This transcript was automatically generated and might contain errors.

[0:00] ♪ Musical number: "Here with You" — performed by Vuyo Sotashe ♪

[1:36] Teresa Attridge: Welcome back to part two of our conversation with Janine Robledo, Eddie Noel Rodríguez, and Héctor Flores, celebrating the musical, Ghost in the Machine, and the release of the new single, Here with You, on the New Musicals mixtape from Theater Barn Records.

[1:49] Teresa Attridge: In a secluded lab nestled in the Argentinian mountains, an inventor named Victor creates Cynthia, an android, to save his son's life. When Cynthia meets Victor's son, Carlos, a powerful bond is formed that feels part rom-com, part sci-fi thriller, in the vein of Frankenstein and Edward Scissorhands. What will become of Victor's son, Carlos, and will Cynthia be able to free herself from the psychological imprisonment of her creator? This episode features the song Colder, performed by Vuyo Sotashe.

[2:17] Teresa Attridge: Listen all the way to the end for a game where we decide which musical theater characters would be part of the ideal artificial intelligence. For those who might not know, Theater Barn Records, I mean, they're like just really doing such a wonderful service to just musical theater in general by giving people the opportunity to workshop and record and release these singles.

[2:38] Teresa Attridge: Because it really does help being able to put shows out there and have these tangible things to present in order to help shows move forward. I'm actually really curious, Hector, can you tell us more about the recording process itself, selecting shows? What is it like getting people into the studio? What is that workshopping process like from that point?

[2:55] Héctor Flores: Theater Barn Records is now in its third year. There's no specific way to get it recorded. It's usually kind of like what's already in the Theater Barn incubation. It's in the ether, you know, we're all talking about it. We're all excited about it. Let's do this.

[3:09] Héctor Flores: Yeah, there are shows that sometimes go to you guys first in the podcast because that's where it is in its journey. Some of it comes from the Choreography Lab, some of it comes from the new work series. This one specifically came because I was part of the selection committee and it happened across my desk. But other ones are shows that are, again, in our ether and that we were like, you know what, this really could use this platform. This specific platform would be great for this show.

[3:31] Héctor Flores: And we do what we can to advance it and get the word out there so people know that the music is there and then it gives the composer the opportunity to hear what the sonic world of their show could be like. It gives them the opportunity to also share that with producers who'd also be interested in maybe taking part in making this world happen. It gives the show a global audience. It says, I was here, you know what I mean? And it gives that opportunity to share because like, how else would Janine be able to get her show out to the masses?

[3:57] Héctor Flores: If you hold a concert that's in one city for one night and you can only fit so many butts because you have a limited number of seats. Releasing something digitally gives you unlimited number of seats. That's how that kind of came along. And then as far as the process of recording and putting everything together, it's a lot of collaboration between myself and the writers and seeing what it is that they need. What are the specific sounds that are specific to this show?

[4:18] Héctor Flores: So when we recorded another show like Sueños, I had to make sure that we had a Latin percussionist, just not a percussionist, but someone who had congas and timbales and instruments that are not part of a standard drum kit. So it's really finding out what the sonic world of the show is, working with the writers and then finding those people and bringing, you know, as a producer, the glue, bringing everybody together.

[4:36] Héctor Flores: They essentially rehearse depending on how big the release is going to be for a day, anywhere from an hour to six hours. And then we come in and do the instrumentation the next day. And then the actors usually come in the evening and they do their bits in the evening. And then it's a several week editing process back and forth. And then we pop back to music.

[4:52] Héctor Flores: Everyone should know, we talked about Barn on Fire. Hector is on Fire Island right now, which is where we do our residency. So if you hear tropical, like if you hear birds in the background.

[5:00] Janine Robledo: That bird in the background is backing you so hard. You're like saying all these beautiful things. The bird is like, yes.

[5:05] Héctor Flores: Yes, I agree. That is right.

[5:08] Janine Robledo: That bird is like in full support of the musical.

[5:14] Héctor Flores: Shout out to the bird. I will say too, as someone who's also an alum of Barn on Fire, incredible experience. If anyone ever gets a chance to go to the performance for Barn on Fire any summer, you get to go to Fire Island. You get to watch a show. You get to like be in community with beautiful artists.

[5:30] Janine Robledo: Well, what's crazy is you get to watch three shows. So it's like a truncated version of three shows. It's like you get to watch three musicals in a night. It is Broadway talent. There's super talented people in the community here. It's phenomenal.

