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[0:00] Joe Rosko: Hey, what's going on? Welcome to Built For The Stage Podcast. This is Joe Roscoe, founder and host of Built For The Stage, Broadway's number one fitness platform. With clients in over 20 Broadway shows, also over on the West End in London, Tokyo, Disney, Australia, collegiate theaters across the country, we're your one-stop shop for all things theater and fitness. Check us out, BuiltForTheStage.com. You can work with me on an interactive fitness app where we will chase down your goals to bring your level of fitness in conjunction with what you need to do on the stage, BuiltForTheStage.com. All right, let's get on to our special guest. Special guest as always. Actually, returning guest on the podcast, we chatted back in 2021, Broadway had shut down.

And I was like, what are we going to talk about? And then our friends over in Australia, they beat us to the punch and they came back. They quickly exited though, but they came back for a second there. So I was like, let's chat with some friends over there. So I was actually first met virtually our guests when they were in Hamilton over in Australia. But since then they've been all over. They're in the UK right now on the West End. They just opened up Hercules. Can't wait to talk about that new production. But yeah, they've been in like the workshop for burlesque. They've been, I don't know, just dancing their heart out on social media in front of the Leduca store with partnerships there. They're everywhere. And they're also super cool to just chat with. And they're good human. Aside from being talented. Please welcome to the podcast, Stefan Lagulis.

[2:01] Stefan Lagulis: Hello.

[2:04] Joe Rosko: Welcome back. Thanks for joining me.

[2:07] Stefan Lagulis: Nice to be back.

[2:09] Joe Rosko: Yeah. Nice to have this chat on a Friday. Happy Friday. I was listening to our old episode. And I think I said to you, I think I said, Happy Thursday, I think. And you were like, yeah, but it's Friday. Or maybe I said, Happy Friday, but it was actually Saturday for you. I don't know what it was. But last time we chatted, it was around the weekend as well. Our time difference, luckily, is not as extreme as when you were in Australia. But hey, congratulations on Hercules. How's it feel to be up on stage in those flashy costumes up there?

[2:49] Stefan Lagulis: It feels like I'm home, you know, back at Disney. It feels cool. It feels really, really cool. It's a little surreal, which is probably how I spoke about Hamilton at the time. But Disney, Aladdin was my first professional show. And so to be back in that world, with a lot of the same team, was really cool and really special. And it's like having just a different experience, the same experience, but different, if that makes sense. Like, I had that Aladdin experience with Disney and the team and getting into those amazing costumes. And then this time, it was like, I got to do it from the ground up, which is really, really cool.

[3:31] Joe Rosko: Yeah, I've been lucky enough to work with clients that have been in Aladdin, Frozen, like the Disney musicals, obviously. And it's still musical theater. It's still Broadway or West End or Australia. But there's a nuance of being in a Disney show, isn't there?

[3:49] Stefan Lagulis: Yeah, yeah.

[3:52] Joe Rosko: What is the separation there? What's slightly different about it?

[3:59] Stefan Lagulis: Do you know, I feel like, and no one's ever said this, so I can't, I can't say it's a quote from someone. But it's very more is more, isn't it? Like your costumes, you know, are going to be incredible. You know that all of your changes are going to be a quick change. You know, it's just like this massive machine with a lot behind it and a lot of like, good people behind it, big people behind it. So you know, you're going to walk out there feeling amazing, you're going to be part of something special. And you know that it's something that like, the world kind of watches as well. Like, it's Disney, everyone knows Disney. Everyone knows Hercules. It's like, yeah, they just do it differently. There's a certain, I don't know, they paint with a very special, like specific paintbrush, I guess.

[4:48] Joe Rosko: Yeah, from the two productions they've done over in the US, there's a lot of hype behind it. So when they announced they'd be putting up more of like a full on production long run of Hercules on the West End, there's a lot of buzz going on over in the States. And, and yeah, we're, we're excited to see what happens. And I'm excited to see it for sure. The sneaker collection, the sneaker game that you get to wear pretty What do you think about those? It's pretty cool. I love Yeah, I was like, I wear that in public. I want to, I would definitely steal those after the show is over. Yeah, my costume. I was like, I literally, I feel like my like my thieves costume, especially before it was dyed. I was like, this is just literally what everyone wears in Greece.

