Stage Whisper
Whisper in the Wings Episode 625
(upbeat music) - Welcome and everyone to a very exciting new whisper in the wings from stage whisper. We are headed to the Great White Way today. The amazing Broadway and to a fabulous Tony Award winning show that is celebrating five years on Broadway, which is really exciting. And we have one of the original cast members who's returned to the show. We cannot wait to speak to them. They are an incredible performer. If you've seen the show, they do an amazing job. They have a fabulous act to opener. And we couldn't be more pleased with having them join us. Today on our show, we have the actor, Ricky Rojas, who originated and plays the role of Santiago in the Broadway Tony Award winning musical Mulan Rouge. It's currently playing at the Al Hirschfeld Theater and you can get your tickets and more information by visiting seatgeek.com. I don't want to waste any more time because I'm so, so jazzed about our show today. So let's welcome in our guests, Ricky, welcome into Whisper and the Wings from Stage Whisper. - Hello, thanks for having me. Thank you so much for joining us. First of all, congratulations on five years. This is amazing. We were just talking off the air where I was like, yeah, my wife and I got to see one of the first shows back in July of 2019. And I mean, from the word go, I was like, "This is, this is something incredible." In fact, that was the first show that when we left, I was like, they're gonna get the nomination for lighting, for set, for costume, Danny Bernstein's gonna get a nomination for best supporting actor and a musical and he's gonna win like all the ones we're throwing. And then, you know, of course, the pandemic happened and we had to wait even longer to find out what would come up with it. But here we are in 2024, you're back in the show. This is amazing. So why don't we start at the beginning? As some famous person once said, it's a very good place to start. Can you first tell us a little bit for those who don't know about what Mulan Rouge is about? - Well, Mulan Rouge, well, Mulan Rouge is based on the 2001 film, I believe. Directed by Baz Lerman, it takes place in Paris at the turn of the century, 1899 is the year. And it follows Christian, who's a somewhat naive, desperate romantic writer who wants to find himself in Paris and he ends up finding, you know, all the good things in Paris, truth, beauty, freedom in love with the help of Satine, the woman he falls in love with who's the sparkling diamond and the headline and star of the Mulan Rouge cabaret hall in Paris. And yeah, it brings all these great, great and everlasting themes to the forefront. - I think that's a beautiful synopsis of because it is so beautiful and it's so poetic and it's visually just, get out of here. The whole thing, I mean-- - I mean, I didn't even get into all of the good stuff. I mean, this is just the story. This is the bones that it's based on, but obviously it is a massive, massive, I mean, the film was a massive feast for the eyes, feast for the ears, feast for the senses, but this, the musical, I think, just took it to a whole nother level. It was, you know, the set by Derek McLean was amazing. It's got like 72 or seven, at last I counted it. I think it's got to be 71 or 72 pop songs in it. You know, and it's just crazy, the costumes design. It's like everything. It's everything you want in a show, you know? - So, and, you know, one thing that we've told our friends and family who were back in Salt Lake, you know, of course the show is now touring, is you gotta come the Broadway to see it because like I said, the minute you walk in the theater, you are in the show. The entire theater is like transformed for the show. That was one thing that left me gobsmacked. The first time I walked in I was like, "Okay, we're going big on this." This is incredible. - Yeah, it's massive. It's, I mean, everyone that ever walks into the theater is gobsmacked. I remember walking in in Boston when we did the pre-Broadway run for the first time. You know, obviously in the rehearsal room, you see the little set, little in kind of like what's called like a diorama kind of set, you know? Like, to see what it's going to be like. And then the first day that we walk into the theater when everything's done, like the first day of tech, rehearsal, and everyone's mouths just hit the floor. And the same thing happens all over the world with "Mulan Rouge" when the first cast is going, it's everyone's faces, it's just the same. It's just, you know, people take selfies, video selfies of walking into the theater, and you just see their faces like with red light and just with their jaws on the floor, just like, "Oh my gosh," you know what I mean? It's crazy. - Well, so I actually want to build on that thought because as I mentioned in the intro, you originated the role of Santiago. You were one of the OG's with the show. So can you tell me how is it you came upon the piece? - Well, this is a pretty cool story. I was actually, as I don't live in New York, I was living in London at the time, or Southampton, which is about three hours from London, three hours south of London. And my agent, you know, sends me an email. He's like, "Yo, I've got this audition through. "It's for "Mulan Rouge" the musical." I was like, "Oh, wow." You know, I've been waiting for that forever. Obviously, as I grew up in Australia, I'm Australian, and the film was a massive thing. You