Heating! Patty! Gaga! The Neon Coven shares his musical theater obsessions


If it’s weird and if it’s theatrical, there’s a good chance The Neon Coven is in it. The collective is known for its spectacular, heartfelt immersive presentations brimming with all kinds of pop culture references.

Then the group partners with Playbill and Cadillac for the pride celebration Glow of light at Radial Park in Halletts Point, Queens. Named after a song by the Coven’s OSCAR to the Crown, the June 17 event will feature original music and choreography by Andrew Barret Cox; Shira Milikowsky conducts. The favorites of Broadway programming, RuPaul’s Drag Race, and beyond. A newly announced Real housewives The segment will include Candiace Dillard Bassett, Dorinda Medley, Dr Tiffany Moon, Gina Kirschenheiter, Jackie Goldschneider, Margaret Josephs, Tamra Judge and Wendy Osefo. Profits from the event will be donated to the Born This Way Foundation.

READ: Jan Sport, Peppermint, Shakina Nayfack, more added to Glow of light Align

Ahead of Glow of light, get to know the members of The Neon Coven through something we can all bond with: theater obsessions. Read on (and walk the YouTube spiral) as artists share in their heads what performances, silver ratings, random news show segments, and more live rent free.

Jada temple
Donna Murphy’s interpretation of “Could I Leave You” on the occasion of Sondheim’s 80th birthday. First of all, none of the legends sitting behind her (namely, Patti) are able to look away, let alone react visually in awe of Donna. She is so clearly in total control of herself, the song, and the audience. She works perfectly from start to finish; it is a masterclass for “playing with song” in less than five minutes. Her passion, power, and uniqueness make her so emotionally relatable and heartbreaking, but also so touching and hilarious. I never laughed and cried audibly while watching this performance. It makes me so proud to be a musical theater actress.

Marc Mauriello
Lady Gaga’s Monster Ball Tour is the greatest piece of musical theater I have ever seen. He will forever be my artistic pole star as a creator, performer and audience member. The Monster Ball has it all: a staircase made of syringes, a monkfish that we can kill with our iPhones, jokes about the F train … I saw the show in the front row of the pit when I was 18 years old . I was afraid of who I was and terrified that my fantasies would never come close to becoming realities. (I was also immediately standing next to Andrew Barret Cox years before we meet.) But when Stefani said “All you have to do is follow …” I shouted “THE GLITTER WAY!” until I had a hemorrhage, and I never looked back.
Honorable Mention: This clip from CBS News Chicago’s Stephanie J. Block explaining how “Defying Gravity” works, specifically the phrase “I won’t defy gravity. I won’t go up.” And the little jingle she sings at 0:43, which is literally the tone of my text.

Kim onah
My second theatrical experience (my first was, unfortunately, Cats) was Elton John and Tim Rice Aida on Broadway. Watching Heather Headley sing “Easy As Life” was the moment I knew I wanted to be a performer. It was my first time seeing myself in this industry, and it was a surreal and incredibly validating feeling and experience. It was also the moment I knew I wanted BELT FOR THA GAWDS! Her choice on “C’est eee-EENOUGH” is everything, and this moment alone lives without rent in my head.

Heather Headley dans <i>Aida</i>

Heather Headley in Aida

Jeanne Marcus

Hayley Me
Fergie’s performance from “Barracuda”, live on Today’s show, circa 2008. She growls to Es while doing the cartwheel with one hand. I think about this moment once a week. I think it’s so special because no matter what, we as a society are never ready for what Fergie will do next.

Pierre Yang
“Seasons of love,” [as performed by] the original Canadian distribution of To rent on a morning interview show. At 1:19, [the soloist] takes an option on “measure your love life” and brings up the already magnificent octave of high C at the sound of the whistle. He lives rent free (pun intended!)


Sarah lewandowski
Cats was the first musical I played when I was eight at a musical theater summer camp. I watched the [1998 London] VHS like research because I was Mungojerrie in the production, and I became obsessed. I watched VHS everyday until I literally broke the tape. It introduced me to theater and made me fall in love with it, and this show is still very special to me to this day. I’ve literally seen the alarm clock four times and cried each time because not only is it an amazing sight, but it makes me feel like I’m eight again watching live theater (ish ) for the first time and having no idea that I would still love it as an adult and work professionally in the industry.

Ryan Gregory Thurman
When Lin-Manuel Miranda made the first issue of Hamilton at the White House in ’09. I had just started performing and singing, and at that point I realized how different, powerful and cool it was that theater could reach people from different cultures through music. That – and the fact that there was a Latino artist, rapping on stage … for a black president and a first lady. Yes. Drug.


Kim hudman
The first time I saw Frozen on stage at the Hyperion theater [at Disneyland’s California Adventure]. He hadn’t made it to Broadway yet, and it was the first time anyone had seen him live. There is a moment when Elsa goes up a staircase to chain “Let It Go”, and suddenly, the ice staircase leaves the stage to hang over the audience. I remember thinking it was the most magical thing I have ever seen. Just when you think the set design couldn’t be better, Disney blew us all away. The Broadway version never did that, so I fondly remember it as something special offered by Disneyland.

Zofia Weretka
I mean, Patti [LuPone]’s “Rose’s Turn” … Is there another answer? Chaotic and precise at the same time, completely ruthless, this is the true definition of leaving everything on stage. The first time I watched it was the first time I had felt holistically hypnotized by a performance, and it happens every time I watch it, which may or may not be weekly (oops!).

Patti LuPone dans <i>Gypsy</i>

Patti LuPone in Gypsy

Jeanne Marcus

Brandon alberto
Watch Billy Porter in Kinky Boots. All. From beginning to end. Period. I remember sitting alone in the center of the orchestra and sobbing (a few times) and celebrating with the stranger sitting next to me. The layers of communion in the theater, between the performers and the audience, is my favorite part of the experience.

Brandon looney
Give a standing ovation to “A Musical” by Something Rotten! As I sat in the front row in the center with five close friends for the first preview. We all paid $ 20, and it took our lives completely!

Michelle martinelli
One of the founding pillars of The Neon Coven is yelling. Usually the context involves a way of doing Chipmunks and high belts, but I’ve always taken it a bit more literally. The screaming theatrical moment that lives rent free in my head is Jane Horrocks’ rendition of the last chorus of the title track “Cabaret” in the 1993 Donmar Warehouse production. Horrocks is an incredible singer, but made a choice here to delve into the narrative that Sally is sub-par talent on the verge of collapse, sacrificing any ego for vocal aesthetics to vulnerability and the truth of the story. I strive to always be so raw in my choices on stage, and I feel empowered by the Coven to do so, whether I hit or sing for queer release in “Glimmer of Light”.

Additional sponsors for Glow of light include GSI Studios, HeadCount, Icelandic Water, Kevin Duda Productions, Moritz Theatricals, NYC Test and Trace Corps, Open Jar Studios, The Playbill Store, Popcornopolis, Radial Park, Thrill Communications, Unruly Hearts Initiative and VSCO.


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