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 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

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

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

It's pretty safe to say that every child at one point dreamed of being a superhero. Whether your allegiance was to the D.C. or Marvel universe, the characters from the page and screen have played a huge part in our pop culture iconography. Soaring into the Laurie Beechman, four of New York's fiercest drag superstars fulfill every comic geek's fantasies in Sickening Superheroes.

photo by Michael Block

Ripped from the comics, the queens of Sickening Superheroes pack a one-two punch with on-point looks and near perfect performances as they pay homage to some of our favorite characters. Starring Bootsie Lefaris, Brenda Dharling, Brita Filter, and Holly Dae, the quartet slay the house down, bringing their individual super powers. An extension of the Distorted series of shows, this show is a geek's fantasy. But similarly to the others, the show is formulaic. The night begins with an exceptional group number and then leads into solo after solo after solo, desperately seeking a surprise. There is a slight reprieve with a mid-show trivia game led by Bootsie. Despite the structure, the show defines just why these four are heroic fixtures in New York nightlife. They know how to entertain with the greatest of ease. Each of their looks were recognizable, yet unique to the performer, even if cosplay took over. They each brought smart mixes that went beyond just clips of their respective characters' dialogue. It had the crowd gagging. For the most part, they took elements of their designated characters and went full force with the theme. How could you not have a weather themed Storm mix or end Jubilee's number with Katy Perry's "Firework?" But not every routine included the obvious, and that was ok too. There was no cameo from the Coasters in the Poison Ivy mix and Harley Quinn went old school rather than the newly minted and iconic Margot Robbie look. Jokingly admitting that the walls were adorned with superhero paraphernalia from Party City, the slight addition was a welcome way to help transform the cabaret space. A few push pins is just what they need.
Drag fans who cross into comic book geekdom should race over to see Sickening Superheroes. If you just have an appreciation for drag, come for the performances. For a soft opening, these cartoon heroes and villains rose to the occasion.

By Michael Block 

Raja has a solo show? What is it going to be! That may have been the collective question when the RuPaul's Drag Race season 3 winner announced her solo debut. She even had her famous friends take a brief good luck to start the show. Some still questioned the move. But to those celebs who may not have seen it, Raja defied the odds to compile a great night of entertainment in Gawdess.

photo by Michael Block

Making her Laurie Beechman and solo cabaret debut, Raja gave the audience everything they could ask for, and then some. Beginning with a medley of some pop and rock classics, Raja stuns in gold, with a reveal that leaves the audience eager for more. Never has anyone turned the Laurie Beechman into their own personal runway. Raja has an incredible stage presence. There's an exuberance of confidence and wisdom that she brings out. From there, it's a night of lip sync, story, and fashion. For a first crack at a solo show, Raja does a great job included all the pieces it needs. Moving forward, incorporating more of a structured through line where each moment connects will make the piece more cohesive rather than the segmented work it is now. Giving a theme to the night could easily help, especially when you have so much material in your wheelhouse. I’m certain Raja could easily create a half dozen new shows with the journeys through her life and career. Vocally, Raja went with music that was comfortable, yet kept the night alive with the high-pulse numbers. Her lip syncs were captivating as she seduced the audience in her own version of a little black dress. As proof with her Youtube hit show “Fashion Photo Ruview,” Raja’s ability to talk to an audience on mic is sensational.
Gawdess is a fantastic solo debut for Raja. The Drag Race superstar exceeds expectation for a full night of entertainment. After a run in Provincetown, she’ll return once again to the Laurie Beechman during Drag Race weekend.

By Michael Block 

Barbara Eden is best known for her iconic role as Jeannie, the 2,000-year-old genie, on the hit 60s sitcom “I Dream of Jeannie.” It was a simpler time of punny titles and names. If you’ve been stuck in a bottle yourself, the premise of the show followed the antics and romances of Jeannie and her newfound “master.” This is the jumping off point for I Dream of Jackie, Jackie Cox’s debut solo show at the Laurie Beechman. Jackie becomes her own master as she finds herself out of her bottle and gets to grant herself three wishes.

photo by Michael Block

Using “I Dream of Jeannie” as inspiration, I Dream of Jackie follows Jackie Cox as she gets out of her bottle and into the fabulous real world. With a conglomeration of music including that obvious song about a genie in a bottle by Christina Aguilera and parodies ranging from “Aladdin” songs to “I Speak Six Languages,” Jackie’s whirlwind adventure is a cohesive camp cabaret that leaves you wanting more. And luckily, there’s a sequel in the works. Traveling alongside her back-up boy toys, Blake McIver, playing the sensible one, and Drew Bloom, playing the dimwitted eye candy, Jackie sings and dances her way through this Arabian night. Jackie infuses bright and bubbly into every beat of the show. The text is comical candy. It’s smartly written and could easily be expanded. Though some of the jokes can be seen miles away, they’re nailed to perfection. To cover costume changes, the show incorporated some video but when you have singing secondary characters, giving them “Secondary Characters” to wail on was a brilliant choice. Generally, drag is an art form meant for pure entertainment. Laughs are inevitable. But sometimes when reflection on the world is necessarily, using drag as a platform can be powerful. Jackie incorporated such a moment with a repurposed number from Joseph and the Amazing Technicolor Dreamcoat accompanied by a look at the current refugee crisis. And it was simply beautiful. To accomplish such a feat in this setting takes immense skill. Jackie and director Blake McIver accomplished it with ease. The piece flowed seamlessly against the lantern backdrop.
Jackie Cox was the secondary character for Paige Turner recently at the Beechman but she triumphantly shined in the starring role. I Dream of Jackie fulfilled more than her three wishes.

