Backstage Blog

The Drag Glossary

In case you didn’t know, Drag culture has it is own vocabulary. Here is the beginner’s guide to drag-speak. We’ve selected 20 words to get you started. What are you waiting for? Get to werk!

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1. Bar Queen

n. a drag queen who only performs in small bars. Typically used as an insult.

2. Beating Face

v. to apply the perfect amount of makeup on the face, resulting in a flawless look. The term references the motion of constantly dabbing a makeup sponge or brush against one’s face.

DSC075583. Boobie Bib

n. a false breast piece worn by drag queens to give the impression of female breasts. They are often made of flesh-tone silicon of rubber.

4. Busted

adj. a dilapidated drag queen who can’t make up or style properly, looking unkempt, unrefined, unpolished, generally poor presentation.

DSC072095. Boy Name

n. a drag queen’s given name as opposed to her stage name.

6. Butch Queen

n. a masculine-looking drag queen.

DSC071027. Cakes

n. a slang term used to describe butt cheeks.

8. Camp Queen

n. a type of traditional, over-the-top drag act, with little effort at female impersonation.

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9. Chicken Cutlets

n. a slang term used to describe padding worn by drag queens to give the illusion of having female hips and thighs.

10. Corset

n. an undergarment worn, that tightly fits around the abdomen of the queens to help create a proportioned, hour-glass figure.

DSC0743511. Diva

n. a slang term for any woman or drag queen who is self-important, demanding, temperamental, or hard to please.

12. Drag King

n. a woman who dresses as or impersonates a man for entertainment/show purposes.

DSC0760813. Drag Mother

n. an experienced drag queen who acts as a mentor and guide to a younger, up and coming, less experienced, or apprentice drag queen.

14. Fierce

adj. a term used by drag queens meaning to possess a good, intense, satisfying, powerful, or beautiful quality.

DSC0707315. Polished

adj. a term used to refer to a drag queen whose look is considered to be flawless, well executed, seasoned, and perfected.

16. Sashay

v. to strut with an elaborate roll of the shoulders and hips, from the ballet term chassé.

DSC0730417. Shade, or Throwing Shade

n. the casting of aspersions, bluntly pointing out a person’s flaws in an insulting manner.

18. Showboat

v. to impress in a self-aggrandizing manner, as a big well-lit, noisy theatrical riverboat.

DSC0757719. Tuck

v. to place the penis back between the legs.

20. Werk, or Work

v. a slang term to put in the effort necessary to impress or stun

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Catch The Legend of Georgia McBride through November 12th!

Q&A with the cast of The Effect of Gamma Rays on Man-in-the-moon Marigolds

This Pulitzer Prize-winning lyrical drama tells the story of a wounded family unraveling at the age of innocence and at the age of no return. Life in the 1960s with Beatrice, an embittered single mother, resembles a hell more than a home for her two daughters. But Tillie, the youngest, finds her own way to connect the world with resilience and hope. Tillie – keeper of rabbits, dreamer of atoms, true believer in life, hope, and the effect of gamma rays on Man-in-the-Moon Marigolds.

To get to know this talented cast better, we asked them a few questions about the show and their experience.

Abby DePuyAbby DePuy (Tillie)

Why do you feel this play is relevant today?

I think Gamma Rays is relevant today because it reveals the heartbreak which results from broken families and loss. These are things that many people, unfortunately, can relate to. Tillie offers hope to the victim of loss and brokenness that a person can rise above her circumstances.

This is often described as a play with “roles for actors”. What are you most looking forward to about either your role, or working on the play as a whole?

I am super excited to work with such an incredibly talented cast who put so much heart and effort into their art. Our director Robby is brilliant, and I know he is going to propel me as an actress and create an unforgettable, unique show. Tillie is an inspiration to me because she does not allow her circumstances to define who she is or what she will become.

I am looking forward to the challenge of playing Tillie because of her complexity. She is hopeful and optimistic while looking for ways to bring her family into some kind of harmony. But she also hides or tries to be invisible to avoid conflict.

Do you have history working with any of the other actors or creative team? Have you worked on any other American Classics in the past?

I have spent the majority of my years in the musical theater world. Gamma Rays will be my first professional play and first time performing an American Classic. I am looking forward to working with the cast and creative team, who are all new friends since meeting at callbacks.

DeAnna DriscollDeAnna Driscoll (Beatrice)

Why do you feel this play is relevant today?

Anytime a play is as well written as this one, you can always find connections to our time. The characters are so rich and their dilemmas are so present and deep that I think audiences will allow themselves to have empathy for these females. There are so many issues right now that make us fearful of what is coming next. This is the exact world that these characters live in – the fear of what is coming next. It’s relatable for everyone.

