a&e features
Kinsey Sicks founder Rachel/Ben Schatz to bid the road farewell
Weekend Rehoboth performance is bittersweet for comedian/songwriter
CAMP Rehoboth Presents
The Kinsey Sicks
‘Things You Shouldn’t Say’
Rehoboth Beach Convention Center
229 Rehoboth Ave.
Rehoboth Beach, Del.
$35-500
camprehoboth.com
kinseysicks.com/calendar
The Kinsey Sicks is celebrating 25 years of dragapella, performing their hit Off-Broadway show “Things You Shouldn’t Say” and “Naked Drag Queens Singing” until September at the Art House in Provincetown, Mass.
The tour is bittersweet however as Benjamin Schatz, founder and chief writer for the group, will retire along with his character Rachel at the end of the month. The quartet was founded in 1993 when five friends went to a Bette Midler concert as the Andrews Sisters and were requested to sing.
Their decline was short lived once they realized that they all had musical backgrounds. From then on, they’ve performed all around the country at some of the most prestigious venues such as Herbst Theatre in San Francisco, the Nordstrom Recital Hall in Seattle, the Broward Center in Ft. Lauderdale, the Hobby Center in Houston, the Wheeler Opera House in Aspen and the Pacific Design Center in Los Angeles. Schatz/Rachel spoke with the Blade about her beginnings with the Kinsey Sicks, her love for the stage and her plans for retirement.
WASHINGTON BLADE: How were you introduced to drag?
BENJAMIN SCHATZ: I used to do drag in college but I always did it as a politically provocative thing. This was back in the ’70s so drag was pretty threatening back then. Back in the late ’80s and early ’90s when I was an attorney and executive director at the peak of the age of terror in terms of discrimination and hatred, I used to organize drag excursions with my friends. Part of my job as an activist back then was to be a respectable homosexual and I wanted to remind myself that I wasn’t, in fact, respectable.
BLADE: When you founded the Kinsey Sicks, how did the character of Rachel come about? Or has Rachel always been the name you used while doing drag?
SCHATZ: Back in college my friends and I assigned each other drag names. I’d do it to anybody who was queer, male or female, and I’d give them a drag name. So my friends called me Rachel. The character of Rachel has evolved or devolved over time to be somewhat different from Ben I hope. It was just a name that people originally assigned to me and it stuck.
BLADE: How has Rachel shaped or shifted the way the way you present yourself as Ben?
SCHATZ: I often say that Rachel gives Ben a fighting chance of being socially appropriate because Rachel gets all of that out of Ben’s system. Rachel is an unboundaried mess. A delightful unboundaried mess and let’s just say Ben has a tendency to let Rachel do the work for him. Rachel has changed over time. One of the Kinsey Sicks moms said, “You should make Rachel more vulnerable,” and I did. I started making her more vulnerable and more lovable. She’s a lovable unboundarly mess. I think Rachel represents for a lot of people their queerness, unboundaried, embarrassing self. But she does it with such utter cluelessness that you just can’t help but love her. There is nothing she won’t do or say. Although, as a writer, there are many directions we won’t have her go. People think that we’ll go anywhere but in fact, as a writer, we’re very careful about racism, gender stereotypes and sexism. We’re very careful about who’s the butt of our jokes.
BLADE: Speaking of your writing, as I was looking at your repertoire of songs, I noticed the amount of creativity that goes into creating these and I think it’s amazing. So, how do you come up with these titles?
SCHATZ: I appreciate your lack of taste and judgment. That’s a promising sign. So there’s three different types of writing goes on. About 60 percent of our songs are parodies and 40 percent are original songs. For parodies, that just happens when I hear something and all of a sudden the idea comes to mind. It’s very easy to write words to another tune. The challenge is to change as few words as possible, use the original lines and completely subvert the original intention. So once I get an idea for a parody, I spend a lot of time with the original rhyme scheme and thinking about making as few changes as possible and words I can change the intent and the meaning 100 percent. With original songs, that’s more of isolating myself. I’ll often say I’m taking this time on the side to write a song. I don’t really know where they come from. I have no idea. Then there’s the writing of the script, which is a whole other beast in itself. They utilize different skills and they’re all entirely different skills than the performance. So, I can’t write when we’re on the road. That’s sort of an extroverted energy while writing is very quiet, withdrawn and un-Rachel like. I hate writing. I love having written. You can have an office job and coast but if you’re writing you want to write the best you can and you never can write the best you can. There’s always something better you can do which can make it torture.