[5:40] Héctor Flores: Shout out to the Fire Island Pine Cards Project.

[5:42] Janine Robledo: Shout out. It's an incredible experience. I highly encourage anybody who's able to make the day trip and or make it a full weekend. If you're trying to vibe and go to tea, definitely make the trip. It's worth it. It's a thousand percent worth it. And for the artists, can't recommend it enough.

[5:57] Héctor Flores: I'm ready for the next one.

[5:58] Janine Robledo: Right? Everyone who goes is already like, so when are you bringing me back?

[6:01] Eddie Noel Rodríguez: Eddie, as someone who was in the Barn on Fire as an actor and you got this script in front of you, and it was kind of a very wham bam thank you man process because it was like, what, two days of rehearsal and then we were up in concert. But it was a lot of information to ingest from the show. What was that experience like for you?

[6:14] Eddie Noel Rodríguez: Honestly, it was something that my soul needed in that time. And as an artist, it's so rich and beautiful to have the opportunity to collaborate with other artists with the same mindset and that kind of community that everybody supports each other, no matter what. It never felt like a pressure at all. I mean, of course, you're in Fire Island. You feel like you're on vacation, but you're like working. But at the same time, it makes you feel like home.

[6:39] Eddie Noel Rodríguez: Being around a bunch of talented people, it's just gorgeous in general. So, and especially with you guys making us feel comfortable in every aspect, even if we were just like having lunch or working at the moment, it was just a process that makes you feel comfortable in every way. So that's why I want to go back and this time actually hit the beach, you know?

[7:00] Héctor Flores: Ed is pushing hard for that Fire Island spot next year.

[7:03] Eddie Noel Rodríguez: Yes, yes.

[7:05] Janine Robledo: Can we have a burn on fire alumni night where we all just come out and play?

[7:09] Héctor Flores: I heard that was going to happen apparently, so I'm waiting for the invite.

[7:12] Janine Robledo: Oh, okay. So it's basically a promise at this point is what I'm hearing.

[7:17] Eddie Noel Rodríguez: Can you talk about what it's like to be like the artist in residence? What it was like to be able to work on that show? Did you make any huge changes or was it more so were you like, okay, I have some time to relax into my process? What did a day in the residency look like for you and how it culminated at the end?

[7:34] Janine Robledo: Oh, yeah. I mean, I definitely was able to float around in the saltwater pool and think about my show while I relax. But I also made some pretty big changes specifically with the opening because openings for me are really difficult to write for some reason. You know, Hector was there and Joe and the other writers like being able to bounce ideas off other people was so helpful and everyone was really supportive.

[8:00] Janine Robledo: And just kind of like spending the day talking to other people, getting feedback and then lounging on the beach and being able to process everything was truly amazing. And also because I wasn't home and I wasn't distracted by like everyday life. Of course, I had such a great time. And I feel like, you know, those connections you make with people when you spend 10 days together never go away. You know, we're all friends for life. And I think that's just a beautiful thing.

[8:26] Héctor Flores: Yeah. And you're not alone with the challenge of the opening number. We were just talking about it on the last podcast, the completely true story of West High's 66th annual charity lockdown. Those writers were struggling with their opening number as well, and they threw out a few before they're still trying to find the right mix. They're trying to find the right tone to set for the show.

[8:44] Héctor Flores: You know, we told the anecdote of how Stephen Sondheim had to write three opening numbers to a funny thing happened on the way to the forum. Opening numbers get thrown out all the time. But the fact that you had that space to make that art is really fantastic. The other thing I want to I want to feedback is Hector, you said something when you're talking about the recording process that I think is just so great. You said we asked the artists what they need, and that actually is rare.

[9:02] Teresa Attridge: I have found and it seems crazy. I'm over here in Seattle talking with musical theater artists or talking with artists in New York. And so often I talk about them about their development experiences. And they said, well, I really needed this, but I got this, which is an old model that I didn't need. And the fact that you and Theater Barn were all doing the work to actually ask the artists what they need to be successful is so important. And it seems crazy that more people aren't asking that question, I think.

[9:34] Héctor Flores: Yeah, I think each show is really specific. And as we evolve as humans, we're ingesting media technology and information in a different way. And because of that, the performances are innately going to change. The medium itself is going to change. It already has. So being able to explore that and give them the space to say, hey, I want to try this maybe kooky idea that might not work. But like, it's OK, because it's a lab. No harm, no foul.

