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Leslie Jordan on Whoopi, Gwyneth, ‘Will & Grace’ and the one topic he won’t discuss

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Leslie Jordan, gay news, Washington Blade
Leslie Jordan, gay news, Washington Blade

Leslie Jordan says his career got a second wind when he started doing one-person shows. (Photo courtesy Jordan)

Washington Blade presents

 

Leslie Jordan Live!

 

7 (sold out) and 9 p.m.

 

Friday, June 10

 

Studio Theatre

 

1501 14th St., N.W.

 

washingtonblade.com/leslie

 

Leslie Jordan is one of those actors pretty much everybody knows, but you have no idea how many things he’s been in until you look up his IMDB page.

Films “Sordid Lives” and “The Help,” one-man shows “My Trip Down the Pink Carpet” and “Straight Outta Chattanooga,” and a TV filmography that looks about as vast as that of Cloris Leachman — most notably “American Horror Story: Coven” and, of course, “Will & Grace,” the landmark sitcom that won him an Emmy for his recurring role as Karen’s nemesis Beverley Leslie.

Interviewing him, you kind of expect the frequent giggles and pronounced Southern drawl. What you don’t quite expect is the (almost) no-holds-barred honesty, rare in nicey-nice, PR-drenched Hollywood. He’s here Pride weekend for a packed spate of activities including two Washington Blade-sponsored shows at Studio Theatre on Friday, June 10. He will serve as a Pride parade grand marshal on June 11 and participate in Night Out at the Nationals on June 14. We spoke with him by phone from his home just outside of West Hollywood. His comments have been slightly edited for length.

WASHINGTON BLADE: So it looks like you’ll be quite busy next weekend in our fair city.

LESLIE JORDAN: Yes, it’s all worked out so beautifully. I’m doing the parade, I’m doing this show at Studio Theatre with the Blade and I’m going to throw the first ball out with the Washington Nationals. I’ve been practicing. Who knew I was such a good pitcher, but I am. … I’m a little concerned after this incident with the Padres — I hope I don’t get heckled. I don’t really think I will, but you never know in this day and age. I’m excited to see my friend, Ty Herndon, who will be in town for his own show at GALA Theatre, so it’s just fabulous that all this has come together. I asked the Pride folks if I could have a pony to ride in the parade, but they said no. I said, “Well, can I at least have some pretty boys dressed up as horses to dance with me?” I have this riding outfit I want to wear. So there’s a lot cooking right now.

BLADE: You were a jockey, right? So you certainly know your way around a horse.

JORDAN: Oh yes, for many, many years. Did you hear about the incident at the Starbucks?

BLADE: You threw a drink at somebody, right?

JORDAN: Yes, these three boys came in all cracked out at 9 o’clock in the morning. And listen, these weren’t straight boys. People said, “Oh, they were here to bash the gays.” No honey, listen — these were gay street kids. … They started acting out and I was like, “We can’t have this at the gayest Starbucks in the world.” I told them to get the fuck out. One of them came at me, so I threw my iced tea right in his face. … Anyway, it was a huge ruckus. I got a lot of mileage out of it for my one-person show.

BLADE: You’ve had several standup shows — “My Trip Down the Pink Carpet,” “Straight Outta Chattanooga” and so on. Do you do one for a while or different ones in different cities? How does it work?

JORDAN: It kind of started when I worked with Lily Tomlin years ago on a show called “12 Miles of Bad Road.” She asked me if I made any money doing my stand-up show. I said, “Well, it’s $1,600 just to ship my set.” She said, “Your set? You don’t need a set. Just you and a mic.” So you land somewhere, then you add the bells and whistles. So that’s kinda been the way I’ve done things. When I won that Emmy 10 years ago, I thought my career would spiral but nothing. It was the oddest thing. I called my management after a year and said, “I can’t eat this Emmy. I can’t get any TV work, what am I gonna do?” And I did the smartest thing I’ve ever done. I called this marketing firm out of Palm Springs and said, “Market me. I’m so popular with the gay community. I’ll do one-person shows, I’ll lead parades, you know, just whatever.” So now I’m up to 44 venues a year and I just adjust whatever I’m doing for the place, you know, sort of like a musician with a set list.

