The Broadway production of the Tony-winning Moulin Rouge! The Musical recently welcomed the return of original cast member Ricky Rojas to the Al Hirschfeld Theatre.

Rojas has again stepped into the role of Santiago, the part he originated in Boston in 2018 and subsequently on Broadway in 2019; he also played limited engagements at the Hirschfeld in 2023 and 2024. Rojas is currently part of a company that features Bob the Drag Queen in his Broadway debut as Harold Zidler, Christian Douglas as Christian, Meg Donnelly as Satine, André Ward as Toulouse-Lautrec, David Harris as The Duke of Monroth, and Samantha Dodemaide as Nini Hailee.

The Chilean-born, Australian-raised actor, who made his Broadway debut in 2009 in Burn the Floor, has been seen on the London stage in 50 First Dates, Sister Act the Musical, Grease, Fame: The Musical, Flashdance: the Musical, Pirates of Penzance, Joseph and the Amazing Technicolor Dreamcoat, and The Buddy Holly Story, the latter marking the actor's West End debut.

In the interview below for the Playbill series How Did I Get Here—spotlighting not only actors, but directors, designers, musicians, and others who work on and off the stage to create the magic that is live theatre—Rojas reveals why there's "real power" in stillness, the musical that changed his life, and why his approach to show business is a bit more Zen than it used to be.

Where did you train/study?
Ricky Rojas: I kind of feel like a fraud, as I didn’t really go to drama school, but I did attend the Australian Theatre for Young People (ATYP) for a couple of semesters, and I also did the drama course for my Higher School Certificate in Australia.

Was there a teacher who was particularly impactful/helpful? What made this instructor stand out?
There were a few teachers that helped guide me. My high school drama teacher, Paul Addison, was one. He really taught me to not care what I looked like and to stop being so self-conscious when performing. Shannon Dolan was another tutor. She was my director on an original musical production we put on at the ATYP. She taught me that there was real power in stillness. She literally would hold my feet while I was singing so I wouldn’t move.

How do you think your performance has changed or developed since you first started playing Santiago? Do you have a favorite moment in the show for him—what makes that part particularly special?
I find Santiago develops as much as the players and different actors he shares the stage with. Dynamics always change, so one has to be open to it and go with it, not fight it. My favorite parts of the show are the ones where acting and having a good time with my mates become one: "Royals," "Chandelier." But, also selfishly, I dig the opening of Act II, “Backstage Romance.” It is and always will be a pinch-me moment.

Why do you think Moulin Rouge! has been such a hit with audiences on both sides of the Atlantic?
I think the show has been so successful because of the initial fan base of the film. But, more importantly, because it’s a timeless love story. Everyone deep down wants to experience the love Satine and Christian feel … the friendships that the Bohemians have and the family that Zidler and the Lady Ms are part of.

Excluding Moulin Rouge!, do you have a favorite theatrical experience? What made that show/role so memorable for you?
I think it would have to be my Broadway debut in Burn the Floor at the Longacre Theatre in 2009. We were supposed to run three months, but we ran nine or 10 months and broke the standing box-office record. I was the vocalist on that show. It was so memorable because I got to watch and learn from the best ballroom dancers in the world! Definitely helped me when it came to audition for Moulin Rouge! years later.

Do you have any dream stage roles and/or actors you would like to work with?
I'd love to play Billy Flynn one day—Chicago is one of my favorite shows. Oh and also Hermes in Hadestown. The music is wonderful.

What do you consider your big break?
I would say my big break was my first musical, which was The Buddy Holly Story. I played the part of Ritchie Valens and got to sing "La Bamba" every night. I was already obsessed with La Bamba the film with Lou Diamond Phillips (who I later met through Aaron Tveit!), so when I got the part, it was a massive deal. I remember turning 21 in rehearsals, and this show changed my life. After doing the Australian and Asian tour, I was asked to do the show in London, marking my West End debut.

Is there a person or people you most respect in your field and why?
I think the people I most respect in this industry are those that stay grounded and human. Those that take the work seriously but don't take themselves seriously. These are my people. Prime example: Danny Burstein. Danny is one of the most generous actors I've had the pleasure of sharing the stage with. An absolute legend.

Tell me about a job/opportunity you really wanted but didn’t get. How did you get over that disappointment?
I remember auditioning for Love Never Dies in London, and I was up for cover Phantom; same old story—I was in, I was getting good vibes, I was sure to get it…and it didn't go my way. I was devastated. I had just been part of the concept album they did, so I was thinking, “Surely I've got this.” It was a good lesson. I think I let my ego get ahead of me, and I wanted it too much. I'm a little more Zen these days. If it’s your gig, it’ll find its way to you. Things will fall into place.

What advice would you give your younger self or anyone starting out?
I would say be true to yourself and don't try and be anyone else. There is only one of you…unique. So play to your strengths and uniqueness. I'd also say, when working, be nice.

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Photos: Meg Donnelly and Christian Douglas in Moulin Rouge! on Broadway

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