At the 64th GRAMMY Awards on Sunday, April 3, Ben Platt, Cynthia Erivo, Leslie Odom Jr. and Rachel Zegler will pay tribute to the artists who have passed away in the last year during the in memoriam section of the ceremony. Among the honorees is the late composer Stephen Sondheim, who passed away on Nov. 26, 2021.

"He's meant so much to me. When I was a kid, I grew up listening to his musicals," Platt, an actor, singer and songwriter, told GRAMMY.com by phone. "He really shaped my worldview about how to be a person from his writing."

Prior to his death at the age of 91, Sondheim, won seven GRAMMY Awards and was nominated 17 times during his long and celebrated career. Sondheim's last win was for the 1994 musical theater album Passion, though he had been heavily in the spotlight at the time of his death.

In 2021, the prolific composer and lyricist was featured in the movie, tick, tick..Boom!; a revival of his Broadway show "Company" (for which Sondheim took home a GRAMMY for Best Score From An Original Cast Show Album in 1970) was in previews; and a second film version of West Side Story, which he wrote the lyrics to in 1957, was days away from its glitzy New York City premiere. 

In addition to performing in Sunday's Sondheim tribute, Platt is part of the Dear Evan Hansen team nominated for Best Compilation Soundtrack For Visual Media. (The actor reprised his Tony Award-winning role as Evan Hansen in the 2021 film adaptation.)  A Dear Evan Hansen win  would mark Platt’s second GRAMMY Award for the same show — the original "Dear Evan Hansen" Broadway cast recording won Best Musical Theater Album 2018.

GRAMMY.com spoke with Platt all about his nomination, what the tribute to Sondheim will look like and how he's continuing to honor Sondheim’s legacy by filming a movie of another one of his GRAMMY-nominated musicals, "Merrily We Roll Along."

What was your reaction when you were asked to perform this special tribute?

It was one of those universe things of feeling like you're in the right place at the right time. The flashiness of being on the GRAMMYs is exciting no matter what, but there's something deeply honoring and humbling about doing it in this way. 

I saw Cynthia five times in "The Color Purple." We all saw Leslie in "Hamilton." I love the West Side Story film. It's a special concoction of theater people. You'll never get a group that truly represents the theater community and I’m proud this is the crew to carry out this particular message.

What can you tell us about the performance?

I don’t know what I am allowed to reveal or not reveal. Leslie, Cynthia, Rachel and myself are all representing different songs, and presenting different motifs. They all blend together in this really beautiful medley. I think it's really beautiful this year that it gets to be both for him in particular, and for the entire in memoriam section at large. 

Are you able to reveal what song of his you're singing on Sunday?

I'm not supposed to. But I will say they're all from different shows. And they're all very familiar, beautiful, popular tunes that I hope many people will know. 

Have you gotten the music yet?

We all gave our two cents about what we wanted it to feel like and sound like. Leslie and his really brilliant arranger Bruce Healey put it in motion and created this great arrangement. We've all been learning it separately. We get together on Friday and rehearse together off site. Then we rehearse again on Saturday. Then there’s a dress rehearsal and then we do it.

Who picked the songs?

It's a collaboration. We gave a list and [the producers] told us which ones that they were particularly interested in. We all expressed which ones fit our voices and then we all found a happy medium together.

What does Sondheim mean to you?

When I was a kid, I felt a little bit different than a lot of my peers in the sense that my mind was sometimes elsewhere. 

In "Sunday in the Park with George" [which Sondheim won a GRAMMY Award for Best Cast Show Album in 1984], which is my favorite musical of all time, [Sondheim writes] a lot about that mindset — what it's like to be an artist and what you have to sacrifice to really love what you do and be passionate about what you do. How sometimes relationships and other aspects of your life have to really take a backseat when you're devoting yourself to your art. Hearing that expressed in such a beautiful way was so moving to me.

What’s your favorite Sondheim lyric? Mine is "Let Me Entertain You."

I would say it's a tie between "anything you do/let it come from you/that it will be new" from "Sunday in the Park with George" and "if life were only moments/ that you'd never know you had one" from "Into The Woods." 

Did you ever meet Sondheim?

He came to see "Dear Evan Hansen" but he didn’t come backstage. I auditioned for him once for a revival of "A Funny Thing Happened on the Way to the Forum" that James Corden was going to do that never came together. I got to sing "Love, I Hear" for him. Of course, I hated the audition. It wasn't nearly good enough for me because it was for Sondheim. But I did get to look him in the face and wave and say hello. 