BLADE: Does your concept change?

JORDAN: Once a year, the marketing firm calls and goes, “What’s your new show called?” and I just go, “Um,” and I make up a new title. I’ll say, like, “This one’s called ‘Full of Gin and Regret,’” and they’ll go, “OK, that’s good.” But it’s all kind of the same show. Sometimes they’ll call and go, “OK, girl, you gotta quit trotting out all this old stuff, all this ‘Will & Grace’ stuff and so on,” but I kinda disagree with that. I think it’s kind of like when you go hear a band. Nobody cares about their new album. You want to hear their old stuff. … I’m booked all summer, then on July 7, I go back to “American Horror Story” with Lady Gaga, isn’t that fun? I did one season on “Coven.” They offered me another season but I got offered a reality show in London and I needed the money. Let me tell you, those reality shows pay a lot of money. So I turned down “Freak Show,” biggest mistake of my life. I didn’t think Mr. (Ryan) Murphy would want me again because I turned him down, but he did.

BLADE: Have you met him?

JORDAN: No. When I was doing “Coven,” he was doing “Normal Heart” for HBO, so I never got to meet him. But he was very involved. In one scene, I said, “I don’t think I’m going to wear my glasses in this scene,” and they said, “Well, that’s really a Ryan question.” They had him on the phone in like two minutes and they came back and told me to start the scene with them on, then take them off to gesticulate. That’s how involved he is. … Same thing with David E. Kelley. I’ve done like every show he’s ever done but I’ve never laid eyes on him either. They’re both very, very specific.

BLADE: Was the “Will & Grace” set fairly friendly? Were you and Megan Mullally pals?

JORDAN: They all got very famous together and very, very rich together. People thought I was there hanging out all the time and so on, but I only did maybe three a year or something like that. Everybody was friendly to me, but it wasn’t a big part of my life. I didn’t come on until the third season. But there was some real magical stuff happening. It was a very popular character. I remember once I walked out and the audience went so crazy, the director said, “We had Elton John on last week, he didn’t get that kind of reaction.” He said, “You all need to calm down, he ain’t that famous.” I said, “Yet!”

BLADE: Sean Hayes (Jack) didn’t come out until years after the show, which always seemed so odd to me. Was he out to the cast and crew?

JORDAN: You know, Sean, I would never put him down in any way, but Sean and I never really had a real conversation. He was like that person you work with and you’re always friendly, “Good morning,” and so on, but never once do I remember having a real conversation with him. Somebody asked me about him once in an interview and I said, “Yeah, like anybody’s gonna blow her cover.” It got printed and, I don’t know. I remember we were sitting right next to him at the Emmys and my mother even noticed it. She said, “He hasn’t said much.” I said, “Well, he’s gonna be on stage, he’s nervous.” But to answer your question, I never really knew him that well. He’s a lovely boy.  … People think we just bond so much on those sets, but it’s not like that. You go to work and do your thing. We had a lot of fun. … The only one I really keep up with now is Megan. I’m not going to do it anymore, but people have sometimes asked me to ask her for something, you know, like a charity thing or something. And she’s done it, but I feel bad — people ask them for so much all the time.

BLADE: I bet.

JORDAN: I love ‘em all. I ran into Eric (McCormack) on the street in London. He said, “I’m here with my show (“Perception”).” I don’t watch TV at all. I’m kind of in my own little world, I read. … I said, “Oh, is it a pilot?” He said, “Uhhhh — no, we’re in our fourth season.” …. Debra (Messing) I haven’t spoken to at all but when I won the Emmy, she sent me this huge orchid that must have been like $800 or something.

BLADE: So you’re shooting a sequel to “Sordid Lives”?

JORDAN: Yes, I return as Brother Boy. I’m in the mental hospital but I’ve escaped and I go on the lam with a serial killer. We shot it in Winnipeg, then we’ve got about a week in Dallas left to finish it. You know, you watch these comedies with Melissa McCarthy and so on. And they’re funny, but nothing is as funny as this. You have no idea. It’s so outrageous.