know, when it was going on, I had loads of friends in the ensemble, people were working on it, so it was a massive buzz back then. And, you know, it's one of those films that you've been waiting for years for it to eventualize into a Broadway musical. And I was like, "Great." You know, send me the stuff, and silly me. I thought it was actually opening in the West End, because they were auditioning in London, and I thought I didn't even make the connection. I was like, "Yeah, send me to the audition. "I'll learn the science. "It's for Santiago, the Argentinian, narcoleptic." You know, I was like, "Great, this is so awesome." And then I re-read their email, and it was like opening in Boston at the pre-Broadway run. I was like, "Oh, wow. "I don't know if I can do this." So that means it's a big upheaval to, you know, because obviously I've got a family and everything, and what do I do? So I spoke to my wife, Nat, and she was like, "Listen, "just audition, you're probably not going to get it anyway." And I was like, "Great, thanks for the better confidence. "Thank you, my love." And anyway, yes, I auditioned, and I thought, "You know, I've got a good crack at this." So I really did the homework, I did the work, watched the film, really drilled the sides, the songs. They gave me chandelier to learn for the audition. They gave me bad romance, obviously. And Uptown Funk, which was originally the opening song for the Bohemians, which is now burning down the house, and we had Uptown Funk, but we, at the last moment, we didn't get the rights of Bruno Mars for it, so that got pulled. So I had those three songs and the Santiago sides, and another little monologue that isn't in the show anymore. So I went in, it was early. I remember it was the first one in, it was cold. I was in London, Pippa Alien was the casting director, and it was just her, the piano player, and a camera, did the audition and camera, and then that got sent to New York, and then a few days later, my agent was like, "Oh my God, there's just availability, "checked you to fly to New York. "They wanna fly you, and do a workshop day, "and then the final audition." And I was like, "Oh my God." Right? And it was the day of a massive snowstorm, so I wasn't sure that I was gonna get there in time and stuff, so I had to fly a little bit earlier. Anyway, I've managed to get to New York, they put me having a hotel around the corner from Ripley Greer, and I went in, and I had a whole day of like a workshop, like a workshop day, learning all the material, and I learned a dance, tango dance, 'cause it wasn't the actual number that was in the show, 'cause it hadn't been created yet, nothing had been created except, you know, some of the script, and almost of the script, but that got changed a little bit, and tweaked, and some of the songs and stuff, so it was kind of like, you know, a real fly by the CD of pants, and, yeah, I auditioned, did the dance, then I had some time with Justin Levine during the music call, and I remember it being like, he was really drilling me, he really drilled me in these songs, and I thought he hated me, right? And we often speak about it, he was like, "Yeah, 'cause you weren't taking the notes," and I was like, "Listen, just calm down, buddy." Anyway, so that was cool, and then I had time with Alex Timbers, the director, and we did the sides, and that was all very positive, and then I went back to the hotel, and then I came back the next day for the final audition, and that was, you know, all the producers there, and cameras, 'cause all the video audition had to be sent to Australia, 'cause it was global creatures in Australian production company. Baz Lerman wanted to have a look at the tapes as well, so it was pretty intense, but I remember being really just super positive, I was just on it, you know? I was just there, I was, it was just one of those auditions where you're like, "I'm gonna get this, "I'm gonna get it, I can't not get it." Like, it's crazy, it doesn't happen often, and then I flew back, and they offered me the gig, and then it was all hell broke loose, 'cause I had to get together. The Visa and everything, I was on tour in Australia with another show for the month prior, with the Frankie Ballot Valley tribute show around Australia for like a month, so I had to do my Visa, luckily of Australia, and so I went to the consulate in the US while I was on, in between cities like Melbourne and Sydney and stuff, and I went back home to the UK, and I was there for like, literally a week, or three or four days, packed my stuff, and then flew to New York to start rehearsals, so it was pretty whirlwind, it was, you know, it was crazy. Super crazy crazy. - Wow. - Take a breath, sorry, took over there, that was like the whole process. - That is amazing though, what an incredible process to be, to join the show, that's incredible. And I want to keep the story going because I want to know what was it like developing the show and originating this fantastic role. I mean, you kick off act two in such an incredible way. So, you know, what was it like developing all this? - It was one of the best experiences of my life, just to be like, I remember getting to the rehearsals and I was like, oh wow, I hadn't even read the script yet, right, it happened that fast. So I got to the rehearsal and I read through it, and I was like, oh wow, cool, great. Met Danny Burstein, didn't know who he was, you know. I remember going, hi