Nicholas “Nick” Rodriguez returns to his hometown of Austin to play suave Max in “The Sound of Music.”
Broadway in Austin
In a well-timed revival, “The Sound of Music” returns to Bass Concert Hall at the University of Texas this week.
The 1959 Rodgers and Hammerstein musical about the Trapp family singers starring Mary Martin — turned into a monster-hit 1965 movie with Julie Andrews — returns to the stage on a regular basis. Most recently in Austin, it has been seen at Zach Theater with updated twists, and at Bass by way of a touring rendition performed in a simple, heartfelt manner.
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One name juts out from the current cast list: Nicholas “Nick” Rodriguez, an Austin-raised, New York-based actor who returns to his hometown frequently. We chatted with Rodriguez before he arrived in town for the performances Feb. 3-8.
American-Statesman: If I remember correctly, you first popped up on the wider Austin arts radar in a Sondheim revue at UT’s McCullough Theatre in 1999. You’ve gone on to Broadway and TV series, but you return to Austin often. Do you think of it as a second artistic home?
Nick Rodriguez: My first professional show was “She Loves Me” at Live Oak Theatre when I was a senior in high school. I played Arpad with an incredible cast I deeply admired and looked up to, and it absolutely changed my life. I was bitten by the bug and immediately started volunteering and working backstage at Zach.
I remember that staging of “She Loves Me” well. One of my favorites. You made a smart debut.
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“The Sound of Music” is filled with uplifting scenes and songs, like this one, but it also dramatizes the Nazi takeover of Austria.
Broadway in Austin
Austin will always be home — in fact, it’s my first artistic home. I wouldn’t be who I am as a human being or as an artist without the amazing Austinites who shaped me.
First, Betsy Cornwell, Sheryl Jones and Susan Fernandez at Bowie High School; then Martha Deatherage at the University of Texas; and my dear friend Dave Steakley at Zach, with whom I’ve had the joy of collaborating for over 30 years.
Plus, the dozens of artists I’ve had the pleasure of watching and working with whenever I’m in town. I love being able to collaborate (with) and support the American Artists Project (founded in Austin).
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In this touring version of “The Sound of Music” you play suave Max Detweiler, who is Captain von Trapp’s agent, producer and friend. Yet you’ve played the Captain before, too. Talk about the two experiences.
Nick Rodriguez (right) says of his character in “The Sound of Music”: “This version of Max is very similar to many people we know today — someone who straddles the line to make sure he has friends on both sides. “
Broadway in Austin
It was such a joy touring as Captain von Trapp in this beautiful production eight years ago. It came out of the blue, and it wasn’t a role I had ever considered. I took huge pride as a Mexican American actor in telling this story about a man with the courage of his convictions — someone who stood up for what he believed in, no matter the cost, and who took his family to another country in search of a better life.
And here we are eight years later. When Jack O’Brien approached me about the idea of playing Max, I was skeptical — and then elated. He envisioned a Max who is equal parts suave and charming, as well as unctuous and vulgar.
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This version of Max is very similar to many people we know today — someone who straddles the line to make sure he has friends on both sides.
Even though he is very different from me personally and politically, I love stepping into his skin and speaking these lines every night. I think they need to be heard today more than ever.
Many audiences walk away from “The Sound of Music” humming its cheerful songs and remembering it as a comedic romance with special emphasis on the child performers. Set during the Nazi takeover of Austria, however, it turns dark, even disturbing, with a thriller added to the end. How are actors and audiences responding to that theme in these dark times?
Many audiences walk away from “The Sound of Music” humming its cheerful songs and remembering it as a comedic romance with special emphasis on the child performers.
Broadway in Austin
Most audiences are more familiar with it from the iconic film. The film omits some of the more political scenes (from the original stage version), including two with Max and Elsa that feature the songs “No Way to Stop It” and “How Can Love Survive.”
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As a result, when audiences come to see the stage production, these scenes and songs feel “new” to them. I can really feel audiences leaning in and listening in a different way.
This production is resonating with audiences differently than it did eight years ago — and certainly more than it did 60 years ago. When it opened on Broadway, America was still riding the high off victory in World War II; tyranny had been thwarted.
Now, here we are, fighting for human rights in the streets of cities across the country.
You’ve been an unambiguous advocate for the LGBTQ+ community. In fact, many Austin theatergoers remember you in Terrence McNally’s “Love! Valour! Compassion!” at Zach Theater. Has this hurt or helped your career?
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I think it’s important to tell our stories. Representation matters.
When I was a freshman at UT, I drove to North Austin to see the film of “Love! Valour! Compassion!” hoping nobody would see me walk in.
Years later, when Dave asked me to do the play at Zach, I had to say yes. Not only was it a thrill, but I met my husband during the production!
I can only be me. I can’t say whether it has hurt or helped my career, but I suppose living as my authentic self has made me a better performer and a better human being. It’s not always easy, but I’m truly proud to be an example of authenticity for anyone struggling with their identity, and to be a sounding board for younger performers who may be searching for answers.
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What are some roles that might tempt you back to Austin theater for another long-running guest shot?
It wouldn’t take much arm-twisting to get me back to Austin, but there are a few shows at the top of my list.
Last summer, I did “The Bridges of Madison County” with Kate Baldwin, and we’re looking for another opportunity to do it together.
I’d love to bring Emile de Becque to Austin. “South Pacific” is another timeless and timely story.
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“Kiss of the Spider Woman.”
And if Dave ever decides to revive Zach’s phenomenal production of “Falsettos,” I’d beg him to let me step into Joe York’s shoes and take a stab at Marvin.