There’s subversive theater, and then there’s the visually intoxicating whirlwind that is & Juliet. A re-imagining of Romeo & Juliet, this jukebox musical envisions what would’ve happened if Shakespeare’s young heroine hadn’t joined her love in an early grave. Shirking its inspiration’s problematic themes, it sees Juliet embark on a colorful journey of self-discovery (while belting out some of the best pop songs of this century).

The show has earned international acclaim since its premiere in 2019, with thousands of fans delighting not only in & Juliet’s music but also in its portrayal of something that is unfortunately rare nowadays: healthy, non-tokenizing LGBTQ+ representation. The LA Blade caught up with the cast of & Juliet’s North American tour during their stop in Los Angeles and learned how they feel sharing this kind of show all over the U.S. — and what they hope it means for the future of musical theater as a whole. 

& Juliet finds its Queer voice in the character of May, Juliet’s non-binary best friend. The plot sees May join the young woman’s liberating adventure, not only supporting her but finding out more about themself as they absolutely conquer Britney Spears classics and fall in love with the timid Francois. May’s performer, Nick Drake (who identifies as non-binary in real life), summed up what this role means to them in one phrase: “I have the greatest job in the entire world.”

They raved about how important it feels to bring this character to audiences all across the United States, exclaiming, “To share the [message] that queer people not only exist, but deserve the same amount of love and passion that everybody else [receives] every single day…that is such a great, great gift.” It was a sentiment that their co-star, Kathryn Allison (who plays Juliet’s put-upon caretaker Angélique) shared, adding how this has been especially valuable when performing in conservative states. Knowing that so many viewers will be returning to non-supportive homes, she says, “I think people being able to see themselves represented in the show…it’s really powerful. To make sure that they know that they’re not alone, right? We really provide a safe space for [them] to be themselves, when maybe in their own communities they can’t be at the moment.”

These performers work hard to leave their audience with a sense of belonging, something that is felt in every scene of & Juliet; the story sees Juliet struggle to find herself in a rigid society where people refuse to understand her. Luckily, with people like May and Angélique, she finds comfort in a chosen family like no other, with each jaw-dropping performance bringing her new people to cherish and new spaces to be her most authentic self in. It’s a comforting narrative that, during a time when discriminatory politicians and hate groups are becoming more vocal, audiences need to hear more than ever. But this cast isn’t willing to let the musical’s message end just because they take their final bow. They imagine a future where musicals offer nuanced LGBTQ+ characters that any viewer can really learn from — not just quirky sidekicks good for a few laughs. 

One of this cast’s biggest advocates for inclusion is & Juliet’s leading lady herself, Rachel Webb. She doesn’t take her role as Juliet lightly and is proud of the massive work this show does for Queer representation, saying, “I’m really grateful [for] what & Juliet does with May; they’re not just the funny best friend. They have their own storyline, and they have their own “falling in love” story.” When asked what she hopes for the future of representation in musical theater, she continues, “I think I would love to see more trans voices in the writing rooms. I would love to see more trans voices on stage, [and in] stories in which they’re centered as love interests and not just comedic characters.” It was a desire that Drake shared wholeheartedly, proclaiming, “It’s now a tokenized plotline to have [someone] be hurt because they’re Queer — I think that’s tired, y’all!” They agreed, along with the rest of their cast, that the best future for musical theater is one where LGBTQ+ characters are truly allowed the spotlight. Are given the chance to be nuanced, well-rounded individuals, ones who don’t get used as easy sources of dramatic trauma or insignificant streams of self-deprecating jokes. It would be a monumental future for a medium that has historically benefited from the Queer community while failing to respectfully portray its members. 

And, with shows like & Juliet bringing a signature style of radical, musical inclusion all over the world, it’s a future that may arrive sooner than any of us can expect. 

& Juliet runs Wednesday, August 13 to Sunday, September 7, 2025 at the Ahmanson Theatre, Los Angeles / Tuesday, September 9 to Sunday, September 21, 2025 at Segerstrom Hall, Segerstrom Center for the Arts, Costa Mesa

When Hollywood forgets the full flavor of storytelling, artists like Cecilio Asuncion bring the spice. With a creative compass pointed at authenticity, Asuncion has been serving up stories that go deeper than big box office regurgitations and sanitized clichés. In an industry that still misses the mark on nuance, especially when it comes to marginalized folks and their identities, Asuncion steps in with work that doesn’t just “check boxes.” He builds entirely new platforms, like Cinepride, a film festival born from the need to showcase stories that Hollywood still sidelines.

Let’s be honest –  representation isn’t just about who gets the spotlight—it’s about who gets to hold the camera, write the script, and take a stab at tweaking society for the better through film. Whether he’s reframing tired tropes or elevating new voices through a cultural lens, Asuncion proves that storytelling is in need of purpose, not permission. We recently had the chance to talk with Asuncion about reclaiming narratives, making room for honest expression, and  creating Cinepride from the ground up, and why the future of film might just be found far from the studio lot.

What was the moment when the idea for CinePride ignited? What was that creative process like?

CinePride actually came from a really difficult place. My husband passed away the night before Thanksgiving in 2023, almost two years ago now. Because I come from the independent filmmaking world, I thought, “You know what? This could be a meaningful legacy project.” Looking back at my career, I realized that so many doors had been opened for me, and I wanted to create a space where people could come together. Not in competition, but in collaboration.

That’s one of the things I’m most proud of with CinePride. We’re not trying to create another competitive film festival. I mean, you know how festivals can feel, so cutthroat, like a pageant. But that’s not the point. Especially as a gay Filipino immigrant, I’ve been taught that there’s only so much space for someone who looks like me. So naturally, we begin to see each other as competition. But CinePride is about dismantling that mindset. We’re starting fresh.

It’s like the whole “only one seat at the table” concept.

Exactly.

What sets CinePride apart from other LGBTQIA+ film festivals?