BLADE: And Whoopi Goldberg is in it too?

JORDAN: Yes. She rode a bus up to Winnipeg from New York, shot for like five hours, got back on the bus and went home. I said, “Do you remember me from ‘The View’? I got up and danced and almost kicked you in the face.” She said, “Uh-uh.” I think there’s some pot smoking there, but what a lovely human being. So down to earth. … She’ll blow a line and just say, “Shit, let’s do it again.”

BLADE: Where do you get your clothes? Do you have them custom made?

JORDAN: I shot a pilot for Lily for HBO that never made it on the air. They built me a whole wardrobe. I have about five suits. I was supposed to play the richest man in Texas, so I have these velvet smoking jackets, pants. … The other day I looked in my closet and said, “You know, my wardrobe is complete.” I really don’t need to buy another thing ever. … I’ve lost a lot of weight. I’m down to about a 30 waist. I can wear jeans I wore in high school.

BLADE: How did you do it?

JORDAN: I swim in the morning and do the treadmill and I never miss a day. … I also just really, really got into my diet. Sugar is the enemy, period. If people would just cut that out, but oh my God, it is difficult.

BLADE: You know a lot of people in the industry and live near West Hollywood, yet you travel so much. What’s dating like? Are you in a relationship?

JORDAN: Well, that’s the only thing I don’t talk about. It’s complicated and I learned that a long time ago. But I’m happy. Real happy. It’s caused so many problems over the years, that I just learned to zip it. Relationships are hard enough without that kind of burden. You know how Gwyneth Paltrow was never photographed with her husband? People say, “Oh please, what’s that about?” I’m nowhere near that level of fame, so I can’t even imagine, but that’s just the way it is. But let’s just say I’m very happy.

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Rehoboth author’s new book tackles love, loss, and the allure of P-town

Will Freshwater’s series concludes with ‘The Dark Horse’

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Author Will Freshwater’s new book ‘The Dark Horse’ is out now.

For those of us who have experienced the allure of Provincetown, there’s no mystery about why author Will Freshwater set his series of three books there. 

It’s not just about the scenic, remote location, or the many fine restaurants and spirited bars and nightclubs and theme weekends. Not just the picturesque harbor and its famed magical light. It’s about a shared sense of community unique among LGBTQ destinations.

Freshwater, whose latest book “The Dark Horse” is out now, lives in Rehoboth Beach, Del., with his husband Stephen Cremen. And although Rehoboth became home after Freshwater retired from a career as a corporate attorney at Verizon in 2021, P-town always beckons. He first visited during the height of the AIDS crisis.

“I don’t think we’ll ever experience anything like that again,” he said. “The community welcomed anyone who showed up on the ferry looking for love and support; it was a transformative experience.”

Freshwater’s parents worried that he’d never find a “normal,” happy life as a gay man, but P-town put those fears to rest.

“I saw people who were plenty happy and living lives that were what they wanted to be,” he recalls. “I had never been able to hold my boyfriend’s hand and walk down the street; young people can’t conceptualize that. It felt like home for me … it felt welcoming, a warm place where I could be myself.” 

So, naturally, the protagonist in his series of books, John Wells, travels to P-town from D.C. to find himself. 

The first book in the Provincetown series, “Favorite Son,” is a familiar read to any gay man of a certain age who worked on the Hill in the 1990s — the sting of the closet, the need to be the best at work, and the chance meetings of romantic partners while riding the Metro. The story of John Wells, a senior Hill staffer, takes a turn after tragedy sends him reeling to P-town to heal. 

The second book in the series, a prequel titled “The Light Reflected,” takes readers back in time when the main characters — all gay men — are in their 20s. Freshwater says it wasn’t a conscious decision to write a prequel, but that it evolved out of wanting to show younger readers what life was like for gays at that time.