I'm like, what is happening? But the shoes we have like a pair of like my feed shoes are custom and then we have custom tap shoes, which that is very Disney. What else and then we have our God boots, which I'm not even kidding when I was like, I must have been like 13 or 14. I had a pair of like metallic silver boots very similar to the shoes I'm wearing now, which is so funny. Yeah, but the sneaker game is good. And we have like, Nike's. Yeah, Air Force that they called Air Force, it makes it. It's a clever choice. Due to Nike being a Greek. I don't know if it's a Greek God, but he's in mythology. What he's the god of speed or something like that. Or?

[6:23] Stefan Lagulis: Yeah, yeah.

[6:29] Joe Rosko: And you're Greek as well. So like, is there any? I don't know. Did you? Is there any more of a connection there? Or what? Kind of?

[6:36] Stefan Lagulis: I mean, the connections more just like, my brothers and I loved this show as kids. And we had like these Hercules, I guess action figures that were huge. And they had like this like silicon skin. And we left it outside and I was in Australia. So it's quite warm. And I remember us like we melted his skin off and we were devastated. And we had so many Hercules toys and like little action figures. My cousins had the Meg doll, which obviously I would play with every time I was over. There's a connection there. It's more like a like nostalgic, like family kind of thing. Last year, it was like the first time I took my dad back to Greece, since he left. So that was cool to go. And at that point, I hadn't had Hercules hadn't even been in the auditions.

But the whole time I was there, I was like, I have to be in the show. How am I not in the show? You know, like one of the scenes is set at the Agora. And we went to the Agora in Greece last year. And like we were joking on stage of the day. I was like, girl, the Agora does not look like this now. But it is kind of cool. It is kind of cool that I know it's from there. Certain things and Casey's also Greek. So there's certain moments I'm like, Oh, this is actually it's really special. And yeah, yeah.

[8:48] Joe Rosko: Okay, so speaking of you took your dad to Greece for the first time in a while, him residing in Australia still I'm assuming Yeah. How How have you as an Australian? How did you make this jump from performing in Australia to getting to be in these UK shows? Would you did you sign with a an agent that represents people in both? They're like, how How did you go about doing this? Because I'm, I feel like there's so many people out there that have this aspiration to do it as well.

[9:11] Stefan Lagulis: Um, well, I I just kind of hustled and made people see me.

[9:33] Joe Rosko: I knew you're gonna say that. I knew just by like, you didn't have an instant answer. I'm like, he's gonna be like, I just get shit done. Like I just go after it. I just do it. Thanks.

[9:45] Stefan Lagulis: Yeah. Um, well, I was on Moulin Rouge. So after Hamilton, I went on to Moulin Rouge in Australia. And I had met Todrick Hall a few years ago, because he came to see Hamilton, and then came backstage. And then we hung out and I had heard these rumors about burlesque. And honestly, I was a bit like, Oh, yeah, sure. It's happening. It's happening. Like we've been wanting the show to come since the movie came out. And then I started seeing, you know, the power of social media. It's like changed so much. So everything's so instant, that I heard I saw that there were these like open call auditions for burlesque. And I was like, I'm gonna be in that. And I went on to I think I just went on to like the submissions form.

And I emailed casting. I don't think I heard anything back. And then a few weeks have passed, I heard that like, invited auditions started to happen. So I was like, Hello, this is me, this is I. I'd love to audition. I also have West Side Story coming up out on Sydney Harbour. So I was like, I'd love to send some tapes. Alternatively, I could come over in my two week break and audition for you if that's an option. Thank you. Thank you. We'll let you know we'll get back to you. We'll get back to you. Didn't hear anything. So I just kept chasing. Then I think I went on to social media and I found at the time, the director of the show, I found, I think I dm'd maybe casting and I dm'd a producer on the show.

I don't even know how I found all these people. And I was just like, Hey, I'm Stefan, this is what I've done. I really, really want to audition for the show. Can you put me in contact? I'd love to send some tapes. Some people gave me emails, some people like just contact casting. I think the director at the time maybe gave me Harry's email, which was like the head of casting. Um, and you know, they're like, I, I, all I was hearing back was like, we'll let you know. And so then at that point I kind of was like, I need to be in this fucking show. Like I need to do this. And, um, I sent a text being like, I need a contact. I need, I need, um, someone's number who's going to respond to me because no one's really responding.

