72. Life and All Its ‘Stages’ (with Rachel Potter)

Summary

Sentimental Men Podcast Episode 72: "Life and All Its ‘Stages’ (with Gloria Estefan)"

Release Date: May 26, 2025
Hosts: Quincy Brown and Kevin Bianchi
Guest: Gloria Estefan

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Introduction

In Episode 72 of Sentimental Men, hosted by Quincy Brown and Kevin Bianchi of the Broadway Podcast Network, listeners are treated to an engaging conversation with renowned performer Gloria Estefan. The episode delves deep into Gloria’s illustrious career in musical theater, her experiences with iconic shows like Wicked and The Addams Family, and her latest musical endeavors, including her new album "Stages".

Gloria Estefan’s Journey in Musical Theater

Gloria begins by sharing her early aspirations and initial forays into musical theater. She recounts her involvement with Disney World, performing roles such as Ariel, Belle, and Nemo in live shows during 2008. This period was pivotal, as she simultaneously participated in the "Legally Blonde: The Musical" MTV search for Elle Woods, showcasing her versatility and dedication to the craft.

Notable Quote:
"Wicked felt like joining an elite club. I remember traveling with Wicked luggage tags on my bag and feeling like a part of something incredibly special."
[Timestamp: 28:42]

Experience with Wicked

Gloria details her Wicked experience, highlighting her journey from auditioning multiple times for the role of Elphaba to ultimately securing the understudy position for Glinda on the second national tour. She describes the intense preparation required and the challenges of learning two roles simultaneously.

Notable Quote:
"Learning Glinda on the road was super intense, and I was in my early 20s with all the energy I had to focus on the role."
[Timestamp: 31:22]

Despite not landing the lead role, Gloria emphasizes the invaluable lessons and the sense of camaraderie she developed during her time with Wicked.

Transition to The Addams Family and Evita

Shortly after her stint with Wicked, Gloria transitioned to "The Addams Family" on Broadway, replacing the role of Wednesday. She passionately shares her love for the show and the challenges of stepping into a beloved character.

Following The Addams Family, Gloria took on the role of the mistress in the 2012 revival of Evita. She praises the cast recording of the show, describing it as one of the most beautiful performances she has ever been part of.

Notable Quote:
"The Evita cast recording is like pitch perfect—so delicate and pretty. The emotion in every note was palpable."
[Timestamp: 16:03]

Creating the "Stages" Album

Gloria transitions to discussing her latest project, "Stages", an album that bridges her Broadway experiences with her musical storytelling roots. She expresses a desire to create a legacy through this album, featuring covers of beloved Broadway songs arranged with full orchestras.

Notable Quote:
"I wanted to capture what I’ve been working on for so long. This album is my way of ensuring that my musical theater legacy lives on."
[Timestamp: 60:09]

The album includes collaborations with esteemed artists such as Ali Stroker, Natalie Weiss, and Marty Thomas, reflecting Gloria’s deep connections within the Broadway community.

Intersections Between Broadway and Nashville

Gloria offers insightful commentary on the overlap between Broadway artists and Nashville musicians. She believes that both fields require a high level of musical proficiency and storytelling ability, making transitions between them natural for many performers.

Notable Quote:
"Broadway and Nashville both demand a storyteller’s heart. The ability to convey emotion through song is central to both genres."
[Timestamp: 55:44]

Personal Reflections and Life Choices

Gloria candidly discusses her decision to move from New York's bustling theater scene to Nashville, balancing her career aspirations with personal life changes, including motherhood. She reflects on the "what ifs" of her career choices but remains grateful for the life she has built.

Notable Quote:
"Leaving Broadway was a loaded decision, but it allowed me to have my three wonderful children and pursue other passions."
[Timestamp: 38:01]

Conclusion

The episode wraps up with heartfelt thanks from Gloria to the hosts and the Broadway community. Quincy and Kevin express their admiration for her work and look forward to her continued contributions to musical theater.

Notable Quote:
"It was a labor of love, and I hope my kids think it's worth it because they didn’t see me much while I was working on it."
[Timestamp: 67:17]

Key Takeaways

• Gloria Estefan’s Extensive Career: From Disney World performances to major Broadway roles in Wicked and The Addams Family, Gloria's journey is marked by dedication and versatility.
• "Stages" Album: A significant project that melds Broadway classics with full orchestral arrangements, featuring collaborations with top Broadway artists.
• Broadway and Nashville Synergy: Gloria highlights the natural synergy between musical theater and Nashville’s music scene, emphasizing the shared storytelling essence.
• Personal Growth: Balancing career ambitions with personal life, Gloria offers a relatable perspective on making life-altering decisions.

Notable Quotes with Timestamps

• "Wicked felt like joining an elite club." — Gloria Estefan
  [28:42]

• "Learning Glinda on the road was super intense." — Gloria Estefan
  [31:22]

• "The Evita cast recording is like pitch perfect." — Gloria Estefan
  [16:03]

• "I wanted to capture what I’ve been working on for so long." — Gloria Estefan
  [60:09]

• "Broadway and Nashville both demand a storyteller’s heart." — Gloria Estefan
  [55:44]

• "Leaving Broadway was a loaded decision." — Gloria Estefan
  [38:01]

• "It was a labor of love, and I hope my kids think it's worth it." — Gloria Estefan
  [67:17]

Final Thoughts

Episode 72 of Sentimental Men offers a profound look into Gloria Estefan’s multifaceted career in musical theater and her latest artistic endeavors. Her insights into the interplay between Broadway and Nashville, coupled with her personal reflections, provide listeners with both inspiration and a deeper understanding of the dedication required in the performing arts.

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Transcript

[Kristin Chenoweth]

Hi, y' all. This is Kristin Chenoweth.

[Gloria Estefan]

Hi, I'm Gloria Stefan. This is Sara Bareilles. Hi, I'm Patti LuPone. This is Lin Manuel Miranda.

[Sara Bareilles]

You're listening to the Broadway podcast network.

[Kristin Chenoweth]

What is daddication?

[Sara Bareilles]

The thing that drives me every day.

[Kristin Chenoweth]

As a dad is Dariona. We call him day date for short.

[Sara Bareilles]

Every day he's hungry for something, whether.

[Kristin Chenoweth]

It'S attention, affection, knowledge.

[Sara Bareilles]

And there's this huge responsibility in making.

[Kristin Chenoweth]

Sure that when he's no longer under.

[Sara Bareilles]

My wing that he's a good person. I want him to be able to sit back one day and go, we worked together. We did a good job.

[Kristin Chenoweth]

That's dedication. Find out [e-mail] brought to you by.

[Gloria Estefan]

The U.S. department of Health and Human Services and the Ad Council. I don't want to leave this first and go, damn it. I didn't make my musical theater album on your deathbed. No. Aw.

[Sara Bareilles]

Life of the party.

[Gloria Estefan]

That would have changed lives.

[Kristin Chenoweth]

I'm Quincy.

[Sara Bareilles]

And I'm Kevin.

[Kristin Chenoweth]

And this is Sentimental Men.

[Sara Bareilles]

We're here to talk and maybe scream about our favorite women in musical theater.

[Kristin Chenoweth]

Flying away.

[Sara Bareilles]

I don't know that I could pick a singular earworm from Real Women have Curves to open this episode with because it's bop after bop after bop.

[Kristin Chenoweth]

Women have Curves. I really loved the song. I really love the boyfriend character, but I love the date song that they.

[Sara Bareilles]

You will.

[Kristin Chenoweth]

It's so cute.

[Sara Bareilles]

Literally, the boyfriend from Kimberly Akimbo, like.

[Kristin Chenoweth]

Copy and paste talks in the same way.

[Sara Bareilles]

Yeah. That poor man showed up to rehearsal and they were like, did you catch Kimberly Akimbo? You do it like that. Wait. Also, I love make it work. Make it work.

[Kristin Chenoweth]

I remember that.

[Sara Bareilles]

De nada. And wait, what was act one finale? I muchacha.

[Kristin Chenoweth]

Oh, yeah.

[Sara Bareilles]

When they were all yelling at each other, I was like, I know Quincy's eating this up. Quincy loves a family fight set to music.

[Kristin Chenoweth]

Real Women have Curves.

[Sara Bareilles]

Slade.

[Kristin Chenoweth]

I think maybe my favorite new musical of the season.

[Sara Bareilles]

It was so fun.

[Kristin Chenoweth]

It is currently still running at the time of recording this and I would implore you all to go see it.

[Sara Bareilles]

Go. Run.

[Kristin Chenoweth]

It felt like a warm hug.