BLADE: With you retiring from the show, how will that process change?
SCHATZ: The great thing is that I still get to offend people all over the world without having to get dressed or leave my house. That’s what I’m really excited about. I love the performing. I’ve loved it as much as I ever have but, touring life after a couple dozen years, and it’s not like we’re Cher or Madonna with a glamorous entourage, we’re schlupping luggage upstairs at three in the morning. It loses its glamour after a couple dozen years when your body gets old. So, I have mixed feelings about retiring from touring but my body does not. So, it’ll require more communication with the group because part of what we do now is we test it out on the road and we say, “Oh that didn’t get a laugh” or “that needs a different ending musically because it doesn’t have enough pop” and I won’t be there for that. There will also be times when the group will be performing where I am. It’s much easier to critique what’s going on on stage when you’re not actually on stage performing. I will really be thrilled to be able to write stuff and then be in the audience not trying to remember my lines, or my note, or my choreography. Just to see what’s going on and how the audience reacted. That’s something I’m really looking forward to.
BLADE: Angel is the group’s newest member. How will the transition from Rachel to Angel affect the content of the show?
SCHATZ: Well the show is a show I wrote and we started it off with me. Angel is taking over the spot. Rachel and I met with J.B. (McClendon), who plays Angel, and we got to know each other and I think I gave him some useful tips. We’ve had people replace other people in the past, not too often because we have a lot of longevity like Jeff (Trixie) who’s been with us for 16 years, so the others tell me great things. It takes awhile for people to sink to the level of performing with a group. So there’s a certain kind of observation that’s our own and I think that culture remains very strong. So the others are really excited about Angel’s performances and I think they have the tools to guide Angel to blossom over the years to come.
BLADE: You all are currently performing two shows: “Things You SHouldn’t Say” and “Naked Drag Queens Singing.” How will “Naked Drag Queens Singing” be different or similar to previous shows?
SCHATZ: The show that they’re doing in Rohoboth (“Things You Shouldn’t Say”) was the first time we broke character in the show. It’s a really powerful show, on top of being hilarious, it’s also very heartbreaking. So the question was what do we do after that? So “Naked Drag Queens Singing” was another “let’s try this experiment and see if it works.” So, everybody breaks character and we kind of go seamlessly back and forth between character and not and talking with the audience. It’s a very exciting experiment and it’s been going fantastically so that really people get eight characters for the price of four. It’s a really interesting experiment because lots of drag performers are very tethered to their personas and I think a lot of people are interested to see what’s behind drag and the members of the Kinsey Sicks are very thoughtful. While we are a comedy group, there’s a lot of thought behind what we have to say and why we say it. It was another big risk and it turns out it was a successful one.
BLADE: Let’s say under this current administration that the Kinsey Sicks were invited to perform at the White House. What would you all perform and what would you want to accomplish?
SCHATZ: I would totally take the opportunity to perform. My personal goal would be to induce a heart attack. I think that would be a worthwhile goal. People like the current administration need to be challenged. They shouldn’t have safe spaces. So I would perform at the White House. And I’ll tell you what; when we’re done with this conversation, I’ll sit by my phone waiting for the invitation. I would definitely come out of retirement for that.
BLADE: What will you miss about performing?
SCHATZ: Well, I’ll definitely miss picking on big guys and sitting on them. It tends not to work very well in civilian life. I love making people laugh, making people think (and) I love the uniqueness of us. There’s nothing like us. I never feel more alive then when I’m on stage and I never feel more dead then when I’m on the road waking up at 3 in the morning getting ready for the next gig. I’ll miss the incredible excitement and satisfaction. I love the feeling of constantly growing and I do a lot of improvisational humor so I’ll definitely miss that. But, the goal is to quit while you still love it and while people still love you.
BLADE: Is there anything in your personal life that you’ll be doing to replace that theatrical high?
