Category: Drag Queens

Cabaret Review: Sharon Needles

sharon-needles

A song about Candy Darling by Lou Reed, and a Rocky Horror song delivered with a dash of Bette Davis and a whole lot of Alice Cooper – these were perhaps the most deliciously telling things about Sharon Needles’s Halloween-themed cabaret act. Needles keeps referring to her shtick as “stupid,” which I chalk up to a knee-jerk – and praise-worthy – punk need to puncture any and all kinds of self-importance. But don’t you believe it: This is one smart poison cookie!

The question I had going into this act was: “how well does this witch sing?” Because, like Bianca Del Rio, I don’t pay much attention to singles and albums released by drag queens. These are people who are meant to be seen live. And the answer? Sharon sings very well indeed, in a glam punk kind of way – the Alice Cooper reference above captures it, with an added dash of Marilyn Manson aggression.

The majority of the songs are from her campy horror albums. On those, the songs are done in a gothy version of the electropop style that is de rigeur for Drag Race graduates (I took a listen after I’d seen the act). Done live with only a piano, their hard rock roots are definitely showing, which makes me very happy. Makes me wonder what they would sound like played balls-to-the-wall Iggy & the Stooges style.

The above-mentioned cover versions are highlights of the evening. To hear the Velvet Undergound’s 1968 classic “Candy Says” sung with great sincerity and emotion by a man in a beautiful wig and dress is quite moving. And Sharon’s hilariously re-lyricized version of “Sweet Transvestite” gives new life to that midnight movie chestnut.

It’s a good thing this act is consistently high quality, cuz it’s a bit of a butt-buster with its nearly hour and a half length. That said, I didn’t really lose patience that whole time. Recommended.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.blog.

News: Lypsinka sings! Out of drag at Joe’s Pub today and Wednesday

Show Trash

In an evening that encompasses a personal and rarified experience of moving to and living in New York City, John Epperson – the real person behind Lypsinka – will take the stage in John Epperson: The Artist Principally Known as Lypsinka for four nights only at Joe’s Pub at The Public. With a nod to the urbane cabaret style of Bobby Short, Epperson’s evening embraces classic entertainment filled with stories, tunes, and a few surprises. The entertainer, aka The Goddess of Showbiz Lypsinka, commands the piano and stage with a musical journey that weaves together Stephen Sondheim, Frank Loesser, Jule Styne, Kay Thompson, Kander & Ebb, Comden & Green, Rodgers & Hammerstein, and transgender icon Christine Jorgenson. Jay Rogers directs the limited engagement show which takes place at Joe’s Pub (425 Lafayette Street) on four nights only, August 15th & 17th at 9:30 and September 13th & 16th at 7:30. Tickets are $25 and are available at www.joespub.blog or by calling 212 967-7555.

Epperson’s incomparable knowledge of the theatrical oeuvre is showcased in this glittering performance. In particular, his tributes to Betty Comden, Kay Thompson and Christine Jorgensen, was acclaimed by The New York Times as being  “the ne plus ultra exemplar of a style that might be called zany chic…” Filled with anecdotes of growing up in Hazlehurst, Mississippi and his early years in New York, Epperson illustrates his life by affectionately making Broadway classics his own personal story. Although the artist leaves his alter ego, Lypsinka, at home for this performance, the art of lip-synching does appear as an added bon-bon to this delightful evening.

John Epperson: The Artist Principally Known as Lypsinka

August 15th & 17th @ 9:30

Tickets: $25

Joe’s Pub at The Public

www.joespub.blog

212 967-7555

Cabaret Review: BenDeLaCreme

Bendelacreme Inferno2_JasonRusso

“What the Hell?” That’s the question posed by innovative drag performance artist BenDeLaCreme in her latest show, Inferno-A-Go-Go. BenDeLaCreme’s shows are truly unique, not just in drag performance, but in theatre as a whole. Sure, she includes the goofy song parodies and wisecracking comedy so common in drag. However, she’s after something far more sophisticated – her seductive strangeness creeps up on you.

The queen otherwise known as Ben Putnam is playing less of a ditz this time around, wryly joking about the fact that’s she’s chosen to do a drag cabaret based on Dante Alighieri’s 14th Century Italian epic poem Inferno. She’s more confident this time out, less coy about being more profound than the most chin-strokingly serious straight play, while rarely being less than belly-laugh hilarious.

BenDeLa forever rebukes the notion that arts of clowning, drag, circus, burlesque and ventriloquism are somehow less than other performance forms, somehow stupid. Putnam takes the best of all those forms and whips them into something new, fascinating and intensely intelligent. Not only that, BenDeLa uses these popular forms to probe the very biggest questions, switching from deep existential angst to spiritual lightness in the space of a minute – in between double entendres about sex and booze.

BenDeLaCreme is all about fantastic and ridiculous artifice, but also ultimately really about what that artifice can communicate and express about deeper things, like ethics and how to take care of ourselves and each other. She delivers a show that’s equal parts cheeky fun and insightful art, no small feat. Highly recommended.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.blog.