We were meant to sit down and have dinner with Rick Linklater, Beanie [Feldstein] and Jonathan Mark Sherman to talk about our Merrily We Roll Along project. But we didn’t get it together in time before we lost him. 

How much of the movie have you shot already?

Just the first sequence. 

When is the next time you film?

Holidays 2023. 

It’s incredible how different it must feel to go from shooting Dear Evan Hansen in such a short time to filming this movie, which takes place over the course of 20 years.

This is a very special once in a lifetime situation that is definitely a leap of faith for all involved. I think everybody, particularly those that know and love "Merrily," what a particularly special opportunity it is to make this piece work in a way that it never has before. 

Joyous But Grounded: A Behind The Scenes Look At How "I Feel Pretty" Was Reimagined For 2021's 'West Side Story'

Broadway had a jam-packed slate of musicals this year, with everything from originals to adaptations and highly anticipated revivals. It would only follow, then, that it would be a busy race toward the 77th Tony Awards. 

Fifteen musicals were eligible for nomination this year, up from nine in 2023. Fittingly, the June 16 telecast from Lincoln Center's David H. Koch Theater in New York City had some dramatic surprises — especially in the music-related categories. 

One race that was anyone’s game was Best Musical. While many thought Alicia Keys' "Hell’s Kitchen" would take the big win, the award went to "The Outsiders." Featuring music by folk duo Jamestown Revival, the book/film adaptation won a handful of awards, including Direction Of A Musical for Dayna Taymor. It was a landmark year, in which four of the five nominees for direction were women.  

Broadway is perhaps trying to capitalize on pop music fans more due to post-pandemic struggles and the reputation of Broadway being for the elderly elite. The uptick in pop stars gracing the Great White Way led the New York Times’ Michael Paulson to declare that Broadway was entering its pop era; fittingly half of the eligible new musicals had scores composed by people who primarily work as recording artists. 

Broadway is rife with recording artist-helmed scores and jukebox musicals, including Alicia Keys, David Byrne, Fatboy Slim, Arcade Fire, Sufjan Stevens, the Who, and Jamestown Revival. Recording artist-driven musicals were also among some of the notable snubs at the Tonys. Shows that failed to secure Best Musical or Original Score nominations included Ingrid Michaelson for "The Notebook," Barry Manilow for "Harmony," Huey Lewis for "The Heart of Rock and Roll," and Britney Spears for "Once Upon a One More Time."

The music categories did offer up some big name winners. Best Original Score was set to be an interesting category this year because a play, "Stereophonic," with music by Arcade Fire’s Will Butler was in the running. However, the suffragette musical "Suffs" written and starring Shaina Taub took home the award. She also scored Best Book of a Musical, which was predicted by several experts. "Stereophonic" did win five awards total including Best Play and Sound Design Of A Play. 

Orchestrator and musical director Jonathan Tunick expectedly won Best Orchestrations for "Merrily We Roll Along." While the orchestrations aren’t terribly different from the original production, the Sondheim show flopped when it first opened in 1981. Yet the "Merrily" revival has found huge success due to the strength of the music and its three famous leads — perhaps the biggest name on the show's Playbill,  Daniel Radcliffe, won  Best Performance By A Featured Actor In A Musical.

Radcliffe was joined in the winners’ circle by costar "Merrily" Jonathan Groff, who took home Best Performance By An Actor in a Leading Role In A Musical. Costar Lindsay Mendez lost out on Best Actress in a Featured Role of a Musical to "Hell’s Kitchen’s" Kecia Lewis, whose performance in the Alicia Keys bio-musical was very well reviewed. Considered a front runner for Best Musical, "Hell’s Kitchen" only ended up taking home two awards: Lewis’ actress award and Best Performance by a Leading Actress In A Musical, which went to Maleah Joi Moon, who was the frontrunner in predictions.  

Beyond wins and upsets, performances were the highlight of the Tonys. "The Outsiders" has been garnering praise for its rumble scene, a segment of which made up the show’s Tonys performance, complete with rain. Meanwhile, "Merrily" featured its three stars with a sweet rendition of "Old Friends." Other notable performances showcased the "wow-factors" from many of the nominated shows, including a number from the passionate dance-focused show, "Illinoise," and circus tricks in the number from "Water for Elephants." Jay-Z and Alicia Keys brought the audience to their feet with their performance of "Empire State Of Mind" from "Hell’s Kitchen." Meanwhile, "Suffs" leaned into the history lessons of the show.  

