All That I Am: When Queer Broadway Characters Refuse to Stay Supporting
- Waymon Hudson
- 16 hours ago
- 4 min read
In the grand tradition of Broadway, there’s always a spotlight waiting for the character who decides they’ve had enough of the background.
Sometimes it’s Elphaba, defying gravity.
Sometimes it’s Celie, declaring, “I’m Here.”
And sometimes?
It’s the queer emcee who’s finally ready to drop the act and tell the truth.
From Sassy Sidekick to Center Stage
For decades, queer Broadway characters on stage were written as punchlines or prophets: the wisecracking best friend, the tragic cautionary tale, or the glittering symbol of liberation for someone else’s story.
But in the hands of queer writers and composers, that trope has been beautifully rewritten.
Think of Albin’s “I Am What I Am” in La Cage aux Folles, a high-heeled howl of defiance that transformed camp into revolution.
Or Hedwig’s “The Origin of Love,” part mythology, part therapy session... an anthem of yearning for wholeness.
Or Fun Home’s “Changing My Major”, where Alison Bechdel’s queer awakening is awkward, funny, and holy all at once.
These are not side stories. They are the story.
Enter Merc — The Velvet Boot’s Heartbeat
In Speakeasy: A New Musical, Merc has always been the heartbeat of the Velvet Boot: the emcee, the flirt, the dazzling chaos of queer joy that makes everyone else feel alive.
But joy, especially queer joy, often hides something deeper.
Merc’s laughter is armor.
His sparkle, survival.
And in his solo, “All That I Am,” the mask finally cracks.
The Song: “All That I Am”
“They like my smile, the tilt, the tease — The way I linger when I please.... They call me charm, they call me sin, They never ask what lies within.”
It begins with swagger, the kind that keeps him safe.
But as the music swells, Merc turns the mirror inward.
He’s not just the man who lights up the room.
He’s the one who’s left alone when it goes dark.
“And all this time, I play the part —But no one’s watched the beating heart.”
That lyric, simple and devastating, could sit beside “I’m Here” or “Best Kept Secret” from Bare: A Pop Opera.
It’s the sound of someone realizing their worth doesn’t depend on being adored.
It depends on being seen.
Refusing to Stay Supporting
By the bridge, Merc drops the last layer of performance:
“Let me be wanted, not just wild. Let someone stay — not just beguiled.
I’ve got bruises shaped like praise… And hope that hums on quieter days."
That line is the thesis.
Because sometimes, being adored can hurt.
When you’re the queer best friend, the sparkling emcee, the life of the party — the world will love you for what you give them, but not always for who you are.
That praise — that spotlight — can leave bruises no one sees but you.
So Merc's no longer singing for applause.
He’s singing for himself.
This is the reclamation... the moment queer characters have earned across decades of stage history.
The right to want. The right to stay.
The right to say, I am more than your spotlight.
And what makes Merc revolutionary is that he knows he’s beloved, desired, the life of the party... but he wants more.
He wants love that lingers.
He wants to stop performing and start living.
“If you can see me — don’t look away… All that I am… is here to stay.”
Legacy of Queer Broadway Characters and the Longing to Be Seen
In the great lineage of queer Broadway solos, from Rent’s “Take Me or Leave Me” to The Color Purple’s “I’m Here”... “All That I Am” belongs among them.
It’s not just a confession. It’s a coronation.
Merc stops being the show’s narrator and becomes its soul.
He isn’t a martyr or a metaphor.
He’s a man asking to be loved fully, loudly, dangerously.
And that might just be the bravest thing a queer character can do.
🎧 Listen Now
🎧 “All That I Am”: Full lyric video now live!
📺 Watch all the “Behind Broadway” video episodes: Step into the spotlight behind the spotlight. Behind Broadway is your backstage pass to how musicals really work, from iconic song structures to emotional arcs, queer storytelling, and the hidden craft that makes theater magic. Whether you’re a theater kid, a casual fan, or a future Tony winner in disguise, welcome to the show behind the show.
Read more Behind Broadway Breakdowns:
Learn about classic broadway song structure and Jules' character arc in Speakeasy:
Read the arc on Broadway's Soft Boys, Masculinity, and Rome's arc in Speakeasy:
And now we're starting on Queer Broadway, longing, love, and Merc's arc in Speakeasy:
This Is Speakeasy
Speakeasy is a bold, queer, jazz-drenched musical set in a 1920s underground nightclub where rebellion is a love language and music is a lifeline.
Created by Waymon Hudson (that’s me!), it’s a reimagined Romeo & Juliet with drag queens, bootleggers, and big Broadway heart.
Come inside.
The music’s playing.
And your truth belongs here.