We’re kind. That’s probably the biggest thing. And I mean that genuinely. Also, our programming is deeply intentional. We owe a huge thanks to the screening committee, our Programming Director Miguel Santos, and our Development Director Michael Daly. We made a conscious decision that “community” doesn’t just mean “gay.” It means honoring all the different colors, identities, and orientations that make up our world.

Because I’m still actively working in the industry, I know what it feels like to be a filmmaker submitting to a festival. I remember when I did the rounds with my first documentary, What’s the T? I was so excited to meet people, but I got treated like I didn’t belong – classic mean-girl energy. Even that needs to change. Kindness and grace matter, especially when you’re already in the room. And for those submitting, whether to us or anyone else, graciousness will take you far. This industry is small. People remember how you treat them. We might not always be nice, but we’re always kind. That’s a big distinction.

One of your awards is for Best Micro-content. Can you talk about what that category includes?

It’s for films under five minutes. But we created it to make space for people without access to big budgets or fancy gear. Maybe all they have is their phone. It’s especially geared toward youth and emerging creators. And in a world of reels and short-form storytelling, that kind of work deserves to be seen too.

Another award that stands out is the Social Impact Award. What led you to create that, especially in our current climate?

Look at the world we’re in right now. I’m Gen X, and we didn’t grow up with social media. But today, I think we confuse posting with activism. And that’s not enough. We need to do something – whether that’s running a festival, helping at a food bank, or just showing up for our community.

When I worked on Strut and with Slay Model Management, I made it a point to connect with nonprofits doing real work for the trans community. They’re doing the heavy lifting – housing, healthcare, survival. Film and entertainment get all the attention, so it’s our job to spotlight the people who don’t get enough of it.

That all really resonates. It’s frustrating when people give a shout-out during an awards speech and then do… nothing.

Yes! I call it “fad-vocacy.” Like, don’t thank the trans community in your Emmy speech and then never hire them. Don’t wear a “Protect Trans Kids” shirt and then disappear. That doesn’t help anyone pay for groceries or hormones.

CinePride also includes panels and Q&As. Are there any you’re especially excited about?

Absolutely! We’re partnering with NBCU Launch, and I’m really excited about that. We’re bringing our community in front of actual decision-makers, people who might not have had that kind of access before.

I really believe in what Michelle Obama said: when you walk through doors of opportunity, you keep them open for others. I’m where I am because so many people helped me. I got to executive produce my first TV show with Whoopi Goldberg. That doesn’t happen to everyone, and I’ll never forget it. So now I ask myself: how can I do the same for others?

That’s powerful. What does “advocacy through film” mean to you? And how do you think Hollywood might be falling short?

Advocacy through film means telling the stories that matter and making sure they’re seen by people outside our community. We already know our own struggles. The goal is to reach others.

Now on Hollywood, It’s tough. Advocacy and business don’t always coexist easily. That’s why independent film is so important. Most of these filmmakers aren’t doing it for money – they’re doing it because they have to tell these stories. We’ve made progress in Hollywood, especially with authentic casting and representation, but we still have a long way to go. And honestly, I think when the current gatekeepers retire or… move on, your generation will do things better.

Were there any unexpected challenges that came up while planning CinePride?

Surprisingly, no major wrenches. People warned me it’d be a huge undertaking – and it is – but when you’ve produced a full season of TV, a three-day film festival feels manageable. The bigger challenge is funding, especially from government sources. That’s why we leaned into private sponsors instead. I didn’t want to take money from trans organizations that need it more than we do. Thankfully, I’ve been able to invest in this project myself.

That’s both incredibly generous and intentional. You mentioned you moved from the Philippines at nineteen. How has your Filipino background shaped your work?

Honestly, my family wasn’t traditional. My mom was always supportive. We weren’t raised with rigid gender roles or cultural expectations. So I didn’t have a hard time adjusting when I moved here. But I’ve come to see how different that experience is. A lot of Asian peers have learned to stay quiet, to fly under the radar. I was never taught that. I’ve always been encouraged to speak up.

If you could make a cameo in any LGBTQ+ film, which one would it be?

It’s not technically LGBTQ+, but I’d say Death Becomes Her. That’s ours now, right? That or Soapdish. I watched that movie over and over with my best friend Marco. So when I got to work with Whoopi? Full circle.

Would you rather watch a tearjerker or a campy comedy?

Sad movies are like porn – you should watch them alone. But comedies? Definitely with friends. I love ridiculous stuff like Scary Movie – Regina Hall’s Brenda is iconic.

How do you see CinePride evolving in the future?

Bigger and better. I want CinePride in Asia, in Europe, everywhere. And I want us to reach a point where we don’t have to talk about representation – because it’s just the norm.

CinePride runs September 11 – 14, 2025 at Landmark Theatres Sunset.

For more information, visit CinePride.org and follow @CinePrideFilmFest on social media. 

‘Just Good Manners’
By William Hanson
c.2025, Gallery Books
$28.99/272 pages

So. Many. Forks.

You’re glad you’re not doing the dishes at the end of this dinner – but in the meantime, what’s protocol? If this event wasn’t a make-or-break, filled-with-repercussions kind of deal for you, you wouldn’t care; you’d use one fork, one spoon, and enjoy your meal, thank you. So please pass the salt and the new book “Just Good Manners” by William Hanson.

Dining at a restaurant not long ago, Hanson noticed a glaring difference between how his fellow Brits order a meal, and how Americans do it. We might share a language, he says, and we’re a lot alike but we’re also different in many ways. Manners are one of them.

It may seem that formal manners are archaic, even quaint, but Hanson says that they’re needed now more than ever. Manners help smooth social transactions. They leave room for grace in many situations, and they help put people at ease.

“Contemporary etiquette,” he says, “is rooted in six key principles.”

Humility is what ensures that everyone at your meeting or dinner is comfortable, not just you. Hospitality welcomes everyone to the table. Knowing one’s rank shows respect. Says Hanson, “politeness takes patience” and humor, as manners evolve. And although it sounds counter-intuitive, manners are somewhat based on passive-aggressiveness, which helps you be direct, but not too much.

