Broadway Backwards marked its 20th anniversary with a powerhouse evening of show-stopping performances, soul-stirring LGBTQ+ storytelling and record-breaking fundraising on March 23, 2026, at the Gershwin Theatre. The evening transformed beloved songs from the Broadway canon into bold, queer anthems that celebrate love, identity and community.

The show raised a record-shattering $1,223,681 to benefit Broadway Cares/Equity Fights AIDS and The Lesbian, Gay, Bisexual & Transgender Community Center (The Center) in New York City. The one-night-only event was produced by Broadway Cares.

Jenn Colella hosted the sold-out evening, joyously welcoming returning guests while ushering in a new generation of Broadway Backwards attendees. Colella led a cast of more than 100 performers and a 13-piece orchestra in the event’s 20th anniversary edition.

In honor of its 20th anniversary, the evening revisited some of the most buzzed-about numbers from the past two decades alongside all-new twists on iconic songs from the musical theater canon. 

Two of Broadway’s most storied icons, Bernadette Peters and Leslie Uggams, closed the show with a luminous rendition of Stephen Sondheim’s “Not While I’m Around” from Sweeney Todd. Their legendary voices intertwined with breathtaking warmth, lifted by the Tony Award-honored Broadway Inspirational Voices, building to an emotional crescendo that held the audience in rapt silence before a thunderous response.

The show opened with a revival of one of Broadway Backwards’ most legendary – and deliciously lascivious – numbers: a gender-bent take on “Cell Block Tango.” The 2015 performance has amassed more than 11 million YouTube views and counting.

This new rendition featured a lineup of Broadway and beyond’s most electrifying dancers: Aaron Patrick Craven, Aydin Eyikan, Roberto Facchin, Jaquez, Kolton Krouse and Mitch Tobin. Together, they brought a killer new energy that absolutely murdered on the Gershwin stage. Death-defying drops and jumps, sinister spins and shockingly athletic splits breathed fresh life into this Broadway Backwards mainstay.

The anniversary edition also included a dynamic lineup of returning favorites and new voices:

Broadway’s original Dreamgirl Jennifer Holliday filled the Gershwin Theatre with powerhouse vocals and a life-affirming message, delivering a triumphant twist on “I Am What I Am” from La Cage aux Folles.

Bradley Dean brought booming, mafioso-style vocals to a revival of the fan-favorite “Be Italian” from Nine, leading a gaggle of gangsters as they discovered his son’s gay love story through larger-than-life, Barolo-fueled choreography. The laugh-inducing number also featured Fred Berman, Sam Faulkner and Janelle Farias Sando.

Rising star Hannah Cruz explored the emotional complexity of The Last Five Years’ “Nobody Needs to Know,” delivering rich vocals and a soaring, show-stopping belt that drew the audience deep into her unraveling.

Tony winner Lauren Patten joined Tony-nominated host Jenn Colella for a revival of their 2022 performance of “The Next Ten Minutes” from The Last Five Years. Their electrifying vocals blended seamlessly into a chill-inducing tapestry of harmonies, capturing a powerful promise of love and commitment for the years ahead.

Tony Award nominee Kate Baldwin, celebrated for her turn as Sharon McLonergan in Finian’s Rainbow, showcased the full technicolor spectrum of her range with a swinging take on “When I’m Not Near the Girl I Love” – another Finian’s Rainbow favorite. Her breathtaking vocals and palpable joy lit up the stage.

Before delivering a stirring performance of “Edelweiss” from The Sound of Music, TikTok sensation Dylan Mulvaney shared: “As queer people, we’re often trying to top ourselves – no pun intended. But tonight, I chose something a bit more simple. It’s a song I love to sing, and it’s one that brings me hope. And I hope that the progress we’ve seen for the queer community over the last 20 years is the same progress we’ll see for the trans community in the next 20.”

