“I remember seeing the movie and falling in love with everything about it. As a musician and songwriter I remember being blown away by the orchestration. It was so exciting to experience that blending of musical genres and visually it was one of the most epic things I had ever seen on the screen.” That’s how Yvette Gonzalez-Nacer remembers her first reaction when she saw Baz Luhrmann’s film Moulin Rouge.

Now she’s on tour performing the role made famous by Nicole Kidman in the film: Satine. Though she isn’t doing the part every night. Gonzalez-Nacer is billed as Satine Alternate in the production that is currently playing through September 4th at the Pantages Theatre in Hollywood.

She was on Broadway as one of the original Fates in the musical Hadestown. This is not her first tour. She performed the role of Vanessa in Lin-Manuel Miranda’s In the Heights around the country.

When she and I spoke the day after I saw her performance in Moulin Rouge, the first thing we discussed was the difference between an understudy and an alternate. What follows are excerpts from our conversation that have been edited for length and clarity. To see the complete interview with Gonzalez-Nacer, please go to our YouTube channel.

Q: Simply put. What does the title of Satine Alternate really mean?

My job is very interesting and it’s my first time doing anything like this. I perform the role of Satine once a week and then more if they need me. So it’s different than an understudy where you basically go on if they need you or a standby. So this is a guaranteed performance weekly.

So how do you keep your physical and mental muscles ready for that? This is a very tightly choreographed and directed show.

I rehearse myself a few times a week. I’ll just go down to a rehearsal room if there is one available and I’ll sing through the whole show. I’ll sit with some of the scenes and, like any project, you want to try and get deeper. Just because you’ve done it and you know what the blocking is and what the songs are, to me the work is never over. I’m always trying to find ways to go further. It’s just about rehearsing on the side and staying in shape physically. Then the day of I have my little personal cram session where I’ll just review the show real quick to get in the state of the show.

The show is impossible to resist and I credit the cast and crew for making Moulin Rouge the Musical so entertaining. But honestly, how challenging is this show to do?

I think we could all agree it’s a beast of a show. There’s so much movement. It’s non-stop. A lot of times when you’re on stage you’re doing things that are challenging on the body. Also vocally, especially for the Christian and the Satines, it’s a lot. So I feel like everyone has their own process to stay healthy.

For me I’ll have to stretch. I have to do cardio just to stay on my game. You take your vitamins and you make sure to rest when you need to rest. That’s so important. Everyone’s so different and it definitely requires taking care of yourself. 

Recently understudies and swing performers are getting some long overdue attention. They are truly the unsung heroes in plays and musicals. Do you think this attention will lead to opportunities that they might not otherwise have?

Everyone’s amazing. Everyone’s a fantastic performer. If you got the part or [are] even an understudy, you still have to be at a certain level to even do that. I think there’s this delineation between who has the part and if you are anything else. I wish that would just go away.

It’s a challenging position to not perform every night and then to have to. Some people have to learn nine roles. It’s just the most amazing thing. So I think it’s great that everyone’s getting credit. I just wish that those titles would go away a little bit, just acknowledge the performer and not so much the position that they hold.This is another amazing performer and they happen to be the understudy or they happen to be an alternate.

As Satine, you play a courtesan whose job is to make men feel that she is in love with them. That’s part of her seductive power to get what she needs and, in this case, to keep the club afloat. What are the challenges for you as an actor, having three different Christians that you might be working with on any given night knowing that they all approach their character differently? 

It’s an interesting challenge, but it’s also a gift in a way. I’m not the kind of actor who wants to memorize a performance. There’s nothing wrong with those kind of actors. This is not what I find exciting. So when you have a different Christian you have to be present. You’re forced to pay attention. You’re forced to learn them for the first time and be curious about them and be affected by them as it’s happening. 

In Baz Luhrmann’s movie the role of Satine was played by Nicole Kidman, who could not have been more porcelain white. The first person cast on Broadway was Karen Olivo who is Puerto Rican, Native American, Dominican and Chinese. As a Cuban-American who gets to also play this part ,how important is it that the producers did not try to find a Nicole Kidman-type actor and were open to a different way of approaching the role?