[9:57] Héctor Flores: I find that New York Theater Barn is kind of like a writer's trampoline. And then we all get to jump on the trampoline and all the ideas can bounce out. And then when we're ready to kind of like let it go, you can take all of your ideas as a writer and you can take them home and like stew on them and change them and do whatever it is that you want to your show. Pick it apart and put it back together even stronger.

[10:14] Héctor Flores: And that's what we got to do with Barn on Fire. Like, very rarely does the artist have time to just sit there and write because the reality is you don't get paid to write. You know what I mean? Like maybe you'll get like a residency where that residency will be like a week. But your day to day bills, you normally you have a day job and you're doing this and, you know, you have kids and you have a life. Being able to step away from everything to focus solely on this, even if it's just for a few days, gives you so much advancement in the work.

[10:38] Héctor Flores: And we picked apart the show and put it back together and really dissected the characters. And we're like, OK, well, what is it really that they want? What really is it that they need? And then how can this residency support the betterment of the show? In New York Theatre Barn in general, what program is it going to go to? Choreography Lab? Is it going to go to Backstage Pass? Is it going to go to Barn on Fire? Is it going to go to the new work series? It's really interesting to see what they need, because like you said, so often people are like, oh, this is our budget. We normally just have a band and it's, you know, piano based drums. Good luck.

[11:05] Héctor Flores: And sometimes it takes more than 10 days to even figure out what exactly your opening number is supposed to be. Or sometimes you have to write the whole show before you can write the opening number. You could need all 10 days to just do that. I think it's valuable to keep in mind that the balance, the ability to like take a second to be like, I just need to float. I just need to float in a little pool for like a little bit to sort of like decompress from the fact that writing is one, a job and two, labor and three, hard.

[11:33] Teresa Attridge: Because I feel like so many people when they're like, well, I'm writing, they're like, yeah, but you can do that anywhere. That's not really like a thing. You're just writing. And I was like, ma'am, do you understand the emotional and physical toll that it takes on the human spirit to create anything? The mental bandwidth that it requires.

[11:48] Héctor Flores: The mental bandwidth, not to go back to the metaphor again, but it's like we see ourselves like as human beings a lot of the time as incubators, right? We're creating something. The artist's job is to create life and art outside of itself. It all comes back to Cynthia, baby.

[12:03] Janine Robledo: Speaking of androids and how we see people in media, I just want to make that a point because we're Star Trek nerds here. Data, he was like this green yellow thing. He was by no means something that was made to be sexy, but he was the android. Fast forward to Voyager, which Voyager was ahead of its time in a lot of ways. It had the first female captain of a ship.

[12:20] Héctor Flores: I love that we're going here so much. You have no idea.

[12:23] Janine Robledo: But Seven of Nine was android like and she was very sexy. You know what I mean?

[12:28] Héctor Flores: So it's interesting where they make the girl robot super sexy and then the guy robots like green and something that people would like.

[12:35] Janine Robledo: Whoa. Yeah. But wasn't there still an episode where someone ended up like super attracted to Data? And it was like a whole thing because it's like that happened in the second episode.

[12:40] Héctor Flores: Yeah, it's just the naked.

[12:45] Janine Robledo: The naked now Data and Tasha Yar got together.

[12:49] Héctor Flores: Yeah, I'm showing my true colors here.

[12:53] Janine Robledo: Episode two, check it out.

[12:55] Janine Robledo: People just can't help but want to kiss the robot. You know what I mean?

[12:59] Héctor Flores: Well, speaking of Data, I've talked a little bit about him already is one of my very favorite characters in all of fiction, because at the core of his journey is he's an android who rather than, you know, we have so many stories where the androids or the cyborgs try to harm us as they gain sentience. His quest is to become human. He actually wants to become as human as possible. And to see him try to do that through his emotionships and the journey that he goes on is truly beautiful.

[13:25] Héctor Flores: They recently changed it. But at the end of one of the movies, he actually gives his life for another person, which is one of the most human acts you can do to sacrifice yourself. But with this show, I'd love to talk with Janine about falling in love, the beautiful love story in this piece. That's something that Data does not do to my Star Trek recollection.

[13:44] Janine Robledo: He doesn't get to fall in love and have a romantic relationship with somebody. Can you talk about the genesis of that? Dare I say, can we get to the heart of it?

[13:54] Janine Robledo: You silly.

