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!

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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.

In the penultimate episode of the world’s first drag competition show, King of Drag, two contestants would be sent packing with their packers before the big finale. The five fan-favorites had to create original looks from scratch, lip sync to “Good Boy,” and come up with an interpretive dance to earn their spot in the top three of the Revry series.  Unfortunately, two fan favorites didn’t make it past the final hurdle: King Perka $exxx and Big D.

Big D has big P-personality. The one-of-a-kind character actor had never lip-synced before this episode, but judges loved what Big D brought week after week. Of the five weeks he competed on the show, Big D was in the top three times! His background in clowning helped him to bring such vivid and memorable characters to life on King of Drag. On the other hand, King Perka $exxx had a much bumpier road, but throughout that journey, audiences fell in love with the performer we got to know. From his perfect Urkle to his hilarious stand-up routine, Perka $exxx was the heart of King of Drag season 1. To lose them both before the finale was tough for fans. But fingers crossed for an eventual King of Drag All Stars.

The LA Blade caught up with Perka $exxx and Big D to talk about their experiences on King of Drag, advice for other kings, and what they would do differently.

Tell me about your first time in drag. 

KPS: My first number was last at my college drag show, and I didn’t wanna wait a year till the next school show, so I went out and hit the city.

BD: Drag was a gradual process for me, from my dad teaching me to do a double Windsor when I was in middle school, to suits, fedoras, pocket watches and worshipping macho-intellectual books and movies in my teens and 20s, to a slow realization that I could BE the thing I secretly worshipped, that I didn’t have to have my face pressed up against manhood’s window anymore. I could do the damn thing. 

What made you decide to be a part of the inaugural season of King of Drag? What do you hope to see differently in future seasons?

KPS: I had half my timeline tagging me in the audition posts, so partly peer pressure. I went back and forth on whether I should do it, but I had to stop thinking and start doing it. I just did the best I could on my tape, and I was myself the entire time, and I always made sure to have fun. I want future seasons to have more episodes and more days off to sleep in. 

BD: Murray was my main motivation. He was the artist who inspired me to really step into drag, and I cheered along as his career grew from clubs and live shows in NYC to TV and film. The chance to connect with him was impossible to pass up. I still pinch myself that I have his number in my phone, and that he let me borrow his Doc Martens for one of the shoot days.

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What surprised you most about your experience on King of Drag?

KPS: That we were able to be competitive, and not be bitches to each other like I’ve seen on other shows. I shouldn’t be surprised though – drag kings are just built differently. 

BD: I was celebrated far more than I thought I would be. I thought I would be read to filth for my lack of polish, but I was more often than not encouraged and deeply seen by my castmates, by production, and by the judges. 

What do you cherish most about your filming experience?

KPS: I cherish the kindness of production and the moments behind the scenes with everyone. 

BD: The connection with my castmates and with the fans of the show. The community that has come together to support this project. Being part of something much larger than myself. 

If you could do one thing over on King of Drag, knowing what you know now, what would it be?

KPS: Drink more water. 

BD: More stillness, more breath. 

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Have you had any especially memorable fan interactions since the show began? 

BD: I want to inspire others to take up more space—and I’ve heard from kings and aspiring kings that I made them feel that they could do the damn thing, regardless of all the little things that can make us stop ourselves from doing the damn thing. If I made people feel that there is a place for their art, or even just a fuller flower of their soul, that’s awesome. 

What do you want aspiring kings to know about the working life of a king?

KPS: Don’t quit your day job or ruin your day life over drag. You, as a human being, are still important, and you have to work twice as hard as queens, because you will have higher standards. When that happens, you need to rise to the occasion and prove the haters wrong 

BD: There are a lot of ways to King: in theater, in comedy, in dance, in role play, in… probably knitting, you know? It isn’t just lip syncing in bars. Take kinging further, take it everywhere it’s needed. 

If you can ask a co-star or Murray Hill one question at a season 1 reunion, what would it be?

KPS: I’d ask Murray to try one of these challenges. Like, c’mon, 90 minutes on the first day songwriting; I wanna see Murray try to do that. 