Here, you’ll learn how to deal with introductions in different situations and what to do with a pronoun faux pas. You’ll see that merely greeting someone can be fraught with danger, so be sure you know who’s who before you enter a room. Learn to avoid five “taboo” topics when engaging in small talk. If you’re interrupted, know how to kindly gain control of a conversation again. Find out how the use of slang tells a listener who you really are. Know how to be a good guest, and the kind of host people appreciate.

And yes, you’ll learn about those many, many forks.

You do not live in a bubble. You don’t work in one, either, and smoothing ruffled feathers is needed more than ever in today’s world so maybe it’s time to learn how to do that from a very unruffled source. With “Just Good Manners,” it could even set you apart.

Indeed, author William Hanson makes a case for politeness-as-diplomacy here, in a book that’s very Brit-centric but that includes anecdotes about disastrous situations in other countries. Tales like those are fun to read, in a Schadenfreude way, but they also illustrate why it’s essential to understand other cultures in business settings as well as in many casual events. If that sounds daunting, rest assured that Hanson uses his own advice, putting readers at ease with humor and charm and by taking the scariness out of manners by making them an easy, maybe even enjoyable, challenge.

You won’t feel scolded when you read “Just Good Manners,” but you will learn enough to be someone people want around. It’ll give you confidence. Before your next big event, it’ll give you something to chew on.

The Los Angeles Blade will serve as the official media partner for CinePride Film Festival, debuting from September 11th to the 14th. The four-day celebration of queer cinema will make its debut at Landmark Theatres Sunset in Los Angeles, presenting a powerful lineup that reflects the richness, resilience, and diversity of the global LGBTQIA+ community.

Thirty one films have been selected, featuring a dynamic mix of feature-length narratives, documentaries, and shorts spanning a wide range of genres, including drama, comedy, romance, thriller, and experimental film. Six films will make their world premieres at CinePride, with an additional four celebrating their U.S. or North American debuts. Ten more will be screened for the first time on the West Coast. Showcasing both international voices and emerging homegrown talent, CinePride 2025 provides a bold and inclusive platform for queer storytellers to share their visions on the big screen.

“We are thrilled at the response of the global LGBTQIA+ community of filmmakers who submitted for CinePride’s inaugural edition,” says Cecilio Asuncion, Executive Director of CinePride Film Festival. “This year’s selections are excellent and are a strong testament that LGBTQIA+ voices and stories from around the world will not be erased! We can’t wait to welcome audiences to celebrate these incredible stories with us in LA this September.”

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Highlights from the 2025 official selection include: 

◊ QUEERBAIT – A precocious classics student is invited to dinner after he piques the interest of a tenured professor. But when his teacher’s mentorship starts to push boundaries, he’s forced to make a choice: protect his academic future, or preserve his dignity? This intense drama is executive-produced by Cate Blanchett and makes its film festival debut at CinePride. 

◊ Maxxie LaWow: Drag Super-shero – an animated musical fantasy featuring  the voices of Jinkx Monsoon, BenDeLaCrème, Heide N Closet, Monét X  Change, and Rosé. When drag queens start disappearing, a shy young barista must summon his inner super-shero to rescue them from an ambitious evil drag queen bent on harvesting their magical anti-aging tears. CinePride marks the first time this fun animated feature will be screened theatrically in Los  Angeles.  

◊ A Life Inside Me – Set in rural South Asia, this captivating drama tells the story of a terminally ill father who wishes to live his final days as his true self  — a woman — and his daughter who is trapped in an abusive marriage. The U.S. premiere of this groundbreaking Indian film will happen at CinePride. 

◊ And You Are…? – Jane Seymour stars in And You Are…?, a most unlikely buddy film that follows Lynn, a grandmother suffering from Alzheimer’s who only has the past to prove she exists. Her grandson Max desperately wants to erase his past, as it has never proved his true existence. Already winning acclaim on the international festival circuit, the film makes its Hollywood premiere at CinePride! 

◊ Lip Sync Assassin – Sampaguita, a fabulous drag queen moonlights as a hired killer to earn extra money and provide a good life for her talented daughter and sickly mother. Just when she thought she could handle any contract killing mission, her new target tests how far she can go to support her loved ones. The thrilling Filipino short film makes its world premiere at  CinePride! 

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Screenings will be enhanced by workshops, filmmaker Q&As, panel discussions, and a  Director’s Brunch. Additionally, CinePride Film Festival will present awards in categories  including Best Narrative Feature, Best Documentary Feature, Best Lead Performance,  Best Director, and the Trailblazer Award. The coveted Audience Choice Award will be  decided by festival goers. 

“CinePride isn’t just a film festival; it’s a movement that belongs in Los Angeles, the epicenter of the film industry,” declares Programming Director Miguel Santos. “It’s about creating space for globally resonant queer stories that challenge conventions, defy genre, and deserve to be seen in theaters. We’re setting the stage for the next generation  of storytellers who will redefine what’s possible in film.” 

For more information, visit CinePride.org and follow @CinePrideFilmFest on social media. 

Since “& Juliet” hit the Broadway stage in 2022 with Paulo Szot, Stark Sands and Betsy Wolfe leading the cast, the show has brought its pop anthems across the world. Spanning Australia, the UK and Germany, this modern flip on Shakespeare is now continuing its North American Tour with a four-week run in Los Angeles.

“& Juliet” plays at the Ahmanson Theatre from Aug 13-Sept. 7, with a cast including Original Broadway Cast member Rachel Simone Webb. The ensemble is rounded out by Paul-Jordan Jansen, Teal Wicks, Corey Mach, Kathryn Allison, Michael Canu, Mateus Leite Cardoso and Nick Drake, who plays May, Francois’s non-binary love interest in the show.

The original play has a notoriously tragic ending, but “& Juliet” grants Juliet a second chance after she decides to give life another go. May is one of many new additions to the “Romeo and Juliet” story and Drake gets to hit the stage running after their first Broadway show, “Back to the Future.” Drake has also made numerous on-screen appearances, with credits including “Fire Island,” “Saturday Night Live” and “The Tonight Show with Jimmy Fallon.”

