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[0:00] Kristen Goodman: Hi, I'm Kristen Goodman. I'm Sarah Goodman. And we're Showbiz Siblings. We live in New York City.

[0:08] Sarah Goodman: We're both queer. And we love musical theater. This is our podcast.

[0:12] Kristen Goodman: Today's episode is another bonus episode for the queer series all about the hit off-Broadway parody musical Titanic. We love Titanic. Love it so much. Hilarious. We got invited to participate in Podfest at the Museum of Broadway, a really fun all-day event that we got to do with the Broadway Podcast Network. And we thought, wow, this is perfect, because Titanic is so queer, perfect for the queer series. Perfect. And we had such a blast talking to the co-creators, Marla Mindelle, and Constantine Rousouli. We laughed so much with them. They are hilarious and just so talented and lovely. Yeah, it was a blast. Shall we go for it?

[1:06] Marla Mindelle: Hi. Hi. Welcome to the pod. Great entrance applause. Thank you so much. We're so happy to have you here. Thanks for joining us today on this Sunday. The Lord's Day. It is the Lord's Day today. I hope everyone took a moment to think about that. So our show, Good Show, is doing a queer series right now. And so we are talking specifically to people who are queer, who have created queer shows. So if you don't mind, please sharing with us how you identify, what pronouns do you use?

[1:42] Constantine Rousouli: He is definitely a he, him or an it thing. I'm a she, her. I'm a if, then.

[1:54] Marla Mindelle: Yeah, if, then. A musical? Oh, I love that. Contained multitudes. I'm she, her.

[2:02] Constantine Rousouli: Yeah. Amazing. Amazing. And you both identify as?

[2:10] Marla Mindelle: Queer.

[2:14] Constantine Rousouli: Oh, oh, I'm not gay. Yeah, we're, yeah, we just wrote.

[2:18] Marla Mindelle: I'm the gayest. I'm literally the gayest person you've ever met.

[2:22] Constantine Rousouli: But we live together. We're essentially straight because we live together. We're like married, non-sexual life partners.

[2:27] Marla Mindelle: We were talking about your wedding. It's going to be wild. Celebrity wedding coming up.

[2:31] Constantine Rousouli: Yeah, coming up. People magazine will be covering it.

[2:37] Marla Mindelle: Oh, my God. Yeah. Well, BPN will be covering it also. We'll be on the red carpet covering your wedding.

[2:41] Constantine Rousouli: Wow. And just those two outlets. No one else. That's it. Exclusively People magazine and the Broadway Podcast Network. That's what we're going to do.

[2:45] Marla Mindelle: Three. What about you?

[2:48] Marla Mindelle: Yes. What more do you need? I love it. So Kristen and I are huge fans of Titanic. We've both seen the show.

[2:50] Constantine Rousouli: I've only seen it once, but I have to go back soon. It's so good.

[2:55] Kristen Goodman: How many times?

[2:55] Marla Mindelle: So thank you. Yeah. Three times. Every single time it gets funnier. I don't know how that's possible, but it is. It's just such an incredible show. We love it. Love it. Love it.

[2:59] Kristen Goodman: Thank you. So one of our favorite podcasts is Las Culturistas, and they love your show. They love Titanic. They talk about it all the time. And they talked about it on the pod saying that both Celine Dion and the movie Titanic are kind of like monoculture. However, in the world of Titanic, it's become like beautifully niche. But in this like universal way. Tell us what inspired you to create this like fabulous and hilarious queer show.

[3:29] Marla Mindelle: It came from the sick mind of my non-sexual life partner, Constantine Rousouli. We knew each other in New York, and we had both moved to Los Angeles around the same time. We were like, screw musical theater. We're over it. We're going to be TV stars. I'm going to be a writer. I was like, I'm going to be on TV tomorrow. He's going to be Chris Pratt. Good luck.

[3:48] Constantine Rousouli: Yeah. And life had other plans. And so we wound up at this dinner theater in Los Angeles where they would do these movie to musical parodies. So we were doing things like Devil Wears Prada, True Beverly Hills, Scream. We were taking these iconic movies and adding these pop songs, and L.A. was eating it up. And I will never forget, it was after Scream. He's two martinis deep. I'm a Sauvignon Blanc deep. And he walks up to me and he's like, I'll let you do it.

