This transcript was automatically generated and might contain errors.

[0:00] Teresa Attridge: Ever wonder what it takes to make a new musical sing? Our mission is to give you an inclusive look behind the scenes. We're interviewing the creatives who are changing musical theater one 11 o'clock number at a time. This is your Backstage Pass.

[0:37] ♪ Musical number: "Simple Steps" — performed by the cast of Fountain of You ♪

[2:15] Teresa Attridge: Welcome back to our conversation with Tasha Gordon-Solmon and Dr. Faye Chiao about this hilarious and poignant new musical. You'll learn more about the characters that populate the world of the show and the journey of the main character, Kristen. When a 30-something actress is suddenly aged out of the industry, she undergoes a wildly unconventional spa procedure to get her old life back, but it sets her on a whole new path to pursue true power and equality at a cost. Fountain of You is a dark comedy that takes on our preoccupation with youth and beauty and the system underlying it all with a pop-infused score and lots of blood. Listen all the way to the end for a game where we decide which musical theater character would teach us how to embrace aging.

[2:55] I know you all said that you're really big fans of classic musical theater and those ideas and turning them on their heads, and I think a really great example of that in this piece is the character of the PA.

[3:04] Tasha Gordon-Solmon: Yeah, we were talking about this before, and PA serves the role that many women do in classic musicals, which is that he's just there to be in love with the lead. Wow, if only this person would notice me, but I'm not important. But it's the PA from the soap opera In Love With Her, and his role is to aid her story and to be in love with her. We don't even know the PA's name until the very end of the piece because it's so insignificant to her. It's that trope of what a lot of love interests in musicals are, you know, or at least were back in the day.

[3:48] Faye Chiao: And so I love that parallel in this, and I especially love that it's always fun to see a man get the big smitten in love song, you know, to be like, oh, you know, he's never—she's never gonna notice me, right? Which is just like, it's such a fun way to turn it on its head.

[4:04] Tasha Gordon-Solmon: And so I really, really enjoyed "Lightheaded" a lot for that reason because in a healthy way, I do love watching men express their emotions, and in a jokey way, I love seeing how ridiculous it is to see someone do that trope just because I've seen so many songs about women in love with men where I'm like, okay, but what else is pop? Like, what is that? Like every role was a princess track because it was just being in love and leaving. There was no real arc. And so seeing that with "Lightheaded" was really, really fun. I would actually love to hear more about how "Lightheaded" came about.

[4:41] Faye Chiao: It's so wonderful that you said that, Teresa, because we thought of the role of PA as the monjeanou.

[4:47] Tasha Gordon-Solmon: Oh my god.

[4:48] Faye Chiao: The monjeanou. Oh my gosh. We've coined a few terms on this podcast. We've got icon, which is like bisexual icons.

[4:55] Tasha Gordon-Solmon: That's good.

[4:56] Faye Chiao: Monjeanou.

[4:57] Tasha Gordon-Solmon: Yep. Yep.

[4:58] Faye Chiao: Monjeanou. Oh, that's perfect.

[5:00] Tasha Gordon-Solmon: I like to call myself a nonjeanou because I'm not quite—I'm like so close, and then they're always like, oh, there's like that one thing about you. You're just a little weird. So I've always called myself a nonjeanou, but knowing that I can be seen as maybe in line with a monjeanou makes me feel less alone.

[5:21] Faye Chiao: Amazing.

[5:22] Tasha Gordon-Solmon: I mean, Teresa got it spot on. Like that's like the idea for him was like, what if he is that equivalent to that? And it's so funny because before I was like, oh, what does he want? And we like developed him. He is a full character. And I feel like people are still like, but why is he like so into her? Why is it? And I'm like, no one ever asks about a female character. And we have again tried to justify it. It's in the show. But it is funny the things that we are like so used to versus flipping it.

[5:45] Faye Chiao: And I will say the other thing is there's one male-identified actor playing all the men in the show. And we did that, you know.

[5:51] Tasha Gordon-Solmon: I love that, by the way. Absolutely love that.

[5:53] Faye Chiao: And because we also like—it's not a show where we, you know, hashtag not all men, but we actually like—it's not a show about like all men are bad. In fact, it's about this system and that the PA is really the heart of the show. Like he is like pure goodness, and he's really the good person. And so we really—we like the idea of having one actor play both like the bad guys and the good guy to make it more complicated like that. So that was really exciting to us. And obviously just for like equity, we're like one man. She's like he should be running around. He should be changing his costume like every scene. You know what I mean? Like make him.

