73. Make It Work! Make It Work! (with Tatianna Córdoba)

Summary

Sentimental Men - Episode 73: "Make It Work! Make It Work!" (with Tatiana Córdoba)
Released on June 6, 2025

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Introduction

In Episode 73 of Sentimental Men, hosts Quincy Brown and Kevin Bianchi delve deep into the vibrant world of musical theatre, focusing on their admiration for prominent women in the field. This episode features an engaging conversation with Gloria Estefan and an insightful interview with Tatiana Córdoba, a rising star in Broadway's Real Women Have Curves.

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Exploring Classic Musicals: Gypsy and Sunset Boulevard

Quincy and Kevin kick off the discussion by reflecting on their experiences with iconic musicals. They share their excitement about recent performances and the profound impact these shows have on them.

Gloria Estefan reminisces about her love for Wicked, highlighting the electrifying performance of Elphaba:

"I love watching Wicked. I love watching Elphaba girl go off. I love watching I do it."
[00:35]

Sara Bareilles adds her enthusiasm:

"Yes."
[00:45]

The conversation then shifts to Gypsy, where Sara discusses attending a Tiny Desk concert featuring the cast:

"We have a lot to talk about. It was a long time ago and we were all very young. I went... we have all four principals, plus the three strippers. All were there."
[02:12]

They express admiration for Audra McDonald's performance, noting her ability to bring depth and freshness to classic roles:

"Seeing Audra do Gypsy was very akin to seeing SJB do the Baker's Wife for me or see SJB do Into the Woods. I loved it. I thought she was so good."
[04:31]

The hosts also discuss Sunset Boulevard, with Sara sharing her emotional response to the production:

"I did cry when he went outside... it was just so visually beautiful."
[07:05]

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Interview with Tatiana Córdoba: Breaking Barriers in Musical Theatre

The centerpiece of the episode is an in-depth interview with Tatiana Córdoba, a powerhouse vocalist making her Broadway debut in Real Women Have Curves. Gloria Estefan shares her personal journey and the significance of representation in theatre.

Tatiana's Journey to Broadway

Tatiana discusses her path to the stage, emphasizing her dedication and the challenges of being a first-generation college student:

"I was trained mostly doing theater outside of school and then moving into the more contemporary musical theater world as it started gaining popularity."
[20:45]

She reflects on her experience auditioning and landing her role swiftly:

"I got a tape for it on a Sunday and that next Saturday I got the part. So it was a whirlwind."
[25:11]

Connecting Personal Experiences with Her Role

Tatiana highlights the deep connection between her personal life and her character, Ana, in the show:

"When there is so much overlap, I have learned that you just have to lean into that... It only makes it richer."
[27:47]

She speaks passionately about representing her community and the importance of authenticity in her performance:

"As an actor, your job is to play other people. So to get a chance to, you know, the possibility of playing yourself and representing your community is so, so cool."
[26:15]

Navigating the Demands of a Leading Role

Tatiana opens up about the challenges of her first professional gig, balancing the excitement with the pressures of leading a major production:

"Taking that on... to be so new in your professional career and for this to be your first... It was really terrifying."
[40:15]

She shares strategies for maintaining her well-being amidst a demanding schedule:

"I'm learning how important it is to be okay with asking for grace or rescheduling... Moving forward, I feel like I won't be as scared to ask for those things."
[46:40]

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Behind the Scenes: Building Community and Resilience

The episode also delves into the communal spirit of the Real Women Have Curves cast. Gloria Estefan emphasizes the supportive environment and the collective effort to create a meaningful production.

"Our goal, as soon as you watch the opening number, is to feel like you're a part of that community so that you're strapped in with us the whole time."
[32:08]

Gloria discusses the balance of serious themes with uplifting moments, ensuring the show remains both impactful and heartwarming:

"There are these things that are really scary... but through that, they're still singing, they're still dancing, they're still making jokes."
[33:20]

The hosts commend the show's ability to address pressing issues like immigration without overshadowing the inherent joy of the production:

"It's important to include those themes and to include those really scary grounding moments. But it does not come at the cost of the joy of the piece."
[36:11]

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Celebrating Achievements and Future Aspirations

Towards the end of the episode, the conversation shifts to the show's reception and the personal triumphs of the cast members. Despite not receiving the anticipated Tony nominations, the cast remains resilient and proud of their work.

"We were down, but we were so, so over the moon for Justina and Joy and Ben. We were like, yes, that."
[50:00]

Gloria expresses her excitement for the upcoming cast album and the enduring impact of the show:

"We're so excited for the cast album to come out in a week and a half. It's such fun music to sing every night."
[51:12]

Looking ahead, Tatiana shares her dreams of originating roles and continuing to represent her community on stage:

"My dream has always been to try to be a part of the representation I didn't see. And I'm doing that in real time with this role."
[55:47]

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Conclusion

Episode 73 of Sentimental Men offers a heartfelt exploration of the intersections between personal identity and professional artistry in musical theatre. Through engaging discussions and an inspiring interview with Tatiana Córdoba, Quincy and Kevin celebrate the resilience, creativity, and community that define Broadway's leading women. Listeners are left with a deeper appreciation for the dedication and passion that fuel the magic of musical theatre.

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Notable Quotes:

• "Audra McDonald is my first it was the wizard of Oz and Judy Garland, and then it was Annie starring Audra McDonald." — Sara Bareilles (04:15)

• "As an actor, your job is to play other people. So to get a chance to, you know, the possibility of playing yourself is so, so cool." — Gloria Estefan (26:15)

• "Our goal is to feel like you're a part of that community so that you're strapped in with us the whole time." — Gloria Estefan (32:08)

• "Some things aren't for me. And that is okay." — Gloria Estefan (57:59)

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Transcript

[Kristin Chenoweth]

Hi, y' all. This is Kristin Chenoweth.

[Gloria Estefan]

Hi, I'm Gloria Stefan.

[Sara Bareilles]

This is Sara Bareilles. Hi, I'm Patti LuPone.

[Gloria Estefan]

This is Lin Manuel Miranda.

[Sara Bareilles]

You're listening to the Broadway podcast Network.

[Kristin Chenoweth]

What is daddication?

[Lin-Manuel Miranda]

The thing that drives me every day as a dad is Dariona. We call him Dae Date for short. Every day he's hungry for something, whether it's attention, affection, knowledge. And there's this huge responsibility in making sure that when he's no longer under 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 love watching Wicked. I love watching Elphaba Girl go off. I love watching I do it.

[Sara Bareilles]

Yes.

[Gloria Estefan]

I don't know if I want to do that eight times a week. That's crazy. I think that's a little illegal to ask of someone.

[Kristin Chenoweth]

I'm Quincy.

[Sara Bareilles]

And I'm Kevin, and this is Sentimental Men. We're here to talk and maybe scream about our favorite women in musical here.

