Hogwarts will be the making of you, Albus.

I promise you, there is nothing to be frightened of there.

What I love about the magic in Harry Potter is that it's not high tech.

We are doing effects fundamentally that you could have done 300 years ago and that's what's so different about the from any other show.

The great thing about this show is a lot of the original film music has made it into the show almost verbatim.

So you're really hearing the iconic themes, you hear them on stage live each night, which is so exciting.

Great Scott!

Good evening!

This is Dr. Emmett Lathrop Brown and this is my time machine.

A time machine?

Ladies and gentlemen, you are about to see a story of murder, greed, corruption, violence and treachery.

This show I think is appealing because it touches upon And I wish to say that it didn't.

Wouldn't it be nice to live in a world all of that type of things?

But they do A costumer!

Oh wait!

It has always been a dream of mine to do a Stephen Sondheim show in New York.

And the moment I heard Sweeney was auditioning, I told my agent to please give me an audition for I knew they were creating something really special for Hit me baby, one more time Since you've been gone What's great is that a lot of this show is very much music that I grew up with.

So when I first got asked if I'd be interested in even to this production, without hesitation, Because you can, can, can Because you can, can, can I'd always loved singing and loved dancing, and my dad saved the article of me saying I wanted to be on Broadway when I was 11.

But I don't know if I really realized until it was happening.

We're one of a kind no category We all come from different walks of life, found the commonality through music Here lies love I've never seen our story on stage.

And to be able to see that every night with such talented actors and actresses.

It's our history!

Like, it's our people on that stage.

Please don't!

My name is Ashitaka Porter, at “Here Lies Love”.

Essentially, if you're doing the floor .. the platforms move around you.

Our job is to move people out of the way so they're not getting hit by the platforms and also so by the platform I essentially call us I am a child of the Philippines.

First of all, Here Lies Love is an all Filipino production.

The entire cast is Filipino and it talks about the history of the Marcos administration in the Philip.. until the People Power Revolution that happened in the 1970s and 1980s.

Who's gonna fold and Who's got a secret and who's feeling bold?

It's a It's an incredible story about my family's history That honestly I didn't know about but I was born here.

And finally seeing the show of all of that history is absolutely insane and wonderful Could be a perfect hand.

Since you've been gone My name is Danielle Ranno and I am the stage manager on “& Juliet”.

I'm so moving on Any time you see anything happen, whether it's lights change, something flashy and people fly, when pyro goes off, that's all our doing.

And so I'm the one who is backstage making sure that people are in places and just telling them when all the cues should be going.

My loneliness is killing me.

Juliet plunges Romeo's dagger into her heart.

What if Juliet didn't die?

That should almost be the start of the play.

I got the eye of the tiger, a fighter “& Juliet” is sort of a retelling of the classic Romeo and Juliet.

But it is told as if Juliet gets a second chance and it is written not by William Shakespeare, but by his wife, Anne Hathaway.

And then we also see Juliet get to do it all over again.

Hear me roar We should rewrite all your plays.

You'll hear me roar I solemnly swear I'm up to no good.

Lumos!

My name is Skylar Fox and I'm the illusions and magic associate at “Harry Potter” and “The Cursed Child” Being the illusions and magic associate for a Broadway show is a really specific and weird job A little bit in the land of directing and choreography.

A little bit in the land of set and costume So my job is to help organize a lot of great creative people around the challenge of doing something impossible.

You walk into a room and you're introducing people who've never done this to a new Basically like, at the level that you need a David Copperfield because they're going to have to be illusionists on stage.

I'm Amy Quanbeck and I'm the dance captain swing “Moulin Rouge The Musical Broadway Welcome to the Moulin Rouge.

Because you can can can Being the dance captain and swing is a cool responsibility, where you are partially cast and also partially team leadership and management.

A lot of my job is to uphold the integrityof the choreography of show It's massive!

So many lifts, so much choreography.

Everyone in certain things is doing something and so trying to keep everyone safe is my Gitchie gitchie ya-ya da-da “Moulin Rouge The Musical” at its core is really a story about artists, and it celebrates the bohemian which we talk about a lot: truth, beauty, freedom and love.

Love The choreography is sensual and and dynamic and challenging.

Everybody can, can!