[6:25] Tasha Gordon-Solmon: Yeah, I mean, we've all seen the casting breakdown where it's a show where it's like five men, one woman, and the woman is the only one who's going to be casting on equity. Like we've all seen that call.

[6:36] Faye Chiao: Yeah. And somebody at some point was like, but wait, you've made this like really amazing role for a man. Like do what? Because it's kind of like he gets to play all these roles. It's like a very comedic track. He goes in this real range. And someone's like, oh, do you want that in a show about women? We're like, yes, we want everyone to have a good role. Like that's the point where—you know what I mean? But that he does sort of play this range.

[6:52] Tasha Gordon-Solmon: And then the one other thing I'll say about this scene, which is maybe helpful for context, Kristen has kind of snuck into like her ex-manager, ex-boyfriend's home who had stolen from her. And this is sort of the beginning of her taking some agency over her life. And so she decides she's going to like steal some of her money back. So in this song, she is like trying to open a safe and do all these things. And PA, who was there at the party as a cater waiter, is like singing his emotions, which she can't hear. But she's kind of like oblivious to what's going on with him because she's on her mission.

[7:24] Faye Chiao: The other thing I want to just check in to make sure we're tracking for the listeners is has she gotten her first procedure?

[7:28] Tasha Gordon-Solmon: She is not. So Kristen, basically, we've heard Dabda, like depths of despair. And then she hears about this really special procedure that can like give her her youth and beauty back. And so she goes to this kind of spa. And I won't say exactly what it is, but there's like sort of this magical procedure that's going to give her her youth and beauty back. She doesn't sort of know the secret of it yet. But it costs a lot of money, and she has no money. But she's desperate and thinks this will get her life back for her. She goes to her manager's house to sort of confront him about stealing her money. And he basically is really unkind to her, blows her off. That's when her old friends don't notice who she is.

And then PA sort of like, oh, I can sneak you in. And like she realizes she's invisible and no one sees her anymore. So she can sneak into this party. So she is trying to steal this money back that is rightfully hers to use for this procedure that she hopes will make her young and beautiful again to get back her old life.

[8:16] Faye Chiao: All right. Well, we've set it up very well. Here is "Lightheaded" performed by Jason Veasey.

[8:21] ♪ Musical number: "Lightheaded" — performed by Jason Veasey ♪

[11:05] Tasha Gordon-Solmon: This song is really, really funny. I have to tell you, I don't think we can spoil it, but it's even funnier with how things play out at the end of part three of the show.

[11:23] Faye Chiao: Okay, the "Lightheaded" comes back into the show. It's hilarious. But also, you know, funnily enough, I kind of see a lot of myself in PA. Like, I was that person in high school.

[11:34] Tasha Gordon-Solmon: This makes sense for you.

[12:37] Tasha Gordon-Solmon: There's this much we miss, and then we just like see this guy who's like so has his heart out there.

[13:07] Faye Chiao: That's like, all of us we've all had that moment. And that's such a beautiful thing to just sort of kind of like what Tasha's saying. It's sort of like in this kind of crazy world somebody who can just be open and have an open heart is such a beautiful thing.

[13:23] Tasha Gordon-Solmon: But you're right. As a student of the musical theater, I'm looking back. I was just watching Brigadoon last night, she's talking about she wants to fall in love with somebody one day. Waiting for my dearie is a great example of she hasn't even met him yet. But she sings a full song about how she's gonna fall in love with the dearie who's gonna come along. That trope is so familiar to me. I hear what you're saying. And it's totally spot on.

[13:44] Faye Chiao: Another one I would think of is as long as he needs me from Oliver.

[13:47] Tasha Gordon-Solmon: Oh, absolutely. Oh, the worst.

[13:50] Faye Chiao: Someone to watch over me, which is like a beautiful song. But like those lyrics are crazy.

[13:56] Tasha Gordon-Solmon: Good night, my someone. Who is someone? Why are we all in love with someone we don't know?

[14:03] Faye Chiao: Exactly. It's not helping.

[14:05] Tasha Gordon-Solmon: It's the dream of the brilliant mountain of limerence we allow in musicals. It's given us unrealistic expectations about the way we think other people are falling in love with us.

[14:15] Faye Chiao: It's ruined all of Dunsey.

