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If she was your girl, oh the things Peppermint would do to you

Performer talks love of Janet, new music, and political attacks on drag queens

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Peppermint recreates an iconic scene from Janet Jackson’s ‘If.’ (Photo courtesy Peppermint)

If she was your girl, oh the things she’d do to you. I’m not talking about Janet Jackson — I’m talking about Peppermint.

The “RuPaul’s Drag Race” season 9 runner-up has parlayed that success into a diversified career in music, theater, LGBTQ advocacy, and more. From her work with RuPaul as the first out trans woman competitor on that hit show to her groundbreaking role in “Head Over Heels” as the first trans person to originate a starring role on Broadway, to her work as a GLAAD board member, Peppermint is a force in the LGBTQ movement.

She’s not shy when asked about recent controversies involving Republican attacks on drag queens, such as Florida Gov. Ron DeSantis announcing he would pursue legislation making it illegal for a parent to take a child to a drag performance. In Arizona, the Trump-endorsed candidate for governor last month also attacked drag queens.

“I think the attacks are terrible and dirty,” Peppermint told the Blade. “They are trying and succeeding in distracting us from protecting the most vulnerable of our population — trans children. The drag entertainers are adults and it’s a fun celebratory scene that is inclusive of everyone and certainly not harmful. The only people supporting this are insidious and flat out lying or have probably never seen drag in real life.” 

Peppermint this week announced plans for a November tour of her new show and music. Specific dates are listed at the bottom of this article; visit peppermintonline.com for more information. 

But the main reason for a recent conversation with the Blade, was Peppermint’s viral video recreation of Janet Jackson’s iconic “If.” The song was the second release from Jackson’s 1993 “janet.” album, peaking at No. 4 on the Billboard Hot 100 chart. Its accompanying video and choreography have proven timeless, influencing many other artists, including Peppermint. Her recent meticulous recreation of the video won tens of thousands of fans on YouTube and even led to a re-Tweet by Janet herself.

Jackson’s video created a stir when it was released, revealing a bold and overtly sexual Janet that many fans weren’t expecting. “If” features intricate choreography that depicted Janet grabbing the crotches of male dancers who simulated oral sex on her. The original video was also groundbreaking in its depiction of technologies that weren’t invented in 1993, such as web cams and touchscreens. 

“This song, the choreography is so iconic, professional dancers have seen it in other pieces over the years and it’s been a blueprint for so many songs and videos by other artists,” Peppermint said. “Just as people borrowed from Michael Jackson and ‘Thriller.’” 

Peppermint fell in love with Jackson’s music following the release of “Control” in 1986 and says she learned all the dance routines over the years.

“There’s something about the way her music and live performance is packaged and presented, it came off as memorable and iconic and forward thinking and progressive and made a big impact early on in high school,” Peppermint said. “I learned the moves to ‘If’ immediately and remember every chance I got in high school and in summer camp, if you were around me you were not safe because you were learning the Janet moves, I would force everyone around me to do the routines.”

Peppermint estimates she spent $30,000 on her “If” recreation and paid for it out of pocket. The video features 10 dancers with about 30 crew on set. It was filmed in one day and she says she studied all angles of the original performance to match the choreography. It took three takes to nail the iconic breakdown dance at the end of the song.

Angel Ayala created the costume; she hand-rolled the bones on the vest (Kim Kardashian recently purchased the original costume at auction for $25,000). Peppermint says she studied Janet’s jewelry and replicated it, scouring the internet looking for similar pieces and ultimately making some by hand to match the originals perfectly. 

“My look in replicating Janet’s look, I wanted it to be as close as possible, which I nailed except for the six-pack abs,” Peppermint said, “but I look sexy.”

She noted the importance of finding talented dancers since every moment in the video is tightly choreographed.

“I wanted to update it a bit and make it as inclusive as possible with trans and nonbinary dancers, queer dancers, people of color, which is similar to the original video with its mostly Asian cast,” she said. 

She says “If” is, of course, her favorite Janet video; while her favorite Janet song is “Throb” and her favorite Janet tour is the “Velvet Rope.” 

Peppermint says she’s never met her idol Janet, but hopes to one day, adding, “I did this for myself, it was a passion project.” Will there be another Janet tribute video? Peppermint says yes, sometime next year, but declines to specify which video she plans to recreate next. 

In the meantime, she’s focused on her upcoming fall tour and her own original music about a breakup titled “Letter to my Lovers,” a trilogy about the beginning, middle, and end of a relationship. “I wanted to do something that’s a love letter to the trans community and letting people know you’re deserving of love and deserve to hear a trans woman singing about love to some ‘90s R&B throwback.”

And for those who haven’t seen the Hulu rom-com “Fire Island,” Peppermint stars in the film.

