More than 200 of New York City’s fiercest dancers clicked their heels and created a larger-than-life, over-the-rainbow romp down the yellow brick road in the sexy, Oz-inspired Broadway Bares: Come Out, Come Out on Sunday, June 22, 2025, at NYC’s Hammerstein Ballroom.

This year’s Broadway Bares invited two sold-out audiences into a world of magic and mischief, liberation and love, which raised a record-shattering $2,447,967 for Broadway Cares/Equity Fights AIDS. Included in that total is Stripathon, the online fundraiser led by the show’s cast and crew, which raised a record $1,240,928. 

Broadway Bares is produced by and benefits Broadway Cares/Equity Fights AIDS. The night’s fundraising will help hundreds of thousands in all 50 states, Puerto Rico and Washington, D.C., including in the theater and entertainment community, receive lifesaving meals and medication, health care and hope. As individuals face ever-changing economic and social instability, the need continues to grow.

The audience followed fresh-from-Kansas Dante – played by Bradley Gibson – down the yellow brick road after a tantalizing tornado swept him into Oz. He landed with a bump and was greeted by the fabulous Gurrrlinda, brought to life by internet sensation Todrick Hall. With hilarious and naughty pun-packed lyrics penned by Hall and cheeky choreography by Kellen Stancil, Dante was warmly welcomed into a queer, dazzling world of Oz – complete with booty popping and clothes dropping.

Along his journey, Dante encountered a star-studded cast of outrageous characters, including Tony Award winner André De Shields, Tony winner J. Harrison Ghee, 2025 Tony winner Jak Malone, Olivier Award winner Lesli Margherita, Tony winner Alex Newell, Peppermint and the Boy Band Project’s Jesse Corbin.

In a surprise performance that electrified the audience, 2025 Tony winner Nicole Scherzinger set the stage on fire with a sultry throwback to the Pussycat Dolls’ iconic “Buttons.” A bevy of her Sunset Blvd. castmates served as bodacious backup dancers.

The yellow “thick” road was under construction, but Dante didn’t mind detouring through a steamy work zone in “Brick’d Up.” There, he met a crew of sultry construction workers led by Jaquez. As sparks flew, the ensemble jackhammered into a sweaty, hip-hop–inspired number choreographed by Marcus Williams.

The Scarecrow proved he had brains and brawn as Tyler Jimenez debuted a frisky fashion line in “House of Crows.” With fabrics flying and fabulousness on full display, a murder of fashion-forward dancers strutted the runway in a sultry, high-style number choreographed by Reed Luplau.

Farther down the yellow thick road, seductive shopper Mark MacKillop found himself in need of a pair of ruby red slippers, and got far more than he bargained for at “La Rouge Boutique.” MiMi Scardulla led a promiscuous personal shopping experience that focused less on dressing up and more on stripping down. In a cheeky, high-energy number choreographed by Rachelle Rak, a swarm of sultry shoppers left MacKillop nearly bare.

Amy Laviolette conjured a beguiling blend of bondage and boldness as the Wicked Witch in “The Wicked Dungeon.” Our dark dominatrix commanded a slithering ensemble and kept her captives chained – until they rose above her in a breathtaking aerial display. The wicked number was choreographed by Marie Rose Baramo, with aerial choreography by John Bitley.

The Tin Woman had hearts racing and engines revving as Samantha Pollino welcomed visitors to her sizzling “Oil Change.” With a red-hot ensemble lubed up and ready to service, the high-octane number featured playful, pulse-pounding choreography by Phil Colgan.

Toto – played by Tony d’Alelio – was a very bad dog. Luckily, alluring animal control officer Michael Pugliese was on hand to keep him in check in “Toto’s Pup Pound.” A pack of delectable doggies, bones between their teeth, wagged, wiggled and writhed through riotously ruff choreography by Billy Griffin.

There was nothing cowardly about Broadway Bares’ lions. Fierce and fearless recording artist Mila Jam and dancer Ehizoje Azeke ruled their kinky kingdom in “Kings and Queens: Oh My!” Their subjects bowed down and bossed up, serving the royal duo with sultry precision in choreography by Justice Moore.

Amber Jackson was intoxicated by more than just the fragrant flora at “Mx. Poppy’s Perfumery,” led by Kolton Krouse. A larger-than-life perfume bottle unleashed a dizzying daze of twirling, flipping and fierce runway strutting with choreography by Sarah Meahl.

