Broadway’s Leading Men: A Musical Celebration

Join us for an unforgettable concert with Broadway's most iconic and award-winning performances, featuring Christian Borle, Jacob Gutierrez, Christopher Jackson, Telly Leung, Norm Lewis, Alexis Michelle, Matthew Morrison, Nic Rouleau, Paulo Szot and Andr de Shields with special appearances by Tituss Burgess, Victor Garber, Jared Grimes, James Monroe Iglehart and Liev Schreiber with Luke Frazier and the American Pops Orchestra.

"Broadway's Leading Men: A Musical Celebration."

Experience the magic of Broadway as they take you on a heartfelt journey through the songs that have defined a generation.

JACKSON: There's a bright golden haze, on the meadow.

There's a bright golden haze on the meadow.

The corn is as high as an elephant's eye, and it looks like it's climbing clear up to the sky.

Oh, what a beautiful morning.

Oh, what a beautiful day.

I've got a beautiful feeling, that everything's going, everything's going my way.

(humming) All the cattle are standing like statues.

All the cattle standing there like statues.

They don't turn their heads as they see me right by, but a little brown maverick, she's winking her eye.

She said, "Oh, what beautiful morning.

Oh, what a beautiful day."

Now, I've got a wonderful feeling.

That everything, I said, everything is going my way.

Everything's going my way.

(vocalizing).

That's right.

Ah.

Mm-hmm.

(humming).

All the sounds of the earth are like music.

All the sounds of earth are like music.

The breeze is so busy, it don't miss a tree, and the old weeping willow, well, she's laughing at me.

She says, "Oh, what a beautiful morning.

Oh, what a beautiful day."

And I've got a wonderful feeling that, everything, everything, I've got a feeling that everything is, go-o-o-o-ing my way.

Mm-hm.

Everything is going my way.

(humming).

Everything is going my way.

Everything is going my way.

Everything is, everything is going my way.

(audience cheering and applause).

FRAZIER: Tonight we're gonna celebrate the swinging sounds of Kay Starr brought to life by the one and only Mr. Nic Rouleau.

(audience cheering and applause).

ROULEAU: When love comes in and takes you for spin, oh, la, la, la.

C'est Magnifique.

When every night your love one holds you tight.

Oh, la, la, la.

C'est Magnifique.

But when one day your loved one drifts away, oh, la, la, la.

Well it's so tragique.

But when, once more, he whispers "Je t'adore!"

C'est Magnifique.

When love comes in and takes you for spin, oh, la, la, la.

C'est Magnifique.

When every night your love one holds you tight.

Oh, la, la, la.

C'est Magnifique.

But when one day your loved one drifts away, oh, la, la, la.

Well it's so tragique.

But when, once more, he whispers "Je t'adore!"

C'est Magnifique.

But, when once more, he whispers "Je t'adore!"

C'est Magnifique.

Yes when, once more, he whispers "Je t'adore!"

C'est Magnifique.

(audience cheering and applause).

DE SHIELDS: The first professional show I ever did was "Hair" in 1969, Chicago, the Shubert Theater.

But I had never seen a "Broadway Show."

I saw Pearl Bailey do "Hello Dolly."

And I'd learned one of the best secrets to how to keep an audience engaged.

You gotta have heart.

All you really need is heart.

When the odds are saying you'll never win, that's when the grin should start.

You gotta have hope, mustn't sit around and mope, nothin's half as bad as it may appear look to next year and hope.

When your luck is batting zero, get your chin up off the floor.

Brother, you can be a hero, you can open up any door.

There's nothing to it but to do it.

Ya gotta have heart.

Mile and miles and miles of heart.

Oh, it's fine to be a genius of course, but first you gotta have a heart.

Yes, it's fine to be a genius of course, but keep that old horse before the cart.

First, first ya gotta heart.

(audience cheering and applause).

(audience cheering and applause).

GUTIERREZ: My first Broadway show I saw was "Rent."

And it was a trip when I, summer after my sophomore year of high school and my parents and I went to New York and we saw "Rent" the first night And I looked at my mom and said, "That's what I wanna do."