By Michael Block

Rufus did Judy at Carnegie Hall now Blake is doing Barbra at the Laurie Beechman. In a return engagement, Blake McIver pays homage to Barbra Streisand in Blake Sings Barbra. A classic and simply stated evening of music and story, McIver humbly showcases his talents.

photo by Michael Block

Barbra Streisand is an icon to all, especially in the gay community. Best known for her roles on stage and screen, Streisand returned to the live performance world in 1994 with “The Concert.” And that's the basis of Blake McIver's solo cabaret. Bringing tales of his life in the year of the concert, McIver offers parallels to the stories Streisand told as well as bringing everything full circle to today. A beautiful homage presented by a super fan, Blake Sings Barbra is more than just a tribute to “the greatest star.” McIver brings a unique spin to many of the standards yet maintains integrity. There’s a humbleness to McIver’s performance, especially as her talks of his idol. It’s delicate, yet confident. Even when he jokes about having AOSD, or acute obsessive Streisand disorder, there’s a bashful charm about him. As he dives into some more personal anecdotes, he’s able to pull from within to give an emotionally riveting performance. Blake Sings Barbra is more than a beat by beat recount of the concert. It's evident he's done his homework when he unleashes a trio with Barbra and, well, Barbra. Director Mary Lane Haskell guides McIver on a well-rounded journey through song and patter, helping the evening move in a streamlined manner. Incorporating video from the concert into the show, those few audience members who may not have worn out their VHS copies can feel as if they know the inside jokes. Even if you didn’t know the setlist from the original concert, McIver walks you through why each song was included and how Streisand related to each number.
McIver has nestled himself into the world of Barbra Streisand to provide a beautiful product. Many artists have done their own tributes to Babs but there’s something distinctively special about Blake Sings Barbra. Thankfully the show will return once again to New York later to this fall.

By Michael Block

At first glance, you might think Paige Turner is going to give you a sugary sweet night of entertainment. But don't judge this book by its cover. Her sweet facade quickly gives way to twisted hilarity. "Mushroom Head." Need I say more? With an encore engagement of her acclaimed Confessions of an Un-Natural Blonde, Paige Turner sings and shares stories of her not so PC life.

photo by Michael Block

A dominant fixture in New York nightlife, Paige Turner is the epitome of showbiz. In Confessions of an Un-Natural Blonde, Paige takes her adoring fans on a whacky journey through her life as she makes her way in New York City. Filled to the brim with perversion, Paige keeps her audience roaring, and leaves an occasional jaw on the floor. Showing off her Gluten-free figure decked out in her best Lisa Frank Quinceanera dress, Paige fulfills every colorful fantasy you have. There are some drag performers who simply put on a character, and that’s it. Paige Turner goes beyond that. She creates a complete wonderful world of her own that we are privileged to be a part of. With the assistance of some incredible video features, the show was absolutely elevated beyond compared. If you’re a fan of Mika, Paige’s “Lollipop” bit and accompanying music video was a safe highlight. If you like your humor a little more politically incorrect, see the previously mentioned “Mushroom Head.” I don’t think my jaw has ever dropped faster onto the floor. For fans of the Disney classic “Frozen,” Paige completely defiles one of the tuners in the best way possible. The things seasoned drag queens can get away with! As Paige shares her anecdotes, she throws shady zingers left and right to her friends and acquaintances. But she’s not being mean, she’s just being Paige! And she doesn’t leave the audience out of the fun. Oh no. Many daddies get asked to teach her how to bottom while those who are granted a Sugar Daddy lollipop must answer the age old question, unicorn or pony. From a writing perspective, Paige’s show is streamlined yet packed to the brim with fun. She smartly leaves you wanting more. And lucky for you, you can see her at her various gigs throughout New York City.
If you didn’t get a chance to see Confessions of an Un-Natural Blonde, well, be disappointed. This was likely the last presentation of this show as Paige is creating a new show. In the world of evolving media, Paige Turner has made a case why her brand deserves it’s own web series. It’s easy to compare her to Pee Wee Herman. Just imagine what the world she shared could potentially look like. It’s pretty fabulous. Perhaps that should be the next frontier.