BROADWAY BACKWARDS Raises the Roof and Our Spirits in Record-Breaking Fashion

You might be thinking: “Another Broadway fundraiser? Aren’t there dozens throughout the year?” In truth, yes—New York’s theatre scene is marvellously generous. But BROADWAY BACKWARDS stands out because it celebrates the LGBTQIA+ community through the timeless charm of musical theatre, flipping traditional gender roles in beloved show tunes. It’s a concept that began modestly back in 2006 at The Center (short for The Lesbian, Gay, Bisexual & Transgender Community Center). Hard to believe, but the very first edition was a small, grassroots affair. Now, it plays to a massive auditorium at the Gershwin, raising money for Broadway Cares and The Center.

Across 19 editions, the concert has brought in over $7.9 million. Let that sink in: from a tiny seed of an idea to a philanthropic juggernaut that has soared past the $1 million mark in a single night. If that doesn’t encapsulate the spirit of theatre—where big dreams often start in intimate spaces—then I don’t know what does.

The Superstar Line-Up

Making an appearance at BROADWAY BACKWARDS is practically a badge of honour for the Broadway elite. This year’s roster reads like a who’s who of modern musical theatre. The ever-charming Jenn Colella, known for her arresting vocals and sly sense of humour, returned to host for the fifth time. She’s fresh from SUFFS, but many remember her from earlier hits like COME FROM AWAY. Meanwhile, the talent onstage ranged from Tony nominees and winners to newcomers lighting up the Great White Way.

Among them were Bobby Conte (THE WHO’S TOMMY), Lorna Courtney (& JULIET), Nikki Renée Daniels (ONCE UPON A MATTRESS), Eden Espinosa (LEMPICKA), J. Harrison Ghee (SOME LIKE IT HOT), and Sydney James Harcourt, who lent his dance chops to The Jellicle Ball from CATS. We also saw powerhouses like Dorian Harewood(THE NOTEBOOK), Manu Narayan (COMPANY), Jessica Phillips (REDWOOD), Conrad Ricamora (OH, MARY!), and Ryan Vasquez (THE NOTEBOOK). If that doesn’t already have you scanning resale sites for any possible ticket, let me also mention appearances by the marvellous Tituss Burgess (OH, MARY!), the legendary Len Cariou (SWEENEY TODD), and the one-and-only Adam Lambert (CABARET).

And that’s merely scratching the surface. With talents like Jordan Fisher (URINETOWN), Kelli O’Hara (DAYS OF WINE AND ROSES), Gregory Jbara (BILLY ELLIOTT: THE MUSICAL), and Tiffany Mann (URINETOWN) rounding out the cast, it was an embarrassment of riches. Let’s not overlook other ensemble standouts like Preston Perez(A BEAUTIFUL NOISE, THE NEIL DIAMOND MUSICAL), Kate (Kei) Tsuruharatani (JAGGED LITTLE PILL), Remi Tuckman (DRAG: THE MUSICAL), and Joy Woods (GYPSY). Each brought a unique flavour to this celebration of love, acceptance, and music.

A Record-Breaking Triumph

For all the glitz and high notes, it’s the bottom line—quite literally in this case—that made headlines. This year’s $1,111,788 total didn’t just inch past previous achievements; it soared beyond them. According to my sources, the organisers were cautiously optimistic that they might surpass the 2024 record. But surpassing it by nearly $200,000 was a twist worthy of a show-stopping Act Two number.

What happens to those funds? They go straight to Broadway Cares and The Center. If you’re not familiar, Broadway Cares has raised more than $300 million since 1988 for individuals with HIV/AIDS and other critical illnesses. It’s one of the most beloved charities in the theatre community, drawing upon the generosity of performers, backstage crew, and fans alike. Meanwhile, The Center in New York City provides vital services and programming for the LGBTQIA+ community, championing everything from health services to cultural initiatives.

The Mavens Behind the Scenes

Star performers aside, one cannot overlook the creative visionaries who choreograph this theatrical jamboree. Robert Bartley, the concert’s creator, returned once again to direct and choreograph, ensuring the evening maintained that signature blend of heart, humour, and respectful irreverence. He was joined by Ted Arthur and Mary-Mitchell Campbell as music supervisors, with Nicholas Connors and Nick Wilders stepping in as music directors. Chris Gurrkept everything seamless as associate music director.

