TALKING “CRUEL INTENTIONS: THE MUSICAL” WITH STAR LAUREN ZAKRIN

Cruel Intentions: The ’90s Musical Experience

Lauren ZakrinLAUREN ZAKRIN IS READY TO SHOW YOU HER DARK SIDE.

Fresh off playing the titular character’s understudy in Broadway’s Natasha, Pierre and the Great Comet of 1812, the Michigan-raised actress’ newest project is taking her deep into a corrupt world of secrets, seduction, and deception. As the dangerous and manipulative Kathryn Merteuil in Cruel Intentions: The Musical, Zakrin is transforming from an ingénue to a villain.

After two sold out runs in Los Angeles, Cruel Intentions: The Musical has arrived in New York City for a limited engagement (through February 19, 2018). Opening December 11th, the show is based on the 1999 cult-classic motion picture of the same name. Created by Jordan RossLindsey Rosin and the film’s director, Roger Kumble, this stage adaptation features a compilation of throwback hits, including some of the best-known tracks from the movie’s legendary soundtrack – including Counting Crows’ “Colorblind” and The Verve’s “Bittersweet Symphony.”

I spoke with Zakrin about getting to be a “bad guy” for the first time, her connection to the show’s source material, performing some of the biggest songs of the ‘90s, her musical theater dream roles, and more.

Cruel Intentions: The Musical

ALEX NAGORSKI: Growing up, were you a fan of the movie? What’s your first or favorite memory about the effect it had on you?

LAUREN ZAKRIN: I was absolutely a fan! And I hate to admit it, but I was on Team Kathryn. I don’t know what it says about me as a person, but the darkness and the power of her character fascinated me. I think I might have been a little young for it, so the movie felt like this dirty little secret that I hadn’t quite figured out yet.

Cruel Intentions: The MusicalAside from the movie itself, where/who else are you drawing inspiration from to shape your interpretation of Kathryn?

I think it would be easy to point the finger and say that I am drawing inspiration from girls who were unkind to me in high school, and of course I do. But it’s much more juicy to find the Kathryn that already lives within me. Even if she has never come out before, I think we all have a little Kathryn Merteuil inside, whether or not we would like to admit it.

Have you had an opportunity to meet and/or speak with Sarah Michelle Gellar (who played Kathryn in the film) about this role?

Unfortunately, I have not met Queen SMG. However, I have heard that she attended the show while it was running in LA! Everyone says she was lovely, and very supportive. If I do get to meet her, my inner Buffy-obsessed pre-teen self will probably freak out.

Kathryn and her stepbrother Sebastian have – to put it mildly – quite an unconventional relationship. How have you and your co-star Constantine Rousouli found the balance between passion and revenge that these two characters force one another to endure?

Cruel Intentions: The MusicalConstantine and I were fortunate enough to walk into the process already knowing each other. Nine years ago, we toured together in Legally Blonde, my very first job! It has been helpful to have a bit of history and trust in the bag when diving into a relationship as complicated as Kathryn and Sebastian’s. Everything else between our characters just seems to be falling into place. There is a natural flirtation and playfulness between us. We know how to poke fun at each other. And we also know when the other one needs support. Constantine has also already been on the Cruel Intentions ride for a couple of years now, and it’s been wonderful to have him holding my hand and guiding me through the world! It doesn’t hurt that he is devilishly handsome, either.

As an actor, how does getting to play a villain differ from some of your previous characters in musicals such as Wicked and Grease?

Kathryn is my very first villain, my first “mean girl.”  In the beginning, I was intimidated by her darkness, but now … I LOVE IT. I find it very therapeutic to expose all of the facets of her to an audience.

The film was based on the novel Dangerous Liaisons (which was also turned into a movie). What do you think it is about this story that has allowed it to live on in so many incarnations and mediums?

Everyone is capable of darkness. I think telling a story that exposes the ugliness of human nature, the selfishness, the jealously, the desire and the cruelty not only forces us to address the unkindnesses in the world around us and why they are happening, but to also acknowledge our own thoughts and actions. It forces us to address our own capabilities towards good and evil. Everyone has dirty little secrets and fantasies, and perhaps everyone has done a thing or two that they aren’t proud of … but pretending otherwise isn’t helpful, nor is slapping a quick label on it. We must address it and examine it, and find the why. I think these stories allow us to take the look that we might be too afraid to do on our own.

The musical is filled with some of the biggest hits of the 90’s – including songs by artists like Britney Spears, No Doubt, R.E.M., Christina Aguilera and Jewel. As a performer, how do you go about re-contextualizing these iconic songs within a musical theater narrative?

As a performer, you must strive to make each song as story driven as possible. Of course, when these songs drop in the show, the audience loves it. There is a lot of laughter and hooting and singing along, which is exactly how it should be. But as the storytellers, we have to try to resist falling into the trap of the joke. The song’s nostalgia is the joke, but the performance of it is not. That’s the only way to maintain the integrity of the story itself, while weaving in these fun 90’s hits.

