Broadway Across America’s biennial conference in Miami Beach brought together about 250 industry leaders as Elton John, John Legend and other creatives presented major new musicals and tours
The Broadway Across America Biennial Theatrical Conference gathered a cross-section of North American theatre professionals Feb. 9–11 at the Fontainebleau Hotel in Miami Beach. Closed to the press, the three-day meeting drew roughly 250 presenters, producers, booking agents and creative teams who came to preview projects, swap practical know‑how and kickstart touring deals before shows ever reach Broadway.
A marketplace for what’s next
Instead of glitzy premieres, the conference prioritized business-to-business conversations: short presentations, panel talks and blocks of one‑on‑one networking designed to move projects toward concrete routing and financing. Organizers framed the event as an early market where presenters can see a title’s promise up close and producers can test demand—so decisions about tours, timing and venues can be made sooner rather than later.
Big names, big ambitions
The gathering opened with a keynote from director Jon M. Chu and featured appearances by high-profile creative voices. Elton John showcased his stage score for the musical adaptation of The Devil Wears Prada, and John Legend presented Imitation of Life, a new musical with a book by Lynn Nottage and music by Legend. Their presence reinforced producers’ optimism about the commercial potential of star-driven projects.
Other pitched and discussed projects included:
– A stage version of CrazySexyCool involving original members of TLC. – Sara Bareilles’s new musical The Interestings. – Basura, a project backed by Gloria and Emily Estefan. – Contemporary adaptations such as 10 Things I Hate About You (music by Carly Rae Jepsen and Ethan Gruska), a Crazy Rich Asians stage production directed by Jon M. Chu, and a new Practical Magic scored by Norah Jones.
Mixing artistry with logistics
Panels combined creative vision with hard logistics—staging large-scale productions on the road, crew coordination, venue capacities and routing strategies. Speakers repeatedly returned to one core idea: theatre lives in the room. As John Gore of The John Gore Organization put it, in-person meetings and audiences are what make touring theatre viable. Lauren Reid, president of Broadway Across America, called the conference “a window on the future of Broadway,” praising the collaborative spirit and the quick momentum that comes from showing a project to regional presenters before a Broadway launch.
Deals and next steps
The practical payoff was immediate. Producers invited several creative teams to submit detailed budgets and production schedules; presenters signaled willingness to commit to tours after seeing projects in person. Organizers confirmed follow-up meetings to finalize commercial plans, routing and contract terms. Visual coverage published by Variety—featuring photographs by Sergio Villarini—has helped participants prioritize which follow-ups to pursue.
Who showed up
Directors such as Michael Arden, Liesl Tommy, Michael Greif and Christopher Ashley participated in panels. Executives from major organizations were present as well: Robert Wankel (Shubert Organization), Nick Scandalios (Nederlander Organization), Nicole Kastrinos (Lincoln Center Theater) and Lori Hotz (North American CEO, ATG). Their attendance underscored the conference’s role as a matchmaking forum between producing organizations and the national network of presenting houses.
Atmosphere and safety
The tone was firmly businesslike but collegial—artists and executives trading ideas, logistics and commercial strategies in face-to-face sessions. Police reported no disruptions, and organizers expect the next round of meetings to focus on tightening schedules and contract language. With star names on the slate and follow-up negotiations already underway, several of the presented titles look likely to move closer to Broadway and national touring seasons.