Interview: Hunter Semrau

Next up in the Broadway World interview series is Hunter Semrau! Hunter gave an exclusive interview with Broadway World, catching us up on his career so far and everything he's got in the works! Read his exclusive Q+A below:

BWW: Tell us about your career so far! What has been your favorite experience?

HS: I’ve had a real whirlwind of a year since last May when I graduated from Oklahoma City University! I’m a Canadian citizen, and with the way student visas work, I was never able to perform professionally in the US during my time as a student. Since graduating and becoming work eligible, I’ve been incredibly lucky (and busy!) staying consistently booked throughout the country - starting in summer stock theatre, jumping straight into two National Tours, getting to work on a major film for the first time, and originating a leading role in a brand-new original musical in New York.

Most of my professional musical theatre experience has come through actor-musician work. I’ve played piano since I was about six and got my start in the actor-muso world when I played Jerry Lee Lewis in my first production of Million Dollar Quartet with New West Theatre when I just was 19 years old. Since then, I’ve played LM in Pump Boys & Dinettes, the original Broadway actor-muso show, and after that – two days after moving to New York – I booked the understudy for Jerry Lee Lewis on the Million Dollar Quartet Christmas National Tour, the new sequel show to Million Dollar Quartet.

Going on tour for the first time was amazing. We performed in 26 different cities across the eastern half of the US, and I got to perform as the lead 3 times! It certainly wasn’t easy, the score is substantially more complex than the original, and I went in for the first time without a put-in rehearsal. But after a quick 15-minute soundcheck to figure things out with the band, I made my National Tour principal debut, and it all came together amazingly.

After the tour wrapped, I flew back to New York and quickly booked my next job. Based on my previous work with the Christmas tour, I was offered a contract to fly out to Florida for a limited engagement run with the National Tour of Million Dollar Quartet (the original show this time, not the sequel – believe me, it’s hard to keep track).

Then, I came back to New York for shooting on a new movie and got to experience life on a major film set for the first time, which was absolutely incredible.

And finally, I got to originate my first role as DJ in a new show called Goblins and Gates at the New York Theatre Festival. The show is based on Dungeons and Dragons, and being a huge DnD nerd myself, it really was a dream come true to work on.

It’s hard to pinpoint a favourite experience within all of this, but to name a few; going on for the first time as a lead in a National Tour is a memory I will never forget. I was lucky enough to get a bit of heads up that I would be going on, and my family and partner actually flew out to see me perform! Beyond that, the people I have met and worked with have been incredible. I’ve worked with Broadway directors, performed with the most phenomenal actors and musicians alike, met people with such inspiring and creative artistic minds, and I’ve made some friends that I know I will have in my life forever throughout these processes.

BWW: What have you learned as a performer over this past year?

HS: I think the biggest thing that I’ve personally learned about is the affect that we, as artists and storytellers, can have on people.

Live theatre is so special, and it’s unique in the connection that forms between performers and audience members – both sharing the same space to suspend our collective disbelief and celebrate a common goal – that you simply can’t get with many other forms of entertainment. Especially in shows like Million Dollar Quartet, where we’re up there playing our live instruments and inviting the audience into these real artists’ lives, I’ve felt that connection personally.

Now, I know when I’m on stage playing the piano with my feet and headbanging a metric tonne of hair gel off my head that it’s not necessarily the same connection that forms when, say, reciting a Shakespearean sonnet, or touching on the subject matter of shows like Rent or Cabaret, but whether its provoking thought, inducing nostalgia, simple escapism, or anything in between: there is immense value in every form of live theatre.

The moment I feel that I truly learned this is when a woman pulled me aside after I had just finished a show with Million Dollar Quartet. She told me about her father, and how Jerry Lee Lewis was his favourite musician. She told me that when she was young, her dad used to play Jerry Lee’s records and they would dance together in their living room, and that even though he was no longer with her, she felt that a piece of him was there that night, dancing with her in the theatre.

Her story was beautiful. And it was a moment with a stranger that, before that night, I’d never comprehend experiencing. But that is the magic of theatre in every form, and now performing across the country for the first time for such a variety of people, it’s something I’ve come to learn and truly appreciate.

BWW: What is your dream role?

HS: My dream role is definitely Orpheus in Hadestown, I would give anything to play that role. I think to this day Hadestown is my favourite show I’ve ever seen; it really is such a beautiful show. The music is phenomenal, and the Orpheus rep is something that just feels so natural in my voice.

I also really want to continue working on new projects. In a way, DJ in Goblins and Gates was a dream role for me, and was something that a few months ago I never even knew existed. An angsty rock tenor who goes on a Dungeons and Dragons themed fantasy adventure? That IS my dream! I loved every part of that show, and it just makes me think of the countless voices out there with stories yet to be told, and it really excites me for what my future might hold.

BWW: What would you tell your younger self about pursuing your dreams?

HS: First off, don’t quit piano lessons. You’re going to need that Bach sonata experience way more than you’d ever think. I ended up making up for the lost time piano-wise, but boy what a blunder by twelve-year-old Hunter.

In reality, I think the biggest thing I’d have to tell myself is that there will always be roadblocks, and that’s okay. There will always be reasons to stop, or hold yourself back, or take the easier route, but you have to trust yourself. Trust your process because it will be different than anyone else’s, and that’s alright. There’s no “one way” to do any of this, especially in the performance industry. Do it your way. All you can do is take care of yourself, treat others with kindness, prioritize your mental health, and above all, believe that no matter what: you can do it.

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Follow Hunter on Instagram! @huntersemrau 

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