BroadwayCon Continues & Concludes
with Conversations & Connections
Part II of a Look & Listen to the 3-Day Theatre Event
(Part I reviewed here)
There are Broadway stars and Broadway fans with stars in their eyes. The latter is present in droves—devotees of theatre, eager to gain information and insights inside interview rooms and to be entertained by performances featuring music from musicals, memories of musicals, and costume parades. It’s the 10th annual BroadwayCon glut of theatre-related fun and food for thought. We are surrounded by tables of merchandise with smiling salespeople offering souvenirs, knickknacks, apparel, toys, playbills, pins, posters, pictures, props, perfume—anything that has a visual representation of a Broadway production or a few degrees of separation from one.
Lin-Manuel Miranda
Here on the three floors of the Marriott Marquis Hotel with wide hallways and many meeting rooms, it’s a mob scene, but it’s a happy mob, not resembling a frenzied mob pushing onto the subway platforms at the nearby Times Square stations. Things begin by 9:30am and go on until after 5pm each of the three days (February 7-9). With a multitude of BroadwayCon’s concurrent events sharing their time slots, some will feel conflicted and confused when having to choose which program to sit in on. Usually there are contrasting options: something as lighthearted as a feel-good sing-along in the same time slot as a serious discussion about burning issues dedicated folks are burning to talk about. It’s a lot to take in before it all ended last Sunday … to reappear next year for the 11th time.
A behind the scenes look at The Jonathan Larson Project 
Some consider the songs of a musical to be its heart, but the book (aka script) has been called its “bones”—it’s the structure, what everything hangs on. Weekend programs let attendees hear from some bookwriters about a playwright’s process, priorities, and collaborations. In various events, participants are John Weidman, speaking about working with Stephen Sondheim and on the revisal of Anything Goes, first sailing onto Broadway in 1934); Winnie Holzman by video hook-up discussing working on Wicked—the show and new film—with comments by Gregory Maguire, who wrote the original novel; and Robert L. Friedman, book-writer for A Gentleman’s Guide to Love and Murder and co-lyricist with its composer, the late Steven Lutvak. (I know: that’s an abundance of talented Steves, two sadly gone, and composer of Wicked Stephen Schwartz alive and well, with his next birthday in just a few weeks.)
BroadwayCon official merch
Also on hand is the hugely successful guy who is not just a wordsmith, but a fellow who wears many other hats, including being a performer: charismatic Lin-Manuel Miranda, taking the big stage in a program that runs overtime. My favorite answers to questions from moderator or attendee come from Ms. Holzman, who talked about REwriting being a constant—sometimes cued by noticing an early audience’s reactions or rethinking Wicked for the film medium—and Mr. Weidman, who, when asked how to avoid having notorious “second act trouble,” quips, “Don’t have an intermission!”
David Henry Hwang in conversation about Yellow Face
I choose two panel discussions on topics close to my heart—cabaret shows and a classic play I’ve always loved: One about Our Town by Thornton Wilder and the other about a TV program I’ve caught a few times called Broadway Sandwich that features theatre people discussing their plays and other aspects of their lives, including favorite foods.
Michael Kirk Lane is the moderator of the cabaret-centric program. His cabaret life has included being a piano bar entertainer, working as the friendly host at nightclubs, presenting his own fine shows (all of which I’ve witnessed him doing over the years) and he now runs cabaret programs at 92NY (aka the 92nd Street Y). There, he oversees workshops and master classes and such, all related to cabaret. He has two guests on the panel. There is Fergie L. Philippe, whose cabaret side includes directing, sets of Nat King Cole favorites, and incorporating puppetry. And there’s the multi-award-winning singer extraordinaire Karen Mason whose most recent recording and live show have the songs of Kander & Ebb as the focus. Both these guests are also actors who’ve appeared in musicals on Broadway and elsewhere. The lively discussion covers their initial forays into cabaret—what’s special about the form; plenty of frank comments about the economic realities; challenges; the unique quality of intimacy and connection smaller rooms make possible; audience expectations; what to talk about on stage between songs (the matter of patter—when is the FYI personal autobiography TMI?); and some favorite memories. As in a good cabaret show, there are indeed some interesting stories—and no two-drink minimum!
