Notes From A Show Director

I've been doing this a long time. Here are some of the things that I think new performers should know as they are starting their drag careers.

I know that I appear to be a fresh-faced girl of 22, but in fact I have been performing in drag since December of 2001, and I've been directing and producing drag shows for about 20 years. In that time, I've made some mistakes and learned some things that I wish someone had told me as I was starting out. Drag has never been my primary source of income, but I've managed to establish a pretty healthy "side hustle" over the years, and I think this advice is just as useful - maybe more so! - for those who want to pursue drag full time.

1. Be someone that directors want to bring to their shows.
   

This is very general, and a lot of the advice that I'll give on this page probably fits under this as a general category, but it's a great place to start. When new performers ask me for advice, the first thing I always tell them is, "The only thing better than being invited to perform somewhere, is being invited back." I've given out a lot of first invitations over the years, but a lot fewer second invitations. If you are hard to work with or cause problems for the director, the show, the venue, etc. then a second invitation might not be coming your way.

This doesn't mean that you shouldn't stick up for yourself if you are being treated poorly, and if there is a legitimate problem you should absolutely bring that to the show director's attention. But #RealTalk, not everything is the big deal that you think it is. For example, there is a difference between castmates who are a little icy or don't talk to you much, and abusive behavior. Some people who are wild and extroverted on stage are shy and quiet backstage. Sometimes people have hard things that they are going through in their personal life, and they just don't have the energy to strike up a conversation. Some people feel awkward making the first step to introduce themselves, but once you start talking they open up. A lot of times, regular cast members for a local venue have known each other for ages; there are established friendships and rivalries and jealousies that you've been plunked down in the middle of, and it's probably not personal. Make a good faith effort to get to know the cast - some of my favorite people in the world are fellow performers that I've gotten to know. If anyone is being abusive to you or is actively making you feel uncomfortable, talk to the show director about it. I'm not here to make people be friends, but I am here to make sure that anything inappropriate is addressed.

In a general sense, I'm looking for people who bring me solutions, not problems. You can beat a mug like Vogue magazine, have expensive outfits perfectly tailored to you, and do spins and flips and death drops...but if you are unpleasant or abusive or generally hard to work with, I'm probably not going to book you.

2. The director has to think about the show as a whole.

You've got a number that you are convinced is the only acceptable option for the show's finale! You're really pumped about it, and you think the costume is just perfection. You show up to the show and your number is...third from the end. HULK SMASH!

Ok, maybe not that dramatic, and I understand the disappointment, but always keep in mind that the show director has to plan out the entire show, not just your numbers. Everyone has their own system, but I have a few things that I keep in mind.

First, I want the show to be interesting and not feel repetitive. I try not to dictate people's numbers, but if I've got three people all doing Chappell Roan songs, I'm not going to put them back to back to back. This isn't an album release party, it's a theatrical event! I also try to mix up genres and tempos, as well as consider the performers' personal styles. The show director may ask you to rearrange the order of your songs. If you've got a specific reason that necessitates having things in a certain order, talk to the director about it. For example, maybe your planned last number includes a makeup change or blood effects or something that will otherwise ruin your makeup, so it has to go last. If that's the case, I'm happy to move something else. Or if you've got a big costume piece that is hard to get into and out of, that's something to consider. But if you ask me to rearrange things because "the vibes are off," I'm not going to be happy about it. I may have the songs listed as I decide a show order, but I don't know what you're planning so if there is something I should know that will help me craft a better overall experience, please tell me.

(I've got more specific show planning advice for aspiring directors, but I'm saving that for a YouTube video. Once that comes out, I'll be sure to include it in its own post here in the Drag 101 tab!)