My name is Ted Arthur, and I'm the music director for “Back to the Future”.

The music director is in charge of all things music including conducting the show, playing the and maintaining the musical integrity of the show from night to night.

Deep down in Louisiana close to New Orleans I really think that the music to “Back to the Future” is unlike any other show that is currently on Broadway.

We have 18 musicians in the pit.

For Broadway standards that's pretty big, but you need that many musicians to really make this epic score come to life.

There are things that we play each night in the show that you've never heard on a Broadway stage.

We're doing 1980s pop, we're doing 1950s rock.

We're doing film score underscore, and that's what's so exciting.

It's great to work with that varied styles of music with so many musicians Where'd you come from?

Mississippi.

And your parents?

Very wealthy.

I'm Duncan Stewart, I'm the vice president and casting direct ARC.

And I am Patrick Maravilla I am a casting associate at ARC.

When'd you get here?

1920.

The casting process In a musical like “Chicago”, for every person that we put into that show, every star that we say yes to, we say no to hundreds of others.

So the process is arduous, but it's also thrilling and and rewarding.

Sometimes it's hundreds of tapes come in and we watch Sometimes thousands!

Sometimes thousands.

And then, you know, we watch every single one so that we're putting forward to the team the best of the best.

Divorced, beheaded, survived.

New York City, we are My name is Michelle Osbourne, and I play Bessie on the bass.

Listen up, let me tell you a story Welcome to the show, to the histo-remix “Six” is a very fun, very short, different type of show.

It's actually been described as like a Broadway pop concert.

Very comedic, very witty, very smart.

But now we're ex-wives We have four members of the playing band that are actually We have drums, bass guitar, electric and our conductor and keyboard player.

We're six Collectively we're known But we've all been assigned characters which actually existed then during that time.

So I spend a lot of time with the band members and I feel like it's a good bunch of amazing musicians who have done different genres and different circles, and we've all come together to play on Broadway.

And I feel like our individual influences and music really do play out through We all come from different walks of life, different countries even, and just found a commonality through music and through our love for what we do.

My name is Daniel Torres, and I'm in the ensemble of and I also cover the role of Adolfo Pirelli.

It has always been a dream of mine to do a Stephen Sondheim show in New York.

And the moment I heard Sweeney was auditioning, I told my agent to please give me an audition for I knew they were creating something really special for this revival.

So I'm in the ensemble and this is such a blessing of a because in the ensemble, you get so many moments where you get just stick out and have your own solo.

I actually have the honor of being one of the two gentlemen that start the show.

and we get to just step out as kind of the voice of the and narrate what is happening with Sweeney Todd.

Sweeney Todd in a nutshell, it's a father who was wrongly accused and convicted for 15 years, on a trumped up charge, escapes from prison and comes back to foggy London town to seek his revenge on the wicked Judge At last!

My right arm is complete again!

It's pretty much British Bake Off but with a lot blood and killing.

You're a sucker, McFly!

The story is so epic in its you know, he goes back in time and meets parents.

1955?!

And it's told through multiple generations.

Hey, McFly!

I thought I told you never to If they don't meet they won't fall in love, they won't get married and neither you nor your siblings will ever be born.

Whoa!

It does capture that feeling of nostalgia the first time you saw it in the theaters and just the reactions.

I mean, people cheering for all the iconic lines all of the music So this has a real personal connection to people that I have not experienced in any other show I've worked on.

The show for me is quite different, it's the take of the six wives of Henry VIII.

And I just feel like it definitely takes you through a journey of emotions as you watch the story of each queen play out.

Every queen has at least one big vocal moment built into You can build me up For each queen there's a style of musical that we all listen to today that has inspired and influenced the character and naturally, the music.

We don't need your love For me one of the great things about playing on “Six” is that you get to see not only our all female cast, but all female band.

Just to see that typically across the board is really empowering.

And a lot of the time we see young girls in the crowd and and it's like the first time they've seen And I feel like it has more of an impact We've been tinkering and making the magic better over the years of doing the show because we're learning what really makes it work in human bodies At the same time, we're working with our design and our crews to set everything up.

so that these feats of wizardry are possible on stage.

It's so gratifying, especially because the job is so hard.

When you walk out into the lobby and you hear people, “Did you see?

