BEDROOM QUEEN TO RUGIRL: AN INTERVIEW WITH LYDIA COLLINS TOWN HALL ARTS CENTER SETS THE STAGE FOR QUEER STORIES GLAMOUR, GEEKS, FILTH, AND HORROR WITH AUNTIE
SERVING THE LGBTQ COMMUNITY OF THE ROCKY MOUNTAINS SINCE 1976
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FROMTHE EDITOR
Back by popular demand, it’s our annual drag issue! Because we also love to throw the theater world all the support we can, it’s now our annual drag and theater issue, and we couldn’t be more thrilled to dive into a bit of escapism and high queer culture in this issue.
But of course, even though drag and theater are a lot of fun, they’re also on the front lines of sharing social messages and doing the important work of activism and advocacy for the queer community. Drag and theater have such important roles in the coming years and the fight for queer acceptance, and that’s celebrated in this issue too.
On the cover is Dragula runner-up and small-townqueen-turned-alt-hero Auntie Heroine, in all their glory! They’re a testament to hard work and looking fierce. Also highlighted in these pages are our community partner and one of our favorite local theaters, Town Hall Arts Center. Not to mention, we have plenty of local and national drag and theater goodness to get you up to date on some new favorites.
Remember, even though the next four years are going to be hard, this isn’t a time to stop making art. Art is activism and a very important way to fight back and get our message across. Keep it up, and drop us a line on socials to let us know who else we should be highlighting!
-Addison Herron-Wheeler
Photo by Joe joerockford.comGalvanoni
by Ixora Cook
QUEENtoRugiRl
Photos courtesy of MTV and Paramount
she says, but I still catch a hint of nostalgia from the twinkle in her eye.
Ten years ago, Lydia discovered the teen queen community on Instagram and became a bedroom queen trying to make it big in the scene. And she did, with memorable runs on drag competitions like Instagram's Queens Purgatory, among others. Lydia and I look back on teen queen competitions and drama now and laugh, but they were serious business back then, with the "Pretties" clique running the entire scene and other sagas of obnoxious teenage drag queen behavior.
There are also several iconic moments that became memes, such as a queen lipsyncing outside in her backyard before her mom bursts out the door and shouts about how "The neighbors don't want to see this shit." "There's no one out here right now," The young queen protests. "Well OBVIOUSLY they have windows!" the mom retorts back in an instantly classic, endlessly replayable exchange. Lydia and I reminisced on a few moments like this and, in some ways, we miss them dearly.
Lydia does indeed attribute the teen queen community and its competitions to her competitive nature now and feels like the teen queen experience helped shape her into the queen she is today. "I definitely learned a lot," she says. Now, the approach is a more old-fashioned process where her sisters and daughters learn to do drag backstage and onstage, whereas former bedroom queens such as Lydia and myself were sitting in our rooms honing our crafts, earning us the label "bedroom queens." Lydia reveals that even to this day she has trouble finishing an outfit, a problem that has plagued her since the days of bedroom drag. "Making an outfit from the front is the easiest thing, but getting the back done is another story," she tells me. However, as she says, you can always shove a safety pin through it.
Lydia's favorite look she did as a teen queen is her Cannibal Holocaust-inspired look featuring a pole impaling the queen from her mouth to her butthole. Speaking of Butthole, which is what her middle initial stands for, she adopted that nickname thanks to that costume … We hope. But before that, as a teen queen, "I was Lydia Chlamydia," she laughs. She still talks to some of her drag friends
made during the teen queen era, and her best friend of all time is a queen named Alice Blue. She describes the teen queen community as a "microcosm" and says the process of creating her own work gave her a sense of what competition feels like and lit a fire under her to reach new heights. "It definitely (...) got me in the mindset to want to compete," she says of the community.
Overall, Lydia is a new rags-to-richestory on Drag Race where a bedroom queen is thrust into the spotlight of being a famous celebrity drag queen, and Drag Race was just the start. Lydia jokes about fist fighting Suzie Toot on national television, alluding to some possible shady drama or perhaps just a friendly rivalry. In Season 17, in three of her own words, Lydia served concepts, kookiness, and stupidity. I'm sure that with her campy antics and beautiful looks on the runway, she has stolen the hearts of queer Americans who watch the show all over the country in the process, just as she originally captured the attention of Instagram in the early days of her drag.
