2025 Broadway Percussion Conference Participants (from left): Michael Huestis, Zhaoxuan, Kaitlyn Remorin, Elizabeth Helsabeck, Seven Swinford, Nava Gold, Ella Finley, Quinn Rasmussen, Kyle Roemer, Mary Bernabe, Eloise Roberts, Jasper Hughes.

This summer, students from all over the world (as far as the Philippines!) once again returned to New York University for some Broadway magic with Local 802 musicians at NYU’s Broadway Percussion Conference, directed by Local 802 member Jonathan Haas. The conference continues to be one of the most incredible opportunities for talented percussionists to learn from some of the biggest names in the industry — through masterclasses, hands-on sessions, discussions, and unprecedented behind the scenes insights, participants gain firsthand experience and expert mentorship from the most respected names in the field.

After a brief welcome session led by Jonathan Haas and myself, the group gathered for the first event: Broadway 101, presented by acclaimed percussionists Sean McDaniel and Charles Descarfino, both currently performing in the Broadway production Smash. With decades of combined experience, McDaniel and Descarfino offered participants an insider’s introduction to the world of Broadway percussion, drawing directly from their own journeys and current roles. This engaging and informative session gave students their first taste of what it truly takes to be part of a Broadway production. The duo explored a wide range of topics critical to the profession, including the role of a rehearsal drummer, the intricate process of building a percussion book, creating the percussion setup, moving into the theatre, developing and managing a reliable sublist, and the importance of playing with click and a conductor camera. The presenters also shared anecdotes from their own careers and practical tips for navigating the unique demands of life in a Broadway pit. It was a powerful kickoff that set the tone for the week ahead.

Next we moved on to the annual Super-Sub presentation, this year hosted by conference regular and superb percussionist Andrew Blanco. Not only has he held the percussion chair on a variety of shows, he’s known for his incredible ability to sub on a myriad of different shows at the same time. Andy is undoubtedly an expert, having played over 30 shows throughout his young career. He took the group through a general path of his career and explained how he came to take on such a wide breadth of roles. He left the group with a general understanding of what it takes to be a rock solid sub on Broadway, being able to adapt to exactly how the regular sounds. At the end of the performance, you shouldn’t want to hear “good job tonight!” from one of the other members of the pit. That means you stood out. Instead, you want to hear “I didn’t realize there was a sub playing tonight!” That’s how you know you did your job.

The final session of the day featured veteran percussionist Bill Hayes, who brought a wealth of experience and insight drawn from his remarkable career, having played on over 70 Broadway productions. Currently performing in the new Broadway hit Death Becomes Her, Hayes shared his deep knowledge of the craft while giving participants a first hand look at one of the most ambitious and visually dazzling productions on Broadway today. Hayes described Death Becomes Her as the epitome of a Broadway spectacular – full of energy, technical complexity, and theatrical flair. He discussed the unique challenges posed by the percussion book, including its demanding stylistic range and the precision required to perform the show night in and night out. He emphasized the importance of playing with stylistic authenticity, highlighting how critical it is for percussionists to be musically literate across a variety of genres. Beyond the technical, Hayes also spoke candidly about life as a Broadway percussionist – offering practical advice about maintaining consistency across multiple performances a week, pursuing interests outside of Broadway, and sustaining a long and healthy career in the pit. His session was not only informative but deeply inspiring, a masterclass in professionalism from one of Broadway’s most respected percussionists.

“Tony’s Tuesday” brought a wave of excitement to NYU, as the Broadway Percussion Conference welcomed several standout musicians fresh off their wins at Sunday night’s Tony Awards. First up was acclaimed percussionist Javier Diaz, who performs in the vibrant and critically acclaimed production of Buena Vista Social Club. Javier also serves on the faculty at NYU, teaching Latin percussion and hand drums. The production’s onstage band, in which Diaz plays a central role, was honored with a Special Tony Award for its extraordinary musical contribution – a rare and prestigious recognition that underscores the ensemble’s integral role in the storytelling.