“We did stupid stuff and made stupid mistakes and ran away,” he said. “As a reader I often want to know what made a character a certain way. I was aware of my audience and in my generation I had the older mentors that shared our history and they died; I wanted readers to see what it’s like for these characters to be in their 20s not just their 30s. I wanted to give that perspective to younger readers because I don’t know how they’re going to experience that if not through books.” 

The new book, “The Dark Horse,” finds the characters Danny and Peter/John in domestic life in Boston where Danny runs the family business. Everyone is feeling restless and a bit miserable. 

“It’s about what happens after the fairy tale,” Freshwater said. 

The book also confronts the issue of unresolved feelings for past boyfriends, which takes the characters back to Provincetown. There’s a shocking plot twist at the end of the second book, an unexpected ending for the romance genre, that is resolved to satisfaction in the final book. 

“You won’t know until the final four pages of the book how it resolves,” he notes.

This is the shortest book in the series and Freshwater says it took just 11 months to complete, compared to six years for the first book and eight years for the second book.

“There’s a great sense of closure and I can always visit these characters but I’m excited to move on and do new things.” 

Indeed, Freshwater is working on several new projects, including a book set in Rehoboth that he’s co-writing with a friend, the gay romance author B.J. Irons. Freshwater is writing one character, a Rehoboth local who manages an inn on Baltimore Avenue and wants to “break out of his shell.” Irons is writing the other main character, a developer from Los Angeles who moves to Rehoboth to open a large resort across the street from the inn. The book explores their friendship and business rivalry. 

Rehoboth became home for Freshwater and Cremen thanks largely to the pandemic.

“I’d been coming here since age 3 because it was the closest beach to Pittsburgh,” he said. “When I was in law school I got introduced to a guy who had a house on the beach between Rehoboth and Dewey so I used to come down a lot in the mid-1990s and became hooked.” 

The couple bought a house in Rehoboth in 2018 and split their time between there and a home in New Jersey. 

“When the pandemic started, we went to Rehoboth for two weeks thinking it would all blow over quickly and then never went back.”

 The couple began questioning their stressful lifestyle of maintaining two homes and corporate jobs. So they sold the New Jersey house and moved full time to Rehoboth in 2021. 

In addition to the new book, Freshwater is writing a children’s book using the classic “Velvet Rage” as inspiration. It features a puppy with a pink spot on his cheek while all the others in the litter have a black spot. The dog wears a mask to conceal his difference, but when it comes out everyone accepts him.

“It thematically speaks to not hiding who you are,” he said.

Freshwater offers sound advice to aspiring writers struggling to find their voice and overcome writer’s block.

“It always starts with an idea or character or theme and then you develop a broad outline and then work your butt off,” he said. “Decide when you’re going to write and make a commitment that you’re going to do it, like an athlete who commits to practice every day from 3:30-5:30. Don’t wait for inspiration, just commit to writing every day, and then edit, edit, edit until it feels like what’s inside your head.”

 The new book is self published because Freshwater craved creative freedom. 

“I’m not sure what traditional publishers have to offer anymore,” he said, “like YouTube for musicians, if you’ve got what you think is a high quality manuscript, put it out there and it will generate a following.” 

Freshwater will read from “The Dark Horse” at an event on Saturday, March 23, 5-7 p.m. at Top of the Pines (56 Baltimore Ave., Rehoboth Beach). His books are available at Amazon and anywhere books are sold. 

(Amazon screenshot)
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‘Tiger’ burning bright: an interview with Mary Timony

Today’s female-driven music scene wouldn’t be the same without her

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Mary Timony is back with a new album. (Photo by Chris Grady)

It’s hard to imagine what the current female-driven music scene would be like without Mary Timony. From Sleater-Kinney to Haim, from Angel Olsen to Mitski, the influence of Mary Timony is in every note being played, every word being sung. On her new solo album, “Untame The Tiger” (Merge), with its sly nod to Joni Mitchell, Timony has brought her many years of musical experience to the fore, resulting in what is easily her most accessible release. Beginning with the incredible six-plus minute opener “No Thirds” and continuing through the first single, “Dominoes,” and gorgeous numbers including “The Guest,” “The Dream,” and “Not The Only One,” Timony is assured to keep listeners purring along. Timony made time for an interview shortly before the album was released.

