Review: A Celebration of Drag: THE LEGEND OF GEORGIA MCBRIDE is Making Audiences Rise to Their Feet in Houston

I first read The Legend of Georgia McBride when I was cast to play Jo in a directing class production. It seemed like such a fun show, with a lot of sassy lines, intriguing life questions, hilarious scenarios, and endearing characters. However, the pure logistics of it-- the quick transitions, the multiple performances in numerous drag costumes, and the ability to truly portray the art of drag with respect and honor-- was a lot to figure out for a simple class assignment, so the show's director changed his project to another show. As much as I was disappointed with the show switch, I could not help but be a bit relieved; how could anyone possibly bring this show to fruition? Although it has only one act, the show is an hour and 50 minutes of constant set, costume, and mood shifts. Although the show is fun to imagine, it seems like a logistical nightmare to bring to life effectively.

However, Stages has made magic once again. In celebration of the joy that drag performance can bring us-- which coincidentally seems like an important and poignant topic in today's world-- Stages has brought The Legend of Georgia McBride successfully to Houston, and I am glad that I got to see it after only reading it before. All of my questions about the reality of the show were answered, and I was very impressed with how smoothly it all went (even though the director admitted at the performance's talkback that the show I had watched was only their second full run with all of the technical elements). Considering that I watched the show in mid-May, I bet that the production has become even more smooth and fantastical since then, and that is crazy to think about! The performance I watched made audiences rise to their feet at the end, and I would bet that today's production is now making audiences roar even louder.

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The Legend of Georgia McBride, written by Matthew Lopez, follows the story of Casey, a young Elvis Presley impersonator. Unfortunately, he is barely making a living as a performer, and he learns that-- after finding out that the landlord may have to kick him out if he cannot afford his rent soon-- his wife is pregnant. Then, Casey is fired from his bar gig as an Elvis impersonator since the bar's owner believes that he can bring in more customers with a drag show. In desperation, Casey finds himself having to jump into drag performance for a paycheck, and--while making new friends on the way-- he learns about acceptance, drag performance, and himself.

The cast did a phenomenal job building all of the diverse characters in this story. Jeremy Gee portrayed a very genuine and sweet Casey, and for never doing drag performance before this show, I must say: he nailed it. Also, he truly makes a beautiful woman! Seán Patrick Judge brought to life Miss Tracy Mills, the drag queen who mentors Casey, and he did a stunning job of being a comedic yet kind "fairy drag mother" to Casey. Brandon Morgan is Eddie, the owner of the bar that Casey performs at, and he certainly has some pizazz; I loved his bits when he was introducing the drag queens the most. What great show business! Krystal Uchem played Jo, Casey's wife, and you could not help but cheer on Casey and Jo's relationship. Uchem and Gee had great chemistry, and the way that the relationship is written is so sweet yet real. However, the stand-out performance in my eyes was clearly Jarred Tettey, who is Rexy (an alcoholic and unpredictable drag queen who Casey replaces in a show due to her drunkeness) as well as Jason (Casey's landlord, neighbor, and old friend). He plays both characters so well despite the characters--an over-the-top drag performer and a stereotypical heterosexual "bro"-- being opposite types. Plus, he was simply fabulous as Rexy. The character is hilarious, and his dance moves were incredible!

I have to give so much props to the production team for making this show happen, though. As I said before, this show seems like a logistical nightmare, but they made it happen. The many props were accounted for and perfectly realistic (thanks to prop designer Jodi Bobrovsky), the lights designed by Frank Vela truly made us feel like we had transported into an energetic drag performance every couple of minutes, and Ryan McGettigan did a great job of creating the three settings within the show: the backstage area of the bar, Casey's apartment, and a stage fit for drag performers.

I must give a special shout-out to the following individuals: Cameron Davis (who choreographed the moves that the performers completed onstage, which were nothing short of fabulous), Robert Leslie Meek (who designed all of the sound effects and the music tracks that gave this show undoubtable energy), and Barry Doss (who truly made dreams come true with his costumes). I cannot imagine the hours Doss spent creating the seemingly never-ending line of costumes that the drag queens had, most of which could manipulated, stretched, and ripped off during their performances. I could have watched just the drag performances within the show and been happy with the production, especially due to Doss' stunning costumes.

Director Patrick Pearson: I have so much respect for you for taking on this beast of a show and not just making it come to life, but having it slay the stage! Everyone should see this production; it truly is a delight.

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The Legend of Georgia McBride is running now at Stages, which you can find at 800 Rosine St in Houston. Performances run through July 2nd (with at least four performances occuring each week), and tickets start at $30. You can buy your tickets here!

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