BD: Hey, Murray, what size/make were those Doc Martens again? 

Stream the entire season of King of Drag now on Revery.com and followKing Perka $exxx and Big Don social.

Few classics of the Hollywood Golden Age have stood the test of time with as much stamina as Billy Wilder’s “Sunset Boulevard.” 

Released on Aug. 10, 1950, it became a near-instant classic, earning rave reviews for its savage portrayal of the very industry that produced it and the fearlessly intense performance of former silent screen goddess Gloria Swanson — as tragically deranged former silent screen goddess Norma Desmond, whose fictional history mirrored her own more than enough to make the casting provocative. It was one of the year’s biggest “award season favorites,” a creative triumph for the longtime director/screenwriter team of Wilder and Charles Brackett (along with co-credited D.M. Marshman Jr.), and it quickly gained a reputation — one that it largely still holds — as the best film Hollywood has ever made about itself. It would go on to become a frequently cited example of the film noir genre at its finest, a near-legendary insider’s tale of the movie industry, a meditation on the dangers of ego and the fickleness of fame, and a damning indictment of callousness within a system that exploits its best and brightest before casting them aside when they cease to be profitable. 

It’s inarguably a great movie, fully worth the reverence with which it is held in the “cinephile” community — but while that’s more than enough reason to observe and celebrate its 75th anniversary, what makes the occasion noteworthy for us here at the Blade is its status as one of the most beloved “gay” film faves of all time.

Not that there’s anything explicitly “gay” about it, at least on the surface. Indeed, if you watch it at face value, it adheres more or less to conventional heterosexual “normalcy” in the specifics of its story. Struggling screenwriter Joe Gillis (William Holden) is the image of mid-century American masculinity: worldly, handsome without being “pretty” and oozing with an almost smug virility; there’s the air of a “hustler” about him, sure, but we all know there’s an appeal to that, too. He’s an attractive enough package to make a movie star — albeit a faded one — want to turn him into her own private rent boy, especially when he has talents that might help her accomplish her delusional dream of a return to stardom. Considering how he looks in those mid-century swim trunks, we can’t say we blame her.

Then there’s Norma. To say she’s larger than life is an understatement; exuding a persona that speaks of a need to be seen and acknowledged, she’s made a place for herself by commanding every room (and every movie screen) with her sheer presence. It’s an identity built on artifice, on the carefully mastered tricks of her trade — the elevated vocal expression, the broad gestures and glamorous presentation that establish her as… well, a queen. Yet she’s been rejected, cast aside in a world that no longer recognizes her glory, which worships youth and beauty and views those who are older as unwanted and irrelevant; how many queer men, especially in the repressive days of “Sunset Boulevard,” have been able to relate with that?

Naturally, there’s a certain amount of camp to be found here, too, which in itself could explain the queer fascination with the movie.  The exaggerated acting style of the silent screen, embodied so menacingly in Swanson’s iconic performance, adds a certain air of the ridiculous — and of the terrifying — yet (like all good camp) invites our empathy, too. 

That, of course, is why this nugget of classic cinema speaks to us still after three quarters of a century: no matter how flawed, how unlikable, how ridiculous or self-serving the denizens of “Sunset Boulevard” might be, they are so recognizably human that we cannot help but be moved by them. Yes, it’s ultimately a dark comedy, a pitch-black satirical commentary on vanity, amorality, and self-delusion, but it also jolts us throughout with unexpected (and un-ironic) moments of truth.

It’s impossible to watch without feeling a tinge of sympathy for Joe Gillis — dead in a swimming pool before he even gets to tell his own story, and not even a good enough opportunist to avoid feeling sorry for the woman who will eventually put him there. It’s impossible to consider the fate of Norma Desmond — the years of loneliness, of living in memories, of finding connection only through the fawning servitude of her ex-husband-turned-loyal manservant (Erich Von Stroheim), and of finding companionship only through the proxy of a pet monkey — without becoming aware of the profound sadness of her existence. It’s even impossible not to believe in the idealism of naive “good-girl” Betty (Nancy Olson), despite the fact that everything else we see in the film makes a mockery of it.