[Kristin Chenoweth]

I had a dream. I dreamed it for you, June. It wasn't for me, hubby. And if it wasn't for me, then where would you be, Miss Gypsy Rosalie?

[Sara Bareilles]

So we saw Gypsy.

[Kristin Chenoweth]

Kevin, I feel like you should talk about it because I know this is your top.

[Sara Bareilles]

Well, it just like.

[Kristin Chenoweth]

Well, and also you went to the. Sorry. You also went to the freaking Tiny Desk.

[Sara Bareilles]

We have a lot to. To talk about. It was a long time ago and we were all very young. I went. So a couple months ago, I did. I went to the recording of the Tiny Desk concert of the cast of Gypsy, which I went, having very little expectation because I didn't. You don't get to know, like, who's gonna be there, how many songs they're gonna do or anything.

[Kristin Chenoweth]

It's like very hush. Hush.

[Sara Bareilles]

It's very hush.

[Kristin Chenoweth]

We got a very cryptic email saying they couldn't tell us who. Yes.

[Sara Bareilles]

They were like. They were like, here's a list of dates. Pick two, we'll pick one, and then we'll let you know who it is. And. But so anyways, it was really cool for a couple reasons, but most of all, first of all, the whole cast was there. I was like, oh, it's like on a Monday. It's on their day off. Maybe, like, Joy and Jordan are gonna go. You know what I mean? I was not expecting all four principals, plus the three strippers. All. All were there. But when you're there, it's not amplified. Like, you're just hearing the raw sound in the room. They're capturing it for editing, but they're not amplifying it.

[Kristin Chenoweth]

What is the room? Is it like a classroom?

[Sara Bareilles]

No, baby, it's like an office you work in that is literally really. That is like the corner of a large, open office space, and it's.

[Kristin Chenoweth]

Is it like the NPR office?

[Sara Bareilles]

Yes. And literally, like, they'll start, and everybody's like. And they, like, all sit and watch and listen. And then as soon as it's over, everyone was, like, great and back to work. Like, it was such a weird. Not at all where I imagined it being. It was really cool. But what was so cool was to, like, hear them singing. Specifically to hear Audra McDonald singing Unfiltered, Straight from her mouth to my ears.

[Kristin Chenoweth]

That's cool.

[Sara Bareilles]

Was really, really special because Audra McDonald is my. Like, first it was the wizard of Oz and Judy Garland, and then it was annie starring Audra McDonald, baby. Audra McDonald on that Soprano 2 line. We have but one request. It's engraved excellent in that movie. And she's, like, fresh out of school. She's so young. She's so good.

[Kristin Chenoweth]

Should we watch that movie?

[Sara Bareilles]

I've rewatched.

[Kristin Chenoweth]

It came up in our freaking interview, too.

[Sara Bareilles]

I know.

[Kristin Chenoweth]

Wow.

[Sara Bareilles]

But that. So Audra McDonald is very much like, it was Judy Garland and then it was Audra and Kristin Chenoweth as far as, like, my lore of musical theater ladies. And so to hear her voice directly was very special. Which then brings us to. Seeing the show was equally as special because I also love the musical Gypsy. This, like, almost as much as I love into the Woods. And so it was very much like.

[Kristin Chenoweth]

Across the street two years ago.

[Sara Bareilles]

Yes. Yes. It was very like, seeing Audra do Gypsy was very akin to seeing SJB do the Baker's Wife for me or see SJB do Into the Woods. I loved it. I thought she was so good. It was like, I don't have anything else to compare it to because it's like, when else do you watch the Master do, like, the greatest role? There are so few chances that we get to see that happen. And it's like, I know Gypsy gets revived every 10 years or so, but it's like, I'm so grateful that this time it was Audra. I feel very lucky to have seen her interpret this role. It's impeccable.

[Kristin Chenoweth]

It's joy Woods.

[Sara Bareilles]

It fits her like it was written for her. It's really incredible. And Joy woods is insane. The way that role is crafted around her, like the dance that they added in the Garden of Eden section. And, like, she's just a different read.

[Kristin Chenoweth]

On the character than I've seen before.

[Sara Bareilles]

Yes. And it's all I love. Like, every interview they do, they're like, we didn't change a single single word. Like, every. Every change that you feel is just a change, like, of the actor. And I feel like that is very. That permeates the whole production is. It's like every. Everything feels so, like, actor driven. Even Leslie Margarita, in that long scene in the dressing room, I was like, you better act the house down, boots. And just like, carrying that, like, 15 minute section of the show. It really is this, like, everybody agrees this is one of the greatest books ever written for a Broadway musical. And that is, like, so clear in this production because everybody is just chomping on these meaty roles.

[Kristin Chenoweth]

You also saw Sunset Boulevard.

[Sara Bareilles]

I also saw our girl Mandy in Sunset Boulevard. In Sunset Boulevard. My first time seeing this production.

[Kristin Chenoweth]

All right, let's hear it.

[Sara Bareilles]

Okay, I'll lead with this. I did cry when he went outside.

[Kristin Chenoweth]

Really? When he went outside, made you cry?

[Sara Bareilles]

I cried because. Okay, here. So I also. Okay, wait. I have so much. I literally was like, this is theater. I went on Pierre Marais, Joe Gillis debut. He looked good, baby. So I didn't know that it was his debut going in, but because it was. Everybody was very electric. But, like, something about, like, like 44th street is so pretty. And like, something about, like, the camera they're using and the, like the filter they have on the camera.

[Kristin Chenoweth]

Walking by the boop under slings. I got so teary eyed. No.

[Sara Bareilles]

And like, the lights of Times Square in the background, like, it was just so, like, visually beautiful. And like Norma sitting there watching it. I don't know, it really hit me in just the right way that I did cry a little bit. And then when he came in, jumped up to give him a standing ovation, which I don't know if that happens every night, but it happened. Probably his debut, because it was. Yeah. So that was so exciting. And then I did cry at one other point. I forget one of one of Mandy's big songs. I shed a little tear. I can't remember which is if we never said goodbye. It was. It might have been that or it might have been. It might have been. With one look.

[Kristin Chenoweth]

Honestly, that early on.

[Sara Bareilles]

No. I don't know. Anyways, they both did get a tear. Oh, no, I know what it was. I didn't cry completely, but I did. I, like, I gasped and I got a little misty in the new year scene when all the set went away, and there was that big wall of beads along the back, and just the two of them so tiny in this big, huge space. It's a beautiful production. It's goofier than I was prepared for. Like, there's. There's much more of a sense of humor than their outward presence would believe. Lead you to believe. Yeah.

[Kristin Chenoweth]

How was Mandy?

[Sara Bareilles]

Mandy was phenomenal. Phenomenal. It really, like, fits her voice so well and fits each part of her voice. I don't have, like, Nicole's performance to compare it to, but I thought that, like, her embodiment of Norma was so kind of like we're talking about today in our interview is, like, it felt like it started with her. Like, it. It feels so much like, man. Like Mandy Gonzalez as Norma Desmond. Not just like Mandy Gonzalez doing Nicole Scherzinger as.