BORLE: First Broadway show that I saw was the revival of "Sweeney Todd" at Circle in the Square, which would've been around 1989, sophomore year of high school when I auditioned for "Oklahoma."

And I just kind of like, I remember leaping on stage with abandon and I was always a ham growing up and was trying to make my mother laugh in the living room.

Um, and it just was all a very natural extension of that.

And I think to meet with any kind of success at a young age and to make people laugh and to stand, you know, in a button of a number and have people clap, it just felt, uh, right.

(audience applause) (audience cheering and applause).

I don't care about expensive things.

Cashmere coats, diamond rings, don't mean a thing.

All I care about is love.

That's what I'm here for.

I don't care for wearing silk cravats, ruby studs.

Satin spats don't mean a thing.

All I care about is love.

Give me two eyes of blue, sweetly saying, "I need you."

When I see her standing there, honest, Mister, I'm a millionaire.

I don't care for any fine attire, Vanderbilt might admire.

No, no, not me.

All I care about is love.

Show me long, long raven hair, flowing down, about to there.

When I see her running free, keep your money, that's enough for me.

(laughs) I don't care around in Packard cars, or smokin' long, long buck cigars.

No, no, not me.

All I care about is doing the guy in, who's picking on you, twisting the wrist, that's turning my screw.

All I care about, is, love.

(audience cheering and applause).

ROULEAU: I knew that Broadway was where I wanted to be.

Um, you know, I grew up in California, so Broadway was very far from where I grew up.

So I actually never went to New York until I was 15 years old.

So that was the first trip.

And by that point I was like 20 children's theater shows in.

I was like hooked.

I had Broadway pumping through my veins, and I knew that's what I needed to do.

LEWIS: Somehow the universe brought this singing thing into my life.

And so it gave me a, a different passion and a different route.

And I didn't start out wanting to be a professional, I just love singing.

(audience cheering and applause).

Nighttime sharpens, heightens each sensation.

Darkness stirs and wakes imagination.

Silently the senses abandon their defenses.

Slowly, gently night unfurls its splendor.

Grasp it, sense it, tremulous and tender.

Turn your face away from the garish light of day.

Turn your thoughts away from cold, unfeeling light.

And listen to the music of the night.

Close your eyes and surrender to your darkest dreams.

Purge your thoughts of the life you knew before.

Close your eyes, let your spirit start to soar.

And you'll live as you've never lived before.

Softly, deftly music shall caress you.

Hear it, feel it secretly possess you.

Open up your mind, let your fantasies unwind.

In this darkness which you know you cannot fight.

The darkness of the music of the night.

Let your mind start a journey through this strange new world.

Leave all thoughts of the world you knew before.

Let your soul take you where you long to be.

Only then can you belong to me.

Floating, falling sweet intoxication.

Touch me, trust me, savor each sensation.

Let the dream begin, let your darker side give in.

To the power of the music that I write.

The power of the music of the night.

You alone can make my song take flight.

Help me make the music of the night.

(audience cheering and applause).

(audience cheering and applause).

LEWIS: Well, ya got trouble my friends.

Right here I say, trouble right in River City, why sure, I'm a billiard player.

Certainly, mighty proud I say, I'm always mighty proud to say it.

I consider that the hours I spend with a cue in my hands are golden.

Help you cultivate horse sense with a cool head and a keen eye.

Did you ever take twang and iron-clad leave to yourself, from a three-rail billiard shot?

But just as I say it takes judgement, brains and maturity to score, in a balkline game, I say that any boob, can take and shove a ball in a pocket.

And I call that sloth the first big step on the road to the depths of deg-ra-day, I say, first, medicinal wine from a teaspoon, then beer from a bottle.

And the next thing you know your son is playing for money in a pinch-back suit, And listenin' to some big outta town jasper, hearin' him tell about horse race gamblin'.

not a wholesome trottin' race, no, but a race where they set down right on the horse.

Like to see some stuck-up jockey boy, settin' on Dan Patch?

Make your blood boil.

Well I should say.

