The annual Broadway Cares/Equity Fights Aids Flea Market is an event inundated with New Yorkers and tourists alike regardless of any previous affinity for the Broadway scene. The ambience of the event is unlike that of any other flea markets that are so commonplace in the city. Even the refreshments and scrumptious pastries being sold are personally baked by cast members and referred to as “Wickedly Sinful Slices of Chocolate Cake.” This is the theatre aficionado’s goldmine; whether you’re looking for a playbill featuring the original cast of South Pacific, earrings once donned by Patti LuPone or even the white lab coat worn by Ellen Barkin in The Normal Heart, chances are very good that you’ll find it either tucked thrown haphazardly in a cardboard box with dozens of other gems or being sold at the Grand Auction, where items generally sell for hundreds if not thousands of dollars.

Every major Broadway show has a few large tables with various props and small costume pieces strewn from left to right, each decorated with the main colors of their logos while others are just filled to the brim with hundreds of PlayBills containing more than seventy years of Broadway history within their small and unassuming pages. Even in spite of all the wonderful chaos, one can’t help but be drawn to the Phantom of the Opera’s table. The musical itself is already a such a visual stunner, it’s only expected that a table filled with one-of-a-kind memorabilia should reflect that. They certainly did not disappoint.

This year, several pairs of pointe slippers signed by the ballet dancers and Victorian styled heels stood at the center of the table, the vibrant blues, intricate beading and surprisingly pristine whites (after all, all of these shoes have seen the wear and tear of hundreds of shows) simply beckon for a closer look. These are worn by the main character, Christine Daae with her white dressing gown as she’s led down to the Phantom’s lair for the first time, different pairs autographed by their respective actresses. Whether from either prior knowledge or talking to the sellers who eagerly explain the history of the item, one realizes that all these seemingly different pairs of shoes are in fact from the same scene, worn by the same character. From actress to actress and season to season, small details in the designs change. On one pair it’s the shimmering rhinestones on the large immaculate white bow, on the other, its the embroidery on the shoe’s white satin fabric. Each pair is different in its own special way.

Standing out against all the different pairs of white shoes, was the vivid blue of the same character’s Il Muto shoes, worn for the “opera-within-an-opera,” Il Muto with little roses decoratively tucked into them, creating a contrasting splash of red against the breezy blue. In addition to the shoes, various props and costume pieces that were carefully detached by the wardrobe department from over a hundred separate Victorian bustle gowns are also a great find. Theatre costumes as grand as the ones featured in the show cost the company thousands of dollars to commission, whether worn by Christine who has more stage time than even the title character himself or by a ensemble member whose only role involves walking from one end of the stage to the other. The costumes are made to accommodate blocking and endure heavy-duty usage eight times a week all year around. Simply put, they’re made to last.

That being said, certain parts of the costumes do suffer more wear and tear than others. Because of that, they are often always made to be the easiest pieces to replace. From floral embellishments to draped sleeves and giant bows, these non-descript little baubles are given a second chance by fans who jump at the chance to own a unique piece of the show’s history. Perhaps the most commendable act on their part is the sheer affordability of these items that some would even view as priceless. Delicately handcrafted rosettes from the ballet chorus’ Sylphide costumes—the dancers’ names faded almost completely from the tags behind them— and beaded black appliques from Carlotta’s Queen of the Night themed masquerade costume lay on the table along with a broken prop sword, a painted goblet, two wedding bouquets and countless other items. For veteran fans of the show, trying to spot what scene each of the props may have appeared in is an amusing prospect.

Manned by volunteers —actors, fans, and stage crew alike in black t-shirts adorned with the iconic white mask—, the Phantom’s table is a bustling one. Marilyn Caskey and Kenneth Kantor who play the ballet mistress Madame Giry and the manager Lefevre respectively, eagerly carry animated conversations with the people browsing the props and signed souvenirs. Overheard in some of these discussions was the actor explaining to some tourists why Phantom shot glasses were absolutely the best way to drink milk and an over-zealous fan explaining what she thought would have been a far superior ending for the show while the poor man behind the table listened patiently, if not a little uncomfortably. Once she left, his coworker put a hand on his shoulder with a chuckle and sympathetically told him what a kind and patient soul he was.

The Broadway Cares Flea Market is like no other flea market you’ll ever attend. Every item sold is filled with ore history than their labels can even begin to communicate. One arrives expecting to see the biggest display of theatre memorabilia in the world, but ends up meeting people who are not only truly dedicated to the cause, but brimming with enthusiasm for everything that Broadway encompasses. Completely down-to-earth actors initiate the most amiable conversations and before long, you forget that you’re talking to a star.