[4:13] Marla Mindelle: Yeah. Here we go. Pass the torch. I was like, Marla, the next show we're going to do is we're going to do Titanic with all Celine Dion music, and you're going to be Celine Dion. I'm going to be Jack. And she was like, good luck, babe.

[4:27] Constantine Rousouli: Yeah. I was like, have fun.

[4:31] Marla Mindelle: Yeah. I was like, this will never happen. I was like, I don't want to do that. I love Celine Dion too much. I will destroy her. We will destroy something.

[4:36] Constantine Rousouli: Yeah. And then miraculously, the spirit of Christ came through me that night and I sat down at my computer, never written anything in my life. And I just was like, oh, I was like, I'm in a flow state. I was like, I'm going to write an outline and put all the songs where they belong. And it's going to tell the story of Titanic.

[4:52] Marla Mindelle: And then the next day I called her entire director and I said, Hey, can you guys come over and watch the movie? I think I'm a genius. And it turns out he was one split second for one split second.

[5:03] Constantine Rousouli: Yeah. I tapped into some crazy shit and it came through source energy. It literally was the spirit of Christ. It was the gay spirit of Christ.

[5:08] Marla Mindelle: Yeah. It came to me and I was like, wow. And so he, he pushed it. He pushed the idea on us for years and years, and then he outlined it and we watched the movie and we're like, you know what? We're just going to do this for fun. We're going to do this to make each other laugh. There are no stakes. We just want to like, write our own, we just want to write our own show.

[5:25] Constantine Rousouli: And so we started doing these concerts. We had no money. It was, we put it, we put the entire thing on Ty's credit card. He maxed out $10,000 to pay the cast. I rented my dress from Run the Runway. I bought a $75 Celine Dion look alike wig from Hollywood wigs. I can do pretty much anything with, um, with a hot glue gun.

[5:47] Marla Mindelle: Yes. I love that. And, um, yeah. And I, and a hot glue gun in a dream and a ha ha honey. And I literally, we created the set in my old apartment and props and they've still have used them to this day in the show. I mean, they've recreated it, made it a little bit bigger, but it's the same idea. So we just started doing it at these little kind of bars and like concert venues in Los Angeles, literally just for fun. And people started like hilariously laughing at it.

[6:13] Constantine Rousouli: And we were like, wait a second, do we have something on our hand? Are we geniuses or are we just like absolute psychopaths? And the answer is both. So we took it to New York on a whim and we did a week, a week of just like these concert performances. And in that week we had Celine Dion's manager come to the show, or I'm sorry, David Foster's manager come to the show. And David Foster wrote a ton of her iconic songs. And then we had Broadway producers come and in a week, the whole thing just kind of took off.

[6:39] Marla Mindelle: And of course we had to suffer through the pandemic that kind of halted everything. But we came back and we opened nearly two years ago and it was only supposed to be this three-month run and it turned out to be this massive hit. And I do think that Los Culturistas had something to do with that huge impact on us, which is great. We love them.

[7:02] Constantine Rousouli: And we love Matt and Bowen. And it just kind of tapped into this, you know, very bizarre kind of niche cornerstone of the theatrical marketplace of people that just wanted to see something really, really funny and wanted to see, we just wanted to laugh. And that's why we did it. It was just like to crack each other up on stage. Truly.

[7:17] Marla Mindelle: And the stuff that we throw into the show is completely batshit crazy. And we're like, no one is going to laugh at this. I mean, while everyone's on their feet and then people of all generations are coming and are loving it, even though, you know, my like old aunt who's like 85, she's like, I have no idea what the hell is happening, but I love this show so much.

[7:35] Constantine Rousouli: What was that woman who brought you outside?

[7:40] Marla Mindelle: Oh my God. There was like, I want to say she was between 60 and 90 years old. Do you remember?

[7:44] Constantine Rousouli: Yeah. You guys remember when they always used to interview people outside the theaters of opening night?

[7:48] Marla Mindelle: Oh yeah.

[7:51] Constantine Rousouli: Yeah. But like a true New Yorker.

[7:51] Marla Mindelle: Yeah. So she comes up to me at the Daryl Roth and she's like, I want to tell you something. I hate musical theater. I hate Celine Dion. And I loved this show. And I was like, with love and respect, ma'am, how did you find this place? What are you doing here?

[8:11] Constantine Rousouli: Yeah.

[8:11] Marla Mindelle: Yeah. I was like, okay, go off.