[13:56] Janine Robledo: So it's a ba-da-boom. Well, just trying to process how a robot experiences emotion or love throughout Cynthia's journey in the show. She does begin very much as a robot, but she is able to synthesize the information around her and develop kind of those feelings. I think for her, the idea of love is more of a cerebral thing where it's like, it's not so much like the romantic love that we usually see, but I love you because mentally I love you.

[14:27] Janine Robledo: And I think that's kind of her approach, at least early on in the show. And kind of falls for her in a very natural, organic, romantic way. As we hear in the song, Here With You, where it's that whole, I'm lifting off the ground aesthetic. I thought it was kind of fun to play with the way that these two characters would perceive the idea of being in love.

[14:52] Teresa Attridge: Everyone got to hear earlier with the fabulous Eddie. We actually have a surprise second song that I don't know if the audience was expecting, just because they know this is a single release. But guess what? Here at The Pod, we are generous. We are benevolent. And we want to bestow something else on your ears. Janine, do you want to tell us a little bit about "Colder"?

[15:08] Janine Robledo: Also, this is a backstage exclusive. It hasn't been released anywhere else. It literally, everyone listening to it, if you are listening to it here, you heard it first. That's amazing. Yeah, that's a song that's kind of been in there hiding. It was one of the first songs that I wrote for the show, actually. It's sung by Victor. I think it's his, I would say his 11 o'clock number, where he's kind of lost his relationship with his son. And he's at a desperate point where he feels that he wants to change, but he can't. Maybe that's a little bit like Fiddler, you know? So I think this moment is really significant for him. And it's a turning point in the piece as well. I think it also speaks to one of the themes that is at the heart of the show, which is, when is it time to let go?

And when isn't it time to let go? What do I accept? And what don't I accept? And I think this is the moment where we begin to feel that theme in the show as a cornerstone of what the piece is trying to say.

[15:58] Héctor Flores: Doesn't one of the characters actually say, letting go is part of being human?

[16:02] Janine Robledo: Yes, they do say forgiving and letting go is what it means to be human. Cynthia's character can be like, oh, but so many advancements in technology have happened because someone didn't accept something and didn't let it go.

[16:13] Teresa Attridge: Who is singing on this demo?

[16:14] Janine Robledo: This is Vuyo Sotashe. He is a friend of my orchestrator. Another shout out to Emiliano Massais. And we recorded this at Bach Studios. It was a private venture, and it was also the reason that the show got discovered. So it's very special.

[16:28] Teresa Attridge: The power of recording your music.

[16:31] Janine Robledo: Yes.

[16:32] Teresa Attridge: Here is "Colder," performed by Vuyo Sotashe.

[16:44] ♪ Musical number: "Colder" — performed by Vuyo Sotashe ♪

[19:25] Teresa Attridge: Dang. Eleven o'clock numbers really get me every time.

[19:46] Héctor Flores: I love its eerie draw.

[19:48] Janine Robledo: It's eerie. It's haunting.

[19:49] Héctor Flores: Haunting is the word, yes.

[19:51] Janine Robledo: Yeah, it's haunting. It gives you that vibe. It's just like, oh my gosh. In an artificial intelligence story, I know we're subverting things, but I was also craving that haunting moment of realization. One of my favorite lyrics from that song is, didn't I always choose you? Now I know how to lose you. I think that encapsulates Victor's character so much. He's trying to choose his son so much that he ends up losing his son and his fundamental relationships because of it.

[20:16] Héctor Flores: I mean, it's sort of like that metaphor, if you hold a butterfly too tightly in your hand, it will die. And if you let it go, it may return to you. And there is the butterfly metaphor allegory. Like, there is a butterfly in the show.

[20:30] Janine Robledo: Carlo is inventing a mechanical butterfly. Sort of a way to help with the loss of pollinators. So also another show in which environmentalism and global warming is playing a small part. And that's huge with a lot of our writers, actually, is there's a lot of allusion to what's going on with global warming. I wanted to also talk about, Carlo has a beautiful line, the thing that he loves about butterflies. Because they said, well, you could have made a bee robot instead of a butterfly, it'd be more effective as a pollinator anyway. The thing he loves about it is it has such a short time on earth as a butterfly, but it still gets to be beautiful. The beauty of living a life, even if it's a short one, which is really his story as well. And the fact that he finds such connection and solace with this animal is really beautiful. So when did butterfly become a theme in the show?

