By Michael Block

Something fresh is on the menu at the Laurie Beechman. The Hell’s Kitchenettes are fresh off the griddle as they bring a new drag musical to the stage in pleasantly surprising fashion. Written by Michael LaMasa, The Hell’s Kitchenettes is a feel-good musical with a drag twist.

photo by Michael Block

Following the antics of three waitresses named Mabel Syrup, Pam Cakes, and Bette Griddler, the girls have an open rehearsal as they prepare for a competition. Should they win the cash prize, their hopes for revising “diner theater” can be realized. As a rare book musical that graced the Laurie Beechman stage, The Hell’s Kitchenettes has the potential to take off as a giant hit, it just needs a little polish and logic. The main conceit is that this is an open rehearsal for us, the audienc, to observe. It’s quite quickly that the trio forgets that there are others in the room aside from them. There are certain conversations that you’d think the girls would not want us to hear, but alas, we’re still there. By perhaps removing this gimmick and allowing us to observe solely as audience members in the classic sense will allow the piece to move along. That being said, the comedy is fabulously cheap, dripping in camp. The drag component pays homage to stories written by the likes of Charles Busch and Charles Ludlam. As this is a musical, LaMasa brings in the songbook of the Andrew Sisters as well as some modern reimagined classics like the Postmodern Jukebox version of “Oops I Did It Again.” Having these reimagined numbers that fit the characters works, yet there’s something charming about maintaining the integrity of the perceived period through the classic numbers. It’s easy to say that the trio are a sensationalized stock characters. There are moments that one for one, you could compare Mabel, Bette, and Pam to The Golden Girls, sans Sophia. Simply based on their dynamics, Mabel has the aura of Blanche, Bette is the robust Dorothy, and Pam is the dim Rose. As the show grows over time, LaMasa and co. can develop the characters so they can live in their own personality.
As the writer of the piece, Michael LaMasa did a phenomenal job allowing this trio show to be a welcome ensemble piece. LaMasa’s Bette Griddler is the glue that keeps the group together. As the show expands to become a grander piece, LaMasa could beef up Bette as she has the thinnest arc. Jackie Cox as Mabel is a fun floozy. On stage, Jackie Cox tends to be the dumb sidekick. In this piece, it’s a joy to watch her kick up the sex appeal. Mabel’s sexual innuendos and one-liners are hilarious. When it comes to comic timing perfection, James Mills as Pam Cakes steals the show. Mills makes Cakes dumb but charming. While she may be the butt of the jokes, she takes it in strides.
The Hell’s Kitchenettes may be gone for now, but they will be back and hopefully bigger than before. This is a show that can tour. It is a show that can have a regional run. It is a show that you wish you created because it’s a delicious dish.

By Michael Block

photo by Michael Block

When you can bring two icons together in one room, it's bound to be a remarkable evening you won't forget. Legends of drag Sherry Vine and Joey Arias unite once again in Cherchez La Femme at the Laurie Beechman Theater. Each brining their unique brand of performance, Cherchez La Femme is an evening you'll want to bottle up to hold onto forever.
A sort of preview run before taking their show internationally, Joey Arias and Sherry Vine find themselves together again in an evening of story and song. Blending a few duets with a flurry of solo numbers, Cherchez La Femme is one of those opportunities to watch legends reminisce while continue to dominate their craft. With a well-rounded balance of parody and torch song, the crowd is certain to get a little something of everything. Joey sprinkles in a little Billie Holiday alongside a song she wrote for the hit show Zumanity while Sherry brought some "Back to Black" and her Meatloaf parody "I Won't Do Scat." What more could you ask for? For those who may have seen Sherry Vine in her duo show with Jackie Beat, Sherry takes a bit of a sidekick role as the dumb blonde to Jackie's boisterous role. Here with Joey, Sherry steers the ship and keeps it on course, and it's necessary when Joey gets going in her wild stories. Joey is endearing in her presence. There is no set through line or structure aside from swapping numbers back and forth as the duo promises a new show each time. With a wealth of history and a repertoire so deep, this format can allow the audience come back week after week to something new and fresh.
It's not often you can see two headliners unite as one. Cherchez La Femme is a show not to be missed. It's a piece of drag history.

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.

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.

