Review: "Night of a Thousand Judys" at Joe's Pub Celebrates Judy Garland

Broadway + NYC

Broadway

Off-Broadway

Off-Off Broadway

Cabaret

Dance

Opera

Classical Music

Eastern

Central

Western

West End

WEST END

UK Regional

International

Canada

Australia / New Zealand

Europe

Asia

Latin America

Africa / Middle East

Entertainment

TV/Movies

Music

Ctrl + K to open · Esc to close

The 6/1 show featured a host of talent honoring Judy Garland, to benefit The Ali Forney Center, which provides shelter and services for homeless LGBTQIA+ youth

POPULAR

Get all the top news & discounts for Cabaret & beyond.

The 14th Annual Night of a Thousand Judys (benefiting The Ali Forney Center) was held at Joe's Pub on June 1, kicking off Pride Month celebrations for the LGBTQIA+ community and their allies.

Get all the top news & discounts for Cabaret & beyond.

Written and hosted by the outgoing Justin Elizabeth Sayre, the evening showcased his unique blend of singer, comedian, and raconteur. Backed by two "twink" dancers (his word), Holden Jones and Kyle Kowalewski, both looked exceptionally dapper in their tailored suits and hats. Sayre opted for something far more comfortable—a muumuu-inspired pantsuit or possibly printed silk pajamas—Sayre described the look as "God, Aunt Margie Loves a River Boat Cruise!" which felt entirely appropriate.

Opening the evening with "When the Midnight Choo-Choo Leaves for Alabam," Sayre's infectious enthusiasm was matched by Jones and Kowalewski, setting an energetic, celebratory tone for the evening.

Jay Armstrong Johnson was the first guest artist to tackle a Judy Garland classic, choosing "Zing! Went the Strings of My Heart." Delivered as a full-throated anthem, Johnson, dressed in a sleeveless sheer shirt, exuded cabaret swagger while Erica Von Kleist punctuated the performance with a sassy saxophone solo.

Danielle Grabianowski followed with "More Than You Know." Dressed entirely in black, she continued with what would become the evening's guiding principle: no imitations of Garland but rather reclaiming her songs as their own. Beginning with a delicate, airy tone and subtle vibrato, Grabianowski steadily built the number to a big finish—even the subway rumbling beneath Joe's Pub seemed to applaud along.

Alysha Umphress, resplendent in a floral floor-length dress, performed "As Long As He Needs Me" from Oliver! For anyone questioning its inclusion among Garland’s standards, Umphress reminded the audience that it became a signature number during The Judy Garland Show in 1963. Beginning as a sultry ballad, the song blossomed into a jazzy reinvention, aided by a wonderful musical rapport with bassist Booker King, before culminating in a soaring high note.

Clearly impressed, Sayre reminded the audience that only gay money was accepted this evening—by which, of course, he meant the bill featuring Abraham Lincoln.

The evening's first honor, the Good Judy Award, was presented to producer Steven Tartick, whose distinguished career championing LGBTQIA+ artists and productions currently includes Broadway's Cats: The Jellicle Ball .

Adam Kantor and Leah Siegel delivered a fierce and dynamic rendition of the legendary Judy Garland/Barbra Streisand duet "Get Happy” and “Happy Days Are Here Again," earning the biggest ovation of the evening up to that point.

Last year's Judy Icon Award recipient, Nathan Lee Graham, followed with "You're Nearer." Looking elegant in a shirtless suit, Graham lunged onto a stool and delivered the song as a lush, romantic ballad infused with theatrical flair. Enhanced by a lovely flute solo from Von Kleist, the performance built toward a classic big Judy finish that received massive applause.

Claybourne Elder charmed the audience with "The Trolley Song," prefaced by a story about performing the number with his older gay brother while growing up. They staged their own cabarets at home, recruiting their "plain" siblings as unwilling passengers aboard the trolley. Tonight, however, Elder finally had the starring role to himself. So enthusiastic was he that he “reeled” off the stage and recruited an audience member to serve as his passenger. Acting out the lyrics—including the famously flirtatious line, " just to stand with his hand holding mine "—Elder turned the song into an irresistible bit of musical theater. Even Sayre observed, "That was so much gayer than it needed to be."

Wearing a stylish layered red mini dress, Jae W.B. brought smoky sensuality to "Come Rain or Come Shine." Beginning with a slow, seductive interpretation, the performance appeared headed for a big finish before unexpectedly pulling back into a beautifully restrained ending.

At this point, Sayre shifted the evening's tone. Reflecting on the current political climate, he remarked that he had hoped the 2020s might resemble the Roaring 1920s, complete with flappers and bathtub gin. Instead, he noted, LGBTQIA+ people continue to be ignored by the government, being made fun of and persecuted. Drawing parallels to Garland's own struggles, he reminded the audience that her resilience came from her ability to pivot, connect, and recognize her own worth. "We may not be on TV for long," he joked, "but we're doing the hair. Except on FOX News. Nobody’s doing hair there!"

As serious as the moment became, Sayre ultimately preached what he called the gospel of Judy—one he admitted was "far better than the Bible." He concluded with a heartfelt declaration: "I love you all. Even the ones here I don't like." That blend of sincerity and humor led naturally into his second musical number, "Last Night When We Were Young." Seated on a stool, Sayre delivered the ballad with affecting simplicity before surprising the audience with a big Judy belt and finish.

The Judy Icon Award was presented to Charles Busch—described fittingly as "the leading lady we all wish we could be." As Busch approached the stage, he received the evening's first standing ovation. Recalling his first viewing of The Wizard of Oz on a neighbor's color TV, Busch reflected that he simultaneously experienced two revelations: Judy Garland and his first gay couple. Somehow, the two became permanently intertwined.

Accompanied by Jono Mainelli, Busch performed Noël Coward's "If Love Were All," famously recorded by Garland at Carnegie Hall. Connected deeply to every lyric, Busch transformed the song into a master class in interpretation. It was elegant, moving, and pure gold.

The evening's final guest artists were both vocal powerhouses. Sherz Aletaha, wearing a leopard-print gown, brought down the house with "I Got Rhythm." Backed by the evening's outstanding band—Von Kleist on saxophone, King on bass, Paige Andrews on drums, and Drew Wutke on piano—the performance swung into high gear with key changes, extended high notes, and irresistible energy. Then Aisha De Haas closed the solo performances with "When the Sun Comes Out." Dressed in an elegant black gown, she delivered the number with remarkable poise and a rich, captivating voice that held the audience spellbound.

The evening concluded with the entire company gathered onstage for "Over the Rainbow." The audience joined them. Hearing a room full of Friends of Dorothy sing Garland's anthem was both moving and deeply affirming. In that moment, a chosen family assembled at Joe's Pub and sang as one, offering a powerful reminder of the strength found in community. Happy Pride!

P.S. It's not too late to join this special evening by donating to the very worthy Ali Forney Center here . Learn more about the non-profit and what they do at www.aliforneycenter.org

Photography by Austin Ruffer.

Get an Alert Each Time Gregory Fletcher Writes

Videos

Cabaret SHOWS

Recommended For You

Sign up for announcements, and exclusive discounts on tickets to your favorite shows!

© 2026 - Copyright Wisdom Digital Media , all rights reserved. Privacy Policy

_Originally reported by [BroadwayWorld](https://www.broadwayworld.com/cabaret/article/Review-NIGHT-OF-A-THOUSAND-JUDYS-at-Joes-Pub-20260609)._