[8:16] Constantine Rousouli: Yeah. So it's just, we call it like it's now turned into what we call it a gay Superbowl because I've never seen so many people. I've never seen so many people of all generations of all sexualities come and scream their bloody murder. It was like, people are getting murdered on stage.

[8:27] Marla Mindelle: Oh my God. I was like, everybody takes several seats where they won't, they won't. And they're singing along and we love it. I'm like, this is just a big like gay Fantasia party.

[8:37] Constantine Rousouli: Absolutely. It's so fun. So joyful. You all are so talented. I got to see both of you perform.

[8:42] Marla Mindelle: Oh, thank God.

[8:48] Constantine Rousouli: OG cast.

[8:48] Marla Mindelle: OG cast. And you were just like, I can just tell that you love to crack each other up. So do you have any other fun stories you'd like to share from when you were in the show or like your time collaborating on creating it?

[9:00] Constantine Rousouli: I mean, one of the best things that ever happened and I think what made the show so special and keeps people coming back to the show is I'll never forget. There was this one scene and they were, and Ty, our director and Connie were like, Marla, we just don't know what to do here. Just like kind of make it up, just like improv it. And we'll just like mouth, whatever you say. And at the time I was like, oh, that seems chaotic as hell, but I was like, I'll try it and I'll go for it.

[9:26] Marla Mindelle: So it started to be like this like little thing where I would just kind of improv this one section of the show. And then I didn't, we didn't realize at the time that musical theater, while it is magical, it is very stagnant. You know what I mean? Like everyone is doing the same exact thing every single night. So the fact that I was able to come on stage and literally no offense, hold the show hostage to my mentally ill brain by starting to improv any current events, like anything that was happening in the world.

[9:45] Constantine Rousouli: And I was forcing this idiot to mound whatever I say. I was using all of his stories that he told me. Never tell this bitch okay. I'm telling you right now, you cannot trust her.

[9:56] Marla Mindelle: Everything that she, she puts it in a Rolodex and she's like, okay, cool. What, what happened to you as a kid? Let's unpack that. And I'm like, all right, cool. And I'm just telling her at home, this monster will go on stage and completely tell the story of like, I don't know, everything. The first time I've kissed a girl, like the first time I had sex with a girl, LOL. And I was just like, you can't be saying this.

[10:20] Constantine Rousouli: Steph, if you're listening, are you listening to the podcast?

[10:22] Marla Mindelle: Anyway, but yeah, she's a monster and you can't trust her.

[10:25] Constantine Rousouli: Yeah. Do not trust, do not resuscitate me. Um, yeah, no, I should be left for dead. I, but, but it became this, this huge standout of the show. And so you have people coming back, you know, uh, three times, no offense is actually not that, it's not that much.

[10:42] Marla Mindelle: Yeah. One get out for only 30, 15, 20 times. And it's because you're never going to see this, the same show twice. You will always see something different because of this one improv section. And that literally just came out of just being monsters with each other and trying to make me trying to crack them up has now become a staple of what the show is. And so that's the most exciting thing for me is that I've been able to unleash basically my beast.

[11:00] Constantine Rousouli: Yeah. Unleash my beast on stage and hold him hostage. Your ability to improv as Celine is just mind-blowing. Like you have to be so quick for that. And I, yeah, I mean, thank you. Some days, some days it was very hard, but some days, you know, there were like current events and I watched so much reality TV and you know, so like, there's always something to talk about, which is, which is great. And if not, I just go back, you know, to his, to my, my awful, awful trauma back PTSD of it all. I was like, thanks Marla. I didn't think about that one. So you started talking about how you took it, you know, from LA doing your musical parodies to moving it to bigger.

[11:44] Constantine Rousouli: Bigger venues. What has that been like to see this success just keep like snowballing and getting bigger and bigger audiences and all of that? It's been crazy. I mean, truly, we never thought this was going to blow up like this. We thought it was really funny. Oh, this is really funny. But, you know, we were coming out of a pandemic. First of all, we're like, what is the term? What is like the what the volume of the world? What is going to be happening in the tone of the world? We didn't we it's just, you know, we wanted to make each other laugh. And then all of a sudden, people really needed it. And to see that, you know, just I don't know, it was really exciting. And then to move from a little tiny black box theater in the basement of a Gristidis to then moving it to the Daryl Roth theater, doubling the size.