Now friends, let me tell you what I mean.

You got 1, 2, 3, 4, 5, 6 pockets in a table.

Pockets that mark the difference between a gentleman and a bum.

With a capital "B" and that rhymes with "P" and that stands for pool.

And all week long your River City youth'll be fritterin' away, say, your young men will be fritterin', fritterin' away their noontime, suppertime, choretime too.

Get the ball in the pocket, never mind gettin' dandelions pulled, or the screen door patched or the beef steak pounded.

Never mind pumpin' any water, 'til your parents are caught with the cistern empty, on a Saturday night and that's trouble.

We got lots and lots of trouble, I'm talkin' about kids in the knickerbockers, shirt-tail young ones, peekin' in the pool hall window after school.

And that's trouble, folks, right here in River City, trouble with a capital "T".

And that rhymes with "P" and that stands for pool.

Now I know all you folks are the right kind of parents.

I'm gonna be perfectly frank, you want to know what kinda conversation goes on while they're loafing around that hall?

They be tryin' out Bevo, tryin' out cubebs, tryin' out Tailor Mades like cigarette fiends.

And braggin' all about how they're gonna cover up the tell-tale breath with Sen-Sen. One fine night, they leave the pool hall, heading for the dance at the Arm'ry.

Libertine men and scarlet women, and ragtime, shameless music, that'll grab your son, and your daughter with the arms of a jungle, animal instinct, mass-staria.

Friends, the idle brain is the devil's playground.

Trouble.

BACKGROUND VOCALS: Oh, we got trouble.

LEWIS: Right here in River City.

BACKGROUND VOCALS: Right here in River City.

LEWIS: With a capital "T" and that rhymes with "P" and that stands for pool.

BACKGROUND VOCALS: That stands for pool.

LEWIS: We've surely got trouble.

BACKGROUND VOCALS: We've surely got trouble.

LEWIS: Right here in River City.

BACKGROUND VOCALS: Right here.

LEWIS: Gotta figure out a way to get the young ones moral after school.

BACKGROUND VOCALS: Our children's children... LEWIS: We got trouble.

BACKGROUND VOCALS: Oh, we got trouble.

LEWIS: Right here in River City.

BACKGROUND VOCALS: Right here in River City.

LEWIS: With a capital "T" and that rhymes with "P" and that stands for pool.

BACKGROUND VOCALS: That stands for pool.

LEWIS: We've surely got trouble.

BACKGROUND VOCALS: We've surely got trouble.

LEWIS: Right here in River City.

BACKGROUND VOCALS: Right here.

LEWIS: Remember the Maine, Plymouth Rock and the Golden Rule.

BACKGROUND VOCALS: Our children's children gonna have trouble.

LEWIS: Oh, we got trouble, we're in terrible, terrible trouble.

That game with the 15 numbered balls the devil's tool.

BACKGROUND VOCALS: Devil's tool.

LEWIS: Oh, yes, we got trouble, trouble, trouble.

BACKGROUND VOCALS: Oh yes, we got trouble here, we got big, big trouble.

LEWIS: With a "T".

BACKGROUND VOCALS: With a capital "T".

LEWIS: Gotta rhyme it with "P".

BACKGROUND VOCALS: Gotta rhyme with "P".

LEWIS: And that stands for pool.

BACKGROUND VOCALS: That stands for pool.

(audience cheering and applause).

(audience cheering and applause).

MORRISON: I won't send roses or hold the door.

I won't remember which dress you wore my heart is too much in control, the lack of romance in my soul, will keep ya gray, kid, so stay away, kid.

Forget my shoulder, when you're in need.

Forgetting birthdays is guaranteed.

And should I love you, you would be, the last to know.

I won't send roses, and roses suit you so.

My pace is frantic, my temper's cross.

With words romantic, I'm at a loss.

I'd be the first one to agree, that I'm preoccupied with me, and it's inbred, kid, so keep your head, kid.

In me you'll find things, like guts and nerve.

But not the kind things, that you deserve.

And so, while there's a fighting chance, just turn and go.

I won't send roses, and roses suit you so.