The cheering audience got a peek at the man behind the curtain – or, maybe more than just a peek – when they met the Wizard of Oz, Preston Taylor, in “The Emerald City.” Before Taylor was stripped down to little more than his crown jewels in an exuberant number choreographed by Kellen Stancil, the wizardly torch was passed by the legendary Andre De Shields, Broadway’s original Wiz.

Flying monkey Brandon Gray finally earned his wings and took flight alongside a dazzling troupe of aerialists in “Fly My Pretties.” On solid ground, Mike Baerga choreographed the mischievous antics of the flying monkeys, while David Isaac Gray lifted the magic even higher with his awe-inspiring aerial choreography.

Alex Newell reminded us that there’s no better time for unity and activism than Pride – and that there’s truly no place like Broadway Bares – with a show-stopping live performance of “Home” from The Wiz. Draped in red silk, an ensemble of dancers shared breathtaking contemporary choreography by Savannah Cobb and Stancil, emotionally highlighting both those who paved the way and the fight still ahead for gay and trans equality.

The finale joyfully welcomed Dante home with a rousing rendition of “I’m Coming Out,” delivered by J. Harrison Ghee with celebratory adapted lyrics by Joey Contreras. Joined by a technicolor ensemble bursting with pride and pure joy, the moment radiated a palpable spirit of bliss and belonging choreographed by Michael Anthony Sylvester.

The show’s famous “Rotation” was ushered in by Jay Armstrong Johnson, taking a night off from starring in the national tour of Moulin Rouge! The Musical. During Rotation, the entire cast danced to encourage tips from the audience after each show. 

Broadway Bares’ Tony-winning creator and executive producer Jerry Mitchell accepted presenting sponsor M•A•C Viva Glam’s check of $200,000 from Christian Mitchell, executive director of artist relations at M•A•C Cosmetics. Christian Mitchell was accompanied by Sandy Joseph and César Silva, who represented the production’s 85 brilliant makeup artists. Over the years, as presenting sponsor of Broadway Bares M•A•C has donated $5.2 million to Broadway Cares.

In Stripathon, the online fundraising competition, dancer Mark MacKillop again set an all-time individual record of $277,500. His show-stopping achievement was followed by first runner-up Jennifer Geller , whose total hit an astonishing $52,607. They were followed by runners-up Steve Bratton at $32,765, Katie Thrasher at $32,765 and Michael Pugliese at $29,405. An inspiring 350 people joined in the online fundraising efforts this year.

The Come Out, Come Out cast of 234 dancers represented 20 Broadway and Off-Broadway shows from this season including & Juliet, Buena Vista Social Club, Cabaret, Chicago, Death Becomes Her, DRAG: The Musical, The Great Gatsby, Gypsy, Hadestown, Hamilton, Harry Potter and the Cursed Child, Hell’s Kitchen, Just in Time, The Lion King, Moulin Rouge! The Musical, The Outsiders, Smash, Sunset Blvd., Tammy Faye and Wicked.

The book for this year’s show was written by Hunter Bell, Steven Cutts and Troy Britton Johnson.

Production Stage Manager Johnny Milani with Sarah Helgesen and Kassi Wilson led a team of 56 stage managers with more than 600 volunteers behind the scenes to create the show. 

Joel Shier was the production’s lighting designer, with sound design by Nick Borisjuk and Daniel Lundberg and scenic design by Jason Lee Courson. Jeffrey Wallach was costume coordinator; Kenneth Griffin coordinated hair and wig design; Cesar Silva oversaw makeup design; and Caite Hevner was video content producer.

Stancil, a Broadway Bares veteran, served as director. He was joined by associate director Paula DeLuise and assistant director Cobb. 

The rich history of Broadway Bares began when Mitchell, then a Broadway dancer, gathered seven of his friends to raise awareness and stop the stigma of HIV diagnoses by stripping and strutting on the bar at New York City’s Splash. They raised $8,000 that first night to help those living with HIV/AIDS. Since then, Broadway Bares has raised $31.1 million for Broadway Cares/Equity Fights AIDS.

Photos by Michael Hull, Katie Mollison, Thomas Mundell and Jonathan Tichler

Video by Bardo Arts Productions, Víctor Rodríguez and Josh Drake; Video edited by Josh Drake