We were just like, wait a second. Yeah. I mean, how did this happen? And it's wild. We said it was only supposed to be three months and it was going to be like a short summer run. And we were like, oh, this will be so fun. Oh, yeah. We used to tell each other, like, we're going to go out. We're going to have fun. We're going to move back to New York. We're going to be like living our Sex and the City life. We're going to be like drinking after the show. Yeah. Good luck. I my ass is in bed like a nun. I was like, I can't do shit. My body is broken.

[12:50] Marla Mindelle: Well, you're all singing your faces off. Yeah. Everyone in that cast can sing down. So it is definitely a hard. She's a hard thing. It's a hard thing. And I was like, well, what did we do to ourselves? Asia's week? Yeah. We just kept getting extended, which I guess is like the sign of a huge success. So, you know, it's supposed to be three months. We're going on two years. Wow. And on Broadway. Thank you so much. And it's so amazing. It's just crazy to me because, you know, theater sustaining any form of theater is hard, but off Broadway especially was really decimated. And so I feel like we were able to kind of make this like tiny little impact and revive this, you know, revive this incredible version of theater.

So I'm I'm glad that we got a chance to do that. And I honestly can't I can't believe it's still running. I can't believe people are still laughing at it. It's it is truly. Yeah, really. It's bringing people so much joy, like truly anyone that comes to visit and they're like, what should we see? I'm like, Titanic, no matter who they are, it doesn't matter their age, their gender, their sexuality, like everyone can enjoy it. It is so much fun. It is a blast.

[13:55] Constantine Rousouli: I've heard in an interview, you both mentioned that like when you first brought it from L.A. to New York, you were worried that maybe it wasn't like New York funny as opposed to L.A. funny. What do you mean exactly by that? What's the difference between like New York and L.A.?

[14:04] Marla Mindelle: Well, that's that's all a Marla Mandel right there. We were doing the show in L.A. and we had rented out. I think the first time we ever did a reading of it, we just got all of our friends and like producers and directors that we have known from the years of being in the business to come to this Dancing with the Stars studio, like random. I don't know. In the valley. And it was we remember like packing it like this was a room like this and it was one hundred and seventeen degrees outside and the air conditioning was broken. And we're just like, oh, God, what's going to happen? People are going to they're going to leave. They're going to get up and leave. And we held them hostage for an hour and a half and they were loving it, but like sweating and just like crying.

And then I remember looking over to Marla and she was like, yeah, well, it's it's L.A. funny. We don't know if it's New York funny yet. And I was like, OK, girl, I was like, go off, Marla. OK, because like L.A. OK, no shade to L.A., but L.A. basic. No, no, I wasn't even going to say that. OK, go off.

[15:03] Constantine Rousouli: L.A. is it is obviously more devoid of theater. It is a town for film and TV. So like so when we were doing these movie to musical parodies, people were eating it up because they know movies and they know these kinds of pop songs. New York is there's a billion shows and a jukebox musical is kind of like a kiss of death here. Do you know what I mean? Yeah. And people are more critical. So I was just like L.A. is very warm and friendly because they understand this. But will New York be as receptive to another jukebox parody musical? Because there are so many of them and you hear that and you know what your eyes roll back in your head and you're like, well, I'll see that I'm not paying one hundred dollars for that.

So I was so I made the kind of chaotic decision to ask every single person that was doing this for free to then fly themselves on their own time and put themselves up with like friends and get paid no money to do a week long reading at the Green Room 42 to do like eight shows in a row to see what would happen. And we sold out and people were canceling and it killed. And I was like, OK, OK, we really have something here. We have something here.

[16:09] Marla Mindelle: Yeah. And so that's what I mean, that the differentiation between New York and L.A.

[16:14] Constantine Rousouli: Yeah. A little bit more Lehman Trilogy. Exactly. It was in L.A., right? Yeah. It's yeah. Titanic is giving Lehman Trilogy, for sure. Yeah. If you haven't seen it, there's so much like. Yeah, sure. I think Titanic is the best jukebox musical ever made.

[16:32] Marla Mindelle: Thank you. Well, thank you so much. I mean, it will take my heart. My parents feel the same way as you.

[16:37] Constantine Rousouli: They're right. They're right. I mean, it's campy. It's fun. It showcases the music. It fits into the story beautifully. It's not like shoehorning someone.