[Sara Bareilles]

Yes. And it's honestly, like, it's such a good show, but the casting of it, everybody is so it's like this kind of show where, like, every role really has, like a standout moment and everybody in it is so good. And they. The priority on vocals is rampant in the cast. Like, everybody is singing the house down on these, like, fun ass songs that get stuck in Your head when you leave. The crowd leapt to its feet after the title number. I was not expecting a mid show standing ovation.

[Kristin Chenoweth]

My crowd was. We went on separate nights. My crowd was eating it up.

[Sara Bareilles]

I have not sat in an audience that was having that much fun in a long time, which felt really nice.

[Kristin Chenoweth]

Yeah, it just felt nice.

[Sara Bareilles]

Even at death becomes her. There's a seriousness to. To it at least, like, when I was in that audience that, like, this show almost feels like it gives you permission to have fun and, like, to engage with the show.

[Kristin Chenoweth]

And at the same time, it's talking about, like, very real themes and immigration and all of that stuff. That feels very timely, I will say.

[Sara Bareilles]

Like, as a franchise, it's confusing to me why the title of the show is called Real Women have Curves. Because that felt like the smallest part of the plot to me.

[Kristin Chenoweth]

It almost felt like shoehorn. Every time that the daughter would catch a stray about her body, I was like, what the are we doing?

[Sara Bareilles]

I was like, mom, this is so out of pocket. We're talking about ice. Like, and the mom's like, you could skip a meal. Estelle is trying to get her fucking dresses made. And the mom is like, yeah, but how fat is she?

[Kristin Chenoweth]

Like, have you seen the movie?

[Sara Bareilles]

Like, once I think back in the.

[Kristin Chenoweth]

Day, like, is the body stuff more relevant then?

[Sara Bareilles]

I'm thinking it must be. And it was like, there's other iterations of it too.

[Kristin Chenoweth]

Like, oh, really?

[Sara Bareilles]

There's like a play, I think. Hold on.

[Kristin Chenoweth]

Okay.

[Sara Bareilles]

There's other iterations. So I think probably, yes. Like, this treatment of this property probably is less about body.

[Kristin Chenoweth]

Could have been called, like, flying away or something about a bird or something.

[Sara Bareilles]

Or something. Yeah. Yeah. Even. I mean, this is maybe a spicy take, but, like, even the song Real Women have Curves, like, just kind of came out of nowhere. It was like, we need to put a song. Song in where they sing the phrase real women have curves.

[Kristin Chenoweth]

It was a great song. But, yeah, the body stuff. I was like, what is happening here? Where there's. Because there's such a clear other plot happening. It's like, do we need to be throwing this girly pop down randomly? I love that boyfriend.

[Sara Bareilles]

I know. You know what I want. You know what scene could have been eight times longer for me? When they were up on the roof singing after the immigration scare and they sang the bird song. And then Tony nominee Justina Machado comes up, and she lights that cigarette and she stands like this, and I.

[Kristin Chenoweth]

This was her last name.

[Sara Bareilles]

I was leaning in. I was ready for A four minute song of her just with the cigarette.

[Kristin Chenoweth]

You had told me that it felt like a musical from 2008 in the best ways. And I think that's a perfect way to describe it.

[Sara Bareilles]

Yeah, it just like the, the. The sound of it, the formula of.

[Kristin Chenoweth]

It, it reminded me a lot of Waitress. It feels like in the same theatrical lane as Waitress.

[Sara Bareilles]

Yes.

[Kristin Chenoweth]

Which was my comfort show. So I'm happy that real women is here.

[Sara Bareilles]

That's what it is. It feels like a comfort show. Like, it feels like a cast recording that I will dip into and listen to every now and then.

[Kristin Chenoweth]

It's good music.

[Sara Bareilles]

It's good music and it's sung by great voices. Tatiana's voice. Ridiculous.

[Kristin Chenoweth]

The whole thing is very earnest in a very delightful way, which I think is a hard line to toe, because if you get too earnest, it can feel cringey.

[Sara Bareilles]

Oh, earnest.

[Kristin Chenoweth]

Which I didn't like, feel this was cringy at all. It kind of was like a perfect. It felt like a.

[Sara Bareilles]

Felt like a Lifetime movie, which I love just enough substance, but not so much because like, like you were saying, the. Some of the subject matter of the show, like, could be a real downer for a piece of musical comedy.

[Kristin Chenoweth]

The first time they turned off all the lights in the factories, I was like, whoa, right?

[Sara Bareilles]

I was like, oh, oh, oh, oh. Yes, yes. The reality of life for these women. A little bit of whiplash. I was like, yes, yes, yes. Girls, hide those beautiful curves.

[Kristin Chenoweth]

It's not funny.

[Sara Bareilles]

It's not funny. It was jarring. That's life, unfortunately. Good for the cast, though, for like, being able to say, like, talk about anything other than that in the, like, press for this show because it would be so easy to be like, tell us about doing this show in a time.

[Kristin Chenoweth]

I mean, I almost feel like they should be talking about it more because it ties it into the cultural moment that we're having in a very cool way.

[Sara Bareilles]

But, like, are you gonna want to go see a show? Because you're like, oh, you know what I'd love to do with my evening is reflect on.

[Kristin Chenoweth]

Yeah, it's tricky.

[Sara Bareilles]

It is interesting and it's. For me, it was a real like, wah, wah moment when it. When I, like, re. Remembered that the show takes place like 25 years ago. And I was like, oh, oh, no, more than that. Even more like 35 years ago. Not the 60s. No, they're talking about Reagan. So it's sometime in the 87.

[Kristin Chenoweth]

1987.

[Sara Bareilles]

87. Okay. That was a little depressing at intermission to be like, oh, this doesn't take place now. They are, in fact, worried about a different immigration crisis or an earlier version of the same immigration crisis.

[Kristin Chenoweth]

We can't talk too much because we might get taken away if people see that.

[Sara Bareilles]

Right, right. I think that the subject matter of familial obligation is great fodder for the musical theater, and I think this show examines that in a really beautiful way because. What's the main character's name? Tatiana.

[Kristin Chenoweth]

Tatiana. Who's a star?

[Sara Bareilles]

Who's a star. What is her name? Anna. So you see, like, Anna dealing with that in terms of, like, being the only citizen in her family and being the first one to go to college. It's like, very in the heights in that way. Like, it brings up that I felt.

[Kristin Chenoweth]

These parents were, like, guilt trippy in a very intense way that I was like, you guys need to get this checked.

[Sara Bareilles]

Yeah. Yeah. It did take a little long to get to the payoff of them being like, yeah, go to college. And even then it was like, fine.

[Kristin Chenoweth]

Right?

[Sara Bareilles]

Here's this scarf to hide your hideous body with. Like, you're still. You're still fat. Go to college. And. Yeah, but then. And then it was a lovely realization for then the mom to be like, oh, no. I also left my family to go somewhere to make a better life. The payoff was nice.

[Kristin Chenoweth]

I would say it again.

[Sara Bareilles]

100% would go see it again.

[Kristin Chenoweth]

What else are we talking about?

[Sara Bareilles]

Well, I would just like to say once again that the Dolly Parton Galinda Upland pipeline remains strong. My girlies. They keep playing Dolly Parton.

[Kristin Chenoweth]

Oh, this is a perfect segue for our guest tonight, too.

[Sara Bareilles]

It's almost like I planned it this way. I mean, so we just. Not just, but like, a week ago, got the announcement that both Carrie St. Louis and Katie Rose Clark are. They're playing the teal wicks and the Stephanie J. Block of Dolly Parton the Musical.

[Kristin Chenoweth]

I'm just a backwards Barbie. Too much makeup.

[Sara Bareilles]

I do wonder which of them is going to sing I Will Always love you, because that's a big. Maybe they'll both sing it. I bet they'll all three sing it.

[Kristin Chenoweth]

Maybe they'll do the Stephanie J. Block in this place. I know. Version where Cari is singing and Katie Rose Clark is doing the talking interludes.

[Sara Bareilles]

Okay, maybe. Maybe because so do you know the lore of that song?

[Kristin Chenoweth]

Dolly wrote it.

[Sara Bareilles]

Dolly wrote it. And she wrote it as she was leaving the Porter Wagner show, which was like a variety show that she was on. And it's when she was, like, leaving to go, like, become her solo recording artist self. And so it's actually like, not written in a romantic context. It's written in like a. Like, you got me to this place in my career and like, I'm gonna go, leave and keep growing. But that doesn't mean I'm not, like, thankful for the time I spent here at this show. So I could see that song being like a transition from the Carrie St. Louis to the Katie Rose Clark. If they did like a. A two person SJB arrangement.

