Interview with Eva Seymour

Life in the theatre isn't always about standing in the spotlight. Sometimes it's about waiting in the wings, prepared for a moment that may never come. The Understudy shines a witty, heartfelt and refreshingly honest light on the realities of life behind the curtain, exploring the resilience, frustrations and determination that come with pursuing a career on stage. Ahead of bringing the show to this year's Edinburgh Fringe, I caught up with writer and performer Eva Seymour to chat about the inspiration behind the production, the hidden world of understudies, and why audiences don't need to work in theatre to recognise themselves in its story.

I’d love to start at the beginning. What first inspired you to write The Understudy, and was there one experience that made you realise this story needed to be told? 

It was suggested to me by a friend and acting coach, after I gave her a spiel about my experiences as an actor and an understudy, that I write a show called ‘The Understudy’. I’d told her I’d love to one day take a show to Edinburgh, and it seemed pertinent that the show I would write would be a meta vehicle about an actor trying to make a show about being an actor… More than anything, I wanted to be really honest about some of the crappy things that go on in the industry here in Australia, and I’m sure more broadly.

Understudies are essential to every production, yet audiences rarely get to hear their perspective. Why did you feel now was the right time to shine a spotlight on them? 

My experiences of understudying were born out of covid lockdowns. Melbourne’s theatre industry was (and still is) hugely impacted by the length of our lockdowns, and the creation of the ‘Covid Understudy’ came about as an emergency handbrake for many productions - ones that previously wouldn't have had swings or covers. It highlighted a reality that a show’s survival is often laid on the shoulders of actors, and we will often say yes to some pretty demoralising work, simply for the opportunity TO work.

The theatre industry is full of resilience and perseverance. How much of the show is inspired by your own experiences and those of people you have worked alongside? 

The show is very much inspired by my experiences, with some magical elements sprinkled in… Some scenes are almost verbatim to how they played out in real life, while others are entirely made up. I asked friends for their experiences as well, as I wanted to honour as many wild and ridiculous stories as I could.

📷 Mouk Media

Comedy plays a huge role throughout the production. Why did you feel humour was the best way to tell what can sometimes be quite an emotional story? 

Tragedy and comedy go hand in hand - I couldn’t possibly write a show about the absurdity of being an understudy without laughing about it. I wanted to skewer the industry and highlight the struggles without dipping into anything overly sentimental. 

Every performer dreams of that big opportunity. What does success actually mean to you now compared with when you first entered the industry? 

Being a working actor looks completely different from how I thought it would look - it’s a hodgepodge of random gigs that often have very little to do with being on the stage. I make ends meet through voice overs, theatre developments, audition reading, whilst working side jobs in the disability sector, but the balance of it all actually brings me a lot of peace. I’m very grateful for the work I have and the work I’ve made. I feel like I don’t have such a tight grip on what I envisioned for myself, and I’m really grateful to have found some creative freedom through writing my own stories. 

Theatre audiences usually only see the polished final performance. What aspects of being an understudy do you think people will be most surprised to discover? 

I think more than anything the show highlights the mental gymnastics you put yourself through to justify the position you’re in, not necessarily as an understudy but as an actor more broadly. Aside from the rigour and preparation, being an understudy requires constant positive selftalk, flexibility and mindset adjustments. It’s not just the line learning, but the stress endurance that, to me, is the most exhausting aspect.

Waiting for the call can be incredibly exciting but equally nerve-racking. How did you capture that emotional tension within the show? 

The experience of being an understudy, I think, is a microcosm of being an actor more broadly. Waiting for the call, waiting for someone to give you an opportunity. Trying to find ways to make yourself indispensable and training yourself to be comfortable with the unknown. The show moves at a barreling pace, which gives the moments of tension where the Understudy is waiting, or reflecting on her position, more gravity.

The production explores ambition, self-belief and identity. Did writing it change the way you think about my own career? 

The actual act of writing and performing my own work gave me more creative autonomy then I’ve felt before on stage. Giving voice to the feelings of self-loathing, insignificance and anger through parameters I get to dictate has definitely helped me work through them. Plus, audience responses have made it clear the Understudy’s experiences are pretty universal. We all know how it feels to be overlooked or misunderstood. Talking to people after the show really reminded me how much we have in common, and on reflecting on my career, that made me feel a lot less alone.

If someone has never worked in theatre before, what do you hope they learn about the people standing just offstage every night? 

I hope audiences see the immense work and sacrifice it takes to be on call, whilst grappling with the emotional toll it can take. In a broader sense, I hope it highlights the reality of being an actor.

Audiences often celebrate the leading performer, but an understudy has to be ready at a moment’s notice. What does that level of preparation actually involve behind the scenes? 

Depending on how many roles you’re covering, you need to stay on top of multiple characters’ lines and blocking, whilst managing the anxiety and stress of knowing you may be called upon at any moment. It’s a marathon of emotion, which I think we captured in The Understudy.

Every actor has experienced rejection. How important was it for you to acknowledge that reality while still keeping the show uplifting? 

Being an actor sort of turns you into an olympian in dealing with rejection. It's the reality of the profession and the show wouldn’t be honest if I didn’t include it. There is lots of humour to be found though, and the creative ways we reframe and deal with rejection I find to be highly entertaining. 

Looking back over the writing process, what proved to be the greatest creative challenge? 

At the beginning I had no idea what kind of show I wanted to write. I made Olivia, my director, give me a hard deadline for a first draft, and I signed up for Melbourne Fringe before I'd written a single word. Without knowing I HAD to cook something up, I probably wouldn’t have even got past the first page.

If you could change one misconception people have about understudies, what would it be? 

There seems to be an attitude in Australia that swings and covers are less talented than those in the cast. I’ve heard audiences groan when they see that the cover is scheduled to perform on the night they’re seeing a show. This is crazy-making to me. If people knew the breadth of talent in our industry they’d be grateful to see any of the incredible performers gracing the stage!

📷 Mouk Media

Theatre is built on collaboration. How has working alongside other creatives helped shape this production? 

I was lucky enough to develop this work with my best friend and collaborator Olivia Charalambous. She trusted my vision early, really let me explore its extremities, and directed me in a way that let the text really sing. The work wouldn’t exist without her direction, especially because, as a solo performer, there’s a limit in your knowledge of how the work is being experienced on the outside. Olivia and I developed the sound design together and she led the lighting decisions. It’s theatre on a very resourceful budget!

Once audiences leave the theatre, what’s the one conversation you hope they’re having? 

“What a clever show, that girl should be famous”

Beyond Edinburgh, what do I hope the future holds for The Understudy? 

As it stands I don’t have any more seasons scheduled, but I never say never! 

Finally, if someone is choosing between hundreds of Fringe shows this summer, why should The Understudy be at the top of their list? 

The Understudy is a relatable, silly, cringey, humiliating yet empowering show that will make you go “oh yeah, I hadn’t thought about it like that”. If you like meta, subversive comedy that will hit you in the guts without taking itself seriously, this is the show for you.

A huge thank you to Eva for taking the time to speak with me about The Understudy. Blending razor-sharp comedy with an honest look at the realities of chasing a career in the arts, it promises to resonate with anyone who's ever felt overlooked, underestimated or simply waited for their chance. Whether you're a lifelong theatre lover or have never given a second thought to the people waiting just offstage, this sounds like one of those Fringe shows that will have you laughing, cringing and cheering in equal measure. The Understudy is at Assembly George Square from 5 – 31 Aug (not 12, 18 & 24) at 12:15 pm. Ticket information here: https://www.edfringe.com/tickets/whats-on/the-understudy