Roger Philippon, a 70-year-old Lewiston native, is an understudy for five roles in the Maine State Music Theatre's production of '1776'. This means he's prepared to step in at a moment's notice if any of the main cast members fall ill, a crucial role in the world of live theatre. Philippon's dedication to memorizing the parts of Caesar Rodney, James Wilson, Stephen Hopkins, the Rev. John Witherspoon, and congressional secretary Charles Thomson is remarkable, especially considering this is his first professional acting gig.
What makes this story particularly fascinating is the unique nature of Philippon's involvement. Unlike traditional understudies who play minor roles, Philippon is an 'external understudy', not playing any part but ready to take on the challenge of multiple supporting characters. This is a testament to his extensive acting background, honed over the years at Community Little Theatre in Auburn and St. Dominic Regional High School in Lewiston.
In my opinion, Philippon's passion for acting is infectious. His dedication to the craft, even in his retirement, is inspiring. The fact that he's taken on such a challenging role, especially with the pressure of live theatre, shows his commitment to the art form. It's a reminder that acting is not just about the performance but also about the preparation and the willingness to step up when needed.
One thing that immediately stands out is the importance of understudies in the theatre world. As Curt Dale Clark, the artistic director of Maine State Music Theatre, notes, understudies have become more critical since the pandemic. They provide a safety net, ensuring the show can go on even if a cast member falls ill. This is a vital role that often goes unnoticed, but it's essential to the success of any production.
What many people don't realize is the level of preparation and skill required to be a successful understudy. Philippon's ability to memorize multiple roles and their nuances is a testament to his talent and dedication. It's not just about knowing the lines; it's about understanding the character and being ready to embody them at a moment's notice.
If you take a step back and think about it, the role of an understudy is a challenging one. It requires a unique set of skills and a deep understanding of the production. Philippon's experience in multiple productions, including '1776', gives him an edge, but it also highlights the importance of a diverse acting pool in the industry.
This raises a deeper question: How can we support and encourage more people like Philippon to pursue acting, especially in their later years? It's a reminder that age is not a barrier to talent and that the theatre world can benefit from the experience and passion of actors of all ages.
A detail that I find especially interesting is the relationship between Philippon and the main cast. Despite not being on stage, he has been treated as a cast member, even fitted for costumes and given his own makeup table. This highlights the supportive and inclusive nature of the theatre community, where everyone, from the main cast to the understudies, plays a vital role.
What this really suggests is the importance of community and collaboration in the theatre world. It's a reminder that every role, no matter how small, contributes to the success of the production. Philippon's experience as an understudy is a testament to this, and it's a story that deserves to be told and celebrated.