(audience cheering and applause).

ALEXIS MICHELLE: I've had a really interesting journey and really, it's been my career and my time expressing myself in drag that has taught me how fluidly I identify.

And getting to represent this part of the canon of musical theater is really important to me.

And I think hopefully to a lot of people that watch, oh my God, I'm now, I am now thinking about young people that will see this the way I used to watch concerts on PBS and they'll see a leading men concert and see somebody that they might identify with, um, in the concert.

And that's really special.

BACKGROUND VOCALS: We are what we are.

And what we are is an illusion.

We love how it feels putting on heels causing confusion.

We face life though it's sometimes sweet and sometimes bitter.

Face life with a little guts and lots of glitter.

Look under our frocks, girdles and jocks, proving we are what we are.

(audience cheering and applause) ALEXIS MICHELLE: Once again, I'm a little depressed by the tired old face that I see.

Once again it is time to be someone who's anyone other than me.

With a rare combination of girlish excitement and manly restraint.

I position my precious assortment of powders and pencils and paint.

So whenever I feel that my place in the world is beginning to crash.

I apply one great stroke of mascara to my rather limp upper lash.

And I can cope again!

Good God!

There's hope again!

When life is a real bitch again.

And my old sense of humor has up and gone.

It's time for the big switch again.

I put a little more mascara on.

When I count my crow's feet again.

And tire of this perpetual marathon.

I put down the john-seat again, and put a little more mascara on.

And ev'rything's sparkle dust, bugle beads, ostrich plumes, when it's a beaded lash that you look through.

'Cause when I feel glamorous, elegant, beautiful, the world that I'm looking at's beautiful too!

How often is someone concerned with the tiniest thread of your life?

Concerned with whatever you feel and whatever you touch?

Look over there.

Look over there.

Somebody cares that much.

How often has somebody sensed that you need them without being told?

When you have a hurt in your heart you're too proud to disclose?

Look over there.

Look over there.

Somebody always knows.

I am what I am.

And what I am needs no excuses.

I deal my own deck, sometimes the ace, sometimes the deuces.

There's one life and there's no return, and no deposit.

One life so it's time to open up your closet.

Life's not worth a damn, 'til you can say "Hey world, I am, what I am."

(audience cheering and applause).

JACKSON: For me music was the one, uh, the one thing that I could, that I could really grasp that allowed me to get to the other side of whatever emotion I was feeling.

LEUNG: I didn't know anything about Broadway, my parents didn't either.

And so really my first Broadway show that I ever saw was on PBS.

And all of a sudden when these characters felt strong emotions, they started to sing.

I didn't grow up in a religious home, but I was like, I found, I found my religion.

It was Stephen Sondheim.

I, yeah, that's, that's the whole reason why I am here.

(piano solo) Everything has it's season.

Everything has it's time.

Show me a reason, and I'll soon show you a rhyme.

Cats fit on the windowsill, children fit in the snow.

Why do I feel I don't fit in anywhere I go?

Rivers belong where they can ramble, eagles belong where they can fly.

I've got to be where my spirit can run free, gotta find my corner, of the sky.

Every man has his daydreams.

Every man has his goals.

People like the way dreams, have of sticking to the soul.

Thunderclouds have their lightning, nightingales have their song, don't you see I want my life to be something more than long?

Rivers belong where they can ramble, eagles belong where they can fly.

I've got to be, where my spirit can run free, gotta find my corner, of the sky.

So many men seem destined, to settle for something small.

But I won't rest until I know I'll have it all.

So don't ask where I'm going, just listen when I'm gone.

Faraway you'll hear me singing softly into the dawn.

Rivers belong where they can ramble, eagles belong where they can fly.

I've got to be, where my spirit can run free, gotta find my corner, of the sky.

(audience cheering and applause) SZOT: Some enchanted evening, you may see a stranger, you may see a stranger, across a crowded room.

And somehow you know, you know even then, that somewhere you'll see her, again and again.

Some enchanted evening, someone may be laughing, you may hear her laughing across a crowded room.