[21:21] Janine Robledo: So I had mentioned earlier, this show began as three separate 20-minute shows. One 20-minute story was called the mechanical butterfly. And it was actually the journey of this butterfly that was created to kind of save the environment. And when the stories collided, it became Carlo's butterfly. And I saw that metaphor between the two of them that you very eloquently pointed out. That's kind of how it made its way into the show.

[21:44] Héctor Flores: Butterflies make such an impression on the human soul in the short time that they're with us. It is this beautiful metaphor for the reality that we all experience, which is that our time on the planet is very, very limited, especially Carlo's, who knows because of his heart defect that he could go any day. The imagery that you used is really effective and really beautiful.

[22:03] Janine Robledo: And yet there's a twist on that because the mechanical butterfly is a machine and can go on forever, like Cynthia. I think there's also a line where he sings about the butterfly being better than the real thing. And I think that was also kind of symbolic for Cynthia as being someone that can actually go on forever. That might have been a little twist in there.

[22:23] Teresa Attridge: We have to keep some secrets on the pod. If we close that out, pals, do you think it's time for us to play our little game?

[22:31] Pauls Macs: I think it's game time. We are so in sync. We've been doing this for a while now.

[22:35] Teresa Attridge: It's almost like we co-host the podcast.

[22:39] Pauls Macs: I'm very, very proud. I feel like Therese and I collaboratively generated this game together. Therese is the game master, but she was asking me what I thought the game should be and I offered a thought and we kind of judged it together.

[22:53] Janine Robledo: We had our own workshop.

[22:54] Pauls Macs: We workshopped this game on Fire Island. No, I wish.

[22:58] Janine Robledo: We do have 10 days to workshop one game, honestly.

[23:01] Pauls Macs: Yeah, we spent 10 days on Fire Island workshopping this game.

[23:03] Janine Robledo: It would be the most advanced game we ever played. But in lieu of such a game, the one we have right now, we're calling Broadway Buddy. So the idea is moral implications aside, were you to create your own AI companion and had to pick a musical theater character to base that AI companion on or the traits that they might have, who would you pick?

[23:23] Pauls Macs: Therese has said in the last podcast, and it's so true, that if there's an other, I will write in the other. And I want multiple characters. I want to be able to customize. I want to be like, all right, I want the voice of this. I want this ability from this character. So you can use multiple characters.

[23:37] Janine Robledo: Pals is like playing in Sims mode, just full customization.

[23:41] Pauls Macs: And I can go first while you're pondering. Everyone's like, yes, please, please. Love them not Pals. Go first.

[23:46] Janine Robledo: You should go first. Who have you been thinking of?

[23:49] Pauls Macs: All right. That's so funny. The first person I went to, of course, was Elle Woods. But then I was like, no, we can't use Elle Woods. We always use Elle Woods. We talk about Legally Blonde every single time on the show. She's already a robot. She's figuring out love and life. Work. We love her. But so I thought, let me do a show I've never done on the pod before. And my mind went to Damn Yankees. And I want Lola from Damn Yankees because, you know, I was eighth grade varsity basketball because I was very tall. But then everyone grew up taller than me. And so I've never been great at sports, but I know with Lola's help, I could be great at sports. She would teach me what to do, or she would somehow use supernatural powers to help me.

You know how, like, for example, Tony Stark has like Jarvis or Friday in his head, like help him. I want Lola's voice, like helping me and coaching me all the way through my quest to become good at sports. But I'm going to customize this robot further. And I'm going to take Jack Kelly from Newsies. And what I want from Jack is I want Jack's ability to inspire people and make people like him, even though he's not that likable of a character. If you look at that show, he portrays the Newsies so many times, but everyone loves him. So I want that. Those are my two go-to traits that I want.

[25:04] Janine Robledo: This game is how I found out that you were a jock.

[25:06] Pauls Macs: I cannot believe this is where I learned this.

[25:09] Janine Robledo: I'll show you the pictures. I look very good in my uniform.

[25:13] Pauls Macs: Oh my god, wait. Okay, no, that definitely has to happen. When we post that, we're gonna post that online.

[25:16] Janine Robledo: I said for my AI companion, as someone who's so hesitant about the idea of utilizing AI and like that kind of capacity, I was like, if I was going to, or if everyone just randomly had an AI show up one day, and I still got a choice. I like Grace from Annie. I think she's great. She's very efficient. She's on it. She's empathetic. She loves orphans. She understands how to work with someone who might be particular, which I am particular. And just I like any character that'll burst in a song and like show you around their house. So I was like, yes, work, honestly. I have to say, in my case, it's like a combination now that I'm doing Hades style. I would love to have a combination of Persephone and Hermes.

