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COVID-19 can’t keep Jackie Cox down

Drag performers keeping busy in digital realm

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Jackie Cox, gay news, Washington Blade
‘RuPaul’s Drag Race’ season 12 contestant Jackie Cox. (Photo courtesy of VH1)

We’re navigating the current COVID-19 crisis as best we can—but each day forces us to admit how little we’ve learned from what pandemic-themed science fiction, countries with universal health care, and people who cut their own hair have been trying to tell us for years.

Yeah, everybody’s pretty much making it up as they go along—and in the case of entertainers displaced from shuttered clubs, bars, and theaters that are sources of income as well as community, stay-at-home drag queens are keeping the cobwebs off their wigs by entertaining fans in the digital realm.

The Blade recently reached out and touched one such indefatigable gal (via email), to get her take on innovation in this time of isolation.

Thanks to her presence as a contestant on the currently airing season 12 of “RuPaul’s Drag Race,” the whole world has been discovering what New York City has known for years: There’s nobody out there quite like Jackie Cox.

Born in Canada, the Star Trek-loving “Persian princess of drag” wears her nerdy nature, Iranian heritage, obsession with Disney, and love of ’80s/’90s pop culture as badges of honor. Pin those badges on a dress as pick-and-choose accessories, and they work just as well on the “Drag Race” runway as they have on the cabaret stages of New York City, where writer/performer Cox fashioned and refined the sharp, sassy, clever, campy, and occasionally political persona that’s put more than one smile on the hard-to-please faces of Mama Ru and Michelle Visage.

That persona changes slightly according to the hat Cox wears. As writer/star, she put her own spin on Barbara Eden’s iconic bottle-dweller, in the three-part “I Dream of Jackie” series, which followed the adventures of a magical genie who emerged from underneath the stage of Manhattan’s Laurie Beechman Theatre to find a chaotic and cynical world that was no match for her sweet, optimistic nature. Also at the Beechman, Cox appeared in a series of shows with The Hell’s Kitchenettes, an Andrew Sisters-like trio of singing waitresses whose wacky schemes to save their diner always backfire, but never fail to bring it back from the brink of disaster. And last year, also at the Beechman, Cox and frequent collaborator Chelsea Piers put the Romy and Michelle/Laverne & Shirley friendship dynamic into a blender, added some iconic songs from the ’80s/’90s, and created the tasty comedic smoothie that was “Jackie & Chelsea’s High School Reunion.”

The Blade: On April 18, you presented “The Jackie Cox Variety Show” as part of StageIt.com’s Digital Drag Fest series. What songs and segments did you serve fans, and how was the experience? Can we expect to see more of you on the Digital Drag Fest platform?

Jackie Cox: I’ve now done two editions of the “The Jackie Cox Variety Show,” with a new, politically minded version performed on April 21, as part of the campaign to “Drag Out The Vote,” and get the LGBTQ+ community registered to vote! Both versions keep a similar structure, in that it’s a variety show with different comedy segments and songs. I do a cooking segment, a faux-news segment, and recurring gags that happen throughout. It very much harkens back to that 1960s and 1970s variety show feel. I hope to continue doing them, and it’s a great creative space for me to try new ideas in this format. Visit stageit.com/digitaldragfest for the latest information on all their upcoming events.

Blade: Has this forced time away from public performance impacted your creativity, creative output, and approach to using online/social media as an expression of your artistry?

Cox: I think this time away from performing on stage has definitely given us a new frontier of what drag can be in the future, and live performance in general. Having the ability to connect with fans through live streaming platforms presents a lot of fun ways to creatively think outside the box. I’ve been finding myself actually able to engage with fans online in meaningful ways that I probably wouldn’t have been able to if I had been traveling and performing all over the country, as was originally planned.

Blade: Spoilers and gag orders aside, tell us everything you can/want, about part of “RDPR” Season 12?

Cox: Participating in this season of “RuPaul’s Drag Race” has truly been a dream come true. I learned so much about myself and about my drag from participating in the competition. Spoilers aside—I think from what the audience has already seen, this season is filled with so much talent, personality, and heart.

Blade: Have you had any notable virtual interactions with fans during this period of social distancing?

Cox: Well, the fans have CERTAINLY been vocal and I must say, I feel a bit behind in how the kids talk these days, but I’m learning. (Cool Aunt here.) That said, I’ve been trying to engage with fans as much as I can. I have had so many fans reach out saying they feel represented by who I am and what I’m doing on the show. I’ve also had fans who are either too far away, or otherwise would be unable to come see a live show, and are just so thrilled they get to see live drag from the comfort of their own homes.

Blade: How did you come to be involved in the April 25 Community Strong Identity panel (via witch.tv/popculturehero)? What can we expect?

Cox: I have known Randy Frank, the founding member of the Lambda Quadrant non-profit, which is putting on the event, for a number of years, since we originally connected through our love of “Star Trek.” (It’s not just the glasses—I really am a nerd!)