This is often described as a play with “roles for actors”. What are you most looking forward to about either your role, or working on the play as a whole?

It is true that these types of roles don’t come along very often. When they do, I like to stay open and learn as I go. I have ideas, questions and feel confidant that we are going to go on a journey together as we work through this play. I believe that often times roles come to actors when they are supposed to and I am not certain yet why an alcoholic, abusive, insecure, frightened mother role just came to me. I am not going to judge it but rather run with it!

Just like all of us, the flaws in my character are deep and painful. She is a stunted woman trying desperately to raise her daughters the best she knows how. That’s a great character to have the honor to play. I feel very fortunate to share the stage with these ladies and work on this phenomenal play with Robby.

Do you have history working with any of the other actors or creative team? Have you worked on any other American Classics in the past?

No. That is actually one of the most exciting elements for me! I love the idea of working with a director and fellow artists that I have never worked with before. Every show I do, I learn something from each and every person involved and so I can’t wait to see what my new lessons are during this process.

I played Maggie in “Cat on a Hot Tin Roof’ years ago in NYC, and I played Grace in “Bus Stop” at The Old Globe. I love the experience of doing “steeped in realism” American Classics. This opportunity is giving me another chance to experience that, which is one of the many things I am excited about.

Rachel Esther TateRachel Esther Tate (Ruth)

Why do you feel this play is relevant today?

Fear and love are universal. They lead us to almost every decision we make. This play zooms in on a family of women who are struggling to find the ways to cope, to escape fear and live thoughtfully in their love. It shines a light on the little inner struggles that consume us as we try to move along through life as siblings, parents, and humans in general. Throughout the story, Tillie discovers what it means to be special and realizes her role as a tiny, but important part of the universe. It is beautiful and captivating, structurally simple and poetic, raw and real.

This is often described as a play with “roles for actors”. What are you most looking forward to about either your role, or working on the play as a whole?

I have to say, I’m pretty psyched to be onstage with only women. This play is a goldmine for actresses as individual artists, but especially as an ensemble. It is a story of four strong and beautifully complex women that explores the strength and trials of sister/motherhood. I have never been in a cast of all female actors and I can’t wait to see what each of these talented women bring to their roles.

Do you have history working with any of the other actors or creative team? Have you worked on any other American Classics in the past?

This is my first time with this group of actors and also my first full production of an American Classic. However, this is my second time working with Robby at Cygnet. He is not only one of my favorite directors to collaborate with, but he also happens to be my life partner. I am so excited to be diving into the beauty of Paul Zindel’s words with such fantastic artists.

Carm GrecoCarm Greco (Nanny)

Why do you feel this play is relevant today?

Gamma Rays beautifully explores issues that are relevant today; poverty, alcoholism, child abuse, bullying, forgotten or throw-away seniors, educators who recognize the courage, curiosity of a child…the list goes on. Yet it really is about hope and the indomitable spirit of a young girl who rises above her miserable circumstances.

This is often described as a play with “roles for actors”. What are you most looking forward to about either your role, or working on the play as a whole?

Nanny is an enigmatic character. What does she know? What does she really see and hear?

Do you have history working with any of the other actors or creative team? Have you worked on any other American Classics in the past?

No, which is why it is so personally exciting and rewarding.

Michelle Marie Trester Michelle Trester (Janice Vickery)

This is often described as a play with “roles for actors”. What are you most looking forward to about either your role, or working on the play as a whole?

I love making people laugh and am so looking forward to providing some comic relief in the show. Janice Vickery has a special place in my heart because of her quirky humor and offbeat personality. With any script, I love diving in and investigating the text to find clues the playwright has left to help build the backstory of my character. Paul Zindel left such yummy little details about Janice throughout Gamma Rays. I am really looking forward to exploring her in the rehearsal room with Robby. I can’t wait to breath life into her!

Do you have history working with any of the other actors or creative team? Have you worked on any other American Classics in the past?

I am very excited to be making my Cygnet debut with this production! I have not had the chance to work with Rob Lutfy or other members of the cast or the creative team before so I am just over the moon. Since moving to San Diego, I have admired Robby’s directorial vision with each of his productions and Cygnet’s stellar reputation for creating powerful art. I am thrilled to be joining them on this adventure. Much of my time in NYC was spent creating and working on new work. I am thrilled to be revisiting the American Classics once again. Many years ago, I had the chance to play Laura Wingfield in one of my favorite American Classics, The Glass Menagerie by Tennessee Williams. I am honored to tap into a very different character with Janice and can’t wait to share this production with San Diego!

