A bold fusion of classical music and drag, this show dazzles with unique and memorable performances
Last night at HERE at Outernet, I witnessed a unique fusion show: Classical Drag. Fronted by conductor Oliver Zeffman and Creative Producer Jack Cullen, this event was a groundbreaking blend of classical music and drag performance—a concept so unconventional, promising a lot, and almost delivering it but not quite.
Hosted by the charismatic duo Sadie Sinner and Jonny Woo, the evening was a lively competition featuring six drag performers, each delivering an surprising blend of classical and drag artistry. They were backed by a full orchestra composed of LGBTQ+ performers and allies. The judging panel was not short of glamour and fame either: opera singer Nicky Spence, RuPaul’s Drag Race stars Monét X Change and Thorgy Thor.
The performers— Freddie Love, Barbs, Beau Jangles, Dinah Lux, Snow White Trash, and Vinegar Strokes—each graced the stage with a solo act followed by a duet in the second half. Dinah Lux emerged as my personal favourite with her masterful performance of the Andante from Shostakovich’s Piano Concerto No. 2. Having been on stage from NYC to Tokyo and being a part of the drag troupe Sink the Pink, Dinah’s experience shone through. Mallinson Bird, also known as Dinah Lux, is an academic pursuing a Doctor of Philosophy in Musicology at Wadham College, Oxford. His research delves into the intricacies of lip-syncing in drag, exploring the voice’s function in such settings. On this particular night, Dinah embodied the essence of years of dedication to create a flawless drag act, blending movement, fashion, and heartfelt musical performance.
If the first part of the contest delivered, the second part was a bit of a letdown. The “battle of the butches” between Beau Jangles and Freddie Love was underwhelming. The operatic lip-sync duel between Vinegar Strokes and Snow White Trash, with Nicky Spence accompanying them on the side, was the only moment of brilliance with their rendition of ‘Nessun Dorma.’ This highlighted the immense potential of incorporating operatic lip-syncing into the drag world of performing.
For me, the ending was the most puzzling and disappointing moment. The delayed decision on who the won “The Contest” resulted in a peculiar and flat finale. There was confusion over the actual winner, with an odd conclusion that seemed to suggest conductor Oliver Zeffman had won.
The audience was a fabulous mix, from classical music aficionados to drag enthusiasts, making the event inclusive and welcoming. The lighting was beautifully done, enhancing the drama and elegance of each performance. Despite a few hiccups, like a fall or a mic not working, everything was handled with humour. One such moment was when Nicky Spence was asked about the appropriateness of whooping during a classical concert. Could such enthusiasm be possible at the Royal Opera House? Though I personally hope not, it is fantastic to know that such a place can be created where whooping at a Classical music concert can happen. Monet X Change cheekily remarked that only Brits could make classical music cool again by coming up with the concept of Classical Drag.
All in all, Classical Drag was an interesting night that showcased the dedication and artistry of both drag and classical performers, despite moments of borderline cringe. It was a reminder of the hard work and passion that goes into perfecting their acts. This unique blend of genres not only entertained but also inspired, leaving a lasting impression and proving that, sometimes, the most unexpected combinations create the most unique experiences.