Name: Michael Kushner

Hometown: Coral Springs, FL

Education: BFA in Musical Theatre from Ithaca College

Select Credits: On The Town (Barrington Stage, Pre Broadway), Much Ado About Nothing (Barrington Stage), Sons of the Prophet (GableStage), Eastbound (MTF / Playwrights Horizons), Balloon Boy (NYMF), Toxic If Swallowed (Ars Nova)

Why theater?: I'm not good at anything else! Math? No. Science? Nah. I remember my grandma teaching me about theatre when I was very young and even then I was like, "This feels right." On the macro level - it brings so many people together, inspires change, and heals.

Tell us about Moo With Me: It's a play about showing up, demanding what you want out of life, and owning yourself. I was in middle school right when Wicked came out and, like many of us, I identified so deeply with the story. Once I discovered Idina, it was over, that whole experience helped me discover who I was: zany, vulnerable, powerful. The play leads up to the moment where I got to photograph her for an event - and how that changed my life.

Who do you play in Moo With Me?: Myself. And Idina for a literal line.

What is it like being a part of Moo With Me?: Terrifying and liberating! It's only me up there. But the fourth wall is broken and the delivery is sort of stand-up-ish, so it feels like a safe space with the audience relating to me.

What kind of theater speaks to you? What or who inspires you as an artist?: All theatre inspires me. It takes guts to get up there and create something, bearing your whole soul! Whether or not it's "good" or not, just the buzz, energy, and bravery of a performance is enough to make me want to work. As for who inspires me? The greats. Ethel, Judy, Patti, Idina. I'm also incredibly inspired by artists that keep other artists working like Seth Rudetsky, Shakina Nayfack, and Jennifer Ashley Tepper, all who I've had the pleasure of working with before.

What's your favorite showtune?: "One Day More" from Les Miserables. It's tattooed on my chest.

If you could work with anyone you've yet to work with, who would it be?: Carol Channing and I would be great scene partners.

Who would play you in a movie about yourself and what would it be called?: I think Idina should play me in a movie. That's pretty appropriate. It would be called "Ethel Merman is BACK! or The Wide Vibratoed Kid" ...or something.

If you could go back in time and see any play or musical you missed, what would it be?: SO many. The original companies of Gypsy, Cabaret, My Fair Lady, Les Mis, and Chicago, Marat / Sade, The Scarlet Pimpernel, Footloose.

What show have you recommended to your friends?: Come From Away.

What's your biggest guilty pleasure?: Broadway bootlegs!

What's up next?: You're telling me.

For tickets to Moo with Me, visit ww.thegreenroom42.com. For more on Michael, visit www.michaelkushneronline.com and www.michaelkushnerphotography.com

Paige Turner // photo by Michael Block

Day: Wednesday, March 14th      

Show: Drag Me to the Top

Location: Laurie Beechman Theater

Queens Seen: Paige Turner (@paigeturnernyc)

*Disclaimer: So in case you didn't know, I'm a theater critic. That's my primary job in the biz. As opportunities came, I got to introduce drag and cabaret into my repertoire. I'm excited that I am now able to mix the mediums together where I can bring my typical theatrical criticism into the world of nightlife. For shows that I see at the Beechman, my full review will be the source of criticism but I'll still include the show in Drag365. I will include a pull quote to the review along with the link to the full review.

"Think of Drag Me to the Top as a potential future pilot of the Paige Turner universe. The concept of the show follows Paige after she stumbles upon a handy dandy rule book that will make her a star. In this hour-long comedy romp, Paige discovers how to be the star that she knows she already is. Laced with sugary covers of showtunes, pop songs, and entendre after entendre that keeps the gays "yas-ing," Drag Me to the Top is the full package." 

To read the full review, click here.

In this episode of Block Talk, I sit down with Vicky Boofont to talk about her drag journey, 4 Girls 4 at 54 Below, and so much more!

To listen to the podcast, visit iTunes or SoundCloud! And leave us a 5 star review already!

Plus, visit patreon.com/theaterinthenow to learn about why you should become a patron!

