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June Jambalaya, lightly seasoned newcomer thickens mix of RuPaul’s Drag Race

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“Some are born into drag greatness, some achieve drag greatness, and some have drag greatness thrust upon ‘em.”

That iconic line, from the 1602 Shakespeare play “RuPaul’s Twelfth Night,” is as true today as when it was first spoken on the stage of London’s Globe Theatre. Back then, the female roles were played by men. Times may have changed, but the song remains the same: Those with male plumbing who plumb the depths of what it takes to play a woman find themselves doing so through dynasty, scrappy determination, destiny, or a road they have to hoe on their own.Season 14 “RuPaul’s Drag Race” contestant June Jambalaya found herself in the iconic workroom and runway in a very roundabout way, indeed.

“I have been in the performing arts my entire life, going to performing arts school, and I moved out to LA to get my degree in fine arts” said the 29-year-old Jacksonville, Florida native, who spoke with us just prior to the Season 14 premiere episode, in which she’s introduced alongside half of the cast. Jambalaya, whose drag name came about when a dance instructor asked for her birth month and the last thing she ate, stayed in LA after graduation but found things “didn’t go as planned, you know, just auditioning but still working my job. I worked as a visual manager for a luxury department store, so it [drag] gravitated to me because actually, I was choreographing for a co-worker. It gave me an opportunity to use my degree and use my talents—because I felt kind of frustrated with auditioning and the world of performing. I didn’t fit the stereotypical body that a male backup dancer or performer should have and so it drew me to drag because this was an art form where you got to make your own rules and really pick your narrative, which made me even more intrigued to do it for myself.”

While doing choreography for local LA drag queens, noted Jambalaya, “They encouraged me to try it [drag], and I entered a nightly competition at Revolver and won and then I did a 10-week competition at Revolver and won. So all the stars just kind of aligned. It just felt like I was doing something right with all of the talents and gifts I felt like I had.”

BLADE: What sort of style were you drawing from in those early performances?  

JUNE JAMBALAYA

JUNE JAMBALAYA: When I first started drag, my references were from the Latrice Royales and the Roxy Andrews. I looked at the queens before me that really put on high-energy, like high old school drag numbers and performances. But the more I got to experience who June was, her brand and you know my own artistry I started to really pull from my love for the modern woman and thinking about like, my mom and my sister and my aunts and how I was always inspired by women, especially minority women, because they were the strongest, most fearless, most stylish women that I got to encounter so I really drew a lot of those references into my drag. And then I also, you know, I call myself The Real Housewife of Drag because of my love for the franchise and how real women just sit there fully dressed and living their fantasy on television. That’s sort of what this is for me.

BLADE: You’re serious about the way you use fashion. Does that clash with camp elements of drag? 

JUNE: Yes I’m funny, but I don’t consider myself a comedy queen. I think it’s performance with looks, um, because I revealed myself in a Christopher John Rogers couture gown and then I added a train and airbrushed my name on there to make it, you know, it was fashion but then I made it camp and, you know, urban by airbrushing it—having my nails, have my name hang off… So I’m wearing these designer pieces that you typically don’t see from someone; I’m a size 14, 16 and you haven’t really seen a big girl pull out these type of designers this way and I think that’s interesting. So my camp comes in my love for the visual… You’ll see me inside a waterfall performing a song for a video. That’s where I think my camp comes through, in my visual artistic side. But with my fashion, I really do try to show that plus-sized women and full-figure people love and respect fashion and there is room for us there, too.

BLADE: What is an LA club experience with you like, as opposed to what we’re going to see on television?

JUNE: I have always picked things that felt good to me, but I’m learning that I still have to pick numbers that people are going to enjoy. But when you come to a June Jambalaya performance, you want high energy. You know I’m gonna have backup dancers. So like me and my girls, we rehearse these numbers for weeks on end before the show. One of my biggest inspirations is Beyoncé. I’ve been to more concerts than I’d like to admit.

BLADE: Oh, there’s no shame in that.

JUNE: (laughs) Seeing those shows, all the way down to the costumes and the choreography, all that time and effort that went into it—so I try my best, with the resources I have, to give people that live tour show experience.

BLADE: Your life will be different from the moment the show starts airing. What is the waiting experience like, and have you been given any helpful advice from other queens?

JUNE: So recently, I posted a Christmas video that took three months to film—and it’s different now, because of the [Season 14] announcement, and people know the show is coming. So I get to hear from people from Brazil and Belize message me and tell me how much they enjoyed my video, and people who don’t even celebrate Christmas, that these visuals and these packages of my art are reaching all over the world—it’s blowing my mind to think about this time last year. I had maybe 2,000 followers and I just had dream and I was making videos and taking photos like crazy, and now it’s [the buzz leading up to the show] unfolding before my eyes.

