Cheyenne Jackson has range. The queer actor has sung and danced in Broadway musicals including “Xanadu,” “All Shook Up,” and “Into The Woods.”

He’s a gifted comedic actor as he demonstrated on stage in “Oh, Mary!,” as well as on TV in “30 Rock.” Jackson is also well-suited for dramatic roles as anyone who saw him in “United 93” or “American Horror Story” can attest. Still, there are people who recognize his breathtakingly handsome visage, but struggle to place where it is they know him from exactly. Hence, the title of his new stage show: “That Guy From That Thing.” Cheyenne generously made time for an interview in advance of his upcoming live performance tour. 

Cheyenne Jackson performs at Lauderhill Performing Arts Center in Lauderhill on Nov. 5 and at Glazer Hall in Palm Beach on Nov. 6.

Cheyenne, the first time I interviewed you was in 2016 when your “Renaissance” album was released. Some of the songs on the album were drawn from your one-man show “Music of the Mad Men Era.” This time around we’re talking about your new one-man show “That Guy from That Thing.” What is most appealing to you about doing a one-man show?

There’s something terrifying and liberating about it at the same time. It’s just me up there: no character to hide behind and no scene partner to lean on. It really becomes a conversation with the audience. And after doing this for as long as I have, I love the opportunity to pull back the curtain a little bit and let people see me. Hair plugs and all [laughs]! The title actually came from something that happens to me all the time. I’ll be in an airport or a restaurant, and someone will look at me and say, “Aren’t you that guy from that thing?” And I’ll say, “Yes!” They usually can’t remember the show or movie, but they know they know me from somewhere.  I’ve done 40+ television shows, 20 movies and ten Broadway shows, so I guess I’ve become professionally recognizable but not quite identifiable which is actually perfect for me. I thought there was something really funny about that, and also kind of touching. This show is my chance to say, “Yes, I am that guy from that thing ... and here’s a little more about who that guy actually is.”

What was involved in the process of the song selection for “That Guy From That Thing”?

Instinct. I never know where I’ll hear something or be inspired. I wanted songs that connected to different chapters of my life, but I also wanted to surprise people, and surprise myself. I’m doing “Simply the Best,” because when you think of me, of course you think of Tina Turner [laughs]. Also Chappell Roan’s “Good Luck, Babe!” and a new version of “Get Here” that I’ve been loving working on. There’s also some classic Broadway material that we’ve turned on its ear,  and a few musical surprises that I’m going to keep as surprises.

Will you be including any original material, in the way you did with “Red Wine Is Good For My Heart” on the “Renaissance” album or “Ok” from your “Love, Dad” EP?

I love writing, and those songs were both very personal for me. There’s something wonderful about getting to say something that could only come out of your own brain and your own life. This show is more about telling my story through songs that already exist, but I think original material will always find its way into whatever I’m doing. I just don’t want to force it. If there’s something I need to say, I want to say it.

Are there plans for you to go into the studio to record an album of the songs from “That Guy From That Thing”?

I haven’t thought about it. But, sure, I’m open to it.  Know any producers who wanna fork over the dough to get it cracking [laughs]?

What was it like to return to Broadway to play Mary’s teacher in Cole Escola’s “Oh, Mary!”?

Best time I’ve ever had on Broadway! And this coming from someone who did “Xanadu” [laughs].  A complete and total joy. And with “Oh, Mary!” you just have to commit. There’s no room for, “Well, maybe this is too much.” The answer is – no, go further, deeper, grosser, messier, truer. I love Sam Pinkleton (the director). A true artist!

Please say something about the experience of singing with your 9-year-oid son Ethan in Provincetown in August 2026.

That was one of those moments where I really had to stop and take it in. Singing with your child is one thing. Doing it in Provincetown, in front of an audience, and seeing him up there being completely himself was pretty extraordinary. Ethan is nine, so I’m not interested in turning him into some kind of performer. I just want him to have fun and feel safe and enjoy the experience. But he has this natural confidence and musicality that I love watching. I was probably more nervous than he was. It was incredibly special.

Earlier in September, the 25th anniversary of tragic events of 9/11 were observed. You portrayed Mark Bingham in the Paul Greenglass movie “United 93.” Please share your thoughts about taking on that role and your memories of 9/11.

“United 93” was one of the most profound experiences of my career. Playing Mark Bingham was an enormous responsibility because he was a real person, and his family and friends were still very much living with that loss. I wanted to approach him as a human being, not as a symbol. I remember 9/11 very vividly. I think most people of my generation can tell you exactly where they were and what they were doing when they heard. Making “United 93” was difficult because there was no traditional movie comfort to it. We knew how it ended. The challenge was to honor the people involved without sensationalizing what happened. What stays with me most is the humanity of it; the individual people, their relationships, their fear and their courage. Playing Mark gave me a connection to someone I never had the privilege of knowing, and I’ve always been grateful for that.

The music and theater worlds recently suffered some immeasurable losses with the passing of Dolly Parton, Tim Curry, and Duncan Sheik. Could you see working songs by one or all three of these artists into your repertoire?

Absolutely. And they’re three very different artists, which makes that question especially interesting. Dolly is an institution. Her songwriting is so deceptively simple and emotionally devastating. Tim Curry has been such an important part of the theatrical DNA of so many of us. His voice, his presence, his fearlessness. I mean, come on. My personal fave was his Rooster in “Annie.” I still do his slow “eeeeeeeeeeEEEEEESSSYYYYY Street!” The way he slid into that phrase; genius! And Duncan’s work has been hugely influential in musical theater and songwriting. I’ve been listening to “Spring Awakening” on repeat since his passing.  So, yes, I could absolutely imagine songs by any of them finding their way into my repertoire. One of the things I love about this show is that I can follow my own curiosity. If a song moves me or makes me want to reinterpret it, that’s usually a pretty good reason to put it in the show. Dolly may actually find her way into this new show.

Are there any upcoming film or TV projects that you’d like to mention?

Yes! There are always things happening, and there are a few projects I’m excited about, but I’ve learned that this business has a funny way of making you regret announcing something too early. So, I’ll just say that I’m still very much in love with acting. I love television, film, and theater. I love that my career has never really followed one straight line. One month I’m on a Broadway stage, then I’m on a television set, then I’m singing somewhere. That unpredictability is actually something I’ve come to appreciate. I don’t necessarily need to know what the next thing is. I just want it to be interesting.

Lastly, you will be in South Florida for two of your shows, at Lauderhill Performing Arts Center and Glazer Hall. Is there any chance you might swing by the gay mecca of Wilton Manors to the surprise and delight of your SoFlo fans?

I mean ... I’m not saying no!