How do you think they did that?” “Did you see that?” Like, people care about the and the come in with expectations.

And I think that when you can deliver on the feeling of imagination or the kind of child part of themselves or the young adult part of themselves, that is so satisfying.

I know that when my number's up, The audience responds really, really well to the show.

People always leave having a great experience, leaving with joy and it's great for us because we're part of that experience.

We want audiences to leave feeling like they were seen, feeling like they were taken because that's my job.

My job is to make people feel safe and taken care of and loved.

I mean, Here Lies Love, like that's what we got to do.

Love When I see families come together and being able to see the different generations all together in one space, being able to share in the love of the Filipino community, I that's the most special thing to me.

Because not everyone there are Filipinos, but everyone there in that moment understands what it means to be Filipino.

And I think that's the most beautiful way to end this show.

It's my life It's really great to see how the music plays into the story.

And, you know, with this being a jukebox musical, I mean, you would think that the music was written for this piece because of how well they worked together to just, you know, get the message across.

I think now being almost 400 performances in we sort of have an idea of, you know, the big showstopping numbers of where people are going to react.

You know when you get to the end and you just see the reaction of everybody, you know, when they see Juliet get lifted up in the balcony.

People will get up, people will dance.

And you see people of all ages, you know, getting up and dancing like crazy.

It's just such a magical moment.

I don't know, it's just so fun and it's so fun to work on a that just can bring that much joy and that much happiness.

Are you ready?!

New York, New York!

It definitely doesn't feel like for me, maybe a typical Broadway show.

because I feel like they have permission to kind of react out And one of our team members describe the audience as like the Seventh Queen.

And I think their responses and their reactions to each story show you that.

'bout what I said!

I'm just tryin' to have some Give ‘em the old razzle dazzle I think what's so important for us when we're looking for people is that like, yes, there's this idea of what these but the show has been around for so long that I think what makes people stand out is when they're able to still be 100% themselves while still having the essence of who those characters are.

The creative team will build Chicago around them.

We don't want a carbon copy of somebody else's Roxie We want their individual Roxie Hart, and the show is tailored to that.

If you're a better dancer, they will put in dance moves.

If you're not as good as a dancer, they'll take some dancer moves away, change keys, etc.

The show morphs and changes with the times.

They call it immersive theater and they are not lying about it As soon as you enter the theater, you're just flooded and then you go onto the dance floor and we have projections and lights and a disco ball!

You see us in our bright pink jumpsuits and you're like, ‘What the heck have I just You've walked into the most incredible, fantastical world you've ever been to.

What you see on stage is just moving platforms.

And then you see actors going in and out of different places around the stage.

But what you don't see is backstage wigs, hair and makeup.

Costumes, they are sprinting around the perimeter of the theater to make sure everyone's in costume, to make sure that the props and everything are set.

We have literal moving pieces that are moved by hand, by our stage hands and so all of us are working just like, the entire time, completely turned on and ready to go, And I think that's why we're such a strong team.

I have no idea how many people it takes to keep the show running every single night from front of house to on stage and off stage and up in management.

There are so many people involved to get this show running every single night.

And that just goes to show you how much the backstage crew is just as important as the onstage crew.

This company really feels like a family.

And I know we say that about every show that we're in, and for the most part, it's actually very true.

Every show that I've done on Broadway feels like a different family that I got to be a part of.

And this one certainly feels like that.

We always say, ‘Welcome to the Sweeney family and that's really what it is.

To make something magical happen everyone touching it and everyone touches all these Wigs, hair and makeup touch almost every magic moment in the Every single person lighting sound, scenic, the actors, the even parts of the front of house need to be working perfectly.

So when something works, it's really affirming.

It's what I love about theater.

It's a lot of people working together towards a single purpose to make something possible so there's nothing like it.

I have to say that this is the largest production I mean, the technical elements in this show are so complex and take so many people behind the scenes ensuring that it goes off well, but also goes off safely.

And it's really incredible how it all comes together.

The team to get the show on its feet You can go from the front of house all the way to the back and then again, like throughout the show, that whole team is working the whole time.

From the front of house staff to everyone that works at the theater, to the crew that's helping set up the theater for that And we have the wardrobe team and electric team and then all of the dancers and the singers, the artists.