[16:48] Marla Mindelle: No, I. Well, that's yeah. That's his genius. That's when the gay spirit of Christ. Yeah. Oh, yeah. Take a bow. Take a round of applause for Connie. Yes, everyone. That was all him. And, you know, that is true. Like all the music somehow tells the story, which I feel like is so hard in jukebox musicals. I feel like everyone's always like backtracking into what the song is going to be. But with this, it was just so natural. Yeah, I just it just happened. I don't know. I can't explain it. And there's something about Celine Dion being like a wild conspiracy theorist, being like, this is what I think happened. And everyone being like, um, Celine, no, like you were just weren't there. You weren't there.

And she's like, oh, contraire. Let me tell you. Let me tell you my version. And everyone's like, OK, like just her rewriting history is just so it's perfect. Yeah, it's just so perfect. And she's just such a kooky, wonderful, like character that, yeah, it's like this is perfect. Like it is actually perfect to like have.

[17:43] Constantine Rousouli: Yeah, she's such a story. She's a storyteller. Kind of lovely. You know, she's kind of like totally blunt. She'll say whatever she wants. She's like kooky and weird. It's just but she has the best heart. That's what I love about her so much is that she has such a good heart and she's like does everything at one hundred and fifty percent. So she's like I was on the Titanic. You're like, OK, I guess I'll go with that, Celine. Yeah. Yeah. So, yeah. Well, thank you for saying that. Thank you. I mean, I think I think that it's I mean, not to toot our own horn, but I love we love it. I love it. Wonderful. It's like it's never ceases to be joyful and fun and funny and fresh. I really love how the casting has changed so much throughout.

It's really cool that it's not always just like, oh, just a copycat of every Rose. You know, they all look the same. They're all totally different. They're different ages. They're different races. They're different body types. It's really cool. It's really refreshing. It makes it fresh. Everything makes you want to go back.

[18:37] Constantine Rousouli: Yeah. Yeah. Yeah. We have we've I mean, again, since it was only supposed to be three months, we didn't realize that we would have to cast more and more and more and more. Yeah. Replace ourselves. I mean, it's been it's you know, that's been like the business side of it is having to go through audition process and then see people audition to play a version of you. That's been crazy. And since it's been going on for so long, we've had to cast it multiple times. So it's been kind of like a rotating door of exciting for the past two years. It's really amazing. You're like, wow, you actually did that way better than me. Yeah. How dare you? I'm going to steal that if I ever go back in the show. Yeah. Yes.

[19:20] Marla Mindelle: So what does queer representation in theater mean to you? Connie, do you want to take that one?

[19:25] Constantine Rousouli: Honestly, honestly, everything. I mean, yeah, it's just it's everything nowadays. I'm so happy that we have we're finally turning a new like leave. But growing up in the business, it was really I mean, I was so attracted to musical theater because I was like, oh, wow, these crazy people are just like me. And I love this. But it was hard, like coming up in this business because everyone was like, you have to play straight and butch it up and blah, blah, blah. So now to see everything that's, you know, super queer and we're here and we're out in the open and it's like it's nothing. And there's just so much work that is queer. And for us to make this, it's just really I don't know, it's wonderful.

And it's so nice to just be your authentic, true self. Someone once said on a chat board that Titanic is gay rights. And I said that is a genius. And I do believe that I just think the fact that we were able to create something so authentically us, which is just very queer and for it to be received so well, not only by the queer community, but by everyone, everyone, I think is just a testament to to art. You know what I mean? That it can translate and it can move across every single barrier. So, yeah, I it doesn't cease to amaze me that we have written, no offense, the gayest thing on earth. And people stop us on the street and they're like, I've seen your gay piece of art 20, at least 20 to 25 times.

And they're like, thank you. Like, I feel like you wrote it for me. And I was like, oh, I was like, that is the nicest thing anybody could ever say. Because we didn't. Because we're selfish as hell. But yeah, it's really cool. And it's just been yeah, I love it. It does feel like a gift, especially like queer millennials. Like we're just like, yeah, at the first time we saw it, we were like, it feels like they wrote that for us. Like how it feels. It's like it's so personal. It's so like, incredible and just seamless and hilarious. So, so fun.

[21:20] Marla Mindelle: So you mentioned a couple of the other musical parodies that you all did before Titanic. Do any of them stand out as like your faves before you?