[14:17] Tasha Gordon-Solmon: And also a beautiful dream. A beautiful dream to have and probably inevitably.

[14:21] Faye Chiao: It's also very akin to sort of like the old romantic songs that men sing in musicals like on the street where you live. I feel like his earnestness is part of the trope as well.

[14:31] Tasha Gordon-Solmon: Because it's a song that is funny, but it is not making fun of him, even though it's making fun of the trope. Like it is so like, real and earnest and sweet.

[14:41] Faye Chiao: And so, again, you guys just really walk that line so well between like the joke and the reality. It's like, oh, my goodness.

[14:51] Tasha Gordon-Solmon: Thank you. Thank you all. We just want you to talk about the show all the time.

[14:55] Faye Chiao: I'll just follow you. I'll just follow you around.

[14:58] Tasha Gordon-Solmon: I'll be like, by the way, your teacher wrote this great musical.

[15:02] Faye Chiao: I really appreciate you saying that. One thing that I sometimes think after reviewing a show in full is that the NAMT presentation doesn't give full justice to a show.

[15:12] Tasha Gordon-Solmon: 45 minutes. I just wish the audience had seen how carefully you walk that line through the culmination of the show.

[15:19] Faye Chiao: We get this great setup, but then the way that everything plays out, the way it culminates into part one, part two, part three, you know, that's a journey that we don't get to go on at NAMT.

[15:28] Tasha Gordon-Solmon: I'm very hopeful that more people will get to see the full journey of Kristen.

[15:32] Faye Chiao: The arc Kristen goes through is really, there's something to be said about when you reach a certain point of desperation and a certain point of no way out.

[15:42] Tasha Gordon-Solmon: What is it that you wish you had done or not done or look back on? And there are so many women who are older or who are even just like, even if they're not older, but they're at the end of their life, say they're sick or they have perspectives. And there are so many things that I wish I would have done if I didn't care how I looked all the time.

[16:01] Faye Chiao: Like I wish I had gone to the beach more. I wish I had just worn my bathing suit. I wish I had gone to that dinner or I wish that I had dressed up in those clothes. Or, you know, this idea of so many women's final regrets are about how little they actually realized that they, you know, or how little they loved themselves or how little they celebrated themselves.

[16:21] Tasha Gordon-Solmon: And I think that her last number really speaks to that idea. And it's something that I think, you know, aging is a gift denied to a lot of people. And I think that, you know, women and femmes more than anyone forget that a lot because of the pressure and the currency of being young as long as possible.

[16:38] Faye Chiao: So I think that this number that Kristen gets to sing is really, really beautifully done. And I think it sums up sort of the heart of the show in a really great way.

[16:46] Tasha Gordon-Solmon: How was writing that song for you two?

[16:50] Faye Chiao: And this is the song What's Underneath. Kristen basically goes on this epic journey of trying to get this procedure, get her life back, realizing sort of all the inequities and problems with that. And then sort of this journey of her trying to sort of find power, right, and achieve power and become an equal to sort of the men that have put her down or be respected by them.

[17:11] Tasha Gordon-Solmon: And at the ending, to sort of fast forward, a lot of stuff happens after Lightheaded. But I think she sort of realizes at the end that she was sort of fighting against this thing, right, that at some point she goes to like a pretty dark, like, dare I say, murdery place. And the sort of justification is to make things more fair or even.

[17:34] Faye Chiao: And then it's sort of the name of power, the name of money. She goes on this crazy journey and she sort of become the actual, exactly the person that she was trying to like stop, right, that she was sort of fighting against a system. But she actually was just part of that system and became like the exact thing that she had the problem with.

[17:50] Tasha Gordon-Solmon: I'll say the other thing about this song, which like there is kind of like a bit of a spoiler that you kind of have to you have to you have to come see it. You have to produce it and then come see it. If you produce it, you can get a free ticket to preview this. I don't know about opening that this this song, the lyrics are like quite earnest and sort of about this big theme. But there is, as Faye and I always do, like a visual gag that is happening and like what is physically happening is also kind of like undercutting the earnestness of the song.

[18:16] Faye Chiao: And I think also in terms of like the culmination of her journey and like the tone of the show, that this song is both like heartfelt and also like very dark, like very, very dark moment of the show. And it's like very ridiculously comedic. And I think like and I know it's like a weird thing, like on a podcast talking around it. But like the goal with this show was sort of like the culmination of that journey was like how to get to like a more like gut punchy real place with her. While also not doing the thing in the show that sometimes happens where you're like and now we're like tying up and like everyone's a different person than they are. Like she's still who she was. She's not. Is she redeemed? I don't know. But she is like finally grappling with something.

