Joseph Simeone can proudly say he’s got himself a new nickname: Super Swing. Officially covering six roles in Broadway’s “A Bronx Tale,” Simeone recently tackled three different tracks—in three consecutive performances. The Juilliard graduate, who has been with the production since its first Broadway bow in the fall of 2016, spoke with Backstage about the job’s personal accountability and the misconception that swinging is an entry-level theater gig.
For those who may not know, what is the role of a swing?
A swing is responsible for being ready to go on in a number of given tracks, at any time over the course of the run. At the moment, I cover officially six tracks. I have been called to go on in the middle of a show for someone. I have been in the show as the lead for a week or two at a time. On some occasions, I’ve actually been called at half hour to go on for people that I am not “paid to play,” meaning something happens like someone is delayed in getting there from the airport and the swing will be asked, “Do you know the part? Can you go on?” and the swing’s job is to say yes and to make it happen.
What is the rehearsal process like for a swing?
Because the responsibility of the creative team has to be getting the show up and running as fast and great as possible, you as the swing are pretty much independently responsible. You have responsibility over yourself to make sure you know that material. You hold yourself personally accountable and you don’t let the speed at which they’re teaching the show slow you down. Instead of learning one part, you have to learn five, so copious notes, really paying attention, and devoting yourself to it when you leave the room [is required]. Learn the material in the room, but process the material on your own time.
You recently played three consecutive tracks in three consecutive performances. What was that like?
It was wonderful and terrifying at the same time. Having the supportive environment that we have onstage is the best. Knowing the material is one thing; feeling comfortable onstage to let yourself go for a performance is another. Other than that, I just do it! I have always been multidisciplinary, so I feel like that benefits me.
What advice do you have for current or future swings?
As odd as this might sound, I think the best thing for people who want to be swings is—if it’s at all possible—go out and play a lead somewhere, or play a [sizeable] role somewhere. You’ve got to get your chops first. As much as people think that being a swing is an entry-level position, the fact of the matter is being a swing is at the opposite end of the spectrum where the lead is. You have to be ready to carry the show with a moment’s notice and go out there with confidence and bring the show home, whatever role you’re in. That doesn’t happen by working your way up from swing and becoming the lead. That happens on the other way down. It happens from knowing how to put a show on your back and drag it over the finish line
What is the best part about being a swing?
It can be a thankless job. I was [“A Bronx Tale” lead] Calogero for the hundredth performance, which was great, but they had to move all of the photo stuff to a day that the lead comes back. It’s all about the work, and that’s the wonderful thing about this job: You can’t have an ego and do it well. I like to think of every challenge as little opportunities to grow.
To learn more about Simeone, you can visit his website at JosephJSimeone.com or follow him on social media using the handle @simeonesays.
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