On a bench by a country road, two shabby tramps named Gogo and Didi pass the time, waiting for someone who will never come, for something that will never happen. Colin Haigh knows how they feel.
Haigh was one of two understudies in the Theatre Royal Haymarket production of Samuel Beckett’s "Waiting for Godot" in Spring. In the event that Sir Ian McKellen (who plays Gogo) or Matt Kelly (who plays Pozzo) are unable to take to the stage, Haigh takes their place. But he spends most of his time waiting. More Intelligent Life spoke to Haigh about the important and often under-appreciated role of the understudy.
More Intelligent Life: Do you remember your first time as an understudy?
Colin Haigh: In 1979 I was offered an understudy job at the Royal Court Theatre in London, in a play called "Not Quite Jerusalem". I was covering two people in that. The play was so successful that they kept extending it by a week and then another week and then it went into a third week but I hadn’t gone on yet. Finally, on the penultimate night, one of the guys I was covering came in late and he was not at all well. I thought it was all over but I did have to finally gird my loins and do it.
MIL: I don’t think many young actors would hope to one day be an understudy.
CH: No, they wouldn’t, no! If you’re just starting out as an actor it’s not going to be what you’re aspiring to. But it’s a job, and it’s great to be involved in a high-profile show like this. I’ve been in the business now for 40 years and I need to take the work!
MIL: As an understudy, where do you wait during a performance?
CH: We’re backstage in the dressing rooms, if we’re not watching it in the audience—which we do at least once a week to see how it’s going.
MIL: What’s it like for you taking to the stage at what is often a moment’s notice?
CH: If you’re panicking or worrying you’re not going to be much use. You’ve got to be as relaxed as you can. It’s a self-deception thing. It’s a bit of an adrenaline shock, like plunging into a cold pool, but once you start thrashing about it’s quite enjoyable.
MIL: Do you get any sense of how the audience feels about an understudy going on?
CH: Well, in the case that I would have to go on for Ian, people have actually booked in advance to see Sir Ian McKellen in particular, and they’re obviously going to be very disappointed when he doesn’t come on. In practice, in Britain, people are often offered their money back in cases like that. However well one performs it’s a damage-limitation exercise, especially when people have come to see a particular star. But those that stay want to enjoy it. As long as you don’t mess up it’s usually all right.
MIL: Having said that though, do audiences sometimes barrack for you as an understudy? It seems many of them would appreciate the pressure on you.
CH: Absolutely, that’s true, and I’ve received some very nice letters in the past when I’ve covered some high-profile actors. So, yes, that can happen as well of course.
MIL: Speaking of covering high-profile actors, tell us about replacing Richard Griffiths in "Equus".
CH: Ah, you’ve read my Google. That was fine, but it was worrying. Our first rehearsal read-through was due on that day. I got the call in the morning and I hadn’t received the rewrites of the last two pages. So that was a baptism of fire. I knew the play pretty well but on that first day, at the end of the first act, I pulled out a script and consulted it. That was Friday—by Monday I was off the book and played the rest of the week. The comments were largely about the fact the audiences were disappointed that Richard wasn’t there. Some had booked a year in advance. But during the performance I didn’t feel that at all.
MIL: Of course you wouldn’t want any illness to befall Ian, but is there a part of you that would very much like to take his part in "Waiting for Godot", if only for a night?
CH: Not really. One thinks of the production as a whole, and this is a wonderful production that is seasoning beautifully. Even if I were to give the performance of my lifetime it’s not as desirable as the show as it is. Do you know what I mean? Of course I’d want to fulfil my contractual duties as well as I could, and I’d enjoy it if I got on, but I’m not urgently dying to get on.
MIL: In the event that you have to take over, do you make the role your own or try to duplicate the original actor’s performance?
CH: Well, it depends. It’s inevitably a compromise because you have to slot into the production as it is. But you have to be able to inhabit the character. That comes from one’s own attacking of the part. It has to be within the parameters of the person you’re covering. There’d be slight differences in complexion in some of the things, but you can’t be radical about it.
Picture credit: Sasha Gusov (production photo)
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quote It's often seemed to me that Shakespeare might well have been a simply brilliant editor as well as a beyond-extraordinary writer