SCHATZ: I promised myself that I would set no goals for my retirement for at least a year. I’ve spent my whole life perpetually making the impossible happen so right now I’m letting things happen to see where things go which is kind of revolutionary. I suspect that I’ll be writing again soon. Well, I know I’ll be writing for the group. I don’t know what I’ll write. I don’t know what I’m doing and I’m wildly excited about it. I know there will be other chapters but I don’t know what they’ll look like and that is fantastic.
BLADE: What’s been your favorite Kinsey experience?
SCHATZ: There’s a particular kind of experience that I love like Salina, Kansas. Going into conservative communities and rocking people’s world and not holding back. We did this essentially county fair and there were letters to the newspaper and protests and threats on our lives. We did four sets over two days and by our fourth set, we drew the largest crowd the musical festival has ever drawn. And we did it unapologetically. We cleaned up our language but not our content. When you’ve got a bunch of kids around you’re not going to say the f-word. But we had very political songs talking about racism and homophobia and I love the feeling of going to a place like that and winning them over shocking the hell out them and making them love you for it. People who have no business loving us coming out and loving us anyway. I was an activist for years and still consider myself one today, but what you can do with laughter and music in terms of opening people up, is something you can’t do in another context. I’m so proud at the fact that we’ve been able to do that and we continue to do that.
BLADE: Who’s your all-time favorite drag queen?
SCHATZ: I would name two who are very different: Divine and Coco Peru. Divine was absolutely fearless and was not trying to pass and was not trying to look pretty. Divine was drastically provocative and in your face. Coco is so thoughtful and I love how she mixes comedy with heart, with politics and with integrity. You do not leave her show without thinking something and feeling something.
BLADE: Where do you see the Kinsey Sicks going in the next decade?
SCHATZ: If you would’ve asked me when we started the luck we’d have 26 years later, I never would’ve thought it possible. I think the goal is to be provocative, fresh, to take risks and to be unafraid. We’d be a lot more commercially successful if we would’ve said, “What does the market want and let’s do that.” So we always try to be cutting edge, to push the boundaries, to test things and to risk provoking people and people know when their seeing something that it’s live and not safe. So I hope the group continues to take risks because there’s no shortage of people out there who are playing it safe and who’s taking the less controversial route. To take risks creatively in terms of what we’re willing to do. That’s the goal and to keep loving what we do.
a&e features
Queer highlights of the 2026 Critics Choice Awards: Aunt Gladys, that ‘Heated Rivalry’ shoutout and more
Amy Madigan’s win in the supporting actress category puts her in serious contention to win the Oscar for ‘Weapons’
From Chelsea Handler shouting out Heated Rivalry in her opening monologue to Amy Madigan proving that horror performances can (and should) be taken seriously, the Critics Choice Awards provided plenty of iconic moments for queer movie fans to celebrate on the long road to Oscar night.
Handler kicked off the ceremony by recapping the biggest moments in pop culture last year, from Wicked: For Good to Sinners. She also made room to joke about the surprise hit TV sensation on everyone’s minds: “Shoutout to Heated Rivalry. Everyone loves it! Gay men love it, women love it, straight men who say they aren’t gay but work out at Equinox love it!”
The back-to-back wins for Jacob Elordi in Frankenstein and Amy Madigan in Weapons are notable, given the horror bias that awards voters typically have. Aunt Gladys instantly became a pop culture phenomenon within the LGBTQ+ community when Zach Cregger’s hit horror comedy released in August, but the thought that Madigan could be a serious awards contender for such a fun, out-there performance seemed improbable to most months ago. Now, considering the sheer amount of critics’ attention she’s received over the past month, there’s no denying she’s in the running for the Oscar.
“I really wasn’t expecting all of this because I thought people would like the movie, and I thought people would dig Gladys, but you love Gladys! I mean, it’s crazy,” Madigan said during her acceptance speech. “I get [sent] makeup tutorials and paintings. I even got one weird thing about how she’s a sex icon also, which I didn’t go too deep into that one.”
Over on the TV side, Rhea Seehorn won in the incredibly competitive best actress in a drama series category for her acclaimed performance as Carol in Pluribus, beating out the likes of Emmy winner Britt Lower for Severance, Carrie Coon for The White Lotus, and Bella Ramsey for The Last of Us. Pluribus, which was created by Breaking Bad’s showrunner Vince Gilligan, has been celebrated by audiences for its rich exploration of queer trauma and conversion therapy.