BLADE: Mary, I’d like to begin by talking to you about your musical lives in D.C. and Boston. I went to college in Boston in the early 1980s and was constantly amazed by the bands of the era such as Mission of Burma, Human Sexual Response, and ‘Til Tuesday. I moved to D.C. in the mid-1980s to go to grad school, and at the time, the music scene there was dominated by go-go music, and a smaller indie music featuring BETTY and the late Tommy Keene, among others. What do you remember about the music in D.C. as someone who grew up there?

MARY TIMONY: That’s interesting. We kind of did a switcheroo. I’m from D.C. and I moved to Boston. (In D.C.) I learned, as a teenager, about rock shows and rock music from being involved in the punk scene, the post-hardcore scene of kids here. Those are the shows I went to in high school. Basically, the Dischord (Records) bands and stuff. I saw every single Fugazi show from when they started in ’87. Before that, whatever was happening in 1985, hardcore shows by Swiz and Soulside and Kingface and I loved Ignition. Other than that, I would go see bluegrass out in Virginia and I loved go-go. I would go to see (go-go bands) Rare Essence and Trouble Funk. I was very into that stuff; that was really exciting. I think I liked go-go the most out of all of it, actually [laughs]. I would go to DC Space and 9:30 (Club), mostly for local (acts). I don’t think I ever saw BETTY, but I was a teenager then.

BLADE: Was the active music scene in Boston in the early 1990s part of the appeal for you when it came to relocating to Boston to attend Boston University?

TIMONY: The reason why I went there was because I wanted to go to a music program that was in a big university, in case I didn’t wanna study music the whole time, which is exactly what happened. I studied classical guitar for a year and then I didn’t really like the program much, so I transferred to study English. I found out about the (Boston) music scene from friends. We went to The Middle East (nightclub) and TT’s (T.T. The Bear’s nightclub). Then after college, I ended up living right down the street from The Middle East and I was there constantly.

BLADE: Good old Central Square! As a performer playing in bands including Autoclave, Helium, and Ex Hex, and as a solo artist with her own band, it’s not unreasonable to say that Mary, you are someone who plays well with others. 

TIMONY: [Big laugh.]

BLADE: What makes you such a good team player?

TIMONY: I didn’t know I was [laughs]. I’ve gone back and forth between doing solo stuff and being in bands. Mostly, I’ve done projects where I’ve written a bunch of songs and I’m trying to…I haven’t done a ton of collaborative stuff really. Ex Hex was fun because it was more collaborative. Wild Flag, the same thing, totally 100% collaborative in every way. But Helium was really my thing, but I got some great people that totally influenced it. I’ve always been doing my own thing but tried to find really good people. Music really is about connection. It’s never as good if it’s only one person’s vision. Usually, if it’s good it’s good because of the connection between the musicians. Music is a social art form, I think.

BLADE: “Untame The Tiger” is the title of your new album. In 1999, Joni Mitchell titled her album “Taming The Tiger.” Are you, in any way, making a nod to Joni?

TIMONY: A little bit because I am a huge fan. I have been since I was 18. But, it sort of came to me because I have a song called that on the record and I’m sure that probably came from ripping off Joni Mitchell. Then I just thought that’s a cool name for a record. Then I thought, “Oh, shit!” [Laughs] It’s already been taken! Then I thought about it and then I forgot about it. Then I thought about it again and finally, I was like, “It’s OK. It’s a little bit different.” And I love her!

BLADE: I’m currently reading Ann Powers’ book “Traveling: On the Path of Joni Mitchell,” which comes out in June.

TIMONY: Oh, I’m definitely going to have to read.

BLADE: Yes, please add that to your reading list. “Untame The Tiger” is your first new solo studio album in 15 years. Are there things you write and sing about on your solo records that might be out of place on an album you would record with another one of your musical outfits?

