Arts & Entertainment
‘Drag Race’ star disqualified for ‘catfishing’ scam
A contestant on “RuPaul’s Drag Race” has been disqualified for “cat-fishing” a number of young actors online.
Sherry Pie (whose non-drag name is Joey Gugliemelli) was exposed earlier this week on Facebook by an aspiring performer, Ben Shimkus, who posted what he called “a weird story” about the competitor on the popular reality show’s current season. Several other young male actors came forward soon afterward with similar tales, with Gugliemelli issuing an apology on Thursday.
Today, according to BuzzFeed, a spokesperson for VH1 and production company World of Wonder said in a statement:
“In light of recent developments and Sherry Pie’s statement, Sherry Pie has been disqualified from RuPaul’s Drag Race. Out of respect for the hard work of the other queens, VH1 will air the season as planned. Sherry will not appear in the grand finale scheduled to be filmed later this spring.”
Shimkus had shared that he had been contacted by someone named Allison Mossey, who claimed to be interested in working with him and asked him to submit videos.
“I had to film scenes that felt particularly sexual and awkward, but the opportunity seemed too good to let the overt sexual nature or my inhibitions get in the way,” the young actor shared. “I simply told myself that my parents wouldn’t be allowed to see the show, but I wanted the professional experience and the bright and shiny object on my resume.”
After an email exchange lasting three weeks, Shimkus revealed, he “grew wearisome of the back and forth that seemed to be going nowhere” and, after checking with an organization with which “Mossey” had claimed to be associated, discovered that he had actually been corresponding with Gugliemelli.
Following Shimkus’ post, several other young male actors came forward to BuzzFeed News with similar stories about the “Drag Race” star. Each of them claimed they had been approached online by Gugliemelli, who had posed as a casting director in order to get them to send audition tapes of themselves saying and doing embarrassing, sometimes overtly sexual things – with one 23-year-old actor, Josh Lillyman, even claiming he had been pressured to masturbate on camera.
The young performer said, “I did everything he asked me to because at that point he had built up so much detail for the show that I was truly convinced it was real and associated with HBO. It took a lot for me to break that delusion. I was willingly doing all the things he was asking me to.”
On Thursday, Gugliemelli came forward on Facebook himself, issuing an apology for his behavior:
“This is Joey, I want to start by saying how sorry I am that I caused such trauma and pain and how horribly embarrassed and disgusted I am with myself. I know that the pain and hurt that I have caused will never go away and I know that what I did was wrong and truly cruel. Until being on RuPaul’s Drag Race, I never really understood how much my mental health and taking care of things meant. I learned on that show how important “loving yourself” is and I don’t think I have ever loved myself. I have been seeking help and receiving treatment since coming back to NYC. I truly apologize to everyone I have hurt with my actions. I also want to say how sorry I am to my sisters of season 12 and honestly the whole network and production company. All I can do is change the behavior and that starts with me and doing that work.”
Response to the apology was harshly critical, with one commenter calling out Gugliemelli by saying, “only sorry because you got caught. this is sexual harrassment, you disgusting pig.”
WorldPride 2025 concluded with the WorldPride Street Festival and Closing Concert held along Pennsylvania Ave., N.W. on Sunday, June 8. Performers on the main stage included Doechii, Khalid, Courtney Act, Parker Matthews, 2AM Ricky, Suzie Toot, MkX and Brooke Eden.
(Washington Blade photos by Michael Key)
The 2025 WorldPride Parade was held in Washington, D.C. on Saturday, June 7. Laverne Cox and Renée Rapp were the grand marshals.
(Washington Blade photos by Michael Key and Robert Rapanut)
Theater
A hilarious ‘Twelfth Night’ at Folger full of ‘elegant kink’
Nonbinary actor Alyssa Keegan stars as Duke Orsino
‘Twelfth Night’
Through June 22
Folger Theatre
201 East Capitol St., S.E.
$20-$84
Folger.edu
Nonbinary actor Alyssa Keegan (they/them)loves tapping into the multitudes within.
