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Exclusive Interview: Ricky Rojas of 'Moulin Rouge' · The BSB Podcast

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  The Tony Award-winning musical Moulin Rouge has been entertaining audiences
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  for the better part of a decade.
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  And today we're talking with one of the original Broadway cast members
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  who has returned to the production to set it off with incredible fanfare,
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  Ricky Rojas. Thank you so much for joining me today.
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  Pleasure to be here. Thanks for having me.
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  So being one of the original cast members,
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  you recently returned to the role back in January.
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  How does it feel to kind of come back for this closing chapter of Moulin Rouge?
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  Man. You know, it's every time I come back,
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  I still I still have a pinch me moment.
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  ~ because like from the beginning,
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  I've never like every time I leave,
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  I don't know if I'm coming back or not.
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  Sure.
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  And it just it just so happens that they keep on asking me back,
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  which is really, really lovely of them.
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  So ~ you know, it's it's just it's a gift to be able to give birth
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  to something and then put it to bed,
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  you know what I mean? It's like not no many times in your career you can
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  You can say you've done that. of course the show is still continuing
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  all over the world, but Broadway is,
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  you know, the is the flagship and and it's it's where it all started.
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  So yeah, super excited to be back.
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  You know, the thing about the Broadway version,
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  I've seen it on tour, I've seen it on Broadway multiple times.
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  ~ I've seen the show four or five times in different capacities.
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  But the the Broadway one is so special 'cause it it's like a party,
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  you're so close and intimate and stuff like that,
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  and you are kind of synonymous for Santiago,
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  it's hard to see you not in that role,
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  you know.
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  I know. I know. It's ~ when I first auditioned for it it was kind of like
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  one of those I don't know, I have you ever acted or or done auditions before
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  yourself or anything like that?
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  I'm too
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  s I'm too camera shy for well not camera shy,
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  but I'm too stage fright for that.
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  Right,
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  okay. So when you you know, as an actor when you get auditions come through,
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  you kind of you kind of do you do an assessment like how appropriate am I for it,
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  how much do I want it, you know,
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  and it's kind of like only it's happened to me twice in my career
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  and and actually like both of them have been my my times I've done my Broadway show.
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  My first one was Burn the Floor.
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  And it happened again with Moulin Rouge where you get the sides and
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  you get the audition and you're like,
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  I'm gonna get this but you just think or automatically like I'm gonna
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  I'm gonna get it. I'm gonna get it and it's like there's no doubt in your mind.
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  and that's what happened with Moulin Rouge when I got it.
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  It's just it just felt like I knew this this character.
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  You know, a lot of it, you know,
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  ~
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  guy that did it in the film did such a good job of making a nice character.
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  So I took all the all the good stuff and I kind of,
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  you know, just peppered on little bits of me,
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  ~ and my my life experience. Like a lot of a a lot of my
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  ~ interpretation of Santiago has has my dad in it.
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  You know, so ~
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  that's awesome.
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  I've been mimicking my dad's voice since I was like five,
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  you know. ~ because he still speaks with a very thick
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  Spanish accent because I was born in Chile.
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  Sure.
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  So ~ you know, it just it was it just came second nature to me.
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  And my dad's a very passionate person,
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  you know, so like a lot of it like,
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  you know, was was resonating with me.
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  So yeah, super so it was it was a really cool process like right from the beginning.
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  So
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  that real life experience really kind of played a part in kind
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  of developing who Santiago is.
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  Totally, totally.
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  When
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  you're kind of getting into a character like this,
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  as you're pulling, you said you you know there's a great blueprint from the movie,
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  you're pulling for your father.
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  How do you kind of find your Santiago by pulling from all those pieces?
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  Like how do you find that balance?
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  I don't know. It's kind of like you you could you know,
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  when you're creating a piece you kind of you as an actor you bring you bring,
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  you know, tools to work, you know,
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  and and you kind of when you're creating stuff you're like,
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  maybe this one will work and you take take one out or maybe this one will work
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  or that's too much or but you've kind it's kind of like a a a lot of
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  the process is trial and error in using the tools that you've got.