The show takes place at renowned downtown Manhattan venue (le) Poisson Rouge, complete with bar and table service. How does performing in this type of nightlife environment contrast from being on stage in a more traditional theater?

Cruel Intentions: The MusicalAfter doing The Great Comet of 1812 in a tent in the Meatpacking District, I have found that I really thrive in a more interactive environment. I think we have this wonderful opportunity to push the boundaries and change the shape of how theater can be done or seen. Cruel Intentions is meant to be a dirty, wicked little party, so it fits perfectly into Le Poisson Rouge’s rock-and-roll world. It’s the perfect place to have a drink in your hand and be singing along to Ace of Base.

You made your Broadway debut in 2014 as Sherrie in Rock of Ages, a musical about the 1980s. Now that Cruel Intentions has taken you to the following decade, do you have more fun reliving and exploring the ‘80s or ‘90s through your work? 

was a child of the 90s, so revisiting them still brings me a little bit of shame when I have to look at some of my fashion and music choices. Doing something like Rock of Ages really let me feel like I was diving into another world that I got to learn about and explore.

You’ve been very vocal on social media about the absurdity, cruelty and chaos that defines our current presidential administration. Is it your hope that stepping into the nostalgia-tinged 90’s world of this immersive musical experience will provide audience members with a temporary pass for true escapism? Or are there larger lessons/takeaways that you’re hoping the audience leaves with?

I think we absolutely have an opportunity to comment on the current climate, and to point at things that may or may not have changed socially and politically. There are moments for escapism, but it is always a shame when the opportunity is missed to create change.  As I mentioned, I hope this story, at the very least, allows people to honestly observe, address, and examine the unkindnesses and cruelties within them and in the world around them.

I was fortunate enough to catch your phenomenal turn as Natasha in Natasha, Pierre, and the Great Comet of 1812 this past summer opposite Oak Onaodowan and Ingrid Michaelson. What were your thoughts/feelings on the show’s abrupt and controversial closing?

Thank you for your kind words! All I can say is that Natasha, Pierre, and the Great Comet of 1812 has been the most rewarding and beautiful experience of my professional life, and I miss it every day!

In addition to Cruel Intentions, you’ve been a part of several other movie-to-musical adaptations – including Legally BlondeCatch Me If You Can, and Flashdance. In your experience, what are both the most rewarding and challenging aspects of bringing such beloved films to life on stage?

It is always helpful to begin a project that already has a built-in fan base. However, there can be some challenges in navigating how to maintain the things that people love about the movie while keeping the stage adaptation fresh and relevant. While we want to stay true to all of the iconic moments people are dying to see, it is important to know when change is necessary to best tell the story today. It is also important to avoid the trap of replicating or imitating a performance. The characters need to remain truthful in our bodies, and our interpretations of them grounded in honesty.

What is your musical theater dream role?

Natasha in The Great Comet of 1812. Christine in Phantom of the Opera. Clara in The Light in the Piazza. Marilyn Monroe. Or better yet, something new and all my own!

CLICK HERE to purchase tickets for Cruel Intentions: The Musical, playing now through February 19, 2018 at (le) Poisson Rouge in New York City.

Originally published on PopBytes

TALKING ‘ANASTASIA’ AND MORE WITH RAMIN KARIMLOO!

RAMIN KARIMLOO IS WITHOUT A DOUBT THE BEST MALE SINGER ON BROADWAY.

The 38-year-old actor has an incomparable talent that has made anything he does the “must-see” musical event of whatever season it falls in. After attending a production of The Phantom of the Opera when he was 12, Karimloo discovered his passion for musical theater. In 2007, his journey came full circle when he played The Phantom in the iconic show’s West End production. He then went on to be hand-picked by Andrew Lloyd Webber to originate the role of The Phantom in Love Never Dies, the composer’s sequel to his original classic.

Amongst his illustrious stage credits, Karimloo is best known for his Tony-nominated starring turn in the 2014 revival of Les Miserables. His unprecedented, gritty, and raw take on his character became instantly unforgettable as he redefined and reinvented who Jean Valjean was.

Now, fresh off his West End run in the U.K. premiere of Murder Ballad, Karimloo has returned to Broadway. Starring as Gleb in Anastasia, the actor is going from playing a hero to a villain. I spoke with him about this latest venture, his solo music, being an Iranian-born actor in the age of Trump, and much more.

ALEX NAGORSKI: You have two children, Hadley and Jaiden. Are they fans of the movie Anastasia? If so, how much “cool cred” did doing this show give you at home?

RAMIN KARIMLOO: To be honest, we didn’t grow up with the film and it’s not something we’ve seen. They’ve seen the show and loved it though. I’m lucky to have already accumulated “cool cred” with them thus far.

Gleb is not a character featured in the movie. Did you find this to be freeing or more of a challenge when bringing him to life for this adaptation?

I guess since I didn’t watch the film it was even more freeing as you say. Thing is, it’s Terrance McNally’s book that I wanted to play in. So I sort of just used my imagination based off what Terrance wrote and then used some historical references that I felt helped me. What I really wanted to do is just find the guy within the uniform and play around with the conflict he has to deal with – father, job and heart.