By Michael Block 

They'll always be Bosom Buddies. The pride of Rochester is alive on stage as RuPaul's Drag Race stars Darienne Lake and Mrs. Kasha Davis pair up for a hilarious evening at the Laurie Beechman Theatre.

photo by Michael Block

Making their way downstate to NYC, Darienne Lake and Mrs. Kasha Davis bring hilarity through song and tale in their newest duo show. Like Laurel and Hardy or Coke and Bacardi, this is a pair that just works. When it comes to comedy setup, Mrs. Kasha Davis tends to take on the "straight man" in the duo while Darienne is the slightly dumb and goofy one which allows her to get her jabs in at every chance. As we learn, their friendship plays a major factor in their ability to riff off of one another and ensure hilarity from top to bottom. With the obvious choice of the title song, the music selection stayed true to the showtune songbook. And these were all ditties that lived in their wheelhouse.  With Mrs. Kasha Davis taking on the emcee more so, Darienne got to showcase that sharp tongue we are used to seeing on that little show called Drag Race. If it felt familiar, this just happens to be her real life edit. Who doesn't love vicious insults from time to time? Rather than a specific story structure to guide the evening, Bosom Buddies tends to rely on a short anecdote that may have something to do with the song it leads into. With a cabaret like this, the lack of a concrete structure is fine as they were able to make the night flow. To prove their duo status, Kasha and Darienne were decked out in matching outfits, designed by Delta Work's husband! Looking like leftover material from "The Golden Girls" wallpaper, they played into the women of a certain age motif.
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.

It was an honor to welcome to Broadway diva of drag Sutton Lee Seymour to Block Talk! We talk about what it's like being an international queen of land and sea, her love for theater and cabaret, and I let Sutton play casting director for some of Broadway's biggest divas!

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

Plus, visit patreon.com/theaterinthenow to support the podcast today!

In today's podcast, I'm joined by the Rock n Roll Drag Princess herself, Chelsea Piers! We talk about her new show Are You There Ru, It's Me Chelsea, life as a NYC drag queen, "Shade: Queens of NYC," and so much more!

To listen to the podcast, visit iTunes or SoundCloud. And leave that 5 star review!

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.

It is my great honor to welcome the legend herself, Paige Turner, to Block Talk! We dive into everything from So You Think You Can Drag to Shade: Queens of NYC to her latest show, Drag Me to the Top.

To listen to the podcast, visit iTunes or Soundcloud. And leave that 5 star review!

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

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

Tis the season for the good tidings and gay apparel. Alongside her closest pals, Showbiz Spitfire Paige Turner rings in Christmas with her newest holiday extravaganza. Hoping to put on her twisted rendition of A Christmas Carol, Paige and friends run up against a plethora of obstacles while searching for the true meaning of Christmas. The Grinch May have stolen Christmas, but Paige Turner defiled it. Paige Turner’s Christmas Carol is a perfect stocking stuffer.

photo by Michael Block

Back at the Laurie Beechman Theatre, Paige Turner has fantastically twisted Christmas and in turn, created quite possibly one of the best Paige Turner shows to date. The show tells the tale of Paige’s attempt to put on her spin of the Dicken’s classic. Her uber long and twisted version casts her slurp as Tiny Twink and the beloved Jackie Cox as an old hag, among others. And to give this show a boost, Dante invites his Grandma CC into the fold. CC being of course Carol Channing, as portrayed by James Mills. As they hit roadblock after roadblock, we learn just how ridiculous Paige’s adaptation is while sprinkling in some of her best-written parodies yet. Phylicia Rashad is all you need to know. This holiday show worked because it didn’t attempt to be more than it was. It moved along fluidly while maintaining its comedic integrity. The more we ingratiate ourselves in the mind of Paige Turner, the more her world becomes realized and comes to life before our eyes. The stakes are certainly low here, but Paige commits to giving each individual a purpose and an arc. Dante, effortlessly played by Remy Germinario, gets one of his biggest moments yet. He’s so lovingly stupid that you just want to pinch his cheeks. In the other shows, Jackie Cox is the butt of the jokes. We see how it bothers her, but, like a good side kick, she brushes it off and doesn’t bother her. To now see a different side of Jackie, through her animosity with Carol Channing, offers depth to the character. Mills plays upon the wackiness of the Carol we know and love, while being completely out of touch to the world. The Paige Turner persona, in this theatrical setting, is just a bit out of touch, but the moments of real world self awareness are brilliantly funny. The digs, jabs, and references bring the audience inside the jokes and keep things fresh. Like any great drag show, the quartet turned out look after look. Special recognition should be given to Gloria Swansong for the stunning dress Paige donned at the top of the show.
The holiday cheer was in full gear at Paige Turner’s Christmas Carol. Paige Turner is a staple in New York City and the drag community at large. If there’s one holiday show to check out this season, this one’s probably it.