Non-nominee performances that stood out include a Fosse-fueled tribute to Chita Rivera, which also included a dance from "West Side Story" performed by host Ariana DeBose (who won an Oscar for the 2021 re-make for the role of Anita, which Chita Rivera originated on Broadway). Nicole Scherzinger, who will appear in "Sunset Boulevard" next season, sang the "In Memoriam." Speaking of West End, the London-transfer production of "Cabaret" included an immersive rendition of "Willkommen," led by Eddie Redmayne, who got dragged on social media and in the press for the clown-like performance many found "terrifying." 

Next year we will be getting even more pop-artist driven musicals, including Elton John leading the charge with two musicals in the works, "The Devil Wears Prada" and "Tammy Faye." Other notable upcoming shows will have music by John Legend, Elvis Costello, Nas, Neko Case, and Mitski. Plus, a production of "Romeo and Juliet" will feature music by frequent Taylor Swift collaborator (as well as 2024 Producer Of The Year, Non-Classical) Jack Antonoff. 

50 Years In, "The Wiz" Remains An Inspiration: How A New Recording Repaves The Yellow Brick Road 

Of the many reviews of "The Wiz" over the years, one of the most famous comes from none other than Broadway legend Stephen Sondheim.

When asked what his favorite Broadway show is (besides his own), Sondheim named "The Wiz" and said it’s because, "it's the one show which makes you feel better when you come out of it than you did when you walked in." 

The original production of "The Wiz" had its pre-Broadway tryout in 1974, with a Broadway premiere in January 1975. In the decades since, it's remained beloved among musical theatre fans, as well as a staple of community theatre. Not only does "The Wiz" boast a 50 year legacy and the distinction of being one of the first shows with an all-Black cast, but the musical itself stands the test of time because of the strength of the music and the message behind it. To accompany a tour and Broadway revival at the Marquis Theatre, the 2024 revival cast recording comes out on June 14, paving the yellow brick road for a new generation of fans to ease on down and enjoy the journey.

While many people remember the 1978 Diana Ross film The Wiz (which also starred a young Michael Jackson), it was a critical and box office flop. The Broadway show, meanwhile, had more success. The show won seven Tony Awards including Best Musical. The original cast recording is the 30th highest selling cast album of all time. In 2017, the original Broadway cast recording of "The Wiz" was selected for preservation in the National Recording Registry by the Library of Congress as being "culturally, historically, or aesthetically significant." 

The tale of Dorothoy's arrival in and travels through Oz has been in the cultural lexicon for over 100 years. "The Wonderful Wizard of Oz" was written in 1900 and, 39 years later, the Technicolor Judy Garland movie cemented the iconic story. While "The Wiz" (full title "The Wiz: The Supersoul Musical ‘Wizard of Oz'") is still primarily set in the magical land of Oz, the creators and production team made significant, conscious choices to place "The Wiz" among Black culture of the time. The new production, with an updated book by Amber Ruffin, strives to do the same. 

Of "The Wiz," the Smithsonian — which displays costumes from the original production in their National Museum of African American History and Culture — says it is "a tale that celebrates African American street style as a unique subculture and unapologetically American way of life. The song lyrics, script, sets, and costumes all reference and champion the struggles and triumphs of African Americans." 

Analysis of the original cast album cites influences from popular music of the time, along with jargon. Most notably, however, and what Sondheim responded to, is that all the songs in "The Wiz" have a message and emotional core that moves the story forward both literally and within each characters’ arc. Instead of the repetitive "Follow the Yellow Brick Road" from the film, "The Wiz’s" "Ease on Down the Road" encourages the characters and then the audience to keep on keeping on with their goals. Lyrics such as "Cause there may be times/ When you think you lost your mind/ And the steps you're takin'/ Leave you three, four steps behind/ But the road you're walking/ Might be long sometimes/ You just keep on truckin'/ And you'll just be fine, yeah," can be applied to anyone’s life problems — not just Dorothy and Company on their fantastical journey. 

After vanquishing the Wicked Witch, Evilene, the principals and ensemble sing, "Everybody Rejoice/ Brand New Day," a celebratory song that exudes joy. They sing, "We always knew that we'd be free somehow," which, when placed in American theatre and sung by an all Black ensemble, holds more historical significance than a simple song about escaping capture. Glinda appears and doesn’t just tell Dororthy to click her heels; she tells her to "Believe in Yourself" not only that she can go home, but that she should believe in her own feelings and power inside her heart.

