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Ever heard someone mention a “swing” in theatre and wondered what it means? A swing (sometimes called a “cover”) is a performer who can step into a role onstage—sometimes with very little notice—when a cast member is unavailable due to illness or another emergency.
Swings are similar to understudies but differ in scope. An understudy typically prepares one role; a swing prepares multiple roles (or “tracks”).
Preparing multiple tracks means learning everything needed to take on a given role, including blocking and staging, entrances and exits, stage business, use of props, and of course, dialogue. For a musical, it means mastering musical numbers and specific vocal parts and choreography. All of this for multiple roles.
Audiences may not see the work of swings behind the scenes, but they play a key role in live theatre.
Swings prepare, rehearse, and may or may not go on. But swings are in place to ensure the show is seamless for the audience and for their fellow actors and scene partners, in the event they are called upon. It’s a big and high-pressure role.
Currently, Bronwyn Bahr and Max Monahan are covering all five tracks in Dial “M” for Murder, running on the Hawks Mainstage Theatre through May 10. Let’s get to know them.
For Bronwyn, the rehearsal process has been efficient, thoughtful, and a great learning experience. As a first-time swing, she appreciated having rehearsals built into the schedule where she could step in and work each of the two tracks she covers. She also mentioned the cast was always willing to let swings jump in to run scenes, work through trouble spots, or help with blocking.
“Being a swing is certainly different,” she shared. “It is a lot of watching, taking notes, and working outside of rehearsal times to ensure you are as prepared as you can be if you need to step in. But I think it’s a great challenge for any actor to take on.”
Bronwyn covers two very different characters: Margot, a polished Londoner, and Maxine, a bold queer writer living in 1950s Greenwich Village. She said digging into each character’s relationships, backstory, and dialect helped her create clear differences between the two. She also appreciated being encouraged to bring her own ideas to the roles rather than simply copying another actor’s performance.
When preparing to go on with little notice, Bronwyn focuses on staying ready. She regularly runs lines to keep the text fresh and reminds herself to trust the work she has already put in. “I know I’ve done the work,” she explained. “Now it’s time to trust that and just have fun.”
She says one of the biggest challenges of being a swing is learning mostly by watching instead of by repetition. There is also the strange mix of wanting the chance to perform while never wanting a castmate to have to miss a show.
Choosing a favorite role of the two is impossible for Bronwyn. She loves Margot’s dialect work and emotional journey, while Maxine has given her the chance to explore a different side of herself and a unique outsider perspective.
Her advice for actors considering a swing role is simple. “Give it a try. It’s a great opportunity to develop a different skillset in a safe space.”
Max’s rehearsal process started with multiple read-throughs of the script, each time focusing on one specific character. That helped him separate the tracks in his mind and fully explore each role as its own person.
As he became more comfortable, he started rehearsing scenes by switching between characters line by line. Sometimes that meant having full conversations with himself in the car. That process helped him understand how each character would interact with the others while also helping him picture the blocking and movement of the show.
For Max, creating distinct characters comes down to understanding what each person wants in the show, in the scene, and in every moment. From there, he built their backstories, dialects, trust levels, and the parts of themselves they choose to hide or embrace.
When it comes to stepping in with little notice, Max keeps it simple. “You trust the work you have done before as well as your fellow team on and off stage, who will support you every step of the way.”
And for actors thinking about trying a swing role, Max has a clear answer: “DO. IT.” He says it has been a rewarding challenge and a great chance to dive into character work without the pressure of performing every night. “I encourage anyone who has that drive to throw themselves into it.”
At the Omaha Community Playhouse, we’re grateful for every swing who helps make the magic happen and who bring incredible talent, dedication, and flexibility to their work as actors.
Dial “M” for Murder
April 17 – May 10, 2026 | Hawks Mainstage | Omaha Community Playhouse
