On March 24, near the end of the first half of Broadway Backwards, the annual gender-bending concert benefitting both Broadway Cares/Equity Fights AIDS and Manhattan's Lesbian, Gay, Bisexual & Transgender Community Center, something stunning and unexpected happened. The curtain rose to reveal Patricia Morison, decked out in diamonds and looking far younger than her ninety-nine years, sitting onstage with a music stand in front of her. The applause was overwhelming, and Morison was quite visibly moved, putting her hands up to her face more than once. Dimly remembered as a leading lady of minor '40s films, but a Broadway immortal, thanks to her performance as Lilli Vanessi/Katherine in the original 1948 production of Cole Porter's Kiss Me, Kate, Morison explained to the audience that she had chosen something appropriate for the evening's sex-reversal theme: "Brush Up Your Shakespeare," which she used to sit backstage and listen to "two very funny men" (Harry Clark and Jack Diamond) sing. She then sang the complete number with great panache and style, nailing every laugh. The ovation dwarfed the one that had greeted her entrance; the shouting, stomping and clapping went on for what seemed like minutes.
Miraculously, this was followed by the biggest laugh of the evening. Julie White, who hosted the evening with The New Normal's Bebe Wood, strolled onstage to announce the closer for the first half: Norm Lewis, singing "Home" from The Wiz. "This next performer . . ." White said, " . . . is just fucked." (Lewis came through with a lovely performance.)
The show, directed and written by Robert Bartley, offered plenty of other show-stoppers, among them: Andrew Keenan-Bolger and Andy Kelso in a hilarious performance of "The History of Wrong Guys" from Kinky Boots; Robin de Jesús and six terrific dancers (including standout Marty Lawson), with "Prehistoric Man" from the 1949 movie version of On the Town; Beth Leavel with a brilliantly inventive "She Likes Basketball" from Promises, Promises; and Michael Berresse and Tony Yazbeck with a deeply touching and resonant "Nowadays/Hot Honey Rag" from Chicago, featuring the original Ann Reinking Fosse-based choreography. In the end, the evening raised an impressive (and record-breaking) $423,000.