Ahead of the show’s premiere, The Los Angeles Blade had the opportunity to ask Drake about their experience playing the non-binary character May, giving a Shakespeare story some queer flair and how the show has evolved since its Broadway debut.

Can you talk about how you fleshed out and connected to May as a character and the significance of them being non-binary, especially as a non-binary actor yourself? What does this representation mean to you?

Since May is not a part of the Shakespearean catalogue, I get to create an entire persona out of a name and some lines. I remembered when I, too, was a baby gay and finding my identity. I tried to bring as much of myself into May and create the character from there! I wish when I was little, watching shows at The Fabulous Fox Theatre, I saw a character like May onstage. I would be so inspired and feel so seen as a Black queer person. Now, I get to be that role model for queer people across the nation and get to meet queer people after the show, and that just makes my heart so happy!

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What makes the story of “Romeo & Juliet” so fitting to have a queer twist and love story?

Frankie and May make the “forbidden love” trope even more exciting! Since May technically sees Juliet kissing Frankie after Frankie and May meet at the party, May and Frankie can’t help but be in love with each other and have this secret relationship. The stakes are so high!

What have been some of the most exciting developments in this show on its North American Tour since the 2022 Broadway debut?

We have more choreography because we don’t have a turntable! The best example is during “I Kissed A Girl!” Mateus and I have this cute “Fred & Ginger” dance moment that is so Old Hollywood and just full of love. 

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This show is filled with pop anthems, many by icons like Britney Spears, who are beloved by the queer community. What are the most fun songs to perform?

Definitely “Show Me Love!” It is my favorite number in the show. I love Robyn so much. The second contender, even though it leaves me so out of breath still, is “Domino.”

What are you most excited about in getting to perform this show in Los Angeles and experience the theatre scene here?

I have never spent more than a week in LA and it’s always been for work at the Bourbon Room, which is amazing and I love it there. However, this time I’m here for a month, in a cute Airbnb and with a car! I can’t wait to kind of feel like I am living in LA, I have always wanted to live here — this time, I’ll get a true taste of that. 

Is there anything else you want to add or mention about the show as it approaches?

Be ready to have the time of your life. Scream, shout, and let it all out!

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& Juliet runs Wednesday, August 13 to Sunday, September 7, 2025 at the Ahmanson Theatre, Los Angeles / Tuesday, September 9 to Sunday, September 21, 2025 at Segerstrom Hall, Segerstrom Center for the Arts, Costa Mesa

There are folks who follow and mirror trends, and then there are folks like Dondraico “Draico” Johnson, who not only create new ones but choreograph them into reality. Emmy-nominated choreographer, actor, and full-on creative powerhouse, Johnson has created and cultivated a career on breaking norms, turning expectations upside down, and infusing every project he embarks on with soul, style, and just the right amount of swag.

From performing with the familiar folks like Madonna and Janet Jackson to choreographing little vamps and ghouls in New Zealand, Johnson navigates through the entertainment industry like a tempest of energy and intention. But behind the big names and even bigger moments is an artist truly and deeply committed to authenticity, joy, and making sure he leaves every space he enters just a little more magical than before. In this interview, Johnson dishes on shattering the boxes others try to put him in, shaping culture one box step at a time, and why his work is rooted in purpose, powered by passion, and always aimed at opening doors for the next generation.

You’re an Emmy-nominated choreographer and a working actor. How do those two creative muscles support and challenge each other?

Great question. Those two creative muscles definitely challenge each other because people often want to put you in a box. They assume you can only do one thing. But for me, the way to break that mold is by being excellent at both and showing that you’re multi-talented.

Sometimes they actually complement each other. I’ll book a choreography job, and they later find out I’m an actor. Then it’s like, “Oh wow, two birds with one stone!” It ends up being more of a pro than a con. They really do go hand in hand.

You’ve worked with legends – Michael and Janet Jackson, Madonna, Britney Spears. What’s one lesson from those early days that still guides your work today?

To enjoy it. No matter who walks into the room or what kind of energy they bring, adjust it to fit your world. Don’t let anyone throw your energy off. I always remind myself: good energy trumps bad energy, especially when you’re leading the ship.

People will come in with bad vibes, and I’ll still be like, “Okay, I’m having a great day. Let’s work.” I’m big on shifting the energy of the room for the better.

Was there ever a moment in your career when you had to pinch yourself and think, “Wow, this is really happening?”

Oh, absolutely. When I got the call to work with Michael Jackson, I was like, “Wait, what? Me?!” Same thing with Janet, especially when I danced at the Super Bowl. That was a huge moment.

Another pinch-me moment was choreographing the Aretha Franklin: Genius series with Cynthia Erivo. I was just blown away. It felt like a family on set every day, and I’ll always remember that experience.

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When you work with iconic artists, how do you balance honoring their brand while also pushing them creatively?

I always frame it as a collaboration. It’s not about me—it’s about the artist. They brought me in to help bring out the best in them. Whether it’s dance, music, or acting, I try to create something that fits them and elevates their brand.

They also need to feel like they’re part of the process. That’s something I learned from Madonna. She always wants to have input, and that makes total sense. It’s about teamwork.

You recently worked on Disney’s Zombies 4. How did you approach choreographing the vampires to make them stand out in the franchise?

My first introduction to Zombies was on Zombies 3, which had aliens, werewolves, cheerleaders—it was wild! For Zombies 4, the torch is passed to a younger generation. We introduced Daywalkers and Vampires.

I approached it like this: the Daywalkers were from Atlanta, the Vampires from New York. They all do similar dance steps, but each group thinks their style is superior because it’s rooted in tradition. That tension made for fun, dynamic choreography. It was about respecting the differences while showing they’re more alike than they think.

We shot in New Zealand, the cast was amazing—it was such a great time.

Fun question: if you could be any mythical or teenage creature in the Zombies universe, who would you be?

Oh, definitely a werewolf! They have the coolest style, their music slaps, and their costumes are fire. So yeah, werewolf all the way.

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You mentioned boxes earlier. The word “representation” gets used a lot in the industry, but what does authentic representation actually look like to you?