Wilder and Brackett may have been renowned for their cynicism, but their collaborative film work never failed to touch you with their deep sense of humanity, either — and those moments do not happen by accident, but through careful craftsmanship. “Sunset Boulevard” is a movie full of iconic quotes precisely because they provide those glimpses of profound humanity; they hit us with the recognition of our own pretensions, our own delusional moments of self-importance, our own embrace of ego over candid self-awareness. All of them sting us with a wisdom we cannot ignore, but they also offer a nudge toward our own redemption, perhaps most pointedly with the climactic observation spoken by Joe in an appeal to Norma’s fast-deteriorating sanity: “There’s nothing tragic about being 50, not unless you try to be 25.”

It’s the thesis statement of “Sunset Boulevard,” in a way, a hard-candy truism toward which the movie builds with easily traceable deliberation from the fateful moment its anti-hero turns into the driveway of that decaying mansion on the eponymous street of its deeply metaphoric title. It’s delivered to Norma, not as a slap in the face but as a lifeline, but it’s really aimed at the audience; while it may come too late to save either of these two doomed characters, Wilder and Brackett clearly intended it as a message that it’s not too late for us.

Likewise, though we never see even a hint of queer identity depicted on the screen, the overtones and undercurrents of queerness are so recognizable — and would have been so to queer audiences even in 1950 — that it’s hard to convince us they are there by coincidence. Though neither Wilder nor Brackett identified as queer themselves, they were veteran workers in the Hollywood industry, and knew full well that there was a “secret world” behind the scenes that the censors of the time would never let them portray directly. Yet understanding that their film’s powerful message was equally relevant (if not moreso) to the queer community, they would have known that they could reach them with it, anyway. So when Joe Gillis, watching the grim nocturnal funeral for that aforementioned monkey from his window, voices his opinion that “it was all very queer,” you can be sure they chose that word on purpose, too.

Of course, for many queer audiences, understanding “why” they like it is not really necessary — after all, it’s an entertaining enough movie, with a wickedly transgressive attitude about social norms and constructs (the reversed gender dynamics between its two “romantic” leads add an overall sense of discomfort for anyone who might feel vaguely threatened  by such things), and if you’re a fan of old Hollywood, it offers a host of pleasures in its incorporation of real-life personalities — filmmaker Cecil B. DeMille and legendary gossip columnist Hedda Hopper make appearances as themselves, as do several silent stars (including Buster Keaton, Anna Q. Nilsson, and H.B. Warner) as Norma’s “bridge circle.”

Ultimately, though, what matters most of all is that it is a film with universal appeal — a timeless story, despite its aging stylistic and technical contributions — and the fact that it remains so after 75 years is testament of the universal power of cinema to speak to us regardless of when it was made.

Suzie Toot tapped her way into America’s hearts and international drag stardom during her epic run on RuPaul’s Drag Race season 17. The 25-year-old triple threat came in fifth place that year, after winning the talent show, the SNL challenge, and the Lip Sync Lalaparuza Smackdown.

Now that she’s conquered the small screen, Suzie Toot (aka Benjamin Shaevitz) is ready for her close-up. Suzie stars as Mimi Bouvèé-Truvé in Erynn Dalton’s horror comedy Big Easy Queens. The camp thriller follows rival mob bosses set on revenge, and Suzie plays the estranged sister of HBIC, Minnie Bouvèé (played by Eric Swanson). 

The LA Blade caught up with Suzie at home in Brooklyn to discuss creating the project, her love of Rocky Horror, and the highs and lows of life after Drag Race.

What’s been your biggest pinch-me moment since Drag Race aired and the world learned your name?

There are so many! There’s something to me about just seeing GIFs of myself and our season in reaction images and in the world. That really does get me. 

I feel like everyone shared your winning tap dancing talent video when that happened. That must have been surreal.

It was really, really cool. I forget sometimes, because that moment was tied together with the whole rest of everything starting to come out – I mean, 7 million views on Instagram. Oh, that’s major. That one’s a hard one to comprehend, for sure.