Peppermint tour dates:

November 2 @ Chop Suey – Seattle, WA

November 3 @ Hawthorne Theatre – Portland, OR

November 5 @ The Chapel – San Francisco, CA

November 7 @  Troubadour – Los Angeles, CA

November 20 @ City Winery – Atlanta, GA

November 23 @Evanston SPACE – Chicago, IL

November 27 @ Ardmore Music Hall – Philadelphia, PA

November 28 @ Brighton Music Hall – Boston, MA

November 29 @ City Winery – Loft – New York, NY

 

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Photos

PHOTOS: Night of Champions

Team DC holds annual awards gala

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Team DC President Miguel Ayala speaks at the 2024 Night of Champions Awards on Saturday. (Washington Blade photo by Michael Key)

Team DC, the umbrella organization for LGBTQ-friendly sports teams and leagues in the D.C. area, held its annual Night of Champions Awards Gala on Saturday, April 20 at the Hilton National Mall. The organization gave out scholarships to area LGBTQ student athletes as well as awards to the Different Drummers, Kelly Laczko of Duplex Diner, Stacy Smith of the Edmund Burke School, Bryan Frank of Triout, JC Adams of DCG Basketball and the DC Gay Flag Football League.

(Washington Blade photos by Michael Key)

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Photos

PHOTOS: National Cannabis Festival

Annual event draws thousands to RFK

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Growers show their strains at The National Cannabis Festival on Saturday. (Washington Blade photo by Michael Key)

The 2024 National Cannabis Festival was held at the Fields at RFK Stadium on April 19-20.

(Washington Blade photos by Michael Key)

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Theater

‘Amm(i)gone’ explores family, queerness, and faith

A ‘fully autobiographical’ work from out artist Adil Mansoor

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Adil Mansoor in ‘Amm(i)gone’ at Woolly Mammoth Theatre. (Photo by Kitoko Chargois)

‘Amm(i)gone’
Thorough May 12
Woolly Mammoth Theatre
641 D St., N.W. 
$60-$70
Woollymammoth.net

“Fully and utterly autobiographical.” That’s how Adil Mansoor describes “Amm(i)gone,” his one-man work currently playing at Woolly Mammoth Theatre. 

Both created and performed by out artist Mansoor, it’s his story about inviting his Pakistani mother to translate Sophocles’s Greek tragedy “Antigone” into Urdu. Throughout the journey, there’s an exploration of family, queerness, and faith,as well as references to teachings from the Quran, and audio conversations with his Muslim mother. 

Mansoor, 38, grew up in the suburbs of Chicago and is now based in Pittsburgh where he’s a busy theater maker. He’s also the founding member of Pittsburgh’s Hatch Arts Collective and the former artistic director of Dreams of Hope, an LGBTQ youth arts organization.

WASHINGTON BLADE: What spurred you to create “Amm(i)gone”? 

ADIL MANSOOR: I was reading a translation of “Antigone” a few years back and found myself emotionally overwhelmed. A Theban princess buries her brother knowing it will cost her, her own life. It’s about a person for whom all aspirations are in the afterlife. And what does that do to the living when all of your hopes and dreams have to be reserved for the afterlife?

I found grant funding to pay my mom to do the translation. I wanted to engage in learning. I wanted to share theater but especially this ancient tragedy. My mother appreciated the characters were struggling between loving one another and their beliefs. 

BLADE: Are you more director than actor?

MANSOOR: I’m primarily a director with an MFA in directing from Carnegie Mellon. I wrote, directed, and performed in this show, and had been working on it for four years. I’ve done different versions including Zoom. Woolly’s is a new production with the same team who’ve been involved since the beginning. 

I love solo performance. I’ve produced and now teach solo performance and believe in its power. And I definitely lean toward “performance” and I haven’t “acted” since I was in college. I feel good on stage. I was a tour guide and do a lot of public speaking. I enjoy the attention. 

BLADE: Describe your mom. 

MANSOOR: My mom is a wonderfully devout Muslim, single mother, social worker who discovered my queerness on Google. And she prays for me. 

She and I are similar, the way we look at things, the way we laugh. But different too. And those are among the questions I ask in this show. Our relationship is both beautiful and complicated.

BLADE: So, you weren’t exactly hiding your sexuality? 

MANSOOR: In my mid-20s, I took time to talk with friends about our being queer with relation to our careers. My sexuality is essential to the work. As the artistic director at Dreams of Hope, part of the work was to model what it means to be public. If I’m in a room with queer and trans teenagers, part of what I’m doing is modeling queer adulthood. The way they see me in the world is part of what I’m putting out there. And I want that to be expansive and full. 

So much of my work involves fundraising and being a face in schools. Being out is about making safe space for queer young folks.

BLADE: Have you encountered much Islamophobia? 

MANSOOR: When 9/11 happened, I was a sophomore in high school, so yes. I faced a lot then and now. I’ve been egged on the street in the last four months. I see it in the classroom. It shows up in all sorts of ways. 

BLADE: What prompted you to lead your creative life in Pittsburgh? 

MANSOOR: I’ve been here for 14 years. I breathe with ease in Pittsburgh. The hills and the valleys and the rust of the city do something to me. It’s beautiful, it’ affordable, and there is support for local artists. There’s a lot of opportunity. 

Still, the plan was to move to New York in September of 2020 but that was cancelled. Then the pandemic showed me that I could live in Pittsburgh and still have a nationally viable career. 

BLADE: What are you trying to achieve with “Amm(i)gone”? 

MANSOOR: What I’m sharing in the show is so very specific but I hear people from other backgrounds say I totally see my mom in that. My partner is Catholic and we share so much in relation to this. 

 I hope the work is embracing the fullness of queerness and how means so many things. And I hope the show makes audiences want to call their parents or squeeze their partners.

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