14 Behind-the-Scenes Secrets of Broadway Understudies

Lauren Spinelli
Lauren Spinelli

On Broadway, “the show must go on” isn’t just something people say; it’s a way of life. Even if a star is out because of vacation or illness, the show can't just close its doors. Instead, the star’s talented understudy steps in to make sure that audiences aren't disappointed—and that the production doesn't lose money. Mental Floss spoke with Broadway musical understudies past and present to bring you behind-the-scenes secrets of the job, which is harder than you might think.

1. THERE’S MORE THAN ONE TYPE OF UNDERSTUDY.

Actor Josh Breckenridge is a standby in Broadway's 'Come From Away.'
Josh Breckenridge is a standby in Come From Away.

The public tends to use understudy as a blanket term, but it has a more narrow meaning on Broadway. If you peruse a Playbill, you might see words like standby, alternate, and swing in addition to understudy; each fills in for an onstage performer, but in a specific way. “Standbys are off-stage, and cover only principal roles,” says Josh Breckenridge, a standby in Broadway’s Come From Away. “They literally stand by. They’re required to be at the theater, and in some cases, within a certain radius of the theater, to be on call if a principal role is unable to perform. Understudies are on-stage, every night, in a specific [ensemble] role, and they cover principal roles. Swings are off-stage and cover ensemble.”

There’s a certain chain of events that allows these actors to make it on stage: If a performer is out, her standby will go on; if the standby is also out, the understudy will step in, and a swing performer will “swing in” to cover the understudy’s typical "track," or role. Alternates, meanwhile, cover specific performances to give the principal actors a break. “They’re scheduled to go on every week, whereas a standby just goes on if there’s an emergency, if someone can’t do the show,” Breckinridge explains. Not every show will have all of these layers of redundancy, but according to the Actors' Equity Association Rulebook [PDF], all Broadway shows are obligated to have understudies.

2. ACTORS AUDITION SPECIFICALLY TO BE UNDERSTUDIES.

Usually, actors know they’re auditioning to be an understudy, standby, or swing. Occasionally, though, they’ll be auditioning for a principal part and be cast as the understudy instead. According to Asa Somers, who understudies for Larry Murphy in Dear Evan Hansen, “They audition you for the role and then they go, ‘You were great, but we’re going with someone else—but you’re good enough that we would like for you to understudy. Would you be willing to do that?’ So it does happen.”

3. THEY REHEARSE REGULARLY—BUT NOT USUALLY WITH THE MAIN CAST MEMBERS.

The understudies of 'Dear Evan Hansen.'
Dear Evan Hansen understudies Garrett Long, Colton Ryan, Olivia Puckett, and Michael Lee Brown. (Not pictured: Asa Somers.)
Jenny Anderson

Actors filling in for main characters have the opportunity to rehearse twice a week. Typically, they’ll rehearse with each other, with stage managers reading off-book to cover other parts, as an assistant director watches. There are very few of the bells and whistles that accompany a full show, which provides some challenges for the actors. For example, because there are only six standbys for the 12 cast members in Come From Away, Breckenridge says they have to rely on the crew to make up the difference during rehearsals: “There are moments where we have to pause for the crew to shift everything—there’s a little bit of hodge-podging and faking our way through.”

“I think one of the hardest things is how dark it is in rehearsal,” says Garrett Long, who understudies Heidi Hansen and Cynthia Murphy in Evan Hansen. “We just [use] work lights.” Somers says, “I feel like the stage is way bigger when just the work lights are on because you can see everything—the audience, the wings. It’s disconcerting.”

Colton Ryan and Michael Lee Brown both cover Evan Hansen’s three high school-aged male leads—Evan, Connor, and Jared—which means they sometimes play two of the parts they cover in the same scene during rehearsal. “The first scene is one of only two scenes where Connor and Jared are in the same space,” Ryan says. “Because Jared enters first and has more lines, Michael will play Jared or I’ll play Jared. We’ll get to the point where [Jared] goes, ‘Oh, you’re such a freak,’ and leaves. And instead of leaving, [whoever is playing Jared] mimes walking out and will just come back in as Connor. You just have to switch on a dime.”