It’s always a joy for me and a privilege to be able to represent my Cuban heritage. Diversity and inclusion is such an ongoing conversation. I’m glad to see Broadway in general changing. Obviously it’s not going to change overnight, but I feel like these baby steps towards inclusion and diversity are so important and they’re so exciting. To be even a small part of that is also exciting.

I have a theory that the greatest love stories that stand the test of time are those in which the couple does not end up together. I’m talking about dramatic love stories. Romantic comedies are a separate thing altogether. Why do you think we respond to stories like that?

Love and life is this endless dichotomy. We know our time here is limited. Nothing’s guaranteed. But we also know that even when a relationship ends, whether it’s a breakup or a death, the people we love always end up living inside us in some way. If we hold a memory of them they can still be with us and guide us like the stars.

I think we love to see this on stage and on screen – the idea that love can somehow still last forever if we let it. That it’s still worthwhile even though we know how it ends. There’s actually this iconic line from Hadestown I love, which is “It’s a sad song, but we’re going to sing it anyway.” I think it’s the hope that it could turn out differently. 

I often like to end my interviews by looking at a quote from somebody who may have inspired a work or somehow was involved. When I looked up quotes by Henri de Toulouse-Lautrec the first thing that came up on several websites was “The greatest thing you’ll ever learn is just to love and be loved in return.” Which, of course, he never said. It’s from the song Nature Boy that figures prominently in both the film and the stage musical. What does that say to you about the cultural influence Moulin Rouge has had on our appreciation of all the people who appear in this particular story?

I think it’s a testament to how powerful this show is and how much it is part of our pop culture internationally. It’s a beautiful quote, obviously. That’s the full cycle of requited love. What a gift, you know? It’s also beautiful that audiences are responding in the way that they are because we’re sharing our hearts on stage and and they’re loving us back. That’s kind of a full circle moment for the show right now.

That wasn’t the only quote I found. Baz Luhrmann is quoted as saying, “I understand that anything actors are doing, good or bad, is motivated by fear.” Do you think his assessment of actors is fair? What role did tackling a character like Satine in a musical this big and facing the challenge of it play in your desire to be in Moulin Rouge the Musical?

I did think that initially doing this role would be a little daunting. It’s so much when she’s on stage. She’s on that freight train until the end. But once you’re actually doing it it’s not as scary as you thought it was, which I love. I feel like that’s probably true with all things. It’s bigger in our heads. But when you’re in the moment, you’re in that moment, so you can’t be scared. You have to tell the story. You have to sing the song.

It’s a beautiful reminder to just go for it anyway. It’s not as scary as you think. I don’t know if I agree with [him] because I feel like the other side of fear is love. So I feel like that can also be a motivating factor. Sometimes it’s scary to do things and you just have to anyway.

To see our full interview with Yvette Gonzalez-Nacer, please go here.

Gonzalez-Nacer is scheduled to perform in Moulin Rouge at the Pantages on August 9th, 16th, 26th, 27th and 30th

Moulin Rouge The Musical continues at the Pantages Theatre through September 4th. The production moves to the Orpheum Theatre in San Francisco from September 8th – November 6th. The next stop is the Segerstrom Center for the Arts in Costa Mesa from November 9th – November 27th. For the full schedule, please go here.

Main photo: Yvette Gonzalez-Nacer as “Satine” for Moulin Rouge The Musical (Courtesy her Instagram account)

The post Yvette Gonzalez-Nacer: The “Alt” Satine in “Moulin Rouge” appeared first on Cultural Attaché.

MUSICALS:

AMERICAN PROPHET – Arena Stage – Washington, D.C. – July 15^th – August 28^th

The writings and speeches of abolitionist and statesman Frederick Douglass serve as the inspiration for this new musical from composer/lyricist Marcus Hummon and director/creator Charles Randolph-Wright.

