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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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Arts & Entertainment

The very few queer highlights of the Oscars

Streisand’s live performance, a shocking tie, and more

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(Photo courtesy of AMAS)

LOS ANGELES — While Sunday’s Academy Awards saw the expected winners “One Battle After Another” and “Sinners” nab a collective 10 Oscars throughout the evening, dominating most of the major categories, there were a few moments for queer film fans to celebrate.

During the ceremony’s prolonged and emotional In Memoriam segment, which paid tribute to Robert Redford, Rob Reiner, and Catherine O’Hara, queer icon Barbra Streisand went on stage and gave a rare live performance of “The Way We Were” as a tribute to Redford, who died last September at the age of 83. Before singing, Streisand said, “Now, Bob had real backbone on and off the screen. He spoke up to defend freedom of the press, protect the environment, and encouraged new voices at his Sundance Institute — some of whom are up for Oscars tonight, which is so great. He was thoughtful and bold.”

Both “I Lied to You” from “Sinners” and “Golden” from “KPop Demon Hunters” were performed live; Alabama Shakes front woman Brittany Howard performed during the evening’s powerful rendition of “Sinners’” “pierce the veil” scene. “Golden” ended up winning the Best Original Song award.

One of the most shocking moments of the night arrived early on when Kumail Nanjiani presented the Best Live Action short category, which was a tie between “The Singers” and “Two People Exchanging Saliva” — only the seventh tie in Oscars history (one of which involved Streisand’s 1969 win for “Funny Girl”). The latter short, which is currently streaming on The New Yorker, is described as “a dystopian version of Paris where kissing is forbidden and purchases are made through small acts of violence” and follows the unexpected connection between two women.

When accepting the award, “Two People Exchanging Saliva” director and producer Natalie Musteata said: “Thank you to the Academy for supporting a film that is weird, and that is queer, and that is made by a majority of women!”

“One Battle After Another’s” editor, Andy Jurgensen (who collaborated with Paul Thomas Anderson on “Licorice Pizza” and “Phantom Thread”), kissed his husband before going on stage to accept his award for film editing. He said, “To my partner, Bill, who brings so much joy to my life every day.”

Overall, the 2026 award season did not feature many queer films or actors in the lineup, and that was reflected in both the Oscar nominees and eventual winners. Smaller award shows like the Gotham Awards and the Film Independent Spirit Awards provided opportunities for indies like “Sorry, Baby,” “Twinless,” and “Lurker” to get proper recognition. “One Battle After Another” won Best Picture and Best Director for Paul Thomas Anderson; “Sinners” star Michael B. Jordan won Best Actor; and “Hamnet’s” Jessie Buckley won Best Actress.

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Photos

PHOTOS: Awesome Con

George Takei speaks on the main stage

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George Takei was among the featured guests at Awesome Con on March 14. (Washington Blade photos by Michael Key)

The annual fantasy, comics and science fiction convention Awesome Con was held at the Walter E. Washington Convention Center on March 13-15. Featured guests included openly gay actor, author and activist, George Takei. The convention included LGBTQ panels and a “Pride Alley” with LGBTQ-specific booths in the exhibit hall.

(Washington Blade photos by Michael Key)

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Theater

A season of renewal for D.C. theater

‘Streetcar,’ ‘Hamnet,’ ‘Hamlet,’ and many more

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Ismenia Mendes plays Ana in ‘Jonah’ at Studio Theatre. (Photo by Krystena Patton)

Ideally, spring is our season of renewal – personal, emotional, and social. Lucky for those in the DMV, there’s a lot of exhilarating new theater to help make it happen. 

At Arena Stage, there’s still time to catch the world premiere production of “Chez Joey” (extended through March 22). Set around the 1940s Chicago jazz scene, this smart reboot of the Broadway classic “Pal Joey” effervesces with music by Rodgers and Hart and a terrific cast brimming with big talent (including Myles Frost, Awa Sal Secka, and out comedic actor Kevin Cahoon). 

Also at Arena, is “Inherit the Wind” (through April 5), the extraordinarily timely work based on the real-life Scopes “Monkey” Trial. It’s a courtroom drama that pits two towering legal minds against each other in a small-town battle over science, religion, and the right to think. The large, talented cast includes Billy Eugene Jones, Dakin Matthews, and out actors Holly Twyford and Alyssa Keegan.  Arenastage.org 

La Pluma Theatre, a queer Latin company housed in Dupont Underground, presents “The Ladybird of Saint John” (April 6-12), a powerful story about two sisters navigating immigration, separation, and the fragile bonds of family. @laplumatheatre – Instagram 

