In “The Lusty Month of May” of 1993, Broadway Bares became a rite of spring when it was decided that the show would be produced annually. Audiences could now count on the clothes coming off the dancers’ backs just as the leaves came back on the trees. The production was moved to a real nightclub setting, at Club USA, smack in the middle of not-yet-cleaned-up Times Square. But the show outshone its seedy surroundings, as it featured a full program of numbers choreographed by Jerry Mitchell, notable for an inventive use of props, body paint, and a Mylar curtain. There was a catwalk added, so the dancers could strut down the runway and flirt more closely with fans—a device that would continue to be used in each successive Broadway Bares.