4. THEY OFTEN COVER MULTIPLE TRACKS, AND HAVE VARIOUS METHODS FOR KEEPING THE CHARACTERS SEPARATE.

“I made a run sheet for each character,” Brown says. “I wrote down exactly, in every scene, their movements—which wing they exit, enter, and every move they make. Props you need to remember, costume changes backstage. When you go on, you keep a copy on each side of the stage, and it’s super helpful.”

Jay Douglas, who covered six characters in The Drowsy Chaperone in 2006, had a similar strategy. “I sat out in the audience with a pair of binoculars in one hand and a tape recorder in the other hand, and I would follow each of my people around one person at a time,” he told Playbill. “I would speak every move that that character made into a microphone, and then I would go back and actually type it out in a Word document.” He reviewed his notes and corrected them until he had an accurate description of what every track did, then kept a printed copy in his bag so he could pull it out to reference it at a moment’s notice.

For Ryan, keeping the characters from bleeding into one another comes down to physicality. “They’re all seniors in high school, but they all lead from a very different place in the body: Their gut, their heart—where they keep their instinct,” he says. “I found that tapping into a specific physicality is what can trigger my brain to say, ‘OK, you’re on that track now.’ And then they don’t bleed at all.”

Come From Away includes 12 actors—six men and six women—playing 60 different characters; as a standby, Breckenridge covers five of those actors and their subroles. “You’re one character one moment, you put on a hat and you’re automatically another character, or you slip off a jacket and you become an additional character,” he says. “It’s a subtle change, and it’s typically done with a physicality, with an acting beat, with a register of where you use your voice, and also with accents. As crazy as learning multiple accents can be, it’s actually very helpful with character shifts because that, in itself, can help you change into a completely different character. Dialogue helps, too: I’m speaking Arabic at one point as Ali, but then I’m talking about kissing a cod as the local Newfoundlander. I think that helps you zero in and not jump from one dialect to the next inappropriately.”

5. THEY’RE NEVER FAR FROM THE THEATER DURING A PERFORMANCE.

Jared Bradshaw understudies Willy Wonka in Broadway's Charlie and the Chocolate Factory.
Jared Bradshaw understudies Willy Wonka in Broadway's Charlie and the Chocolate Factory.

Standbys and swings have to be in, or near, the theater when a show is happening. But when they’re not on, they have a lot of downtime, and they can decide how they spend it. “I shared a dressing room with Megan Hilty, who was the Glinda standby at the time,” says Shoshana Bean, who was the standby for Elphaba in Wicked from 2004 to 2005 (after which she took on the role herself). “We would rehearse sometimes, we would watch TV. I would go to the gym, write music. We were allowed to be within a five-block radius of the building and reachable on our cell phones, so I grabbed food with friends or ran errands.”

Breckenridge says he and the other standbys will often watch the show: “We’re either out in the house, up above in the lighting rig—there’s a seating area for us—or we’re watching backstage,” he says. If they’re not watching, “We go in our dressing room, close the door, turn up the monitor, and kind of do the show there. We can sing full out, say the lines, in the dialect, and not have to mute ourselves as we would in the audience or backstage.”

Depending on the day, the cast of Dear Evan Hansen will also rehearse together or watch the show (they also enjoy playing Bananagrams). One thing is for sure: No standby or swing is lazy. “There’s a misconception that we’re not working,” Breckenridge says. “But we’re working our butts off behind the scenes.”