And, uh, Todrick was like, are you really serious? You want to be in the show? And I was like, I need to audition for this show. If I get cut, I don't care. I need to audition. And Steve Anton, um, my Instagram.

[11:16] Stefan Lagoulis: My some photos and videos of me ended up in his hands and he said, "Love his look. He's amazing. If he is not in London, he can send a tape," and I said, "That's all I needed." It's come to my attention that Steve Anson has seen, he said I can send a tape, and then it was all just like from there it really hit the ground. And I think casting were probably like, because also it's so big here in Australia, casting will respond. It's smaller here, there's a million people, and so I think at that point casting was like, "Oh, this kid really wants a shot." Yeah, and they're like, "Do you have a tape?" I said, "Sure, when do you need it by?" In 48 hours? I had no tapes. So I put together all my Instagram dance videos, I just chopped them up, put them together, and I put down like a vocal track.

I think it was the same song I just for Hamilton with. They said, "Great, thank you. Can you put down this material for Jackson?" Sure, when do you need it? In 48 hours? Great, sent it. Did it again. Then like, "Can you also put down material for Sean?" Great, when do you need it for? I was great, I'll send it. Did it. And at this time we were doing like nine show weeks of Moulin Rouge, and I was like, I was hiding in like the costume trunks like this, trying to read it 'cause I didn't want anyone to know 'cause I was like, it's not a thing yet. I just want to like focus and like keep it on the DL. And Samantha, who actually currently knew me on Broadway, between like scenes we'd gone to a dressing room and she'd run it with me, and then before the show she'd come in early and tape with me.

And then it wasn't, and they're like, I sent all those tapes and then they're like, "Great, they loved it." I guess, which is really nice, and they were like, "We'll get back to you." And it wasn't until that point that I then messaged my Aussie agent and I was like, "Hey, I think I'm on hold for Burlesque." She was like, "What?" I was like, "Yes, I mean sending some tapes." Yeah, so that's kind of how it all happened.

[13:23] Stefan Lagoulis: Wow, and then honestly like there was a lot of like, it was a bit of a logistical nightmare because rehearsals were brought forward. I was on West Side Story. I couldn't leave that early. It was such a short run. And you know, I was being told like, "Well, you can't do the job like Burlesque, what you hear at this date. They want you here this day and like during this time." I was just like, "No one's gonna care about your career more than you." And I really, really feel that. My agent's amazing, she's gonna have my back, but like, it's my career. So I want to, I have to make it happen. And she's like, "I don't know what we can do. Like you can't get in or out of any of them." I said, "Great.

What we're gonna say is I can join, I can finish West Side because I'm gonna like see out my contractual obligations." I was like, "But whilst doing that I can come home and because of the time difference I can jump on Zoom and I can learn the music on Zoom." And I was like, "Tell them that. Tell them this." Like, and I'm very big on like if something doesn't work, like come with the solution, you know, especially if it's an opportunity like this because, yeah, you know, there was one day I was like, "This might change my life." And you know, someone turned around like, "Well, you'll never know," and I like, I didn't sit right with me. And so I was like, "No, I have the solution. I'll run home."

And I would run home, I'd have half an hour to run home, I'd get on Zoom. Yeah, and I'd be like, "Burlesque, Burlesque, it's 3 a.m. Burlesque." And so yeah, then West Side Story, I left one show early, I got on a flight. I then landed on like the Monday in the UK.

[15:06] Joe Rosko: What's the, how long's the flight from Australia?

[15:09] Stefan Lagoulis: I got the quickest one I could get and I think it was like 22 hours. Yeah, and then I got off the flight, dumped my luggage, got a SIM card for my phone, which one of my friends picked up me, which is really nice. And then I technically didn't start rehearsal till the Tuesday, but I was like, "Well, I'm here." I was like, "I'm a week late." So I went straight from, yeah, I went from wherever I was done my stuff, went straight to rehearsal and also I thought it was vocal, so I was wearing like a vocal call outfit and they're like, "We've changed our mind. We're gonna start blocking." And so I'm like standing there, "Hi everyone, hi, hi, hi," my eyes like this, I'm so tired. I was like, and then I go, "Great, Steph, I'm just on the floor." I was like, "What? Oh, shit, okay." So I literally walked off the plane into rehearsal and that's how I got here.

