The Legend of Georgia McBride traces one man’s journey from lackluster Elvis impersonator to lascivious drag queen. Casey (Andrew Swackhamer) is an accidental drag queen, if there is such a term. His Elvis number gets knocked from Cleo’s in Panama City, Florida when bar owner Eddie’s (David Conrad) cousin, drag queen Miss Tracy Mills (Shua Potter) shows up for a promised drag gig. Casey gets to stay on as bartender. When Mills’ drag partner Rexy (Justin Lonesome) gets too sauced to perform, Eddie demands Casey fill in, or he’ll fire both Casey and Tracy. Casey gets a perfunctory intro-to-drag lesson from Mills while he is fitted with boobs and booty and his waist is cinched. Drag pro-tip: Apparently, lipsyncing “watermelon mother**ker” will get you through any song. Thus, Georgia McBride is born. Casey goes from intrepid drag queen to owning his new persona. However, he struggles to fully embrace it, keeping Georgia McBride a secret from his pregnant wife, Jo (Sara Williams).
Matthew Lopez’s 2015 play is about so much more than Casey’s spectacular transformation. As anticipated, Jo ultimately learns about Casey’s new gig, and she is devasted. Jo’s character is overshadowed by the visual feast of drag queens brought to life by costume designer Angela Vesco’s spectacular work, but director Patrick Jordan helps Williams find the edge in her performance. Early in the play, Jo says of their marriage that she’s always known, “I have to share you with the King.” She is eventually able to extend that to Casey’s drag career. However, her acceptance is never a foregone conclusion in the play, as Matthew Lopez keeps the tension palpable.
Casey becomes an unexpected change catalyst. Grumpy, degenerate bar owner Eddie enlivens as Cleo’s thrives. Like Jo, he goes from doubter to believer. Costume designer Vesco beautifully reinforces that within his costuming as Eddie morphs from army green Crocs and socks, to a black sequined blazer, to even donning heels for the final number. Director Jordan has Conrad go from slumped to proud-chested. As emcee, Conrad shouts out, with a spot-on Southern twang, that Cleo’s is “putting the gay back in gator country!”
Casey turns to Mills during his marital crisis, showing up at Mills’ apartment. For the first time, we see the two interact outside of Cleo’s. Swackhamer effortlessly flips between Casey and Georgia, making the play come alive as a time-lapse of a blossoming drag queen coming into her own. Swackhamer makes the transformation feel authentic as he goes from quavering on heels to strutting the stage. He transforms into Disney’s Elsa, belting out “Let It Go,” and giving his nipples a memorably salacious rub as he closes the song with “The cold never bothered me anyway.” However, outside his apartment is the only time Shua Potter is not in drag and in character as Tracy. Potter’s transformation from pumped up drag queen into the sneaker-wearing Bobby in sweats is truly remarkable, and I wasn’t the only one double-checking the program’s cast list to see who the new actor was. Bobby declines Casey’s request to crash at his place, saying he has an overnight guest. One senses that may or may not be true. Perhaps, it is just Bobby’s discomfort. Tracy is the fierce ringleader and confident teacher at Cleo’s, pink wig ablaze, but as Bobby, Potter exudes a discernable vulnerability, despite a sheen of omnipresent wit.
Lopez doesn’t gloss over the politics of drag, finding just the right balance. When Rexy reappears, she makes it clear to Casey that while he has the privilege of stepping away, drag is not a choice for her. Justin Lonesome’s voice trembles as Rexy talks about being attacked outside of a club in Houston at 16 after doing a drag show. Rexy poetically describes drag as “a raised fist inside a sequined glove.” Tolerance is never a given, but they’re not as different as Rexy thinks. Casey is already acutely aware of the boundaries of tolerance. After all, Jo has kicked him out. Despite walking out of Cleo’s, he finds himself back again—drag has gone from being a shell to his home.
When Jo asks Casey, “Why drag?” he struggles, finally saying, “I love the music…and the make-believe.” In watching Georgia, you can’t help but think we could all benefit from a little more music and make-believe in our lives—and the courage to take risks and make choices that will fulfill us. The Legend of Georgia McBride plays through March 9th at the Barebones Black Box in Braddock. Learn more about this exquisite show, and buy tickets online.
Tiffany Raymond has her PhD in 20th century American drama from the University of Southern California where her research focused on labor and social protest theatre. She also has two master’s degrees, one from the University of Southern California and one from the University of Tennessee. She currently lives in Pittsburgh with her family. In addition to being a theatre nerd, she’s also a tech geek, avid reader and occasional half-marathon runner.
Categories: Archived Reviews