Taste the Rainbow — A Review of 'Broadway Bares: Come Out, Come Out'
The 34th edition of the annual Broadway Cares/Equity Fights AIDS fundraiser proved there are no spaces like homo
June 25, 2025
I’ve been going to the annual Broadway Bares events in NYC since 2008, when Matthew Morrison, star of Hairspray (2002) and The Light in the Piazza (2005) stripped to his underwear from a Humpty Dumpty costume in honor of the theme: “Wondrous Wonderland.” (Later that year, he would tell me to watch out for his new series Glee, promising I’d love it.)
Even though I knew Matthew from his boy-band days, I’m good at compartmentalizing, so the prospect of similar Broadway babies in their skivvies — allowing currency to be stuffed into their G-strings — was all the incentive I needed to loyally return almost every year since.
Way back then, Broadway Bares raised $874,372 for Broadway Cares/Equity Fights AIDS. This year, its latest incarnation — Broadway Bares: Come Out, Come Out — raised $2,447,967 for the cause. One single dancer, Mark MacKillop, raised an astonishing $277,500.
Being big-hearted is big business, and it is all for an enduringly good cause.
For a mere $125, the hour-long show is always a great value. It’s an event for which dozens of chorus boys and girls pitch in, but the result is hardly Our Gang-esque; instead, it’s a highly polished show performed at 9:30 p.m. and midnight and then never again, making use of popular songs and allowing its creatives the opportunity to show off via inventive — and risqué — choreography.
The show is pure burlesque, and each number typically finds its participants shedding clothes and inhibitions, ending with a blink-and-you’ll-miss-’em booty reveal. Skin is in, but it’s the humor that sells it, and the solid singing and dancing talent that wows the queens in attendance.
My experience this year involved arriving at 10 p.m. for the midnight show, the only way to be sure I could get a front-row GA spot. A person in front of me who could best be described as being someone others might make fun of was speaking loudly on a call, which had me on edge to begin with. I went over said edge when they snorted to their chat mate, “I’m here with, like, all these old people.”
Charmed, I’m sure.
It was a moment that was so against the spirit of the evening, which is second only to a Pride march for a spirit of unity and joy.
Come Out, Come Out, directed by Kellen Stancil with Paula DeLuise (associate director) and Bares creator Jerry Mitchell (executive producer) and Nick Kenkel (executive producer) continued the show’s trend of improving on itself in recent years, thanks in no small part to the gayest source material ever: The Wizard of Oz. That choice opened the show up to many Yellow Brick Roads to follow, including winks at Wicked, The Wiz, Judy Garland and more.
“Come Out, Come Out”
Easily one of the most spectacular openers since I’ve been going, this number, featuring a slick performance — and live vocal — from Todrick Hall as a Glin or Glinda take on the ultimate good witch, was soaring.
The number starred Bradley Gibson as Dante, or Dorothy with a “ding-dong!” — and let me just say, “Tornado-me, baby!” (The show used Yellow Thicc Road as a lyric, so indulge me.) He was perfectly cast, as he had that likable Judy quality while still being built like a yellow-brick house.
I was excited to meet Bradley at the Met’s LGBTQIA+ Pride Party Tuesday night. He and his handsome husband were gracious and warm, and Bradley mentioned he was last in Bares 11 years ago. But going from being 1 of 200 dancers to playing Dorothy in a Wizard of Oz-themed extravaganza is quite a promotion!
This number also first intro’ed us to Mikey Graceffa, who apparently stepped in last second, but whose performance was as flawless as his Kans-ass.
(Choreo by Kellen Stancil)
“Brick’d Up”
In this vignette, we met the hunky road crew responsible for the yellow bricks, led by foreman Jaquez — just Jaquez. It was a precision number that laid a strong foundation for what was to come.
(Choreo by Marcus Williams)
“House of Crows”
We all got fashionably laid vicariously via the Scarecrow in a performance that probably inspired the murder of quite a few pussies after the show.
Tyler Jimenez made for a passion-forward star, blending Frank L. Baum with Tim Burton. This Scarecrow, strawed up in all the right places, was fire.
(Choreo by Reed Luplau)
“La Rouge Boutique”
The aforementioned MacKillop — long the org’s biggest fundraiser — earned a starring role in this very-personal shopper fantasy with MiMi Scardulla the lady (barely) in red whose nimble moves verged on flashing pink. (Quite seriously, she did a death drop so surely I was ready to send flowers.)
MacKillop started out in a top hat, but ended with tail.
(Choreo by Rachelle Rak)
“Buttons”
It was at this point that previously announced performer Nicole Scherzinger appeared, surprising the room by not only showing up, but performing the Pussycat Dolls hit “Buttons.” I must say — MAGA controversy notwithstanding — she looked and sounded sensational, and even playful spun her freshly own Tony Award cockily.