Danny, Danny Burstein, and it was like, it's Burstein, I was like, great. So, met Danny, met, met Robin, heard her, had no idea who she was, 'cause I'm from the UK, and you know, no idea, these massive Broadway stars. And I was like, whoa, I'm in a room full of legends, like Saitan, Galja, Arantivate, you know. And it was kind of like, we were all in it with no safety net, and with no, what are those things called when you, you know, when you're a kid and you put those bands to swim, like floating floaties, or I think we call them floaties in Australia, it was like, we all jumped in the pool without floaties and without a safety net. Like, let's just, let's just swim, let's do it. So we all dove in the deep end and, you know, pleasantries out of the way we, it was like, when we got on like a house on fire straight away, 'cause we were all there to work, and to create. And it was, everyone, you know, everyone was there just to make it the best thing it could be. Everyone was very passionate about it. Yeah, it was such a great, great, great process to be in from the start. - And I love that, that is fantastic. Well, as I mentioned in the intro, this celebrating five years of the Moulin Rouge at the Elle Hirschville Theatre, this is incredible, what a landmark, what a benchmark to hit, this is amazing. So, can we expect anything special with the five-year anniversary? - Well, you know, I mean, having Aaron to vape and Jojo be the headline as for the beginning of the fifth year, or for the fifth year anniversary is just awesome. You know, that combination of sitting in Christian is just like, it's like liquid gold. You know, they're so good together and they sound absolutely amazing. And they're there for a little while, you know. So, get your tickets, get your tickets. - Yeah, we did a, you know, we were on Good Morning America the other day, which was cool. We did a little spot on there. We hadn't done that since right at the beginning when they actually filmed the first GMA spot at the theatre, which was cool, but yeah, five years. It's like, it feels like yesterday and it feels like a lifetime ago. And also, almost like an impossible feat considering that we went through COVID and everything. And, you know, it seems like an ulterior, and, you know, an alternate timeline, you know, an alternate universe at this point. But to see it still, still having so much success is really, really heartwarming and really, you know, makes me really proud to be part of it. - That's absolutely, I love seeing the strong sales. And just like I said, the throng of young theatre goers rushing to the show makes my heart so happy and hopeful for the future of theatre. - Yeah, totally. - Building on that, you know, you've got this beautiful, like I said, poetic human show that's told in a very unique way. Is there a message or a thought? You hope that audiences will take away from it? - I think we've always really learned into the Bohemian ideals of truth, beauty, freedom, and love 'cause at the end of the day, what's everything worth if you don't have that, you know, and that lean truth, beauty, freedom, love just leans into the acceptance of everyone. You know, everyone has a right to exist, everyone has a right to love who they wanna love, to live how they wanna live. And, you know, it's a beautiful thing to be in a show that pushes these values. It's like art. Art can really show a mirror to, I mean, this is one of the Toulouse-Littrix lines in the show that art can hold a mirror to life itself and show you what things could be, you know, which is nice, I've got all the emotional then. - I love that answer, though. And I think now more than ever, it's so important to remember the value of art. Well, my final question for this first part is, you know, five years going strong and this great story and all the things that come with it, who are you hoping to have access to Moulin Rouge, the musical? - I would love, I mean, this is a peculiar selfish reason. I would love more of, you know, my, 'cause obviously I was born in Chile, so I would love more Hispanic people to come and watch the show and make it more accessible to those that wouldn't, that it culturally wouldn't necessarily be part of their lives. So I didn't fall into musical theater till very late, till I was about 18, but I did grow up singing. Like, you know, obviously the Latino culture, the Hispanic culture, they really love, we really love music, you know, we're very artistic people, but musical theater isn't necessarily part of the culture. So growing up, I didn't, you know, I didn't go to Broadway shows or musicals. I didn't see my first show until I was about 16. And that was the Pirates of Panzance. It was a rock version in Sydney, but I went with my best friend's family who used to, they were theater goers, and I went with them, and then I kind of like, you know, I was like, this is the best of two worlds, acting and singing, this is crazy. Right, and then, you know, the hook was in, and then I started doing musicals at school, and then, you know, signed myself up for musical theater classes. So I think it's really important to just make it accessible to, you know, to people that wouldn't necessarily have it be a part of their lives. (upbeat music) For the second part of our show, we love giving our listeners a chance to get to know our guests a little bit better, pull the curtain back, if you will. And I want to start with my regular first