TIMONY: Yes. That’s why this ended up being a solo record. I guess it was because of the tuning of my guitar. They were more or less finished songs. I wanted the songs to sound kind of acoustic. I also wanted to play with a bunch of musicians who I really love. All those things just made it seem like a solo record. If I’m writing for a band, like Ex Hex, which is basically the other band that I do right now, they’re not finished. I bring them in (to the band members) with that band in mind.

BLADE: I love the lush instrumental section on “Thirds” and the psychedelic sounds of “Looking For The Sun” and “The Guest.” Were there things you were listening to while writing the songs for “Untame The Tiger” that were inspiring to you?

TIMONY: I was listening to a lot of music, a ton of stuff. I don’t ever try to purposely emulate anything very often, but I can’t help it. I’d rather be influenced by stuff without really thinking about it too consciously. I always have loved listening to The Left Banke’s instrumentation and The Moody Blues’ string parts. Most of the string parts come from trying to emulate The Moody Blues [laughs] or The Left Banke. I’m obsessed with The Left Banke.

BLADE: “Walk Away Renée,” right?

TIMONY: Yes. This guy, Michael Brown, was such a genius. He wrote so much stuff as a teenager. His dad was a string arranger. Anyway, I love those string parts. I was listening to this prog-rock band The Strawbs and this early (Ronnie) Dio band Elf. (The Flying) Burrito Brothers and The Byrds, too. I love Fairport Convention and Steeleye Span. Richard Thompson and I was really obsessed with Gerry Rafferty’s early solo record called “Can I Have My Money Back?” I love that record. I was listening to it a ton when I was arranging the songs.

BLADE: Why was the song “Dominoes” selected as the first single from “Untame The Tiger?”

TIMONY: I don’t know. I let other people tell me [laughs]. I really hate sequencing records and I hate choosing singles. I’m just too close to it. I can’t tell what people are going to like or not. A lot of times, the ones that I like are not the ones that other people like. I asked (the people at) the label and they suggested that. I think it’s more poppy sounding. Dave Fridmann mixed that one and “Don’t Disappear” and he’s a genius mixer. and these mixers are always very pleasing and accessible sounding. I think that has something to do with it, too.

BLADE: Earlier, we talked about your long history of playing music with others, which reminded me of your guest spot singing “All Dressed Up In Dreams,” written by gay singer/songwriter Stephin Merritt for his band The 6ths’ “Wasps’ Nest” album. 

TIMONY: He’s such a genius!

BLADE: How did that come about?

TIMONY: When I moved to Boston, for a year I lived with Claudia (Gonson of Merritt’s band The Magnetic Fields), who is his drummer. I lived in a group house in Cambridge. I was friends with Claudia, and Stephin lived a few blocks away. She told me he was making this record with guest singers they wanted to go over and sing on it. I went over there one day and he taught me the song and I sang on it.  I think he’s one of the best songwriters of the last 50 years or whatever.

BLADE: I completely agree. As someone who has collaborated with Stephin, are you aware of an LGBTQ+ following for your own music?

TIMONY: I don’t know. I think maybe a little bit. I’d love that. I love everybody who can connect with it, because all I’m trying to do is connect with people.

Mary Timony (Photo by Chris Grady)
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Sherry Vine is turning 60 — and she’s not quitting anytime soon

Legendary drag queen coming to D.C. for new show, ‘Smoke and Mirrors’

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Sherry Vine performs in D.C. on March 9. (Photo courtesy of Sherry Vine)

There are many things Sherry Vine is proud of. Throughout her 33-year-long career, the drag queen has accomplished so much — she’s released music, launched her own variety show and toured across the United States and Europe. 

But what she loves the most about her career is making people laugh. 

This calling to be a comedy queen started before her formal drag career. In high school, she remembers taking part in the musicals, and Vine would find joy in making people laugh by wittily changing song lyrics. 

“Then it just evolved into doing that as the act,” Vine said in an interview with the Blade. 

From the beginning of her career, she’s made singing live parodies a central part of her performance as a drag queen. And for her 60th birthday, she knew she wanted to put on an extravaganza. 

Vine is coming to the Woolly Mammoth on March 9 while on tour for her new show “Smoke and Mirrors,” performed and written by her. It’ll include new parodies, from Bruce Springsteen to ABBA. The D.C.-based drag queen Tara Hoot will be a special guest at the show. 