I’ve been fortunate enough to have conversations with Gigi Goode, Kandy Muse, and LaLa Ri. They have all been so extremely supportive. I think Gigi Goode gave me some of the best advice. She came to my “Showgirls” performance and she was like, “Do everything, every opportunity that comes to you. You’re going to be tired but this is going to be the ride of your life—and everything you’ve dreamt of, you can literally do right now. So whatever is in your head, let it out.”
 

BLADE: What advice would you give to those who are just starting out with their drag, and is having a formal background like yours helpful?

JUNE: I think it [education] definitely helped me, but I haven’t been doing drag that long. I started April 2019… But I think when you find something you’re passionate about you will do the work to further educate yourself on it, and I really do believe I did that. So my advice to anyone embarking on something or doing something they’re passionate about is, pull from people who are doing it really, really well. I think one of the best things that I did, I watched Roxy Andrews. I studied with Aquaria [as I was preparing my audition tape]. I saw what the best of the best were doing, to prepare myself to meet that level of excellence. When you’re in this high-pressure drag situation, and mind you, this was just a hobby for me. I had a full-time job. So I went from a part-time baby queen to now doing it full-time, 18-hour days. So it showed me there’s still so much to be done, to be in drag all day, to go from doing an acting challenge to getting ready for a runway. It’s so physically demanding, to be a full-time drag queen.

BLADE: So are you in better shape now than you were before?

JUNE: Well, we filmed it a while ago. I was in really good shape. Then I took a break and ate some food, enjoyed the holidays. Now it’s kicking back in. You know, press [to do] and outfits need to fit (laughs).

BLADE: What do you hope to achieve, as a result of being on the show?

JUNE: I’ve never been to Fashion Week. I would love to experience that or walk and be a part of it, or be part of a beauty brand or something of that nature. But when it comes down to artistry, we have a whole Vegas residency with “RuPaul’s Drag Race” now. I would love the opportunity for that—or the Werq the World Tour, to actually; Imagine if I got to take all of my visuals and put it on the stage… that’s an artist’s dream.

Follow June Jambalaya on Instagram/TikTok/Twitter: @junejambalaya. To stay up-to-date on all things #DragRace Season 14, follow along on Instagram, Twitter, Facebook, YouTube and TikTok at @rupaulsdragrace.

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Photos

PHOTOS: Capital Pride Pageant

Court crowned at Penn Social event

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From left, Zander Childs Valentino, Sasha Adams Sanchez and Dylan B. Dickherson White are crowned the winners at a pageant at Penn Social on April 26. (Washington Blade photo by Michael Key)

Eight contestants vied for Mr., Miss and Mx. Capital Pride 2024 at a pageant at Penn Social on Saturday. Xander Childs Valentino was crowned Mr. Capital Pride, Dylan B. Dickherson White was crowned Mx. Capital Pride and Sasha Adams Sanchez was crowned Miss Capital Pride.

(Washington Blade photos by Michael Key)

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Theater

Round House explores serious issues related to privilege

‘A Jumping-Off Point’ is absorbing, timely, and funny

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Cristina Pitter (Miriam) and Nikkole Salter (Leslie) in ‘A Jumping-Off Point’ at Round House Theatre. (Photo by Margot Schulman Photography)

‘A Jumping-Off Point’
Through May 5
Round House Theatre
4545 East-West Highway, Bethesda, Md.
$46-$83
Roundhousetheatre.org

In Inda Craig-Galván’s new play “A Jumping-Off Point,” protagonist Leslie Wallace, a rising Black dramatist, believes strongly in writing about what you know. Clearly, Craig-Galván, a real-life successful Black playwright and television writer, adheres to the same maxim. Whether further details from the play are drawn from her life, is up for speculation.

Absorbing, timely, and often funny, the current Round House Theatre offering explores some serious issues surrounding privilege and who gets to write about what. Nimbly staged and acted by a pitch perfect cast, the play moves swiftly across what feels like familiar territory without being the least bit predictable. 

After a tense wait, Leslie (Nikkole Salter) learns she’s been hired to be showrunner and head writer for a new HBO MAX prestige series. What ought to be a heady time for the ambitious young woman quickly goes sour when a white man bearing accusations shows up at her door. 

The uninvited visitor is Andrew (Danny Gavigan), a fellow student from Leslie’s graduate playwriting program. The pair were never friends. In fact, he pressed all of her buttons without even trying. She views him as a lazy, advantaged guy destined to fail up, and finds his choosing to dramatize the African American Mississippi Delta experience especially annoying. 

Since grad school, Leslie has had a play successfully produced in New York and now she’s on the cusp of making it big in Los Angeles while Andrew is bagging groceries at Ralph’s. (In fact, we’ll discover that he’s a held a series of wide-ranging temporary jobs, picking up a lot of information from each, a habit that will serve him later on, but I digress.) 

Their conversation is awkward as Andrew’s demeanor shifts back and forth from stiltedly polite to borderline threatening. Eventually, he makes his point: Andrew claims that Leslie’s current success is entirely built on her having plagiarized his script. 