3. Don't forget that you're performing!

This one probably seems obvious, but you'd be surprised. Money is great, and we all love getting tipped; those tips help us pay for new costumes, new makeup, etc. and keep this whole drag adventure going. But as you're accepting tips, it's an interesting balancing act to create that connection with the person tipping you and still putting on a show for the rest of the crowd. I've seen too many performers disappear into a throng of excited fans and suddenly everyone else is just watching drunk bachelorettes gyrating around and trying to sing over the Lady Gaga track.

If the show is at a venue with a raised, platform stage, this is a little easier to keep on top of. Even if you are looking down toward the person tipping you, it's pretty easy to make sure that your face is still visible, and you can alternate between looking at the tipper and looking up to connect back to the crowd. And I know your mama probably raised you to say "please" and "thank you," but your mouth is already busy lip-syncing! I find other ways to acknowledge the tippers: I sing part of the song to them directly, I'll wink or raise my eyebrows at them, tousle their hair, etc. Something that gives them that moment to appreciate that they are giving you the tip without forgetting that everyone in this venue paid the same entry fee to see you, and they deserve a show!

Also, don't forget to set boundaries with audience members. If someone tries to grab you or touch you inappropriately, you have every right to set a clear boundary with them. I'm not going to tell you how to handle someone invading your space in an abusive way, but for legal reasons I have to recommend that you don't answer one assault with another. I may personally subscribe to the "Goodbye, Earl" system of interpersonal violence justice, but wearing my show director hat I have to say that I don't condone that sort of action. Absolutely report it to the show director or any event staff that are available when it happens, as soon as possible so that the problem can be remedied.

Contrary to (often drunken) public opinion, drag performers are not community property and no one has the right to touch you without your consent.

4. Social media matters!

I feel like we need to strengthen our media literacy in this social media age - at all levels. This may shock you but show directors have the same internet you do! If you routinely go onto your platforms and trash the venues you perform in, the other performers you've worked with, the show director, the event staff, and everything else down to the cocktails, we're aware of that. We see you. And in the vein of "bring me solutions, not problems," I'm not likely to book someone who is going to cause problems for me or my show.

If someone is reaching out to me to inquire about a show, and I don't know them or haven't worked with them before, I'm absolutely going to go look at their social media and see how they talk about the shows they've been in. Here is an example from my experience to highlight this point. I'm not going to name names, this is not a drama channel and who it is doesn't matter (and this was a while ago anyway, so you probably don't know who I'm talking about - we good?).

There was a performer who reached out about the shows I direct in Bismarck. When I checked their social media, I saw a very clear pattern. For better or for worse, RuPaul's Drag Race has changed the landscape of local drag, and may places frame all of their performance opportunities as contests where you can win a spot in a cast, a feature performance slot at a bar that is hard to get booked at, etc. This performer would sign up for one of these competitions, and the two weeks before the show they would be hyping it up, they're so excited, can't wait to be part of this amazing show, etc. Then, when they didn't win, that night and the next day would be these scorching posts about how they've never been more insulted in their lives, this show/director is the most unprofessional they have ever seen, this venue is trash, etc. About three days later, there would be a big apology about how they let their emotions get the better of them and this isn't what they want to stand for, and then they would pledge to do better. But a couple of weeks later, this exact cycle would start again. And again. And again.

Needless to say, I didn't book this person.

Now again, I think that if you experience abusive or unprofessional behavior, you have every right to tell the truth and tell your story. Anne Lamott said, "You own everything that happened to you. Tell your stories. If people wanted you to write warmly about them, they should've behaved better." Calling out truly bad behavior is important to do, especially if there is a pattern of it. I've worked with people who didn't behave professionally, and I've had moments where I wasn't my best self backstage and people very rightly corrected me. But most of the shows I've been in have been filled with great people doing things they enjoy and trying to put on a quality show, and there are ways to call out the bad behavior that don't make you look like an unhinged Karen or Chad. If you have a rant about every show and every director and every venue that you work with, to me that suggests that the problem may be you. #HurtfulButAccurate

5. Be kind, be gracious, and be helpful.

Whether you are looking to make drag a side hustle or a career, you need to form good relationships with other performers, show directors, and venues - unless of course you are independently wealthy and buy your own venue and direct your own shows, casting yourself as the star every night! That's not realistic for most of us.