Catch these talented actors through September 24th!

Talk to Cloudy for informations.

Interview with the Master Puppeteer

From The Lion King to Avenue Q to Hand to God, puppets have long been a part of the theatre scene. At Cygnet Theatre, this year’s holiday favorite A Christmas Carol features updated puppets designed by master San Diego Puppeteer Lynne Jennings. Jennings, a local institution, is Board President of the San Diego Guild of Puppetry, which has been creating lasting memories for nearly 60 years here in beautiful San Diego. They teach, perform, build and share the magic of puppet theatre with the community. 

We reached Lynne in her home studio to ask a few questions about her creative process.

How did you get started designing puppets for the theatre?

Lynne Jennings

Lynne Jennings

I got my start designing puppets and scripts for my own shows, and for the shows of other puppeteers. The advent of Julie Taymor’s “Lion King” and other similar productions brought the form more visibility, and with that, more opportunities to collaborate with the “regular” theatre world. Several examples of Guild collaborations with SD theatres include San Diego Symphony’s “Carnival of the Animals”, USD’s “Anonymous”, Point Loma Nazarene’s “Magic Flute”, and La Jolla Playhouse’s Pop Tour production of “Recipe for Disaster”.

Is this your first time working with Cygnet? First holiday show?

Yes, although Sean (director) mentioned wanting to eventually do an all puppet version of “A Christmas Carol” close to 20 years ago. Needless to say, I was delighted to finally be asked to work with this company.

It is not my first holiday show. We did a number for what was initially called “Christmas on the Prado” in Balboa Park, back in the days when we were in the Marie Hitchcock Puppet Theater. Most notably, “Joanie and the Toy Thief”, our initial production for the event and the familiar classic, “The Shoemaker and the Elves”. Adult theatre holiday collaborations have included Diversionary Theatre’s “Long Christmas Ride Home” and most recently, Stephen Metcalf’s “The Gift Teller” for Scripps Ranch Theatre in 2013, directed by Lisa Berger.

What was your assignment for A Christmas Carol? What were you looking to achieve?

I was asked to build a new, larger (3 feet high), lighter, more lifelike “Tiny Tim” that was easier to manipulate for the guys over at contactvirginmedia.com. This led to Sean’s feeling they needed a new Young Scrooge who was similar in design to “Tim”, re-rigging last year’s “Turkey Boy”, to be closer to the style of Tim and Young Scrooge, and lastly, the two puppets of “Want” and “Ignorance”.

Foam block and patterns

Foam block and patterns

Are these a particular style?

Tim and Young Scrooge are full body, Americanized “Bunraku” style puppets, also referred to as “Tabletop”, although in this production they are not operated on a table. Turkey Boy is a soft body marionette, and Want and Ignorance are hand puppets. They were originally flat figures I made several years ago for another theatre’s production of A Christmas Carol that attached to the inside of the Ghost of Christmas Present’s cloak. When Sean decided that the figures he had been using didn’t work as he had wanted, I reworked these so they became 3D hand puppets that could appear and play from underneath the hem of the Ghost.

Young Scrooge in Process

Young Scrooge in Process

Give us some facts and figures for the show.

I ended up making two from scratch and revamping three existing puppets. There are seven total “traditional” puppets in the show. Tim, Young Scrooge, Urchin, Past, Ignorance, Want, and Future.  However from a puppeteer’s perspective, I’d say there are over a dozen in the show including Marley’s ghost chains (they are manipulated by actors from behind); the coal scuttle; the small flying versions of Christmas Present and Scrooge and more.

Ignorance and Want

Ignorance and Want

What was your biggest challenge?

Squeezing in the time to create the additional puppets. It would have been great to have had double or triple the time, but I thoroughly enjoyed every minute.

Do you work with the actors to help them “perform” with their puppet partners? 

Normally, yes! In the majority of our collaborative work with theatres we work hand in hand with the productions’ director, teaching the actors how to bring their puppets to life. In this show, my input was minimal as Sean is highly capable and has a great eye for puppetry.

Tiny Tim and Scrooge

Tiny Tim and Scrooge

What is one thing you think audiences would be surprised to find out about these puppets?

Perhaps that they are created of upholstery foam; their general shapes cut on a band saw, and the fine detail work carved with razor blades, and curve bladed manicure scissors.

Catch this classic holiday musical (and its puppets!) directed by Sean Murray, Nov. 27 – Dec. 27 at Cygnet Theatre.