@rupaulsdragrace tappin' and tootin'  @suzietoot #dragrace #suzietoot #talent #tapdance #dancer #drag #dragqueen ♬ original sound  – RuPaul’s Drag Race

Who’s been the biggest celeb that slid into your DMS to say they were a fan?

Oh my gosh. I know that it seems obvious that Ru girls would swing by, but the first time, Jinkx Monsoon messaged me, I freaked. I cried. I was in the airport having a very bad day, and I was fully crying. Because beyond the RuPaul’s Drag Race of it, Jinkx’s documentary Drag Becomes Him was one of my favorite watches in high school. I’ve watched it 10-plus times. The journey, and the following a dream that is so specific to such a height. It really inspired me so, so, so much.

Big Easy Queens is set in New Orleans but was filmed in Florida. You’re from the oft-dissed state of Florida.  Right now, what do you love about the state?

Wow. Okay, because I, too, am one of the haters. However, I’m from Florida, so I have the right to hate. But Fort Lauderdale and Wilton Manors totally opened my mind when I first got there. I went to college in Boca, and I went down for an audition. It felt like bizarro land. From discovering my sexuality and discovering a queer community, mostly online, to suddenly being thrust into it. I started Suzie Toot right out of high school, and my first three years of doing drag were in Fort Lauderdale. So she is a Fort Lauderdale-grown diva. I think it’s one of the most beautiful places to just exist because of the people.

I love the way you’re styled in this film. Did you have a hand in Mimi’s look? 

Yeah, even back then, even when I looked a fucking mess, I was very protective of the Suzie Toot character. So Dan Gagnon was the costumer, and he built a lot of dresses, but did not have the faculty to build the entire wardrobe. So he and I did work on some stuff that I pulled from my closet that ended up in the movie that I was so excited about.

How did filming with the blood work? Did you have to be one-take wonders, because there’s no coming back after blood meets drag? 

Exactly, 100%. They built a thing that they called a Blood Sucker in order to fire the blood. They tested it, but we also didn’t have the budget for elaborate testing. And the funniest part, and you can see it in the film, is where the first patch of blood hits not me, but the back of my wig from the side, and fully ejects it from my head. Then they called cut, and everybody involved was on the other side of the camera – people that I had never met before were on the other side to watch the blood thing happen. And then people came up and we all did pictures covered in blood, because it was this big moment. Then, I turn around and I see my wig on the floor, and I did not know that my wig was off during all those pictures. I didn’t notice because I was preoccupied with the blood that was all over. But cover me in blood any day of the week. I loved it. Loved it!

Who’s your favorite scream queen?

Oh, you can’t do this to me! I’m a huge Scream fan. So, Drew [Barrymore]. It’s so good. I love when drag queens do that audio. Drew is so magnetic. And in the only five minutes she has in that series, it’s so incredible! 

Back to Drag Race for a moment. Having watched your season play out, if you could go back and redo one moment, what would you like to redo?

Oh my god, before the Lalaparuza ever happened, this question would haunt me forever. And the thing is, we didn’t know that that’s how [the season] was gonna end. We didn’t film [the Lalaparuza] til much later. So for the longest time, I was settled on the fact that I had a really great start and a kind of poor ending, and that’s okay. So the Lalaparuza kind of answered that question of, “what could I have done better?” 

What is the best advice you’ve received from another Drag Race girl about life after the show?

Oh, that’s a really good question. My number one, ever, ever, ever, is Kylie Sonique Love. The icon, legend, and All Stars winner told me to always have one outfit in your carry-on. You carry one wig, one outfit, and your makeup with you, and your wig on your person on the plane, so that, God forbid, anything happens to the checked luggage, you have one outfit. It’s already saved my life when I went to London. God bless Kylie Sonique Love; she knew what she was talking about.

Final question today. What’s your favorite drag movie? It can be a movie about drag, like The Birdcage, or a movie starring queens, like Big Easy Queens and Girls Will Be Girls.

