complicated character with many different and conflicting sides to her personality. But I was eager to begin rehearsals. This character would be a good way to explore and expand my potential.

I was pleased when Mr. Copley announced that this semester he would be using a blocked schedule- Fighters rehearse on Tuesday and Thursday, actors on Monday and Wednesday, and dances would be rehearsed on Friday. I was not a fighter in this production, but I was a dancer and was also required to be present at all of Juliet's rehearsals, so luckily I was only called 3 days out of the week. In my opinion, this production was not as time consuming as Macbeth or Cancel Christmas. I liked the flow of rehearsals for Romeo & Juliet because they increased gradually, rather than being light and suddenly heavy or constantly heavy with very few breaks. It gave us time to adjust to the work load. I first began to understand Mr. Copley's idea of "Unplugged" when I watched the first full run-through. I noticed the music that he had woven throughout the play. The acoustic guitars, pianos, and violins- all the live music based back to the title, "Unplugged." But as the months went by I started to see the styling of the show appearing. It first began with the lights, then I noticed the costumes, and the make-up and hair. It all fit together. The finished product looked brilliant. As I watched the dress rehearsal I felt as if I was watching a past film shot through hazy sleeping eyes. It looked like something one dreamed.

Of the four shows, there is not one I can pick out as the best performance. I think each person's performance varied with each show causing a mixture of energies during the shows. In my point of view, none of the four shows can be labeled "The Best." On my Saturday performance Raymond and I decided to take a turn in our performances. We had always played the first half of the play like Rod and Nicole had- serious. We instead chose to play it lighter, more upbeat, and fun. Raymond and I had always known that we were very different from Rod and Nicole, which is why I find it a bit surprising that we hadn't caught this earlier. It worked better with Raymond and I playing it that way rather than serious. The audience liked it and we felt a lot more comfortable. I wish that someone who had watched our rehearsals had caught this difference. Everyone knew that both couples were different, but I guess no one thought to change the way we portrayed our relationship. I think if this was noticed, the rehearsals would have been better and less competitive. But luckily we caught it the last night that Raymond and I had to perform together, and were able to change it.

For future productions I think that crewmembers and actors should begin working together earlier on in the rehearsals. I remember feeling awkward having a bunch of people standing backstage with us, and not really knowing why they were there. If the crewmembers were introduced earlier along with their purpose, it would help create a better relationship between them and the actors. The actors need to know who they go to for props and who they have to wait for to exit offstage before they enter, and so does the crew. It would help a lot if the crewmembers and the actors knew one another and the role they played in each other's jobs.

When I was given my role as understudy I wondered why Mr. Copley had chosen to use understudies in this production. I asked Mr. Copley and he explained that the use of understudies was a good way for actors and actresses to gain experience. His wife, Carla Copley, felt that he had always treated this company as a real theater company and using understudies was another way of extending this professionalism. Still, I never fully understood why he chose to use understudies. I felt that there were more reasons, and if there were, they remained unknown to me. But whatever those reasons may be, they must have been strong to convince Mr. Copley to use understudies in the production of one of Shakespeare's greatest and most famous plays. I think it was difficult using understudies for a high school play. Unlike theater companies, the understudies were actually set to perform on the Saturday performance. I think this made it difficult for both couples because they each needed equal rehearsal time and practice. The Romeos and Juliets had to do double the work because they had to share rehearsals. But I think the motivation that each lead was given due to this pressure was a positive stress. Because we were each given half the time we needed to practice, we were more motivated to excel and have better rehearsals. Many people speculate that there was competition between the Romeos and Juliets. For a period of time I struggled with my confidence in my acting. Nicole Aldrete is one talented actress, and she drives a hard competition. I would feel discouraged that I wasn't as good as her and that everybody could see it. Looking back now I realize that that way of thinking affected my performance in rehearsals. It wasn't until the close of rehearsals that I accepted that Nicole and I were different, and that neither was better or worse. I think both the leads and understudies have to look at their performances in this way rather than as a competition for both of them to do well. I don't know if Rod Hernandez and Raymond Gonzales ever came to the same acceptance as Nicole and I. It was apparent that both of them would compare their own work to the other one's. But one of the things that I liked about working as an understudy was the professional relationship that I developed with Nicole. We would both help one another with blocking, costume changes, lines, etc. This way of working together really benefited the both of us and formed a positive partnership between the two of us.

Of all the actors and actresses, the one that stands out to me is someone who worked hard and remained constant in his effort- my Romeo, Raymond. Originally Raymond was cast as the Prince, but after certain events he was asked to be Romeo's understudy. I knew from the beginning that some aspects of Romeo's character would be difficult for Raymond to portray. When I was first told that Raymond would be my Romeo, I admit that I was not happy about it. I thought Raymond and I wouldn't be able to show any chemistry. I knew the audience would notice that there was no romantic love between Romeo and Juliet. I made up my mind that I would settle for making my individual work amazing. But Raymond surprised me. He broke through the barrier that separated him from Romeo and completely caught me off guard. It was at one of the Capulet Ball rehearsals that I first felt real chemistry with Raymond. There were times that I could feel the strong attraction between Romeo and Juliet. Not only did he give his all to being Romeo, but he also spent hours at the auditorium sitting through Rod's rehearsals, sometimes without even getting a chance to try the scene. I know that Raymond really worked hard with this role and I am proud to say that he is my Romeo.

I debated if I should return to play production next year, and after deciding and re-deciding over and over in my head, I have chosen to try out for Play Production again. I think I need a break, but I also think the longer I stay, the more I learn and the better I will become. After having gotten my first lead I think next year I'm going to take a smaller role and go for director of one of the small plays. In my reflection for Cancel Christmas I mentioned how I wanted to try directing, and I think this is the perfect decision to give it a shot and see how I like it. From Romeo & Juliet I have learned a lot about my acting style. There are some points I've received and noticed that I'd like to put to work in my acting. I have grown in other ways through this production as well. I was always uptight when I danced because I didn't feel comfortable with myself and the way I looked when I danced. It wasn't until we began practice on the Slow Dance that I started to break from this awkwardness. It was from Jessica Velarde that I noticed this awkwardness. As I watched her dance and listened to what she had to say about the motions, I started to let myself go. When dancing you can't be keeping count in your head, the moves will just flow with the music. If you relax and feel the music, the dance will look amazing and beautiful. Every production you learn something about yourself, but with every revelation there is also change. Each person can always better themselves in some way.

Looking back on these past six months I can't help but smile. I feel as if I've lived a lifetime in these six months. There have been good times and hard times. I have watched as the most unexpected of people have poured their heart and soul out on that stage. I have seen some amazing actors kicked out for stupid split-second decisions. I have witnessed and participated in the inevitable off-stage drama. I have felt Juliet's happiness and her deepest sadness. Like life, Romeo & Juliet has been AMAZING.