Cue the Spotlight: 10 Questions with Marc delaCruz

Meet Marc delaCruz, Hamilton Broadway Cast Member

Happy Asian Pacific Heritage Month! All of us here at PNU are professed #hamilnerds , so when we heard the news that the first Asian man to officially step into the role of Alexander Hamilton on Broadway was Filipino-American performer Marc delaCruz, we sure as heck weren't going to throw away our shot at interviewing him. Marc performs with the Broadway company in New York in the ensemble, as an understudy and he has gotten the opportunity to play a variety of different characters, along with the title role. This interview left us feeling inspired as well as pleasantly surprised at how similar Marc is to Hamilton himself- a trailblazer who rose against the odds and forged an unconventional path to reach his achievements. Marc, history has its eyes on you!

1. Thank you so much for talking to us, Marc! Growing up, did you always want to be starring on Broadway? Tell us about the journey it took to get here to “Hamilton.”

Thank you for having me! Growing up I had a secret desire to be a performer. I didn’t know exactly what kind—a dancer, a music star, a theater performer—I just knew I wanted to perform. I was scared to pursue my dream in earnest so I didn’t really start performing until I was in college. I was enrolled at the University of Washington in my hometown of Seattle, pursuing a degree in International Studies, when some friends of mine asked if I wanted to join their hip hop dance troup (comprised of Filipinos, of course). Not long after that another friend asked if I wanted to join his R&B singing group (Pinoys singing ballads in five part harmony, of course). About a year later a friend of my sister’s asked if I’d be interested in auditioning for a show he was directing at the Northwest Asian American Theater and that is how my journey with theater began. As one opportunity led to another I decided to explore the performing arts after graduation even though it was not what I studied in college. Over the course of the next six years I was acting, dancing and singing at various theaters around Seattle year round. I was constantly in dance class and working with a voice coach. I received opportunities to work with incredible directors, actors and musicians at top notch Seattle theaters—I learned the craft on the job. I eventually decided to move to New York to audition and have been here ever since. Since moving to New York I’ve performed in national tours, regional productions and now with Hamilton my second show on Broadway. My journey has been somewhat unconventional and lacking a theater or drama degree or formalized training put me behind the curve in many ways. But slowly and steadily, through experience and a lot of trial and error, I built up the skills and knowledge I needed to make this my career. However, I feel like I’ll never stop learning about this art form.

2. May is Asian Pacific American Heritage Month. What does it mean to you to be the first Asian man to step into the role of Hamilton on Broadway?

When I was growing up there weren’t many Asian leading men in TV or film or the media. Asian actors were almost always playing some kind of stereotype and Asian men in particular were rarely, if ever, portrayed as powerful, sexy or romantic. If they were any of those things they were usually exoticized. I was lucky in that I had positive role models in my parents, siblings and other family members but I didn’t see where or how I fit into the culture of America. I felt like being Asian put me at a disadvantage and I internalized that sense of inferiority. I resented my heritage. Once I learned to be proud of my roots I couldn’t believe I was ever ashamed of them. So now, being able to play the role of Hamilton on Broadway (as an understudy—I do not play the role full time) is healing for me and I hope it’s a way to show young Asian Americans that they can be at the center of a story. We don’t just fit into American culture, we are part of American culture.

3. We know you step into many different roles in the production. What was the rehearsal process like for you juggling so many different parts?

Thankfully the members of the creative team who taught me the show only had me learn one track at a time. A track is an actor’s trajectory throughout the show—it might be playing one character from start to finish or an ensemble part with different responsibilities or multiple roles played by the same actor. When I first started I only had to learn and focus on the ensemble track I perform every night. This is a fun track because in it I get to play a few different roles such as Philip Schuyler, James Reynolds and Philip Hamilton’s doctor. As soon as I began performing that track in the show, I started learning the role of Hamilton. After about a month of rehearsals I had my debut as Hamilton then shortly after began learning my next understudy track, Laurens/Philip and then so on with King George. Joining a show that is already up and running is scary, sort of like jumping onto a moving train, but our creative and stage management teams are incredibly well organized and understand what it takes to learn this intricate show. They’re also very flexible with each performer, knowing that we all learn differently, and eager to work with us to help us be successful. In addition to our show schedule we also have understudy rehearsals periodically to keep all understudies and swings (performers who cover the ensemble tracks) up to speed.

4. Growing up, how connected were you to your Filipino roots?

I grew up near my Filipino grandparents so I was always connected with the culture. My grandparents were also sort of the matriarch and patriarch of the Filipino community at my church so I spent a lot of time at functions and gatherings with other Filipinos. Since my mother is not Filipina, Tagalog was never spoken at home so I never learned it. I heard it when my father spoke to his parents but it was never enough to absorb. Outside of the Filipino communities to which we belonged my world was not very diverse. My classmates, friends, teachers and coaches were all Caucasian—there was only one other Filipino kid in my class from first to eighth grade and no other students of color—so being Filipino was always somewhat peripheral to my identity growing up. It wasn’t until high school and college when I met other Fil-Ams my age that I became more interested in and proud of my roots.

5. We saw on your instagram you went to the new NY Jollibee’s location! Any other good filipino restaurants in NYC you recommend?

Yes! My first taste of the chicken and gravy at Jollibee is emblazoned in my memory. I also recommend Jeepney, Maharlika both in the East Village and Purple Yam in Brooklyn!

6. What is your favorite Filipino dish?

Kare-kare.

7. What are some of the ways you keep in shape and stay healthy while being on Broadway?

Get enough sleep! That is my number one tip for staying healthy. In addition I practice yoga, run occasionally and do circuit workouts at the gym. I also see my voice teacher from time to time to make sure I’m singing healthily and effectively eight shows a week. Mental health is important too! I see my therapist once a week and try to meditate regularly.

8. What are three things people don’t know about you?

I’m a certified yoga instructor, I’m a huge sci-fi fan, I love wine and coffee—like reeeally love wine and coffee.

9. Have you been to the Philippines and if so how was it?

I’ve been to the Philippines only once. At first it was a bit surreal. My experience of other Filipinos was always through Filipino communities here in the States—the Filipino community of Seattle, the Filipino community at my church, the Filipino American Student Association in college. I was used to being around other Filipinos but it was always in the context of an ethnic enclave. Then at 29 I get the chance to actually go to the Philippines, the motherland, where everybody is Filipino! It was beautiful. While I still felt like a foreigner being American, I also felt that I was finally connecting with my roots, something deep that has always been a part of who I am. It was a short trip and I spent most of the time in Manila where my aunt lives. I couldn’t believe the malls! There were so many malls! I also went to Boracay which was absolutely stunning and experienced the grandeur of Tagaytay. There is such unparalleled natural beauty in the Philippines. There is also such poverty which would be impossible not to notice. The best part of course was to finally be among the people I thought I knew so well and yet didn’t. I might have grown up around Filipino culture but nothing compares to actually going to the Philippines.

10. Any advice to aspiring Broadway-bound dreamers?

Be prepared to work and when it appears the work is done, there is always more work to do. The training and learning never stops. Also, remember that this is an art form. There is a tremendous amount of technique that goes into performing eight shows a week (that’s where the hard work comes in) but remember that you are an artist. Connect with what makes you unique—your unique way of looking at the world, your imperfections, your tics—whatever makes you special, and show that in your work. It takes a lot of courage but being vulnerable is a huge part of performing. Don’t be afraid to be vulnerable. An audience might not know it but they don’t just want to see someone with a fabulous voice or flawless dance technique, they want to see YOU. Connect with that and share it with the world.