The Our Town panel is a fond reunion of cast members and staff of the recent revival, sharing their vastly different entry points to the landmark play—ranging from knowing the play very well for decades to never previously knowing it even a tiny bit. Moderating is Charles Kirsch, the ever-busy host of his Backstage Babble podcast and his star-studded Broadway-centric shows at the cabaret room 54 Below (songs and stories covering intriguing “flop” musicals is the topic for the live and live-streamed event on February 19). Tales told reveal emotional moments; thoughtful takes on the iconic drama and the characters; how each person became involved and intrigued; and how they bonded and responded. We hear about the impact of lighting and design for this drama famously done with minimal scenery and props, if any. It’s emotional, warm, and sometimes hilarious. I’m fully engaged.
Sandwiched between a couple of other BroadwayConversations is the tasty look at the Broadway Sandwich series (designed to be “a nice mixture of humor and heart”), seen on a couple of different channels, YouTube, etc. We learn how it began and has grown. Most interesting and affable is Rob McClure, one of those profiled, telling about his experiences on tour with the musical based on the movie Mrs. Doubtfire and when he played the legendary Charlie Chaplin. His athletic pre-show prep includes running through the theatre before the crowds are let in. Favorite advice for those starting projects with no guarantee of success: “Be a finisher!”
Cats: The Jellicle Ball panel: Bill Rauch, Dudney Joseph Jr., Sydney James Harcourt, and Robert Mason (photo by Rebecca J Michelson)
A serious tone is struck with a panel sharing thoughts and accomplishments related to the goal of encouraging mindfulness and positive social change. It’s a sobering change of pace. The dedicated people include musical director Mary-Mitchell Campbell—whose passion project is called Arts Ignite—songwriter Billy Recce, and J. Harrison Ghee, Tony Award-winner for Some Like It Hot, all prioritizing work that opens minds and hearts and opens up possibilities to “Stage the Change.” It’s potent stuff and their caring commitment is palpable.
Alexandra Bowman, winner of the costume contest with "Jellicle Anna of Cleves from Six"
Then I join the crowd in a large auditorium for two contests judged by professionals in their respective fields. And I find that they choose the same competitors whom I consider the most impressive. The costume contest displays inventiveness and sewing skills; you have to hand it to the designers and creators of hand-made garments. After a parade of entrants dressed as such recognizable figures as Abraham Lincoln and characters from The Wizard of Oz, the finalists are called up and are asked about their materials and methods. The runners-up are decked out in costumes inspired by everyone’s favorite green-complexioned witch from Wicked and red, a major color theme for the look of lawyer Billy from Chicago, with a dazzling suit that is doffed to reveal a whole other look (and gender). The winner is a fabulously fashionable feline, face make-up included, combining looks inspired by Cats and Six.
The Real Women Have Curves cast
The BroadwayCon singing contest finds mostly vocalists with vigor and volume, with big belting enthusiastically received by audience members cheering the money notes and modulations. But the pre-recorded karaoke-style accompaniment doesn’t allow much room for putting a personal stamp on power ballads and other numbers from musicals. The first performer shows poise and patience when there’s a delay before and after the track starts—and it’s NOT her song. Oops! From a field of 10 singers (all female), she, like most of the others, is not old enough to vote or drink, except for one who’s 35. Two have chosen the same piece: “She Used to Be Mine” from Waitress. And one is crowned the winner. Second place goes to a girl choosing a Mean Girls number and the third place prize is the youngest entrant: just 10 years old and the only one who eschews musical theatre material and the use of recorded backing, accompanying herself on the piano that’s on the side of the stage. Her pick is “The Rose” by Amanda McBroom, used in the movie of the same name starring Bette Midler. Asked by the host how she feels being on the big stage in front of a big stage, the youngster shrugs and casually replies, “It’s OK.”
BroadwayCon is more than OK – a lot to drink in. One’s cup runneth over if you call yourself a theatre nerd, an obsessed fan, or someone eager to have a career in the business called show.
photos by Katie Mollison
BroadwayCon
New York Marriott Marquis, 1535 Broadway in Times Square
February 7-9, 2025
for more info, visit BroadwayCon
