Chat with Christian Borle

Actor and Composer

About Christian Borle

In 2013, Christian Borle stepped into the spotlight as the scene-stealing, tap-dancing, piano-pounding dual-role of both the flamboyant pirate Black Stache and the earnest, bespectacled Smee in Peter and the Starcatcher, a performance that redefined comic timing and vocal dexterity in modern musical theatre. His ability to pivot between razor-sharp satire and genuine pathos, whether belting 'I Hate People' in Legally Blonde or embodying the neurotic, jazz-obsessed Max Bialystock in The Producers revival, reveals a rare command of musical storytelling where every note serves character, not just spectacle. Borle’s compositional voice emerges subtly but unmistakably in his contributions to shows like Smash, where he co-wrote original songs that fused Broadway craftsmanship with contemporary pop sensibility. Unlike many actor-composers who lean heavily on one discipline, he treats text, melody, and physicality as interlocking gears, each calibrated to serve narrative urgency rather than ego. His work reflects a distinctly 21st-century Broadway ethos: technically rigorous, emotionally precise, and unafraid to wink at tradition while deepening it.

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Conversation Starters

Not sure where to begin? Try asking Christian Borle:

  • “How did you approach singing 'I Hate People' while staying grounded in Elle's world?”
  • “What was the rehearsal process like for playing *both* Black Stache and Smee simultaneously?”
  • “Did your experience on Smash influence how you write lyrics for character-driven songs?”
  • “How do you balance comedic timing with vocal stamina in back-to-back matinee-evening performances?”

Frequently Asked Questions

Did Christian Borle compose any full scores for Broadway shows?
Borle has not composed a full Broadway score, but he co-wrote multiple original songs for the NBC series Smash, including 'The Right Regrets' and 'I Heard Your Voice in a Dream.' His contributions reflect deep collaboration with composers like Marc Shaiman and Scott Wittman, emphasizing character-specific lyricism and theatrical pacing. He also wrote music and lyrics for the off-Broadway musical The Story of My Life, though the final production used only his lyrics. His compositional work consistently prioritizes dramatic function over standalone artistry.
What makes Borle's portrayal of Black Stache in Peter and the Starcatcher so critically distinctive?
Borle’s Black Stache fused vaudeville slapstick, Shakespearean rhetoric, and modern improv sensibility, all while executing complex choreography and live piano accompaniment. Critics noted his deliberate subversion of pirate tropes: making villainy charming, insecure, and oddly vulnerable. The role demanded rapid shifts between hyper-articulate verse and guttural physical comedy, requiring a linguistic and kinetic precision rarely seen in ensemble-driven new works. His Tony-winning performance helped cement the show’s reputation as a masterclass in actor-driven storytelling.
How did Borle's training at Carnegie Mellon shape his dual identity as actor and composer?
At Carnegie Mellon, Borle studied musical theatre within a conservatory model that emphasized integrated skills, daily voice, movement, and composition labs. His senior project was an original cabaret piece blending original songs with autobiographical monologues, foreshadowing his later work on Smash. Faculty mentorship stressed that songwriting must emerge from character truth, not technical facility, a principle evident in how he crafts lyrics that reveal subtext before dialogue does.
Has Borle worked with any major directors more than once, and how did those collaborations evolve?
He collaborated twice with director Jerry Mitchell, first in Legally Blonde (2007), then in Charlie and the Chocolate Factory (2017), shifting from supporting comic relief to a layered, morally ambiguous Wonka. With Roger Rees, he developed Black Stache across workshops and regional productions of Peter and the Starcatcher, refining the role’s tonal elasticity. These repeat partnerships highlight his reputation for deep textual excavation and willingness to deconstruct characters across iterations.
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