Exclusive Interview: Austin Durant Chats About His Return to ‘Moulin Rouge! The Musical’, the Magic of Theatre, and More

Audiences and critics are still raising a glass to Austin Durant’s celebrated return to the Al Hirschfeld Theatre in the Tony Award-winning Moulin Rouge! The Musical.

Baz Luhrmann’s revolutionary film comes to life onstage in a dazzling musical mash-up extravaganza. Directed by Tony Award winner Alex Timbers, Moulin Rouge! The Musical is a theatrical celebration of truth, beauty, freedom, and—above all—love. With a book by Tony Award winner John Logan, music supervision, orchestrations, and arrangements by Tony Award winner Justin Levine, and choreography by Tony Award winner Sonya Tayeh, Moulin Rouge! is more than just a musical—it’s a state of mind.

Austin Durant delivers a captivating performance as Harold Zidler, bringing both charisma and commanding presence to the role, while effortlessly engaging audiences in the vibrant world that is the Moulin Rouge.

Pop Culturalist had the pleasure of speaking with Austin about making his return to the production, the magic of theatre, his collaboration with the company, and more.

PC: Moulin Rouge! recently celebrated five years on Broadway, which is such an incredible milestone. What do you think it is about this story that continues to resonate with audiences?
Austin: At its core, Moulin Rouge! is a simple story about two star-crossed lovers and a rival set on foiling their plans. There’s that, but it’s also one of the biggest spectacles I’ve ever seen on a Broadway stage. It never fails to deliver the wow factor, and the music is fantastic. I imagine most people who see the show will recognize at least ten songs. I can’t go anywhere without hearing a song from Moulin Rouge!, so it definitely has that mass appeal.

It feels like—knock on wood—it’s positioned to become one of Broadway’s major tentpole productions. Phantom of the Opera has closed…for now. In some ways, we’re probably drawing in audiences who are looking for a big, familiar name on Broadway. Moulin Rouge! is becoming that.

PC: I saw it again a couple of months ago for the second time, and I had forgotten how, the moment you step into that theater, you’re transported to the Moulin Rouge. Do you remember the first time you walked into the theater and saw the stage design and production?
Austin: Absolutely. The first time I saw the stage, I had already done a day or two of rehearsals because I was brought in to learn the show pretty quickly as a medical cover for Danny [Burstein] back in 2019. So, come November, I’ll be hitting my five-year mark with Moulin Rouge!. That feeling of being completely transported by what you see on stage is rare when you work in theater because you’re so used to seeing how everything gets put together. But I felt it that day when I walked into the theater. What Derek McLane designed for that space—it’s incredible.

PC: It’s truly breathtaking. There’s nothing like the theater experience. You’ve mentioned in previous interviews that, as a young actor, it’s so beneficial to see and absorb as much theater as you can. What production has had the biggest impact on your journey as a storyteller outside of Moulin Rouge!?
Austin: One of the most magical, transformative experiences for me was seeing a production of Pericles at Shakespeare’s Globe in London. It felt like such a culturally atavistic experience, as though I was part of something people had been doing for centuries. I was in college at the time and had already caught the Shakespeare bug, but after seeing that production—especially seeing how immediate that space is and how the actors directly engage with the audience—something shifted for me. It changed the way I viewed theater, transforming it into a sacred communion between actor and audience. That was a truly formative experience.

PC: That journey has led you to where you are now, and you’re absolutely captivating in Moulin Rouge!. Your character says at the beginning that the Moulin Rouge is more than a nightclub; it’s a place where fantasies and dreams come true. What or where is your creative equivalent when you need to get your creative juices flowing? Where do you go to escape?
Austin: Thank you! This might sound nerdy, but I’m really into tabletop role-playing games like Dungeons & Dragons. I play with a group of friends from Yale School of Drama, and we get together every couple of weeks and broadcast it. I don’t watch nearly as much television as I probably should, but every now and then there’s a series I’ll get into and binge over a few days. I still need to catch up on House of the Dragon.

PC: This is such an interesting production that’s existed in different mediums, with various actors portraying this character. How have their interpretations inspired your own? And what do you hope future actors take away from your performance?
Austin: [laughs] The thing that defines my version of Zidler is that it’s mostly stolen. I’ve loved Moulin Rouge! since I was in high school, and Jim Broadbent’s performance in the film has lived in my mind rent-free ever since. His version of Zidler has influenced other roles I’ve played, so the fact that I’m now actually playing Harold Zidler is strange to me. I’ve also seen so many other actors take on this role, and we all just borrow from each other. All the best actors do that.

PC: You’ve also taken this character on the road. How different is that experience from performing on Broadway?
Austin: The biggest difference is the size of the venues. A lot of these touring houses across the country are huge—sometimes twice the size of a Broadway theater. So it takes a bit more effort to get the show past the first ten rows. Also, the traveling set sometimes fits differently in each theater, which can create a bit of distance from the audience. Because of that, there’s more work needed to reach the back of the house. But the upside is that you have the freedom to play on a larger scale. The version of Zidler I’ve built for the tour is slightly bigger in that sense.

PC: You also had a bit of a break between touring and returning to Broadway. Was there a specific technique you used to get back into this character?
Austin: I had a few weeks of rehearsals, but whenever you take a hiatus from a play, you always wonder if you can still do it. There’s this little voice in your head saying, “You might be out of shape. That might’ve been your last one. Maybe you should focus on television now because I don’t think you can handle theater anymore.” But once you’re back in rehearsals, you start to realize it’s all about playing. Yes, it’s hard work, but the real challenge is daring yourself to show up, explore, and play with the material day after day. Your stamina comes back, and you figure out how to take care of yourself physically. But the real question is, am I here to play or not?

PC: Speaking of playing, what I love about theater is that every night is different. How much of your own performance is influenced by what your ensemble is giving you, and how do you push each other creatively?
Austin: Ideally, my entire performance is influenced by what the rest of the company is giving me, as well as the audience. If there’s a huge reaction, I want to be alive and responsive to it. If a scene partner makes a drastically different choice or intention, I like to stay in the moment and adapt. It’s always about listening. That’s central to the idea of playing as an actor—you have to listen. I’m really lucky to work with a group of people who are fantastic listeners and very playful.

PC: Like you, Aaron Tveit recently returned to the role of Christian. You’ve worked with him before. What’s it been like reuniting with him?
Austin: He’s great. I love working with Aaron. He has such a wonderful offstage temperament—very easygoing and supportive, a real leader in the company. It’s always a pleasure working with him. He brings this incredible fan base that goes absolutely wild for him, and it’s so fun to be on stage with someone who has that star quality. It feels like being at a rock concert! Of course, it doesn’t hurt that we also have a literal pop star in the show with Jojo [Levesque], who brings her own fans as well. She’s wonderful to work with—really present and always exploring new things. That’s exciting for me, especially after playing this role for so long. I’ve done the show with Aaron, but never with Jojo, so it feels like rediscovering the play in a whole new way.

PC: The music in Moulin Rouge! has evolved through different mediums. If you could add another song to the production, which would it be and why?
Austin: That changes. I’ve been with this show for almost five years now, and every year I think, “The song of the summer should be in here!” Right now, I’d say it’s probably a Chappell Roan song. That’s a fun question because I wonder about that myself. In five years, will they look at the score and ask what needs to be added, or is the show frozen as is?

To keep up with Austin, follow him on Instagram. Moulin Rouge! The Musical is currently playing at the Al Hirschfeld Theatre. Get your tickets today.

Photo Credit: Matthew Murphy