The stage is set. A lively crowd gathers in the auditorium, their lives about to be changed. Town Hall Arts Center in Littleton has operated for 40 years as one of the best and most intimate live theater locations in the region. Their mission is “to enrich the cultural, social, and educational life of south metro Denver,” through their performances and exhibits. This upcoming season for THAC is special, as the final shows focus on topics very close to the queer community: physical and mental illness, found family, authenticity, and self-expression.
Executive Director Robert Michael Sanders (he/him/his) and Artistic Director Matthew Kepler (he/him/ his) shared their thoughts about the upcoming season in a virtual interview, with Marketing Director Steven Burge (he/him/his) as our lovely email conductor. On the docket for the rest of the season is ‘night, Mother, Once, and On Your Feet! Collectively, these shows explore the topics above, and we dive into why they were chosen to perform, as well as how they resonate with the audience.
‘night, Mother, by American playwright Marsha Norman, explores mental and physical disability through the characters Jessie Cates and her mother, Thelma “Mama” Cates. Throughout the play, Jessie is threatening suicide, and as she explains why, her mother tries to talk her out of it. Jessie has lived with epilepsy, causing seizures, her entire life, as well as severe depression. Her divorce, her disabilities, and her son have caused her to believe she should end her life. As they work through her problems, their relationship is changed permanently.
I asked Sanders and Kepler why they chose this piece specifically, to which Kepler replies, “I chose ‘night, Mother because it’s a powerful and important play. As someone who has been suicidal in my own life, I recognize the importance of open and frank conversations around mental health. The show won the Pulitzer Prize way back in 1983, but it never really got the attention it deserves. I think that’s because of the stigmatization around mental health. Now, 40 years later, we’re talking about mental health more, but still not enough. So I wanted to amplify this
SETS THE STAGE Queer
byLeoJosephina
it was very important, politically, to highlight a women-centered story. Roe v. Wade had been overturned when I was in the selection process. Women remain underpaid and undervalued in society. So this piece is all women-led. The playwright, the actors, the directors, the design team. And frank? These women are powerhouses. And I wanted a vehicle to showcase their amazing talent. ‘night, Mother is that show.”
Many members of the queer community struggle with depression and suicidal ideation, both because of the condition of the world we live in and the way it treats us. Kepler agreed, stating, “night, Mother offers an important opportunity to talk about mental health and suicide. A study I just read stated that LGBTQIA+ teens attempt suicide at a rate four times higher than their cis/straight teen counterparts, mostly because of family rejection, bullying, and a lack of gender-affirming support. The person experiencing suicidal ideology in the show is a cis-straight woman, but her feelings and suicidality are definitely felt in the queer community.”
Once, directed by Carrie Colson, is about two musicians in Ireland trying to make a living, who meet one another and help each other get back together with their partners while also working on producing music together. It is based on a movie of the same name, and the theatrical adaptation includes the cast working as the orchestra.
On why it was chosen to be performed, Kepler says, “Once is a unique, exciting show that represents a global community of people who live together and work together. And create together! Music is their common language. And yes … a love story is there, too … but even that love story takes a backseat to the story of connection through music. In fact, the way the two love interests connect to each other and their blended community is through music. That universal language of music speaks to everyone—regardless of sexual orientation or gender or race or any other identity!”
Carrie Colton is originally from Colorado and a queer director. They have directed many shows for THAC, and other theaters and bring a lively experience to all that they do.
PhotosbyColleen Lee and Rachel Graham
On working with Colton, Sanders says, “Carrie Colton brings excitement and positive energy into every room. That energy is contagious. Every project they work on … whether as fight choreographer for our production of Trey Parker’s Cannibal! The Musical, or choreographer for our production of The Prom, or now as director for Once, is infused with joy. They lead with joy and with love, which naturally creates a culture of acceptance. They make things exciting for the performers telling the story, and for the audience watching the story.”
On Your Feet! The Story of Emilio and Gloria Estefan tells exactly that; the life, rise and fall and struggles of queer Latinx icon Gloria Estefan. It goes through the struggles she faced while trying to pursue music in spite of her mother’s wishes (and possibly jealousy), and having to choose between taking care of her father and taking care of herself. The musical touches on found family, authenticity, and on the intersections we face as human beings with different identities.
Kepler chose On Your Feet! to reflect on those intersections. “Town Hall Arts Center exists in a majority white suburban community, but that doesn’t mean the stories we tell can’t be reflective of the larger Coloradoan community, and that community includes people who are immigrants. On Your Feet! is, at its core, a celebration of immigrant communities and their contributions,” he states. Especially given the attacks being made on our country's immigrants, it is vital to celebrate them, and to educate those who may not necessarily be able obtain that knowledge otherwise.