Jean Smart was Hack’s only win of the night, as Hannah Einbinder couldn’t repeat her Emmy victory in the supporting actress in a comedy series category against Janelle James, who nabbed a trophy for Abbott Elementary. Hacks lost the best comedy series award to The Studio, as it did at the Emmys in September. And in the limited series category, Erin Doherty repeated her Emmy success in supporting actress, joining in yet another Adolescence awards sweep.
As Oscar fans speculate on what these Critics Choice wins mean for future ceremonies, we have next week’s Golden Globes ceremony to look forward to on Jan. 11.
a&e features
Looking back at the 10 biggest A&E stories of 2025
‘Wicked,’ Lady Gaga’s new era, ‘Sexy’ Bailey and more
Although 2025 was a year marked by countless attacks on trans rights and political setbacks, the year also saw brilliant queer artists continuing to create art. From Cannes and Sundance Award winners now vying for Oscar consideration to pop icons entering new stages of their careers, queer people persevered to tell their stories through different media.
With the state of the world so uncertain, perhaps there’s no more vital time to celebrate our wins, as seen through some of this year’s top pop culture moments. While there’s no collection of 10 stories that fully encompass “the most important” news, here are some events that got the gays going:
10. ‘Mysterious Gaze of the Flamingo’ wins big at Cannes
The Cannes Film Festival has become a crucial start for films hoping to make their way to the Oscars, and first-time director Diego Céspedes won the top Un Certain Regard prize for his intimate western “The Mysterious Gaze of the Flamingo.” The film is set in the ‘80s and is intended as an allegory for the AIDS epidemic. Seeing a film that unpacks vital queer history win one of the most coveted awards at Cannes has been a huge point of pride in the independent filmmaking community.
Since the film bowed at Cannes, it has been selected as Chile’s Oscar entry in the Best International Feature race. Speaking with The Blade during the film’s AFI Fest run in October, Céspedes said: At first, I was kind of scared to have this campaign position in the times that we’re living [in] here. But at the same time, I think the Oscars mean a huge platform — a huge platform for art and politics.”
9. ‘The Last of Us’ returns for an even gayer season 2
While the first season of The Last of Us gave us one of TV’s most heartbreaking queer love stories in the episode “Long, Long Time,” Season 2 doubled down on its commitment to queer storytelling with the blossoming relationship between Ellie (Bella Ramsey) and Dina (Isabela Merced). The show expanded on the pair’s relationship in the original video game, making it perhaps the central dynamic to the entire season. That unfortunately came with more homophobic backlash on the internet, but those who checked out all the episodes saw a tender relationship form amid the show’s post-apocalyptic, often violent backdrop. For their performance, Ramsey was once again nominated for an Emmy, but Merced deserved just as much awards attention.
8. ‘Emilia Pérez’ sparks controversy
Jacques Audiard’s genre-bending trans musical “Emilia Pérez” proved to be an awards season juggernaut this time last year, winning the Golden Globe for Best Musical/Comedy. But when the lead star Karla Sofia Gascón’s racist, sexist, and homophobic old tweets resurfaced, the film’s Oscar campaign became a tough sell, especially after Netflix had tried so hard to sell Emilia Pérez as the “progressive” film to vote for. Mind you, the film had already received significant backlash from LGBTQ+ audiences and the Mexican community for its stereotypical and reductive portrayals, but the Gascón controversy made what was originally just social media backlash impossible to ignore. The only person who seemed to come out of the whole debacle unscathed was Zoe Saldaña, who won the Oscar for Best Supporting Actress over Ariana Grande.
7. ‘Sorry, Baby’ establishes Eva Victor as major talent
Back in January at the Sundance Film Festival, Eva Victor (known by many for her brand of sketch comedy) premiered their directorial debut “Sorry, Baby” to rave reviews, even winning the Waldo Salt Screening Award. Victor shadowed Jane Schoenbrun on the set of “I Saw the TV Glow,” and seeing Victor come into their own and establish such a strong voice immediately made them one of independent cinema’s most exciting new voices. A memorable scene in the film sees the main character, Agnes (played by Victor), struggling to check a box for male or female, just one example of how naturally queerness is woven into the fabric of the story.