Finally, "Home," which some say takes the place of the classic "Somewhere Over the Rainbow," speaks to a broader character arc and feels more like a pop anthem than a musical theatre song. It has been released as a single throughout the show’s history, including last year by Brandi Carlile to go with the "Ted Lasso" finale. While Garland’s Dorothy learns in the end, "There’s no place like home," "The Wiz’s" Dorothy sings, "And I've learned that we must look/ Inside our hearts to find/ A world full of love/ Like yours, like mine/ Like home." 

The original Broadway cast recording is hard to find. It can be purchased on streaming services like Apple, but on Spotify, only the single version of "Home" is playable. "The Wiz: Live!," a well-received televised version, does have a readily streamable soundtrack, but a new Broadway cast album is very welcome. The cast features Nichelle Lewis as Dorothy and television and Broadway veteran Wayne Brady as the titular role; the stage production updates both script and set to feel more more contemporary. Meanwhile, the score has been lightly "refurbished" with additional songs. 

"The original ‘Wiz’ was a definitive product of the 1970s in its glam and excess," Brady told the New York Times. "Ours is of this time: We have this place and can just be. From the queerness onstage to the costumes, the musicality, light and bricks. I think instead of fighting to be seen, this ‘Wiz’ is, ‘Oh, you see us.’"

Sondheim’s praise of "The Wiz" is particularly magnanimous because Sondheim’s own show "Gypsy" had a revival in 1974, the same year as the original production of "The Wiz," which meant the two shows battled it out both in box office and awards. A revival of "Gypsy" starring Audra McDonald and directed by George C. Wolfe has just been announced, so both "The Wiz" and "Gypsy" will again be on Broadway. This time, both shows will be led by Black actors and directors. 

Broadway has struggled post-pandemic, and America has a lot to learn about love when it comes to race, but, with the release of "The Wiz" back into the world, we get a much-needed infusion of joy. Throughout the last 50 years, there have been many stories and real events that point to a world that is anything but full of love, but, through it all, "The Wiz" holds onto hope. 

New Broadway Musicals To See This Spring: "Hell's Kitchen," "The Wiz" & More

On April 20th, GRAMMY U members and industry professionals gathered at the Times Center in New York City for the 2024 GRAMMY U Conference presented by Amazon Music. 

The GRAMMY U team prepared an action-packed and motivating day of panels "Live From New York," focusing on topics from live performances to the business behind Broadway productions. Keynote speaker Ben Platt talked about the transition from a Broadway star to recording his solo studio album, followed by a performance workshop with Billy Porter, and live music production on late night television with Remi Wolf.

Once members arrived, they took advantage of professional development opportunities and mingled with other GRAMMY U members before attending the conference panels. Attendees visited the robust Career Center which included a professional headshot station, resume review station, and a dedicated speed networking hour with industry professionals within the Recording Academy, Amazon Music and more. These collaborations allowed for the next generation of music creatives and professionals to gain first-hand experience with mentors across various business sectors and musical genres.

Below are five impactful takeaways from the 2024 GRAMMY U Conference.

Shed Your Armor To Embrace Vulnerability 

After a two-year performance run on Broadway starring in "Dear Evan Hansen", Ben Platt shifted his priority toward making original music and sharing personal storylines.

In "Live! With Ben Platt," moderated by actor and long-time best friend of Platt's, Beanie Feldstein discussed Platt's bold choice of stepping back from portraying fictional characters on stage, to now releasing original music with his upcoming album Honeymind. 

"The gratification of connecting with your own experiences and seeing people really use the songs in their lives is so infinitely beyond the worries," Platt shared. 

Crossing over from a Broadway stage to pop music, Platt suggested that a key to success is trusting one's vocal technique and individual sound to translate your perspective.  

Beanie Feldstein with keynote speaker Ben Platt at the GRAMMY U Conference | Photo: Rob Kim/Getty Images for The Recording Academy

Consistently Perfect The Fundamentals 

During the performance workshop "Standing in the Spotlight with Billy Porter," GRAMMY, Emmy, and two-time Tony Award-Winner Billy Porter sat down with SiriusXM Program Director Julie James. They discussed the importance of performance critique in helping artists perfect their craft and captivate audiences, as well as strategies for maintaining overall health while on tour.

Porter mentioned that while critiques are important for artists to continue improving their vocal abilities, knowing how to meet personal needs and goals is just as important.