[18:55] Tasha Gordon-Solmon: And I should say it's very funny.

[18:57] Faye Chiao: Yes, thank you. You'll have to trust us. It's very funny.

[19:01] Tasha Gordon-Solmon: And I should say, yes, it undercuts the earnestness of the song, but it also, I think, like underlines the message of the song.

[19:07] Faye Chiao: Amazing. And who is performing this song?

[19:09] Tasha Gordon-Solmon: This song features Jenny Barber as Kristen and as the assets Lexi Robody, Bettina Bresnan and myself. Here is What's Underneath performed by Jenny Barber, Lexi Robody, Bettina Bresnan and Dr. Faye Chiao.

[19:39] ♪ Musical number: "What's Underneath" — performed by Jenny Barber, Lexi Robody, Bettina Bresnan, and Dr. Faye Chiao ♪

[23:52] Tasha Gordon-Solmon: That was so beautiful and so earnest. But I need the Barnacles to know, if you read the stage directions like I did while listening to this song, it is so funny.

[24:03] Faye Chiao: It is so funny.

[24:05] Tasha Gordon-Solmon: But when you just listen to it, it's so beautiful.

[24:08] Faye Chiao: Absolutely.

[24:10] Tasha Gordon-Solmon: I couldn't spoil the stage direction on that one, but the lighthead reprise, I should say, when it comes back is very, very, very funny.

[24:16] Faye Chiao: In a very dramatic way, we'll save that.

[24:18] Tasha Gordon-Solmon: I actually wrote some lyrics for this that I thought were very poignant. Luscious lips leave you hungry. Perfect teeth, they decay. What matters is the words that you will say. Brightened eyes still have shadows. Gorgeous brows grow askew. What matters is a person's point of view. Which I think is just really, really great, you know, because that sums up all these things we do to make ourselves beautiful and look youthful. We'll eventually fade.

[24:38] Faye Chiao: As my podcast mates know, I was at my dad's 82nd birthday party last night. It just was a reminder, as you see your parents age, all those things you do to try to make yourself beautiful, those things will eventually fade. And I think like Kristen, that's part of what she's grappling with right now.

[24:54] Tasha Gordon-Solmon: You can do all these things to try to pretend to be youthful. You can take your 18 steps, but eventually time is going to win.

[25:00] Faye Chiao: Yeah, and I think her whole journey of the show, of like her trying to be all these things, it's like she's trying to be nice. She's trying to be beautiful, right? She's trying to be powerful, make money, be kind of as brutal as other people.

[25:14] Tasha Gordon-Solmon:

[25:44] Tasha Gordon-Solmon:

[26:14] Tasha Gordon-Solmon:

[26:44] Tasha Gordon-Solmon:

[27:14] Tasha Gordon-Solmon:

[27:44] Tasha Gordon-Solmon:

[28:14] Tasha Gordon-Solmon:

[28:16] Faye Chiao:

[28:18] Faye Chiao:

[28:20] Faye Chiao:

[28:22] Faye Chiao:

[28:24] Faye Chiao:

[28:26] Faye Chiao:

[28:28] Faye Chiao:

[28:30] Faye Chiao:

[28:32] Faye Chiao:

[28:34] Faye Chiao:

[28:36] Faye Chiao:

[28:38] Faye Chiao:

[28:40] Faye Chiao:

[28:42] Faye Chiao:

[28:44] Faye Chiao:

[28:46] Faye Chiao:

[28:48] Faye Chiao:

[28:50] Faye Chiao:

[28:52] Faye Chiao:

[28:54] Faye Chiao:

[28:56] Faye Chiao:

[28:58] Faye Chiao:

[29:00] Faye Chiao:

[29:02] Faye Chiao:

[29:04] Faye Chiao:

[29:06] Faye Chiao:

[29:08] Faye Chiao:

[29:10] Faye Chiao:

[29:12] Faye Chiao:

[29:14] Faye Chiao:

[29:16] Faye Chiao:

[29:18] Faye Chiao:

[29:20] Faye Chiao:

[29:22] Faye Chiao:

[29:24] Faye Chiao:

[29:26] Faye Chiao:

[29:28] Faye Chiao:

[29:30] Faye Chiao:

[29:32] Faye Chiao:

[29:34] Faye Chiao:

[29:36] Faye Chiao: Thank you for watching.