Gloria Estefan often was met with attempts to put her in a box, whether that be by her own mother, or by record labels and music producers. Minority communities are often faced with the idea that they are nothing more than one singular, often stereotypical trope. Kepler expands on this, stating, “Being forced into boxes is something queer people understand. Similarly to so many queer people, Gloria Estefan was faced with a choice. She could try to whitewash her music to fit into American mainstream pop culture, or she could be entirely, authentically herself. She chose the llatter, and as a result, became one of the first people to cross over from Latin music into the American mainstream, and with huge success. In doing so, she built a bridge between those musical worlds and paved the way for many other Latinx artists to share their music and their talent on their terms with American audiences.”
Art is a crucial part of building community, and helps us to recognize ourselves in others that are not so much like us in other ways. Seeing the struggles faced by the characters in these performances opens up the audience to talk about those same struggles faced in the real world, such as the stigma around mental illness and physical disability, immigration, and how immigrants are a vital part of the fabric of our country, not only for their contributions but for their personhood at large.
I asked how Sanders and Kepler felt about their responsibility to this in theater, which has long held the tradition of sharing these struggles on a stage. Sanders states, “When you come to the theater as an audience member, you are choosing to have a shared experience with everyone else who came to watch the show. You’re seeing the show unfold at the same time and experiencing emotions and responses to the show in space with other people who may or may not think and respond the same way as you, but who are absolutely reacting to the same story as you in their own ways. Art will inevitably open up conversations and allow folks to discuss differences of opinions from an empathetic point of view rather than a judgmental point of view.
"Personally, I love to experience theater for the escapism. It provides a much-needed break from reality. I can experience a true story, or a fictitious story, or a historic story, or a contemporary story, told by any number or kinds of storytellers, and what each experience has in common is that they always allow me to escape. Live theater is sometimes calming, sometimes invigorating … always powerful.”
Sanders and Kepler were wonderful to work with, and when asked what else they might like to share, had some beautiful things to say about community and outreach. Sanders adds, “I am a white, cis het man. I represent the majority. So in my position as executive director, I want to do more than just make theater. (Though I love to make theater.) I want to be a good ally by offering a safe space for people who are not like me to tell their stories and to use my voice and privilege to stand up for marginalized communities in Colorado. I encourage folks to be allies within your own corners of the world and to uplift communities you are not a part of, yourself. We all have much more in common than what separates us from each other. And when you lean into that common ground, you’re going to have a richer cultural life, social life, and creative life.”
Kepler agrees, “None of the final three shows of our season (‘night, Mother, Once, and On Your Feet!) speak exclusively to a queer audience. But each of the final three shows of our season absolutely will resonate with queer audiences because these are all human stories about human trials and triumphs. And queer people are human, first, aren’t we? All the other labels we wear … gay, gender-queer, immigrant, American, Black … They are all so important when talking about how we come to the table as our most authentic, complete selves, but what we all have in common is that our most authentic, complete selves are all human. These are human stories, and as Robert Michael said, if we could see each other as humans and see all the beautiful things we have in common with each other, in addition to all the beautiful things that make us unique, this world might be a kinder and gentler place. We want to represent that place at Town Hall Arts Center."
by Addison Herron-Wheeler
AuntIe heroIne, who rose to fame aS the runner-up on Dragula Season 6, has only been in the spotlIght for a lIttle lesS than a year, but iS alreaDy impreSsIng theIr fanS wIth theIr aDvocacy, snappy comebacks, unique style, and theIr focus on all thingS glamorous and nerDy. We had the gooD fortune oF catchIng up wIth them durIng some downtIme, and they had a lot to say about theIr recent tIme on tv, the frienDs they made, and being the repreSentatIon they wIsh to see in the world.
Igniting the Spark
Auntie Heroine's introduction to drag came unexpectedly while in college at Illinois State University, planning a conference featuring Bianca Del Rio. "I didn't know she was (from Drag Race) because I didn't follow any of that stuff," Auntie Heroine admits. Watching Del Rio's performances opened their eyes to the world of drag, sparking a passion that had always been within them. "I've always been a performer, an actor, singer. I just love being on the stage. I love performing, and this just seemed like one of the best outlets to be able to do that."
Find I ng Identity t hrough Drag
Drag became more than just performance for Auntie; it became a vehicle for self-exploration and community engagement. "This was also the same time that I came out as nonbinary and started using they/them pronouns. And the reason I did that was, I was auditing a queer theory class at school, and I learned about this idea of the binary and how many cultures across the world since the beginning of time have had more than two genders."