And night after night, as strange as it seems, the sound of her laughter, will sing in your dreams.

Who can explain it?

Who can tell you why?

Fools give you reasons, wise men never try.

Some enchanted evening, when you find your true love, when you feel her call you, across a crowded room, then fly to her side, and make her your own, for all through your life you may dream all alone.

Once you have found her, never let her go.

Once you have found her, never let her go!

(audience cheering and applause).

(audience cheering and applause) (piano solo).

LEUNG: One song, glory, one song, before I go, glory, one song to leave behind.

Find one song, one last refrain, glory, from the pretty boy front man.

Who wasted opportunity.

One song he had the world at his feet, glory, in the eyes of a young girl, a young girl.

Find, glory, beyond the cheap colored lights, one song before the sunsets, glory on another empty life.

Time flies, time dies.

Glory.

One blaze of glory.

One blaze of glory.

Glory.

Find glory, in a song that rings through true.

Truth like a blazing fire, an eternal flame.

Find one song, a song about love, glory, from the soul of a young man, a young man.

Find the one song before the virus takes hold.

Glory, like a sunset, one song, to redeem this empty life.

Time flies.

And there's no need to endure anymore.

Time dies.

(piano solo).

Glory.

(audience cheering and applause).

GARBER: When I was, when I was growing up in London, Ontario, I, we had a, a, we had a beautiful old theater.

And uh, I left home when I was 16 and I went back to that theater and I did "The roar of the greasepaint, the smell of the crowd."

I was obsessed with Anthony Newley.

That theater was the, was, saved my life.

Going to that theater when I was a kid as a and children's theater and realizing that I had a place that I could be myself.

SZOT: You learn with your colleagues, you learn by trying, you learn by exposing yourself.

You have to try different things.

And when you have a director that trusts you, when you have, uh, your colleagues that play along with you, it's just a blessing.

MORRISON: I feel like being in this industry and being able to sing and dance and act on a stage for an audience is such an expression of personal freedom.

GUTIERREZ: What we do every night, we, we, we actually, we have a, a little prayer circle that we do before the show every night.

And there's three, four of us maybe that come to it and it's just the gratitude of we get to do this, we get to do this.

We are fortunate, the fortunate few that get to do this and just how special that is.

There are people, and they are publishing my book.

And there's a party that they are throwing, and while you've made it very clear that you're not going, I will be going, and that's done.

But what's it really about?

Is it really about a party, Cathy?

Can we please for a minute stop blaming and say what you feel?

Is it just that you're disappointed, to be touring again for the summer?

Did you think this would all be much easier than it's turned out to be?

Well, then talk to me, Cathy.

Talk to me.

If I didn't believe in you, we'd never have gotten this far.

If I didn't believe in you, and all of the 10,000 women you are.

If I didn't think you could do, anything you ever wanted to.

If I wasn't certain that you'd come through somehow, the fact of the matter is, Cathy, I wouldn't be standing here now.

If I didn't believe in you, we wouldn't be having this fight.

If I didn't believe in you, I'd walk out the door and say, "Cathy, you're right."

But I never could let that go, knowing the things about you I know, things, when I met you four years ago, I knew, it never took much convincing, to make me believe in you.

Don't we get to be happy, Cathy?

At some point down the line, don't we get to relax?

Without some new tsuris, to push me yet further from you?

If I'm cheering on your side, Cathy, why can't you support mine?

Why do I have to feel, I've committed some felony, doing what I always swore I would do?

I don't want you to hurt, I don't want you to sink, but you know what I think?

I think you'll be fine!

Just hang on and you'll see, but don't make me wait till you do, to be happy with you, will you listen to me?

No one can give you courage, no one can thicken your skin, I will not fail for you to be comfortable, Cathy, I will not lose because you can't win.

If I didn't believe in you, then here's where the travelogue ends.

If I didn't believe in you, I couldn't have stood before all of our friends, and said, "This is the life I choose, this is the thing I can't bear to lose, trip us or trap us, but we refuse to fall."

That's what I thought we agreed on, Cathy, if I hadn't believed in you, I wouldn't have loved you at all.

