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DC Kings find community on stage

After 10 years, local drag troupe flourishes at Phase

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The DC Kings have been around for 10 years and perform monthly at Apex. (Washington Blade photo by Michael Key)

The DC Kings are a diverse group of entertainers and gender variant performers that do more than just male impersonation and lip-syncing.

Started as a drag king troupe in 2000 by Ken Vegas, the Kings have expanded the scope of their performances, bringing in other styles that are considered empowering, including live singing and burlesque.

“I liked the fact that they were more than just a drag king troupe,” said Aaliyah Tensley, a drag king, also known as Enigma (formally Vicious) and Ruben Esque Foxx, who has been performing with the Kings since about 2007. “I liked the fact that they had diversity.”

The Kings performed monthly at Club Chaos until it closed in 2007. That monthly performance led to another monthly show at Apex as well as Phase 1 where they perform on the second Sunday of every month.

“I started in earnest with the Kings here. I did drag once in college,” said Jill Raney, also known as Shawn McPenis, who celebrated her two-year anniversary with the Kings at Sunday’s show at Phase 1. “It wasn’t quite the right fit for me at the time.”

Cameron Obscura is another king who had some drag experience before joining DC Kings.

“I was kind of forced upon it,” said Obscura on why she first started drag. “I was the only person with a low enough voice to play the wolf from ‘Into the Woods.’”

She played other male roles including Tybalt from “Romeo and Juliet” and the Tin Man from “The Wizard of Oz.”

Rachael Harris, also known as Bona Fyde, didn’t know about drag kings before being introduced to the DC Kings.

“One of my friends was obsessed with Ken Vegas,” said Harris. “She kept talking about him and we went to a show and I was like, ‘that could really be something I would be interested in.’”

Drag kings haven’t yet had the mainstream media exposure of drag queens.

“Drag queens are more publicized,” said Tensley. “It’s a form of entertainment. It’s an art that we put our hearts into and a lot of creativity into, just as much as drag queens.”

“I think queer media can do a better job,” said Raney. “I don’t honestly trust mainstream ‘hetero’ media to treat us in a respectful way at this point.”

“It’s unfortunate that not a lot of people are really as aware of drag kings as they are drag queens. I think [drag kings] have been jilted,” said Obscura.

Raney said one contributing factor to this problem is the small number of lesbian bars and clubs that can accommodate a stage performance.

Performing in drag has helped some kings in their everyday life and members say the DC Kings offer a sense of community.

“I’m a photography student,” said Obscura. “I started a book on gender performance two years ago. I noticed that it started to get a little tilted. I was feeling it was very one dimensional.”

Performing in drag seemed like the most reasonable solution.

“The only way that I could actually bring an extra dimension is if I join a drag show and performed regularly so I could bring my insight as a regular drag performer into my book,” said Obscura.

The experiences have brought about some more personal changes as well.

“It helped me build a sense of confidence,” said Raney.

Harris has observed new members who come into DC Kings quiet and shy, but after performing, they start becoming more comfortable with themselves.

Obscura became more confident about her sexuality and gender identity.

“I’ve always [ridden] a line,” said Obscura. “I was the most femme of my butch friends and the most butch of my femme friends.”

When developing their drag persona, the kings say they look to celebrities and other prominent males in their lives.

“For my character, I try to model him after Frank Sinatra and Clark Gable, and surprisingly Lil Wayne.” said Harris. “I love Lil Wayne, but I don’t have the guts to actually perform as him.”

“Drag kings should be able to be as fabulous as queens,” said Obscura, whose character is one half Oscar Wilde and one half Danny Elfman. “I’m definitely into the showmanship of Oscar Wilde.”

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Lesbian Bar Project co-founder: purity politics could destroy our remaining spaces

Last Ditch’s decision to lift its mask requirement for one night a week has sparked intra-queer controversy

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(Design by Soph Holland)

Uncloseted Media published this story on Sept. 29

By ERICA ROSE and THE LESBIAN BAR PROJECT | As a professional lesbian and Massachusetts native, I’ve recently been asked by a lot of folks what I think about the saga unfolding at Last Ditch. The now-viral story, first reported by the Boston Globe, centers on a Western Massachusetts lesbian bar that lifted its mask requirement for one night a week to help drum up business.

The decision ignited an intra-queer controversy that has been feasted on by media outlets across the political spectrum — from the New York Post to LGBTQ Nation — and is even reportedly being eyed for a Hollywood adaptation. Apparently nothing is more entertaining than a bunch of lesbians and queers fighting with each other over KN-95s.

What has been lost in all of the chatter and media coverage is the very real possibility that Last Ditch, which just opened in April 2025, will have to close its doors. The venue’s one remaining founder, Jackie Matellian, revealed in a community Zoom meeting that she’s working four jobs, is now solely responsible for the bar’s $50,000 business loan and is struggling to keep up with the bills. So as we laugh about the controversy’s similarity to a “Portlandia” skit and how one of the bar’s founders left to enroll in clown school, we forget that yet another lesbian bar is facing an existential crisis — and this time the call is coming from inside the house.