[Kristin Chenoweth]

Right, Yes. I think that's true for the covers. They let them kind of do their own thing.

[Sara Bareilles]

Yeah. It was so specific and so, like, you know, having seen her in a few things across the years, like, her sense of humor landed on the role so beautifully, and, like, her relationship to the camera was so fun. Like, she. She really knew, like, when her moments were to play and be silly. I loved the way that she kind of showed us how and why Norma is, like, becoming unfashionable in her film career. Like. Like seeing, like, everybody else give these. Very, like. But Norma, what if I don't want to stay here? And she's like. Because I. Da, da, da, da. Like, and it's like that usage of the camera and Mandy's use of that in that way was. Was so good. Was so good. And, of course, it's like she sounds like she's singing it once a week, you know, like, she's. She's in the pocket. She's good.

[Kristin Chenoweth]

Yeah. I didn't get to see Sunset with you, so I haven't seen Mandy. I did have a sunset week, though, in the sense that I met Tom Francis at an event, and he told me I had a beautiful smile. And then I met Nicole Scherzinger at something else where I told her, you're gonna win that Tony. So now that you have seen Gypsy and Sunset, where do you fall in the Tony debate?

[Sara Bareilles]

Well, like I said, I don't have Nicole's performance to.

[Kristin Chenoweth]

Let's just talk about revival we don't have to talk about actor.

[Sara Bareilles]

This is very. I knew you were gonna ask me this. And it is feeling very, like, bombshell hit list for me. Like, it's very like one. One is a very, like, Broadway musical. It is a.

[Kristin Chenoweth]

An.

[Sara Bareilles]

It is a revival that honors the, like, art form of the musical. But then the other is like, but what if we did musical theater in 2025 and it's like the use of the camera I really liked more than I was expecting to, because as you might remember from our pre Sentimental Men days, I did not love the cameras in the west side Story revival.

[Kristin Chenoweth]

I loved that revival so much. That's like my biggest thing about COVID Not my. Well, I shouldn't say my biggest thing.

[Sara Bareilles]

If that was your biggest thing about.

[Kristin Chenoweth]

COVID But a deep cut that the Pandemic gave me was the fact that it shut down that revival of west side Story, because that was. That was art to me.

[Sara Bareilles]

That was a really cool. In a lot of ways. But something about the. Maybe it was because, like, in that, like, the cast would, like, go into a little room and do the show like a movie and you couldn't see them. And the screen at this. I don't know what. Like, it just like, it clicked really well for me. And the use of the camera, I think because of the subject matter of the musical, felt. It did not feel gimmicky at all. Like, it. It was like, oh, I can't believe it took this long for us to see a movie sized image of Norma Desmond. I don't know which way I think it's gonna go, but I think one show will get best actress and the other will get best revival. I agree, but I. I can't say safely which way that'll go without having seen Nicole.

[Kristin Chenoweth]

Who are we talking to today?

[Sara Bareilles]

Well, today we're talking to Tatiana Cordoba, flying away. Star, legend and icon of real women have curves.

[Kristin Chenoweth]

Who is that on the playbill of real women have curves?

[Sara Bareilles]

It's not Tatiana. I don't think it's anybody in the show. It's not America Ferreira, the ghost Playbill.

[Kristin Chenoweth]

We're just these two. Casey Levy, Richard Fleeschman, esque.

[Sara Bareilles]

Yeah. Like, imagine if the gypsy playbill also just had, like, people who looked like, you know what? This is giving. It's giving when Laura Bell Bundy left Legally Blonde and they switched to, like, an illustration of her so that it wasn't her likeness. This is giving. We're gonna run for a long time, and we don't want it to change. It but we're talking to Tatiana today, which I'm really excited for, because you and I were both so taken with her when we. When we saw the show. Powerhouse vocalist, incredible voice. One of the best voices, like, new voices on Broadway.

[Kristin Chenoweth]

On stage, the entire show?

[Sara Bareilles]

Yeah, on stage, the entire show. It is just like a little powerhouse performance that she's giving, and it's really. I'm really excited to talk to her at this early stage of her career because I think that's a perspective we don't often get on our show. We're usually, you know, talking to people who are a couple Broadway shows.

[Kristin Chenoweth]

It can. Think of it. Yeah. Drama League award nominee for Real Women have Curves. This is her Broadway debut?

[Sara Bareilles]

Yes, this is her Broadway debut. She's young. I was like. I mean, I knew she was young, but in talking to her and, like, hearing her talk in the very recent past tense about, like, graduating and things, I was like, oh, oh, you're. You're young. You're young again. It's giving Laura Bell Bundy leading legally blonde at 26 crazy. I know. I'm like, you're so brave. You're so young.

[Kristin Chenoweth]

Wait, before we get into the interview, I don't think I've talked about this on POD yet. You must watch the Next Normal Pro shot on pbs.

[Sara Bareilles]

I know, I know. I have to watch it. I'm off tomorrow. Maybe I'll watch it tomorrow.

[Kristin Chenoweth]

Watch it today. Turn it on, skip work. Watch it today. It's so good. A lot of it is, like, you're watching Next Normal for the first time. Like, the story just feels so much more fleshed out. And I also think, because Next Normal was one of those shows that, like, was just a thing when I was first learning about theater, but maybe not fully brain developed yet. So there's a lot about Next to Normal that I just, like, accepted as fact or as canon without really connecting the dots for myself. And in watching it now, the Through Line, it's so well crafted and. But I also think that's the way it's been directed and the way it's being performed. Like, it really ties together a lot of things that maybe weren't tied together in the original production.

[Sara Bareilles]

Yeah.

[Kristin Chenoweth]

And Casey Levy is so incredible in it. Oh, my God.

[Sara Bareilles]

I can't wait. I can't wait. I loved Next to Normal so much in its heyday, but I was also, like, a freshman in college, and I was just like. Because, like, I'm gonna be gay. And then I will say, like, probably, like, two years ago during the pandemic. Probably, like around my 30th birthday, I like revisited it. Revisited it for the first time as like a mentally ill adult. And I'm like, this hits very differently. I don't have kids or anything. Not like my circumstances are so different, but just like that. I have enjoyed discovering how different that show is as you age. And like the, the themes of growing up and the themes of adulthood versus young adulthood are just very interesting. I'm very excited to watch this production.

[Kristin Chenoweth]

Well, and it also likes, I think it shows like the growth that the culture and society has had in talking about mental health and understanding the nuance of mental health and mental illness from OG production to this one. Because the way that Casey is portraying bipolar is so drastically different than the way that it was done in the original production and so layered and nuanced and interesting. And it's just. It took me three nights to watch because I kept pausing the songs after they were done to cry and then restarting it. It was like, it's intense.