By Michael Block

First we waited for Godot. Then it was Guffman. Now, we're waiting for Judy Garland. Making her Greenroom 42 debut, Gloria Swansong brings a little bit of Gloria and a little bit of Judy to the stage in Waiting for Garland. A two-act epic drag dramedy, Waiting for Garland introduces the audience to why Gloria and Judy are a dynamic duo.

photo by Michael Block

Gloria Swansong is brought to the stage to announce that her partner for the night, the one and only Judy Garland has not arrived yet. So to kill time, Gloria has to tell some outlandish stories of her past while entertaining the crowd with some of her signature numbers. Between "Let's Have a Kiki" and "Cell Block Tango," Gloria gave us a uniquely remarkable narrative. Who knew that Gloria was a part of an old-timey trio! As she stalls and stalls, Gloria discovers Judy may actually be deceased, and finally leans into dark magic to summon Judy because that's why we came! After the séance worked, Judy takes over Gloria's body to perform some of her iconic numbers. Waiting for Garland is a surrealistic drag spectacular. While the script does get a little long-winded, the meat of the show is learning how Judy came into Gloria's life. In a cabaret setting, less is always more. Shrinking the amount improvised banter and perhaps eliminating a number or two in each act may allow the show to be a brisk ninety-minute show. Waiting for Garland is also a new and intimate look into the stage persona of Gloria Swansong. Is she really an old broad from the Vaudevillian circuit? Did she really get offered a role in Chicago? Probably not, but having a perspective is fresh for a cabaret. Whether or not you know her or not, Waiting for Garland is your opportunity to learn about the artist. And if you didn't know, she's an exceptional designer and seamstress. To remind the audience of this, Gloria keeps a garment rack of costumes that she goes in and out of throughout the show. To help with the pacing, perhaps including a hired hand in the form of a hunky lad could be in order. The costume showcase is a large part of what makes Gloria, so finding a way to incorporate it in a smoother fashion is a necessity.
The skeleton of an exceptional cabaret is all there. Now it's finessing the mechanics of the piece that will take it to the next level. Gloria Swansong has given audiences her Judy shows, now's her chance to give a reason why.

By Michael Block 

It's hard to top yourself. Just ask any of the twinks in Hells Kitchen, Paige Turner might say. Double entendre aside, when you're a seasoned artist with hit after hit, you might think the next one will be the one that flops. Yet somehow Paige Turner continues to defy the odds with her latest smash, Drag Me to the Top. After a stint in Puerto Vallarta and Boston, Paige brings the show home to the Laurie Beechman Theater for a two-month Wednesdays residency.

photo by Michael Block

Think of Drag Me to the Top as a potential future pilot of the Paige Turner universe. The concept of the show follows Paige after she stumbles upon a handy dandy rule book that will make her a star. In this hour-long comedy romp, Paige discovers how to be the star that she knows she already is. Laced with sugary covers of showtunes, pop songs, and entendre after entendre that keeps the gays "yas-ing," Drag Me to the Top is the full package. Whether it's your first time or your fortieth time seeing Paige, she ensures that you know exactly what she's about to bring. With a Queen opener, sung through the audience, Paige smartly and comically alerts the audience that this is her show and to not stop her now because she's having a good time. From there, she's off to the races. The set list Paige infuses is a wonderful blend of classics, Broadway standards, and pop ditties, all of which have a coloration to the themes of the rule book. They don't feel forced, but appropriately fitting. Rather than sprinkling in a plot through line, Paige makes the story a driving force that carries the show from start to finish. There's nothing extravagant about it. It's simple and straightforward. And that's all it needed to be. When an idea is smartly conceived, it allows the execution to be flawless. And that it was. Paige brings a great comfort in this performance. She scattered some fan favorite numbers amongst some fresh material, but no matter what she sings, she exudes a confidence that is insatiable. She always turns out some impressive costumes, but when you're able to rock out in a robe in a fabric of your own cartoons, you know you've landed on the top. And kudos to Gloria Swansong for the impressive costumes, seen twice in the show.
She jokes about being polarizing in the show, and later sings a number about being a good person. Regardless of where you fall on the "off the stage" spectrum, Paige Tuner has the stuff that legends are made of. Drag Me to the Top should be launch pad to the next level. There is an untapped medium that deserves Paige Turner. Spend an entire first season watching Paige try to drag herself to the top. Introduce the whacky characters she's brought out in her other shows. I've said it before and I'll continue to say it until the universe obliges, give her a webseries. Hell, Netflix, Amazon, Hulu, whoever is listening, option this star while you still can.