This exploration of gender identity became intertwined with their drag persona. "I think it all kind of culminated into just one big storm of gender identity and exploration, which is really what drag should be,” they add. “It's, I think, such a way for people to explore themselves and their identity."
t he a lternat I ve Scene and Dragula
Auntie’s glamorous and expressive style found a home in the alternative drag scene. "I've always been this way. I've always been an emo kid. I've always been a weird kid,” they explain. "I've been a bit of a weirdo my whole life, not always quite understanding why everybody thought
differently than me, or why everybody was different." Frustrated by being a glamorous pageant queen who couldn’t get booked because of also being a bearded queen, Auntie looked towards the alt community. "It was really hard for me to connect with certain things; it was really hard for me to get booked, so I had to create my own bookings." Dragula, with its focus on alternative and unconventional drag, offered a welcoming platform. "When Dragula appeared, that really seemed like a beacon to me. You know, the fires have been lit. All of a sudden, I'm like, Oh my God, there is a place for me."
r epresentation and Vali D ation
Being on Dragula provided Auntie Heroine with an opportunity to represent various communities from the nerdy gaming community to the more glamorous side of alt drag. This representation resonated deeply with viewers. "I'm very proud to be able to showcase my love for (nerdy alternative culture) on an international level, to show other nerdy people, or maybe just people that are afraid of showing who they are and what they're passionate about, to to the world and show them that it’s OK to be a dork." The positive feedback, particularly from the neurodivergent community, has been incredibly rewarding. "What's really been nice is having a large internet and in-person community that is just like, ‘Listen, we claim you; we accept you, and we love you; thank you so much for representing us.’”
n aV igating the Spotlight
The experience of being on Dragula was overall lifechanging. The outpouring of support from loved ones and the validation of their hard work were incredibly fulfilling. "It was very exciting and validating, especially in the beginning. You have to be quiet for a little while. You can't really tell anybody. And people know you've kind of disappeared for a while and everything. But to be able to then, just like, shout that from the mountain tops, it was very exciting."
However, those who watched the show can attest to the fact that Auntie definitely got the villain edit. "It was very hard for me to see the edits sometimes of how I was presented on the show. I am a very straightforward person. I’m proudly a cunt, but I’m not an asshole. I never want to be mean.” They elaborate that many times, parts of or precursors to conversations were left out, making Auntie seem more like the aggressor in some situations. But ultimately, they release that’s the MO of reality TV, and they assure us that they have nothing but love for their Season 6 family.
AUN T I E HEROINE GLAMOUR, GEEKS, FILTH,&HORROR with
Photo by Amanda Lynn Farrey.DiamondPhoto.Co
by
Joe Galvononi
u s I ng t heir
Looking forward, Auntie Heroine plans to use their platform for advocacy. "I have the gift of my voice. I am very good at articulating things. It's just one of my passions. It is one of my gifts, and I'm so grateful for it. I have this ability to inspire people."
They envision advocacy as a multifaceted approach. "I think advocacy is a pie, and I think there's a lot of times people are like, ‘You should be in the streets.’ Well, one sliver of the pie is protesting, and protesters being in the streets, activism, those kind of things. Another ssliver is diplomacy and working on boards. Another is entertainment and using your voice that way.” Auntie Heroine aims to contribute to the larger fight for equality and justice in a way that is both impactful and sustainable.
She leaves us with a few parting words of wisdom: “They want us to be afraid. They want us to crawl into our beds and be quiet. This is an act of terrorism. This is domestic terrorism, in my humble opinion, and the only way to combat it is to stick together and remain visible and speak out. And you have to take care of your mental health as well, and how I do do that is by building health and creating community rather than focusing on this is what they're doing. We need to stick together and lift each other up.”
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Photo by Bruce Unruh
by Joseph Jr. Mastel
Margaret Cho is incredibly talented. Along with her brilliant stand-up comedy and hilarious and memorable roles in 17 Again, 30 Rock, and Fire Island, Cho is a great musician. Her newest music album, Lucky Gift, is her first since 2016’s American Myth. In this interview, Cho talks about Lucky Gift and the importance of advocating for and standing up for LGBTQ+ rights.
Cho started working on some of the songs on Lucky Gift around 10 years ago. “Some of them came out of when I was working on an outreach for the unhoused in San Francisco following Robin Williams’ death,” she states. “I wrote a bunch of songs. So ‘Funny Man’ is about Robin Williams, and we would play that song live in these encampments when we were setting up to feed people and distributing needed supplies; we would also play music.”