"As you sift through [critiques], you have the right to choose what's right for you and what isn't," Porter said before posing the question, "What notes are good for your vision, and which aren't?"

Left to Right: GRAMMY U Performer Roy Gantz, Billy Porter and moderator Julie James | Photo: Rob Kim/Getty Images for The Recording Academy

This marked the first time GRAMMY U included a performance workshop in its programming, and it provided a fresh perspective from the best in the business. GRAMMY U National Membership Representative Roy Gantz sang "Someone to Watch Over Me," accompanied on piano by Tedd Firth, and received real-time feedback from Billy Porter in front of a live audience. 

"From the minute you hit the stage, to when you get to that mic[rophone], it's about your presence. Keep connecting with us [the audience]," Porter told Gantz.

Porter emphasized the importance of mastering the original melody and musical notations of a song before incorporating riffs and embellishments of popular pieces, and praised Gantz for his advanced technique and interpretation.

"Believe in what you have to offer. In honoring your authenticity, you teach people on the outside how to receive you," Porter advised the audience. 

Stay Vocal, Relationships Are Everything

"On the Screen: Performing On Live TV" featured panelists Yeji Cha-Beach, the Music Associate Producer on NBC's Late Night with Seth Meyers Show, Marnie Stern, former member of the 8G Band on the Seth Meyers Show, and pop recording artist Remi Wolf. Moderated by Siobhan Schanda, the panelists discussed the intricacies of playing on a live TV set including lighting, sound, and design choices. Wolf mentioned her preference for performing with her touring musicians and a live band. 

"Put the music first and try to develop your own style," Wolf said. "The most I've ever felt proud of my work was when I followed my gut." 

Stern remarked that although socializing and navigating the music industry network did not always come naturally, connecting and playing with other musicians was vital to her success as a live TV musician. She described one of the biggest differences between playing on live television and working on her own recording artistry.

"You're selling a commercial product and your job is to entertain," Stern said. "With your own work, your job is to present your feelings and emotions. Everyone is working to further not only the artist but the network." 

Cha-Beach offered guidance for aspiring TV music producers, stating, "Be curious, try as many things as you possibly can. Knowing when to say yes is just as important as knowing when to say no."

 Left to Right: Siobhan Schanda (moderator), Yeji Cha-Beach, Marnie Stern, Remi Wolf; Close-up photo of Remi Wolf | Photos: Rob Kim/Getty Images for The Recording Academy

A Great Musical Takes Time 

The "Sounds of the Stage" panel conducted a candid conversation about the behind-the-scenes process of composing and writing music for musicals. Kurt Deutsch (Senior Vice President at Warner Music Entertainment and Theatrical Ventures) was joined by David Lai (Co-Founder Park Avenue Artists), Kathy Sommer (Composer, Conductor, Producer), and moderator Thomas Winkler (Head of Publisher, Songwriter, and Society Relations at Amazon Music). 

These panelists conducted a candid conversation about the behind-the-scenes process of composing and writing music for musicals. They focused on how Broadway theater experience translated into the process of recording live studio albums.

"You can't bring it to the stage until the bones are set, until things are solidified," Lai said. It's worth spending the time to use the resources we have to work on your material."

Deutsch described the nuances of recording a pop album versus a cast performance record which has quick turnaround times. Often, they are recorded in a single day-long session due to budgeting costs for the orchestra and cast members involved. 

The main goal of a cast album is to allow audiences to relive the emotional experience they had in the theater setting, and for newcomers to still be able to relate to the show's characters and themes through a sonic medium. 

Left to Right: Thomas Winkler (moderator), David Lai, Kurt Deutsch and Kathy Sommer | Photo: Rob Kim/Getty Images for The Recording Academy

'Content Is Queen': Prioritize Meaningful Storytelling

"Side Stage: The Team Behind the Curtain" featured Erich Bergen (Producer, Actor, Director, 6W Entertainment); Pete Ganbarg (President of A&R, Atlantic Records); Adam Hess (Executive Producer, DR Theatrical Management); Christen James (Tony Award-Nominated Broadway Producer); and Michael Kushner (Founder and Creator of Michael Kushner Photography & Dear Multi-Hyphenate).

Together, these creatives explored the business of Broadway and discussed the roles of producers and managers who bring the shows to life. James spoke about what she's most drawn to when beginning a new theatrical project.