There’s a lot that led up to this milestone year for Vine. It all started with developing her character more than 30 years ago. 

Developing Sherry Vine

Vine describes her persona as a down-on-her-luck showgirl from Las Vegas with a heart of gold. 

She was always obsessed with stars like Joey Heatherton and Stella Stevens. Not to suggest those stars are down-on-their-luck showgirls, Vine said, but she wanted to evoke a sex kitten mentality. Her character eventually morphed into what it is today from these inspirations. 

But at first, Vine said she thought she had to look funny to be funny. 

“I didn’t care about the makeup. I didn’t wear big breasts. I just thought I had to look like a clown,” Vine said. 

When she moved to New York City in 1992, she was surrounded by queens who balanced being funny and gorgeous simultaneously. That was eye-opening for her, she said. 

Now, she relishes surprising people, she said. She’s been told she looks “too pretty” to be taken for a comedy queen, but that’s OK with her. 

“I want to walk out on stage, and anyone who’s never seen me, maybe they’re like, ‘Oh, she looks good,’” Vine said. “And then I started singing about poop and penis and they’re like, ‘Oh my gosh, she’s so stupid.’”

When she was starting out as a drag queen, Vine reflected that she didn’t envision doing drag as a career. She remembers not wanting to commit to it. She wanted to be a movie star, she said. 

“I kind of fought it. I loved it,” Vine said. “But I was like, I’m not doing this as a career.’”

But once she let go of fighting it, her career exploded. She got connected with RuPaul and was on two television specials in the 1990s. That support was crucial, Vine said, and helped her believe in herself more. 

“I was like, ‘Oh, OK. If this person thinks that I have something, then maybe I do,’” Vine said. 

Drag has changed — a lot 

(Photo courtesy of Sherry Vine)

The drag scene has changed drastically. Vine credits a lot of this transformation to “RuPaul’s Drag Race.” 

“When we started doing drag 30 years ago, no one in their right mind would have been like, ‘I’m going to do drag so I can make a lot of money and be famous,’” Vine said. 

Before RuPaul’s iconic single “Supermodel (You Better Work),” one of the only examples of drag the average consumer saw was “Mrs. Doubtfire,” Vine said.  

“You had to have a passion for it,” Vine said. “You had to have a calling.”

When Vine started, drag was a fringe art form that had an audience of mostly gay men. 

Nowadays, it’s mainstream. Drag is enjoyed by a much wider audience, and is more of a way to become famous. When Vine was coming up in the industry, there were few ways to get on TV and in films as a drag queen, short of playing a character that was murdered on “Law & Order,” she said. 

But even though drag has evolved and grown in popularity, Vine’s advice to drag queens has stayed the same over the years. 

“Don’t try to do something because you think someone else is doing it successfully,” Vine said. “Find what you do, and then exploit and explore that.”

Looking back, looking ahead 

Out of her multi-decade run as a drag queen, Vine said she’s most proud of the longevity of her career. There are a few people who have been in it as long as she has — Lady Bunny and Miss Coco Peru, for example. Few others have made it as long as Vine, she said.  

She stresses that she can’t take credit for creating things, but she takes pride in being one of the first drag queens to go viral on YouTube in the 2000s. Her “Bad Romance” parody, released in 2009, racked up more than 6 million views over the years. 

In the next few years, she’s looking into doing more television and film projects. Her latest show, “The Sherry Vine Variety Show,” just wrapped filming its third season. Creating this show is fulfilling a childhood dream of hers, she said. It’s an homage to “The Carol Burnett Show,” which Vine grew up watching. 

Whether it’s performing on camera or onstage, Vine doesn’t see herself quitting anytime soon. 

“I love performing and drag as much now as I did 33 years ago,” Vine said. “So I don’t see ever stopping.”

To get details on how to buy tickets to “Smoke and Mirrors,” visit woollymammoth.net/productions/sherry-vine.

(Image courtesy of Sherry Vine)
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