Over the years, Cho continued to write more songs. “I just never had the time to put it out ‘cause I was doing stand-up comedy and acting stuff. Finally, there was a moment where I could put everything together and put it out a record.”
the whole record.”
With Lucky Gift, Cho finds she has gotten more confident as a writer.
“I think I more understood my style as a singer and songwriter,” she comments.
L“I’ve had a long journey with music, but it’s not as developed as the other parts of my work as a comedian or an actor. This part I’m newer at. Cho continues to develop her craft as a musician, adding, “I’m still forming my own impression of what this art form is for me. With each song that I write, it gets stronger and stronger, so I’m really grateful to learn.”
UC K Y GIF
TCho chose Lucky Gift to be the title of the record because it encapsulates all of the songs. “All the songs are kind of like these things that just come out of nowhere,” she comments. “It’s so weird how music happens and how songs just appear like a gift. It was like a metaphor for
Something Cho finds interesting about music is the storytelling aspect. “With music, for me, storytelling is very different because an audience can take whatever they like from it,” she exclaims. “You can interpret a song in so many different ways that the artist may or may not intend, and the point is that you put something out without necessarily putting an expectation on a listener to feel a certain way. I have a little bit of an intention, but for the most part, I think I want people to come away from it feeling like they can establish whatever relationship they want to each song. I think that’s really special.”
“Doot Doot” is one of the rare covers that Cho has done in her career. “It is a wonderful song from the ‘80s by a band called Freur, who I just absolutely love,” she says.
“It was an amazing revelation that synthesizers could have so much heart in the ‘80s. I wanted to revisit it. I kind of have a spoken word thing going through it but that’s actually the one cover on the record. I don’t really do a lot of covers, so this for me was really special.”
Margaret Margaret
argaret argaretCho Cho
One of Cho’s favourite songs from Lucky Gift is “You Can Be You.” "The creation of that was really special because it was written right after the death of Nex Benedict, who was this trans, nonbinary teen who unfortunately died mostly at the hands of bullying but also horrible bullying by the state of Oklahoma and how that was handled,” comments Cho. “Their life had such an impression on me. And all of these anti-trans and antiqueer laws happening in all these states now, and this push to erase the trans community and genderfluid community — It's really disturbing. So, I wanted to
ludicrous. So, whatever I can do to address that and amend that I think is important.”
Cho is very happy and proud of Lucky Gift. “I really love these songs,” she smiles. I’ve lived with them for a really long time. I hope people can enjoy it. I feel like, for me, it’s a miracle that songs happen. There’s nothing, and then there’s a song. I think all songwriters feel
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From romantic gifts for your favorite stoner to sexy, silky, pajamas, there’s something for everything in our steamy February gift guide. If no one else is treating you this Valentine’s season, don’t forget to spoil yourself.
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Chaos Bloom Theater is an Improv and Sketch Comedy Theater in Denver. We teach classes every night and have shows Thursday through Saturday.
The Mishawaka Amphitheatre
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Mishawaka is a legendary music venue, restaurant, and bar located in the stunning Poudre Canyon. We also host legendary weddings!
IDENTITY LINGERIE
If you’re looking for a late Valentine’s gift for your significant other, look no further than family-owned U.K. lingerie brand Identity Lingerie. Their quality, silky garments are comfortable and size-inclusive and as
RISE Comedy
Nick Armstrong | nick@risecomedy.com risecomedy.com
RISE Comedy is Denver’s vibrant hub for laughter, inclusivity, creativity, and community! We do shows, classes and corporate training.
Loving Beyond Understanding
Emmanuel Cisneros | 970-216-0325
Lovingbeyondunderstanding.org
LBU seeks to help meet the needs of the queer and gender-diverse community in the Western Slope of Colorado through social support and collaboration.
BAR TAB
BAD HABITS DENVER
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BOYZTOWN
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BUDDIES
504 E. Colfax Ave.
CLUB Q
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CHARLIE’S NIGHTCLUB
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LADY JUSTICE BREWING 3242 S Acoma St. Englewood (303) 578-8226
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TIGHT END BAR
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TRACKS
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TRADE
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WILD CORGI PUB
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TUE: Solve That Puzzle w/Mr. Will 7pm w/Taco Tuesday, $3 Modelo Draft, $5 House Margs
WED: Trivia w/Alejandro 7pm w/Wing Wednesday .75 Wings, $5 U Call It At The Bar