To me, authentic representation is about showing up as your true self and being accepted for it. I don’t care where you’re from, who you love, or how you identify—just be real.

I love working with people who are honest about who they are. If you’re true to yourself, then your talent—whether it’s dancing, acting, or singing—can shine through without a mask. That’s real representation.

Are there any assumptions people make about you in this industry that you often find yourself challenging?

All the time. People look at me – big guy, athletic build – and they don’t expect me to be flexible, to dance, or do gymnastics. But I can flip, layout, full-out, everything.

Also, as a dark-skinned Black man, people sometimes see me and feel intimidated. But I’m a total love bug. I grew up in a home full of love, not a silver spoon, but love. My dad still calls me “baby,” and I’m a grown man. That’s who I am.

So I always say, give people a little grace. You never know what someone went through three seconds before entering your space.

That’s beautiful. What’s something you’ve passed on to the next generation that you’re most proud of?

I’m from a very small town in South Carolina, like, one stoplight small. I always knew I wasn’t the only creative kid there. In towns like that, if you’re not into sports, there’s often no outlet.

So I make it a point to speak to the next generation, especially those who don’t have access to the industry. I encourage them to do their research. Know who came before you. Use the internet to study the greats. That’s how you train yourself when resources are limited.

What would surprise 15-year-old Draico about where you are now?

That I figured it out. Growing up in the woods, seeing only trees and deer, and then looking at TV, seeing Broadway, films, lights, I thought, “Where do people learn to do that?” It felt impossible.

Now, looking back, I’d tell 15-year-old me: “You did it. You waited it out. You didn’t compromise your values. You stayed ready, and the universe delivered.”

Do you feel the industry is becoming more authentically inclusive, or is it still surface-level?

That’s tricky. Some days it feels like we’re making progress, and other days it feels like we’re taking 10 steps back. It’s a yo-yo.

I think the problem is that so many different groups are pushing for change at once, and the world just isn’t ready for all of them simultaneously. But we’ve got to keep our voices loud. If we go silent, we end up back at square one.

For every Cynthia Erivo, there’s a Sydney Sweeney, right?

Exactly. And speaking of Cynthia, I love her. Just saw her kill it in Jesus Christ Superstar at the Hollywood Bowl. She and Adam Lambert were phenomenal. I’ll plug her all day! That’s my girl.

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You once called yourself a “culture shaper.” How do you define that in your work?

I bring who I am into every room and every project. I’m from the “other side of the tracks,” and I own that.

Even in Zombies, which is Disney and fun and family-friendly, I made those kids dance and brought some soul to it. A little sauce, a little Goya. It’s about keeping it authentic while elevating the work.

We live in a world where people go from one show to the next. What’s one thing you hope people truly feel after watching your work?

I always say people may forget what happened, but they’ll never forget how you made them feel. I want my work to feel like a warm hug. Even without words, I want people to walk away thinking, “That touched me. That made me feel something good.”

I’m a love bug. Like I said, I grew up that way. I want every project I touch to feel like a love letter to the audience.

What’s one dream collaboration still on your bucket list?

I want to do a big musical, something that moves like Chicago, but feels soulful and Black, like the movie Polly from the ’80s. I want to help create the next Wicked, but with real roots, and take it from Broadway to the screen.

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What can we expect from you in the near future?

We’re speaking Broadway into existence! I’ve got a few TV projects in development with Anthony Hemingway Productions. I’m also working on a podcast called Beyond the 8 Count with my friend Jamal Sims. He’s a huge choreographer and does RuPaul’s Drag Race.

I’m also working with Duran Bernard and have some stuff with Normani in the works. Lots of exciting things coming!

Follow Draico Johnson on IG.

Dinah Shore founder Mariah Hanson is ending her run with the most iconic queer women’s festival with a star-studded lineup that is pulling out all the stops. Past guests, rising stars, queer icons, and aspiring queer talent will take the stage for a once-in-a-generation celebration of queer culture, music, and legacy. Dinah Shore takes place from September 24th to the 28th at the Riviera Resort & Spa in Palm Springs, CA.

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Leading the charge are L Word icons Kate Moennig and Leisha Hailey, gender-nonconforming queer NY Rapper Princess Nokia, dance music icon Crystal Waters, fast-rising, compelling voice in alternative pop SkyDxddy, boundary-pushing artist Only1 Theory, and returning fan favorites Xana and Mariah Counts— all prepared to set the stage ablaze in this historic closing act.

Returning as the longtime host of The Dinah pool parties is Rose Garcia, joined this year by Kaycee Clark, star of CBS’s Big Brother and MTV’s The Challenge. Some of the hottest DJs in the queer scene — DJ P. Nasty, DJ Les Ortiz, DJ Lotus Banks, DJ KG Fresh, DJ Tatiana, and DJ Alex D. — will be behind the decks, delivering pulse-pounding sets that will keep the crowd dancing, connecting, and living for every moment.

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The Dinah 2025 is an invitation to join Mariah in a powerful tribute to the legacy she created and to experience the unparalleled magic that only The Dinah can deliver. This year’s Dinah isn’t just Hanson’s last—it’s her most meaningful. With the Dinah, Hanson didn’t just
build a festival, she built a family.

Tickets and full event details are available now at www.thedinah.com

Bears, start your streaming engines. Bear World Magazine, the top-notch lifestyle bible for the global bear scene, is turning up the heat with the launch of Bear World TV, a bold new video platform serving up weekly mouthfuls of news, nightlife, culture, and cheeky charm. Dropping its debut episodes last week, Bear World TV will roll out its fur-forward content across the Bear World Magazine website, YouTube, and socials.

At the core of Bear World TV are five fabulous hosts – Marquis The Honey Bear, Joe Martone, Ravi Roth, Hunter Harden, and Los Angeles Blade’s very own publisher, Alexander Rodriguez – serving up fast, fun, two-minute segments that highlight the sweet, sweaty, and saucy sides of bear life. It’s a frothy mix of nightlife, travel, pop culture, community events, and some well-placed innuendo.