[Sara Bareilles]

Yeah, I'm very excited to watch it. And I love visually how, like, realistic this set looks like. I think setting a show like this in something that you don't have to imagine it in, like when it's just the framework of the house, it's like you can kind of fill in the gaps and remove it from the reality a little bit. But when it's a photorealistic set of.

[Kristin Chenoweth]

A house, they're pouring oat milk into their coffee.

[Sara Bareilles]

It just like grounds that, that story.

[Kristin Chenoweth]

And the kids read more as kids in this production than they do in the original. Gabe is like a completely different take. It's super interesting.

[Sara Bareilles]

Gosh, we could do a whole season of the podcast about Aaron Tveit and the Broadway body and the, the way that teenagers look on stage, it all.

[Kristin Chenoweth]

Started, it brought me back to like, they had him come out in his boxers in Just Another Day and as this sex object. And I was like, is this supposed to be a 16 year old in retrospect?

[Sara Bareilles]

Well, yeah, I mean, it was heavy on the Oedipus complex, but I was like, this is supposed to be again at the time. I'm 16. I'm like, yes, this is amazing. I love Broadway. But yeah, now I'm like, oh, yeah, this could just be a child. This could be a teenager that the mom doesn't want to fuck.

[Kristin Chenoweth]

A kid in like a zip up hoodie and a striped shirt. Yeah, I highly recommend everyone go watch it. Should we fly away into this interview with Tatiana Cordoba?

[Sara Bareilles]

We should fly away into this interview. De nada.

[Kristin Chenoweth]

Ay, muchacha.

[Sara Bareilles]

Ay, muchacha.

[Kristin Chenoweth]

Tatiana Cordova, thank you so much for joining us on Sentimental Men today.

[Gloria Estefan]

Of course. I'm so excited to be here.

[Kristin Chenoweth]

So backstory on us is we started off as like, a Wicked centric podcast. So when we have non Wicked guests on, we like to start off with what is a touch point that you have with the musical? Because I think we realize that everyone has a touch point with Wicked.

[Gloria Estefan]

That was the first musical I ever saw. Like, the first, like, Broadway. I didn't see it on Broadway. That wasn't my first Broadway musical, like, on Broadway, but it was my first Broadway musical on. On tour in San Francisco. That was the first one I ever saw. And like, hello. It blew my mind. Like, that's like, just also just personally the best musical to show anyone who's never seen a musical before because then they, like, get it. Because how does your. How do you not get your mind blown? So that was my first experience with it. And I mean, it's the best way to fall in love.

[Sara Bareilles]

Yes.

[Kristin Chenoweth]

Do you remember who you saw?

[Gloria Estefan]

Oh, my God, I don't. You know what, though? I still have the Playbill somewhere, so I should actually check because.

[Kristin Chenoweth]

Find it and let us know.

[Gloria Estefan]

Because I was like 11 or 10 or 11, and I bet I saw someone crazy without even knowing that I did. So I should actually check.

[Kristin Chenoweth]

Okay. So what is your journey? How did you end up on Broadway? And real women have curves.

[Gloria Estefan]

I'm still wondering. I mean, it's been so crazy. I been doing musical theater basically my whole life. I started off doing ballet, and my dad's a singer, so I've always been singing in my life. And I remember my parents showed me the movie Annie, the 1980s Annie. And that was another, like, my. That was my first ever mind blowing moment where I was like, that's crazy. That's so amazing. Yeah. Oh, my God.

[Sara Bareilles]

Like, my Annie is in my origin story so far. Yes.

[Gloria Estefan]

Oh, my God. Just so good. And ever since then, I was just always doing it. And then I went to art school for middle school and high school. And at art school, my focus was actually contemporary voice, so. And my dad being a singer. So I grew up mostly doing theater outside of school. And then I was training, like, R B, pop, that kind of stuff is what I was being, like, trained in. So that, like, sort of meshing together at the same time as, like, Hamilton coming out and as the same time as Hadestown, like, coming through was a.

[Kristin Chenoweth]

Really more Contemporary sounding scores too.

[Gloria Estefan]

Yeah, yeah. Which I. I love all the, like, classic stuff too, but I never sort of knew my exact place in musical theater until all that stuff started coming together at the, like, perf. Peak time of, like, my adolescence of like, okay, what do I want to do next? And that kind of stuff that was very much in my wheelhouse started coming up and. And becoming really popular. And I was like, oh, okay. Like, this is. This is awesome. So, yeah. And then I. And then I went to college for musical theater at Boston Conservatory at Brooklyn College of Music, which was an experience.

[Kristin Chenoweth]

Wait, tell us more.

[Gloria Estefan]

I honestly didn't want to go to college. I mean, I've never. My parents knew from a very young age that none of their children would be academics. Just that was. It was not gonna. None of us were gonna be, you know, saving lives or anything like that. But. But I. They were like, really pushing me to apply, and I did, and I was privileged enough to get a really good scholarship, and they were like, you're going. As soon as I got money, they were like, you're going. That's just. So I'm a first generation. And being first generation college student, what, like that. Not. Not pressure that they gave me, but that pressure on myself to like, do that for them was something that was very real for me. But anyways, it was just a crazy experience. I mean, also going from the Bay Area to Boston was a bit of a culture shock. Boston musical theater program was like. Was like really crazy. And you know, going from where, you know, where I grew up in like the Oakland area of the Bay Area, like, I grew up with mostly black and brown people, and then it was like such a 180 switch in the musical theater program, and it was very. Just. It was so crazy. And as much as Covid was awful and terrible, it ended up being actually a really great moment for me to not to be away from. To be able to study, but be away from that environment was really awesome for me. But it was. Yeah, just a crazy.

[Kristin Chenoweth]

Because. Did you go back to the Bay Area during the pandemic?

[Gloria Estefan]

Yeah.

[Kristin Chenoweth]

Gotcha.

[Gloria Estefan]

Yeah. Which was awesome. And yeah, just having. Getting to still train but have that space was really cool. But yeah, just also going to college during COVID was just. It was just a crazy four years. So when I say an experience, there's just a lot of things going on. But yeah, and then I moved back home to the Bay Area after college to save up, and I worked, oh my God, so many crazy, different weird jobs, and then moved back Here. And I've been, you know, auditioning ever since, out of college. And this. This show, Partic in particular was just crazy because I had been in for it a few times over the past, like, two, three years.

[Sara Bareilles]

Yeah.

[Gloria Estefan]

And then I got a tape for it on a Sunday and that next Saturday I got the part. So it's like just quick.

[Sara Bareilles]

Yeah.

[Gloria Estefan]

Whirlwind.

[Sara Bareilles]

Would you have overlapped with it at all when it was at art? Were you at school still at that point?

[Gloria Estefan]

No, that was my year. I believe that was my year at home.

[Sara Bareilles]

Okay.

