Interview: Michal Kolaczkowski of MOULIN ROUGE! THE MUSICAL

I had the opportunity to catch up with Michal Kolaczkowski from the North American tour of Moulin Rouge! The Musical. Kolaczkowski serves as a vacation swing, flying in from New York to cover multiple ensemble tracks when company members are on vacation or out with injury. Currently on an extended run with the tour through April 6, he’ll also be joining the company for its Florida stops.

Here's our conversation:

What does a typical day on tour look like for you?

Michal: It really depends on the schedule. We don’t rehearse every day, but we rehearse often with the amount of turnover between Broadway and the tour. There are always new company members joining, people leaving, people hopping between companies. It’s actually a great thing because everyone wants to be in this show. It’s a dream job.

My first audition for Moulin Rouge! was in 2019, and it took years to finally book it. There’s so much competition and it’s also one of the most physically demanding dance shows I’ve ever done. People get tired. Injuries happen. So rehearsals are essential to keep the show clean and safe.

On a one-show day, I’ll usually go to the gym in the morning, head to rehearsal around noon, grab lunch, then get to the theatre for the show. Afterward, if we have the energy, maybe we’ll watch Drag Race or The Traitors together. It’s a delicate balance of exploring the city, trying great restaurants, but also protecting your body and voice so you can do it all again the next night.

I was told I had to ask about the iconic mustache. Is that your thing?

Michal: *Laughs* My dad has had a mustache my entire life, but I never thought I’d grow one. I tried it in 2018, and people were like, “Wow, you have a great mustache.” It stuck, especially during the pandemic when nothing was happening. Now it’s kind of part of me.

For this show, it works. The vibe is edgy and specific. But honestly, the bigger lesson is just being yourself. Especially in auditions, you won’t book everything, but the things that are right for you will find you. The mustache might make me look a little edgier, but really it’s about authenticity.

How many tracks do you cover?

Michal: I cover all of the male-presenting “flat” ensemble tracks, nine in total. The ensemble is split into “heels” and “flats,” though there’s nuance and crossover in gender presentation, which is very cool.

There are typically three flat swings and three heel swings traveling full-time. As a vacation swing, my job is a bit different. I usually fly into a city knowing which track I’ll be covering, which relieves some pressure. A full-time swing might go on mid-show if someone rolls an ankle. As a vacation swing, I usually have prep time, reviewing on the flight, running material beforehand.

What’s the fastest you’ve ever had to jump into a track?

Michal: Mid-show. *Laughs*

I consider myself a career swing, that’s my niche. During an out-of-town tryout for Galileo, which is now heading to Broadway, an actor called out mid-performance. The first cover was already on for another track, and I was the dance captain. So I went on for a role I hadn’t formally learned.

That’s when teamwork saves you. The backstage crew is incredible…”You enter here,” “Your quick change is this way.” You just go out, trust your preparation, and make it work.

How do you stay ready to cover so many tracks?

Michal: Work ethic. That’s it.

When I was 20 in New York, someone told me, “If you want a sustainable career, become a Broadway swing.” I didn’t even fully understand what that meant, but I knew I wanted to work.

Being a swing isn’t about being a prodigy. It’s about preparation. If I’m covering eight tracks and we perform eight shows a week, then every night I’m not onstage in a track, I review one during the show. That way, every single week, I’ve touched all of them.

If you’ve studied for the exam, you walk in calm. If you haven’t, you’re anxious. Same principle.

Is there a track that feels most natural to you?

Michal: Flat 2, the first one I learned. It’s one of the most involved tracks in the show, and you’re in almost every number. There are great features, strong center formations, it’s just a really exciting track to perform.

You’ve done Broadway and tour. How do they compare?

Michal: The talent is absolutely the same. The difference is circumstance.

On Broadway, you go home to your apartment, your partner, your dog, your favorite coffee shop. On tour, you’re in a new city every week or two. You’re figuring out groceries, microwaves, staying healthy, all while possibly still paying rent back home.

And every theater is different…backstage layouts, dressing rooms, even stage dimensions. Meanwhile, the crew is transporting and rebuilding this massive, visually stunning set every week. They really carry the brunt of how challenging touring can be.

Are you still auditioning while on tour?

Michal: It depends. As a vacation swing, I have flexibility when I’m not needed. But this is what’s called a production contract, the highest level in Equity touring. It offers some of the best protections and pay in the industry.

So for many people, once they land this contract, they stop auditioning. It’s rare, it’s secure, and it’s one of the best gigs you can have.

Do audiences differ from city to city?

Michal: Honestly, not much. The show’s tagline, truth, beauty, freedom, love, is universal. Whether it’s Broadway or a smaller market, people respond the same way when that opening music hits.

It can be flashy and sexy and jarring for some, but I think it pulls a specific audience and those people live everywhere. Sometimes in smaller cities, it feels like audience members are finding community in that room together.

This show is known for its athleticism and vocal demands. What makes it so unique?

Michal: The choreography, created by Sonya Tayeh, is unlike anything else on Broadway right now. It’s athletic, grounded, explosive. The dancers are some of the strongest in the business.

Vocally, it’s just as demanding. You’re singing music made famous by artists like Britney Spears, Katy Perry, Adele, pop powerhouses, eight times a week. Those artists might perform a few times weekly on tour. Our principals do it eight times. At the top of their range. For two and a half hours.

It’s humbling to be part of that legacy.

What makes you passionate about performing?

Michal: Good question! For me, art has always been political. Theatre, I feel, for me, is a safe space to feel something, to learn something, to gain compassion.

At the center of Moulin Rouge! is this idea that power and money can try to control art, but you can’t stifle truth, beauty, freedom, and love. That message comes through no matter what.

I just hope audiences leave a little lighter. A little more open. A little more compassionate. If we can shift someone even slightly, that’s everything.

As Kolaczkowski prepares to bring his versatility…and yes, the mustache…to Florida audiences, it’s clear that what makes Moulin Rouge! The Musical so electrifying isn’t just the spectacle. It’s the stamina, the artistry, and the preparation happening behind the scenes. Jacksonville audiences will have the chance to experience that athleticism and heart when the national tour stops at the Jacksonville Center for the Performing Arts March 10–15. Expect truth, beauty, freedom, love, and performers who leave every ounce of themselves on that stage each night!

For information and tickets CLICK HERE