My number one of all time always will be Rocky Horror Picture Show. That movie is so important to me. Seeing it was so important to my queer and political awakening. That is the blueprint that is the always and forever. Cult classics and cult followings are my special interests, my favorite thing; I’m fascinated by them. It’s the blueprint. Girls Will Be Girls and To Wong Foo are my other answers, but Rocky Horror is number one. 

Stream Big Easy Queens on Hulu, and follow all things Suzie Toot.

From the streets of the Boston projects to fabulous West Hollywood, Michael-Shaun Hennessey’s story is anything but ordinary. He is a man of many markers: a longtime AIDS survivor, mystery show entrepreneur, and former Power Rangers writer, Hennessey is now touring the world with an unlikely performance. Searching for Robert Hennessey is an autobiographical story chronicling his decades-long search for his father.

The show begins its world tour August 9th & 10th at Culver City’s Fanatic Salon Theater. It has already drawn praise from critics for its emotional depth, charismatic storytelling, and a final act twist that critics say feels “scripted by fate.”

“I had been working on the show off and on for the last three years,” Hennessey says, “and then in March, I was getting inspired by many of my friends who were writing and performing their own one-person shows so I decided to just go for it!” Hennessey details the process taking a whole month of nonstop effort where he made it “just in time” for the Hollywood Fringe Festival deadline.

Hennessey’s story is full of laughter, sorrow, and everything in between: escaping a cult, living with AIDS, and yes, kissing John Stamos. The show is not a typical autobiography – it is a full display of integral moments in Hennessey’s life. “I actually wanted to be sure I didn’t put any emotional guardrails up and this allows me to be as raw and connected to my story as possible,” he explains. “And it’s definitely paid off. People have said they’ve never seen a show where someone was so connected – mission accomplished.”

When watching the show, a central question emerges: was Hennessey’s story one of fate? “If I didn’t believe in fate,” Hennessey explains, “I absolutely do now after all the twists, turns, and the perfect people coming onto my pathway at the exact moment they were meant to.”

The mix of openness and drive has defined Hennessey’s creative life. Amidst everything, he founded a “mystery company” for children and hosted “mystery events” where children looked for clues to solve various mysteries. Looking back, he finds something deeper at play. “I absolutely believe that I created my mystery company subconscious because I had a mystery to solve of my own,” he says. “All of the children have absolutely inspired me to find my father because I would see them with their fathers and it would awaken my need to connect with my own.”

But it would be incorrect to say Searching for Robert Hennessey is solely about bloodlines; it is about finding one’s true self. “I believe that we each need to find what works and what doesn’t work for our own journey in our search for meaning and connection,” Hennessey reflects. “The main thing we all need to embrace is [something] we have within ourselves already.”

Hennessey finds these connections with various, seemingly random things. Numerical synchronicities and psychic signs weave throughout the performance. “When I first moved to Los Angeles from Boston, my mentor Dee Wallace recommended all of her students meet with her Reiki Master,” Hennessey tells the Blade,  “I was extremely resistant because I thought it was some kind of witchcraft and as a Born Again Christian queer man, it bothered me.” However, he overcame his previous fears and biases and attributes Reiki as playing a large role in overcoming AIDS. “I became a Reiki Master soon after and have felt beautifully connected ever since,” Hennessey proclaims.

As the show embarks on a world tour – culminating in a run at the Edinburgh Fringe Festival – Hennessey hopes queer audiences see themselves in the performance. “I truly hope my beautiful queer tribe will realize that they have the power within to make anything happen,” Hennessey succinctly states, “It is my hope that NAYsayers will become YAYsayers when they find that hope within themselves or within the circle of people around them. We are never alone.”

Next steps for Hennessey include Off-Broadway, a potential music version, and possibly a streaming series. In fact, there is even talk of a Grammy as the show could possibly qualify for a spoken word album. In the meantime, however, Hennessey has a goal: “We are seeking out LBTQAI+ theaters around the country that would welcome my story in the coming year.”

Hennessey leaves the readers with a simple, yet profound message: “Don’t stop believing and never ever give up!”

Searching for Robert Hennessey is not a show to miss. You can find tickets here.