Darienne Lake, Mrs. Kasha Davis // photo by Michael Block

Day: Saturday, March 3rd               

Show: Bosom Buddies   

Location: Laurie Beechman Theater

Queens Seen: Darienne Lake (@dariennelake), Mrs. Kasha Davis (@mrskashadavis)

*Disclaimer: So in case you didn't know, I'm a theater critic. That's my primary job in the biz. As opportunities came, I got to introduce drag and cabaret into my repertoire. I'm excited that I am now able to mix the mediums together where I can bring my typical theatrical criticism into the world of nightlife. For shows that I see at the Beechman, my full review will be the source of criticism but I'll still include the show in Drag365. I will include a pull quote to the review along with the link to the full review.

Bosom Buddies is a feel-good cabaret lead by two seasoned pros. If you strive for that nostalgic sense of performance, Mrs. Kasha Davis and Darienne Lake are certain to deliver. They stay in their wheelhouse for a night you won't want to miss.

To read the full review, click here.

In the latest episode of Block Talk, I welcome the incomparable Gloria Swansong to talk about her newest show, Waiting for Garland!

To listen to the podcast, visit iTunes or SoundClound! And subscribe today!

And visit patreon.com/theaterinthenow to become a patron today!

By Michael Block 

They’re Two Tuckers and they’re back at The Duplex for another night of some original music and some cross dressing. The wild and crazy stage duo of Golden Delicious and Tucker bring their original flair for an evening you’ve likely never experienced before. Two Tuckers is more variety show than cabaret with a whole lot of gay.
He’s a little bit singer-songwriter, she’s a little bit glamazon, but together they are Two Tuckers. In their third iteration of their titular show at The Duplex, they bring the audience along on a tour of their favorite hits. From their original titular theme to “Golden’s Golden Rules” to original songs and mixes, if you’re a fan, you’re in luck. Right off the bat, this duo has a chemistry that surrounds the space with an entertaining energy. Scripted or not, their quick wit and ability to riff off of one another is endearing. And those transitions? They may be hard, but to call them out allows the comedy to remain present. Since the show doesn’t necessarily have a story through line, Two Tuckers is more like a celebration of two talents, both individually and as a unit. Tucker is a pop superstar in the making. His songwriting prowess is uncanny. And that voice? It’s like butter, as Golden’s favorite diva would say. While the duo’s songs usually contain more of a comedic, earworm worthy aesthetic, his solo numbers have top 40 radio written all over them. Golden is a drag queen who knows the importance of a tight lip sync. It’s one thing to know how to make a mix and be funny on stage. It’s another selling it fully. She looks stunning, and yet there’s an awkward charm to her presence. She knows how beautiful she is, as her mix says, but her persona is learning just what it means to be a 7-foot-tall beauty queen.

photo by Michael Block

Give or take, each iteration of Two Tuckers features a similar set list with a rotating number or two. But each show has a variety of performers as the guests. In the February edition, Tucker and Golden welcomed Brooklyn’s hottest comedian Sam Taggart and Mean Girls’ Nikhil Saboo. Sam and the Two Tuckers sang an original comedy number called “Socilate” where Sam went through his fabulous life despite not knowing who Johnny Depp was. When Tucker and Golden brought Nikhil to the stage, a brand-new aura was introduced. Rather than an original number, Nikhil and the duo performed an incredible interpretation of “Who Let the Dogs Out.” And the audience lived. Why? Because this was something familiar. Moving forward, finding ways to incorporate more of these covers may give the show an extra spark.
Two Tuckers is pure fun. If you missed the show before, lucky for you, they’re back in March! Keeping the show fresh and new will be the key to success. Variety is the name of the game, but introducing a similar element, like perhaps another drag queen who is forced to play second fiddle to the diva that is Golden Delicious, might spice things up. Or maybe the next step is a story-based cabaret show where there’s a newfound style of interaction by the duo. There’s a world of endless possibility for Golden Delicious and Tucker and we all look forward to seeing what can come next.

In this episode, I sat down with Two Tuckers, Golden Delicious and Tucker to talk about their latest installment of Two Tuckers at The Duplex.

To listen to the podcast, visit iTunes or SoundCloud! And don't forget to hit subscribe!

And visit patreon.com/theaterinthenow to learn about becoming a patron!