[Kristin Chenoweth]

I do hope that this musical iterates on the jukebox musical formula in a inventive way and they're not just doing the Cher show. I'm hoping that, like, what Just in Time is doing, which does feel it's a jukebox musical, but it feels like they're doing something different, is going to encourage future jukebox musicals or send the message that we got to be done with just the standard bio jukebox musical formula.

[Sara Bareilles]

I have high hopes. I think Dolly Parton is not going to put her name on anything that isn't like the freshest version of itself. She's very good about that.

[Kristin Chenoweth]

I think the Internet is up in arms about the open casting call they did that resulted in.

[Sara Bareilles]

In nothing.

[Kristin Chenoweth]

I think a couple of them got cast as covers.

[Sara Bareilles]

Yeah. I don't know. It's like this. We're not new. Like, did you actually think one of those girls was gonna play?

[Kristin Chenoweth]

That's a little bit my POV on it where I'm like, if people still got cast, I think that, you know, that fulfills the requirement of what they put out.

[Sara Bareilles]

Yeah. I don't know. I never took that as anything other than publicity.

[Kristin Chenoweth]

Agree.

[Sara Bareilles]

Also, just to tie it back into Dolly Parton, this follows the Megan Hilty 9 to 5 Galinda of it all. Which brings us into a little teaser for today's interview. There is a 9 to 5 tour connection in today's guest, which I just want to touch on Diana DeGarmo, who did in fact go out on the tour as Dora Lee.

[Kristin Chenoweth]

Well, that's what was fascinating because I was like, Rachel and Diana DeGarmo are like similar archetypes in this, like, recording.

[Sara Bareilles]

Artist, musical theater, Nashville, yachty.

[Kristin Chenoweth]

Where do they fall?

[Sara Bareilles]

Yeah, correct. And I need to know. I need to know if and how Many times Diana DeGarmo was brought in for Wicked.

[Kristin Chenoweth]

Let's get her on. I would talk to Diana DeGarmo.

[Sara Bareilles]

Diana the voice DeGarmo. Yeah, I would talk to her.

[Kristin Chenoweth]

Yeah, let's do that.

[Sara Bareilles]

Okay. Good, because that's a piece of lore. I need to know because she feels very much like in a vocally, yes, you would powerhouse Elphaba, but like your acting chops and like your physical appearance, even perhaps more of a Glinda. And I could totally see her being stuck in the middle of the Venn diagram.

[Kristin Chenoweth]

Okay, so who are we talking to today?

[Sara Bareilles]

Today we are talking to Rachel Potter, which I am so excited about and I know Quincy is too.

[Kristin Chenoweth]

Diana Degarmo is snatched and playing Audrey and Little Shop right now.

[Sara Bareilles]

Why isn't she playing Audrey in Little Shop down the street from me?

[Kristin Chenoweth]

That's a good idea.

[Sara Bareilles]

So today we are talking to Rachel Potter. I am so excited. I know Quincy is so excited and I know y' all are going to be so excited. Brief trip down Memory Lane with Ms. Potter. In 2002, she released her first solo album called Come back home. In 2008, she was in Disney World performing in all of the live singing shows. Ariel, Belle and Nemo. Get you a girl that can do all three.

[Kristin Chenoweth]

That's my dad.

[Sara Bareilles]

I actually low key love that Finding Nemo show. The music is so good. It's like one of the better, like one of my favorite Disney scores. And it's like not a musical anywhere but at Disney world. Also in 2008, that same year, she was in the top 15 of Legally Blonde, the search for Elle woods on MTV, which there is a video somewhere on the Internet of her singing. So much better. And I'm like, in 2010, Rachel made her wicked debut on the second national tour in the ensemble understudying the role of Glinda. Truly a fascinating journey to get to that point that I'm excited for you guys to hear. After her time on the Wicked tour, she replaced in the role of Wednesday in the Addams Family on Broadway. Another favorite musical of mine.

[Kristin Chenoweth]

Fascinating story on how she ended up there as well.

[Sara Bareilles]

Fascinating story on there too. Yeah. Honestly, Right after that, she opened the 2012 revival of Evita as the mistress. Another suitcase in another haul. One of the most beautiful cast recording performances I've ever heard.

[Kristin Chenoweth]

It sounds. AI. It's so perfect.

[Sara Bareilles]

It's. It's like pitch perfect. It's so delicate and so pretty.

[Kristin Chenoweth]

The emotion on I won't recall the names and phases of this occasion.

[Sara Bareilles]

Yeah, but that's.

[Kristin Chenoweth]

No, yeah, she was great.

[Sara Bareilles]

She was great. After her time in Evita, she released her second ep, Live the Dream, shortly before she appeared on X Factor, in which she was a finalist because she has what that X Factor in 2014, 15 and 18, she released three additional studio albums, Simply Christmas, not so Black and White and Music City Christmas. And now this year, she has a new album coming out called Stages, which.

[Kristin Chenoweth]

Not the Stephanie J Block Podcast, not.

[Sara Bareilles]

The Stephanie J Block Podcast, but equally as revered in our hearts. This new album, Stages, features covers of music from shows like Les Mis, Moulin Rouge, the Wild Party Waitress, most importantly for us, and features guest vocalists like Ali Stroker, Marty Thomas and the Queen of Internet, YouTube, vocalise beasts. Natalie Weiss.

[Kristin Chenoweth]

I love when the ladies do Broadway cover albums. That is what I want.

[Sara Bareilles]

Me too.

[Kristin Chenoweth]

I've been listening to Carrie Ellis's a lot lately.

[Sara Bareilles]

It's good.

[Kristin Chenoweth]

My favorite genre of solo albums. I wish Idina would do one.

[Sara Bareilles]

Maybe she will. That would be interesting for Adina, especially because, like, we're never going to get her in a revival of anything. So to. To hear the greatest hits of shows we'll never get. And that's like. That's all the justification that somebody like Idina Menzel needs to make an album like that is. It's just like, well, I'm never gonna sing this material.

[Kristin Chenoweth]

Yeah. Like Barbra Streisand. She'll just throw an album out because.

[Sara Bareilles]

She wants to, because she's bored because it's Thursday and she had some free time.

[Kristin Chenoweth]

More of this and it's really great. It is out now. Stages, Rachel's album, Stages, is currently out to listen to. At the time that you are listening to this, let us know your favorite tracks currently right now. Mine is the Matilda medley.

[Sara Bareilles]

Yeah, I would say currently mine is Life of the Party classic. It's so clean and pingy and, I mean, Rachel Potter really has, like the voice. She really delivers and it seems so easy. Honestly, I want her to come back and be in Death Becomes Her. I was thinking it the whole time we were talking to her. I was like, I feel like vocally she would fit either of these roles well.

[Kristin Chenoweth]

If Death Becomes her runs, it will just become the feeder farm for the Elphabas and Glindas.

[Sara Bareilles]

Yes. And that's. That's what we need on Broadway. We need jobs for our. My name is Kevin Bianchi and I am running on a platform that we need jobs for our. Our Witches of Oz who are aging out of Wicked.

[Kristin Chenoweth]

Yep, yep, yep, yep.

[Sara Bareilles]

More. Two women led musicals in a perfect world.

[Kristin Chenoweth]

It's like they start in Titanique, they go to Wicked, and then they go to Death Becomes her, and then they go back to Wicked as Morrible.

[Sara Bareilles]

Yes.

[Kristin Chenoweth]

Then that's a Life. That's a career.

[Sara Bareilles]

Hello. Mira Ruiz is playing the same role every three years. You know, like.

[Kristin Chenoweth]

Yeah. Excited for y' all to hear this conversation. Let's get into it.

[Sara Bareilles]

Let's get into it.

[Kristin Chenoweth]

Rachel Potter, thank you so much for joining us on Sentimental Men Today.

[Gloria Estefan]

Oh, my gosh. I am so excited to be here. Thank you so much for having me.

[Sara Bareilles]

We are very excited to have you today.

[Kristin Chenoweth]

I have to say, your recording of Another Suitcase in Another hall sticks with me to this day. I listen to it very frequently. It is my favorite recording of that song.

[Gloria Estefan]

Oh, my gosh. Thank you. That is so kind. That was one of the most chaotic, like, recording sessions I've ever had in my whole life. Because, you know, typically in the. In this. In the studio, you have, like, unlimited takes. Really? I mean, like, not unlimited, but a reasonable amount. And I had, like, three chances.

[Kristin Chenoweth]

Oh, really?

[Gloria Estefan]

Oh, yeah. Because, you know, like, it's cast recording day. Like, you gotta get in there and get it done. Time is money, people. So, yeah, I think I had three. Literally three, just, like, full takes, and they were just gonna cut, like, from those three takes, and.