By Michael Block

When it comes to the world of Drag Race, she may be best remembered for her feud-filled relationship with Mimi Imfurst on Drag Race All Stars, but Pandora Boxx is an all star comedy queen. Returning to the Laurie Beechman with her newest show, Insert Title Here, is laugh fest.

photo by Michael Block

After a brilliant video package, Pandora comes to the stage adorned in a poop emoji dress while singing about poop with a dancing poop montage behind her. It’s gross out humor in the campiest of fashions. Along with lists written on some unique items to stories, parodies, and some exquisite shade, Insert Title Here is a well structured piece. Pandora has a subtle way of doing comedy. It’s not big. It’s not too crude. It just happens. It comes naturally. It’s a great brand and unique to her. Season 2 of Drag Race was more a fashion showcase rather than the show its evolved to today. Pandora didn’t necessarily get to shine her brightest with these parameters. But in a venue like this, her campy persona is welcome and adored. The way the evening is structured is very generic to a show of this caliber. She brings songs, stories, and shade, interspersing a video to cover up a costume change. Her standup style of storytelling lends itself well to the show. If anything can be amped up, it’s the overall energy. With a lackadaisical brand, any missed joke highlights the occasional cricket.
Insert Title Here is just what the drag doctor ordered. It’s not a big and bold show, but not everything needs to be. Pandora Boxx is a true all star.

By Michael Block

A five octave phenom that took the world by storm. Rumors swirled of her origin. Who was this Peruvian jungle princess with the voice unlike any human? Time has passed since her death but her memory lives on. In The Legend of Yma Sumac, the songstress is celebrated through the art of lip sync and drag.

photo by Michael Block

Using video interviews and the magic of drag lip sync, Yma Sumac comes to life on stage once again. Portrayed by the wondrous beauty that is Scarlet Envy, the songbook is illuminated as the intrigue and mystery is paralleled through clips of interviews. Directed and written by Steve Willis, a friend of the late star, The Legend of Yma Sumac is a completely lip synced piece. Through song and spoken word, every moment is precisely mirrored by Scarlet Envy. There is no one who could possibly match Yma and rather than attempt, Willis takes a smart approach in his concept. That being said, there is a natural disconnect in this. A hint of intimacy is lost. But what you loose in spontaneity is gained in perfection of performance. Scarlet Envy dazzles as the titular singer. Between her tight lip sync and her inherent beauty, you are immediately drawn to her effortless presence. Billed as a “live documentary,” Willis switches back and forth from song and video interview, which is to the aid of Scarlet Envy’s quick changes into the next wondrous gown. It’s likely that you may not know Sumac by name. To the millenials who may not recognize her, those Drag Race fans certainly are reminded by her music as “Malambo No. 1” was used in an iconic lip sync for your life between Jinkx Monsoon and Detox in season 5. By placing this number as the start of the show, Willis engaged the uninformed by tempting with something they are familiar with.
The Legend of Yma Sumac was a transformative piece for the Laurie Beechman. With a topnotch performer, exquisite visuals, and a story so wild it desires more, this show deserves more. There’s a closeness to the piece that puts a boundary between creative and audience. Once that gap is bridged, The Legend of Yma Sumac will be a legendary stage experience.

By Michael Block

Jackie Cox was recently crowned the winner of So You Think You Can Drag All Stars. I Dream of Jackie 2 is proof why she won. Returning to the Laurie Beechman with a sequel to her hit debut show, Jackie Cox takes on her evil side in this hilarious comedy.