Understudies, who have their own tracks in the show, obviously can't fully watch what the actor they’re covering is doing—but sometimes, the stage manager will arrange for them to watch the show from the audience, as Charlie and the Chocolate Factory’s did for Jared Bradshaw. Bradshaw plays a reporter and an Oompa Loompa in the show and understudies for Willy Wonka (as well as the other male leads), who is played by Christian Borle. “He had a swing go on for my role as Jerry Jubilee, the reporter, and he let me watch the show from 10th row center,” Bradshaw says. “It wasn’t for fun—it was to let me watch Christian and see from the front of house where he’s actually standing and what the lighting cues look like.”

6. EVERY TIME THEY GO ON IS BASICALLY LIKE THE FIRST TIME.

“The problem for us is every time we go on, it’s the first time, more or less, because so much time has passed,” Somers says.

And it can be hard to master a role when you don’t go on much. “It was hard to have a job as a performer but not technically get to perform that often,” Bean says. “Most standbys go on very infrequently and it can feel like being shot out of a cannon. Takes a second to get your groove and find your sea legs.”

Long agrees. “I did two and a half years at South Pacific, and I was still working on it at the end,” she says. “[A principal actor] is sometimes gone for a week and by the end of that week you’re like, ‘OK!’ But then you don’t touch it [for a while].”

7. THEY COULD GO ON AT LITERALLY ANY MOMENT …

Sometimes, understudies will know far in advance when they’re going on for a principal actor—like if that actor is going on vacation. But illnesses or other unforeseen emergencies might mean much less notice. Ryan got the first clue that he might have to take the stage for a Sunday matinee of Dear Evan Hansen when he found out, after the Saturday evening performance, that star Ben Platt was going to the doctor. “I had a feeling that the next morning I might get a call,” he says. “It was around 11 a.m. on Sunday when I finally got the text that said ‘Hey, this is it.’” Ryan, who made his Broadway debut that day, says he felt very zen about it all. “The timing was unbelievable,” he says. His classmates and teachers happened to be in town for a showcase—Ryan is in his senior year at Baldwin-Wallace University and is receiving internship credit for his time in Evan Hansen—and “they freaked out, and all got tickets somehow. I couldn’t believe the support I was lucky enough to have out there.”

Sometimes, the call comes even closer to the wire. “I got an hour and a half notice last time I went on, and then before that I almost went on in the first 10 minutes of the show because someone was, like, throwing up,” says Olivia Puckett, who covers the roles of Alana Beck and Zoe Murphy in Evan Hansen.

And in some situations, an understudy or standby will be called in during a show. Bean (who these days is focusing on her music; she released a new single, “One Way to Go,” in March) had to go on close to the end of a matinee of Wicked when star Idina Menzel fell and fractured her rib. “They got me ready in 7 minutes,” Bean recalls. “I was in shock that we were actually going through with it. I was worried about her because no one know what had actually happened when they took her to the hospital. I was determined to keep it together ... I didn't feel I had the right to indulge in my feelings at the time—I felt I needed to be focused and steady, for her, for the show, and to just do my job.”

8. … EVEN IF THEY HAVEN’T REHEARSED THE WHOLE SHOW.

A Charlie and the Chocolate Factory program with an understudy slip.
Chris Messina

Standbys and understudies for principal roles will sometimes get the chance to do what’s called a “put-in,” where they perform the entire show, in their costume, with the cast (in street clothes), the orchestra, and things like lighting cues and props. But it doesn’t always happen.

Ryan, for example, never had a put-in. The day of his first performance, he only ran a few essential scenes on the stage before he had to go deal with the things he doesn't normally have to do: warm up and run songs in the music department; get into costume and miked up; and put on makeup. When he had time, “Cast members would come up to my room and we would run lines,” he says. “We’d never done this at all together, so we were getting a feel of the pace in a 10-minute frame. We spent maybe half an hour on the stage just doing the dancing bits ... Other than that, it was like, ‘Alright, let’s see how you do.’”

