TODAY, I’M A BROADWAY CON MAN
My first assignment as a new staff writer here at Stage and Cinema finds me going to an event at 9:30. As I’ve been reviewing theatre and music-related programs for years, this would not have been unusual IF we were talking about a cabaret show at 9:30 in the evening, but it was 9:30 in the MORNING. Yes, morning!!! I’m rarely fully awake at such an hour, let alone already caffeinated and dressed and arriving in midtown Manhattan with my handy pencil and notebook, taking my seat in an audience.
Well, I’m not at a breakfast cabaret or ridiculously early theatre performance matinee, even though there could arguably be such a thing, since the word “matinee” comes from the French word “matin,” which means “morning.” It is derived from the Latin word “matutinum,” which means “of the morning.” I’m at BROADWAY CON (“Con” as in the word “convention” which comes from Latin roots meaning “to come, gather, or meet together” —and that’s the end of our etymology lesson).
Coming, gathering, and meeting together are theatre professionals, devoted theatre fans, and dozens of people at display tables and booths promoting all things theatrical and selling related merchandise and souvenirs galore: T-shirts, stuffed animals, books, etc., etc. (and I do mean etc.)!! People are browsing through old playbills, chatting with folks representing theatres from all over and the Young Actors Theatre Camp in California. It all goes on for three full days (February 7-8-9) on three floors of the mammoth Marriott Marquis Hotel, in rooms big and small. There are live musical performances, discussions, dance lessons, interviews, book signings, and sing-alongs. Some programs are aimed at those seeking or starting careers in the theatre, others are for the eager fans. It’s the tenth year for all this.
Hundreds of people have already arrived on this freezing cold New York City morning, lining up to register, sell or buy merch, and choose where to go. Multiple events happen at the same time, in rooms big and small, so choices must be made. I make my way through the crowd, pick up my Press Badge (marked “Media”) and look for the room for the 9:30 panel discussion about TYA (Theatre for Young Audiences).
As I turn a corner, my sleepy eyes spot one of BROADWAY CON’s announced participating celebrities: It’s Lin-Manuel Miranda, standing still and smiling. He looks so relaxed, and I’m sure that his fans will be … will be … wait a minute! That’s not the man lauded for Hamilton and other high-profile projects. It’s a life-size, standing cardboard cut-out. I wipe my glasses and try to wipe the embarrassed look off my face.
I get to the room a bit before the start time and make some decisions about what to check out later: talks about two musical parodies (Schmigadoon!, the clever skewering of the genre of musical comedies that Stage and Cinema just reviewed at the Kennedy Center, and Saw, a wild musical version of the same-named cult horror movie); samples of songs from currently-running shows; a sing-along led by young Broadway stars; and a panel of Broadway veterans in the last time slot of 4:30 PM. The cost for each full day’s program is $92.35, with a discount if you want tickets for all three days and there’s a Platinum Pass for $1,157.35 gets you admission for all three days plus other perks and merchandise discounts. Getting autographs from celebrities and taking selfies with them is extra ($17.95-$29).
So, the first event starts. It’s great hear from those who create and present family theatre productions discuss not talking down to kids, taking their work seriously, and taking (and making) opportunities to develop shows, sticking to their principles, and commenting on the ins and outs, inside tips, and outside-the-box ideas related to the genre of theatre productions for a family audience. (Don’t call it “children’s theatre,” if you please, which is a smaller slice of the show business pie cooked up to taste delicious only to the very youngest. Not especially concerned with appealing to grown-ups, children’s theatre may give adult viewers indigestion.) Presenting and developing plays in regional theatres is stressed; there’s apparently a whole world outside New York City. (Who knew?!) Julie “Salty” Saltman, wearer of many hats in theatre (including those she created as a costume designer), leads this talk about the challenges of creating, developing, producing, and marketing original work that works for all ages. Jeff Revels, Artistic Director at Orlando Family Stage (Florida’s only professional theatre for family and young audiences) is upbeat but realistic. In the Q & A, I ask about the prevalent trends in topics and themes, and he mentions “message” plays and missions related to diversity and inclusion—recently marketing pluses and now under attack in the new political climate.