photo by Michael Block

If you missed the original, don’t worry; the exposition is alive and well. Jackie Cox, genie of the people, went on a fabulous adventure, brining wishes to all. But her evil twin sister Jacqueline was unleashed to wreak havoc on the world. With smart song selections and the brilliance of campy comedy, I Dream of Jackie 2 does something most sequels can’t do: be better than the original. What it comes down to is the writing. Jackie uses the sequel formula in crafting her piece. She allows the audience to have references to the original while maintaining its ability to stand on its own. If you lined up both next to one another, you can see the parallels. And by being referential to it through humor allowed Jackie to prove why her formula worked. Even if you didn’t pick up on these moments, the jokes still landed. She uses a nice blend of musical genres to hammer home the story. From the standard Broadway “I Want” song to the classic 60s “longing” mid-tempo ballad to the perfectly placed Christina Aguilera moment, the evening was cohesive. I sat in my seat beats before the “I Want” song thinking, “You know what would be perfect for this moment? ‘I Want the Good Times Back’ from The Little Mermaid musical.” And guess what? She delivered! Jackie Cox doesn’t just meet expectations, she exceeds them. There’s a bit of a looser performance this time around. And it may be due to the fact that it’s a heck of a lot of fun playing the bad queen. Jackie Cox is still present in Jacqueline. But the vocal affectations and villainous mannerisms separate the two. Like the first part, Jackie doesn’t do it alone. With the aid of Drew Bloom and Blake McIver, who returns again as director, the backup boys, this time clad in leather, get a bit of arc in the conflict. Yet another reason why this story flows. After two shows, these boys are ripe for a spin off. Perhaps an origin story.
It seems anyone can be a drag queen nowadays, but not all drag queens are stars. Jackie Cox is a star. I Dream of Jackie 2 is a beautiful nightmare. Jackie Cox has begun to establish a world of her own, quite similarly to Paige Turner. Let’s say Paige Turner is the “Cheers” and Jackie Cox is the “Frasier.” She's a brilliant supporting player in Paige's world who comes to life in her own. It’s inevitable that there is a third saga in this trilogy. Comedy works best in threes. But what will that one be?

By Michael Block

If the fabulous drag queens and colorful rainbow outfits didn’t sell it, the title certainly will. Paige Turner’s This Show is Gay does not falsely advertise what you’re about to see. Returning to the Laurie Beechman after a recent Pride engagement, This Show Is Gay celebrates the community in the funniest of fashions.

photo by Michael Block

Paige Turner takes the audience on a fabulous journey as she, and her special guests Jackie Cox and Remy Germinario, spread the gay all over the land. Using magical transporting taboo buzzers, Paige, Jackie, and Remy travel from LA to Orlando as they bring impeccable impersonations, musical parodies, and an abundance of crude humor to everyone they gross. With gay culture infiltrating the script, Paige pokes fun at everything from coming out (as vegan) to Grindr at the happiest place on earth. If you’re familiar with Paige and her whimsical world, This Show Is Gay highlights her character’s traits and antics by giving her some scene partners to rib and play off of, all while showcasing her friends. She offers some easy jabs that are instant crowd pleasers, all while inserting inside jokes that are less than 24 hours old. The trio’s ability to adapt and play off of one another continues to confirm how Paige’s vision can easily transcend the stage. If nonsensical plotlines leave you uneasy, it’s likely you will be grunting and groaning from start to finish. But if you’re willing to dive deep into the camp, Paige has crafted something that captures the ridiculous and the sentimental.
This Show Is Gay had everything. Song and dance. Looks upon looks. A rainbow megamix finale. This show is full of pride and love. If you haven’t heard by now, Paige Turner, alongside seven of NYC’s finest queens, are a part of a stellar new television show “Shade: Queens of NYC.” Perhaps this will give the added boost to bring Paige and her world to a new media frontier.

By Michael Block

Leslie Carrara-Rudolph’s “day job” is bringing life to kooky characters and crazy creatures through the art of puppetry. But what happens when the puppets go to bed and Leslie gets a shot at her own solo show? Something exciting of course. Best known for being Sesame Street’s Abby Cadabby, Leslie Carrara-Rudolph brings her adult cabaret, and some fabulous friends, to the Laurie Beechman for an evening of entertainment and pure imagination.

photo by Michael Block

With a motto of anything can happen, What Just Happened is a night of stories, song, and a some unexpected guests, Leslie Carrara-Rudolph offers a sensible cabaret. Carrara-Rudolph has a playful brand of whimsy and weird, both with and without a puppet in hand. And it’s entirely endearing. Using a cute device of creating a cabaret based off of a Buzzfeed article, Carrara-Rudolph tries to fulfill the requirements while still remaining true to herself. If you thought she wouldn’t bring puppets with her, you’d be incredibly wrong. While Abby herself may not make an appearance, a plethora of friends make cameos including Lolly Lardpop, a slightly crude kid. The flow of the show is pretty seamless. There aren’t any holes, and if there are they’re present for comic effect. She strikes a nice balance of straight showtune with hilarious parodies. Just take her shadow puppet re-examination of a Mary Poppins’ hit. Vocally, Carrara-Rudolph has nurtured her voice for characters, yet when she sings as herself, it’s equally as special.
While it may be her adult cabaret, it’s probably rated PG-13. Having a room filled with love and support can boost the energy on stage. It was evident that the warmth from the crowd gave Carrara-Rudolph an extra boost. What Just Happened is a special show from a special woman.

