It was that time of year again—another Broadway Bares fleshfest to benefit Broadway Cares/Equity Fights AIDS—and we were late. My buddy Jason and I walked up to the Roseland around 10:15PM ahead of the midnight show, and the line had already wrapped around onto Broadway. I figured everything would work out, and yet I also swore that 2013 would be my year to see both the 9:30PM and midnight shows to double up on photos and videos.
A sign posted before the show reminded us that photography was disrespectful to the participants, yet their excitement at being asked to pose told a different story. Why look amazing and wear an outlandish outfit if you're not going to let people document you for posterity?
Let's start with the best video: "Rotation"
In line we were joking with friends and came up with a parody that Jackie Beat needs to do—"Christian Fister" set to "Sister Christian", all about a holier-than-thou Bible-thumper who's secretly a pig bottom. These are the kinds of things that get said while waiting to see 200+ dudes and chicks in the almost-buff. That and the remark that Elena Roger is so hated in Evita thaf if she were to do Broadway Bares the crowd would root for HIV. Don't get made at me—I liked the production! (P.S. More seriously, why couldn't Ricky Martin have done Bares this year?)
My pal Greg exited the first show and promptly told us of seeing Christian Borle (formerly married to Sutton Foster, a piece of trivia that bears repeating at every opportunity), Steve Kazee and Will Chase (all pictured above) entering the midnight show together as VIPs, but mostly we were scoping out the rather hot crowd. We'd just done Folsom Street East earlier in the day (100s of photos coming soon) and it can be hard to turn off being turned on.
Inside, we dashed to the central of three stages and I glaciered my way from one body away to being right at the stage. It seemed to me to be an ideal spot, though there is an argument to be made against being too close—I wound up shooting straight up at some of the performers, which worked out well in cases where we're talking about a lead performer in a kilt.
Before the show, which was themed to fairy tales, two lovely ladies fluttered overhead like gigantic Tinkerbells as sexy boys made the rounds selling memorabilia but giving everything else away in their skimpy outfits. There was a childlike sense of wonder in the air as well as the rather more grown up scent of balls. One had to be careful not to slip in the pools of Pavlovian drool once the lights went down signaling the main event was about to unfold.
The opening, "Happy Endings", was one of the most spectacular I can remember, a light-hearted romp starring superfit Kyle Dean Massey (those jean shorts were so lucky) as The (Gay) Boy and GCB's Miriam Shor as his Fairy Godmother. "Well, I used to be a good Christian bitch," she announced. "Now—I'm just a bitch."
But a well-intentioned bitch, and one who promised to help him find his own happy ending via a magical song she performed with backing by her Goddamnettes (Holly Davis, Chelsea Morgan Stock and Dan'Yelle Williamson)—it was consistently hysterical and bawdy.
How can you not like a song that seamlessly segues into a limerick containing the word "cunty"?