INTERVIEW: Drew Moerlein makes Broadway debut in ‘American Psycho’

American Psycho, the new Broadway musical, follows a successful New York banker in the 1980s as he navigates personal and professional obstacles amidst a culture bent on materialism, excess, drugs, misogyny and fashion. Patrick Bateman, played by Benjamin Walker, takes his excesses one step further than the posh crowd he parties with and decides to wreak bloody havoc on unsuspecting victims who fall prey to his murderous tendencies.

One of Bateman’s sorest spots, and thus the one who falls into his crosshairs, is Paul Owen, played by Drew Moerlein. Owen seems to have everything, including top-notch business cards and a lucrative banking account that Bateman wants.

The battle between Bateman and Owen is set to several classic 1980s tunes, including “Everybody Wants to Rule the World” by Tears for Fears, “Don’t You Want Me” by The Human League and, most notably, “Hip to be Square” by Huey Lewis and the News. Other original songs, which sound perfectly plucked from this iconic decade, are the brainchild of Duncan Sheik, who wrote the music and lyrics. Roberto Aguirre-Sacasa wrote the book, based on Bret Easton Ellis’ original novel, and Rupert Goold directed the musical.

Moerlein is making his Broadway debut in American Psycho, which closes Sunday, June 5. The actor is an alumnus of the national tour of SPANK! The Fifty Shades Musical Parody and regional efforts that include roles in Vanya and Sonia and Masha and Spike, The Real Thing, Lost in Yonkers, A Christmas Carol and The Sound of Music.

Recently Hollywood Soapbox exchanged emails with Moerlein about his role, the message behind American Psycho and the challenges of the musical. Questions and answers have been slightly edited for style.

What was going through your mind the night of the first preview, which was your Broadway debut?

“Is this real?” and “What am I doing up here?” Then I immediately realized that this was the culmination of years of training, work and preparation, and that I was in fact living my dream and performing in one of the coolest and most innovative new shows on Broadway. It was an indelible and wonderful memory.

Paul Owen is a pivotal character in the narrative. How do you see him and his lifestyle in the 1980s?

Paul Owen is the golden boy. He is successful, charismatic, generous, funny and admired without breaking a sweat. He is what Patrick Bateman aspires to be. Paul is on the ’80’s fast train like all the financial men of the time, but somehow he always has all the best reservations, business cards and hair styles.

How much research goes into a character like this?

I tapped into my own charisma and attitude towards life to find the core energy of Paul, but of course there are many layers of research, discovery and play that lead to the final character you see. I had seen the film close to a dozen times before auditioning for this show but haven’t seen it since auditioning. I read Bret Easton Ellis’ novel (without which none of this would have been possible) after getting the callback, and then I dove headlong into research about the financial world / Wall Street boom in the ’80s and the state of our society and economy at the time. Examining the fashion and dance culture also informed much of my understanding of who Paul Owen is and how he fits into the world of American Psycho the Musical.

Is the show difficult musically? What are some of the challenges of performing each night?

Much of the show is an electro-pop track so that alone is a unique experience. As Paul Owen, I sing pretty high in the show, so I do a significant warmup prior to every performance. Most notably is the descant at the end of the show that I sing with Ben. It sits very high, and it calls for a powerful sound. So it took some repetition and practice to figure out where to place it vocally to safely sing an eight-show week.

What do you feel is the message of this story? What lessons can be learned in 2016?

We hope people walk away discussing what the state of our country and world is. When you step back, you’ll notice that, although we’ve made strides, the socioeconomic, racial, sexual and financial issues that were prevalent in the ’80s still plague us today. Materialism, racism, sexism, the massive financial gap between the rich and the poor, drugs, misogyny, Donald Trump. If not to affect people and make them think/question, what is theatre for?

Could you describe your experiences working with the director, Rupert Goold?

I had a blast working with Rupert. He’s a whip smart director with a keen eye who lets his actors discover moments and truths themselves through exploration, rather than putting movement on to them that will end up looking fabricated. For the actor, it’s an empowering style of directing, and he has a wonderful eye for the overall arc and tone of a piece. I hope to have the pleasure of working with him on future projects!

By John Soltes / Publisher / John@HollywoodSoapbox.com

American Pyscho is currently playing the Gerald Schoenfeld Theatre in New York through Sunday, June 5. Click here for more information and tickets.