question, which is, what are who inspires you? What playwrights, composers or shows have inspired you in the past, or just some of your favorites? - Wow, that's a good question. Who inspires me? You know what, this is going to sound really silly, right? But go with me. I grew up, I didn't, like I said, I didn't really get into musical theater until quite late, but I did start singing when I was about 12 in the club circuit in Sydney. And so did my sisters a little bit older and she did as well. And it's kind of like, you'd rock up to these clubs, they're kind of like mini casinos, if you will. You know, and they've got like a stage and poker machines and a buffet and a gym and stuff like that, and that have a resident band, like a four-piece or a six-piece resident band, and you'd rock up and you'd hand your charts to the musicians, you do a half an hour spot or a 45-minute spot and then collect your money and then go. And you do all of these ones around Sydney, there was four ball clubs and workmen's clubs and things like that, right? That's how I started singing, right? So I was very much into what I sounded like rather than the message behind the song kind of thing, which is more musical theater, you know what I mean? So I was into the pop artist and stuff like that and obviously been Hispanic. The biggest thing was all starting to become the biggest thing in Australia. It was around like 1998, '99. Like Ricky Martin hit the scene, right? Like everyone's going to laugh, all right? But I saw Ricky Martin in a little theater, like a tiny theater, maybe like a thousand cedar in Sydney and it was just Latinos who knew who he was, from Manudo days or, you know, from growing up. And I swear I'd never seen a more charismatic performer on stage. He had everyone in the parmings. He was so charming, he's the way he moved the confidence. I was like jaw on the floor, I was like, wow. So like, I remember that really impacting me, like really like, wow, like he was just amazing. So that was a big inspiration. Another big inspiration was when the LaBamba movie came out with Lou Diamond Phillips, who I met when he came to watch a show 'cause he'd worked with Aaron to vape in a TV series. So he came and saw the show and I remember watching, but like meeting him and I was like, so starstruck, so starstruck. So that was one of the first moments I saw a Hispanic person that was the lead in a film and the film was about him and he was a rock star and he played the guitar and stuff. And I was like, I wanna be him. Like, that's what I wanna do. And then that got turned into a musical and that was my first show. I played Richie Valens in Sydney, in the Buddy Holly story. And then that was my first show and then with that show, they flew me to London to do it for a year. And then I went back and I did the UK tour and then that's how my career started pretty much. So those are two really big inspirations, but I think it's a real big thing to see yourself represented on stage if you can see yourself on stage. If you mean to the, you know, there are no limits. Possibilities are endless, but you have to, that's why I think representation on stage and that's why I want more Hispanics people to come on to watch theater. I think seeing yourself on stage representation is the most important thing, you know, 'cause it really gives you like something to aim for, you know, like a template. So yeah, those are, I think two really big inspirations and they're kind of left field, but, you know, but they all eventually do kind of the same thing. - I love that, that is fantastic. That's a great inspiration. I wanna ask, you know, what is your favorite part about working in the theater? - It's just who I am and also because I'm around people that are like me, you know what I mean? To celebrate a love of the art, of music, of the storytelling, you know, people that really, that appreciate it, people that enjoy getting lost in a character, like there's nothing like it. It's like a drug, that's what people do it. But also it's, it's been part of a, of a team really. I love the team, there's no, there's no other, I don't think there's no other industry where, you know, get the show done, get the show done. Doesn't matter what, what's happened during the day. But when you're on stage, I'm with the footlights, you're, you're, you're sparkling, you have to be on, you know, 'cause people need to see that. And everyone works towards that. Backstage crew, wigs, sound, lighting, stage management, you know, everyone's in it to get that show done for one common purpose, you know? And I love that, I love that. It's a real, I love that team environment. It's really, that's, you know, that's also like a drug, really. - I love that answer, that is such a great answer. Well put, what a great descriptive of, of theater right there. - A full of good answers today. Denise, a good day. - Well then I'll put you forward to this, the answer to this next question, which is my favorite question to ask guests. And that of course is, what is your favorite theater memory? - Oh, I've got so many, wow. One has to be, the phone call for my agent when I got my first job, right? I know that's kind of like out of theater, but like, you know, but I remember getting my first job and that phone call, like, I remember I was in, it was in a house in, in Blacktown, in Australia. And my agent, yeah, I pretty much fell on the floor. It was amazing. Anyway, what's another