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Produced by Bear World Magazine Co-Founders Richard Jones and Robin Gray, Bear World TV takes the magazine’s mission, celebrating body positivity, inclusivity, queer joy, and body hair, and puts it on full display. “Bear World Magazine turns 13 this September, and we wanted to do something big and bold to mark the milestone,” says Jones. “With Bear World TV, we’re not just telling our stories. We’re broadcasting them loud, proud, and in hi-def.”

Each host brings their own flavor to the screen, from hilarious deep dives into niche bear culture to glitter-dusted nightlife guides and globe-trotting adventures with a dash of sass.

LA Blade’s Alexander Rodriguez, veteran entertainment journalist and resident pop culture provocateur, dives deep in Alexander on Screen. “Representation is evolving, and so is our journalism. Expect sharp questions, fearless conversations, and maybe a few scandalous confessions.”

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Comedian Marquis The Honey Bear brings the laughs (and a bit of bite) in Marquis is Barely Informed. “We’re tackling gay and bear culture one ridiculous topic at a time. It’s unseriously serious fun and fur-friendly.”

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Need a party planner with a taste for trouble? Enter Hunter Harden, whose nightlife series Hunter’s Hot Nights, sponsored by Gun Oil Personal Lubricant, is your after-dark roadmap. “A hot night is hugs, a killer DJ, body confidence, and maybe just a little glitter in your beard,” he purrs.

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Keeping you in the know, Joe Martone curates What to Know with Joe, covering must-see events and hairy heroes coast to coast. Sponsored by DeviousSaint.com, Joe promises, “If it makes you say, ‘Damn, why wasn’t I there?’ I’ve got the tea and the RSVP.”

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For those whose idea of a good time includes a passport stamp, Ravi Roth leads Ravi Round the World, a whirlwind of queer travel joy. “Travel is more than a vacation, it’s a celebration of our global community, and yes, your bear passport is always valid,” says Roth, whose series is sponsored by Island House Key West.

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Publicity photos for the series were captured by Nathan Noyes at the chic Creator Lounge at W Hollywood, a space dripping in art deco vibes and old-school glamour, setting the scene for a very modern media moment.

With new episodes dropping weekly, Bear World TV is about to become the digital HQ for bears from sea to shining sea,  serving up much needed laughs, connection, and unapologetic celebration with every click.

Tune in at bearworldmag.com/TV and follow @bearworldmag for your weekly fix of fur, fun, and fierce representation.

It’s a story that has been heard countless times before: someone feels the call of stardom, and they believe the only way to answer is to move across the country to Los Angeles. Entire libraries are filled with the unfortunate stories of these people, who often discover that the “City of Angels” is much harsher than it seems onscreen. But for the select few, they manage to find success in one of the toughest industries in the world. And for those like TikTok star Clayton Farris, they manage to do it while providing the LGBTQ+ representation our communities need now more than ever. 

“I grew up in a very traditional Southern space, and I always just stood out because I was…I was different,” said Texas-born Farris when he sat down to discuss his new movie, Weapons. “I had a whole life [in Dallas] that I packed up and left — and as soon as I got to LA, I was like, ‘Oh, this is where I’m meant to be.’”

Anyone online in the past decade has seen Farris’s work. Before starring in numerous hit TV shows and movies, the man made his mark on Vine through comedy sketches (never again can someone ask for their keys without imagining a printer being hurled at them). Since then, he’s acted in hit series like Scream Queens and Ratched, all while becoming a mainstay in the LA comedy scene and amassing more than 400,000 followers on TikTok. Clayton brings his trademark style of irreverent humor to every project, all while proudly sharing his bisexual identity with the world — a sense of pride that didn’t come easy to him. 

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“Coming from a place that really encourages people to be closeted, it’s been a long journey for me to be able to be myself,” he explained when he sat down with the Los Angeles Blade, still tired from the Weapons red carpet he’d been strutting down only a day before.

“I always say: any character I play, I always bring the ‘bisexual edge’ to them.” The actor laughs but stresses the importance of this kind of representation, and the long journey it took for him to share his bisexuality through his art. Farris knows that it is essential to bring his authentic identity into every single role…even in a movie as terrifying as Weapons. 

Most horror fans are familiar with director Zack Cregger’s work; his previous film, Barbarian, is infamous for not only its jaw-dropping plot twists but the unceasing anxiety it carries throughout every scene. His latest film, Weapons — a mystery-horror centered around a classroom of children who flee their homes in the dead of night — recently premiered and is already being lauded as one of the scariest movies of 2025. Yet somehow, amidst the thrilling bloodshed that its trailers are promising, it finds the space to feature LGBTQ+ representation through Farris’s role as Terry, the goofy, endearing partner of one of the main characters. 

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While he laughed about the quirks he brought to the character and what wild fun it is to star in a scary movie, Farris also recognized just how important this performance really is. “To be one of the only queer characters in such a big movie, [I was] like, ‘Oh, this kind of has some weight to it!’” he exclaimed, proud of injecting casual queerness into such a complex plot.

He went on to describe how, even at the premiere, there were executives coming up to him, thanking him for the representation and the nuances he brought to what could have been such a cliché stereotype. It’s a kind of representation that LGBTQ+ horror fans have fought decades for, and through Terry, Farris is proud to push it even further. 

No matter where his career takes him next, whether it be in another gore fest like Weapons or some hit comedy show in LA, Farris makes it clear what his goal is as a bisexual actor: “I just want to do a good job, and represent the community well.” It’s a mantra that more performers should carry, and it’s what makes Farris one of the true standout comedy stars of Los Angeles (and TikTok) today. 

Follow Clayton Farris on Instagram & TikTok

Weapons is now in theaters

Picture it, West Hollywood, the tension is high in the air as this year’s Project Drag contestants battled each other, one act after the other. Los Angeles Blade was on hand as guest judge for this particular evening, with TV show characters being the theme of the night. Project Drag, created in 2013 by nightlife personality Tony Moore, is THE drag competition when it comes to representing local drag queens. Even though this evening’s edition marked just a few weeks into the competition, it was clear these queens wanted to win…badly.