For a lot of new performers, I think they sometimes have trouble not bringing their onstage persona to the dressing rooms. When you are in that spotlight, you BE that fierce diva with all the attitude in the world that your heart desires to be! I love that for you! But when you come backstage, you are part of an ensemble, and you should be kind to the people around you. Not just because that's part of being a decent fucking human being, but because if you don't you'll not only start missing out on bookings, you'll miss out on building those connections that enrich your life - and lead to new opportunities. You never know who in that cast is going to break out on their own and be looking for performers for their show. Or maybe you're going to start a show, and you need to build a cast to get you started. Those relationships are going to keep you moving and growing, and they may even become a core part of your support network. We queer folks have enough people gunning for us, we don't need to keep going after each other!

Another thing that is going to put you at the top of a director's list is being helpful. Directing and coordinating a show is a lot of work, and there are a lot of moving parts. I'm a scatterbrain who means well, but there are things that I forget sometimes. See a simple problem that you can fix? Then fix it! You don't have to go overboard, and don't overwhelm the director with 762 ways that you think the show could run better (I'm open to suggestions but pick the right time, and remember that for some people, any unsolicited feedback is a criticism), but if there is something that needs to be done and you are able to do it, don't be afraid to offer. The worst that could happen is that they are already working on a solution and they'll thank you for checking but it's handled.

The easiest thing that you can do is be prepared, be on time, and keep your own shit handled. I don't need people to go to extra lengths to help with anything to be impressed. If you show up when you're supposed to show up, you're dressed and ready for your entrances, and you don't start trying to switch up music or show order at the last minute, that helps the show run smoothly, and I appreciate that more than you know. If something goes wrong or there is some sort of problem or incident, let me know as soon as possible so that I can adjust as needed. I'm more than happy to stall a bit for a broken zipper, a lost nail, a costume malfunction. If I have to stall because you've been drinking and chatting at the bar and forgot to be ready for your entrance...I'm much less understanding. Whether this is a side hustle or a career, if you're being paid, then this is a job. You came to werk, but you also came to work. Have fun at a level that doesn't impact the responsibilities of the performance, and we're golden!

Please don't think that I'm saying all of this because I think I'm some paragon of virtue in the drag world. It's me, hi, I'm the problem, it's me, and you've been rooting for the anti-hero this whole time! This advice is based on my experiences over the last couple of decades of performing and show directing, and that includes the many mistakes that I've made over the years. It's based on bad behavior that I've seen, but some of my own as well.

I've always tried to be kind to my fellow performers, but there have been times where I've missed the mark and not been my best self, and I'm grateful to the performers who have checked me on it, even if it was years later, so that I could better understand my actions and how to be better in the future. In that spirit, my final bit of advice is to accept feedback. It doesn't mean that you have to change everything (or anything - sometimes unsolicited feedback really is criticism, and it's not always constructive), but be open to hearing other's perspectives about how you exist in the performance spaces you take part in. Even if someone doesn't do your style of drag, or you don't think they understand what you are about, still listen to what they have to say as it may give you a new perspective that helps you improve and grow as a performer.

Think about feedback like a gift. One person might wrap it in thick, expensive paper with ribbons and bows. Another might slap some newspaper around it and drop it in some dog shit on the way to the party. One has a nicer presentation, and it's the one you'd probably prefer. But the gift inside doesn't change based on how it's wrapped, and that's the piece that matters.

If I think of any other pearls of wisdom, I may do a sequel post, and I am planning to start doing some topics as videos on my channel, but if you ever have questions as you're getting started, feel free to reach out. I can't keep doing this forever, and I'm excited to see what the next generation has up their sleeves.

XOXO -

Miss Jaye