On the dance side, Amanda LaMotte joined as choreographer, while Adam Roberts returned as both choreographer and associate director—talk about a multitasking machine! The casting got a bit of extra sparkle from ARC’s Mark Brandonand Jarrett Reiche, who helped assemble this dream team of performers.

The Heart of the Event

Part of BROADWAY BACKWARDS’ charm lies in its subversion of classic musical theatre. Imagine a typically male-performed number sung by a powerhouse female vocalist, or a romantic duet recast to embrace same-sex chemistry. The gender-flip concept is more than a novelty; it’s a powerful statement about inclusivity and the ever-evolving nature of theatrical storytelling. Musical theatre is, after all, about human emotions—love, loss, hope, and triumph—and those experiences aren’t confined by gender or orientation.

Audiences show up knowing they’re about to see something unexpected: that big showstopper from GYPSY or a comedic gem from URINETOWN—only with a twist that might shed new light on the material. It’s the kind of playful approach that reaffirms why so many of us fall head over heels for theatre. Isn’t it marvellous how a fresh perspective can renew our appreciation for songs we thought we knew inside out?

A Rare Anecdote From the Wings

No show is ever without its little backstage hiccups, though you’d never know it from the slick performances out front. I’ve heard rumours of a last-minute scramble involving a missing prop hat (it’s always a hat, isn’t it?). Just moments before the final group number, someone dashed across the wings like a frantic gazelle, rummaging through costume racks to retrieve the rogue accessory. One stagehand confided that the hat had accidentally gone home with a dancer who left early for another engagement. A kind volunteer hopped into a taxi—meter ticking, adrenaline high—to fetch it in time for the big finish. That’s theatre for you: a magical, well-orchestrated chaos swirling behind the velvet curtain.

Hidden Treasures For Broadway Buffs

We all know about the big belters and comedic showstoppers, but BROADWAY BACKWARDS always sneaks in a few lesser-known numbers. Word has it that Sydney James Harcourt’s rendition of The Jellicle Ball from CATS took on an entirely different energy that night—almost cinematic, I’m told, with innovative choreography bridging the gap between modern dance and feline frolic. Hearing that makes me think: if you’re a Broadway connoisseur with a penchant for unusual or rarely staged songs, this is the show for you.

There’s also something fascinating about seeing top-tier performers engage with material they don’t typically perform eight times a week. It challenges them creatively and leaves audiences wide-eyed. I’ve always held that a performer forced slightly out of their comfort zone can produce the most riveting moments. By all accounts, the vibe backstage was electric, with cast members cheering each other on in the wings like an extended theatrical family. Considering the competitive streak that sometimes pervades the entertainment industry, it’s refreshing to see that sense of camaraderie shine through.

The Broader Impact

It’s one thing to enjoy a rousing night of show tunes, quite another to remember the pressing social causes behind the stage lights. BROADWAY BACKWARDS offers that perfect blend of entertainment and advocacy. By spotlighting the LGBTQIA+ community and supporting nonprofits, the event weaves a tapestry of art, activism, and empathy. And it does so in a way that feels celebratory, not solemn—proof that activism needn’t be dour.

Stats from The Center indicate that more individuals than ever are accessing their mental health services. Meanwhile, Broadway Cares continues to be a lifeline for those with HIV/AIDS and other critical illnesses, funding food pantries, health clinics, and emergency financial assistance. So every ticket purchased, every donation made, goes directly into changing lives. That knowledge tends to fuel the audience’s enthusiasm, creating an atmosphere where the applause seems to echo long after the final curtain call.

You might say theatre is all about the ephemeral: a song soars through the rafters, a dancer leaps across the stage, and then the moment passes, never to be repeated exactly the same way. But in the best productions—those fuelled by compassion as well as creativity—those fleeting moments create lasting change. BROADWAY BACKWARDS 2025 exemplifies just that. It’s the kind of night that reminds us why we scramble for tickets, huddle under marquees in the rain, and well up with tears at a perfectly sustained note. Because, at its core, theatre is about connecting us to one another. And if this year’s monumental total is anything to go by, that connection is only getting stronger.

Here’s to another year of pushing boundaries, embracing inclusivity, and proving that a single night of music can echo across time—raising not just money, but also hope. If you ask me, that’s a standing ovation well earned.