By Michael Block

Oh the memories of summer camp. I actually never went so I'm going off of other people's memories. Anyway. As the season comes to a close, Sutton Lee Seymour celebrates the heat with her hot new show Camp Kween. Taking the audience through Kinky Boot camp, camp counselor Sutton Lee Seymour does what she does best: make ‘em laugh. Gracing the Laurie Beechman stage, Camp Kween has all the makings of a camp classic.

photo by Michael Block

Known for her flair and love for the Great White Way, Sutton Lee Seymour takes on summer camp in her latest show. Filled with lampoons of classic showtunes and pop hits, Camp Kween is drag comedy at its finest. Sutton Lee Seymour is a fast-talking diva that effortless takes control of the stage and her admirers. There are queens who stick to the lip sync or the flips and tricks in order to win a crowd. Sutton Lee Seymour doesn’t need that. She uses her gift of gab and her versatile voice to captivate. Her sidesplitting humor makes her a parody princess and a premiere queen of camp.  Her parody game is top-notch. Capturing the hilarity of gay culture, Sutton holds a mirror up while allowing the audience to laugh at just how ridiculous we can get. Just take her riff on “Supercalifragilisticexpialidocious” where she mocks those super-horny-really-boring-flakey-power bottoms in our life. Or even the newest take on the Tina Turner classic, “Scrolling on Grindr.” It’s easy to laugh at these numbers because they are painfully real. And that is how you do campy comedy. The conceit of the show is an introduction to this fabulous drag camp. It’s like a living information pamphlet. Late in the show, Sutton finds a willing victim to get a brief drag makeover, but the set up is established early on that you almost wish each number and beat was part of the transformation. Bringing in the audience member from the jump to be the guinea pig as the show journeys onward is the thread that can unite the night. Even if the person were a plant, it’s an exciting way to tie everything together. Sure, it may feel waver closer makeover than camp, it just takes a few tweaks to make it work. And she certainly has the ability to do that. She’s a seasoned at storytelling.
Sutton Lee Seymour is unapologetically hilarious and that’s what makes Camp Kween so fabulous. Having a thematic through line allows the show to be a singular event, something others have trouble capturing. This may feel like a seasonal show so hope that this camp is always in session.

By Michael Block

Trixie Mattel is back and better than ever. And you'd think that would be hard to do. Returning to the Laurie Beechman, Trixie brings her giant bag of tricks in Now With Moving Parts. Pulling out standup, live music, video segments, and even some signature lip syncs, Now With Moving Parts is the complete package.

photo by Michael Block

After getting her feet wet in Ages 3 and Up, Trixie Mattel offers a night of everything she does best in Now With Moving Parts. Rooted in stand up, Now With Moving Parts is a uproarious evening of comedy that captures the essence of Trixie Mattel. Even if some of the material was lifted from a certain hit YouTube show, her ability to make her jokes seem fresh and newly repurposed allowed the energy to be maintained. Some comedians jump from joke to joke without purpose. Trixie is not one of those comedians. The way she seamlessly transitions from beat to beat is fluid, even when layering in music and lip syncs. Not every joke will land. That’s just how comedy works. Trixie’s ability to take the failed bit and mock it in the most glorious of fashion almost makes you wish it would happen more. Sometimes the jokes that don’t land have the funniest pay out. For those familiar with her recent country album “Two Birds,” you’re not going to get a concert of those songs. But you will get some musical moments, including her ability to white-ify anything. Our show featured a folk cover of a RuPaul classic, which was an instant fan favorite moment. Starting with an intro and subsequent interludes, the addition of the video shorts enhanced the evening. While they felt more like standalone features, they were amusing nonetheless.
If the rumors are true and Trixie Mattel is in fact on the next season of RuPaul’s Drag Race All-Stars, Now With Moving Parts defines just way she deserves the crown. Trixie Mattel can do it all. Especially leave you waiting for the next show. Here’s hoping she rounds out the trilogy soon!