Similarly, Bradshaw covered for Christian Borle without having fully rehearsed Charlie and the Chocolate Factory. Luckily, he got a text from Borle the morning of a regular four-hour understudy rehearsal session, so the stage manager gave him the opportunity to run through some of the things he'd never done before—like riding in the glass elevator and in a boat that sailed 20 feet above the stage (which Bradshaw says was “a little terrifying”). “There was only one thing we forgot to do—there’s a pushcart train that Willy rides out on stage, and we had not done that,” Bradshaw says. “I’m pushing the pushcart and singing this line that I’d never sung before with a Willy Wonka hat on and Augustus Gloop is going up the pipe, and I’m like, ‘What have I gotten myself into?’ Those are the moments you pinch yourself. You’re like, ‘I’m not killing anybody and I’m not dead, so this is good.’”

He also got a little help from his costars: “After the number, Augustus goes up the pipe. I was supposed to be leading off Mrs. Gloop, who is played by Kathy Fitzgerald, but she was essentially leading me.” Their mics were off, and the music was very loud; under her breath, Fitzgerald was directing Bradshaw where to go. In another moment, the actor found himself in the way of Emma Pfaeffle, who plays Veruca Salt. “I was really in her way. In character, she took her hands and pushed me in the chest,” he recalls. “It was one of those perfect moments where she knew that I knew it was OK for her to push me, and her character totally would have pushed me. In a moment like that, when an understudy goes on for the first time, you shove with love.”

If worse comes to worse, an understudy will go on, script in hand—which is what happened during a 2016 performance of Falsettos, when star Stephanie Block and her understudy were both out sick. Stephanie Umoh—who covered the roles belonging to two other actors—went on for Block after doing just a 2.5-hour staging rehearsal. According to Playbill, “Umoh used the script for most of the show, but the audience cheered throughout.”

9. THEY GET PAID FOR EVERY TRACK THEY COVER …

According to Breckenridge, “Swings get paid more than understudies because swings have to, typically, cover multiple roles. As a standby, you can cover, I believe, three roles, and the second that you cover more than that, you have to be paid an additional amount, per week, for each role that you cover.”

Sometimes, moving from swing to understudy means taking a pay cut. Bradshaw, who swung into 10 roles during his eight years in Jersey Boys, had his pay decrease when he took an ensemble role in Charlie and the Chocolate Factory even though he's on stage every night. “I was covering six different roles and getting paid for all those. I got paid for dance captain and fight captain,” he says. “Every six months you can get a little increase for pay for signing on for another six months. I was getting paid a lot more doing Jersey Boys. You’d think moving to a new show you’d get paid more, but when you’re in the ensemble every night and covering three roles you aren’t getting paid as much as being a swing and covering three lead roles and three ensemble roles.”

10. … AND A BONUS IF THEY COVER FOR A PRINCIPAL ACTOR.

Broadway performers get paid for eight shows a week—and if you cover for a principal actor and go on in their stead, you get a little pay bump. “Say you’re getting paid $300 a show. When you go on for a principal role, you get an extra $300 because that principal actor is not getting paid that night,” Bradshaw explains. “You get one-eighth of your salary extra.”

But as Douglas explained to Playbill, you only get that bump if you go on for a principal role. “If I go on for my ensemble track," he said, "that does not pay me any extra ... [but] even if I am not on once during the course of a week, I still make my full paycheck, [and] any principal performances that I have is additional money on top.”

Understudies can also expect to get paid more for things like extraordinary risk, “which is when you do something like riding in [Charlie and the Chocolate Factory's] glass elevator,” Bradshaw explains. “There was a trap door in Jersey Boys. They let you know that it’s a pneumatic lift and if you stick your arm out your bones are going to snap in half. You have to say you know how it works, but you also get $20 a week to risk your life and ride it. There are all these little bumps you can get as an understudy, and it’s a wonderful thing.”