[16:11] Joe Rosko: Let's go. I'm, yeah, everyone listening, they're not watching this. I've just been cheesing the entire time, smiling ear to ear with my cheeks hurting over here. Okay, inspiring. I, anyone, the whole like bring the solutions to the table, like yes, yes, yes times a million and just get that shit done, whatever you got to do. Like write it into the history books on your own. I love that. He's saying no, at least you've tried and that was my thing for all of this stuff even with Hercules. It was like another situation. I, I don't have an agent here and then one day I just missed my agent being like, "Can we try and get me in? I know there's one more final." Sure. Yeah, let's try. And then the next day they're like, "Can you put down a tape?" Okay, sure. So it's like just go for it. If they say no, doesn't change anything. If they say yes, change your life.

[17:09] Stefan Lagoulis: Yeah, I love, I gotta write down that timestamp, that was too good there. And then how about the hiring process with you being from Australia and the production in the UK? Was that an issue at all or were they just very seamless of like, "Yeah, we'll get your work visa or whatever you need"?

[17:24] Stefan Lagoulis: No, very different. Very, very different. When that offer came through that were like, "We want to offer you," and they were like, "What? The only issue is you need to be a local artist." And so then I said, "Hey, give me a week. I can get the visa in a week." So then I, you know, it was a bit of a risk, but I felt like a risk worth taking. And Australians can get, I think it's up into a 35, like a working visa to the UK and British citizens can also do the same to Australia. And so I did it. I paid a bit extra, which is why we save our money when we're working for the rainy days. And I paid to rush it. And yeah, I like, I had to go to the UK Embassy, take all the paperwork, whatever you needed.

And then I think I got my visa like within a week, within a week. And I was being like, "I'll have it in a week. I'll have it in a week. I'll have it." My agent's like, "Are you sure?" I'm like, "I'll have it." And so I had it, yeah, I'm currently on that same visa, which is a three-year visa here.

[18:43] Joe Rosko: Amazing. Congratulations on just making all that happen. That's very remarkable. It's remarkable. Now that you're in Hercules and not Burlesque that brought you over in the first place, what was that transition like from, well, first off, like we talked about beforehand, Burlesque was never like a done deal as far as like a transfer goes. So when that was all up in the air and the Hercules opportunity to even I guess audition for it or try to seal your fate on getting into another show, no pun intended, seal your fate, but what was that? That had to have been another like moment of uncertainty. Like what was that about that transition time and how you end up auditioning and booking Hercules?

[19:38] Stefan Lagoulis: Yeah, it was very strange because we put everybody in every single department on Burlesque, put everything into it. I think everyone really wanted it to transfer, which like right now I still feel part of the show and happy that it has like just gone to previews on the West End because I'm like that was the goal, you know? So it was weird because I really wanted it to happen. I also had double coverage on the show, so I was like, "This is a great show for me." But I also was like, "Nothing's guaranteed," which is like what honestly was something I learned like back on, yeah, to be honest, like on Hamilton. And then when the international tour was happening, people getting offers, certain offers going out, I was like, "Nothing's guaranteed in this industry."

And like it's not personal, but like logistics are just logistics, aren't they? And so when I went in for Hercules, it was kind of like, "I'm just gonna do it because it's a dream show and a safety net. Like I have nothing lined up right now. I may as well see." That process was quite quick as well, like they turned around though, like, "Can you put down this material?" I did it, great. "Can you put down some more?" Yes, and the dance video which I filmed at the gym. At the gym. Yeah, I'm looking for and people would mean like burpees next to me and I'm doing zero to hero. What the hell? Anyway, then we actually, so even all that was chaos because I think we had two shows on a Thursday. Then I had to get on a train for finals like, "Can you come down for finals?" So I got on a train from Manchester with my best friend, who is also in the show. He did Burlesque with me as well.

[22:33] Stefan Lagoulis: I just kind of sat there and some of my closest people here and people I look up to were like, "You're crazy, you have to take it! This is one of your dream shows." I've spoken about Hercules being a dream show of mine in other interviews and stuff I've done, which is so crazy; the manifestation is wild. It was sad though because I was like, "Well, I feel like I'm not ready to leave Burlesque," but then in another way I was like, "Well, I can't turn down this incredible offer on a what if?" You know, what if I sign for Hercules and then Burlesque comes and be like, "We have it's going ahead," which ultimately it did happen. So, you know, I don't know, I'm big on like what's meant for you won't pass you, and yeah, I knew Hercules was meant to be mine; I knew I was meant to do it.

