Markki Stroem breathes life—and redeeming love—into ‘treacherous’ character
Markki Stroem as Rolf —PHOTO COURTESY OF GMG PRODUCTIONS
It wasn’t just a case of an actor raring for a shot at a coveted role. In fact, playing telegram messenger Rolf Gruber in the international touring production of “The Sound of Music,” which had its Manila stopover at the Samsung Performing Arts Theatre last month, felt more personal for Markki Stroem.
“I fell in love with musical theater through ‘The Sound of Music,’” Markki explained to Inquirer Entertainment last week. “I have two aunts who are nuns, and they’re such big fans of this musical. I memorized all the songs as a kid—and that’s how I fell in love with Rolf and Liesl for the first time!
“I have always wanted to play Rolf and try to give this character other choices. Because while Rolf had very few redeeming qualities in the movie, he actually finds his redemption in the stage adaptation of the musical.”
Be that as it may, finding Rolf’s “redemption” entailed a lot of hard work for Markki. After all, it’s in the gray areas of Rolf’s contentious choices that could put some sense into the soul-crushing breakdown of a beautiful romance.
Consider this: Taken as a separate scene apart from the cautionary backstory behind “The Sound of Music,” it wouldn’t be hard to incorporate the swoon-worthy sequence shared by Rolf and Liesl Von Trapp singing “Sixteen Going on Seventeen” into any of the lighthearted, escapist fare we know so well these days.
But as with much of real life in general, love and its vagaries aren’t always about sugar and spice and everything nice.
In fact, moviegoers familiar with the Oscar-winning 1965 film version starring Julie Andrews and Christopher Plummer know only too well how Rolf would soon drift into fascism as a “hardened and treacherous” young man who succumbs to the intoxicating lure of the Anschluss, Austria’s annexation into Nazi Germany in 1938. He chooses his loyalty to the invading forces over his love for his doe-eyed young sweetheart.
Rare chance
Thankfully, the touring iteration of “The Sound of Music” has given Rolf his rare chance at redemption.
Asked how he channeled his character’s dark side as it interplayed with his dilemma of choosing between love and duty, Markki said, “OK, so here is the origin story I created for this character: Rolf is a representation of a young boy who has been conditioned by the Nazis.
“He isn’t very well-off, and delivers telegrams to make extra money. He has seen how badly his father treated his mother, and at his core, he does not want to hurt a woman like his mother was hurt.
“In this depiction, Rolf never says, ‘I’ll take care of you,’ and he gets cut abruptly. In fact, he doesn’t really know how to take care of anyone. He has survival instincts from having to watch all the Nazis hurt the women in the village.
“Rolf was indoctrinated into Nazism as the days progressed. He started to look at the world in a very different way. He got hurt. And he hurt people …
“But at his core, Rolf has good intentions, with a hardened exterior. Fortunately, in this version of ‘The Sound of Music,’ he ends up saving the Von Trapps. He chooses not to tell the Lieutenant that the Von Trapps were hiding in the Abbey. So, in this version, love wins.
“I believe in love, and I feel that love does, ironically, set one free. As Markki, I would always choose my work duties. But if it puts who I love in jeopardy, love carries more weight!”
Helmed by Tony winner Jack O’Brien, the show also benefits from a seasoned team composed of, among others, tour director Matt Lenz, associate director Anthony Daniel, choreographer James Grey, music director TC Kincer and producers Marc Routh and Simone Genatt.
The rest of our quick Q&A with Markki:
How did you get the role?
Early January this year, I got a call from my friend Sam Sewell of GMG Productions asking me if I wanted to audition for “The Sound of Music,” produced by Broadway International Group, Broadway Asia and GMG. It’s always been a huge dream of mine to work with an international cast, so I tried out for the role.
Initially, I sent in my audition reel, then after I had an interview with Eric Cornell, who manages the touring cast, and Mark Routh from Broadway Asia in late January. Then, I was sent the sides and music and was asked to send in my audition.
This was all sent over to New York to be decided. In mid-February, I got the fateful call that I got the part! I got the script a week later, did a week of work by myself, then jumped into the role in five days.
It was a surreal process, and I am so thankful to have had previous professional show experiences in my arsenal. A huge shoutout to my theater father, Bobby Garcia (of Atlantis), for preparing me for the work we had to do, in a short amount of time.
What’s your takeaway from working with this theater group?
Working with Broadway International Group, Broadway Asia and GMG Productions was such an excellent and humbling experience. I learned new industry standards from what I am used to here in the Philippines.
There’s a 30-minute call before the show, we have to do warm ups and makeup by ourselves to get ready for each show. Our show underwear and costumes get washed every day. Our microphones are sent to our dressing rooms, and we do not need to do daily mic checks.
“Swings” are so professional that they can step into any role with a 30-minute notice. It’s a well-oiled machine that does not waste anybody’s time and always takes care of the company. Everybody in the cast is so lovely, and I had such a blast working with everyone, from the cast to the crew and production team.
The five-day rehearsal process before everyone came in started with our production stage manager, Drew Cipollone, doing all the scenes with me and teaching me every blocking detail.
After that, the creatives came in … our [associate] director Anthony and choreographer James. They helped so much in my quest to breathe life into Rolf. Thereafter, I got to work with a Liesl understudy, the lovely Julia Salatti and, the day after, I finally got to meet Lauren O’Brien, who played Liesl phenomenally.
It is also fantastic to note that before every show, there is a consent check. If we proceed with the kiss or contingency B. It could be health-related or because of religious beliefs, but we would always have to give our consent to kiss before every show. I find this to be such a breath of fresh air!
I have loved every second working with this musical. I would work with them again in a heartbeat. As they say, “Follow every rainbow, till you find your dream!” INQ