[Sara Bareilles]

Wow.

[Gloria Estefan]

So somehow it ended okay. Thank God. But thank you so much. That's. It's such an. It's such an honor to. To have been on that. It's. It's. I. It's. I still am, like, flabbergasted that I got to do that.

[Kristin Chenoweth]

Okay, so we start every interview with, how did Wicked, the musical come into your life as a person? What is your first touch point with the show?

[Gloria Estefan]

My first memory of Wicked was when I was working at Disney World and someone introduced me to the cast album and I started trying to sing Defying Gravity, like, it was my job. So everything revolved around, like, that was the pinnacle song, you know, to just be able to. To belt like that. And so I just remember practicing. I even. This is very embarrassing, but I used to do pageants in Florida to win scholarship money. Yeah, you're talking to the right boys here. We're good. I sang that as my talent one year. So anyway, just always had been a big fan and obsessed with the show, of course. And I always felt like I was an Elphaba just because, like, oh, I have brown hair and a pingy belt. A pingy belt. So when I got to New York, I started going in for. For Elphaba quite frequently. I think I went in seven or eight times for, like, the understudy on the road, and a couple of times got through the. To the dance call and I remember meeting Christine Dwyer. I mean, like, the people that were in the dance call. Christine actually mentioned this to me the other day. It was like, all these women that ended up playing the role.

[Kristin Chenoweth]

Right. Because they just keep a file cabinet.

[Gloria Estefan]

Of everyone I ever see. Yes. It was like every single person that was in our dance call ended up being an Elphaba at some point. So I just kept not getting it right, and I was really discouraged, and I'd been in New York a while, and I. I was kind of like, you know, I don't know if this is for me. I think. I think I might move to Nashville.

[Kristin Chenoweth]

Were you getting any feedback in these Alphabet auditions?

[Gloria Estefan]

Not really. Not that I can really. Not that really sticks out. I mean, it's been a while, but nothing that. That I really recall as it just wasn't, you know, not moving forward was kind of.

[Kristin Chenoweth]

Right.

[Sara Bareilles]

Well. And especially so at a role like this, too. It's like, it can be about so many things other than you, too, that it's, like, not even.

[Gloria Estefan]

Sure.

[Sara Bareilles]

Feedbackable.

[Gloria Estefan]

Sure. And I am. I wouldn't even. I don't know if I'd even classify myself as a strong mover. I am an okay mover. So that was something that I think could have possibly held me back, but I kind of let it go. I decided I was gonna. You know, I thought I'd been singing with a wedding band. I'd been really excited about maybe moving to Nashville and sort of transitioning into the world of recording arts, perhaps, or, you know, that maybe. Maybe Broadway wasn't for me. And I got a call for Doralee.

[Kristin Chenoweth]

Oh.

[Gloria Estefan]

For the nine to five tour.

[Sara Bareilles]

Okay. Love it.

[Gloria Estefan]

And so I went in and. And I mean, like, stuffed my bra. I think I wore, like. I think I literally wore three bras, like, just to be locally, like, ridiculous. And I got it. Like, I booked it. Booked it. Oh, work the tour. And at the same time, like, right in the same week, I think there was, like, a light bulb moment at casting where they were like, oh, maybe she can play a blonde. Oh, wait, maybe she's a Glinda. And they were like, hey, they want to see you for Glinda.

[Sara Bareilles]

That's interesting.

[Gloria Estefan]

So they said, hey, we want to see you for Glenda. So went in for Glenda. And I remember I really prepared because I was really excited for, like, a different opportunity, because when my agent called me and they're like, hey, they want to see you for Wicked again. I was like, oh, my God.

[Kristin Chenoweth]

Right? No, like, because in your head, were you in Alphabet?

[Gloria Estefan]

Yeah. In my head, I was Elphaba. And so I was like, I don't want to go in for Alphabet again. And they're like, no, no, Glinda. This time. I was like, oh, okay. Yeah. You know, so I. I could try that. So I went and worked on it a lot, like, coached it, memorized it backwards and forwards. I went to Forever 21 in Times Square and bought this teeny, tiny. I still have it, actually. It's like this. I mean, teeny, tiny, little, like, light baby blue satin cocktail dress that's, like, reminiscent of the bubble dress.

[Sara Bareilles]

Okay.

[Gloria Estefan]

I rhinestoned it.

[Sara Bareilles]

Attic girl.

[Gloria Estefan]

I told you I did pageants, right. So I still had all this rhinestone jewelry. So I wore, like, three or four pieces of rhinestone jewelry on every hand and, like, giant earrings, and I found these, like, ridiculous, like, sequin heels. And I did my. You know, my hair and my makeup all up. And I remember being in the waiting room, and it was, like, all blonde girls and, like, these very demure pink dresses with, like, a tan laduca.

[Sara Bareilles]

Yeah.

[Gloria Estefan]

And I was like, oh, man, I'm never gonna get this. You know, Like, I look, like, so stupid compared to these girls. But that was one of those magical auditions for me. You know, we all have those where it's like we can kind of go through the motions, but then occasionally it just clicks. And. And that was one of those for me, where I just. When. When I walked over the threshold, I just let it all go, and I just decided I was gonna have fun and be ridiculous. So I booked it that day, and that was a huge moment. And I remember my agent calling me, and I literally fell on the floor.

[Sara Bareilles]

Was there any kind of hang up about, like, you were saying you had thought of yourself as an Elphaba up until that point. Was there any hesitation or, like, confusion as to, like, how they saw you as a Glinda, or was it a pretty natural switch over for you?

[Gloria Estefan]

I think that, yeah, there was some slight confusion of just, you know, okay, I'm going in. I'm going in a different role. Okay, that's fine. And perhaps I'd always covet that other role. Like, I'd. I'd watch my other. My friends play that part, and I'd be like, I want to do that too, you know? Yeah.

[Sara Bareilles]

Yeah.

[Gloria Estefan]

But Glinda is such an incredible role that there wasn't any jealousy. Like, once I stepped into it, I was just like, oh, this is great. You know, like, this is. This is. There's so much more I think I just hadn't had my eyes on it. Like, my eyes weren't fixated on that role for so long that I didn't really. I didn't really see the meat and potatoes of Glinda.

[Kristin Chenoweth]

Yeah.

[Gloria Estefan]

But then once I had the opportunity to play her and really dug in, like, I. If I ever were to go back, I would prefer to play Glenda. I love that role so very much.

[Kristin Chenoweth]

So just so my records are clear, you never ended up going on tour with nine to five, right?

[Gloria Estefan]

No. So I, I had a choice. I had to choose between nine to five and. And going on tour with Wicked. And I would have played the lead in 9 to 5, but I chose the ensemble understudy of. Of Glenda and Wicked. So I was fanny in the unders. In. In the. I'm sorry, I was fanny in the ensemble.

[Kristin Chenoweth]

So talk us through that decision. Giving up a principal contract to understudy on tour.

[Gloria Estefan]

Well, for me it was, I think the magic and the lore of Wicked was like, so strong and I wanted to be a part of that family. You know, it was like I saw the opportunity to potentially move up one day and like, just having that on my resume, I felt was so incredibly valuable. I mean, this was circa 2010. 2010. So this was the. I think one of the, you know, I think we're entering. Entering a new height of Wicked right now. But that was definitely, like, pretty height, you know, another height of Wicked where it was like, that was it. Like, I remember when we would travel and I had my, like, Wicked luggage tags on my bag. Like, people like, oh, my God, you're Wicked.

[Kristin Chenoweth]

Right?

[Gloria Estefan]

You know, it just felt like I felt like such a cool member of this elite club, you know, it was so. And I still feel that way now. Like, I think that there's something about that show that's just like, it's so incredibly special if you get to be a part of it.

[Kristin Chenoweth]

So walk us through learning the role of Glinda and especially because the show had been established, what preconceived notions did you have about it that were dispelled when you were learning it and what were some of the highs and lows?

[Gloria Estefan]

So I think that a pre. Preconceived notion that I had because I was very green going into that, that was like my. My very first, like, big Broadway style contract. Like, before that, I had only ever done Disney World, you know, and I knew Disney was. Was like, okay, here's the established plan of like, what you do and the, the moments that you need to hit, but it's like, you know, minimal, and it's a 14 minute show and whatever, you know, but it's still like, this is. This is it. This is the package. Like, deliver the package. So I thought when I went into Wicked that it might be more of like, bring your own thing to the role, but it was definitely more like, here is the package. Deliver the package right now. I don't think that that's necessarily true. If you are the principal, I think that you have a little bit more. And I. And I never got to experience that, you know, as Glinda, so I was a little surprised by that. But my. My stage manager was actually the one that taught me the role, so. And that's typically how it goes, especially on tours, that the stage manager will basically be the director.