11. THEY HAVE OTHER ROLES, TOO.

One standby or swing will serve as a show’s dance captain; in Come From Away, Breckenridge fills that role. “It’s my job to maintain the cleanliness of the show, so to speak,” he says. “While a typical dance captain’s job is maintaining just the choreography, with this show, there’s also chairography and blocking and chair traffic. All that stuff that I have to maintain. So on a typical day I’ll watch the show and take notes. If I see something—a traffic issue, or dance moves that have gotten muddy, or blocking that's a little off—I’ll notate it. If it’s something that becomes consistent, I’ll give the actor a note before the half hour [call] the next day, just to make sure they can apply that note in the show.”

12. THEY HAVE A LOT TO THINK ABOUT WHILE STAYING IN CHARACTER ...

“We’re focusing on things that [principal actors] don’t have to focus on at all anymore,” Puckett says. “You walk on stage and you’re looking for your spike mark [a piece of tape that shows actors where to stand], and then you’re looking for where the light is hitting you, and then you’re figuring out if you’re in the right shirt, and then you’re on top of that remembering your lines, and then on top of that you’re in your character.” According to Bradshaw, that type of compartmentalization has a name: “swing brain.”

13. ... AND NEED TO BE CONSISTENT WITH WHAT A PRINCIPAL ACTOR HAS DONE IN THE ROLE.

It’s key that understudies and standbys are consistent with what a principal performer has done in the past, both so they don’t throw off the other actors’ rhythms or wander into a perilous situation. “As the standby, my only intention was to fit in like a cog in a wheel,” Bean says. “A show runs like a well-oiled machine, and it can be dangerous to you or to the other company members if you don't hit your marks and follow the track as it's laid out.”

That said, there is room for a little fun. In his debut as Willy Wonka, Bradshaw said a line in Spanish and threw in a Southern accent on one line. “Willy Wonka is supposed to be unpredictable and you don’t know if he’s telling the truth or lying or strike that, reverse it,” he says. “Any comedian is funnier if they’re doing their own stuff as opposed to doing a filtered version of someone else’s accent. Still, you have to be standing in the right place at the right time. There are holes that open up in the floor and entire ceiling comes down—it’s dangerous.”

14. THEY WANT YOU TO KNOW THAT THEY’RE NOT LESSER THAN THE PRINCIPAL PERFORMERS.

The performers Mental Floss spoke to all mentioned the disappointment audiences express when a principal actor is out and a standby or understudy is on. While that’s understandable, they want audience members to know that they’re just as talented and working just as hard as the principal performers.

“The term understudy has a connotation that you’re not as good,” Bradshaw says. “It’s tough understudying a star now instead of just an actor. I would want to see Christian Borle as Willy Wonka. I wouldn’t want to see Jared Bradshaw—I would be disappointed! But you get to exceed their expectations. It takes a special person to understudy and to hop in and play a lead in one of these Broadway shows.”

Breckenridge concurs. “The producers, directors, choreographers, they’re trusting us to do, technically, a harder job than what the onstage actors are doing,” he says. Swings and standbys need to be able to maintain and perform multiple roles, sometimes at the drop of a hat. “I think there’s a misconception that we are second best, when in fact, we’re hired because we have the talent to do a myriad of things, like different roles and voice types,” he says. “We’re just as talented and we are an equal piece of this family, of this cast.”

7 Massage Guns That Are on Sale Right Now

Jawku/Actigun
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11 Secrets of Aldi Employees

Aldi is known for its unique cost-cutting measures that allow the chain to have some of the lowest prices for groceries.
Aldi is known for its unique cost-cutting measures that allow the chain to have some of the lowest prices for groceries.
Christopher Furlong/Getty Images

Since opening its very first store in Germany in 1961 and then coming to America in 1976, discount grocery chain Aldi has grown to over 1900 stores in 36 states. Using inventive cost-cutting measures—customers are responsible for returning their own carts and the store charges for bags unless you bring your own—the brand has become synonymous with quality at an affordable price.