[Gloria Estefan]

Yeah, I really wanted to see. Yeah, and I really wanted to see the production. Because, I mean, as a young Latin actor, as soon as you hear about something that identifies you as with you so much, especially when, you know the Latin musical theater canon is very, very small, very limited. So when you hear about something you really like, you follow it for, you know, whether you're a part of it or not. Like, I was gonna support that show regardless, so I really wanted to see it. But, yeah, I didn't get a chance. Cause I was home at the time.

[Kristin Chenoweth]

And it feels like hearing your personal story, there's a lot of overlap between your character's journey in the show, being first generation, going to college, and yours as well.

[Gloria Estefan]

Yeah, yeah. That's another. Like, I. As soon as I heard about this show, I was like, I don't care at what part of the process. I don't care if I'm one of the sewing machines. I don't care what it is. I want and need to be a part of this process at some point. Whether, you know, even if it's for one workshop. Like, I just really felt a need to have my hand in it, be a part of the blueprint of the making of it at some point. Because it felt so, like, close to home and reflected my journey so much and couldn't have been more of a special show. To be a part of identifying with everything that the show talks about. Being bigger bodied, being brown, being a woman, like, just right. It. As an actor, your job is to play other people. So to get a chance to, you know, the possibility of playing yourself and representing your community is so, so cool and not something that always comes up.

[Tatiana Cordoba]

Right.

[Gloria Estefan]

So that was always something that I. I was always so excited about this project.

[Sara Bareilles]

Can you speak a little bit more to, like, kind of the difference between when you are approaching a character and the Venn diagram is like a little bit of overlap between you and the character versus something like this, where you're handed this Material and the. The well of what you're starting with is so much deeper because of the larger overlap.

[Gloria Estefan]

Yeah. Yeah, that's a great question. I think that when there is so much overlap, I have learned that. I think that you just have to lean into that. Like, lean into it being your story and being so much of yourself. I think that that only makes it richer. And I think especially just. Not even just with my character, Ana, but just the show in general. This story is so deep to everyone in the cast and in their own ways. So this show being about a community of Latin people, that's what we are in the rehearsal space and with each other every day. So, you know, just diving deeper into what that means, I feel like. And leaning into the familiarity of it, I think, is what has made it more real. And I think that's also what audiences have gravitated towards is I think they can feel how much of ourselves we're putting into it.

[Kristin Chenoweth]

I think something that really comes across in the show and watching it and all of your cast and you. Or social media efforts is how much you all love the piece and enjoy being around and with each other. It just feels so earnest.

[Gloria Estefan]

Oh, my gosh. Yeah, we. I tell the social media team all the time that they got. So I. We all tell them. We're, like, take advantage of us because you have the silliest, most willing group of people, and because especially Most of us, 90% of us as Broadway debuts. Like, we're so excited to do all those things. Like, it's so fun for us, and we genuinely do have so much fun, like, making those creative. I don't know if you. You've seen it yet.

[Kristin Chenoweth]

The Tony dresses video was hilarious.

[Gloria Estefan]

That's what I was about to say. That's what I was about to say. Oh, my God.

[Kristin Chenoweth]

Whose idea was that?

[Gloria Estefan]

That was. That was Shelby's. I think that was Shelby and floating and all these ideas. Like, we will just have, like, randomly and like, even. I did a. I had a video idea that the second one's about to come out, but of doing, like, a telen style, like, little thing called Las Chismosas de Boyle Heights. And I was like, that's a lot of work. Like, everybody's busy and tired. But I texted the group chat like, hey, if I can get this from each of you. Like, I had homework assignments. I have this idea that would be great. I got all of them within a day. Like, everybody was just like, let's do it. Sounds great. Like, so it's so fun how, like, Willing everybody is to, like, yeah, do it. Even the voiceover. If you listen to the voiceover in that. In that Della Novella video, that's one of our cast members who. Voiceover is what he mostly does. And one day during intermission. During intermission, I was like, hey, do you have, like, a Antonio Banderas? Like, like, do you have a voice? And he goes like this. And I was like, oh, my God. Record that at home. Go home and record that. This is your script. Do that for me. And it's just. I mean, that's one of the ways that we, like, keep everything, like, fun and fresh with each other, you know, is doing those fun little things.

[Kristin Chenoweth]

Yeah, it's great. And it's like what shows need. And I do social for Broadway shows, and it always is so much better when the cast is willing to play because you can just get so much better content out of it, you know?

[Gloria Estefan]

Yeah. And also just everybody's personality, especially the factory women, all of their personalities that you see on social media really are not that far from what you see on stage. So you really get a sense, and you see that immediately, like, when the show starts. So you really get a sense of, you know, them as people, which I think is awesome.

[Sara Bareilles]

Yeah. And I think that even kind of to touch back what you were saying before, that blurry line between onstage, offstage, it just translates that the fun you guys are having, making the videos and being creative backstage just continues on stage. Because one of the things Quincy and I said after we saw the show was we were like, it feels like the cast wants you to be having fun, as much fun as you guys are on stage. So I think that that playfulness is really tangible throughout the building.

[Gloria Estefan]

Yeah, that's awesome to hear because that is truly, like, what our goal is every time. And I think that the show being so community based, our goal, as soon as you watch the opening number is to feel like you're a part of that community so that you're strapped in with us the whole time. That's awesome to hear.

[Kristin Chenoweth]

And it's a tricky line to toe in the show because the show does deal with some pretty serious themes of immigration and the immigration crisis, but you still walk away being like, wow, what a feel good, warm hug of a show. Can you talk a little bit about when you were building the show, how you layered those serious elements in without letting it kind of overcome the piece?

[Sara Bareilles]

Yeah.

[Gloria Estefan]

I think one thing that Sergio, our director, was telling us a lot when we were starting the process was that he wanted the topics and ideas of immigration and the immigration crisis to sort of smack the audience in the face because. And it does. I mean, the whole first 30 minutes is, you know, is really bright, uplifting.

[Kristin Chenoweth]

You know, it's a party and it's like so happy, and then all of a sudden, bang on the door, lights go off, and you're like, oh, shit.

[Gloria Estefan]

Yeah, right, yeah. And that's the exact feeling he wanted. Because I think one thing that's really amazing about the Latin community, and honestly, just marginalized communities in general is there are these struggles that, you know, that's not the first time that that factory has been almost raided. You know, that's the first time the audience is seeing it. That's the first time Anna's seeing it, but that's not the first time. And that probably won't be the last, right? So these are things that are everyday struggles or worries. And through that, they're still singing, they're still dancing, they're still making jokes, because what else is there to do, right? Like. Like our community has never been one to wallow and never been one to, you know, let outside forces dampen our joy and our. And the culture, the joy that comes from our culture. And I think that that was something that we really wanted to come across, is that there are these things that are really scary that happen, that are forever present in our communities, and that's not gonna, you know, dampen what we have going on. And I think that that's coming from that point of view is what I feel like really beautifully weaves together. Okay, dryer. You know what's funny? I know. Exactly.

[Kristin Chenoweth]

I didn't know if you could hear it.