So, yeah, I just kind of trusted my gut, and sometimes the best decisions aren't the easiest to make. So, I closed Burlesque knowing that I was gonna do Herc, and it was just kind of crazy. At that time too, I went in for the Hercules audition on the Friday, then had to go back, do the show, did a double show on the Saturday, and on the Sunday, we may have had a show as well. We did, got on a train that night because then I was in for finals for Hamilton West End here. Oh shit, wow! And I was in the Hamilton call being like, "I'm gonna be in Hercules! I'm gonna be in Hercules!" I'm like, "Whoa, what am I doing here?" It was happening so fast, you know?

[23:22] Joe Rosko: Wow, yeah, what a year you've had!

[23:25] Stefan Lagoulis: Amazing! Yeah, I've aged so much! So, yeah, that was it. And you know, that's still because my friends from Burlesque, we like sit there after the show till 2 a.m. being like, "Guys, what if you're on the West End next year? Imagine that! Imagine all of us doing it!" And like we talk now because we still have the same group chat, me and my close Burlesque fam. Even our big Burlesque chat was going off yesterday like, "Good luck, good luck!" And I'm like, "Guys, it's happened! What we wanted is still happening! We're all in the West End together and we're like a block away from each other!" Like, it's really cool.

[24:04] Joe Rosko: Yeah, amazing! Congrats! As far as your transitioning goes with Australia to the UK, is there any homesickness involved? Do you love London? What's life in London as a theater professional versus Australia as a theater professional?

[24:19] Stefan Lagoulis: It's very different here. It took me a second to get used to. I think it wasn't easy to get used to it because I kept leaving for the tryout. We went to Manchester, we came back into Glasgow, came back to Manchester. So when I was here, I felt like I found my feet, so I'm like, "I'm used to it now, I like it now." I love the sense of community. I love you walk around and it's like, you know, you go for a drink after work or something and it's everyone from all the shows. Because in Australia, you have to tour, and so everyone's everywhere. And that's why sometimes in Australia, like the best time is finals for an audition because everyone's flown for the final, so you get to see your friends for a day.

Whereas here, it's really cool that everyone's just around. If we're being completely honest, like pay is very different here. You know, in Australia, you have a personal margin that you negotiate on the West End. I don't know, I always get told off about that. You don't really get that when you're in the ensemble unless you have extra responsibilities. So all of that stuff was like new and interesting to learn about.

[25:22] Joe Rosko: How about how early London closes at night?

[25:25] Stefan Lagoulis: Yeah, it's really weird, isn't it? Like sometimes, how does Melbourne, Australia stay up way later than you guys? Or like, we'll finish the show, and I'm kind of like, "Well, where do we go and get some food?" Also, the biggest difference for me that I struggle with the most, and my friends are so bored of hearing me say it, but like the food here is so different to Australia. I'm like, "Help me! Help!"

[25:49] Joe Rosko: Right, right! Yeah, are you enjoying some baked beans at breakfast?

[25:53] Stefan Lagoulis: Absolutely not! But that's just me because there are a lot of Aussies that like that. Like my brother's like that; I don't like that.

[25:59] Joe Rosko: Okay, okay, okay!

[26:01] Stefan Lagoulis: But there are a lot of things I like. But yeah, and it's fun right now. I'm glad we opened in summer because I think it's like, you know, when you're tired and things like that, it's nice to be able to be in the sunshine on your break. But yeah, it's very different. Sometimes I think the industry here is like a bit more relaxed too. Like it's just a bit more work, whereas in Australia, the opportunity is so much smaller there that it can become your life. Because I don't know, I think we've said before, like if you miss out on a job there, you could be out of work for like a year or two. Over here, there's auditions every day or there's opportunities. So like that's what I love about here. I'm like, you can go to class and go to a show, or you can be doing a show but doing a workshop during the day, or they film a lot of movies here too.

