Behind the Crowns: Meet the Swings of SIX the Musical Australia

How did you first get involved with SIX?

Cristina: My involvement with SIX began when our producer Louise Withers called me asking whether I would consider auditioning for the production as the resident choreographer. I was then sent choreography to learn prior to my audition which I sent off alongside my professional CV and showreel. From then, I was shortlisted for an interview via zoom with the British choreographer and her associate team. Shortly after, I was asked to assist the choreography department of the audition process in casting the Queens and swings. This was my final audition. From then my agent called to let me know that I had secured the position.

Chiara: I auditioned for SIX the first time round in 2019 but I didn’t get the job. I was so heartbroken because it was my dream show so I decided to go to America to watch shows on Broadway and get inspired. When I returned home and Covid came and went, they were then re-auditioning the Dance Captain/Swing position for the show and so I tried my chances again and I was lucky enough to be chosen.

How has being a swing helped you grow as a performer?

Thalia: The versatility required to be a swing means that you keep all the skills in your arsenal  really sharp. I am my most physically and vocally fit when I am swinging on a show. It  challenges you to access so many different parts of your skill set at any oven time, one day  your required to sing your best crystal soprano tones and the next day your belting out the  alto line, sometimes swapping between the two each show – always ensuring you’re firing  on all cylinders and ready to go whenever you are needed.

Gabriella: I think with this show particularly, learning and covering 6 principal tracks, I’ve really built up my skills toolkit. What I mean by that is, I’m using every part of my training, every trick I have tucked away and really utilising all my skills… AND having to learn new ones, or polish off old ones. I feel ready to tackle anything with a switched on brain and a sparkly clean toolkit, not just in this show but in the industry. It’s also taught me that failing spectacularly is amazing and sometimes it’s the only way to find your way to the brilliant. I wouldn’t be half the performer I am without having been a swing.

What is the rehearsal process like as a swing?

Chiara: The rehearsal process is tricky but also very different for each individual swing as we all have different ways of learning. I know for me personally, it was tricky at first because I knew I had to eventually learn all the queens but I had to concentrate on learning one at a time to help me fully understand and remember each one. That’s when I made my cheat sheets to help remember key things for each queen as well as recording down all the harmonies so I have not only the score but them recorded for me to listen to whenever I need them as well. It’s definitely a challenging process but also very rewarding to see how much our brains can remember when put to the test.

And what about when you add Resident Choreographer and Assistant to the Director on top of that?

Cristina: It’s a very busy process. However, I really enjoy the challenge of juggling the various positions. During rehearsals I usually compartmentalise the various jobs I have. Having a good understanding of the script and memorising the majority of the lines prior to rehearsals, contributes to a positive starting point for the journey. By creating this foundation, it allows space for me to digest the choreography. Furthermore, I like to build upon each character by studying their backstory so that I can impart this knowledge onto my cast and carry it alongside myself as a swing. From then, I continue to link the script and the choreography together to build a more contextual underpinning of the characters, their contribution to the piece and the underlying themes of their stories. This encapsulates a full-bodied understanding of the queens as well as the fundamentals of the choreography, which allows me to maintain the creative integrity of the show.

What was it like when you went on as a swing for the first time?

Cristina: It was quick! The first time I went on for one of the Queens was within the hour call prior to the show starting. I remember being relatively calm and I trusted that the work I had done was going to see me through, even on such short notice. It was upon reflection of that performance that I recognised that I have had the privilege of understudying and or swinging my whole professional career, which I believe has helped me develop a mindset that assisted me through my debut performance as a Queen. The role of a swing is partly accompanied by constant ambiguity which in time you learn to juggle, however having developed and continuing to develop these skills has been beneficial to my role as a swing, but also plays a strong part in my journey as a performer.

How do you manage to stay on top of so many different tracks?

Chiara: We have rehearsals twice a week on stage and then we run our own rehearsals backstage during the show to keep up with all our tracks. We also have different methods of remembering each queen. My method is having a cheat sheet with all their individual poses on them, a cheat sheet for the different harmonies and an app called stage write that shows me where each queen is positioned on the stage at every moment in the show that I also will look at before I go on.

Do you have a favourite of the queens to play?

Thalia: This is a tricky question, and it changes all the time. I have a real soft spot for Boleyn,  theres so much fun to be had with her cheekiness and I always love finding new little fires  to light when I’m in that track. Most recently I got to perform as Parr and it felt that was  pretty special too. A totally different vibe to Boleyn but she has so much heart and warmth, it was a real joy to be able to step into her shoes and feel the show from her perspective.

Gabriella: I used to say Parr without a doubt. She just feels like home, maybe because she reminds me of my mum so much and because she was the first ever Queen I got to debut. She holds a special place in my swingy heart. BUT I’m finding more and more that I’m LOVING Cleves, she’s a bunch of fun and she really really gets to connect and interact with the audience on a different level. So right now, I’d say it’s a bit of a tie!

How do you approach learning and embodying the different Queens?

Chiara: I started by learning one track at a time. I would look into the characterisation of that queen and break down her song and scenes. I would also then associate each queen with a pop star influence to help me understand where her energy lies amongst the other queens and make a playlist inspired by that. I generally listen to that queen inspired playlist before I go on stage to help me embody whoever I’m playing that day.

Do you have any rituals/routines you follow before going on stage?

Cristina: I have developed a set of mindfulness techniques that include certain breathing and grounding exercises that help activate my vagus nerve. These techniques help me start the show as close to a parasympathetic state as possible. Essentially, preparing for a show is dependent on the individual and can be subjective depending on what each performer requires. However, I have found that a consistent routine of mindfulness and breathing exercises creates a stable foundation for my performances.

What are the biggest challenges as a swing?

Thalia: Being ready to go at all times, and going with grace. Swinging is hard, and it’s incredibly  adrenaline filled (which I love) but that obviously takes its toll. We don’t get the consistency  of doing a roll all the time and so learning to give yourself grace when it isn’t “perfect”  (whatever that means) and finding joy in the journey takes a lot of mental fortitude.

Gabriella: During different stages of the process I think the challenges morph and change. The learning process is definitely a challenge of taking all of the information in and getting it to stick. But once the show is open and the show is in your brain and body, I think it becomes managing the uncertainty of your schedule. Being prepared that you might go on but also knowing you might not and don’t get me wrong, I LOVE the adrenaline of a swing on but the challenges that come with that are making sure you’re show fit without being able to do the show 8 times a week but also making sure you’re not too fatigued to do a show. It’s the little things that I think take a while to find your way with. But once you do, I think it’s one of the BEST jobs in the biz!

And what is the most rewarding part?

Thalia: Particularly on Six, having 6 different, meaty, complex roles to step into is about the  biggest gift you can ask for as a swing. Being onstage, and being a vessel for the work and  allowing my personality and energy to flavour the performance is a really cool feeling.  Whether it’s my first time on or my 100th – being a part of the giant machine that is theatre is so rewarding. I love connecting with the cast onstage, with the Audience, and  with our amazing crew. It really does take a village, and to be a part of that is rewarding enough within itself.

Gabriella: It’s no secret that being a Swing is one of the hardest jobs in our industry and I am SO PROUD to be one of them. I think that in itself is rewarding but also I LOVE this show. Getting to know all of these characters, learn from them, see how they change the way I see things and then getting to share all of that with audiences is such a blessing. I love what I do and loving your job is the biggest reward of all really.

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SIX The Musical is playing now at Melbourne’s Comedy Theatre.

For tickets and more information visit www.sixthemusical.com.au