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  So, you know, some some stayed,
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  some went. ~ you know Santiago
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  can also be very cool, but when the like like it it was a real like ~ how
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  can I say like
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  He's like the epitome of cool,
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  just throwing that out there. He is like such one of the coolest characters
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  on Broadway.
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  He is cool, but y y the thing is when you play
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  cool on stage, sometimes it reads as like like lazy or aloof too aloof.
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  So it's kind of like that finding that balance of like when he needs
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  to explode and when he's not. Do you know what mean?
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  It's like that
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  Sure.
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  was all part of it as well. So but he's a very cool character.
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  I love him.
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  I think what's
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  also kind of feeds in that too is just like the passion that Santiago
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  has throughout the show. Like
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  Yeah.
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  he's a very passionate person about everything he does,
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  be it the art or be it the you know,
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  the women, you know, there's there's that passionate piece of to Santiago.
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  Well yeah, it's like he's very his if he was an animal,
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  he'd be a dog, right? He'd be a dog.
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  As soon as he f gets a dog, gets the bone,
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  he wants it, you know, it's like he's very focused,
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  but not peripheral vision goes.
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  Do you know what I mean? It's like it's just pfft laser focus.
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  As like happens a lot in in like bad romance,
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  when Nini comes on, it's like boom,
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  she's there. And he's like that's all he wants.
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  It's like he smells it and he wants to eat it,
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  you know what mean? but yeah.
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  I totally forgot the question that you asked me,
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  but I just went around. ~
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  No, it's okay. But but you know,
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  I do
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  I think that's one of the best scenes in the entire,
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  you know, it kind of starts off act two.
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  And you're right. And he's and like he is.
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  I know, it's the best, isn't it?
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  He's
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  so keyed in the moment she's even within his vicinity,
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  like it's just like he can sense her.
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  Well yeah, it's like I always say whenever I'm explaining or trying
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  to help other people who are you know,
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  are are are doing Santiago or you or they're doing rehearsal,
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  I'm like, it's like you have to look at it like a piece of steak or
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  a burger or whatever your favorite food is and you haven't eaten for months.
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  Right? And that's his that's that's his passion,
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  his sole focus, you know. Is that
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  And it's so it's Nini and Santiago have got such a cool little
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  r relationship going on, you know.
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  It's kind of like you don't know whether they're gonna fight or do the other thing,
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  you know what I mean? It's a at any
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  Correct.
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  given moment. That's the whole point of it.
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  It's like they can turn on a dime,
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  you know?
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  And the the
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  cool thing kind of about Moulin Rouge too is that it there's so many different kinds
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  of love in it. I mean, that's the show about love.
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  And so to have that kind of aspect of love too,
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  the more of the I I'm gonna use the word just to be a little slightly PG,
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  but the p the passionate love of just like the will they won't they,
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  that pull, that struggle of
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  Yeah.
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  what's going on between the two of them.
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  Yeah, of course. And it's a it's a nice it's a nice
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  is it juxtaposition to to the love that that you know that Satine
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  and Christian have, which is a it's a such a more like deep and and like
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  a longing rather than than a very passionate like I'm sure it is very passionate
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  at at points, but if it's a more of a a depth and it's a more complicated love.
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  You know what I mean?
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  Right.
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  I feel like I was
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  It's a complex thing.
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  saying I feel like Christine and s Satine are more like almost like new love.
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  As a psychologist, I always look at things of like I'm a relationship therapist
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  on top of that. So like
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  All right.
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  that like very early, you know,
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  love of just kind of like lovey dovey,
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  you're kind of in the clouds. And then,
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  you know, Santiago's relationship with Nini feels more in depth of just like having
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  I I don't know, more c like you said,
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  complex. That's exactly the word it is.
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  It's more complex
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  Yeah.
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  relationship between the two.
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  Yeah, yeah, yeah. Absolutely. Absolutely.
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  So, you know, having been with this character for so long,
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  do you feel like your interpretation of who Santiago is has evolved since your first
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  performance to to now?
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  Well yeah, I think so. But only ~ it the thing that helps it evolve is
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  not so much evolve but but
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  it d like change. I feel I feel like I I did a pretty good job at
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  the beginning and like in the first few months of like honing it and then like it's
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  Mm-hmm.