one? Theater memories, when I had to go on as Joseph, in that Delphi theater in the West End, just that moment when you're sitting behind the curtain and it starts off, you're on a lift, right? And the revolve kind of comes down and you kind of settle down onto the stage off this lift. Just being up there when you can hear everyone on the other side and it's just you on stage at that point. And then the lift starts coming down and you're in amongst the clouds and people see you're like, oh, that's a big moment. It's kind of like that same moment at the top of Act II, the first time I ever did it, where Santiago was starting in the, oh, that bit. It's just me on the chair and you can hear everyone out front and that's kind of like gives you butterflies. You know, still does to this day, actually. It's kind of cool. That's a great moment. There's so many good moments, so many. Like the first time in Boston, when we did the show in front of an audience, when we did the show in Boston, and we didn't know how it was going to be received because we'd been living with this song for, you know, a couple of months, singing the songs, pop songs, we knew they were in there and we were like, oh, it's telling a story. So we're taking a really seriously track. As you do, you know, you've got to tell the truth of it, right? And make the connections as an actor. You have to make things work. And, you know, the first time Aaron started singing, "Oh, don't you dare look back." "Look, that bit." We were like, and people started laughing, right? And we were like, "Oh, my God, why are they laughing?" Like, you know, and then we realized that it was like a laughter out of recognition rather than like, oh, it's like, oh, we love that song kind of thing. And we were like, okay, so we have to change the tone of how we play things slightly. You know, so that was a big moment. But yeah, there's so many, there's so many. Wow, like, you know, I did my first show when I was like 20, 21, so I'm 45 now. So it's, you know, I've been doing it for a bit, so, yeah. - Oh, I love those though, those were amazing. So much for sharing those. - My pleasure. I could've gone on, but. - I can't, well, that's the next conversation. We gotta save some for the next one. - Well, as we wrap things up, I would love to know if our listeners would like more information about Mulan Rouge than musical on Broadway, or about you, maybe they'd like to reach out to you. How can they do so? - So if you'd like more information over the show, you can find us on social media, Mulan Rouge B-way on Instagram, and visit us at the Al Hirschfield Theatre. We're there, you know, I think we've got Mondays off at the moment. Yeah, we're there. I'm there for another two weeks. And then I go home on my last shows on the 8th of September, you know, the rest of the cast, and the rest of the show's gonna be there for, you know. It will run for 50 years, hopefully. So, you know, we'll see. (laughs) - Wonderful. Well, Ricky, this truly has been an honor. Thank you so much for taking the time to speak with me. - It's been awesome. Thank you so much. I've had a great time. - Congratulations on five years and on all of the success, not only with Mulan Rouge, but with you yourself. So, thank you very much. - Oh, thank you very much. Very kind. - My guest today has been the incredible actor who is currently playing the role he originated in the show, Santiago, Ricky Rojas. He joined us to talk about the show, Mulan Rouge the Musical, celebrating its fifth year, which is now playing at the Al Hirschfield Theatre. You can get your tickets more information by visiting at seatgeek.com. We also have some contact information for our guests, which we'll be posting on our social media posts, as well as on our episode description. But run, don't walk, get your tickets now. You want to see these incredible cast members before it's too late to catch them. The show, as he said, will run for 50 years. It'll keep running. It's such a great show. It's a Tony Award winning show. Again, it's Mulan Rouge at the Al Hirschfield Theatre. We also want to add for our American listeners that election day is November 5th. Make sure you are registered to vote, have a plan to cast your ballot, and do your democratic duty. You can find out how and where you can register to vote by visiting vote.gov. The future demands that we fight for it now. So until next time, I'm Andrew Cortez, reminding you to turn off your cell phones, unwrap your candies, and keep talking about the theater. - In a stage whisper. - Thank you. (upbeat music) - If you like what you hear, please leave a five-star review, like and subscribe. - You can also find us on Facebook and Instagram @stagewhisperpod. - And feel free to reach out to us with your comments and personal stories at stagewhisperpod@gmail.com. - And be sure to check out our website for all things stage whisper and theater. You'll be able to find merchandise, tours, tickets, and more. Simply visit stagewhisperpod.com. Our theme song is Maniac by Jazzar. Other music on this episode provided by Jazzar and Billy Murray. You can also become a patron of our show by logging on to patreon.com/stagewhisperpod. There you will find all the information about our backstage pass as well as our tip jar. Thank you so much for your generosity. We could not do this show without you. ♪ A long way from there I swear ♪ ♪ I don't care anywhere near your town ♪ ♪ Makes me there ♪