Tasked with overseeing the long hours of daily operations are the company’s 25,000-plus store employees, who are typically part of a small team of 20 or fewer people per location. Aldi workers are expected to be proficient in everything from unloading pallets and stocking shelves to checking out customers at a speed that meets or exceeds standards—employees are even timed on how fast a customer pulls out their credit card.

To find out more about this challenging line of work, Mental Floss reached out to several current and former Aldi employees. Here’s what they had to say about memorizing barcode numbers, how many miles they walk during a typical shift, and why sitting down at the register is actually more efficient than standing.

1. Working at Aldi means walking. A lot.

At Aldi, employees aren’t given set roles when it comes to unloading, stocking, cleaning, or working the register. Everyone is expected to be able to do everything, which means a lot of physical effort. “Our job is considered physically demanding, because Aldi has very few employees running per shift, meaning there are more expectations placed on each of us,” Jonah, an Aldi employee in Pennsylvania, tells Mental Floss. “If you aren't ringing, you are expected to be cleaning, stocking, re-stocking, or organizing the shelves. There is no ‘down time.’”

That suits many employees just fine. “I don’t like to sit around and do nothing, and this job is the complete opposite,” Kyle, an Aldi employee in Virginia, tells Mental Floss. “I actually wear a Fitbit when I work, because I have been curious about how many steps I take. I average about 127,000 steps every [five-day] work week. I’d say an estimate is 25,400 steps a shift.”

2. Aldi employees sit down at the register for a very good reason.

An Aldi employee is pictured ringing out a customer in Chicago, Illinois in June 2017
Aldi employees are expected to ring customers out as quickly as possible.
Scott Olson/Getty Images

Employees can sit on stools while ringing guests up at a register, but getting a little rest isn't the sole reason for the seat. “While [resting] is true, Aldi says that cashiers sit at the register because, according to their testing, it allows us to ring up items faster,” Jonah says.

3. Aldi employees are monitored for their ringing speed.

Part of the reason Aldi can get away with as few as three to five employees in a store at any one time is because customers can be processed quickly. Aldi typically sets performance standards for employees at the checkout, who might be expected to process as many as 1200 items per hour. “We are given reports at the end of each day for our ringing statistics,” Jonah says.

And that’s not the only performance metric used to evaluate workers. “Ringing is the only part where we get an actual report, but managers will tell us that we are expected to knock out two pallets per hour, or one pallet every half hour," Jonah says.

4. Aldi employees “train” customers to move quickly.

Part of an employee’s register performance review depends on how quickly they can get a customer away from the register and toward an area where they bag their own groceries. To do this, employees encourage customers to have their payment method ready and inserted into the card reader before their items are done being scanned. “Aldi is all about efficiency, and encouraging our customers to ‘pre-insert’ their card while we are ringing allows the payment process to be near instant, rather than having our customers wait for us to finish ringing and then pull out their card and insert it,” Jonah says.

5. Aldi employees need Tetris-type skills to load carts.

Aldi shopping carts are pictured in Chicago, Illinois in June 2017
There's even a science behind how an Aldi cart is loaded.
Scott Olson/Getty Images

When an employee rings up a customer, items are loaded from the cart to the conveyor belt and then back into the cart. Because heavier items need to be placed first, employees need to be strategic when placing products. “[We put] light items like eggs, bread, chips, etc. at the top of the cart and everything else on the bottom,” Sara, an Aldi employee in Indiana, tells Mental Floss. “However, it really just depends on the order that customers put their items on the belt.” (They prefer you put heavy items like bottled water first.)

For maximum efficiency, Jonah prefers customers take products out of their display boxes and avoid trying to bag their groceries while cashiers are still ringing them out. “It slows us down and causes a longer wait for everyone,” Jonah says.