The panel will be moderated by Chase Masterson (from “Star Trek: Deep Space Nine”) and Raymond Lister, in support of their “Pop Culture Her Coalition”—the first-ever organization to teach empathy, resilience, and real-life heroism over bullying, racism, misogyny, LGBTQ-bullying, cyberbullying, and other forms of hate, by using stories from TV, comics, and movies, which kids find relatable and accessible. In our panel (which includes “Drag Race” alums Silky Nutmeg Ganache and Pandora Boxx, among others), we will be discussing how we tackle these issues in our lives, and share our experiences.

Blade: Are there any other ways, now or upcoming, that fans can access you in the digital realm?

Cox: Yes! I’m @jackiecoxnyc across all social media platforms (Instagram, Twitter, Facebook… even TikTok!), where I will post the latest information on any and all upcoming shows and appearances.

Blade: The all-clear is called and we’re allowed to gather in public again. What are the first things you’re going to do?

Cox: Definitely go have a good laugh and a margarita (and HUGS!) with friends at any of my favorite bars in Hell’s Kitchen, NYC! I miss salty rims!

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Photos

PHOTOS: Denali at Pitchers

‘Drag Race’ alum performs at Thirst Trap

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Denali performs at the Thirst Trap Thursday drag show at Pitchers DC on April 9. (Washington Blade photo by Michael Key)

Denali (@denalifoxx) of “RuPaul’s Drag Race” performed at Pitchers DC on April 9 for the Thirst Trap Thursday drag show. Other performers included Cake Pop!, Brooke N Hymen, Stacy Monique-Max and Silver Ware Sidora.

(Washington Blade photos by Michael Key)

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Arts & Entertainment

In an act of artistic defiance, Baltimore Center Stage stays focused on DEI

‘Maybe it’s a triple-down’

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Last year, Baltimore Center Stage refused to give up its DEI focus in the face of losing federal funding. They've tripled down. (Photo by Ulysses Muñoz of the Baltimore Banner)

By LESLIE GRAY STREETER | I’m always tickled when people complain about artists “going political.” The inherent nature of art, of creation and free expression, is political. This becomes obvious when entire governments try to threaten it out of existence, like in 2025, when the brand-new presidential administration demanded organizations halt so-called diversity, equity and inclusion (DEI) programming or risk federal funding.

Baltimore Center Stage’s response? A resounding and hearty “Nah.” A year later, they’re still doubling down on diversity.

“Maybe it’s a triple-down,” said Ken-Matt Martin, the theater’s producing director, chuckling.

The rest of this article can be found on the Baltimore Banner’s website.

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Books

Susan Lucci on love, loss, and ‘All My Children’

New book chronicles life of iconic soap star

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(Book cover image courtesy of Blackstone Publishing)

‘La Lucci’
By Susan Lucci with Laura Morton
c.2026, Blackstone Publishing
$29.99/196 pages

They’re among the world’s greatest love stories.

You know them well: Marc Antony and Cleopatra. Abelard and Heloise. Phoebe and Langley. Cliff and Nina. Jesse and Angie, Opal and Palmer, Palmer and Daisy, Tad and Dixie. Now read “La Lucci” by Susan Lucci, with Laura Morton, and you might also think of Susan and Helmut.

When she was a very small girl, Susan Lucci loved to perform. Also when she was young, she learned that words have power. She vowed to use them for good for the rest of her life.

Her parents, she says, were supportive and her family, loving. Because of her Italian heritage, she was “ethnic looking” but Lucci’s mother was careful to point out dark-haired beauties on TV and elsewhere, giving Lucci a foundation of confidence.

That’s just one of the things for which Lucci says she’s grateful. In fact, she says, “Prayers of gratitude are how I begin and end each day.”

She is particularly grateful for becoming a mother to her two adult children, and to the doctors who saved her son’s life when he was a newborn.

Lucci writes about gratitude for her long career. She was a keystone character on TV’s “All My Children,” and she learned a lot from older actors on the show, and from Agnes Nixon, the creator of it. She says she still keeps in touch with many of her former costars.

She is thankful for her mother’s caretakers, who stepped in when dementia struck. Grateful for more doctors, who did heart-saving work when Lucci had a clogged artery. Grateful for friends, opportunities, life, grandchildren, and a career that continues.

And she’s grateful for the love she shared with her husband, Helmut Huber, who died nearly four years ago. Grateful for the chance to grieve, to heal, and to continue.

And yet, she says of her husband: “He was never timid, but I know he was afraid at the end, and that kills me down to my soul.”

“It’s been 15 years since Erica Kane and I parted ways,” says author Susan Lucci (with Laura Morton), and she says that people still approach her to confirm or deny rumors of the show’s resurrection. There’s still no answer to that here (sorry, fans), but what you’ll find inside “La Lucci” is still exceptionally generous.

If this book were just filled with stories, you’d like it just fine. If it was only about Lucci’s faith and her gratitude – words that happen to appear very frequently here – you’d still like reading it. But Lucci tells her stories of family, children and “All My Children,” while also offering help to couples who’ve endured miscarriage, women who’ve had heart problems, and widow(ers) who are spinning and need the kindness of someone who’s lived loss, too.

These are the other things you’ll find in “La Lucci,” in a voice you’ll hear in your head, if you spent your lunch hours glued to the TV back in the day. It’s a comfortable, fun read for fans. It’s a story you’ll love.

The Blade may receive commissions from qualifying purchases made via this post.

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