Douglas Carter Beane’s 90s screen icon jumps to the stage in a musical adaptation about to have its world premiere in just a few days. Guillermo Nazara chats with one of its leads, to learn all the fun facts about this new show ready to flip a few wigs around.
How does it feel to be staring in the original production of a new LGBT-themed musical?
It’s very exciting to do something like this, especially with what’s going on in the world. We saw with the Prime Minister, talking about trans lives… I think it’s very important to realize, in the long run, we’re progressing – but we do go backwards. And sometimes we have to remind ourselves where we come from. To Wong Foo is set in the 90s, but there’s so many things that we can take from that era, and remind us that that’s still important. I feel like something that this movie talks about is celebrating our differences, and how those differences make us stronger – not having to divide us. I think that’s very important.
What type of things do you think we can take from a 90s movie, and could be kind of implemented today, as you described?
The movie is about three drag queens from New York, who travel to Hollywood, and get stranded in the middle of America, when they come to this town. And obviously, there’s no information about what drag queens are. People actually believe they’re so sophisticated and tall and an extra because they’re from New York, and not because they’re drag queens. But they are not demonizing them but seeing them as human beings. And I think that’s very important, as well. Because in the current climate, we forget that there’s a person behind a trans person or a drag queen, we put labels on them, like, for example, with all the the issues with drags and kids. But there’s still a person behind the there’s still person could be a parent or a great uncle or a great aunt. And that’s forgotten because of of the persona that they put up in front.
Would you say then that thid musical could be a family musical?
Yes, there’s something for everyone. And we’ve tried to make sure that it’s not just for the LGBT community. And it’s very, very funny. There’s jokes for everyone. I think that’s why it’s a family musicals: we tell people we can have a normal conversation with them. We can be friends with these people. It’s not they’re not strangers to our world.
By the way you describe it, the plot reminds me a little bit of Priscilla. And there’s been so many great musicals before that have to do with drag queens. What, would you say, makes thid musical in particular different?
It’s interesting that you compare it to Priscilla, because both films were made at the same time! I think, in comparison to something like Kinky Boots, it’s really nice to have three drag queens who are the leads instead of just supporting, which happens in Priscilla as well. I think something very particular for the time as well is that it’s a story about a white, a black and a latino. And that’s very important in the US as well. I’m from Mexico. I was born and raised there and in the latino representation in the UD is still not where it should be compared to the amount of population living there. I read this article by John Leguizamo, who played Chi Chi in the movie, talking just about this. And he’s been in the industry for 30 years, but he still sees that that has not been such a big change. So that for me personally, that’s something really interesting.
What can you tell us about your character?
Chi Chi is a Puerto Rican drag queen, and also the youngest one of the trio. She’s also the loud one – the epitome of all these like great Latino characters that that there’s been in the industry, like Chita Rivera or Sofia Vergara – that kind of style, but she brings it into a drag queen. And that’s amazing for me, because I can see how like how, whoever Chi Chi is, she took that inspiration from those Latino characters. And that’s amazing.
So have you taken inspiration from all of these Latino stars when creating the character?
Yeah, although there’s so many things that remind me of my aunt or my mom – or even myself age five, using my mom’s heels and walking around the house. I feel like I grew up with a lot of women, but there’s not that many Latino characters that you look up to, but there’s certainly a few ones I’ve taken and put it into Chi Chi. In Mexico, we have a lot of divas and the way they react and everything is so dramatic – and very cheeky as well. Yeah, I’m sure Chi Chi is watching them on TV, on her day off or something.
As we discussed before, the show is based on a 90s film featuring a star-studded cast. How daunting is it for you as a performer to take this role now?
The play was written before the movie, but Steven Spielberg bought the rights. So there’s a story way before the movie. And a lot of the scenes that happened in the movie are not here – we don’t have the rights to because he kept the rights for the play. A lot of the things that were created probably by the cast itself are not in this – which is great as well, because then we have some separation from that. But also, the core of the story and of the characters is still there. And I think, at first I was like: “Oh, my God, John is so iconic in the movie!”. I felt I had to create some homage to him. But also I need to find my own cheat sheet as well, to make that truthful, as well.
And how much have you taken from him?
I’ve watched the movie and looked at very iconic things that he does – trying to understand how he tried to approach the character. I’ve looked into interviews that he’s done too. I just wanted to make sure that I was approaching Chi Chi my own way, but understanding why John made those decisions.
The same way that the cast develop part of their scenes in the film version, have you had the chance to provide any creative input as a performer?
It’s been very interesting, because the play was written 30 years ago. And not until Trump got elected, the author decided to make it into musical along with Louis, his husband. It’s been great, because there’s certain things that I add to certain scenes. I wouldn’t say that there’s like a lot of scenes that are not in movie – sometimes a few lines were probably improv or created in certain edits that are not there. But the whole soul of the character is still there. And it’s great to find new choices as well, or finding new energies. The level of drag that we’re doing in the musical is very different to the movie. The movie was made in the 90s – we didn’t really have drag race around us. Pople have expectations of that. So that’s great. That’s amazing. And I can’t wait for you guys to see the gowns and the whole production. Because the amount of money that that’s been put on is. very exciting as well.
Have you been doing like lots of research in drag culture and the drag art form to prepare for this role?
I feel like I’ve been doing that since I have any memory of what drag is. Because I started watching them when I was a teenager. And obviously, there are certain things that we have to look at, while keeping the timing right. I think that’s very important to keep it still relevant to 2023 and talking to a 2023 audience.
If you would have to give me one single reason to come see the show. Which one would it be?
I think there’s going to be a lot of laugh. Okay, we’re gonna cry as well. But it’s just going to be such a heartwarming story that the LGBTQ community needs right now. I think we have to be reminded of our superpowers and how we can change the world for good.
Rehearsals pictures credit to Pamela Raith.
To Wong Foo will play at Manchester’s Hope Mill Theatre from 21 October to 17 December. Tickets are available on the following link.