Most recently, Victor was nominated for a Golden Globe for her performance in the film, and she’s represented in a category alongside Jennifer Lawrence (“Die My Love”), Jessie Buckley (“Hamnet”), Julia Roberts (“After the Hunt”), Renate Reinsve (“Sentimental Value”) and Tessa Thompson (“Hedda”). The film also received four Independent Spirit Award nominations overall.
6. Paul Reubens comes out in posthumous doc
While Paul Reubens never publicly came out as gay before passing away in 2023, the two-part documentary “Pee-wee as Himself” premiered back in May on HBO Max, giving the legendary comedian a chance to posthumously open up to the world. Directed by Matt Wolf, the documentary explores how Reubens found his alter ego Pee-Wee Herman and why he kept his private life private.
The documentary won an Emmy in the Outstanding Documentary or Nonfiction Special category and remains one of the most critically acclaimed titles of the year with a 100% Rotten Tomatoes score. Also worth noting, the National Geographic documentary Sally told the posthumous coming out story of Sally Ride through the help of her long-time partner, Tam O’Shaughnessy.
5. Lady Gaga releases ‘Mayhem’
Lady Gaga entered a new phase of her musical career with the release of Mayhem, her seventh album to date. From the frenzy-inducing pop hit Abracadabra to the memorable Bruno Mars duet featured on “Die With a Smile,” seeing Gaga return to her roots and make an album for the most die-hard of fans was especially rewarding after the underwhelming film releases of “House of Gucci” and “Joker: Folie à Deux.” Gaga has been touring with The Mayhem Ball since July, her first arena tour since 2018. She even extended her tour into 2026 with more North American dates, so the party isn’t stopping anytime soon. And Gaga is even set to make an appearance next May in “The Devil Wears Prada 2.”
4. Cynthia Erivo, Ariana Grande perform at the Oscars
While “Wicked: For Good” didn’t quite reach the heights of the first film, we will forever have Cynthia Erivo and Ariana Grande’s breathtaking live performance that opened the 97th Academy Awards. The pair sang a rendition of “Over the Rainbow,” “Home,” and “Defying Gravity,” paying proper homage to the original 1939 “Wizard of Oz.” Even non-Wicked fans can’t deny how magical and brilliantly staged this performance was. With both Erivo and Grande up for acting Oscars last year, they’re hoping to repeat success and make history with consecutive nominations. Either way, let’s hope there’s another live performance in the making, especially with two new original songs (The Girl in the Bubble and No Place Like Home) in the mix.
3. Indya Moore speaks out against Ryan Murphy
Indya Moore has consistently used social media as a platform for activism, and in September, posted a 30-minute Instagram live speaking out against “Pose” co-creator Ryan Murphy. Moore claimed that Murphy wasn’t being a true activist for trans people. “Ryan Murphy, we need you to do more. You need to address the racism, the violence, and the targeting of people on your productions, Ryan Murphy. You do need to make sure trans people are paid equally. Yes, Janet did the right thing,” Moore said. Murphy was also back in the headlines this year for the critically panned “All’s Fair” and the controversial “Monster: The Ed Gein Story” starring Laurie Metcalf and Charlie Hunnam.
2. Cole Escola wins Tony for Best Leading Actor
Few pop culture moments this year brought us together more than Cole Escola winning a Tony award for “Oh, Mary!” the Broadway show they created, wrote and starred in (we love a triple threat!) Escola made history by becoming the first nonbinary person to win a Tony in the leading actor category, and seeing them excitedly rush to the stage wearing a Bernadette Peters-inspired gown instantly became a viral social media moment.
The cherry on top of Escola’s major moment is the recent news that they are writing a Miss Piggy movie with Jennifer Lawrence and Emma Stone producing — news that also broke the internet for the better. We cannot wait!