Great gay playwright Tennessee Williams’ “A Streetcar Named Desire” (April 20–May 4) is also coming to the Dupont Underground space. Directed by out actor/director Nick Westrate, the touring production of Williams’s classic work set in New Orlean’s steamy Vieux Carré is performed with neither set nor props. It focuses on the words. Lucy Owen and Brad Koed star as fragile Blanche Dubois and her brutal brother-in-law Stanley. Dupontunderground.org

Folger Theatre is serving up one of the Bard’s best comedies, “As You Like It” (through April 12). Staged by out director Timothy Douglas, Folger’s production “offers a love note to D.C., imbuing the forest of Arden with the familiar vibes, culture, and characters that mark the District as a singular, resilient, and redemptive place of belonging.” Folger.edu 

As part of the country’s semi-quincentennial celebrations, Ford’s Theatre presents “1776” (through May 16), a Tony Award-winning musical about the Second Continental Congress’s struggle to adopt the Declaration of Independence in Philadelphia. Directed by Luis Salgado, the show features a large cast including queer talent like Tom Story, Jake Loewenthal, Jimmy Mavrikes, and Wood Van Meter. Fords.org 

In Falls Church, Creative Cauldron presents “Twelve Dancing Princesses” (through March 29), a Learning Theater Production targeting both kids and adults. Adapted from a Brothers Grimm tale, the eerie story features Spanish language elements and original music by husbands Matt Conner and Stephen Gregory Smith. Creativecauldron.org 

The National Theatre presents “Disney’s Beauty and the Beast” (March 18–April 5). This musical “tale as old as time” is a love story involving Belle, a cursed beast, and the arrogant and famously spurned Gaston played out actor Stephen Mark Lukas, a beauty in his own right. Broadwayatthenational.com 

At Mosaic Theater Company, Michael Bahsil-Cook plays the titular activist/congressman in Psalmayene 24’s “Young John Lewis: Prodigy of Protest.” (March 26–May 3). Staged by Mosaic’s out artistic director Reginald L. Douglas, focuses on Lewis’s formative years of ages 18-28, revealing the budding humanity and heart of this mighty historic figure. Talented out actor Vaughn Ryan Midder plays legendary civil rights activist Medgar Evers and other parts. Mosaictheater.org 

At Olney Theatre Center, it’s the anticipated area premiere of “Appropriate” (March 18–April 19). Penned by Tony Award-winning out playwright Branden Jacobs-Jenkins, the darkly comic work follows a dysfunctional white family that gathers on a plantation home to liquidate their late father’s estate where they uncover a dark history of racism.

Excellent area actors Kimberly Gilbert and Cody Nickell play siblings battling over possessions as well as their father’s shady legacy. Performed in Olney’s black box Mulitz-Gudelsky Theatre Lab, the company promises a unique staging of this important American play.  Jason Loewith directs. 

Also at Olney Theatre, celebrity chef and longtime queer ally Carla Hall debuts her one-woman show, “Carla Hall — Please Underestimate Me” (June 3–July 12). Olneytheatre.org 

British imports are striding the boards at Shakespeare Theatre Company this spring. The first is “Hamnet” (March 17–April 12), the U.S. premiere of the Royal Shakespeare Company’s 2023 stage adaptation of Maggie O’Farrell’s best-selling novel about the life of Shakespeare’s wife, Agnes, and the death of their son.

And then it’s “Eddie Izzard in the Tragedy of Hamlet” (March 27–April 11), a one-woman show in which the British comedian takes on 23 characters in a unique re-telling of the renowned work. Shakespearetheatre.org 

Woolly Mammoth Theatre presents “Travesty” (March 24–April 12). Created and performed by gender fluid drag performer Sasha Velour, the one-person show is part performance art, part history, and part call to action.

Also at Woolly, out actor Justin Weaks stars in his solo piece “A Fine Madness” (June 2–21), in which the Helen Hayes Award-winning actor shares his personal experience as a Black gay man receiving a positive HIV diagnosis. Woollymammoth.net

Spring at Studio Theatre is Rachel Bonds’ “Jonah” (through April 19), an exploration of a woman’s life through relationships with three men. Directed by Taylor Reynolds, the young five-person cast includes Rohan Maletira in the title role and Ismena Mendes as Ana. Mendes is an accomplished stage and screen actor whose described as bisexual/queer in her IMBD bio. Studiotheatre.org 

In Arlington, Signature Theatre’s out artistic director Matthew Gardiner stages “Pippin” (May 12–July 26), Stephen Schwartz’s musical about a young prince searching for a terrific life guided by a theatrical troupe. The original 1972 production featured stars like Ben Vereen and Irene Ryan (best known as TV’s Granny Clampett). Signature’s production’s big names have yet to be shared. Sigtheatre.org 

Exciting stuff ahead. 

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