6. Aldi employees memorize barcode numbers.

An Aldi shopping basket is pictured in Cardiff, United Kingdom in August 2018
Aldi employees know the barcode numbers for several products by heart.
Matthew Horwood/Getty Images

Ringing speed is so crucial to Aldi’s success—and an employee’s job performance—that many workers memorize barcode numbers to keep the line moving. “Items like milk and water have codes that we memorize,” Sara says. “For example, someone could be buying six gallons of milk, and instead of having the customer put all of them on the belt for us to scan one by one, we tell them to leave them in their cart and we key in the codes, making the checkout process faster.”

7. Aldi employees may or may not give you a quarter if you forget one.

Because it would take time and money to collect shopping carts, Aldi has a system where customers insert a quarter to unlock a cart from the collection area. When they return it, they get the quarter back. But not all customers remember to bring a quarter, and first-time shoppers might not even know they need one. And if they ask an Aldi employee to borrow one, they may or may not get it.

“I try not to give them a quarter because the quarters we give come out of our own registers,” Kyle says. “So if we don't get them back, we end up losing money out of our own drawer. If it's a first-time shopper, I gladly give them a quarter and explain to them why we have this system in place, and pretty much every person is very understanding on why we do it.”

If you’re short a quarter, don’t try shoving anything else in the slot. “People will try to use foreign currency that are the same size as quarters,” Kyle says. “Doesn't hurt us; it's just annoying to deal with.”

8. Aldi has a store phone, but customers shouldn’t bother calling.

Customers are pictured in front of an Aldi store in Edgewood, Maryland in December 2017
Aldi employees are too busy in the store to answer the phone.
Sean Gallup/Getty Images

Aldi keeps the phone numbers for individual stores unlisted, preferring that employees deal with customers already in the store. Limits are placed on when the phone can be used. “We do technically have a store phone, but this phone is strictly used for receiving calls from the warehouse, global help desk, and to our security company we use,” Kyle says.

9. Aldi’s return policy is something employees can find a little too generous.

Aldi has a unique return policy for items purchased in their stores. Under their Twice as Nice Guarantee, customers can return a product and not only get a replacement item but a refund, as well. “Our Twice as Nice Guarantee is a very good system; I'd say one of the best in grocery,” Kyle says. “That doesn't mean it's perfect, though. I have seen people abuse this system. It's happened in my own store numerous times.”

Kyle declines to explain how it’s abused, though anecdotal reports are that perfectly good items are sometimes brought back to exchange for the benefit of a new item plus the refund. Serial returners are sometimes flagged and told to ease up. (The policy is currently suspended due to the coronavirus pandemic but is expected to return in the future.)

10. Aldi employees are required to wear steel-toed boots.

Work boots are pictured
Aldi employees need to protect their feet from inventory mishaps.
banjongseal324/iStock via Getty Images

Check out the footwear of an Aldi employee and you’ll notice they have on steel-toed boots normally seen on construction sites or warehouse jobs. That’s because workers are expected to unload the massive inventory pallets that arrive regularly. “All associates are required to wear steel-toed boots because of the equipment we use on the job,” Kyle says. “We use pallet jacks and it is just a safety precaution.” (Aldi does reimburse workers for the boots.)

11. Aldi employees appreciate you taking the survey.

Customers are pictured inside of an Aldi store in Chicago, Illinois in June 2017
Aldi employees say that receipt surveys can make a real difference in stores.
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The customer surveys that appear on Aldi receipts might go ignored by many, but they serve a real purpose. Employees are expected to meet a store quota of completed surveys, and customers can actually influence the selection inside the store. “We encourage customers to fill them out if they want a certain item brought in since the surveys go straight to corporate,” Sara says.

Regardless of how they offer their input, customers can often get what they want. “One thing that may surprise people is that you have a very strong voice on what items we should carry in our stores,” Kyle says. “A prime example of this is the [L’Oven Fresh] Zero Net Carb Bread. It was an Aldi Finds [a limited-time item] and people wanted this item to be a normal item so badly, and the company listened.”