So everyone has a different job and they do connect And we need to work together as a team to have the show go on every night.

We have over, I think, 50 people just making the show happen as a average coming to see a big Broadway show,like nobody has any idea how many people it really takes to put something like this and whats so wonderful about the crew that we put together for show and also just the house crew you know, Sondheim theater, is that we are so supportive of each other.

Everybody is so wonderful to work with.

I remember when I first called the show and it was the most nervewrecking thing that I have probably ever done because, you know, you are the one flying people, setting pyro off, scenery is moving, everything is happening at once.

Just the amount of support that I got from and you know, everybody really just has each other's back.

It truly does take a village to get a show I mean, you have everyone that's backstage, everyone that's in the house before the show happens, everyone just gels so well together, which just creates this beautiful picture that not a single person could do alone.

The most rewarding part has been, you know, getting to tell people that their dreams are coming There are so many people that dream about being on Broadway and it's those moments where, you know, you're sitting on a face time with an actor telling them that they just booked it and you're both crying It's magical.

I started doing theater and magic around the same time, when I was about four years old.

And I started them completely and never thought about them relating to each other.

I did magic shows at kids birthdays' and then at festivals and at events, and then I did theater because I loved making things And then Harry Potter came along and truthfully, there were six months of interviews.

And then at the end of those six months of interviews, I was lucky enough to get to do this job.

I grew up dancing at a competitive dance studio in and was very grateful and fortunate to have a family that supported that.

My dad saved the article of me saying I wanted to be on Broadway when I was 11 but I don't know if I really realized that that would be my trajectory until it was happening.

Then went to school for dance and loved dancing and then I joined the Wicked tour.

So that was how I ended up in the city.

I remember as a kid being in my bedroom, just conducting the film scores, just in the mirror, just for fun and I think, Oh, my gosh!

I wanted to do that one day.

And so getting to do that each night, cconducting 18 live musicians in this epic score and looking up and seeing the play out right in front of me, it just feels like you're in the and such a exciting and exhilarating experience.

Every night.

The Legacy robe started in 1950 as a tradition, as a robe that was passed on to each opening night of a Broadway show.

And each show that got the robe And it's bestowed upon the actor in the ensemble who's done the most to Broadway I was beside myself that they said my name.

And it really is such an honor because now I'm invited to every opening night of every Broadway show.

Talk about Broadway community, this is a tradition that we do every every opening of a Broadway show.

Every show that's currently running foxes over a sheet of well-wishes and happy opening wishes to the company that's opening that night.

It's an honor to be a part of the Broadway I pinch myself literally every day that I still get to do this.

That I'm still invited to be a part of this community.

But even long after I'm retired, I'll still feel a part of this And how many things in life are there like that?

I'm just beside myself that I get to do this every The Broadway community seems large, but it's actually really small and tight knit.

When I got the job, I realized, Wow!

Like, I am working on Broadway.

I feel like I have to keep reminding myself that because That's a dream I never thought I would be able so early in my life right now.

But I am working on Broadway I've created friends, we've had fun little group parties, karaoke moments.

It's really, really cool to be part of that community.

It feels an honor to be part of the community, especially because I was born and I moved to New York not quite knowing how everything was going to play out.

And Broadway is known throughout the entire world.

When we think about musical theater we think about plays.

Broadway, for me, is its highest platform.

So to be able to have an opportunity,to be able to hold down the chair on Broadway is definitely something I don't take lightly.

And it's an honor, it's full of different So I'm definitely happy to be on this journey.

O. O. Harry potter didnt just change of what was possible on stage.

I try to pinch myself now because it feels so normal.

It feels like, you know, I'm going to work and I'm standing on a Broadway stage and I sometimes have to take a moment and look out man, Wow, I can't believe I get to be part of this thing.

Art is built through collaboration, and that's one of the best things It is a family.

Being a performer on Broadway is a dream and is also work.

We're so fortunate that we get to do what we love.

I do always find that gratitude being on stage and having the and having the excitement and the adrenaline and also feeling like that's where I'm meant to be.

Oh!

Im going to get emotional um Yeah, Theres just somethign to being and powerful.

and with something like “Moulin people are coming to escape and be thrilled and watch the And so it's really incredible to be able to bring that to them every night.

We are Broadway!