Casting Call: Drag Stars needed for Fringe Musical Jonathan Warman is directing!

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CASTING CALL: “That’s MISS FITS, to YOU!”.

5 Performances, NYC Fringe Festival, August, 13, 15, 19, 22 & 27, various times. Rehearsals, July 15-opening, evenings.

Auditions: July 6, 7 & 8, 2016. 7p.m. to 10p.m. At BoConcept: 144 W. 18th Street, NYC.

For audition appointment:

  • look for us on http://actorsaccess.blog/ (preferred), or
    * contact Jonathan Warman directly at

More info and music samples: http://thatsmissfitstoyou.weebly.blog/

Seeking big drag personas, gender-funk, trans-actors, for a poly-gender, spiritual, mystery musical. Singers, dancers, comedians, lip-sync. 6 roles, age 20-40. 6 roles, age 40-70. Big characters. Plus one young muscular male, and one Judy Garland impersonator.

Audition in drag/gender-funk, or bring a photo.

Roles:

YOUNG MISS FITS
20 to 40 years old, all ethnicities male. Man in drag (room for “gender-funk”, a beard is possible but not required). A starring part with singing and silent acting only — no lines. A powerful queer spirit guide.

MRS COUNTERPOINT
40 to 70 years old, all ethnicities male. Man in drag (room for “gender-funk”, a beard is possible but not required). Always the show-woman / show-off, but also very tough. Lead role, singer/actor.

MISS ALLITERATION
40 to 70 years old, all ethnicities male. Man in drag (room for “gender-funk”, a beard is possible but not required). Sweet and a bit mystical, comedian, very funny. Lead role, singer/actor.

MISS SERVICE WO-MAN
40 to 70 years old, all ethnicities male (could be FTM trans) in drag (room for “gender-funk”, a beard is possible but not required). Military type, some severe up in here. Lead role, singer/actor.

MISS CONSPIRACY
40 to 70 years old, all ethnicities MTF trans or cisgender man in drag. Fierce, fierce, fierce. Lead role, singer/actor.

SERGEANT GRIM
40 to 70 years old, all ethnicities Policeman, stately and stern, butch yet androgynous, with secrets to spare. Lead role, singer/actor.

POLICE BOY
20 to 30 years old, all ethnicities male. Gorgeous young muscle stud eye candy. Has a solo song and some dialogue.

YOUNG MRS COUNTERPOINT
20 to 30 years old, all ethnicities male. Man in drag (room for “gender-funk”, a beard is possible but not required). Always the show-woman / show-off, but also very tough. Major role, singer/dancer.

YOUNG MISS ALLITERATION
20 to 30 years old, all ethnicities male. Man in drag (room for “gender-funk”, a beard is possible but not required). Sweet and a bit mystical, comedian, very funny. Major role, singer/dancer.

YOUNG MISS SERVICE WO-MAN
20 to 30 years old, all ethnicities male (could be FTM trans) in drag (room for “gender-funk”, a beard is possible but not required). Military type, some severe up in here. Major role, singer/dancer.

YOUNG MISS CONSPIRACY
20 to 30 years old, all ethnicities. MTF trans or cisgender man in drag. Fierce, fierce, fierce. Major role, singer/dancer.

JUDY GARLAND
20 to 50 years old, all ethnicities male or female. Impersonator of the legendary singer. Must give a convincing illusion of Miss Garland’s vocals, appearance and mannerisms. Has a featured song.

ROSA PARKS
40 to 45 years old, African American male or female. Woman or man in drag. Non-speaking dignified impersonation of the legendary civil rights activists. Depending on acting and vocal abilities may double as Service Wo-Man, Counterpoint, or Alliteration.

DURATION

July 15, 2016 – June 27, 2016

Cabaret Review: Charles Busch

Charles Busch_2016

Legendary playwright and drag performer Charles Busch has always combined elegantly languid, self-effacing charm with an effortlessly brassy glamour. Busch’s main line is comically complex hard-boiled dames, and while he doesn’t leave that behind entirely, this act is in general more sentimental and sincere. The most time he spends in “brassy-land” is when he’s portraying the character Miriam Passman, an under-talented, over-egotistical cabaret dilettante.

When not giving us Ms. Passman, this act is more of a “big sing” than previous presentations. Busch has a pleasantly throaty, not terribly strong, high tenor singing voice – but you don’t come to one of his acts for musical virtuosity. As with the greatest cabaret singers, it’s all about how Busch acts the story and emotion of a song.

The songbook for this show ranges from Jerome Kern to Paul Williams. For each song, Busch takes pains to clearly delineate the details of every image and event, with just a dash of his “dame” persona to give it all an elegantly wry air. He does a clutch of Sondheim songs, and it’s telling that most of them are from the quirky flop Anyone Can Whistle – sweetly off-kilter is the target, and Busch hits it with artful precision.

Busch sincerely loves artifice and invests every moment he has on-stage with substantial style – and a discreetly dishy side, as well. They don’t make ’em like this anymore, and there’s only one Charles Busch.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.blog.

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