LØRELEI, no stranger to a spotlight, took the stage dressed as Smurfette and launched into a frenzy of dancing (backup dancers in tow). Halfway through her act with a dizzying array of jumps and jazz hands, she leapt into the air and smack dab into the DJ! The audience gasped as she teetered on the edge of the DJ’s station. Would she crash into the DJ, taking the whole setup with her? Or would she fall back and crash into the audience? Gravity had its way, and she crashed into the floor in a blurred mess of yellow hair and red high heels. Was this the end of LØRELEI’s time with Project Drag? Like the showperson she is, she turned the moment into a bit, not knowing that weeks later, she would take home the crown.

Even though LØRELEI wanted the win so much, she came to the competition a consummate performer, mixing her theatre world with her drag skills to put on truly unique acts. She is a true drag queen in the sense that she’s not just about looks. She can command an audience, she is a successful podcast co-host of SHABLAM!, and she co-founded and runs Dionysia, a non-profit organization dedicated to developing long-form theatrical works by drag artists. Oh, and did we mention she’s been touring around the nation with the Taylor Swift Eras Tour: Drag Brunch? When did she even have time to do the competition? It’s what she does, she makes the show go on.

We chatted with this fabulous queen after her win, in between cities on her current tour.

What was your first exposure to drag?

I was always a theatre kid since I was 10, and I was introduced to drag in small doses through Musical Theater. A Chorus Line, La Cage Aux Folles, Kinky Boots – seeing queer representation in this particular medium was formative to my understanding of drag, and knowing that one day I wanted to be a famous drag queen. Through high school, I would dress in drag for Halloween, and by the time I got to college, I started to hit club nights that were 18+ in drag.

What was your first professional drag gig? How did it go?

I remember my first “big-time” professional gig was at Queen Kong with the Boulet Brothers back when they produced parties at Precinct in 2018. I competed in their star-search competition, placing 2nd in the Top 3 alongside Kornbread Jete (RPDR S14) and Charles Galin (King of Drag S1). After that, I was added to the rotation as a performer at Queen Kong until they finished producing the party in 2019. My very first booking with them after the competition was a “Satanic Lady Gaga” night, and I performed “Applause” as Charles Manson. I was so nervous, and I was corseting so tight, I think at that age I was corseting down to 21 inches – so I hate to say this, but I threw up onstage during my performance. The audience was shocked – and I was shocked too. But I kept performing and made it work. Around this time, Dragula was picking up speed, and we had seen the likes of Vander Von Odd vomiting on screen as part of the performance, so many thought that what I did was incredibly punk, and I just kinda ran with it. It’s one of my cringiest memories in drag – but I remember after my number, the Boulets came to check in with me and make sure I was okay, and they told me that I did a great job and that they loved the number. The show must go on, I guess!

What sets your drag apart from other Queens?

What sets me apart the most from other queens are my inventive performance ideas. I am a conceptual performer with a sense of humor that I express through writing and staging, and many of my performances feel like short-form theatre shows. My palette of references steers away from conventional drag pageantry, and gears more toward the avant-garde, the meta-theatrical and the bizarre. Every performance has a new character, so you never know what to expect from a Lorelei show – but I guarantee that no matter what you will be entertained. 

You are the winner of Project Drag! What did going through this competition teach you most about yourself? 

That no matter how cunty you think you are, there is always room to grow. It taught me not to be afraid to try things that might make you uncomfortable. Being in a competition like Project Drag requires you to be vulnerable and receptive to critique, it requires you to risk failing despite your best efforts. There were plenty of times that I fumbled in the competition – literally. One week I fell clear off of the DJ stand (shoutout to my Smurfette performance). But there were also many successes – I won two challenges before hitting the finale, and those were celebratory moments that demonstrated the best of what my drag could be. You have to take the good with the bad, and if you don’t ever swing big, you’ll never get that pay off to celebrate your drag. You have always be a student of the world, and look for ways to constantly improve your craft. 

What were your biggest challenges in making it through the competition?

I would say the schedule of the competition was probably the hardest part – this was an 11-week competition, with challenges that are comparable to Drag Race, including group challenges and design challenges. Our weeks were spent crafting, rehearsing, spending, working incredibly hard to stay on top of our game every week, while still balancing life obligations like work or our health. 

Personally, I was competing in Project Drag while also traveling out of town every weekend as a cast member in the Taylor Swift Eras Tour: Drag Version brunch show. During the competition, I traveled to cities like Albuquerque, El Paso, Oklahoma City, Dallas, San Antonio, Houston, and Austin. Every week, I’d fly out after work on Friday, perform brunch shows on Saturday and Sunday, fly back home Monday morning, and then compete in Project Drag that same night. From Tuesday to Thursday, I balanced my day job, other drag gigs, and prepped as much as I could for the next week’s challenge—before hopping on another flight Friday and doing it all over again.

It was incredibly challenging, but that’s how badly I wanted to win. Looking back, I’m truly grateful for the experience. With everything I managed to juggle, I can honestly say this was the most drag I’ve ever done in my life—and I love living a life that’s so deeply connected to my craft.

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What do you plan to do with your title?

I will probably leverage this title as rage bait against my haters for the rest of my life! And also — of course, I want to use this title to platform my own personal creative journey of making drag performance pieces, but also I would like to use it to platform other artists I work with. There are so many drag artists who helped me win Project Drag because they believed in my vision, and I want to give back to those friends and the community at large. With this title, I hope I can be a beacon for drag artists who may feel limited by the artistic scope of doing drag in a club or bar and are looking to bring their artistry to new arenas, like stages, art galleries, and alternative performance spaces. I hope to create new avenues for drag artists to incubate their ideas and develop performances that push the limits of our industry. 

Theater and drag are two major components of your life. How do your drag and theatre aesthetics complement each other?

