IN CHAT WITH ROB

1. What’s a behind-the-scenes moment from a show that audiences would never expect but you’ll never forget?

In The Addams Family I was performing in the ensemble and there were a few of us who had to wear light absorbing all black onesy’s so we could control a scene where Uncle Fester flies around with the moon. I will never forget getting to be part of such a magical moment and the fun that came from being in that scene!

2. You’ve performed everywhere from the West End to the Sydney Opera House, do you remember the exact moment you thought, “this is actually my life now”?

I think that moment hit in the most boring of moments! I was crossing Waterloo Bridge in London (my favourite bridge) and I was heading to the Sondheim Theatre to play Marius. I had headphones in, holding a ridiculously overpriced coffee when it clicked: I am a kid from Geelong, my job is to go and sing one of the most iconic scores in a West End theatre to thousands of people. It was the mundane moment of a quiet walk in London where I let the imposter syndrome take a backseat and let myself feel an overwhelming amount of gratitude!

3. If you could create your dream role from scratch, whether writing it or performing it, what would it look like?

It would definitely involve a guitar, a lot of self-deprecating Aussie humour, and comfortable shoes. Honestly, my dream role would be a character who gets to break the fourth wall, tell a wildly inappropriate but deeply heartfelt story, and play a killer rock-tenor score. Something that blends the raw, gig-theatre vibe of Once or Rent with the razor-sharp comedic satire of something like The Book of Mormon.

4. Your connection to the Palais Geelong is really special, what does that theatre mean to you personally beyond just performance?

The Palais has a piece of my heart… it has been such a big part of my upbringing. Growing up in Geelong, spaces like that are where the dream starts. When you’re a regional kid, the local theatre is your West End. My family taking on the Palais was about so much more than the building; it’s about preserving a cultural heartbeat for the community. It’s about making sure the next generation of weird, wonderful, theatre-obsessed kids in Geelong have a space to discover their voices, just like I did. It’s a massive labour of love and has a long way to go, but I hope for one day that the Palais sees many more opening nights for the upcoming generations of artists.

5. You’ve worked alongside some incredible creatives like Stephen Schwartz, what’s one lesson from those experiences that has stuck with you?

Watching someone like Stephen Schwartz work is a masterclass in collaboration. He taught me that the song or the scene is the boss—If a lyric isn't serving the story, you cut it, even if it's your favourite line. He has this incredible openness to trying things, rewriting on the fly, and finding the truth of the moment. It taught me to hold onto my own writing tightly enough to protect it, but loosely enough to let it evolve.

6. When you’re not working on a show or writing, what does a perfect day off look like for you?

Gaming, I love video games! Most importantly it’s spending time with the people I love in my life. But if I am away from home or on tour - a good video game keeps me calm!

7. You balance performing, writing and producing, which role feels most natural to you when you’re not on stage?

Writing, without a doubt. When you're performing, you are the vessel for someone else's vision - which is beautiful and challenging - but writing is still escapism for me. It feels the most natural because I can do it in my trackies at 2am with a guitar on my lap. There's a freedom in composing where you don't have to worry about hitting your mark or finding your light; you just follow the music.

8. You’ve played some huge roles like Marius, Jesus and Roger. Which character felt the most you, and which pushed you the furthest out of your comfort zone?

I tend to gravitate towards characters that are on the outside or directly linked to musicianship. And both of those qualities link with me, so I loved connecting with Roger in Rent. But I felt strangely at home playing Sal in Rags because of the link to being a Sicilian migrant (my parents). Jesus, on the other hand, pushed me to my absolute limits. The sheer vocal stamina required for that score is epic, but beyond that, carrying the emotional weight and iconic status of that character is a massive burden. You have to find the human vulnerability in a figure everyone already has a preconceived idea about. It broke me down and built me back up as a performer.

9. What’s something about performing in London that surprised you compared to working in Australia?

The sheer volume of the industry over there is wild. In Australia, the MT community is a brilliant, tight-knit family where everyone knows everyone, and there are only a handful of major commercial tours happening at once. In London, you're walking down Shaftesbury Avenue and there are 40 major shows happening simultaneously within a square mile. But the biggest surprise? How much history is in the walls. You sit in a dressing room and realize Laurence Olivier or Judi Dench might have stressed out about a costume change in that exact same chair 60 years ago.

10. Your writing projects like Dreamsong and Guilty Pleasures are so different from the big musicals you perform in, where do you usually draw inspiration from?

I love the absurdities of real life. Both Dreamsong (satirizing megachurches) and Guilty Pleasures come from looking at subcultures that take themselves incredibly seriously and finding the comedy and the genuine human flaws underneath. I draw inspiration from people-watching, news headlines, and the things we all secretly think but are too polite to say out loud. I love taking a premise that seems ridiculous and wrapping it in a really catchy, earnest pop-rock score so the audience is tapping their feet while laughing at the madness of it all.

11. If you could go back and give your younger self one piece of advice before stepping into this industry, what would it be?

"Breathe, mate. Your path is your path." I would tell my younger self to stop looking sideways at what everyone else is booking. In this industry, it is so easy to feel like you're falling behind if you aren't hitting certain milestones by a certain age. I'd tell young Rob to embrace the rejections because they usually pivot you toward something much better suited for you, whether that's writing your own work or saving a theatre in Geelong!

12. Finally, what’s next for you that you’re really excited about that you can share?

Committing to the Anastasia run until late 2026 is a huge undertaking, but it gives me this beautiful anchor. It means I can still quietly chip away at my own writing. That’s all I can say for now!