What are the best practices for creating and updating swing plots and tracks?

1 Define your terms

Before you start creating and updating swing plots and tracks, you need to define what these terms mean for your show. A swing is a performer who can cover multiple roles or ensemble parts in the same show. A standby is a performer who can cover a specific lead or featured role, usually with a contractual guarantee of a certain number of performances. An alternate is a performer who shares a lead or featured role with another performer, usually on a fixed schedule. Depending on the size and complexity of your show, you may have different types and numbers of swings, standbys, and alternates, and they may have different levels of rehearsal and preparation.

2 Create a master plot

A master plot is a document that shows the entire show from the perspective of each performer, including their entrances, exits, cues, props, costumes, quick changes, blocking, choreography, and vocal parts. It also shows the relationships and interactions between performers, such as who they dance with, who they hand off props to, and who they sing harmonies with. A master plot is essential for creating and updating swing plots and tracks, as it provides the baseline information for each role and part. You can create a master plot using a spreadsheet, a software program, or a combination of both, depending on your preference and resources.

3 Create swing plots and tracks

A swing plot is a document that shows how a swing covers a specific role or part in the show, based on the master plot. It may include modifications, substitutions, or eliminations of certain cues, props, costumes, blocking, choreography, or vocal parts, depending on the swing's abilities and the show's requirements. A swing track is a document that shows how a swing covers multiple roles or parts in the same show, based on the swing plots. It may include transitions, overlaps, or conflicts between different roles or parts, and how they are resolved. You can create swing plots and tracks using the same format and tools as the master plot, but with different colors, symbols, or labels to indicate the changes.

4 Update swing plots and tracks

Swing plots and tracks are not static documents. They need to be updated regularly to reflect any changes in the show, such as new cast members, new staging, new choreography, new music, new props, new costumes, or new cues. You also need to update swing plots and tracks to reflect any feedback from the swings, standbys, alternates, directors, choreographers, musical directors, or other creative team members, who may have suggestions, corrections, or questions about the swing coverage. You can update swing plots and tracks using the same format and tools as the original documents, but with clear and consistent notation to indicate the updates.

5 Communicate swing plots and tracks

Creating and updating swing plots and tracks is not enough. You also need to communicate them effectively to the relevant people, such as the swings, standbys, alternates, understudies, stage crew, wardrobe, props, sound, lighting, automation, music, and other departments. You need to make sure that everyone has access to the latest version of the swing plots and tracks, either electronically or in hard copy, and that they are aware of any changes or updates. You also need to review the swing plots and tracks with the swings, standbys, alternates, understudies, and other performers regularly, either in rehearsal, in meetings, or in one-on-one sessions, to ensure that they are comfortable and confident with their coverage.

6 Test swing plots and tracks

The final best practice for creating and updating swing plots and tracks is to test them in action. You need to see how the swing coverage works in reality, not just on paper. You need to observe how the swings, standbys, alternates, understudies, and other performers execute their roles and parts, how they interact with each other and with the stage crew, wardrobe, props, sound, lighting, automation, music, and other departments, and how they handle any challenges or emergencies that may arise. You need to provide feedback, support, and encouragement to the swings, standbys, alternates, understudies, and other performers, and solicit their feedback, concerns, and questions as well. You need to evaluate the effectiveness, efficiency, and safety of the swing coverage, and make any adjustments or improvements as needed.

7 Here’s what else to consider

This is a space to share examples, stories, or insights that don’t fit into any of the previous sections. What else would you like to add?