Cheslea Piers // photo by Michael Block

Day: Saturday, February 3rd    

Show: Are You There Ru, It’s Me Chelsea

Location: Laurie Beechman Theater 

Queens Seen: Chelsea Piers (@thechelseapiers)

*Disclaimer: So in case you didn’t know, I’m a theater critic. That’s my primary job in the biz. As opportunities came, I got to introduce drag and cabaret into my repertoire. I’m excited that I am now able to mix the mediums together where I can bring my typical theatrical criticism into the world of nightlife. For shows that I see at the Beechman, my full review will be the source of criticism but I’ll still include the show in Drag365. I will include a pull quote to the review along with the link to the full review. 

What makes this show unique is the set list. There are standard songs you seem to find in show such as this. Chelsea and her team go beyond the norm and find the fresh. Led by music director Brandon James Gwin, the band is the pulse of the show that keeps the fight against the clock alive. Though at times she seems to be overpowered, Chelsea uses her pop-fueled vocals from top to bottom, with only one very important lip sync thrown in. And that lip sync is her dedication to a potential Snatch Game character, Celine Dion. The irony of timing of this show compared the most recent episode of Drag Race is uncanny.

The full review can be found here.

By Michael Block

RuPaul’s Drag Race. It’s the dream of so many drag queens around the world. It’s the biggest platform for drag performers on the planet with the greatest prize: fame. In Are You There Ru, It’s Me Chelsea, Chelsea Piers makes her long-awaited Laurie Beechman solo debut in an uptempo romp as she films the perfect audition tape for Mama Ru. With a full band behind her, Chelsea showcases why we and Ru should take a chance on her.

photo by Michael Block

Are You There Ru, It’s Me Chelsea follows Chelsea Piers as she films and submits her audition tape for RuPaul’s Drag Race mere hours before the deadline passes. Following the various sections of the application as the guidelines of the show, Chelsea tries to show that she is a versatile performer with a diversity of talents. Chelsea is a rock and roll drag princess. With her signature Bobbie Pinz color dip-dyed wigs and inherent sexiness through outfits, Chelsea brings a grit and edge to the stage. The conceit of the show is cute and keeps the flow of the show moving. Whether you’ve seen the application before or not, having Drag Race as the reference point expands the show for vast possibilities. What makes this show unique is the set list. There are standard songs you seem to find in show such as this. Chelsea and her team go beyond the norm and find the fresh. Led by music director Brandon James Gwin, the band is the pulse of the show that keeps the fight against the clock alive. Though at times she seems to be overpowered, Chelsea uses her pop-fueled vocals from top to bottom, with only one very important lip sync thrown in. And that lip sync is her dedication to a potential Snatch Game character, Celine Dion. The irony of timing of this show compared the most recent episode of Drag Race is uncanny. I don’t think I’ve seen anyone do Celine quite like Chelsea Piers. Perhaps some of the material was new, but Chelsea was most comfortable doing her Celine mix. And it was a crowd favorite. With the plot perfectly set up, when a surprise was thrown in, it was glorious. The biggest of which was the vocal cameo by the “voice of God,” Trixie Mattel. Director Darius Rose, also known as Beechman favorite Jackie Cox, kept the piece moving and engaging while maintaining the fun.
If anything, we wanted to know more about Chelsea. We get some stories that pertain to the relevance of the video, but she may be saving those tales for future shows. Gotta save some material because Chelsea will be back at the Beechman time and time again for sure. Are You There Ru, It’s Me Chelsea is a fresh show for the venue that gives Chelsea Piers a new place to shine.

By Michael Block

She was crowned the winner of Lady Liberty Cycle 3 and now she's bringing her spin on the Kardashian momager to life in I Am Kris, a boisterous cabaret paying homage while poking fun. Jan Sport, the premiere Kris Jenner impersonator, gives you the only mashup of showtunes and Kardashian you'll ever need. Or, for that matter, want.