Next up was Yuri Yamashita, the dynamic percussionist currently performing in the dazzling production of The Great Gatsby. With a vibrant personality and wealth of experience, Yuri shared her journey from her early training to becoming one of the most sought after and respected percussionists in the industry today. Her story resonated with many in the room, as she spoke candidly about the challenges and triumphs she faced on her path to Broadway, highlighting the importance of persistence and adaptability. She emphasized the value of being a truly well rounded percussionist – someone who can move fluidly between genres, instruments, and musical styles with confidence and authenticity. She particularly focused on the importance of hand drum technique, groove, and feel – an essential quality for musical theatre that can’t be taught through notation alone. Her insights into the musical demands of The Great Gatsby, combined with her thoughtful approach to musicianship, left the group beyond inspired.

Tuesday closed on a high note with one of the most endearing and loved percussionists on the Broadway scene: Joshua Samuels, drummer and percussionist for the Tony Award winning Maybe Happy Ending. With the show having just taken home six Tony Awards, including Best Musical, Samuels brought a palpable sense of excitement and humility to the session. He spoke about the rare and rewarding experience of being with a production from its earliest developmental stages – over 15 years ago in the case of Maybe Happy Ending – and the deep artistic investment that comes with such a long journey. He detailed his role in the show and underscored the critical importance of supporting vocalists through sensitive, responsive playing, noting that percussion should always serve what is happening on stage.

But more than anything, Samuels focused on the power of relationships. He emphasized that while skill and preparation are essential (a given at this level), it’s the connections you cultivate with fellow musicians, music directors, and collaborators that truly sustain a career in this industry. His warm, genuine approach to both music and life clearly resonated with the participants, reminding them that Broadway success isn’t just about what you play, it’s about how you treat people. The session closed with both laughter and reflection, a fitting end to a day filled with inspiration and camaraderie.

Wednesday marked a thrilling milestone for the NYU Broadway Percussion Conference – our first return to the Broadway pits since before the pandemic. The energy was electric as participants gathered at NYU, eager to see in action the concepts, techniques, and music they had been learning about throughout the first two days. For many, it was their first time experiencing a Broadway production from this unique vantage point and the anticipation was palpable.

For the matinee performance, the group split in two: one half headed directly into the pits to observe the percussionists up close, while the other half watched Death Becomes Her from the audience, taking in the full theatrical spectacle. Following the matinee, the group met for dinner and a discussion with Jonathan Haas about Local 802 and what they are doing to protect the rights of musicians working in NYC. The session was extremely informative and left the group with an excellent understanding about the importance of the musicians union. For the evening, the groups swapped – this time with one half attending Buena Vista Social Club and the other half going into the belly of the beast. This immersive experience offered participants an extraordinary,once in a lifetime look at what it means to be a working percussionist on Broadway. Witnessing the coordination, musicianship, and technical precision required in real time provided an invaluable perspective – one that few outside the industry ever get to see.

The final session of the conference spotlighted one of the rising stars of Broadway percussion: Brandon Ilaw. As the percussionist for the highly anticipated revival of Gypsy, Brandon brought a fresh and inspiring perspective to the group, offering a compelling look into the next generation of Broadway musicianship. Brandon guided participants through the unique challenges and rewards of his role in Gypsy, a show with a rich musical legacy and global recognition. He thoughtfully reinforced many of the key themes that had been explored throughout the week – such as professionalism, versatility, and preparation – while adding his own insights drawn from his recent experiences. He shared his personal career journey, reflecting on how his background and training led him to Broadway, and emphasized the importance of seizing opportunities, building relationships, and staying adaptable in a constantly evolving industry. He also delved into technical aspects of his performance, including the logistics of playing from a remote room, strategies for managing rapid mallet and instrument changes, and how he balances honoring the historical sound of a show with bringing his own voice to the performance. The session clearly resonated with the participants, who were energized by Brandon’s passion, humility, and the success he has already found in the Broadway world.

The conference concluded with a roundtable discussion on Thursday. Students came into this session with a wide variety of questions, after considering all that they learned through the week. We were joined by the legendary bassist and Broadway contractor, John Miller. John offered some insight on how to put yourself out there as a musician to be noticed by the Broadway scene in the age of social media and technology. “We all just want one thing, and that’s for the phone to ring,” says John. The conference only lasted a few days, but the information, insight, connections, and friends will last a lifetime. It was a week that none of the participants will soon forget. If you have any percussion students in your life who might want to sign up for next year’s conference, tell them to keep an eye on this page.

2025 Broadway Percussion Conference Participants with Bill Hayes (From Left to Right): Bill Hayes, Michael Huestis, Quinn Rasmussen, Kyle Roemer