[29:38] Tasha Gordon-Solmon: Do you think we could convince Kristin that aging is actually a really good and powerful thing, that she doesn't have to be afraid of and can embrace? My first one was Dolly Levi from Hello, Dolly! Because I feel like that is a classic, like, woman in a second act story, right? You know, she's vivacious, she's smart, she's clever, she's fun, and she's pursuing love again after all this time, you know, because she's getting ready to embrace another chapter of herself as she gets older. And my other answer was Mr. Turnblad because if a man’s saying you’re timeless to me, I’d want to get old with him too, right? The idea that you can be cherished is who you are and who you'll be because getting older is the point, I think is really beautiful. But Tasha, Faye, I’d love to hear yours, and Pauls, I really want to hear yours. I'm excited. You always pull something out I don't expect.

[30:25] Faye Chiao: I have one thought, which is like the Witch from Into the Woods.

[30:31] Tasha Gordon-Solmon: We love!

[30:32] Faye Chiao: Great choice! And I feel like when we sort of like a more thematic way of the like, careful the tale you tell, like that is the spell, right? That this whole show is about like all these messages and just like how powerful these stories we tell are and like kind of watch out. And like Kristin's sort of like buying into all these things. And my other one is like Velma from Chicago.

[30:52] Tasha Gordon-Solmon: But I think she'd just be like, yeah, you go girl. You do you have to do. Maybe she wouldn't say don't do it, but I think she would be like, yeah, yeah, do it. I support you. Women helping. They always say you have to support a woman's rights and a woman's wrongs.

[31:06] Faye Chiao: Yeah, oh, that's great!

[31:07] Tasha Gordon-Solmon: One thing that I appreciate about the Witch as an answer is the Witch goes on her own journey to de-age herself in the show, but then it doesn't work out in the way that she was hoping. She doesn't get to a point where she's like, oh, this solves all my problems. In fact, her magic goes away. I think that's very powerful, that moment where she is able to de-age herself. It's not the moment she was hoping for or expecting. Yeah, she learns a lot about parenting through that process.

[31:34] Faye Chiao: Now I have all those songs running through my head.

[31:36] Tasha Gordon-Solmon: I'm going to say, and I don't, this is maybe a workshopping moment. What came to mind for me is Sweeney Todd. I think because there's some element of like a person getting to embrace all their parts, the dark parts. And I think part of Kristin's journey is sort of learning about herself and learning about her depths and learning about kind of like what she's capable of and what her values are. And I think if she had maybe like the dark angel on her shoulder incorporated into her a little bit more, it might have been an easier transition to accept all the parts of her and the aging parts. I mean, no one can sit here and tell me Sweeney Todd is not a feminist. Mrs. Lovett was his equal partner in all that murder. She showed him the way. She showed him the way. He was, you know, he praised her. He was like, you're a genius. This is great. They were equal collaborators.

[32:27] Faye Chiao: But also I think that women's rage is so beautiful and powerful and typically unexplored in media. But again, I think that's why women align with stuff like gore and horror sometimes is because it's like, oh, yeah, no, it's like the things that are done to us, we are capable of doing, and to a degree that I don't think you would be ready for if we actually just like unlocked, you know? So I love Sweeney Todd as an answer for that, whether Mrs. Lovett or Sweeney or them, they can co-adopt Kristin. Is there Toby now?

[33:01] Tasha Gordon-Solmon: And then how's what about you?

[33:03] Faye Chiao: Well, I went golden age. I often do. In my mind, immediately went to Aunt Eller from Oklahoma. Very specifically, there's the line that she sings in the Farmer and the Cowman. I don't usually sing on the podcast. Maybe I will.

[33:15] Tasha Gordon-Solmon: Yes!

[33:17] Faye Chiao: I'd like to teach you all a little saying and learn the words by heart the way you should. I don't say I'm no better than anybody else, but I'll be damn defying just as good. I just feel like Aunt Eller is just gonna tell you like—

[33:30] Tasha Gordon-Solmon: No, Aunt Eller is—

[33:32] Faye Chiao: You should back up near and dear to my heart. When I was 13 years old, I played Aunt Eller in a children's production of Oklahoma.