photo by Michael Block

Gracing the stage at the spiffy and luxurious Greenroom 42, New York's newest late night cabaret hot spot, Jan Sport parodies the world's most famous momager since Mama Rose. Spoofing Kris' ex's television series "I Am Cait," I Am Kris showcase the seven-step program to gaining fame. I Am Kris was the perfect marriage between drag and theater. Jan Sport brought a fully fleshed out narrative to the stage, something some other drag performers are unable to do in similar settings. Each step revolved around a spoken word lip sync accompanied by a rousing showtune parody. If you groaned when you knew the song coming up, it's because it paired up so well with the bit. The structure was a tad formulaic and yet it worked because Kris is, well, pretty damn basic. Jan Sport proves that she's not only a dynamic performer but she's also a smart artist. There is no arbitrary song selection here. Every musical inclusion is deliberate and precise. Any moment of video accompaniment helps tell the story. And then there is her portrayal of Kris. While she's much younger than her real life counterpart, Jan Sport has Kris J on lock. This is a loving spoof but there is a glimmer of humanity in her characterization. She goes beyond the lampoon to explore why we have such a great fascination with this woman and her family. And don't fret, JanSport doesn't skimp on the look changes. She gives Kris her array of styles. As the show continues to find life, where Jan Sport can improve most is in her improvisational skills while in character. There's always bound to be a technical snafu requiring her to cover. That's when the little blip to the audience while waiting for the correct track to play can garner big laughs. Get them to see the other layers to the character. There's always room for improvement and this is where it comes.
I Am Kris may have only been a one night extravaganza but expect to see it return again and again. This is one show you'll be happy to see in syndication. Jan Sport is an elite performer who is taking nightlife by storm. Be warned.

By Michael Block

The world is filled with talented people. But sometimes those talented people don't get "discovered." All it takes is one tweet that can pave the way to future stardom. The girls of Siren made a music video of RuPaul's "Sissy That Walk" to pay tribute to the icon. Mama Ru tweeted out a response that is now their pull-quote pride and joy. And from there, Siren was on the map. Drag Race queens gave them some Twitter love. They even got invited by the stars themselves to play and open for them. I "discovered" them after they stole the show at Mimi Imfurst's Britney Spears Tribute show. And that rightly lead to a headlining gig at the Laurie Beechman called Can We Get An Amen: The RuMixes.

photo by Michael Block

An homage to the queens and the moments that make RuPaul's Drag Race special, Can We Get An Amen: the RuMixes is a showcase that celebrates the dazzling musicality and imagination of Siren. Comprised of Colleen Harris, Lindsay Morgan, and Shanna Sharp, Siren reimagines pop tunes through a country lens. Whether country is your cup of tea, what makes these girls special is their astonishing artistry, powerhouse vocals, and ability to arrange the music in a way that, often, made the song better. With a Drag Race centric night of music, the girls shared stories of their favorite moments and queens that directly tied into the songs. The set list didn't entirely comprise of RuPaul and contestant songs. If you wondered how numbers from the likes of Katy Perry and Ariana Grande made the night, they were loving Ru-demptions for Alyssa Edwards and Tatiana in their abysmal showings in their respective Snatch Games. But if you came for the Ru and girls songs, they weren't in short supply. With covers including hits by Jinkx Monsoon, Courtney Act, and Adore Delano, plus spoof hits like “Chow Down (at Chik-fil-a)” made famous by Willam, Detox, and Vicky Vox, it was the brightly poppy reimagining of Alaska's "Your Make Up is Terrible" (which sounded eerily similar to “Everything is Awesome”, which is awesome) and the Andrew Sisters inspired "Purse First" by Bob the Drag Queen that got the crowd gagging. These two numbers also highlighted just how ridiculously silly some club hits are. I'm looking at you Ms. the Drag Queen! Keeping the night in near chronological order from the birth of RuPaul through the history of the seasons, capping it off with a Lady Gaga season 9 tribute, Siren knew how to put on a complete show. If you looked over toward the side of the stage, you noticed a shrine to Ru. It would have been nice to incorporate it into the night a bit. If it's there, acknowledge it. Beyond their ability to belt the house down with their three-part harmony, they each have a personality that is magnetic. This isn't Destiny's Child. There's no hierarchy. They are a trio of equals.
If you missed Can We Get An Amen: The RuMixes, you missed out. The moral of the story is, come for the tunes, stay for the pipes. You best get to a Siren gig before they snatch their ticket to stardom and you miss your chance.

Today's Block Talk features Rafa Reyes, the creator and performer of A Mexican Affair, a cabaret at The Metropolitan Room on April 8th and 20th!

For more on A Mexican Affair, visit http://www.convergencescollective.org/a-mexican-affair.html

To listen to the episode, visit iTunes or Soundcloud. And don't forget to subscribe so you'll never miss one!