[Sara Bareilles]

Because you're learning on the road, right?

[Gloria Estefan]

Learning on the road. So I joined them, I met them in St. Louis, and. And then we sat down in Minneapolis, Minnesota, for. No. Yes. No. Nope. Milwaukee. It was Milwaukee. In Milwaukee. And we were. We sat down in Milwaukee for six weeks. And that's where I debuted in the show. And so I learned it, like, in the theater in Milwaukee, just, like in a rehearsal space with the dance captains. And it was super intense, and I'd never been more sore in my life.

[Kristin Chenoweth]

Yeah.

[Sara Bareilles]

Learning the dance and that's a big show to learn, like, as one person alone in a room, especially your ensemble track, to learn that without the benefit of other bodies around you.

[Gloria Estefan]

Yes.

[Sara Bareilles]

Is a very intellectually challenging thing as well, I would imagine.

[Gloria Estefan]

Yes. And I think that I was learning it with, like, maybe two other people. Like, like a swing and just. And maybe one other person that was a dancer in the ensemble. So, yeah, to. To go from like five people in the room to the entire cast when we did the put in was like, crazy. But. And I also was learning two roles at one time because they wanted me to get up on Glinda pretty fast. It was like, all right, we're gonna focus on your ensemble part today. We're focused on Glinda today. You know, so it was kind of like a ping pong. But it was. I mean, I was in my early 20s. I had all the energy. It was all I had to focus on. Like, yeah, it was. It was the perfect time in my life. Like, now I have three kids and two dogs. And, like, I can't imagine taking on something like that right now. Like, it would. I think it would really stress me out, but in a good way, of course. But, like, it's still a lot to, to manage, but like for that little 25 year old hungry chick, like, I was just like, I was happy to be there, you know?

[Sara Bareilles]

Right.

[Kristin Chenoweth]

You were saying you thought of yourself as an Elphaba prior to getting Glinda. I imagine a lot of that is because vocally that's where you lived more. Was there anything vocally tricky about taking on Glinda or did you have the soprano also?

[Gloria Estefan]

So funny enough, like, that was how I was trained growing up was classically. So that actually came more naturally to me than the belting.

[Kristin Chenoweth]

Interesting.

[Gloria Estefan]

Yeah. So that was, that was really fun to fall back on and get to utilize because I hadn't really. But I mean, like, I grew up. I grew up in classical voice lessons and then in high school, I wasn't involved in theater. I was actually in like show choir. But I would sing like Italian arias for like the state competitions, you know?

[Sara Bareilles]

Yes.

[Gloria Estefan]

So that was, that was fun to like get back into that. I remember music rehearsals were like, is this real? Like, I'm singing them, I'm singing the Wicked music. So crazy. But yeah, so fun. I actually loved my wig and that. I loved my wig. In the ensemble. I had like this little tiny, like black bob with bangs.

[Sara Bareilles]

So prior to. You had said that prior to 9 to 5 and wicked entering your life at the same time, you had been kind of toying with this maybe Nashville transition, recording artist transition. And then right out of Wicked, you go right into Addam's family and Evita. So was that in that moment, were you then thinking, oh, maybe theater is more of the path that I'm gonna go down, or were you now trying to do like a parallel careers kind of thing? Like, where were you in that moment?

[Gloria Estefan]

So Wicked sat down in Memphis. And while we were in Memphis, like on some of my days off, I came down to Nashville to see some friends because I had thought about it, but I'd actually never been to Nashville until I was on tour.

[Sara Bareilles]

And that's like the great thing about tour too is it's like if you were doing the show in New York, you weren't going to be.

[Gloria Estefan]

Yeah. And you get to see some places like that you would never think of going to. Like, one of my favorite places. I actually loved Milwaukee. I loved Minneapolis, I loved Madison, Wisconsin. You know, like just random places that unless you like went to college there or grew up there, you're not like, I'd like to take a trip to Madison, Wisconsin, you know, so it was neat to get to see some Places like that. But, yeah, so when I saw Nashville, when I came here, and I. I worked with some songwriters, and I. I'd recorded some stuff, and I was like, I really got the bug. I just loved it a lot. But, you know, I had. I had always been doing songwriting. I started writing songs when I was, like, 12. That was always something that I. I was just inspired to do. And.

[Kristin Chenoweth]

And was it always country music?

[Gloria Estefan]

No, actually, I started. I started as a Christian singer. Please don't look up my album. It's so bad. I was. I was 15. There was no editor. They were just like, oh, my God, you're so incredible. You're 15. And writing these songs, let's record them exactly as you wrote them, with no filter. But, you know, it's for what it is. At 15 years old, writing an album, like, I should be. I should be more proud of it.

[Kristin Chenoweth]

But, yeah, Katy Perry started as a Christian singer.

[Gloria Estefan]

She sure did. And, in fact, we were Eskimo sisters.

[Kristin Chenoweth]

Stop.

[Gloria Estefan]

We sure are.

[Kristin Chenoweth]

I love this lore. Okay, that made the interview.

[Gloria Estefan]

Yes, Quentin. Okay. Anyway, so I got a few Eskimo sisters out there that are good. I gotta tell you. I really do.

[Kristin Chenoweth]

All right, we're gonna get them out.

[Gloria Estefan]

Okay. So I really loved it. I wanted to try it. And so then, actually, the story of how Adam's family came about is. Is actually pretty funny. So I want to tell you that story because it really coincided with my. My Wicked tour moment. But, yeah, I just. I. It just sort of, you know, struck a chord in my heart, and I was like, I think I want to pursue this. I want to, like. And it wasn't even necessarily, like, I want to move to Nashville. Just like, yeah, while I'm doing Broadway, I think I want to, you know, get to Nashville when I can and write some songs and, you know, start to do, like, my own music. So I would write on the road when I could. When we had off days, I would, like, try to get over to Nashville when I could. And then when I got back to New York, I would. I would find songwriters, and we would write together. Like, I remember having, like, songwriting sessions in my dressing rooms, like, between. Between shows, you know, on a Saturday or whatever. So, yeah, it just kind of became a parallel thing for me. Like you said, it was something that I was just pursuing alongside of it. And then ultimately, like, when Evita closed, I had also gone through a pretty massive breakup, and then my lease in my apartment was up, and I was like, you know what? Maybe now's, like, the right time. To go give this a shot in Nashville. So that's how that ended up happening.

[Kristin Chenoweth]

That decision to leave the New York City theater scene. How has that, in retrospect, is that something that you are happy you did?

[Gloria Estefan]

It's a loaded question for me because I think about what could have been all the time if I had stayed, but if I hadn't come here, I wouldn't have my three kids now.

[Sara Bareilles]

Right.

[Gloria Estefan]

You know, it's like. You ever seen that movie About Time?

[Sara Bareilles]

Yes.

[Gloria Estefan]

And it's just like, what if one decision is different? I mean, it's. It's similar to, like, a sliding doors or whatever.

[Sara Bareilles]

If then.

[Gloria Estefan]

Yes, if then.

[Sara Bareilles]

And so stop and say hey to a stranger.

[Gloria Estefan]

Like, you're only. But, you know, if, like, just perhaps one decision would have been different. Like, everything could. Could be different. And so I think when I kind of get in my. Feels about, like, I wish I hadn't done this, or, you know, what could have been and where could I have been with Broadway? Now, if I'd stayed? I just look at them and I'm like, well, I wouldn't have you. Yeah. And, you know, I may have kids now, but it wouldn't be these particular kids.

[Kristin Chenoweth]

Yeah.

[Gloria Estefan]

And so that sort of keeps me grounded in the. In the worrying about the past. It's like, well, it doesn't matter. But, yeah, I do wonder a lot about what could have been. And. And I think that I was just. I was kind of emotional when I left. So, you know, I told you I went through a breakup, and it was just like, oh, I'm gonna get out of here.

[Kristin Chenoweth]

It needed to happen.

[Gloria Estefan]

Yeah. It wasn't really about Broadway. It was more about my personal life and, like, just kind of making a switch. And I think I always intended to come back to New York. That was always temporary in my mind. And in fact, my husband and I and our then only one child, who was three, we tried to move back. In fact, we did move back February 1st of 2020.

[Sara Bareilles]

Nice. Excellent timing.

[Gloria Estefan]

So, like, really incredible timing. And I had. I had one of those magic auditions the day before Broadway shut down.

[Sara Bareilles]

Oh, man.

[Kristin Chenoweth]

Was Waitress ever. Did that ever come across your desk? Because I think you'd be perfect as Jenna.