How do Gleb’s feelings for Anya conflict with his duties as a general for the Bolsheviks?

Whether its feelings specifically for Anya or what Anya represents for him, it serves as a major conflict. Gleb believes in his cause and “a new Russia” but well … he’s progressive … a bit. He’s trying to figure things out. And something he says in the song “Neva Flows” says a lot of how they feel of how things actually went down with the Romanovs: “My Mother said he died of shame.” It wasn’t supposed to have gone down like it did.

One of the central themes of this show is the importance of family. Gleb’s father was one of the Bolsheviks who assassinated the Romanovs. How did who Gleb’s father was shape who he is?

Well his father was in the military of, by nature, a stoic and strong culture. With Gleb following in his father’s military footsteps, he was of course very much shaped by his father and environment.

You also played Gleb in the 2015 workshop of this show. How have both the show and your character evolved from then until now?

When I signed onto the Broadway production, “Still” was written, which I was very pleased about. What we found in the workshop were the stakes that were created by his attraction to Anya. That put many things into question for Gleb and what he stood for – or what he thought he stood for. Like I said, he believes in his cause. But he also believe it’s better for Russia, for the people and for their futures.

In the show’s Playbill is a postcard that reads, “Tell us about your dreams & what you’d like to achieve on your journey below.” Underneath that text is a header that says, “On my journey I will …” followed by a blank space for each audience member to fill in their answer(s). If you were filling out this postcard, what would yours say?

Either “win” or “learn.”

You led the world premiere of Prince of Broadway when it debuted in Japan. Now that it’s coming to Broadway this fall, do you have any future plans to join the cast of that show when your run in Anastasia is over?

After Anastasia, I’m planning to take some much needed time in England with my family. But I had a blast doing Prince of Broadway in Japan. What a great experience! I’m happy to hang onto that memory.

You’ve coined the term “broadgrass” to identify the genre of your solo music. Can you please elaborate a bit about what this means? 

Really that term was a throwaway remark I made one day and it stuck.  We are at a point now that we just play and perform what we want to perform.  It’s amazing the following our concerts have created. It’s a group of friends every time coming along to join in. It was really a development of a live sound that organically found its feet from our love of the theater songs from shows I’m known for to songs I’ve written and of course to covers I love. I love the “grassroots” sound that comes from country, folk and bluegrass. So it was a way to coin a live sound the still incorporated our passion for theater songs. Broadway to bluegrass is broadgrass. We just love to play and sing songs that tell great stories. There’s a wide scope for songs like that.

What can your fans expect from your upcoming solo concerts at the B.B. King Blues Club & Grill in New York on July 23 and 24

I guess I would direct folks to my previous answer. More of that. We did a tour earlier this year and whenever that happens, more songs get added to our set list. So there are songs we’ve never done at BB King’s and this gives us a chance to do them.  More theater songs and of course some of the fan favorites!

You’ve collaborated several times with Sierra Boggess on projects ranging from The Phantom of The Opera to Love Never Dies to The Secret Garden. Why do you think you two work so well together and what’s a favorite memory you have from any of these productions together?

I always love working with friends. She’s been a family friend for a long time now. So when you have friends like that, there’s a shorthand that goes with that.  A trust.  She’s a lot of fun to work with. I really loved doing The Secret Garden with Sierra. That was a big discovery for me and to work on that show and book at the Lincoln Center was a real treat.

As an Iranian-Canadian actor, what are thoughts on the current administration’s attempted ban against Iranian citizens? And how do you think Americans can show the rest of the world that the prejudices of this administration do not reflect the views of this country as a whole?

You know, I have spent 15 minutes writing this answer then deleting. Then writing and deleting again.  I’ll just say its fear-mongering bullshit, and I think it’s important to accept everyone, no matter their beliefs or where they come from.

Ramin KarimlooAs a seasoned stage actor, do you have a preference when it comes to working on a revival of a classic or working on a new musical? If so, why?

I’m not fussed. Both can be exciting. A great show is a great show. It can be great to revisit a role or revive a hit from before. And it’s so exciting to create something from scratch. But you can approach anything from a blank sheet and have fun with your imagination and create.

For years now, you’ve alternated between performing on the West End and on Broadway. What do you find to be the biggest differences between working in these two iconic theater communities?

They both have their charms. England is home, obviously, but I do like being able to swap back and forth. I’m very grateful that has been happening. There’s a great sense of community for theater over here. There’s so much history in London and a great buzz in the West End as well. Support is great on both sides of the Atlantic.

What’s your musical theater dream role? 

I’m not sure! Maybe it hasn’t been written for me yet. But that being said, everything I have done so far has turned out to be a fantastic opportunity and ride. So I don’t really think about what’s a dream role. I wouldn’t want to just pin one. I just want to keep playing.



CLICK HERE to purchase tickets to Anastasia, now playing at the Broadhurst Theatre in New York.

Originally published on PopBytes