Don't forget to visit our Patreon page at patreon.com/theaterinthenow to learn the benefits of becoming a patron!

By Michael Block

There's always time for a show at the Laurie Beechman Theater for the incomparable Mrs. Kasha Davis! Returning once again to New York, the iconic Drag Race star brings her latest comedy tour de force It Takes a Lotta Balls to Be a Lady! Through jokes, song, and lots of friends, Mrs. Kasha Davis, international celebrity housewife, entertains like few can.
It Takes a Lotta Balls to Be a Lady finds Mrs. Kasha Davis sharing anecdotes of her past in NYC, her pet peeves, and odes to the classics. Dropping the fan-favorite digs to Drag Race and a ball-in-sack audition participation bit, It Takes a Lotta Balls is an all-in-one night of hilarity. While there may not be a strong through line from start to finish, from point a to point b, Mrs. Kasha Davis never falters, even when there's a wig cap mishap. Mrs. Kasha Davis is the epitome of a classic queen and quite possibly one of the most underrated queens to grace the Drag Race runway. Dropping standards that may not have much to the correlating story, MKD easily could have integrated numbers from her latest album of the same title. Though fan favorite "Cocktail" does get a cameo thanks her special guests the Naked Boys Singing. Utilizing them to their fullest, Mrs. Kasha Davis invites the quartet into her home alongside spotlight stealer Chris Newcomer and THE Mr. Kasha Davis. If you're looking for an iconic lip sync performance, the ball is sadly dropped. If you haven't seen her lip sync as an iconic diva before, I urge you to find a YouTube clip. It's spellbinding.
With a demographic ranging from desperate housewives to the Drag Race millennial twinks, Mrs. Kasha Davis does a divine job bringing references of yore into today. She does her best Mrs. Garrett impression from "The Facts of Life", asking her four naked boy toys to don Tootie, Blair, Jo, and Natalie oversized t-shirts as she sings "Little Girls" from Annie. It's a hilarious moment but there's a very strong chance a youngster in the crowd, maybe even sharing your table, will have zero idea about the classic 80s sitcom. It defines just how hard it can be to concoct a theatrical cocktail to everyone's liking.
There is no doubt about it that Mrs. Kasha Davis is an incredible performer. It Takes a Lotta Balls to Be a Lady! can absolutely be stronger with a little more arc thrown in. It's a subtlety that the crowd will appreciate. Lift your cocktail glass to the fabulous Mrs. Kasha Davis.

By Michel Block

Britney Spears. "Singer." Legend. Icon. Since her debut, Britney Spears has been ripe for the tributes. Especially in the gay community. RuPaul's Drag Race All Star Mimi Imfurst brought a couple of her closest friends to The Laurie Beechman to honor the Pop Princess.  With an evening of filled with hits from her canon of work, Mimi and friends bring you Britney like you've never heard before.
Mimi Imfurst, the queen of controversy, takes the songs of Britney Spears and turns them on their head. In the age of Postmodern Jukebox, the entire songbook was reworked, bitch. From an aria version of “I’m Not a Girl, Not Yet a Woman” to a German lounge rendition of “Circus” likely once performed by Elsa Mars of “American Horror Story: Freak Show” fame, Mimi’s concept is there. But The Britney Prophecy certainly went off the rails at times. The piece desired more of a theatrical through-line. It’s briefly present when Mimi invites Luke Grooms to sing the original demo version Pavarotti falsely sang. It was moments like this when The Britney Prophecy shined. It’s one thing to present song after song. It’s another when they’re present for a purpose. With her style of performance, Mimi has the ability to rewrite Britney’s history. Especially when Britney fanatics are in the room. Mimi’s crude humor was hit or miss but what was consistent was the immense chemistry Mimi had with the keeper of the ivory keys, Cleo Phatra. The give and take the duo had was quite enjoyable.
Mimi Imfurst may have had top billing but she beautifully allowed her friends to shine. Anyone in that room who never heard of Siren likely went home and fell into the YouTube rabbit hole. The Britney Prophecy is a noble attempt at something substantial but no matter what, it’s a fun evening hearing Britney Spears in a new way.