Fan-favorite “One Day More” from Les Misérables returned through a 2026 lens, opening with a series of topical vignettes as the ensemble prepared to protest the recent removal of the Pride flag from Stonewall National Monument. Led by Bobby Conte, Bradley Dean, Felicia Finley, Jeigh Madjus, Tony nominee John-Andrew Morrison, Wren Rivera, Alexandra Silber and Carson Stewart, the powerful number built to a stirring finale, with the flag rising triumphantly above a marching chorus.

Tony nominee Robyn Hurder brought an LGBTQ+ twist to “All I Need Is the Girl” from Gypsy, recreating Jerome Robbins’ original choreography as she envisioned – and dazzlingly embodied with her unparalleled dancing – a romantic duet with a queer love interest, portrayed with palpable yearning by Alexandra Silber.

Tony nominee Andrew Rannells delivered a deeply felt rendition of “If He Walked Into My Life” from Mame, filling the theater with warmth, richness and emotional clarity. His soaring vocals and grounded presence brought a quiet intensity to the classic ballad.

After original performer Ariana DeBose was unable to appear due to a family emergency, Tony winner Cady Huffman stepped in with just 48 hours’ notice to lead “All I Care About” from Chicago. Undaunted by the quick turnaround, she delivered the number with signature polish and bawdy humor, backed by a fun, flirty ensemble of dancers direct from Broadway’s Chicago.

Andrew Keenan-Bolger revived his 2014 take on “The History of Wrong Guys” from Kinky Boots as a caffeinated barista falling for a sultry coffee shop regular. Powered by his sharp comedic chops, the room erupted in joy as he confessed his love to his passionate patron.

Brian Terrell Clark  and Tony nominee Michael McElroy revisited their 2019 performance of The Color Purple’s “What About Love” with new emotional depth and vocal complexity, as their tender harmonies and heartfelt connection swelled into a powerful declaration of love.

Broadway legend Len Cariou, who originated the title role in Sweeney Todd, brought his still-buttery vocals to “The Party’s Over” from Bells Are Ringing, revealing a quiet vulnerability as a once-dreamy love affair slipped gently out of reach.

Stage and screen icon Nancy Dussault, celebrating her 90th birthday with the Broadway Backwards audience, brought a lifetime of heartbreak and emotion to “This Nearly Was Mine” from South Pacific, infusing the beloved standard with new passion and a poignant queer perspective.

Television and theater favorite Lea DeLaria brought debonair swagger and joyous, jazz-infused scatting to Bobby Darin’s “Mack the Knife,” recently ushered into the Broadway canon with Just in Time.

Broadway Cares trustee Javier Muñoz  made a special appearance to share the impact of supporting the lifesaving work of Broadway Cares/Equity Fights AIDS and The Center.

Creator Robert Bartley returned to direct, choreograph and write the show, with Ted Arthur and Mary-Mitchell Campbell as music supervisors. They were joined by Steven Cuevas as music director, Adam Roberts as choreographer and associate director with Amanda LaMotte and Colby Q. Lindeman as co-choreographers. ARC’s Mark Brandon, CSA, and Jarrett Reiche, CSA, supported as casting consultants. E Sara Barnes served as production stage manager.

The evening featured sound design by Marie Renee Foucher and Josh Maszle, lighting design by Jeff Croiter and Colleen Doherty and prop design by Jenna Snyder and Alexander Wylie. Costume designers were Kitty Cassetti, Jess Gersz, Alex Rocky and Tyler Carlton “T.C.” Williams. 

What began as a small, grassroots concert performed at The Center in 2006 quickly grew into a highly anticipated event presented in Broadway’s best theaters. Last year’s event raised a then-record $1,111,788. In its 20 editions, Broadway Backwards has raised $10.9 million for Broadway Cares and The Center.

Longtime corporate partners City National Bank, The New York Times and United Airlines, the official airline of Broadway Cares, returned as lead sponsors of Broadway Backwards. The evening was also supported by Rainbow Sponsors Ted Snowdon & Duffy Violante, Irwin Srob and The Terrence McNally Foundation. Encore Global served as the official audiovisual sponsor of Broadway Backwards. 

Photos by Michael Hull and Rebecca J. Michelson
Video by Bardo Arts; video edited by Josh Drake