This show was a recipient of the Edgerton Foundation New Play Awards prior to this world premiere.  Cornelius Smith Jr. stars as Frederick Douglass with Kristolyn Lloyd (original Broadway cast of Dear Evan Hansen) as his wife, Anna.

For tickets and more information, please go here.

BETWEEN THE LINES – 2ndStage – New York – June 14^th – October 2^nd

This musical is based on the young adult novel by  Jodi Picoult (Wish You Were Here) and her daughter, Samantha van Leer, from 2013. The story surrounds, Delilah, a young girl infatuated with Prince Oliver in a book she loves. Her world and his in the novel come together when he starts speaking to her.

Timothy Allen McDonald collaborated with Picoult and van Leer to write the book. Kate Anderson and Elyssa Samsel wrote the the music and lyrics. Jeff Calhoun (Newsies) directs with choreography by Paul McGill (Hedwig and the Angry Inch).

For tickets and more information, please go here.

FUNNY GIRL – August Wilson Theatre, New York – Open-ended run

When this musical opened this spring on Broadway it was the fact that it had been 58 years since the musical Funny Girl opened on Broadway and turned Barbra Streisand into one of the world’s greatest stars. Then came the whirlwind of controversy about whether Beanie Feldstein was miscast in the role.

She is no longer in the musical. Her understudy, Julie Benko, will be taking over the role until Lea Michele (Glee) assumes the role of Fanny Brice on September 6^th. 

Enter Beanie Feldstein who is tackling the role of Fanny Brice. Like Streisand, Feldstein has only played a supporting role in one musical before this one (Hello, Dolly!). Joining her are Ramin Karimloo as love-interest Nick Arnstein and Jane Lynch as Mrs. Brice (through September 4^th). Tovah Feldshuh will assume the role on September 6^th.  Jared Grimes, the sol recipient of a Tony nomination for this production, dazzles in the role of Eddie Ryan.Michael Mayer directs the show which has a revised script by Harvey Fierstein.

For tickets and more information, please go here.

INTO THE WOODS – St. James Theatre – New York – Now – October 16th

This often-produced musical by Stephen Sondheim and James Lapine was such a hit at New York City Center’s Encores series that it was inevitable the show would transfer to Broadway…and it has and the reviews and ticket sales are proof that was a great idea.

If you don’t know the musical, multiple fairytales are all taking place in the same forest at the same time. We’re big fans of Act II where not everything is as happy as it first seems. (Our favorite act is the second act.)

Lear deBessonet directs an all-star cast including Sara Bareilles as the Baker’s Wife, Gavin Creel as Cinderella’s Price and the Wolf, Joshua Henry as Rapunzel’s Prince , Brian D’Arcy James as the Baker, Patina Miller as the Witch and Phillipa Soo as Cinderella.

The recent announcement of an extension means there will be some cast changes that have yet to be announced.

For tickets and more information, please go here.

MJ THE MUSICAL – Neil Simon Theatre, New York – Open-ended run

It was, of course, inevitable that there would be a jukebox musical showcasing the countless hit songs by Michael Jackson. What may set this musical apart from failed attempts to use songs by The Beach Boys, Cher John Lennon and more is that the book is by two-time Pulitzer Prize-winner Lynn Nottage and the show is directed and choreographed by Christopher Wheeldon.

Myles Frost makes his Broadway debut as MJ and was the recipient of a Tony Award for his performance. The show also won Tony Awards for Lighting and Sound Design. The other Tony Award recipient was Wheeldon for his choreography. (Kudos to the outstanding company of dancers that perform this show.) 

We’ve seen the show and while it does gloss over much of the controversy that surrounded Jackson, it is wildly entertaining. Based on the audience response, this show is likely to run for a very long time.

For tickets and more details, please go here.

MOULIN ROUGE! THE MUSICAL – Al Hirschfeld Theatre, New York/Touring Company: Currently at The Pantages Theatre, Hollywood – STRONGLY RECOMMENDED

Why turn Baz Luhrmann’s ground-breaking film into a musical? Because you can can can. It might seem impossible to out-Baz Baz, but director Alex Timbres has done exactly that. This is bigger, louder, more song-filled than Luhrmann’s film. Surprisingly it loses nothing in translation.