By Michael Block

When you have a heart as big as the sky, it can fill a room, let alone a stage. Cynthia Lee Fontaine's heart is what propels Intimate CuCu Confessions at the Laurie Beechman Theatre. Making her New York solo debut, if you ask more Amore, she will absolutely deliver.
Best known as RuPaul Drag Race Season 8's Miss Congeniality winner, Cynthia Lee Fontaine comes in with genuine personality and excitement through all the nerves. Guided by pianist to the drag stars Christopher Hamblin, Cynthia Lee Fontaine, the stage name of Carlos Hernandez, showed off the talent she didn't get to showcase in her three episodes. Oh, and those infamous shorts make a cameo. Her cabaret tells intimate stories from her childhood where the discovery of her falsetto leads her to love Maria Callas and Sarah Brightman to the discover of Stage 1 liver cancer following her stint on Drag Race. Intimate CuCu Confessions is filled with love, honesty, and conviction. And a lot of improvised moments. Cynthia Lee Fontaine has a great rapport with the crowd, silencing when sharing her vulnerability, including the dedication to two friends lost in the Pulse shooting.
This may have been her first New York cabaret but it likely won't be her last. Cynthia Lee Fontaine proves just why she deserved the Miss Congeniality crown. Cynthia Lee Fontaine's Intimate CuCu Confessions is a simply stated, pleasant, intimate night amongst friends and fans.

By Michael Block

How do you put on a show if you continually stop the show with number after number? Ask Sutton Lee Seymour. Making her triumphant debut at the Laurie Beechman Theater, Sutton Lee Seymour: The Way Off Broad is a ninety minute festival of song and dance from a broad who loves the stage and screen.
Sutton Lee Seymour: The Way Off Broad unites Broadway, Hollywood, and Disney with fan favorite songs, impressions, and a five minute musical extravaganza. Sutton Lee Seymour is a grounded performer who not only has the talent but knows her persona well. And through that she offers comedy gold. Between her Liza on HSN to the Chicago in five minutes, which includes a spot-on mockery of Renee Zellweger, Sutton Lee Seymour knows how to bring the laughs. With a strong voice, she’s able to transform vocally through song. And that’s ever-present when she has the burnt out booze bags, including Bea Arthur, Joan Rivers, and Bernadette Peters, sing “Poor Unfortunate Souls” from “The Little Mermaid”. And even when she sings as Sutton Lee Seymour, she provides a stunning vocal. What sets The Way Off Broad apart from other shows of this type is just how polished it is. Every beat has its purpose. Every song perfectly selected. Even her costumes are thorough bringing strong continuity. By being deliberate, you can tell how much thought and time was put into building this show.
It’s hard to pick the best number of the night because it truly is an evening of showstopper after showstopper. If you didn’t know Sutton Lee Seymour before you sure will now.

by Michael Block

Give a queen a stage, a pianist with a wealth of showtunes in his fingers, and a crowd of boozy patrons the power to request songs and you get Jinkx Sings Everything, an evening of unplanned music and stories. The solo extravaganza from Jinkx Monsoon, RuPaul's Drag Race season 5 winner, allows the comedy queen with a voice like no other guidesthe crowd through Broadway classics on demand. With nothing rehearsed, Jinkx Sings Everything is flat out fun, laughs, and a good time.
Presented at the infamous Laurie Beechman Theatre, Jinkx Monsoon collaborates with "Broadway Sessions" pianist Joshua Stephen Kartas to sing a canon of fan requested showtunes. With an element of anything could happen, Jinkx reminds the crowd just why she is one of the show's strongest performers. While she does get the final say on suggestions, and even suggests numbers from her previous canon of theatrical roles, Jinkx is game for even that early non-showtune request. Rather than nerves and a throat tickle bring her down, Jinkx powers through the evening singing everything from Chicago’s “All That Jazz”, where we learn Renee Zellweger inspired her to do drag, to a medley from Cabaret, and ending the night on a high with “The Origin of Love” from Hedwig and the Angry Inch. With so many fans in attendance, one lucky boy, Desmond the youngest Jinkx fan, got plucked from the crowd to sit and unintentionally upstate as his request, “My Heart Belongs to Daddy.”
Jinkx Sings Everything is bound to make a triumphant return. It’s simple and fun. But a little structure polish could be to the evening’s benefit. While it would eliminate the scream-and-interact portion of the night, having the audience fill out a sheet preshow would allow a smoother night by maintaining the request feel. Either, Jinkx Monsoon can do anything and her fans will be loyally by her side. That’s what happens when you have talent.