[Gloria Estefan]

What's funny is I know exactly what dryer you have, because I know that song Two in one. But I think that's what, coming from that frame of mind, I think that's what makes it. That's what weaves it together so beautifully and how the audience is able to, you know, yes, it's stark, but then it doesn't. It doesn't feel out of place, you know? You know what I'm saying? Like, I feel like that mindset that we've been coming from and that way of approaching it has made it, you know, a seamless sort of thing.

[Sara Bareilles]

And especially because, like, unfortunately, y' all are performing this show in a time when this is not far fetched at all. And so to be able to confront that with this, but still we dance, but still we. We live, I think, is not to be all, like, in these times, but like, in these times, that's a hard balance to strike. And it's, I think, a really important to include those themes and to include those really scary grounding moments. But it does not come at the cost of the joy of the piece. It's not the focus of their stories.

[Gloria Estefan]

Right. And I think also one of our goals, too, was to make sure that audiences that might come in feeling like they're not going to understand the Latin experience or they're going to be watching something, you know, that's not their story. I think weaving in those moments with the such real, everyday, you know, family banter and. And. And, you know, talk about menopause and. And, you know, and. And all the, like. All the, like, just normal family dynamic stuff, I think weaving that in with that makes, you know, humanizes that people who think that they don't understand or think that they're so far removed from those experiences. I think it sort of makes them feel a little more in. In a way where maybe when they leave, they feel a little bit more sense of community with our community.

[Kristin Chenoweth]

How did your family react when they first saw the show since there is so much overlap to your personal life?

[Gloria Estefan]

Oh, my gosh. I mean, they were. They came to opening weekends, and my dad, like, could not, like, talk to me for, like, 20 minutes after this show. He just, like, could not, could not talk. And also there was so much, like, anticipation because so much of my family came during previews. My, like, house family, like my mom, my dad, my brothers were the last people to see it. And so they had the worst FOMO for, like, weeks where they were hearing, like. And I was like, don't spoil it for them. Don't spoil it for them. And it was just more than they could have imagined. I mean, not just because they're watching their daughter live out her dream that they've known was something for so long, which it could have been any show, right? It could have been my Broadway debut in any show. And they would have had this visceral reaction. But then to tack on the fact that it really meant something to them and touched them in a way outside of me, just being their daughter was what is. What was really cool to me because I know they're always going to be proud. They're always going to love what I do because they're my parents and whatever. But to know that they really, you know, even if I wasn't in the show, it would have done something like that to them. Makes it, like, even. Even cooler. And my brothers are 20, so they're younger than me, and they play baseball. Like, they never were. They always came to my shows and were like, yeah, my sister does that thing. But, you know, it was never like a. You know, they didn't think I was, like, nerdy theater sister. They're just not something I. They ever, like, fully understood.

[Kristin Chenoweth]

My siblings used to call my high school shows expensive naps.

[Gloria Estefan]

That's amazing. I love that. Well, yeah. So literally, right? Like, they're like, yeah, yeah, whatever. But then them seeing the show and then seeing, you know, the scale of it, not just, you know, the high. My high school cafeteria, whatever. It was like, the scale of it. And then, you know, it being such an important show and something that they really could wrap their brain around, understand. Think about our family that we know. While watching it, they were. My brothers were crying, which is, like, weird. My boyfriend was, like, sitting by them, and he was like, oh, my God, I caught them crying. It was crazy. You should have seen it. It's like, so. Yeah, it was just. They. It was, like, such an overwhelming amount of emotions for them because it was just so many things happening at once.

[Kristin Chenoweth]

Yeah. Well. And to be making your Broadway debut in this mammoth of a role and leading a show is insane.

[Sara Bareilles]

Right? You're not just, like, the third factory girl in Les Mis. Like, it's. It is like all you. The whole show belting in the. In the rafters.

[Kristin Chenoweth]

Yeah. Talk to us about taking that on. To be so new in your professional career and for this to be your first. First professional gig. What has that journey been like?

[Gloria Estefan]

Oh, my God. I mean, that's the journey I thought I was gonna have. Right. Is Factor girl number three, and then maybe number one.

[Sara Bareilles]

Right.

[Gloria Estefan]

And then maybe, like, a line, you know, maybe I'm the old woman with the, you know.

[Sara Bareilles]

Yes. What? Pretty hair.

[Gloria Estefan]

Exactly. Like, that's. That was my dream trajectory. Right. Is to sort of, like, make my way, you know, maybe do more regional stuff and then maybe a tour, you know.

[Sara Bareilles]

Right. Climb some ranks.

[Gloria Estefan]

Yeah. And so to just come out guns blazing was really terrifying, especially for this show, because it was so important to me to get it right. And it was so important to me to, you know, to do it justice and all. The principal cast has done it for years. They've been a part of this project, some of them. Jen Sanchez has been with this since before COVID She's been with it for five, six years. So this is, like, something that all of these wonderful, amazing Latin women that I admire have been working on and putting their whole lives into. For years. And so to pop in and be like, hey, you know that one TikTok sound that's like, hey, hey. That's how I felt like, first day. Because they all. They all know each other. Like, not only have they worked on making this beautiful show, but they've cultivated this sisterhood that is so apparent on st. That is so real. And coming into that was very scary. Being opposite Justina was terrifying because she is just. I mean, Tony nominee. Hello. Like, she is just insane. And honestly, I don't know if with any other show I would have. Would have been able to do it with the not always confidence, but, you know, but, you know, now with the confidence and like, the. The freedom that I have if it wasn't for that group of people. Because immediately, like, our first. It wasn't even a rehearsal. We had like a press event, like, the premiere of this is Real monochrome Broadway. And I met them all for the first time that day, and they immediately were so excited for me and so happy I was there. And there's a picture that Jack knows where the art producer took of me singing, flying away for them for the first time. And they're all like, their faces, they all look like proud big sisters and moms. And they met me like an hour before. And so them, like, immediately, like, embracing me really gave me the freedom to sort of be like, okay, like, and the safety to be like, let's do this. Because also when it's a role like that and leading a show, you. I feel like you have no choice but to just, like, dive in. I feel like if you have too much hesitation, like, it just. You just have to go all in or it's just not gonna work. And so I just had to sort of just dive in. And I think that also Sergio made me feel really, you know, really safe as well in just this really being a collaboration. And again, it helps so much that 90% of our cast is Broadway debuts, including our crew, our composers. It's their Broadway debuts. Tony nominated composers, our Broadway debuts. Like Sergio, this is his direction, directorial Broadway debut. Like, it's a new experience for everyone. So I think that really made space for a lot of. A lot of creativity and a lot of. We had the women had a lot of. Were able to say a lot of our opinions and even about, like, you know, our lines and be like, hey, I don't think Rosalie would say this. Or I don't think. Which you don't get. Like, the fact that we were able to, you know, really have a hand in creating these characters was, was honestly what helped me just gain more confidence. Not in my, not just in the show, but as an actor. Like, I feel like going into another experience. I have a new sense of self.

