What's Up, Kyle Riabko? Hair's New Claude Has Got Life! Life! Life!

Among the many things we have to thank Spring Awakening for is the discovery of Kyle Riabko, a young Canadian rocker who followed Jonathan Groff as Melchoir before hitting the road with the Tony-winning show. Riabko is the real thing—a strong singer who can command the stage, which isn’t surprising given the fact that he’s been writing music and touring for 10 of his 22 years. In an inspired bit of recasting, Riabko is now playing Claude in the Broadway revival of Hair, bringing an appealingly naughty quality to the conflicted hero. We spoke with the star shortly after his March 9 debut.

What was your first performance in Hair like?
It was wild! With this show, it’s not just about performing for a live audience for the first time, it’s about experiencing the audience as another cast member. Rehearsal was almost like doing the show without your leading lady—and then suddenly seeing her on the first night. It was exciting. Now we’re going to settle in to what it means to have an audience there.

How does Hair compare to Spring Awakening?
This show is definitely more relaxed. I feel less of a spotlight on me, and less judged as far as the greatness of my performance on any given night. Hair is more of an ensemble piece, so the general electricity that our Tribe creates is more important than any individual. Backstage, when Ace [Young] and I hear the beginning of “Aquarius,” it’s like “OK, let’s rock!” There’s no feeling of “Oh my god, I hope I get my lines right.” It’s an instant flow of energy—like being at Woodstock, not in a theater.

What did [co-librettist] James Rado say to you after the first performance? Did you know he was going to be there?
I didn’t. But you never know where Rado is going to be! He could be outside my door right now [laughs]. He is the craftiest man. He will pop up at any time and talk to you for hours about the show. What’s so incredible is that he is Claude.

He literally is!
He wrote it for himself, so his insight is beyond anything you could ever wish for. That being said, it’s a very abstract, poetic kind of insight. It’s like talking to James Joyce or something, and after the discussion, you have to go buy the Cliff Notes and figure out what he’s trying to say [laughs]. He’s still so in love with the show after all these years, which is really cool.

There was a lot of making out and flirting onstage at the first performance. Tell the truth: Are any new relationships budding in real life?
Not that I know of. The good thing about this cast is we’re a couple of years beyond that kind of thing. Everyone is beginning to find, or has found, their maturity. Most of us have experienced showmances before and know that they’re not a good idea [laughs]. It’s a show about love, and we really do love each other, even though we’ve only known each other for three or four weeks.

You had a successful career in the rock world before you did your first musical. And frankly, the theater world and pop world don’t mix that much. Was it a big decision to start acting onstage?
It wasn't a conscious thing. [Theater] just kind of popped up, and it sounded great. It is a bigger decision as time goes on. For example, when I see the band in Hair, I don’t mean to sound cocky, but I could grab one of their guitars and jam with them, you know? I could rock out with those guys, and they have no idea. They see me as an actor in a play. It’s very difficult to make that known to this world—almost taboo. So yeah, that’s a struggle, but I see life as a series of acts. Right now I’m in act two, and who knows what the next act is; it could be a way to combine those two things.

You’ve now played two roles originated by Jonathan Groff. Did he or Gavin Creel give you any advice?
Both of them are like angels—they are the sweetest guys in the world, and if there are two people I would like to be replacing, it’s them. I’m fans of theirs, so it’s an honor, it really is. When I first stepped into Melchior [in Spring Awakening], Jon and I went out for dinner and he said, “I’m so happy to give you the gift of this character. Take it and use it—it’s yours now.” And Gavin, when I walked into the theater last Tuesday, had a card for me that basically said the same thing. They’re just very, very smart, mature guys.

Are you happy to settle down for a Broadway run after being on tour?
Yeah. I like touring, but I’m very much enjoying being more domestic. It’s hard to stay healthy out there, and I was getting really skinny and a little mentally insane too [laughs]. I live within walking distance of the theater, so it’s nice to come home after the show, watch a movie and fall asleep. I try to lead a simple life.

Well, don’t let it be too simple. You’re 22!
Oh, I know! I write a lot of music for other artists, and I just wrote a theme song for an NBC show. There’s lots of play time. I have great friends. But I’m a workaholic.

Maybe you should write a musical.
Yeah, I actually wrote a musical film, and I’m showing it to people right now. I’m not really talking about it too much, but there’s a director who’s interested and I’ll be meeting with her soon.

There better be a part for you in it.
Oh, there is!