In 2020, my friend Elina Street and I created The Lesbian Bar Project, an Emmy-, Webby- and GLAAD Media Award-winning docuseries and initiative that tells the stories of lesbian queer bars around the world. We were moved to act because at the time there were only an estimated 16 lesbian bars in the United States, and the pandemic threatened to bring that number down even further.

There are now more sapphic bars than there were just before the pandemic — about 36 of them in total — but this is down from approximately 200 in 1980. Maybe that doesn’t mean much to you, but for the millions of sapphics living in the U.S., this number is calamitous.

As the world laughs at lesbians and sapphics, I want to take a second and tell you what I feel when I walk into one of these bars, which are all unique and irreplaceable in their own way: I feel seen.

Sometimes I think Cubbyhole in New York City’s West Village neighborhood knew I was gay before I did. When I walked in there for the first time, before I was even out, I was transfixed by the colorful array of tchotchkes hanging from the ceiling and how the women standing next to me were completely unafraid to express their desire for one another. I knew the minute I was ready to come out, I had a home. I also felt the joy of a new couple falling in love at Seattle’s Wildrose, the quiet confidence of a short king lining up her shot at the pool table at Ginger’s in Brooklyn and the kick of cayenne pepper in Julie Mabry’s crawfish at Houston’s Pearl Bar.

Lesbian bars don’t just serve lesbians; they serve queer folks across the spectrum, including bisexual, pansexual and trans people. As Elina and I traveled across the U.S. and Europe and to parts of Latin America to document the bar owners, staff and patrons that make up the ecosystems of these spaces, we also became uniquely acquainted with the factors that threaten their existence: gentrification, wage gaps, sexism, environmental disasters, gun violence, rising insurance premiums and political administrations working to annihilate queer people and their families.

Lesbian bar owners, like all leaders and entrepreneurs, are imperfect. There have been significant issues over the years at lesbian bars: employee harassment, racism, lack of accessibility, sexual assault and transphobia. All bar owners should be held accountable and should listen to their communities to evolve into safer and more equitable spaces. I also acknowledge my privilege: I am able-bodied, white, cis and from a family system that loves me for who I am. Not everyone has that.

Queer people, especially trans and bisexual people, are suffering from disproportionately high levels of depression, and our mental health system isn’t equipped to support them. Immunocompromised people and long COVID are real, and many of my friends are suffering to this day. The people with the least safety net are often the ones for whom a bar closing costs the most. And yet, as we’re seeing with Last Ditch, the queer community often lashes out at each other. It’s also the mainstream media taking the internal conflict and making a mockery out of it, distracting from the real possibility that this bar could close due to financial pressures. A bar that many people loved and needed is facing extinction. Perhaps it’s safer to dissent with one another than with the larger forces trying to eradicate us, but in doing so, we risk destroying the few spaces we have left.

Due to the constraints of purity politics — some in good faith, some not so much — lesbian bar owners, almost all of whom are queer women themselves, are forced to be everything for everyone, similarly to how women are forced to be everything for everyone. By asking these bars to uphold impossible standards — standards very few other third spaces are asked to consider — we all end up losing.

I want to move as a community toward dialogue, compassionate dissent and collaboration to make our spaces better with the goal of keeping them OPEN and thriving, rather than destroying them from the inside with expectations that are arguably unattainable.

While I have your attention — for this fleeting second of the news cycle — may I urge us to spearhead a way to keep these small businesses afloat without attacking our own community along the way? Bar owners are left with an impasse: They want to be community-centered, but they also have to make money to keep their doors open. Sometimes they might make business decisions that don’t work for everyone — and that’s partly because different patrons have different priorities and want different things — but these owners deserve the opportunity for productive dialogue. We have to work with them and with each other to keep our spaces open, to keep them growing.

Lesbian bars raised me into the queer woman I am today. One thing I think about as I reflect on the six years of work we’ve done to document these spaces is that shared, unspoken language I have with a stranger the moment we both walk into one of these bars: the nod, the ease, the not having to explain ourselves. I don’t want to lose that, and neither should you.

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Queer Magic dance party planned

Tarot, dancing, drag and more at Black Cat event

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Celebrate the start of Pride month at the Queer Magic Dance Party at the Black Cat on Saturday, June 6. Doors open at 9 p.m.

There will be pole performances and demonstrations, a free photo booth with glitter bar, a queer vendor market, tarot readings by Skye Marinda Tarot, a drag performance by Sapphica, and dancing to a blend of smooth R&B, Afrobeats, hip-hop and pop by Slammer & Saba. Tickets are $20 at the door or $15 (plus fees) in advance, purchased here.

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Here’s where to watch ‘RuPaul’s Drag Race’ with fellow fans

Entertainers TrevHER and Grey host event with live performance

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(Photo by New Africa/Bigstock)

Spark Social Events will host “Ru Paul’s Drag Race S18 Watch Party Hosted by Local Drag Queens” on Friday, Jan. 23 at 8 p.m.

Drag entertainers TrevHER and Grey will provide commentary and make live predictions on who’s staying and who’s going home. Stick around after the show for a live drag performance. The watch party will take place on a heated outdoor patio and cozy indoor space.

This event is free and more details are available on Eventbrite.

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