Like half of the industry here was in the Wicked movie. My friend's like, "Oh yeah, I was in that." I was like, "What? One of the muses the other day, Melinda was like, 'Yeah, I'm in that.'" I was like, "No, you right? Oh my god, you what?" It's crazy! So it's cool; there's a lot more opportunity here.

[28:02] Joe Rosko: Right, right! Yeah. All right, well, last topic to jump into before we let you go. Thanks so much for your time is your consistent pursuit of your fitness and making that a priority in the gym. You're always like being super inspirational to us on the gram, showing us your sessions. How have you done that? How have you been consistent while not only rehearsing and being in the show but just the transition of getting over here from Australia? You still were working out in Australia; you just keep going. So how do you keep showing up? Because as a coach for theater professionals, the biggest thing I always get is, "My schedule's busy," or "Now I'm in a show and I can't do it," blah blah blah blah. Tell me, do me a favor and tell me how it's possible for you. Tell everyone listening how it's possible.

[29:02] Stefan Lagoulis: Well, anything is possible if you want it to be, first of all. But yeah, all throughout this process from rehearsal through tech, through media call days, the gym I'll always go to. When I travel, I'll still go. I think what I've realized is, and I think a good mindset for performers too, is that like the gym can be like the only consistent thing in your life when you do what we do, you know? And so it can be that; it can be the only thing that you're giving back to your body because sometimes what we do can feel like we're giving so much, and then it's like, "What are you doing for you?" And so I know that if I, even if I'm tired, and I'm so tired, I'm getting better at listening to my body.

You know, every workout doesn't have to be a huge heavy session. I think we spoke about this before, and I think I realized this when I started doing a program just on Hamilton. I was like, "Yeah, but I'm not lifting heavy; I'm not lifting." And I was like, "Oh, maybe that's the point of this workout today," or certain things like that. So I'm getting better, honestly, at listening to my body. But I think it just sets you up; it gives you time. You can go with your friend; I like to go alone a lot. But like some of the boys and I, we train at the same gym, so it is nice to be there with people. But it's good to get your mind right; it warms your body up, it gets you in your body, especially if you are tired.

If you're tired and you have tech at 12, how are you going to wake up if you're just like this, you know, walking around? The coffee's not going to do it; you have to move. And the shows I do are very physical. I'm tumbling in this show, and honestly, I'm 29; I'm doing a harder tumble pass than I did in Aladdin when I was 22. And now I feel so much stronger and safer because I know how to take care of my body. I'm stronger, I keep fit, I go to the gym, I know what I need to do to make sure I can do it, do the job. And it's just about longevity. If you want to do this for a long time, you have to take care of your body; you have to give back to yourself and just kind of make it like that hour in the day.

Also, I used to think I had to be there for like two hours, three hours. No, now I'm like I can go to solid like 45 minutes in or an hour, and I'll leave feeling good, and I can go to tech now or whatever. So it's doable, and you just have to change the mindset about it. If you're lucky enough to have access to a gym and able to afford a gym or able to move your body like that, do it.

[32:13] Joe Rosko: Amazing! Amazing! You have to train above your show so that when you are at your show eight times a week, it's not the hardest thing in your life. Because if it was, you'd be hanging on by a string. So you have to keep doing the hardest thing in your life so we have to make sure that our fitness is above the show, not just the show.

[32:32] Stefan Lagoulis: Yeah, I love it!

[32:33] Joe Rosko: Stefan, thank you so much! I'm sharing this episode with everyone because it was just one big piece of gold the entire time. So thank you so much for your time. Can't wait to see you in Hercules; congratulations!

[32:46] Stefan Lagoulis: Thank you, and I will see you soon, my friend!

[32:51] Joe Rosko: Yes, you will! Bye-bye!

[32:53] Joe Rosko: Okay, everyone, Stefan Lagoulis, currently in the ensemble of Hercules. Wow, like so many things making it happen, prioritizing fitness. What's for you is for you, just like that whole message for the past 33 minutes has just been, yeah, what I needed! Let me on fire! Now I'm gonna go and try to seize the day, as they say. All right, make sure to give Stefan a follow; I'm gonna put his Instagram in the description of this episode and also the episode when we first chatted back in 2021. All right, go see Hercules if you're in London; if you're not, book a flight and go see Hercules in London. I'm Joe Rosko, Built for the Stage. Actors are athletes; train like one. Later!