(audience cheering and applause).

BORLE: Every Thursday we had, um, a class where ev, all the different classes would come together, um, "A Bit of Earth" was one of the songs that I fell in love with singing.

And now being like a senior person, with gray in my beard and getting to sing it in front of people for the first time in a performance venue is a, is a dream come true for me.

A bit of earth, she wants a little bit of earth.

She'll plant some seeds.

The seeds will grow, the flowers bloom, but is their bounty what she needs?

How can she chance, to love a little bit of earth?

Does she not know?

The earth is old, and doesn't care if one small girl wants things to grow.

She needs a friend, she needs a father, brother, sister, mother's arms.

She needs to laugh, she needs to dance, and learn to work her girlish charms.

She needs a home, the only thing she really needs, I cannot give.

Instead she asks, a bit of earth, to make it live!

She should have a pony, and gallop 'cross the moor.

She should have a doll's house, with 100 rooms per floor.

Why can't she ask for a treasure?

Something that money can buy, that won't die!

When I'd give her the world, she asks, instead, for some earth.

A bit of earth, she wants a little bit of earth, she'll plant some seeds.

The seeds will grow, the flowers bloom, their beauty just the thing she needs.

She'll grow to love the tender roses, lilies fair, the iris tall.

And then in fall, her bit of earth, will freeze and kill them all.

A bit of earth.

A bit of earth.

A bit of earth.

A bit of earth.

(audience cheering and applause).

(audience cheering and applause).

FRAZIER: You know, I'm very, very excited that "The Wiz" is coming back to Broadway, for those of you that didn't know that... (audience cheering and applause) But I must confess that I'm even happier that the Broadway legend, Mr. Andr De Shields is gonna share a piece from "The Wiz" with us tonight.

(audience cheering and applause).

DE SHIELDS: If you believe, within your heart, you'll know.

That no one can change, the path that you must go.

Believe what you feel, and know you're right because, the time will come around, when you'll say it's yours.

Believe there's a reason to be.

Believe you can make time, standstill.

And know from the moment you try, if you believe, I know you will.

Believe in yourself, right from the start.

Believe in the magic, inside your heart.

Believe all these things, not because I told you to, but, believe in yourself.

If you believe, within your heart, you'll know, that no one can change, the path that you must go.

Believe what you feel, and know you're right, because, the time will come around, when you say, "it's yours."

Believe that you can go home.

Believe you can float on air.

Then click your heels, three times, if you believe and then you'll be there.

Believe in yourself, right from the start.

And you will have brains, and you'll have a heart, and you will have courage to last your whole life through.

Just believe in yourself.

You must believe in yourself.

Please believe in yourself, as I believe in, you.

(audience cheering and applause).

(audience cheering and applause).

FRAZIER: What I wanted to give this performer the chance to do tonight is reinterpret one of the most iconic roles, leading male roles from Broadway, which is the role of the Emcee from "Cabaret."

So let's welcome Alexis Michelle to do just that.

(audience cheering and applause).

(audience cheering and applause) ALEXIS MICHELLE: Friends, lovers, it's good to see me, isn't it?

That was rhetorical.

Willkommen, bienvenue, welcome!

Fremde, tranger, stranger.

Glcklich zu sehen, je suis enchant.

Happy to see you, bleibe, reste, stay.

Willkommen, bienvenue, welcome, en Cabaret, au Cabaret, to Cabaret.

Here life is beautiful, I'm beautiful, you're beautiful.

The American Pops Orchestra is beautiful!

Und sagen.

Willkommen, bienvenue, welcome!

Fremde, tranger, stranger.

Glcklich zu sehen, je suis enchant.

Happy to see you, bleibe, reste, stay.

Willkommen, bienvenue, welcome!

Fremde, tranger, stranger.

Glcklich zu sehen, je suis enchant.

Happy to see you, bleibe, reste, stay.

Und sagen.

Willkommen, bienvenue, welcome!

en Cabaret, au Cabaret, to Cabaret.

(audience cheering and applause) DE SHIELDS: As artists, it isn't enough just to be an actor, you have to be an actor activist.