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  just kind of stayed emanating 'cause it doesn't wanna get too big
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  and it doesn't want to get any molest because any too like a little
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  bit bigger it's gonna, you know,
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  start pulling focus and and not your on stage your direction is
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  your focus is going to be drawn to him rather than what's happening on like
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  the the important stuff, the story-led stuff.
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  ~ so I find it kind of it's kind of moved sideways,
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  if that makes sense,
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  Okay.
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  because you have to
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  he's a he adapts. Santiago has to change with whoever he's playing off.
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  So and the dynamics of that. So when a Toulouse changes or a Christian changes
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  or a a Nini changes, those different dynamics not not every actor is the same,
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  not every actor plays it the same.
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  Some lean into, you know, ~ different different facets of their character.
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  And Santiago and me have to adapt to that and
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  and work with it, you know, it's a team effort.
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  So you can't be I find like I find when I'm working,
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  it's you can't be too rigid in the way you're doing it.
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  You can't just press play and or pull pull the cord on on the doll and let it go.
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  You know, you kinda have to adjust.
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  You have to go with the flow, you know.
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  And
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  that's why it's kinda you know,
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  why it is live theater because it does depend it changes as you're kind
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  Absolutely, absolutely.
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  of going through it.
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  I'm like, you know, audiences affect that as well.
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  sometimes you might have to play some stuff a little bit more tongue
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  in cheek than you c than you want to because the audience is a little
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  bit more rowdy, like what happened the other day.
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  ~ I was you know, they they introduced me as the Argentinian and I stand
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  up and everyone started cheering and clapping because it was the World
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  Cup and Argentina was in the the final,
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  right? So I kinda had
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  Right.
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  to
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  semi acknowledge it but not really,
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  do you know what I mean? So you kinda have to Yeah,
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  Like do like a wink, but like the keep moving on.
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  Yeah. I
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  yeah, like we're moving on. You know.
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  ~ yeah.
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  do think I do think that's the brilliance too.
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  Having seen you very early on in the show,
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  ~ and then seeing you now. With with Aaron,
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  you you know, it was very much like best friends,
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  but like seeing, you know, Santiago this one almost felt like an older,
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  protective but still fun older brother.
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  And I did getting to see how that kind of changes with the other actors
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  was such a cool kind of moment kind of bookend this experience.
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  That's ex
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  that's exactly right. That's a that's exactly what I mean by adapting to it,
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  you know. ~
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  And it's been it's be it's been it's that's what keeps it alive.
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  That's live theater, that's what keeps the the piece vibrant,
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  you know. having to adapt and having to find these new things,
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  you know, ever every time that you do the show with new people.
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  I think that's that's the that's the beauty of live theater.
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  You you you can't get that on film,
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  you know. Film is
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  Truly. Absolutely.
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  film is every time you watch the film,
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  you change. The film doesn't. Every time you watch a show
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  You might change, but the actors as well.
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  You know, different renditions,
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  different you find something there's you're changing together,
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  you know, that's that's the beautiful thing about life theater.
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  So with your character then of Santiago,
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  who do you what do you feel is like an aspect of your character that maybe audiences
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  may not notice, but you think is incredibly important to who he is?
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  That's a good question.
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  I find that he's ~ you know, he's
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  That's a really good question.
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  I'm trying to think of it.
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  There's a lot of work that goes into that I I I g I assume that goes into making
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  a character that people don't even see,
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  but is important
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  Yeah.
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  to who he is.
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  Of course. Like obviously, you know,
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  he's
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  He's got the the gigolo and an Argentinian and and ~ you know the tango dancing,
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  but it's I think and I'm actually a bit bummed that this never got into the show,
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  the narcolepsy got let off, right?
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  The narcolepsy wasn't included in the workshop,
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  ~ for some reason or other, which I tried to bring back in but it didn't
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  it didn't happen. I think it's it it wasn't working for some reason in
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  the in the workshops and stuff,
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  so so they they ditched it.
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  And I find Santi Santiago's a great friend,
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  right? He's very solid. He's a very loyal friend,
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  right? He sticks with his people.
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  He's not afraid to to be on the outskirts of society,
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  obviously being a bohemian, right?
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  And the fact that like I f I'm bummed that the narcolepsy got taken
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  out because it's in the weirdness of
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  his charac these characters that they find their common bond.