[33:38] Tasha Gordon-Solmon: I do remember, and this is incredible. It was the first time I was like, I am a real actor. I took it so seriously. Like the scene opens with her churning butter, and I remember fully like rehearsing what it felt like to have the weight of milk in a pail and doing it so it would look real. No one cared about me.

[33:52] Faye Chiao: Um, and she has like that beautiful monologue at the end after, you know, spoiler alert, Judd dies. And Laurie's like, why do bad things happen? And they have this, she has this beautiful monologue about it. A brilliant person, Pauls, because you've got like this wisdom and this person that the entire community looks to. And at the end of the show, when the characters are looking for answers, the person that they give the light to is Aunt Eller. They recognize the wisdom of the elderly in that show. And I should say, I mean, again, lots of things happen to show, but like Kristin's like seeking some kind of vengeance on like, you know, it starts with like bad men who deserve it, then it's like all men, and then she does, and then it's like women, right?

And then it's sort of everyone. Like that stuff, like she's just like whatever the thing she's fighting for, like it goes so far beyond. And I think any of these characters would probably do a good job of maybe earlier being like, Kristin, like what is the thing you're trying to do here?

[34:43] Tasha Gordon-Solmon: And have we lost?

[34:44] Faye Chiao: Yeah, and when in doubt, Elle Woods could talk to her.

[34:48] Tasha Gordon-Solmon: Yeah!

[34:52] Faye Chiao: Elle Woods is not an older character. I mean—

[34:56] Tasha Gordon-Solmon: But my God, could Elle Woods do it?

[35:00] Faye Chiao: Tasha, I know you have a very exciting development opportunity coming up at Florida State University.

[35:05] Tasha Gordon-Solmon: Yes, and I should say to backtrack, like we've been really lucky in the last like two years, kind of starting with NAMPED, of having some really wonderful development opportunities. And I think the show's really grown from that. And I just want to like appreciate and name check like NAMPED, American Music Theater Project out of Northwestern, the Royal Conservatoire, as I say, of Scotland, Edinburgh Fringe, the O'Neill Music Theater Institute, Red Mountain Theater has a human rights festival in Birmingham, Alabama, which we had a talk back with like a PhD in economics. It was the coolest talk back we've ever had, a real doctor with women. We were like, did you just watch a silly show? But it was actually really cool.

It's really wonderful shows able to evolve. So we have kind of the next draft that we're gonna get to see. We've like moved some stuff around, we're looking at some big structural things, and now we are going to Florida State for a two-week workshop that we're really excited about to work with the BFA students there, and there's two public readings. And so yeah, we were like really jazzed to get that time. Also, Tasha and I do our best work when we're in the same room. And I don't know if I mentioned, like Fountain of You, like the first draft of the show was almost, was mostly 85 percent written at residencies. Like we were really lucky over the course of like a couple years to get to these residencies, and we were still like writing and working in between, but being in the same room is like really when we do our best work.

We write together at the piano. So we're really excited for FSU to like work with the students, to get to hear this new draft, to try things, and also to get that like writing time in between to be working on stuff in a way that feels like a real gift. We're actually going, we're going to the woods of upstate New York in September for a couple weeks to write also, which is exciting. So we'll get to incredible writing together for the first time in a while out of town.

[36:36] Faye Chiao: We so enjoyed having you on the podcast today. We're so happy the barnacles get to hear your piece, Tasha and Faye. It's been a pleasure.

[36:42] Tasha Gordon-Solmon: Oh my gosh, I'm already, I have to keep reciting DABDA to myself.

[36:48] Faye Chiao: I'll be reciting DABDA the rest of the night for sure. I will say like truly, this was a delight. It really, I mean having people like actually read and listen to your work and like take the time to like think about it and like, yeah, truly our thoughts about it. Yeah, it's really like such a joy. So thank you for caring about us and the musical theater.

[37:03] Tasha Gordon-Solmon: Thank you, barnacles, for um, shout out to the barnacles. Do barnacles have ears? Our barnacles do! Amazing barnacles, we love you. I think we got an A on the podcast, Teresa.

[37:24] Faye Chiao: All right, barnacles, thanks so much for listening. Bye, barnacles!

[37:30] Teresa Attridge: Thanks for joining us on New York Theatre Barn's Backstage Pass, hosted by Teresa Attridge and Pauls Macs. And if you believe in supporting original culture-shifting musicals, please like, subscribe, and share.