Then my journey takes me to the land of Schmigadoon!, the filmed parade of parody and pastiche, fondly mocking musical theatre styles. Clips of several of the series’ clever songs are shown, each followed by the classic numbers they were modeled on. A few comments by presenters are interspersed. Audience familiarity is evident.
I never saw Saw—neither the original horror film from two decades ago, its ten—count ‘em, ten— sequels, nor the video games and comic books they spawned. And I haven’t seen the “unauthorized” parody, a bold and bloody stage musical running in NYC now and presented on tour, too. I’m curious. Proud director/choreographer Stephanie Rosenberg makes it sound wild. In a good way. She’s joined by her fellow staff and members of her cast of characters, one of whom is a wooden puppet and another a scantily clad life-sized inflatable doll. We are advised to leave the room if we’re likely to be offended by a song with “adult themes” that will feature the blow-up babe and all-stops-out cast member Danny Durr addressing (and undressing) her. Nobody leaves. Man and doll do their double entendre pas de deux. The group shares other favorite moments and their love of the show and the obvious camaraderie. I ask about any changes in the early stages of staging the show and we hear about how a directorial change involving a kiss between two men made a big difference in impact.
A few minutes later, I get to see another Saw song sample as part of a concert in the large theatre. The presentation was already in progress when I arrived (some events overlap), but I was in time to also catch numbers from Titanique and & Juliet. Disappointingly for me, the musical accompaniment is via pre-recorded tracks. But then, in the next segment, the lively young Joshua Turchin provides live music, playing the piano and singing; he and several other members of Broadway’s newest generation of performers take turns, offering numbers from such scores as Dear Evan Hansen, Beauty and the Beast, and Waitress. The audience members, some of whom are dressed in costume, are invited to look up lyrics on their phones and sing along. I am seated near a woman garbed in full Beetlejuice regalia, with multi-color make-up, all accented with silver glitter. I look around the auditorium and note that many know the words without the need to look at them. But I wish I could say the same for a couple of the vocalists on stage who apparently don’t think they need to memorize lyrics in this kind of more casual situation.
To stretch my legs and seek coffee, I step out before returning to the same row for the next event. Miss Beetlejuice is gone; her chair is empty except for a fair amount of lingering glitter. It’s time for the next-to-last presentation. This day coincidentally is the release date for the cast recording of Swept Away. And although we don’t get to hear the songs, we hear those involved sing the show’s praises. Additionally, we learn about the unique challenges, including playing the whole second act while cramped in a tiny boat that was in frequent motion in the “ocean” on stage. This dramatic musical only ran for 68 performances (including previews) in its Broadway incarnation, but many people were emotionally moved by it, including those who worked on it and BROADWAY CON attendees who stepped up to the mic.
My afternoon ends with an especially intriguing panel discussion that takes us deeper into the real world of being a working Broadway performer and the jobs that don’t always come easily or quickly. Charles Kirsch, who has interviewed many stars on his Backstage Babble podcast, asks his especially articulate and honest guests about the details of getting their first and current/upcoming Broadway roles. A shared attitude about the need and value of “serving” the show and the character, rather than one’s ego,. We’re reminded that perspectives and priorities evolve as years go by. It gets intense and emotional and the dedication to their craft and perseverance are apparent in the thoughtful commentaries from actors Marc Kudisch, Darlisia Cearcy, Francis Jue, and Thom Sesma. Let’s hear it for maturity!
And so the first day ends. I take a final stroll among the tables of the exhibitors and down the escalators and know the fun and insights will escalate during the weekend.
The schedule for BroadwayCon 2025 is continuing to be updated. To view the schedule click here.