[Kristin Chenoweth]

What's something about stepping into these leading lady shoes that you didn't expect prior?

[Gloria Estefan]

I don't. I am so. I never know what day it is, you guys. Yeah, I don't. I never know what's going on, which is crazy because I'm very like, I have. Where is it? Oh, you can't see it. I have like a very. I have like four calendars. Like, I am like a. I am like a very. I'm a plan.

[Sara Bareilles]

What's your sign?

[Gloria Estefan]

I'm a Pisces.

[Sara Bareilles]

Okay.

[Gloria Estefan]

I'm a Pisces sun. I'm a Leo rising and a Sagittarius moon.

[Sara Bareilles]

I love that for you.

[Gloria Estefan]

Thank you. But. So I'm very like, like I love to plan. I always know what's going on. I'm the person with my boyfriend. I'm like, you don't have to use it, but we have a shared calendar. You know what I mean? Like, like I'm very.

[Kristin Chenoweth]

You don't have to use it, but.

[Gloria Estefan]

But I'm using it. So. And this just like has made me totally have to break from like my control issues in that way because so much gets thrown at you every day that you just have to like roll with and whether it's like in previews, like things, things changing and you know, most of I don't really leave. So a lot of changes like affect me or you know, like I don't really leave the stage in that or you know, there's a lot of all the press stuff and like that we're doing constantly, which is so I love doing it and it's so fun and I'm, I'm an extrovert. So I always like, like I'm the first to volunteer for those things. And the social media stuff, I'm so willing to do without thought. And then I don't real. I don't realize how much it affects like my body and spirit until like right in the middle of a two show day where I'm like, whoa.

[Kristin Chenoweth]

Yeah. We also hear a lot from actresses later in their career looking back on when they began saying how they wish they had a better sense of boundaries and when to say yes to things and opportunities and when to say no for self preservation. Preservation. How have you been navigating, wanting to capitalize on this moment you're having in your career and use it for everything it's worth while also making sure you're taking care of yourself.

[Gloria Estefan]

Yeah, that's been a big thing for me lately. Is. Is figuring that and also trying to do the work, life balance thing, because as much as, you know, I need to take care of my body and whatever, like I was just saying, I also want to make sure I maintain a life outside of what I'm doing in the theater as well, just for my mental health, which is hard to do, which is so hard to do. So I'm figuring all that out. But I think the awesome thing about my first. I mean, it's really one of my first professional productions in general, not even just Broadway, but for my first thing being, you know, a role like this is that I'm learning those things very early. I think that because usually I'm the first person they go to for press or for, you know, or for social media things or whatever, for all of these amazing opportunities. I think I'm. I. When we were, like, first in rehearsals and, like, even early previews, I said yes to everything and it took me out. Or even. Not even just yes, but, like, I would be so scared to. To say, hey, can we not do three in one day? Can we maybe. Can we maybe do two? Or, you know, just one. Can they reschedule? I was even so scared to ask people to move things around. And I mean, it's still, you know, I. I don't. I don't like being an inconvenience or anything like that. So it still is not my favorite thing to do. But I think I am learning how important it is to, like, be okay with asking for those things, especially when all of this is happening because of the show. So if I can't do the show because of these extra things, you know, then what is. Then? That doesn't make sense to me. Whereas, like, the show. Doing the show well is, like, my first priority, and then the rest is an awesome addition because I'm doing the show. And so sort of balancing all of that has been a great thing for me to learn now so that, you know, moving forward, I. I feel like I won't be as scared to, you know, ask for a little grace or. Or reschedule that one thing or whatever.

[Sara Bareilles]

Right?

[Kristin Chenoweth]

Yeah. So real Women have Curves did not get as much love at the Tonys as it deserves. How did that affect company morale? Because I thought that Instagram video with the Tony dresses was actually a very nice and sweet and cheeky way to kind of address that but what was it like, day of the Tony nominations?

[Gloria Estefan]

Yeah, it was. It was. It was disappointing. I mean, of course, right? I mean, especially when I think, as actors, like, we want to work, right? So it doesn't. It doesn't. Most of the time, it doesn't matter what that work is. Like, we want to work. But, you know, as an actor, whether, you know, when you're doing something, that's. Like, the last show I did was Rock of Ages. Like, Rock of Ages isn't changing anybody's life, but it's fun and everybody loves, you. Know what I mean? Like, yeah, like, you. You know, what you're. What the work is that you're doing. We know how important this show is and how much this show means, and as much as we believe in it, you know, we could believe in it and think it's great all we want, but it was really the audience response that was like, okay, it's like the.

[Kristin Chenoweth]

Most electric audience I've been in a very long time.

[Sara Bareilles]

We had so much fun.

[Gloria Estefan]

The audience. A lot of people have so much fun because of the audience, too, because they're so responsive. They're so in it with. Sometimes I feel like y' all are on stage like. Like, it's like another character almost. And. But the audience response really told us right away what we had. And so, you know, it was. It was disappointing, and it was, you know, a little. A little sad, especially when you just believe in something so much. And also, we know that, like, Latin stories need, like, that extra boost and that extra platform for people who wouldn't just normally come in our doors to come and see. So, yeah, we were down, but, I mean, we were so, so over the moon for Justina and Joy and Ben. We were like, yes, that. Correct, correct and correct.

[Kristin Chenoweth]

And I'm very happy the score got in because the score is so excellent.

[Gloria Estefan]

Us, too, especially. Oh, my God, they worked so hard. And. And it's music. We love to sing. Like, we are so excited for the cast album to come out in a.

[Tatiana Cordoba]

Week and a half.

[Kristin Chenoweth]

When does it come out?

[Gloria Estefan]

June 6th. So very, very soon. But we're so excited just because, I mean, it's such fun music to sing every night.

[Kristin Chenoweth]

And I need de nada on cast recordings.

[Gloria Estefan]

Yes. Oh, my gosh, me too. I can't wait. We haven't heard any of the new ones, so we're very excited. But. But, yeah, I mean, we were all a little down and sad, but I think that, again, we know what our show has to offer. And at the end of the day. You know, the audiences that come in love it so much and we're still like so surprised every time. Not surprised, but just overwhelmed with how much it really moves people. And I think that, you know, are.

[Kristin Chenoweth]

You getting a mid show standing ovation every night after the title number?

[Gloria Estefan]

Yeah, pretty. Yeah, pretty much sometimes. Because actually going into the next section is off of me and Shelby. We're holding hands and when we like are the ones that are telling the conductor it's time to. It's like time to go to the next part. So we're. Yeah, so we're like watching that and there are a few times where we're like, oh, I don't think it's gonna happen tonight. But what actually is happening is the audience is like, like, like. Cuz it's also something that it feels this way in the movie too where you don't expect that that's coming like at all. Like it's like very kind of a little bit out of nowhere. Like you don't expect something like that to be happening. And so a lot of times it'll take them a second and we're almost like, okay, maybe, maybe they're not because maybe they're not gonna stand that night. Like we don't expect it to happen every night and because you know, even if they're not standing up, you can hear people. Loved it. You know, it's not. We never expect that. So sometimes we'll like almost cue and then we see people, we're like, oh, just kidding, just kidding. Give them a second, give them a second. But yeah, it's crazy that the response for that number, you know, something we.