Currently Keegan plays the melancholic Duke Orsino in Folger Theatre’s production of Shakespeare’s romantic comedy “Twelfth Night.” Director Mei Ann Teo describes the production as “sexy, hilarious, and devastating” and full of “elegant kink.”
Washington-based, Keegan enjoys a busy and celebrated career. Her vast biography includes Come From Away at Ford’s Theatre; Cat on a Hot Tin Roof (Helen Hayes Award, Best Actress) and Paula Vogel’s How I Learned to Drive, both at Round House Theatre; Diana Son’s Stop Kiss directedby Holly Twyford for No Rules Theatre Company; and Contractions at Studio Theatre, to name just a few.
In addition to acting, Keegan works as a polyamory and ethical non-monogamy life and relationship coach, an area of interest that grew out of personal exploration. For them, coaching seems to work hand in hand with acting.
WASHINGTON BLADE: You’re playing the lovesick Orsino in Twelfth Night. How did that come about?
ALYSSA KEEGAN: The director was looking to cast a group of actors with diverse identities; throughout auditions, there were no constraints regarding anyone’s assigned sex at birth. It was really a free for all.
BLADE: What’s your approach to the fetching, cod-piece clad nobleman?
KEEGAN: Offstage I identify as completely nonbinary; I love riding in this neutral middle space. But I also love cosplay. The ability to do that in the play gives me permission to dive completely into maleness.
So, when I made that decision to play Orsino as a bio male, suddenly the part really cracked open for me. I began looking for clues about his thoughts and opinions about things like his past relationships and his decision not to date older women.
Underneath his mask of bravura and sexuality, and his firmness of feelings, he’s quite lonely and has never really felt loved. It makes sense to me why his love for Olivia is so misguided and why he might fall in love with the Cesario/Viola character.
BLADE: As an actor, do you ever risk taking on the feelings of your characters?
KEEGAN: Prior to my mental health education, yes, and that could be toxic for me. I’ve since learned that the nervous system can’t tell the difference between real emotional distress and a that of a fully embodied character.
So, I created and share the Empowered Performer Project. [a holistic approach to performance that emphasizes the mental and emotional well-being of performing artists]. It utilizes somatic tools that help enormously when stepping into a character.
BLADE: Has changing the way you work affected your performances?
KEEGAN: I think I’m much better now. I used to have nearly debilitating stage fright. I’d spend all day dreading going onstage. I thought that was just part of the job. Now, I’ve learned to talk to my body. Prior to a performance, I can now spend my offstage time calmly gardening, working with my mental health clients, or playing with my kid. I’m just present in my life in a different way.
BLADE: Is Orsino your first time playing a male role?
KEEGAN: No. In fact, the very first time I played a male role was at the American Shakespeare Center in Staunton, Va. I played Hipolito in Thomas Middleton’s The Revenger’s Tragedy.
As Hipolito, I felt utterly male in the moment, so much so that I had audience members see me later after the show and they were surprised that I was female. They thought I was a young guy in the role. There’s something very powerful in that.
BLADE: Do you have a favorite part? Male or female?
KEEGAN: That’s tough but I think it’s Maggie the Cat. I played the hyper-female Maggie in Tennessee Williams’ Cat on a Hot Tin Roof at Round House. In the first act she didn’t stop talking for 51 minutes opposite Gregory Wooddell as Brick who barely had to speak. That lift was probably the heaviest I’ve ever been asked to do in acting.
BLADE: What about Folger’s Twelfth Night might be especially appealing to queer audiences?
KEEGAN: First and foremost is presentation. 99% of the cast identify as queer in some way.
The approach to Shakespeare’s text is one of the most bold and playful that I have ever seen. It’s unabashedly queer. The actors are here to celebrate and be loud and colorful and to advocate. It’s a powerful production, especially to do so close to the Capitol building, and that’s not lost on any of us.
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A hilarious ‘Twelfth Night’ at Folger full of ‘elegant kink’