[21:26] Constantine Rousouli: Oh, I mean, I can talk about mine. Well, we did, we did True Beverly Hills, the 1989 movie with Shelley Long. Love it. All 80s songs. It's all pop 80s. And you know, we were trying to get that one here for a while. But because we had so much fun creating that we just and we, we just had, we just had a blast. Like we were in like this busted ass dinner theater. Yeah, like just writing shows making $75 a show. We would get fish and red sauce. Yeah, we would get a group dinner of like fish and red sauce and truffle french fries, which have no business being eaten together. But yes, through that, we did that. And that one, that one was a highlight for me. But I think the two of us all, we also did Scream together. We did Scream together, which was all fun. And that was all like early 90s kinds of kind of songs. That was really fun.

[22:17] Marla Mindelle: Who were you in that?

[22:17] Constantine Rousouli: Um, yeah, exactly. I was Gail Weathers. I was really killer. I was like murderer, the murderer. And then I was Shelley Long and True Beverly Hills. And so that was like her husband. Yeah. Every other crazy ass character. Yeah, he played a multitude of characters. But yeah, no, True Beverly Hills, I think was, that's the was our second baby. Yeah, our second baby for sure. Yeah. And we just like, like, we just love we just loved taking these movies and just putting songs to them. So it became a skill set. Yeah, and it really is, you know, finding that magic of what to combine. And yeah, it's really exciting.

[22:53] Marla Mindelle: So this next question could be related to your own work that you create or to shows that you've seen, like how would you describe a good show? That's the name of our podcast after all. So we wonder, honey, how much time do you got? What time are we on Alan?

[23:07] Constantine Rousouli: I think a good show. I don't know. There are so many elements, but I think you have to have a really good story. I think if your book is solid, I think if you have a good story that can touch people in some way, shape or form, it's a solid libretto, then I think that you have the foundation of an incredible show. Yeah. And I think just being authentic.

[23:28] Sarah Goodman: Welcome back to GOOD SHOW! Today, we have a special bonus episode featuring the incredible Marla Mindelle and Constantine Rousouli, the co-creators and original stars of the hit Off-Broadway parody musical TITANíQUE.

[23:58] Marla Mindelle: Thank you so much for having us! We're excited to be here.

[24:24] Constantine Rousouli: Yes, thank you! It's always a pleasure to chat about the show.

[24:54] Sarah Goodman: So, let's dive right in. How did you come up with the idea for TITANíQUE? It’s such a unique concept!

[25:24] Marla Mindelle: Well, it all started with our love for the film Titanic. We wanted to create something that was both a parody and a love letter to the movie.

[25:49] Constantine Rousouli: Exactly! We wanted to take the iconic moments and twist them in a way that would resonate with audiences, especially in a queer context.

[26:19] Sarah Goodman: That’s fantastic! And what was the journey like taking the show from LA to NYC?

[26:45] Marla Mindelle: It was quite the adventure! We had to navigate a lot of challenges, but the support from the community and our fans really helped us along the way.

[27:10] Constantine Rousouli: Plus, the energy in New York is just electric. It felt like the perfect place for TITANíQUE to find its home.

[27:40] Sarah Goodman: I can only imagine! And speaking of community, how important do you think queer representation is in theater today?

[28:07] Marla Mindelle: It's incredibly important. Representation allows for diverse stories to be told, and it gives people the opportunity to see themselves on stage.

[28:35] Constantine Rousouli: Absolutely! We need more voices and perspectives in theater, and it’s vital for the next generation of artists.

[29:05] Sarah Goodman: I completely agree. It’s so inspiring to see shows like yours making waves in the industry.

[29:35] Marla Mindelle: Thank you! We really believe in the power of storytelling and its ability to connect people.

[30:04] Constantine Rousouli: And we hope TITANíQUE does just that—connects people through laughter and joy.

[30:34] Sarah Goodman: It definitely does! What’s next for you both after this?

[31:03] Marla Mindelle: We’re exploring new projects and ideas, but we’re also committed to continuing the journey of TITANíQUE.

[31:33] Constantine Rousouli: Yes, we want to keep the momentum going and see where it takes us!

[31:59] Sarah Goodman: That’s exciting! I can’t wait to see what you both come up with next.

[32:26] Marla Mindelle: Thank you! We appreciate your support.

[32:56] Constantine Rousouli: And thanks to everyone who has supported TITANíQUE along the way!

[33:23] Sarah Goodman: Absolutely! It’s been a pleasure having you both on the show today.

[33:51] Marla Mindelle: Thank you for having us!

[34:21] Constantine Rousouli: Yes, thank you! We had a blast.

[34:50] Sarah Goodman: And that wraps up our bonus episode! Be sure to check out TITANíQUE and support queer theater!