The musical won 10 Tony Awards including Best Musical. The Broadway production currently stars Ashley Loren as Satine and Derek Klena as Christian. The touring company stars Courtney Reed and Conor Ryan (with Yvette Gonzalez-Nacer as an alternate in the role of Satine).

For tickets and more information on Broadway, please go here. For touring dates, tickets and more information, please go here.

A STRANGE LOOP – Lyceum Theatre, New York – Open-ended run STRONGLY RECOMMENDED

The 2022 Tony Award for Best Musical and the 2020 Pulitzer Prize for drama went to Michael R. Jackson’s musical A Strange Loop. It’s an aptly named meta-musical about a gay Black man who’s writing a musical about a gay Black man who is writing a musical about…You get the picture.  

Stephen Brackett directs A Strange Loop. The ensemble features Antwayn Hopper, L Morgan Lee, John-Mihael Lyles, James Jackson, Jr., John-Andrew Morrison, Jaquel Spivey and Jason Veasey.

This is a wholly original musical that challenges everything we imagine a Broadway musical to be. Jackson does it in all the best possible ways.

For tickets and more information, please go here.

OPERA:

SANTA FE OPERA – Now – August 27^th

Isabel Leonard as Carmen; Mitchell Harper choreographing The Barber of Seville; Quinn Kelsey as Falstaff; the first-ever Santa Fe Opera production of Tristan Und Isolde and the world premiere on Saturday of M. Butterfly by composer Huang Ruo and librettist David Henry Hwang are all good reasons to attend this year’s season at Santa Fe Opera.

If you’ve never been, you owe it to yourself to experience this amazing venue. And be prepared to tailgate!

For tickets and more information, please go here.

PLAYS:

HERE THERE ARE BLUEBERRIES – La Jolla Playhouse – La Jolla, CA – July 26^th – August 21^st

Anytime Moisés Kaufmann and Tectonic Theater Project have a world premiere, it’s a reason to go to the theatre. They’re the team behind The Laramie Project Cycle, The Tallest Tree in The Forest, I Am My Own Wife and more.

This new play is an investigation into the Hoecker Album of photographs from Germany during World War II.  They are named after Karl-Friedrich Hoecker who was an SS officer for the Nazis. Most of the photographs were taken in the summer and fall of 1944.

As the webpage for this production asks, “What hidden secrets can a photograph reveal?” Kaufmann (who co-directs with Amanda Gronich) and Tectonic Theater Project will make it mesmerizing.

For tickets and more information, please go here.

ORESTEIA and HAMLET – Park Avenue Armory – New York – Now – August 13^th

Director Robert Icke received an Olivier Award as Best Director for Oresteia, an adaptation of the three Greek tragedies written by Aeschylus. The show was a critical and commercial success in London.

Equally acclaimed was his production of Shakespeare’s Hamlet at The Almeida Theatre in London. Alex Lawther stars as the conflicted prince. 

Both shows appear in repertory. For tickets and more information for Orestia, please go here. For tickets and more information for Hamlet, please go here.

PRIMA FACIE – National Theatre Live – Beginning July 21^st (check local listings)

Jodie Comer (Killing Eve) stars in this play by Suzie Miller as a young lawyer whose main clients have been men accused of sexual assault. Her perspective on what she’s doing gets challenged when she gets assaulted herself.

It’s a powerful role for Comer and she is considered a front-runner for the Olivier Award next year. She’ll also potentially be up for a Tony nomination as the play is scheduled to open in New York in the 2022-2023 season. So, too, might director Justin Martin.

But you can watch the play in a theater near you as it is part of National Theatre Live’s programming. To locate a theater near you and to get tickets, please go here.

For our weekly Best Bets, please check every Monday for that week’s selections.

Main Photo: Conor Ryan and Courtney Reed in Moulin Rouge The Musical Touring Production (Photo by Matthew Murphy/Courtesy Broadway in Hollywood)

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