"Meaningful storytelling is key [and] music absolutely makes the difference. Content is queen, the story as well as the music," she said. "Art is supposed to change what you're doing to the point where you're thinking about it, it's influencing you." 

Left to Right: Michael Kushner (moderator), Erich Bergen, Pete Ganbarg, Adam Hess and Christen James | Photo: Rob Kim/Getty Images for The Recording Academy

Presented by Amazon Music and with participating sponsorship from Mastercard, GRAMMY U's 2024 conference "Live From New York" engaged members through an exhilarating two-day summit.

From the Friday showcase with GRAMMY U performers to Saturday's slew of panels covering all things show business, the GRAMMY U Conference in the Big Apple helped inform, connect, and inspire GRAMMY U members across the nation. 

Relive the experience and watch all the panels again here. 

5 Takeaways From GRAMMY U's Masterclass With Andrew McMahon: Be Bold, Build Bonds & Embrace Your Fears

GRAMMY U hosted a two-day conference presented by Amazon Music for GRAMMY U members in New York City on April 19 and 20. The event, spearheaded by GRAMMY U Senior Director Jessie Allen, offered an immersive experience designed to enrich and empower emerging talents within the music industry. 

An emerging artist showcase took place on Friday, April 19, followed by a day-long series of panels and breakout sessions on Saturday, April 20, highlighting the live performance industries of Broadway and television talk shows, featuring GRAMMY, Tony, and Emmy-winning artist and actor Ben Platt as the keynote speaker.

The summit marks the beginning of a new cornerstone collaboration between GRAMMY U and Amazon Music, in which Amazon Music will play an integral role in the growth of GRAMMY U’s year-round programming, development and impact. Mastercard was also a participating sponsor of the conference.

“We were all thrilled to bring the GRAMMY U Conference to the heart of New York City. It’s a testament to the dedication of Jessie Allen, whose leadership has elevated this event year after year,” said Ruby Marchand, Chief Awards Officer of the Recording Academy. “I extend heartfelt gratitude to the Amazon Music Team for supporting GRAMMY U; this marks the genesis of an extraordinary collaboration, and together, we look forward to crafting an array of programs that will empower our GRAMMY U members throughout the year.”

The emerging artist showcase featured dynamic performances by GRAMMY U members Kayla Erhardt, Kühlname, Serena Laurel, Nicknames, Liv Paris, and Your Future Is Now scholar Jawan Audè. The evening concluded with a captivating performance by New York soft rock sibling ensemble, Infinity Song.

Saturday’s programming kicked off with keynote speaker Ben Platt. In a thought-provoking keynote discussion moderated by actor Beanie Feldstein, Platt delved into his musical journey spanning Broadway, film and television, inspiring attendees with his insights. The day continued with a performance workshop led by GRAMMY, Emmy, and Tony-winner Billy Porter. Moderated by SiriusXM Program Director Julie James, attendees immersed themselves in a captivating session aimed at honing their live performance skills. 

Read more: Inside Ben Platt's 'Honeymind': How Queer Love, Live Performance & More Led To His Most Authentic Album Yet

The conference included a panel featuring “Late Night with Seth Meyers” Music Associate Producer Yeji Cha-Beach, former member of the “Late Night with Seth Meyers” 8G Band, Marnie Stern, and musician Remi Wolf. Titled “On Screen: Performing on Live TV,” the panel covered the challenges and nuances of delivering live musical performances on television, and was moderated by Siobhan Schanda, Co-Executive Producer of “SHERRI.” 

Programming continued with a panel titled “Sounds of the Stage,” moderated by Thomas Winkler, Head of Publisher, Songwriter and Society Relations at Amazon Music, featuring SVP of Warner Music Entertainment and Theatrical Ventures Kurt Deutsch, Co-Founder of Park Avenue Artists David Lai, and composer, conductor and producer Kathy Sommer, where they explored sound production on stage and cast recordings.

Additional panels included “Side Stage: The Team Behind the Curtain,” featuring industry executives moderated by Michael Kushner, founder of Michael Kushner Photography and Dear Multi-Hyphenate, featuring producer, actor and director Erich Bergen, President of A&R of Atlantic Records Pete Ganbarg, Executive Producer of DR Theatrical Management Adam Hess, and Tony-nominated Broadway producer and vocalist Christen James, where they detailed the business of Broadway and how teams bring shows to life every night.

Guaynaa's Tips For Collaboration & Managing Your Image: 5 Takeaways From His 2023 GRAMMY U Conference Keynote