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  Toulouse is you know, yeah, he is an old s aristocracy,
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  but he's, you know, he's he's deformed.
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  He's, you know, he's got his he's short legs or he's,
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  you know, Christian's, you know,
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  a weirdo who's come from a foreign land.
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  Santiago's narcolepsy is weird,
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  right? All these weird things is is what brings them together and makes that tight
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  bond and makes that super solid friendship.
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  And I think had that been in a little bit more,
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  it would have it would have just oomped it up a bit.
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  But I think the the friendship and the loyalty aspect is is is what
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  is what grounds him, it's what's super important to the character,
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  you know. I h
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  R you're right. I think that
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  I th you do almost like the the the little bit of weirdness to all of them
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  was what kind of brought them together.
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  And then but having the narcolepsy out there,
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  the friendship is kind of the d one of the really defining factors
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  of Santiago it within the story of kind of Christian's tale.
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  Yeah, of course. That's the driver.
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  It's the driver. And that's what makes you fall in love with the whole that
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  the trio at the beginning in Royals,
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  you know. It sets it up. It sets it up beautifully.
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  Speaking of kind of the musical numbers,
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  do you feel like there's one where Santiago is at his most authentic?
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  ~
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  See, he's very he's he's got a great duality,
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  Santiago, right? He's very much like me.
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  And it's it's a it and it just so happens it's in the film as well,
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  right? He's you know he can be super passionate.
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  The pa I think the passionate ranges whatever it is,
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  it's he's just feels he feels life at 120% all the time.
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  If he's sad, he's sad.
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  If he's happy, he's happy. He wants everyone to be happy,
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  you know what I mean? If he's lustful,
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  god, he's you know, he wants he wants it,
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  you know what mean?
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  Right.
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  But and I think
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  he's authentic in all of them,
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  right? Like
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  Shut up and raise, like in the the the Bohemian burning down the house,
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  he's like so happy, right? He's hanging out with his friends,
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  he's super there's joyfulness,
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  right? Bad romance, there's the passionate side that comes out,
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  right? So it's like the you you get authenticity in all aspects.
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  You kinda like that he's most authentic,
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  it's like
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  All of them.
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  I don't know.
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  Yeah. At the end when you see when when they're singing,
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  you know, ~ come what may, the reprise,
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  it's like there's
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  It's it's it's solemn, it's longing,
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  is he's mourning, he's grieving.
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  ~ Yeah, it's all of them. It's all of them.
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  Perfect.
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  I mean, and that makes sense though for this character because again,
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  he is I from the moment you step onto stage,
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  you are a hundred percent authentic.
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  Yeah. Yeah.
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  Like he is, he's a character that doesn't hide a lot.
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  No, he's like you are it's like he'll if he doesn't like something,
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  he'll say it. You know. He's not gonna beat around the bush.
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  You know, he'll just tell you.
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  You know, you're terri
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  Absolutely.
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  you why you do that? Why did you do this?
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  Like that's terrible. Or you look great.
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  You look stupid in that. Like he'll tell you.
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  It's very much like my dad as well.
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  Yeah. Which is I mean, I
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  love a person that is just gonna be open and honest and like tell you how it is.
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  Like my mom's the same way. Like you wanna hear the good or the bad,
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  Yeah. Exactly,
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  she's just gonna say it, you know.
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  exactly.
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  So if your character were to step into today's world,
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  what song do you think would instantly become his anthem?
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  I don't know. Probably live in La Vita Loca Probably live in La Vita
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  Absolutely. I mean so true.
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  Loca. Yeah. totally. Yeah.
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  I'm I mean that's the right vibes.
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  Absolutely.
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  So with so many themes from Moulin Rouge from love to grief to,
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  you know, friendship, what do you feel like really resonates the most with
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  you with where you're at in your life right now?
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  truth I think Truth because you know I'm at a stage where it's kind of like
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  You get you get what you get. And being true to to what I,
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  you know, as an actor bring to the table.
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  when I go into auditions now,
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  it's kind of like less trying to please them and give give show them what they want
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  as opposed to this is what I can do and this is my interpretation of it.
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  If you don't like it, then it's fine.
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  You know?
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  I love that as well. Yeah.