And if you put those two together, you are an artist.

And it is the responsibility of the artist to not only achieve, but to continue the continuum from generation to generation.

SCHREIBER: I think it's exciting to see what this new generation of artists are driven towards and where they want to take us.

I, I just hope that in that rush to redefine and move forward, we don't lose touch with the continuum.

ROULEAU: I have often dreamed, of a far off place, where a great warm welcome would be waiting for me.

Where the crowds would cheer, when they see my face, and a voice keeps saying this is where I'm meant to be.

I will find my way, I can go the distance.

I'll be there someday, if I can be strong.

I know every mile will be worth my while, I would go most anywhere to feel like I belong.

Down an unknown road, to embrace my fate, That this journey's ending are the answers I lack.

And a thousand years would be worth the wait, it might take a lifetime but I'm never going back.

And I won't look back, I can go the distance.

And I'll stay on track, no I won't accept defeat.

It's an uphill slope, but I won't lose hope, 'til I go the distance, and my journey is complete.

After all these years of heartache and despair, I've known, I will finally find the answers on my own, I am on my way, I can go the distance.

I'll be there someday, if I can be strong.

I know every mile, will be worth my while.

I would go most anywhere to find where I belong.

When I go the distance, I'll be right, where I belong.

(audience cheering and applause).

BURGESS: Broadway's such a warm, loving community outside of its, you know, artistic legacy.

And we all just want to, we love and to connect and that is literally what Broadway is.

GRIMES: Broadway to me proves is that you can be all things and all perspectives exist in real time on Broadway.

And that's, you can't find that anywhere else.

BORLE: People are there because they care, people have set aside an evening.

They've gotten babysitters, you know what I mean?

INTERVIEWER: That's right.

And the show begins and we're all in it together, and some of my favorite stuff that happens whenever I get nervous 'cause I'm nervous about this show 'cause I'm a person, you know?

INTERVIEWER: Right.

BORLE: Um, but if there's a mistake, we're all in it together.

And it's just art, but it's also art and that's the most important thing of all.

(audience cheering and applause).

SZOT: There out in the darkness, a fugitive running, falling from God, falling from grace, God be my witness, I never shall yield, 'til we come face to face, 'til we come face to face, He knows his way in the dark, mine is the way of the law and those who follow the path of the righteous, shall have their reward, and if they fall as Lucifer fell, the flames, the sword!

Stars, in your multitudes, scarce to be counted, filling the darkness, with order and light, you are the sentinels, silent and sure, keeping watch in the night.

Keeping watch in the night.

You know your place in the sky, you hold your course and your aim, and each in your season, returns and returns, and it's always the same, and if you fall as Lucifer fell, you fall in flame!

And so it has been and so it is written, on the doorway to paradise, that those who falter and those who fall, must pay the price!

Lord, let me find him, that I may see him, safe behind bars, I will never rest, 'til then, this I swear.

This I swear by the stars!

(audience cheering and applause).

(audience cheering and applause).

GUTIERREZ: To dream the impossible dream, to fight the unbeatable foe, to bear with unbearable sorrow, To run where the brave dare not go.

LEUNG: To right the unrightable wrong, To love pure and chaste from afar.

To try when your arms are too weary, to reach the unreachable star.

ALL: This is my quest, to follow that star, no matter how hopeless, no matter how far, to fight for the right, without question or pause, to be willing to march, march into hell for a heavenly cause.

ROULEAU: And I know if I'll only be true, to this glorious quest, that my heart will lie peaceful and calm, when I'm laid to my rest.

And the world will be better for this, that one man, scorned and covered with scars, still strove with his last ounce of courage, to reach the unreachable star.

(vocalizing).

(vocalizing).

(vocalizing).

(vocalizing).

LEUNG: And the world will be better for this.

GUITERREZ: That one man, scorned and covered in scars.

ROULEAU: Still strove with his last ounce of courage.

ALL: To reach the unreachable, star.

(audience cheering and applause).

(audience cheering and applause).

(audience cheering and applause).