Constantine Rousouli on Playing 'Gay as Hell' in 'Big Gay Jamboree'

Constantine Rousouli says he having a blast playing as gay as it gets in "The Big Gay Jamboree," the off-Broadway musical continuing its run through December 15. He talks to EDGE about his career and the show.

"Big Gay Jamboree" is a big, gay-centric blast. The bawdy, irreverent tale of a struggling actress who, after a booze-fueled blackout, finds herself stuck in an old-fashioned Golden Age musical is a delightful, loving satire of all things musical theater. It's packed with glitz, camp, singing, dancing, lampoons of some of musical theater's biggest numbers, and so many brilliant zingers you may need to see it more than once. Actors, show biz people, and musical theater nerds will love the inside jokes and not-so-subtle digs. But you don't have to be an actor, a musical theater lover, or gay to enjoy this jamboree.

The talented ensemble features one of the show's co-writers, Marla Mindelle, as the boozy, struggling actress at the center of the drama (of course). Mindelle also co-wrote and starred in "Titanique," the hit Off-Broadway show that recently transferred to the Daryl Roth Theatre and is about to set sail to international waters. Her "Titanique" co-creator Constantine Rousouli joins her on stage as the flamboyant Bert, a deeply closeted man struggling to be understood by the good and decent people of Bareback, IOWA. No stranger to the stage, Rousouli began his career on tour as Link in "Hairspray" weeks after his high school graduation. Though he's had his ups and downs, especially in LA, Rousouli is at the top of his game.

EDGE recently had the chance to chat with Connie about his life as an actor, "Big Gay Jamboree," and his new bestie, Barbie.

EDGE: How did "Big Gay Jamboree" come about?

Constantine Rousouli: Marla had been working on it with her writing partners from college, Jonathan Parks-Ramage and Philip Drennen. They sold it to Lucky Chap, Margot Robbie's production company. They wanted Margot to star in it, but then she got so big they shelved it for a little bit. Eight years later, Marla and I are doing "Titanique" on stage and who is in the fourth row with this gorgeous smile and beautiful blonde hair? It is fucking Barbie. Marla was having this little mental breakdown, saying, "I don't want to know she's here. I can't, I can't perform."

Of course, she did, and a few months later she got this email from Margot asking if she could get on Zoom. When they did, Margot said she was so deep in press for "Barbie" when she saw "Titanique" that she couldn't talk. She asked what Marla was doing, and she told her she was turning the film she'd sold her into a little stage musical. Margot immediately got involved. All these readings started happening, and within a year "Big Gay Jamboree" was born. And Barbie and me are tight as hell. Well, we're going to be best friends. I feel it.

EDGE: But you do know her. Is she perfect?

Constantine Rousouli: She is perfect. She is the most beautiful human I've ever seen, and I have said that since the first time I saw her. And, let me tell you, the beauty is a 20 out of 10. Her personality and her soul and her character are a 50 out of 10. She is unbelievable, so supportive, so respectful, just the best. She was in rehearsals with us for a week or so, just sitting behind the table wanting to be there, bringing us food, bringing us cupcakes, chocolate. She really is a hands-on producer.

The whole Lucky Chap team is unbelievable. They've been the best producers I think I've ever worked with. I'm just lucky to be in in the same world with them. I have to call out John and Sue Wagner, the other executive producers, they're big Broadway producers. They've built this world where we are so taken care of and so supported. It's very hard in this business, especially in theater, where actors are replaceable. They care about us, constantly doing things to make sure we're okay, that our mental health and physical health are okay. I'm very fortunate to be working with them.

EDGE: What's the difference between working on Broadway and off-Broadway?

Constantine Rousouli: Honestly, just the pay. On and off-Broadway are just the number of seats in the house. We have about 400 seats in "Big Gay Jamboree." I think the minimum seats for a Broadway house is 500. The production value and the talent are still grade A. And, let me tell you, off-Broadway is really kicking ass right now. And I just want to say "Titanique" might have started it.

EDGE: Nice way to slip in a little plug for that Off-Broadway smash hit.

Constantine Rousouli: This whole movement is interesting to see. We started "Titanique," and look at it now: "Oh Mary!" and "Big Gay Jamboree," all these fun, cool downtown shows. In an Off-Broadway setting you're able to not go fully commercial in order to sell tickets. People are willing to take a chance, and it's really fun to have all this fresh work.

EDGE: And it's cheaper.

Constantine Rousouli: It's a lot cheaper and, let's face it, these weird, niche, fun, crazy shows would never see the light of day if you had to have a huge studio behind them. Broadway is expensive. It's millions and millions of dollars, and some of these shows are lasting two or three months, then your $50 million goes down the drain. We've got to come together and figure this out.

EDGE: Who is you audience?

Constantine Rousouli: When you have a brand-new show you have to find your audience. It's starting to develop. Of course, this is the gayest show ever, so we have our LGBTQ+ family. And it's the same brand of humor as "Titanique," with which we've had success. As gay as the show is, it definitely translates all over the place to different generations. Even though we've got the word gay in the title, we do a really good job of inviting everybody into this world. Of course, our LGBTQ+ brothers and sisters are spearheading this, it's where our audience stems from, and from where it blossoms and grows.

We spread joy and love and humor. We make people laugh. I feel so fortunate to be able to do this. Theater doesn't always have to teach you a lesson. This isn't going to be the next Shakespeare of its time. All you need to do is come to the theater, have a drink, and laugh, because laughter heals.