1. Jonathan Bailey makes gay history as ‘Sexiest Man Alive’
The same year as his on-screen roles in blockbusters “Jurassic World Rebirth” and “Wicked: For Good,” Jonathan Bailey made history as the first openly gay man to be named People magazine’s “Sexiest Man Alive.” The fact that it took 40 years for an openly gay man to earn the title is a signifier of how far we still have to go with queer representation, and seeing Bailey celebrated is just one small step in the right direction.
“There’s so many people that want to do brilliant stuff who feel like they can’t,” he told PEOPLE, “and I know the LGBT sector is under immense threat at the moment. So it’s been amazing to meet people who have the expertise and see potential that I could have only dreamed of.” In 2024, Bailey founded the charity titled The Shameless Fund, which raises money for LGBTQ+ organizations.
a&e features
Your guide to D.C.’s queer New Year’s Eve parties
Ring in 2026 with drag, leather, Champagne, and more
With Christmas in the rear view mirror, we can turn our attention to ringing in a much-anticipated New Year with a slew of local LGBTQ parties. Here’s what’s on tap.
Pitchers
This spacious Adams Morgan bar is hosting the “Pitchers’ Perfect New Year’s Eve.” There will be a midnight Champagne toast, the ball drop on the big screens, and no cover, all night long. The bar doesn’t close until 4 a.m., and the kitchen will be open late (though not until close). All five floors will be open for the party, and party favors are promised.
Trade
D.C.’s hottest bar/club combo is leaning into the Shark motif with its NYE party, “Feeding Frenzy.” The party is a “glitterati-infused Naughty-cal New Year’s Even in the Shark Tank, where the boats are churning and the sharks are circling.” Trade also boasts no cover charge, with doors opening at 5 p.m. and the aforementioned Shark Tank opening at 9 p.m.. Four DJs will be spread across the two spaces; midnight hostess is played by Vagenesis and the two sea sirens sensuously calling are Anathema and Justin Williams.
Number Nine
While Trade will have two DJs as part of one party, Number Nine will host two separate parties, one on each floor. The first floor is classic Number Nine, a more casual-style event with the countdown on TVs and a Champagne midnight toast. There will be no cover and doors open at 5 p.m. Upstairs will be hosted by Capital Sapphics for its second annual NYE gathering. Tickets (about $50) include a midnight Champagne toast, curated drink menu, sapphic DJ set by Rijak, and tarot readings by Yooji.
Crush
Crush will kick off NYE with a free drag bingo at 8 p.m. for the early birds. Post-bingo, there will be a cover for the rest of the evening, featuring two DJs. The cover ($20 limited pre-sale that includes line skip until 11 p.m.; $25 at the door after 9 p.m.) includes one free N/A or Crush, a Champagne toast, and party favors (“the legal kind”). More details on Eventbrite.
Bunker
This subterranean lair is hosting a NYE party entitled “Frosted & Fur: Aspen After Dark New Year’s Eve Celebration.” Arriety from Rupaul Season 15 is set to host, with International DJ Alex Lo. Doors open at 9 p.m. and close at 3 p.m.; there is a midnight Champagne toast. Cover is $25, plus an optional $99 all-you-can-drink package.
District Eagle
This leather-focused bar is hosting “Bulge” for its NYE party. Each District Eagle floor will have its own music and vibe. Doors run from 7 p.m.-3 a.m. and cover is $15. There will be a Champagne toast at midnight, as well as drink specials during the event.
Kiki, Shakiki
Kiki and its new sister bar program Shakiki (in the old Shakers space) will have the same type of party on New Year’s Eve. Both bars open their doors at 5 p.m. and stay open until closing time. Both will offer a Champagne toast at midnight. At Kiki, DJ Vodkatrina will play; at Shakiki, it’ll be DJ Alex Love. Kiki keeps the party going on New Year’s Day, opening at 2 p.m., to celebrate Kiki’s fourth anniversary. There will be a drag show at 6 p.m. and an early 2000s dance party 4-8 p.m.
Spark
This bar and its new menu of alcoholic and twin N/A drinks will host a NYE party with music by DJ Emerald Fox. Given this menu, there will be a complimentary toast at midnight, guests can choose either sparkling wine with or without alcohol. No cover, but Spark is also offering optional wristbands at the door for $35 open bar 11 p.m.-1 a.m. (mid-shelf liquor & all NA drinks).
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