I’ve always considered myself a theatre artist, using drag as my medium. Drag has an important role in theatre traditions all around the world, and I think it is the chosen responsibility of a handful of drag artists to continue that performance tradition and innovate upon it as time passes. I’m inspired by artists like Taylor Mac, John Cameron Mitchell, Hibiscus – who use drag and playwriting as a means of distilling their ideas and insights about the world. In the future, I hope I can produce more theatrical work that uses drag as a means of storytelling, and infiltrate the theatre industry with new works that feature drag artists onstage.

What is your biggest mission in running Dionysia?

My biggest mission in running Dionysia is to create a collective of theatre artists and drag artists who help each other in producing more long-form theatrical works that feature queer voices. I would say most theatre queens are known for impersonating or re-creating famous theatre productions onstage, like doing Liza Minnelli or Wicked-themed drag brunch. However, my goal with Dionysia was to make an incubator for drag artists to bring in their own original material and collaborate with others to bring it to life onstage. It’s all about innovating new works to then perform onstage, submit to festivals or grants, and hopefully grow the skill set of each individual artist. 

How can the queer community best support the drag community?

The queer community can help support the drag community by joining us at our events, and thus helping us promote our work of creating safe spaces at a time when being queer in public is becoming politicized once again. As drag artists, we do more than just perform onstage: we offer our image and our visibility as a means of indicating to others that we are creating a space that is sacred for our community. As drag artists, we share stories, we contribute to local culture, we help to preserve community and tradition, and we always appreciate audiences who at minimum come to enjoy the show because it motivates us to continue our work. Tipping helps too! 

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How has being a drag queen changed your life the most?

Being a drag queen has changed my life for the better because it has galvanized my life behind the guiding principle of liberation for obviously queer people, but really of all marginalized people. To me, being able to do drag feels like a proclamation of my freedom – my ability to be whoever I want, when I want. Everyone should have that freedom. I think of that age-old adage “no one is free until we are all free” – and it makes me realize that while I have the liberty to express myself, there are people around the world who don’t have that privilege. I think drag queens in general are especially attuned to the pursuit of justice, and that has helped to guide my life in the direction of being in service to others. Freedom for me means freedom for all – from the USA, to Palestine, no matter who you are or where you’re from. 

We also love your podcast SHABLAM! What do you love most about the podcast? 

Of course I love the opportunity on SHABLAM! to discuss my thoughts and opinions, but the best part is being able to do it with my co-host Annie Biotixx. Annie and I have been friends and collaborators for a long while now, and she always keeps me motivated to produce my best work. She competed in Project Drag 5, and although she didn’t make it as the winner of her season, she was a rock for me in my season of Project Drag, providing her support and guidance through all the challenges. She was even featured in my winning finale number! She’s an incredible host and drag queen here in Los Angeles, and a high-value theatre aesthete. Collaborating with her is effortless, and makes my job of showing up each week to record very easy. 

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What do you want listeners to walk away with after listening to SHABLAM?

At the end of the day, I want listeners to walk away feeling like they belong to an online community that supports them. Ultimately it’s a comedy podcast, so I always want people to laugh – but humor is such a great tool for building community. I feel through recording SHABLAM!, we are sharing our jokes, our vocal stims, whatever makes us laugh to build a shared language that we can use to identify who is part of this online community, and who share our values and principles. We create a space for people to find each other!

What are your biggest challenges in being a drag queen in SoCal?

Compared to other cities, I think the SoCal drag scene, particularly in Los Angeles, is uniquely suited to support many different types of drag, thanks to our sprawling geography. From West Hollywood to Downtown, from the Valley to the Inland Empire, there are countless pockets around LA that each celebrate a distinct style of drag. This diversity makes it possible for many people to pursue and succeed in drag.

However, that same strength also presents a challenge: everyone is looking to succeed, and the scene is highly competitive. The geography that fosters diversity also makes it difficult to make a name for yourself across all these different drag communities. Successful drag queens in SoCal know how to navigate between these various pockets. They show up professional, prepared, and with a strong point of view that sustains them over time. It takes patience, tenacity, and a commitment to continually growing your skill set and network. 

You are touring with Taylor Swift Eras Tour: Drag Brunch Version! What Taylor Swift song most speaks to you presently and why?

Yes! I’ve been listening to a lot of her music for our show, and I would say that the song that speaks to me the most… on tough days, it’s “Anti-Hero” from Midnights. I think any artist can relate to the feeling of self-sabotage, and as I get older, I realize I have a lot of learning to do. But on good days – I believe in “Karma” from Midnights. I feel at ease in knowing that the universe is working for me, and what is meant for me will not pass me by. Winning Project Drag has amplified both of those feelings, and I know in my heart that this title was meant for me.

Do you get up to any shenanigans (wink, wink) while on tour?

My PARENTS are going to want to read this article, you FREAK! Lol, I’m kidding – yes, of course, there are plenty of shenanigans, and if you are interested, might I direct you to Season 2 of my podcast SHABLAM! Where, in addition to dissecting Project Drag week-to-week in real time, we discuss my escapades while on the road. Last thing I’ll say is get tested, get on PrEP, remember that undetectable = untransmittable! Mwah!

What kind of legacy do you want to create with your theatre and drag?

I’d like to leave a legacy as a thought leader in the school of theatre and drag. I want to hybridize performance theory, queer history and drag performance to create innovative works that push the limits of how drag can be used in storytelling. I want to be added to the canon of drag artists who are lauded by the global theatre community, and leave in my legacy a collection of dramaturgically astute, advanced works of drag theatre. 

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What is your message to the community this Pride season?

Where do I even begin with all the chaos that has ensued in Los Angeles since the election of our current administration? ICE raids terrorizing our communities and kidnapping our neighbors is a crime beyond comprehension. It has rightfully left many of us feeling scared and hopeless, but I encourage the community to remain firm in our pursuit of justice and to fight back against Facism! Donate, Protest, Educate, Engage – do whatever you can to make it clear to any authoritative power that Los Angeles will not be fucked with! Especially the queer community! Today, we stand on the shoulders of queer ancestors who have endured similar treatment of threats and intimidation, and we have persevered. We will always be here! And no human is illegal on stolen land!

Follow LØRELEI on IG.