Drag: The Musical Off-Broadway Reviews

This exuberant and extravagant show about two rival drag shows proves to be the perfect vehicle for such beloved “Ru Paul’s Drag Race” queens as Alaska Thunderfuck, Jujubee, Jan Sport and Luxx Noir London, all of whom hold their own against such Broadway vets as Nick Adams (buffer than ever) and former New Kids on the Block star Joey McIntyre. Sashay this way. (New World Stages)

What ensues is a high-camp laugh-out-loud tale of bitterness and spite, chosen family and forgiveness, filled with powerhouse performances, pop culture references, witty nods to Shakespeare, and important messages about self-expression triumphing over oppression and community overcoming disharmony.

Spencer Liff’s direction seamlessly blends the glamorous world of drag with genuine emotional storytelling. While the show is undoubtedly campy and fun, with big numbers and plenty of glitter, Liff ensures that the heart of the story remains intact. The conflict between the two main characters, is both comedic and heartfelt, with Liff skillfully navigating the tension between their past romance and present rivalry.

The powerhouse performances of Alaska Thunderfuck and Nick Adams could have overwhelmed this show, but these are gracious monarchs who allow others to shine and the message to be felt: Our humanity, our connection to one another and our relentless pursuit of the next fun way to do the next right thing will not be defeated by any rabid prejudice disguising itself as greedy oligarchs or government tax collectors because there will always be those who save the world by just being love in DRAG. Sing it, Sisters!

Joey McIntyre is superb as Tom, while Alaska and Nick Adams are a triumph as Kitty and Alexis respectively. In fact, everybody in the cast is diverse, and offers something unique to the table; moreover, the band is gifted in their own right. The musical is feel-good escapism for its entire 110 minute duration. It tugs at the heartstrings and it has some poignant themes (family, acceptance, and forgiveness) and lessons that are food for thought for all.

While DRAG: The Musical is a campy, fun time, it also has educational value. Several of the songs teach important lessons, both for long-term fans of drag and for those new to it: drag is expensive, wigs are a key part of drag (the song “Wigs” features an extremely impressive slew of rapid wig changes), drag can be for anyone and can be a way to harness a gender expression you want to play with, explore, embrace, or embody (even if only temporarily onstage), and yet, sometimes we love drag just because, as Alexis and Brendan agree on, “it’s so pretty.”

To the most critical eye, the ending of Drag: The Musical, a kind of deus ex machina, may be unsatisfying. But really, Drag: The Musical has everything that a musical could want: big numbers, big wigs, loveable characters, and a lot of heart. And I’d be very surprised if no one walks away from the theatre with the song “Drag is Expensive” stuck in their head.

Think bright lights, pumping rock and pop from an onstage band, and fabulous costumes. All the awards should go to Marco Marco for a parade of ever more incredible creations, including a personal favorite lime-green lampshade-shaped dress with two crying eye emojis WORN FOR A FUNERAL. Yet, featuring stars of RuPaul’s Drag Race, this musical—for all its flash, jokes, poppy standards and bitchy one-liners—is, similar to antecedents like Torch Song Trilogy, Priscilla, Queen of the Desert, and The Birdcage, really about love, pride, identity, and family, both biological and chosen.

"Drag: The Musical” opened Monday at New World Stages, and for much of the show, it joins the illustrious company of those aforementioned titles. It’s only big problem: It’s too Broadway even though it’s playing Off Broadway. Clearly, the show has big-stage ambitions. Jason Sherwood’s set and especially Marco Marco’s many glitzy costumes are very Broadway quality. They dazzle! Actually, they dazzle too much. Part of the appeal of drag is its inherent tackiness, and sometimes the display of money can kill a laugh. “Titanique,” especially, knows how to use cheapness to induce guffaws.