The vibe and the party of Persephone and like always spraying. I would love to cook with her. But then at the same time, randomly, she will give me a beautiful advice in a way that Hermes will do. You know, I would love that. I'm going to steal. This is the other thing I'm going to do is I'm going to steal Eddie's trait. I love throwing parties, but I know I can throw an even better party. So I'm going to borrow that from my robot. We'll see what Janine and Hector bring.

[26:28] Héctor Flores: How's it really just like trying to infinity stone all of these characters?

[26:32] Janine Robledo: I think for me, I would have to choose Bernadette Peters from Into the Woods, just to give me that perfect amount of like cynicism, but like humor and cleverness. Being that overprotective parent and also the ability to choose between having magic and being really old or having beauty and having no magic. I think that was such an interesting conundrum that she was in. I relate to it so much. So just having that A.I. of her around to remind me about that would be really cool.

[26:57] Pauls Macs: Brilliant choice. Love it.

[26:58] Héctor Flores: So my first one was Rocky from Rocky Horror because I just want someone to touch, touch, touch me. Honestly, right? Maybe, maybe something past that. So then I was thinking, what if I could get the wisdom and guidance from Rafiki with me all the time? I need that like Jiminy Cricket. William Morris Barfee from the 25th Annual Putnam County Spelling Bee has a magic foot. I want perfect spelling. Yeah, I'm making the perfect Build-A-Bear slash musical theater A.I. companion.

[27:27] Pauls Macs: I think we've given Pals too much power. I think it's going to his head. I think we have another victor on our hands.

[27:31] Janine Robledo: I'm excited to see this Infinity Stone A.I. robot that you're creating.

[27:38] Héctor Flores: And then they're going to wake up and be like, I'm running away to be an artist.

[27:42] Pauls Macs: And we're like, yeah, we get it.

[27:43] Janine Robledo: This is actually a good idea. We get one of those A.I. programs and we add those characters to see how it looks.

[27:49] Héctor Flores: We're like doing cabaret. Just kind of want to see what happens.

[27:52] Pauls Macs: Also, I just want Eddie to teach me how to be a good singer. I just want Eddie to be my A.I.

[27:57] Janine Robledo: But yeah, take Eddie, part of this A.I.

[27:58] Héctor Flores: Eddie counts, right? I want to be an A.I. as well. I want to be a fabulous producer. Have Janine be in the A.I. so that it can teach me to write.

[28:06] Pauls Macs: I'm absorbing you all into my A.I.

[28:08] Janine Robledo: Pals!

[28:13] Héctor Flores: Oh no, no. We have to end the pod with Pals' A.I. robot destroying all of us.

[28:17] Pauls Macs: Destroying humanity.

[28:20] Janine Robledo: Which is not... This is like light spoiler. That's not how Ghost in the Machine ends.

[28:24] Héctor Flores: It is not.

[28:24] Janine Robledo: Much happier ending. Much better ending than that.

[28:26] Pauls Macs: It's lovely. It has such a little twist.

[28:28] Janine Robledo: That was a tease.

[28:31] Héctor Flores: It is Trixie. It is Trixie.

[28:33] Teresa Attridge: Oh my god, it was so much fun having you all on the pod today.

[28:37] Héctor Flores: Thanks for having us.

[28:38] Janine Robledo: Absolutely.

[28:40] Teresa Attridge: Continue to stream all of this beautiful music and keep an eye out to see what comes next for Ghost in the Machine. Thank you, Barnacles.

[28:49] Héctor Flores: Yeah, everyone here with you is now available basically anywhere you can download music. Check it out. It's on iTunes and all the streaming services.

[28:56] Janine Robledo: We want you to listen to it.

[28:57] Héctor Flores: Hear Eddie's voice again and again and again.

[28:59] Pauls Macs: Or just listen to our voices on this podcast again and again and again until you get to Eddie's voice singing.

[29:04] Teresa Attridge: Thank you for being here.

[29:05] Héctor Flores: Thank you to all of you for sharing this work with us, sharing this piece with us. It's very, very exciting.

[29:09] Janine Robledo: We're very grateful to you for being here today.

[29:11] Héctor Flores: Thank you, guys.

[29:12] Janine Robledo: Thank you.

[29:17] Pauls Macs: 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 write us a podcast review and tell your friends.