[Sara Bareilles]

Before you came on. We were like, she is the dream, Jenna.

[Gloria Estefan]

Like, that's so nice. I am so obsessed with Waitress, and I have gotten close to it a lot of times, but never, never booked it.

[Kristin Chenoweth]

Immersive diner production in Nashville. That's the dream.

[Gloria Estefan]

I have coveted that show ever since the very first time I Heard it, in fact. This is so dramatic. But the first time that I ever listened to she Used to Be Mine, I was sitting on my couch holding my newborn, and I just wept. Just wept. Like, I listened to the entire score and just cried because I was living it, you know, I wasn't living, like, the abusive husband part, but I was living. I was living, but I was living that. Like, I mean, as men, you're not going to experience this, but when women go through pregnancy and. And becoming a new mother, man, it is just crazy how it affects your identity and your sense of self and, like, it changes your body, it changes your physiology. It's like, you know, you're all of a sudden, like, I could feel when my baby was crying. It was like I was connected to this other being in a way that it. And it needed me so much, and there's, like, so much weight in that. And. And I think that we are, like, as actors and performers or so me focused that to move into this other space of, like, having to be so focused on someone else and someone else needing you so much and not being able to take the time to do the things that you need to do or the things that you want to do is. It's life changing. It's life altering, and it's. Yeah, it's a lot. So that's. I'm almost grateful that I experienced that in Nashville and not in New York. With the weight of the business around me, I feel a lot for my friends that have that because I felt my own weight of the business just in Nashville, here. Because at that time, I was really focused on recording arts and I had a band and we were, like, really close to a record deal. We had publishers that were really interested in us, and when they found out I was pregnant, the shift was so intense, immediate. It was like, oh, give us a call after the baby's born.

[Kristin Chenoweth]

Wow.

[Gloria Estefan]

You're not worth anything to us right now. Like, pregnant.

[Sara Bareilles]

We can milk less out of you. Yeah.

[Kristin Chenoweth]

Okay, so I want to go into Adam's family before we leave Wicked. Were there aspirations to climb the Wicked ladder and just be in the Wicked machine forever and ever? Amen. Or were you ready to move on by the time your contract was done?

[Gloria Estefan]

No. I had only been in Wicked for six months when they called me to do Adam's Family. And it was just an audition, you know, they just. My. My agent called and said, hey, they want to see you for Wednesday. I was like, I'm playing Glinda. Like, what?

[Sara Bareilles]

That's this tug Of War is.

[Gloria Estefan]

Like, who. Who am I? And I hadn't seen the show. You know, it was fairly new and I'd been on tour and not focused on that. And so I found like a bootleg on.

[Kristin Chenoweth]

We love bootlegs.

[Gloria Estefan]

I know I found a bootleg and I watched it in my hotel room and I was like, okay, okay, yeah, I could do this. Sure. And so I really worked on it. In fact, my buddy Billy Tai. Do you guys know Billy Tai? Yep. He's so talented. He really helped me as well as David Perlow, who now is, you know, he owns an acting studio. He was also a Fiero married to Ali Stroker. He was my Fiero as well. And so the two of them really helped me with the Wednesday material while I was on the road. And so my whole plan. I got to tell you my audition story. Yeah, it's ridiculous. So we're in Kalamazoo, Michigan. It's very. It's like January. It's very cold outside. Or maybe it's December. It doesn't matter. It's very cold outside.

[Kristin Chenoweth]

I think it's the first time I'm realizing Kalamazoo is a real place.

[Gloria Estefan]

I told you, you get to see a lot of cool places on tour.

[Sara Bareilles]

Kalamazooga.

[Gloria Estefan]

So my plan is I found like, I found a flight that was like really inexpensive out of Akron, Ohio, which was like in between Kalamazoo and wherever we were going next. And I was driving the tour, so I had my car.

[Kristin Chenoweth]

Oh, wow. Okay.

[Gloria Estefan]

A lot of people do that. They'll like drive their. And if it's a really long haul, they'll like ship their cars and fly. So I'm like, okay, after the show Sunday night, I'm gonna drive to Akron. I'll stay in a hotel for a few hours, like, because, you know, the show's long, gets over at like 10. So I'm thinking, you know, this is gonna be a four hour drive. I'll get there at 2am and sleep for a few hours, hop on the plane. Or maybe I was planning to sleep on my. In my car. I don't know. I was crazy. I was in my 20s.

[Sara Bareilles]

I was gonna say, I was like, this is a very 25 year old approach to like, yeah, I'll sleep on the ground for two hours. I'll be fine.

[Gloria Estefan]

Yes, that's probably.

[Sara Bareilles]

You need sleep. Who needs.

[Kristin Chenoweth]

Yeah, I'll just put.

[Gloria Estefan]

I'll put my seat back in my car and sleep in my car. So I'm like, okay, I'll drive. Well, what was Supposed to be like a four hour drive turned into eight because there was a blizzard. And your girl is from Florida. And I did not know how to drive in snow. And I was so scared, but like determined, like I wasn't gonna not go. And that's so 40 year old. Rachel would be like, I'm sorry, I'm not gonna miss it. Turn around like I might die. Thank you. Can we reschedule? But instead I'm like, I gotta get there, you know? So I'm literally driving behind a salt truck for eight hours. Because this four hour drive, like I'm driving half speed, like just like praying I get off at the exit. And I kid you not, I was like, I had to use my GPS to navigate where the road was on the curb. Like I wasn't even sure I couldn't see the road. I'm like, I hope I don't go into a ditch. And then I get to the parking lot and it's three feet of snow in the parking lot. And I just parked where I thought might be a parking spot. Like I couldn't, I couldn't even see lines. Like I didn't know. I'm walking in, I'm all about. It's probably five in the morning at this point. I don't know if that math, maths, but something like that. And where I'm all by myself in this parking lot of the airport. Walking up to the airport and I like slip on a curb and hit the snow.

[Sara Bareilles]

No.

[Gloria Estefan]

And I'm like, oh God, thank God I'm the only one out here. Nobody saw that. And all of a sudden I hear, are you okay? Cool. So going to the airport, it's probably literally an hour before my flight. I sleep for about an hour and a half on my flight. Get in, I take the bus. Like I don't know what is I trying to save money? Like, I'm not sure. So I take the bus from laguardia into my friend Marty Thomas's apartment. I go take my shower. And then my friends Kyle Kleibacher and Torian Everett, who is currently in death, becomes her oh, love. They live right next to Marty. And so I went over to their house and they like coached me on the sides that morning. And then I was like, so I mean, we're talking one and a half hours of sleep right now. But what's so funny is that I was so tired that I swear that my energy was like, correct for Wednesday when I walked in.

[Kristin Chenoweth]

How was the voice, though?

[Gloria Estefan]

It was okay. I was 25 you know, I could. Not today, but back then I could do just about anything, you know, And I was so tired that I think I literally walked in the door, like, I'm here.

[Kristin Chenoweth]

So perfect.

[Gloria Estefan]

And I like, I put like baby powder on my face to like look really pale and did like really dark makeup and I like caught a glimpse of myself on the subway coming back and I was like, oh, God, Carrie, you look creepy. But yeah, that was, that was wild. And, and yeah, I booked that that day. That was. And then just like flew back to tour and finished it out. But I didn't know. I booked it for a little while and I found out, like, in the house with a bunch of my castmates and that was really special. But yeah, there was a lot of, A lot of conflict for me about leaving, but I think it was like, oh, well, of course I'm going to take this. It's a Broadway principal role, right? Like, yeah, that's incredible. But I, I did have high hopes to stay with Wicked for a long time. And I have auditioned to go back for years, but it's turned into that same thing again where it was like they started seeing me for Elphaba again and they're like, yeah, you're not an Elphaba.

[Kristin Chenoweth]

And I'm like, you know that technically too.

[Gloria Estefan]

I don't know what, what it was that. But they just, they wanted to see me as Elphaba. And then it just never happened. And I'm okay with it. I've let it go. I think that I'm really grateful for the time that I did have with Wicked. And, you know, I get to sing Defying Gravity with Symphony sometimes, and that's pretty cool.

[Sara Bareilles]

Yeah. Yeah.

[Gloria Estefan]

And like, I'll probably end up as Madam Morrible one day.

[Kristin Chenoweth]

I'm waiting for the first Elphaba Glinda to return as Madame Morrible.

[Gloria Estefan]

No, that's definitely, that's definitely my bucket list. Moral is a sick part. Let's be so for real right now.

[Sara Bareilles]

I think they could cycle through the girls like six weeks at a time for Madame Morrible. Whatever the minimum is to get you all your health insurance. Like, let's just do it. A cute little 10 week stint.