This increasingly uncomfortable set-to is interrupted by Leslie’s wisecracking best friend and roommate Miriam who has a knack for making things worse before making them better. Deliciously played by Cristina Pitter (whose program bio describes them as “a queer multi-spirit Afro-indigenous artist, abolitionist, and alchemist”), Miriam is the perfect third character in Craig-Galván’s deftly balanced three-hander. 

Cast members’ performances are layered. Salter’s Leslie is all charm, practicality, and controlled ambition, and Gavigan’s Andrew is an organic amalgam of vulnerable, goofy, and menacing. He’s terrific. 

The 90-minute dramedy isn’t without some improbable narrative turns, but fortunately they lead to some interesting places where provoking questions are representation, entitlement, what constitutes plagiarism, etc. It’s all discussion-worthy topics, here pleasingly tempered with humor. 

New York-based director Jade King Carroll skillfully helms the production. Scenes transition smoothly in large part due to a top-notch design team. Scenic designer Meghan Raham’s revolving set seamlessly goes from Leslie’s attractive apartment to smart cafes to an HBO writers’ room with the requisite long table and essential white board. Adding to the graceful storytelling are sound and lighting design by Michael Keck and Amith Chandrashaker, respectively. 

The passage of time and circumstances are perceptively reflected in costume designer Moyenda Kulemeka’s sartorial choices: heels rise higher, baseball caps are doffed and jackets donned.

“A Jumping-Off Point” is the centerpiece of the third National Capital New Play Festival, an annual event celebrating new work by some of the country’s leading playwrights and newer voices. 

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Nightlife

Ed Bailey brings Secret Garden to Project GLOW festival

An LGBTQ-inclusive dance space at RFK this weekend

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Ed Bailey's set at last year's Project Glow. (Photo courtesy Bailey)

When does a garden GLOW? When it’s run by famed local gay DJ Ed Bailey.

This weekend, music festival Project GLOW at RFK Festival Grounds will feature Bailey’s brainchild the Secret Garden, a unique space just for the LGBTQ community that he launched in 2023.

While Project GLOW, running April 27-28, is a stage for massive electronic DJ sets in a large outdoor space, Secret Garden is more intimate, though no less adrenaline-forward. He’s bringing the nightclub to the festival. The garden is a dance area that complements the larger stages, but also stands on its own as a draw for festival-goers. Its focus is on DJs that have a presence and following in the LGBTQ audience world.

“The Secret Garden is a showcase for what LGBTQ nightlife, and nightclubs in general, are all about,” he says. “True club DJs playing club music for people that want to dance in a fun environment that is high energy and low stress. It’s the cool party inside the bigger party.”

Project GLOW launched in 2022. Bailey connected with the operators after the first event, and they discussed Bailey curating his own space for 2023. “They were very clear that they wanted me to lean into the vibrant LGBTQ nightlife of D.C. and allow that community to be very visibly a part of this area.”

Last year, club icon Kevin Aviance headlined the Secret Garden. The GLOW festival organizers loved the its energy from last year, and so asked Bailey to bring it back again, with an entire year to plan.

This year, Bailey says, he is “bringing in more D.C. nightlife legends.” Among those are DJ Sedrick, “a DJ and entertainer legend. He was a pivotal part of Tracks nightclub and is such a dynamic force of entertainment,” says Bailey. “I am excited for a whole new audience to be able to experience his very special brand of DJing!”

Also, this year brings in Illustrious Blacks, a worldwide DJ duo with roots in D.C.; and “house music legends” DJs Derrick Carter and DJ Spen.

Bailey is focusing on D.C.’s local talent, with a lineup including Diyanna Monet, Strikestone!, Dvonne, Baronhawk Poitier, THABLACKGOD, Get Face, Franxx, Baby Weight, and Flower Factory DJs KS, Joann Fabrixx, and PWRPUFF. 

 Secret Garden also brings in performers who meld music with dance, theater, and audience interactions for a multi-sensory experience.

Bailey is an owner of Trade and Number Nine, and was previously an owner of Town Danceboutique. Over the last 35 years, Bailey owned and operated more than 10 bars and clubs in D.C. He has an impressive resume, too. Since starting in 1987, he’s DJ’d across the world for parties and nightclubs large and intimate. He says that he opened “in concert for Kylie Minogue, DJed with Junior Vasquez, played giant 10,000-person events, and small underground parties.” He’s also held residencies at clubs in Atlanta, Miami, and here in D.C. at Tracks, Nation, and Town. 

With Secret Garden, Bailey and GLOW aim to bring queer performers into the space not just for LGBTQ audiences, but for the entire music community to meet, learn about, and enjoy. While they might enjoy fandom among queer nightlife, this Garden is a platform for them to meet the entirety of GLOW festival goers.

Weekend-long Project GLOW brings in headliners and artists from EDM and electronic music, with big names like ILLENIUM, Zedd, and  Rezz. In all, more than 50 artists will take the three stages at the third edition of Project GLOW, presented by Insomniac (Electric Daisy Carnival) and Club Glow (Echostage, Soundcheck).

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