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  there's a real what's the word?
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  ease or a real kind of like settle like settling in that in that respect.
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  Sure.
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  You know? Yeah, I think that. Yeah.
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  It's kind
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  of living to being your authentic self too,
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  then. You're not gonna try to be somebody that you're not for these roles.
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  Exactly.
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  Exactly. True. True. True. Yeah.
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  Then one final question for you is just what are you hoping audiences take away from
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  this experience with the Moulin Rouge?
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  I just hope that they've
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  That they feel that
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  you know there's there's more to life there's more
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  to life than than the little the little pool that you might live
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  in and
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  Sure.
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  you know truth beauty freedom and love people are different to accept people
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  to be tolerant to have empathy
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  for people and know that
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  Joy and love and truth and beauty and freedom,
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  all of that is the same in every different culture in the world,
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  which is why the show is so popular everywhere around the world.
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  You know, because everyone can identify with it,
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  everyone resonates with it. And it makes you realize that the world is
• 17:25
  is not so different. You know,
• 17:27
  it's not so different. People are people
• 17:29
  And truly
• 17:30
  people people have the same
• 17:32
  The same cares, the same worries,
• 17:34
  the same wants, needs, loves in every corner of the world.
• 17:38
  And I think, you know, theatre and like this piece,
• 17:41
  you know, it it shows you that.
• 17:42
  Yeah.
• 17:44
  Absolutely. I
• 17:44
  mean, all those things are so important right now.
• 17:46
  Specific specifically in today's day and age,
• 17:48
  we just need to be accepting and to be authentic and to be have truth
• 17:54
  and justice and love and all those things.
• 17:56
  So
• 17:56
  Absolutely. And it's a great night out.
• 17:59
  Truly. I will I will say that having seen a lot of Broadway shows,
• 18:02
  this is one that no matter what,
• 18:04
  it's always a party. Even though it's it's
• 18:05
  Yeah.
• 18:06
  it's really tough at the end, you it's
• 18:08
  Yeah.
• 18:08
  a it ends in a very high note and like a party and you're all you're just
• 18:11
  you can't help but just want to dance and to be a part of the show.
• 18:14
  Yeah, it's you know, it's still a show that it wows you when you as soon
• 18:18
  as you step into theatre because of Derek McLean's beautiful set,
• 18:21
  it just your
• 18:22
  Yes.
• 18:22
  jaw drops and then your jaw remains dropped throughout the whole thing until
• 18:26
  the end, until you leave on a high,
• 18:28
  at a party. Hopefully a little bit tipsy,
• 18:31
  you know? It's great.
• 18:32
  Absolutely I'm
• 18:33
  I have to say, as this was my first Broadway show ever when I walked into
• 18:36
  the theater, I was shocked by how immersive it is with the elephant
• 18:40
  and the staging and all of the the before act.
• 18:41
  Dude, it's so cool. Have
• 18:43
  you seen that clip of when we have when we when the cars first saw the
• 18:47
  the set in Boston? It's
• 18:49
  I did not.
• 18:50
  it's online. It's it's on TikTok or Instagram or something that.
• 18:53
  And you can see the looks on our faces.
• 18:55
  We're literally like like all the red like glare,
• 18:58
  like it's just our faces. They didn't show the set,
• 19:00
  but we're like, what is going on?
• 19:02
  Like we were losing our like it was crazy.
• 19:06
  Because it is so immersive. It's like it is you are stepping into the Moulin Rouge.
• 19:10
  Like it's not you're just watching the Moulin Rouge happen.
• 19:11
  Yeah.
• 19:13
  Yeah. It's great. Especially like with the pre show,
• 19:15
  ~ you know, whenever all the all the different characters come out and like mingle
• 19:19
  a little bit, you know, it's kinda it really sets the vibe nicely.
• 19:22
  It's cool.
• 19:23
  Well, thank you so much for being here,
• 19:25
  Ricky, and for talking to us about Moulin Rouge.
• 19:27
  It has been such a pleasure.
• 19:28
  My pleasure. Thank you.
• 19:30
  So the Moulin Rouge runs at the El Hirschfield Theater in
• 19:32
  NYC through August thirtieth. So get your tickets now.
• 19:35
  We'll see you there.