[Gloria Estefan]

I think, I think I would be a good marble. I'm just saying, like, Give me 10 years.

[Kristin Chenoweth]

More than 10 years.

[Sara Bareilles]

I want to see what you're gonna wear to the marble audition. Powdered Fate. A big wig, maybe sequins.

[Gloria Estefan]

Go to the costume shop for that. Yes, I'm sure I could put together an ensemble for that, for sure.

[Kristin Chenoweth]

Kevin, do you want to ask the question?

[Sara Bareilles]

Yes, I do want to ask the question. Before we move on from the wicked verse, when you were playing the role of Glinda, were you a. No one mourns the wicked Glinda. A popular Glinda or a thank goodness Glinda?

[Gloria Estefan]

That was a thank goodness Glinda. Why thank goodness? I think reveals Glinda in the realest way where it shows kind of like, I think some deep seated issues for her of needing to put on a very put together front, which to me meant like her family was very intent on that. That like in public, this is how we are. You know, it's like a country club family.

[Sara Bareilles]

Yeah.

[Gloria Estefan]

But she was silently struggling and there were some things that I really related to her in, where it was like she was extremely determined to get what she wanted. Like, surprised, you know, like that whole thing with like, yeah, we're engaged. Like, you knew you were gonna ask me. Anyway, I went ahead and bought the ring. Right. So, like, I can relate to her drive and determination of like, no, no, no, this is what we're doing, you know, this is. This is what I want. And don't you want it too? Of course you do. So.

[Sara Bareilles]

Right.

[Gloria Estefan]

I mean, I'm not that much of a jerk, but. But I. I think that she was. Yeah. She's just deeply flawed and I think that that's where you get to see it. And. And I love that. I love the bridges you cross. You didn't know you crossed until you crossed. And also the whole theme behind like, happy is what happens when all your dreams come true, isn't it?

[Kristin Chenoweth]

Isn't it?

[Sara Bareilles]

Right.

[Gloria Estefan]

Because I think that, and I think we all have experienced moments of that in our lives where something happens that you've been working towards for so long that you have convinced yourself is going to change everything and then nothing changes and you don't really feel any joy when it happens. You're like, oh, I did it. Why don't I feel different? The depth of like, no, it's you. This has to come from you. Your. Your happiness, your self worth, all of that has to come from within. And it's not going to be an outside, you know, checking a box of like a dream or whatever. Like those dreams are good to go after, but the thing that's going to give you joy has to come from inner peace, you know, And I don't know if she's ever going to get.

[Sara Bareilles]

There, at least not before the finale.

[Gloria Estefan]

Yeah. Yeah. Not within the confines of the show, she does not find it, you know.

[Kristin Chenoweth]

Yeah. When they make a third movie, they'll explore that.

[Gloria Estefan]

Yeah, yeah.

[Kristin Chenoweth]

You mentioned Feeling Green when you went into Wicked, and then you moved on from Wicked and went into a Broadway principal contract. Was there anything in your time with Wicked that you learned that you feel, like, prepared you to go into Wednesday?

[Gloria Estefan]

Oh, for sure. I think just all the inner workings of, like, how rehearsals were going to work and. And Adam's family was even quicker. I mean, I only had two weeks of rehearsal for that, so that was instant. You know, we were right there. But it was, you know, just. Just understanding dynamics of. Of how a company works and, you know, who's in charge and all of those things. So it was really good to have learned all of that. When I, you know, went into Broadway, I still made mistakes. You know, I was young and was late too many times and things like that. Things that were just young person unprofessional stuff. But it was. It's all a learning curve, right? And you can only know what you know. And so, yeah, it was. It was great. And learning. Learning how important the dance captains were and. And how, you know, it was, like, integral to. To be a team with them, you know, and that they. They were. They were noting you after the show, and they were pretty much teaching you the show. So I just have utmost respect for the swings and the dance captains, like, good God. The information that they keep in their heads.

[Kristin Chenoweth]

Okay, so tell us about this new album that you have coming out that will be out by the time people are listening to this.

[Gloria Estefan]

Yes, yes.

[Sara Bareilles]

And also to. I want to add to this question is, like, there seems to be this great overlap between, like, Broadway artists and Nashville artists, and, like, the chops that are required to be great in both fields overlap. And I think you're such a good example of that. So I would be curious your take on that as well.

[Gloria Estefan]

Thank you. That's so sweet. I had obviously, like, I tried to move back to New York. Covid happened, but I had really decided, like, I am. I have been having fun doing country music, but it has never really felt like me. It felt like something I could do, you know, like, it was a mask I could wear and I could put it on because I loved the style. But, like, who I really was in my heart was a storyteller, and I think that's why I related to country music in that way, because that is one of the things that kind of overlaps with country and Broadway. But I was a storyteller, but Also, I became who I am today. Like, my early 20s were spent in gay bars. That's where I developed my sense of humor, you know what I mean? In open mic nights at the Duplex. So, like, and the things that I love about the storytelling aspects and. And everything of country music, like, yes, but that's not where I'm rooted. I'm rooted in musical theater. And when I go to New York, I feel like I'm home. These are my people, you know, And I don't think, you know, there's so many. I was just at. I just did the Janus jam for Matt DeAngelis, and we had a bunch of, you know, a bunch of friends that were singing, and there were, you know, so many people. Like, ran into Caroline Bowman is a great example. Like, I love her. And we chat on Instagram. Dude, I don't even remember if we've ever actually met before. But it's like, we are part of this community, so therefore we are friends.

[Kristin Chenoweth]

Yeah.

[Gloria Estefan]

You know, and when we see each other, we hug. How are you? You know, instantly we're talking about real stuff. Like, that is our community. And we're also just so supportive of one another. And I. I really love that about Broadway, and so that. That community has always been super, super important to me. But to get back to the. To the album, so I tried to move to New York that I had decided that, like, that is where I want to be. I want to go back. Broadway is it for me, and I want to try again. And so then Covid totally obviously ruined that plan. And so I came back to Nashville and just kind of put my head down and. And in that space and in that time, you remember, like, music was not where we were going to make money for a little while.

[Kristin Chenoweth]

Yeah.

[Gloria Estefan]

So I just got really focused on real estate, actually, and decided to have another kid and had my middle son, Elliot. He was my Covid baby. And so I started selling new construction real estate in Nashville, you know, and just kind of, like, made a very clear decision in my mind that music didn't exist for a little while. Like, I can't. If I'm not thinking about it, I can't be sad about it. So I'm just going to have tunnel vision and just sort of put it away for a while. The years passed, and, you know, I'm four years into real estate, and I sort of went, okay, I really miss music. I need to figure out a way to put it back in my life. And I don't like where my relationship is. With music right now. So we gotta fix it.

[Kristin Chenoweth]

Yeah.

[Gloria Estefan]

And so I started dreaming up this plan of doing an album, and I went and sat with a friend of mine named David Wise, who's a really fabulous producer here in Nashville. So that's one benefit that I had being in Nashville is, like, tremendous producers and musicians and engineers and all of it just, like, right here at my fingertips.

[Sara Bareilles]

Right.

[Gloria Estefan]

I went to him and I said, I had this vision, you know, that I had been singing with symphonies since, like, 2014. I. I got this really interesting opportunity to do a pop symphony show called country legends, which sort of married my Broadway credits and the fact that I'd been on X factor as a, you know, reality show contestant.

[Kristin Chenoweth]

The search for Elle woods, the search for Ellen.

[Gloria Estefan]

I kind of married all those things because they like having those types of credits for their pops performers, and it worked out great. And I got to travel and do this, like, really neat country show. And I just. I loved singing with symphonies. I mean, it was like. It gives you the same kind of feeling as when you, like. The wicked score is like, the closest thing, I think, on Broadway to what it feels like to sing with a symphony, because Wicked's so lush.

[Sara Bareilles]

It's a wall of sound.

[Gloria Estefan]

Yes. A wall of sound that's totally it.

[Sara Bareilles]

It.

[Gloria Estefan]

And it's. It's a really. It's a goosebump moment, you know, So I just loved that. And I was like, you know, I think I want to do, like, a symphony Broadway album and bring some of these. Some of my favorite, like, Broadway songs, like, really bring them to life even more with, like, full orchestra arrangement. So this was, like, self funded, and I saved my money and just decided that this was going to be something that I just did. For me, I just want to do a project that can be a legacy, like, where I feel like, you know, this is probably. I don't want to look back in 10 years and go like, oh, that was my vocal height. And I missed it, you know, because I think that at some point we do reach, like, the top, and then it starts to slowly go down. And I hope to always be in good vocal health, of course. But, like, maintenance, you know, I want to capture maintenance, but I want to. I wanted to capture what I've been working for for so long and what I'd been working on and this. And when I looked at my catalog on Spotify, it's like, all country. It's like, you know, this is. This is great that I was able to do this, but what I have really worked 10,000 plus hours on. Is musical theater the genre of musical theater? Learning to sing like this. And I want. I want to capture that. I want to, like, have something for my kids to be like, look what my mom did. You know, and not, you know, not to be morbid or anything, but you just never know, like, how long you have. You never know how much time you have here. And. And I don't. I don't want to leave this earth and go, damn it.