[Kristin Chenoweth]

Hear from the Elphabas is that it's a tough psychological role to play because for the first half of the show, everyone's just being mean to you on stage and throwing insults at you. And it's a similar case for your role where you are catching these wild strays sometimes in scene. How do you remain centered and not let that affect you?

[Gloria Estefan]

Well, I think that the wild strings that I'm. That I'm catching, like I catch from my abuelita and my mom all the time. I think, I think that that's one way in which that, you know, our show feels very real is like it's like, you know, or like I think about how my. I'm half Filipino, my Lola's coming to the show for the first time. Yeah. In a week. And like she's like the biggest, she's the biggest culprit of all the you know, saying everything Carmen has said and that says in the show, she said to me times 10, like, like literally everything. And we still love them for it and, you know, whatever. I think that's just part of, like, I think every family dynamic, but speaking from, from me, like, just the immigrant lady experience is just very much that. So. And also, like, as a cast and I think again, you can tell from social media or whatever, we're, like a sassy bunch. Like, we're constantly throwing shade at each other and, like, that's like sort of our love language is to mess with each other. But, but yeah, I think, I think it all, I mean, for me, it just helps my character so much more because it only makes, like, her, like, little teenage angst and her whatever even more present. So I, I, I love all that stuff, especially all my interactions with Justina because she's just also, just so brilliant and she does all of that so well while still being funny.

[Sara Bareilles]

And she always remains so lovable too. Like, even in those moments, I'm like, that was out of pocket. But still, I would die for you.

[Gloria Estefan]

Yeah. She really is one of a kind. Yeah. Because to be funny and to also be really out of pocket a lot of the times, but then you really feel for her as a character and as a mom in that story.

[Kristin Chenoweth]

Yeah. This has been such an insane Broadway debut for you. What. Looking towards the future, what are your hopes and dreams? What are some of your dream roles?

[Gloria Estefan]

Oh, my gosh. It's so hard starting with a show like this because so many people say.

[Kristin Chenoweth]

Their dream role is to originate a role.

[Gloria Estefan]

It's to originate Broadway cast, like, original Broadway cast album. And also, like, my dream has always been to, like, try to be a part of the representation I didn't see. And, like, I'm doing that, like, in real time with this role. Like, it's kind of like doesn't get more dream role than that. So now it's like, you know, my standards are so high with what I know. But, but I dream roles. Eurydice is a dream role. For me, that is a dream. Especially, like I said earlier, coming from the more like, pop, contemporary, like, musical theater world, like, Eurydice is a dream role. I would love to, I would love to do six one day. I mean, things like that are so, so fun. Amazing. I think it's kind of just a rite of passage. I would love to be an in the Heights one I like. It's like a rite of every Latin theater kid has done in the Heights. I've Never done it. Everybody's actually begging to not do it again. I want to do it. Don't hire everybody.

[Sara Bareilles]

Production, somebody.

[Gloria Estefan]

One more and hire me. Everybody's tired of doing it. I'm not tired. I haven't done it.

[Kristin Chenoweth]

Feels like you could do that tomorrow if you want.

[Gloria Estefan]

Yeah, I could do it tomorrow, but, yeah. And you know what? I used to. My dream role used to be Elphaba. And not that it wouldn't be, but I don't know. I don't know if I could do it, but it is just maybe. I think. I think one thing I've also learned, like, not just in this show, but just in my, like, my few years. And again, I still, you know, I'm so fresh in the industry still, but in my few years of auditioning for things and sort of coming to terms with myself and also doing this, I realized that some things aren't for me. And that is okay.

[Sara Bareilles]

That's okay.

[Gloria Estefan]

And I love. I love watching Wicked. I love watching Elphaba Girl go off. I don't know if I do it.

[Sara Bareilles]

Yes.

[Gloria Estefan]

I don't know if I want to do that eight times a week. That's crazy. I think. I think that's a little illegal to ask of someone. That's how I felt too, when I watched Joy woods in the Notebook. I was like, girl, that is crazy to do eight times a week.

[Sara Bareilles]

Yes.

[Gloria Estefan]

That one song alone is crazy. To ask someone to do twice a day. That's crazy. My little alto heart. I was like, you know what? I think it's okay. I'm okay. There will be new shows, but now I'm really excited and interested to do new work, which I never. You know, you don't think about that because you don't know what new work is.

[Sara Bareilles]

Right when you're at school. That's not what you're learning on. You're learning how to interpret somebody else's. But to be given a slate is. Yeah, yeah, yeah.

[Gloria Estefan]

And it's just. It's. It's. It's so fun in. In that way.

[Kristin Chenoweth]

So, yeah, it's amazing. I'll. Tatiana, this has been so much fun. You're a star. Everyone needs to go see real women have curves.

[Gloria Estefan]

Incredible.

[Sara Bareilles]

Yes. Go see it. If you need somebody to go with me and Quincy will go with.

[Gloria Estefan]

I love it. Great.

[Sara Bareilles]

Sentimental.

[Kristin Chenoweth]

Thank you so much for coming on Real Event.

[Gloria Estefan]

Of course. This is so fun. Thank you so much.

[Kristin Chenoweth]

You've been listening to 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 DeMarzo, 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. Foreign.

[Tatiana Cordoba]

Hey there. I'm Alan Seales, host of the Theater Podcast, a weekly podcast that takes you behind the scenes with intimate, personal conversations that include the biggest stars on Broadway, TV and film. My podcast has over 350 episodes with guests including Stephanie J. Block, Kerry Butler, James Monroe Iglehart, Andrew Barth Feldman, Alex Brightman, Patti LuPone, Ramin Karimloo, Brian Stokes Mitchell, and even T stars like Isaac Bizrahi, Ariana Maddox, Michael Urie, Eddie Izzard, and literally so, so many more. My guests have spilled secrets, told coming out stories, discussed their fears and successes, and even had huge epiphanies live in the episodes. So you're bound to hear some things from my guests that you've never heard anywhere else. I've also got many deep dive takeovers on the podcast, which are consecutive episodes dedicated to cast and creatives from a single show like the Outsiders, Back to the Future and Juliet wicked, Beetlejuice, Hadestown, Frozen 6. I could go on. Can you tell I like theater? I've definitely got something you're gonna enjoy, so go ahead, search for your favorite star and listen to their episode. You can find all the info about the podcast at BPN FMTP on the Broadway Podcast Network or anywhere podcasts are found. If you need that link again, it's BPN fmtp.

[Gloria Estefan]

Take a deep breath. Make the world a little colorful.