Ben Platt nails it in The Politician
In The Politician, Ben Platt unleashes his inner egomaniac
After two years as the poster child for teen angst in Dear Evan Hansen, Ben Platt was over the accolades and ready to move on.
He’d sobbed-sung his way into aTony, Grammy and Emmy, and become the youngest winner of the Drama League’ s Distinguished Performance Award, bestowed once in a career. He’d ranked among the Time100 list of the world’s most influential people when he was only 23.
But gradually, disconcertingly, people started to assume thatPlattwas Evan, replete with the character’s social anxiety and nervous tics.
Ryan Murphy, however, wasn’t one of them. After watching Platt onstage, Murphy was convinced that he’d found the star of his new Netflix series, The Politician, which is now streaming.
“You just played someone that’s very anxious and nervous and mild-mannered,” Platt recalled Murphy pitching him. “And I want you toturn that on its head and play someone who’s more egomaniacal and confident and self-serving, and hasa bit more sex tohim.”
“Obviously, being the very smart person that he was, he was speaking exactly the language of what I was hoping to move into,” Platt added. “It was a no-brainer.”
As Payton Hobart, Platt is a Gucci-clad, ultra privileged
Santa Barbara high schooler runningfor student body president in laser-focused pursuit of Harvard and, eventually, the White
House. It’s a darkly comic skewering of the 1% with rabid baby politicos, badly behaved parentalfigures (among them, Gwyneth Paltrow and Jessica Lange) and even a wink at the college cheating scandal.
Growing up in Los Angeles, Platt — one of fiveshowtune-obsessed siblings whose father, producer Marc Platt, cranked up cast albums in the car — admitsthat his own ambitions were honed young. A theatrenerd at theHarvard-Westlake School alongside the scions of other entertainment families, he added the roles of Benji Applebaum in
Pitch Perfect and Elder Cunningham in the Chicago production of
The Book Of Mormon (latermoving to Broadway) to his resume not long after graduation.
“The level of ambition I certainly could relate to,” Platt said of his own high school experience. “We took ourselves very serireally ously in the arts and wanted to make something of ourselves, and a lot of us are now.”
His latest project, Richard Link later’s movie adaptation of the Stephen Sondheim musical Merrily We Roll Along, to be filmed in real time across nearly 20 years, unites him with his childhood bestie Beanie Feldstein. And on Sept 29 at Radio City Music Hall (and in a Netflix concert speperform ci alto follow ), he’ ll tunes from Sing To Me Instead, his debut album released in March, viewed by some fans as a public coming out, even though at 12 Platt told his parents he was gay.
At aTribeca photo studio recently, Platt, who turns 26 this month, riffed softly to Maggie Rogers tunes in the aching falmoved setto that Evan Hansen audiences to tears, before heading to a rooftop garden to talk about the convergence of art and life. Let’s begin with your desire to moveon from Dear Evan Hansen. I think it’s like 99 blessings and one curse, that experience. Because it opened every possible door, and it was my absolute to-the-T dream come true, as far as all I ever wanted to do was originate a role in a musical, and the Tonys of it all, and the fact that it was (songwriters Benj Pasek and Justin Paul). It kept topping itself.
But the one underhanded thing when something goes so well and fits like a glove is that people have a hard time divorcing you from that character. And I started to feel a little bit like I was having to presamplify ent as himand my nervousness and my anxiety and my sheepishness. I wanted to remindmyself that I can transdifferent form into a lot of kinds of people and notjust into that type of kid. And so I felt like something markedly different, that still used the right tools, would be the right next move.
So what should we expect from Payton and The Politician?
Payton is a young kid who’s hell-bent on being president of the United States, and it’s one of the most natural things to him to strive for that power and that significance. And I think he has a lot of instincts to do good. But he’s also incredibly self-serving and somewhat egomaniacal, and his main goal is to make something of himself for not necessarily the right reasons. The show is sort of a microcosm of American politics, and it certainly deals with the buzzwords of elections and debates and gun control and sexual and gender fluidity — headline things. But in an overarching way, it’s also about a lot more human conversations like authenticity and what’s it like to curate yourself. How do you share who you are? And how do you feel for other people?
I’m very excited to grow up with the character and start playing my own age
What was it like working with Gwyneth Paltrow and Jessica Lange?
Very overwhelming at first, because they were both larger than life people in my mind’s eye before I met them. But wonderful in totally different ways. Gwyneth is super quietly elegant and really maternal and warm, and made me feel very intimately familiar right away. And Jessica — you expect this brilliant dramatic actress, which she is, but also she’s so funny. To work with her and try to keep a straight face was not the challenge I thought I’d be having. How is it being stuck in on-screen teendom in your mid-20s? Well, it’s only just this season that that is the case, so I’m very excited to grow up with the character and start playing my own age. You’ve committed the next 20 years to
Merrily We Roll Along alongside your best friend, Beanie. Was that a tough decision?
I was like, ‘Are you punking me?.’ Sondheim is my idol and any Sondheim musical is like a dream. To be in an immortal version of that with my best friend since I was 14, in a show we both love and we’ve sung in the car together, it feels very sort of like the universe intervened.
How daunting is that prospect, production-wise?
It’s crazy. It’s technically 18 years in shooting, because it’s nine sequences and they’re trying to stick as close to the reality of the timeline as possible. I mean, it makes you take your health seriously. Richard Linklater will be, like, pushing 80 when we finish.
You’ve already shot the first segment. What was that like?
Just dreamy and wonderful and heady. It was like doing a little theatre camp in Texas and spending a week living in that one sequence and with that great song, Our Time — taking pictures and thinking how we’re going to look back on this for the next two decades and keep checking in with ourselves. It made everybody feel very lofty and misty and existential.
Is Sondheim involved?
He gave his blessing; he loves the idea. I think he recognises, like all of us, that the concept and the piece are a really perfect marriage. I’m told we’re going to have a meal with him at some point, which would be a wonderful thing. It’s definitely on my bucket list to sit across from him and tell him that he’s made my life infinitely better by existing and writing, so I hope that happens.