Scherzinger announced we would be getting original PCD choreography (we did), called us “bitches” and wished us a happy Pride, saying she loves NYC and Broadway Bares. One of the reasons people have the impression she is a Trumper is that she is such a Christian she reacted favorably to an image of a MAKE JESUS FIRST AGAIN cap months ago, even though she’d sported a Kamala Harris tee in October. I’m not sure what her real beliefs are, but never has so deeply religious a woman had such loosened buttons!
I must say that she was more than ready for her close-up, and seemed ecstatic to be receiving so much love from all us wonderful people out there in the dark.
By the way: Scherzinger was ably assisted by her Sunset Boulevard cast, but it was fucking bullshit that Tom Francis — who had been announced — stiffed us.
“The Wicked Dungeon”
Amy Laviolette was a deliciously diabolical Wicked Witch with captives in her thrall. The use of aerial choreography was magical, and the makeup by Christina Kim and Kyle Kreuger proved it actually is easy being green.
(Choreo by Marie Rose Baramo & John Bitley)
“Oil Change”
For this one, a Tin Woman (Samantha Pollino) discovers that the squeaky heel gets the oil — by the gallon.
(Choreo by Phil Colgan)
“Toto’s Pup Pound”
I think one of the year’s most talked-about sequences was this ruff-sex romp starring Tony d’Alelio as Toto and perennial fave Michael Pugliese as a dog catcher equally good at pitching. With some of the night’s most electric, enthusiastic dancing, they had the whole place in heat.
(Choreo by Billy Griffin)
“Queens & Kings: Oh My!”
I was thrilled to see Mila Jam returning, a Queen of the Jungle whose daring costume and moves were anything but cowardly. She was joined by Ehizoje Azeke as the King to her Queen. I’m not sure Bert Lahr would know what to make of this, but it had this lopsided bag of gay putting my hands up!
(Choreo by Justice Moore)
“Mx. Poppy’s Perfumery”
When Kolton Krouse came out with a giant bottle of poppers, it was such a Rush I overlooked the poppers/poppies Oz reference. Regal and smutty at once. As intoxicating as I found the number, I think Amber Jackson’s character was high on more than just life herself.
Jak Malone came out dressed as Dorothy Gale and Lesli Margherita joined for a funny skit with some topical humor that quickly devolved (in the best possible sense) into cheeky self-promosexuality. The professionalism of the comedy was no laughing matter. Burlesque greats were smiling down (I hope not up) with approval.
“The Emerald City”
Preston Taylor, who looked more than capable of granting wishes, was a great and power-top Oz. When I got a peek at that behind, it was curtains for me. As a fun total surprise, this Oz was greeted (on video) by another — living legend André De Shields, who was, of course, the title character of The Wiz on Broadway 50 years ago.
(Choreo by Kellen Stancil)
“Fly My Pretties”
When monkeys fly? It’s a good opportunity to look up their shorts. Brandon Gray dazzled in this ode to the Wicked Witch’s infamous cohorts, and the whole cast really took off.
(Choreo by Mike Baerga)
Peppermint
We had a break from the nonstop energy when Peppermint emerged (with more Mikey Graceffa) to read us the riot act, literally, on continuing to fight for LGBTQ+ rights — especially trans rights. When she urged us all the vote, the guy behind me was like, “Zohran!” … a prediction as much as an exclamation.
“Home”
One thing that really stood out about this edition of Broadway Bares was the number of live vocal performances. Alex Newell crooning “Home” from The Wiz was just transcendent. The ballad was enhanced by the dancers, in a combo that married eroticism with art.
(Choreo by Kellen Stancil & Savannah Cobb)
“I’m Coming Out”
I didn’t even recognize Broadway star J. Harrison Ghee doing their best Diana Ross! But with Dante returning, it was a sweetly joyful — dare I say it — happy ending, even if you weren’t there and you weren’t there and you weren’t there.
(Choreo by Michael Anthony Sylvester)
Rotation
The post-show sexy time when participants are encouraged to stuff money in the dancers’ G-strings, was perhaps the only bummer of the night. The stage was arranged in a slightly different way, and I found it impossible to move around. The dancers seemed to have the same problem, mostly staying in place. But it was still a nice (if all too brief) time to get to offer the hard-working dancers some on-the-spot positive feedback. Plus, Jay Armstrong Johnson was on hand to introduce Rotation.
In conclusion, Broadway Bares: Come Out, Come Out was another escalation. Its recent editions have each topped the previous, and that’s the right direction to be heading when you’re on the 34th year of something this labor-intensive and special.
And in conclusion, my choice for the year’s MVP is … Mikey Graceffa. ⚡️