[Kristin Chenoweth]

Yeah.

[Gloria Estefan]

Yeah. There was so much more I wanted to do. I didn't make my musical theater album.

[Sara Bareilles]

On your deathbed. Life of the party.

[Gloria Estefan]

That would have changed lives.

[Kristin Chenoweth]

Do you have a favorite track on the album?

[Gloria Estefan]

Yeah, I think. I think maybe my favorite track is the come what may I love you song mashup. I think that's my favorite one. That one was the one I was really unsure about, but it came together really beautifully. But, I mean, like, it's very hard for me to choose. There's so many on there that are really special to me.

[Kristin Chenoweth]

But I think the Matilda medley is beautiful.

[Gloria Estefan]

Oh, thank you. I'm so obsessed with voctive. They're so cool. And that's my son actually singing on it.

[Kristin Chenoweth]

Oh, really?

[Sara Bareilles]

Really?

[Gloria Estefan]

Yeah. My son and my best friend's little girl.

[Sara Bareilles]

That's really cute.

[Gloria Estefan]

Yeah, we recorded them right here on this mic, actually.

[Sara Bareilles]

Can you talk to us about. You have a lot of very cool guest artists on your. On this upcoming album. Can you talk to us a little bit about how you went about inviting people in?

[Gloria Estefan]

Everyone that's on the album is a friend. So that was. You know, I'm. I really believe in, like, there. I think that there's something that happens probably in all aspects of businesses, but I only know this one. But it's sort of like everybody that moves to New York kind of all around the same time.

[Kristin Chenoweth]

Mm.

[Gloria Estefan]

It's like they're a class, you know, and then they become like, a graduating class together. And everyone that is a part of this is in my graduating class. These are the people that I was singing at the Duplex with. These are the people that I was waiting tables with. These are the people that I was, you know, doing 17 shows a day at Disney World with. It's important for me to bring those people along with me, if for nothing else than, like, I enjoy their company. And I also happen to think that they're some of the most talented people in the world, you know, so, like, there's some.

[Kristin Chenoweth]

And they're safe collaborators that.

[Gloria Estefan]

Yeah, they're totally Safe. And. And I know. I know what I'm getting from them. I know that they're gonna bring everything that they've got to the table. And so that was. That was sort of like my number one goal was to just like, I. Like, if we're not working with people we love, then, like, what are we doing?

[Sara Bareilles]

What are we doing? Yeah, well, and it's nice, too, because this group of people is so much a part of those ten thousand, hundred thousand hours that you spent honing your musical theater craft. So to include them in this is really special.

[Gloria Estefan]

Thanks. That, yeah, they're totally all a part of my journey. And Alistroka was probably the first one I called because I knew I wanted to do some things are Meant to be. And she and I. She married David Perlo, who was my Fiero, as I mentioned. And so she and I got really close. And, you know, she had a child. And so all of. All through her pregnancy and becoming a mother, like, she called me a lot, which was really special for us to get to connect in that way. And so we have a really deep friendship. And so it was really kind of her to. To do that. And she loved that song. So she said yes immediately. And then Omar Cardona and EJ Cardona, those two I worked at Disney with. Literally, Omar and I did High School musical, like, circa 2005, dancing and singing in 100 degree, like, Florida heat Outside.

[Sara Bareilles]

Was probably in an audience for that at some point.

[Gloria Estefan]

Yes. So we were killing it. We're all in this together. I remember I blacked out on that high note a couple of times. Then, like, Natalie Weiss. God, she's such a phenomenal voice. Like, she's. She's crazy.

[Sara Bareilles]

And of that same class, that same.

[Gloria Estefan]

Same graphic.

[Sara Bareilles]

Early YouTube era.

[Gloria Estefan]

Yes. Yes. Like, Natalie and I met. I don't even know. I don't. I don't even remember when we met because we've just known each other for so long, and we met, like, at a singing at a new works thing at Joe's Pub or something.

[Sara Bareilles]

Duplex.

[Gloria Estefan]

Yeah, yeah. You know, one of those open mic night things. And we all knew who Natalie Weiss was because of her beautiful, you know, YouTube covers and everything. But through the years, we've, like, taught some master classes together, and we've always remained friends. I still go to her sometimes for, like, voice lessons if I need some help. Like. Yeah, she's just. I respect her so much. And I had put together that Les Mis medley, and I was originally going to sing it all by myself. Like, it wasn't going to be a duet. I was just going to go back and forth and I was like, actually, this would be such a cool duet, but I want it to be kind of pop. I kept kind of cycling through, who should I ask? Who should I ask? And I just kept coming back to Natalie, you know, when I would imagine who could do what they could do with their voice was like, oh, it's Natalie. So she's just so good. And then voctive. I mentioned them before, but. So the director, producer, arranger, the guy that oversees the whole thing, his name is Jamie Ray, and we have been friends since I was 9 months old. Literally known him pretty much my whole life. And so I just feel kind of lucky that I just accidentally ran across all these really talented people through my life and got to collect them and put them in my pocket.

[Kristin Chenoweth]

Well, it's a really beautiful album and congratulations on getting it done and out. It's called Stages and it is available to stream now.

[Gloria Estefan]

It was a labor of love and hopefully my kids think it's worth it because they didn't see me very much the past year and a half.

[Kristin Chenoweth]

Rachel, this has been so fun. Thank you so much for coming on and talking with us.

[Gloria Estefan]

Oh, my gosh, it is my absolute honor. I'm just such a fan of you guys and thanks for all the good work that you're doing in the theater space, and you guys are awesome. Thank you.

[Kristin Chenoweth]

And we'll see you back in New York one day.

[Gloria Estefan]

Yes, I hope so.

[Sara Bareilles]

Yeah. Pandemic not invited.

[Gloria Estefan]

Yeah, no more pandemics.

[Kristin Chenoweth]

You've been listening to sen. Sentimental Men.

[Sara Bareilles]

We'd like to say a big thank you to everyone at the Broadway Podcast.

[Kristin Chenoweth]

Network and a special thanks to Mikayla Reynolds and Julia DiMarzo, our photographer and logo designer. You can find Sentimental men on Instagram, TikTok and Xentmenpod, or you can email.

[Sara Bareilles]

[e-mail] till next time.

[Kristin Chenoweth]

I'm Quincy.

[Sara Bareilles]

And I'm Kevin.

[Gloria Estefan]

Foreign.

[Patti LuPone]

Hello and welcome to the Cheese Wheel Podcast, your new favorite podcast about hyper fixations gambled on a wheel. In this podcast, we are covering anything that we want to talk about, but the problem is we don't know what we're covering every week and it's something new every time. And I am joined by two of my co hosts. Andrew DeWolfe.

[Kristin Chenoweth]

Hello.

[Gloria Estefan]

Hello. I'm happy to be here.

[Patti LuPone]

And Liz Esten.

[Gloria Estefan]

Hello. Also very happy to be here.

[Patti LuPone]

And this show is weekly and every time someone else brings something to the table. That's a little bent. We're gonna be covering anything and everything, including chaperones, new album, Spy Kids, and the film version of Waitress. We're gonna have a new episode every Friday, and you're gonna see the vast arrays of interests we might have. Andrew, what might be one of your.

[Gloria Estefan]

Oh, I mean, I could pick something like, I don't know, famously bad movie Miami Connection, and we could have a good time watching something that I love that's kind of terrible. Or I could pick something incredibly good, like. Like Jacob's Ladder, which is my favorite.

[Sara Bareilles]

Movie of all time.

[Patti LuPone]

Incredible. And, Liz, what about you?

[Gloria Estefan]

I don't know. I go something like A Walk the Dewey Cox Story, so I can talk about my favorite comedy since Jess didn't let me do it on the old podcast.

[Patti LuPone]

Well, funny you bring that up. In case you're wondering what happened to Musicals with Cheese, we ended that show. But the show's still here and living on in season one. So if you want to go back and listen to our backlog, that's still here. But right now, we're just the cheese wheel. Please keep on listening. We got a lot of fun stuff to come, and we hope that you like what we're doing.