By Deb Hansen
It’s not often that you walk into a theater and are handed money, but McLean Community Players’ production of The Legend of Georgia McBride gave us just that: audience members received “dollar bills” upon entering the theater, which would be put to good use throughout the evening to show our appreciation for our favorite performances. Bill Brown’s set design juxtaposing a hanging neon sign proclaiming Cleo’s Bar and a cozy home created a sense of anticipation.
Playwright Matthew Lopez was commissioned to write Georgia McBride for The Old Globe in San Diego. By 2015, the play premiered in New York at the MCC Theater, winning a Drama Desk Award and two Lucille Lortel Awards in 2016, including Outstanding Featured Actor in a Play. And no wonder! Though a lesser-known title than many community theaters would choose for their season, this is definitely a show that allows and encourages each of its characters to sparkle.
The show’s dialogue feels modern and fresh and fun. The main character, Casey, is played with earnestness and a considerable amount of charm by Danny Seal. It’s easy to root for Casey as he tries to manage a huge moment in his life: he finds out he and his wife will be having a baby, they’re on the verge of getting evicted because their rent money is late … again. Ever the optimist, he revels in the excitement of looking forward to expanding his family, proclaiming it will all work out. And then he loses his job.
As the more realistic of the pair, his wife, Jo (played by Keyera Whiting), is struggling to believe him that it’ll be okay. Whiting and Seal create an easy and comfortable relationship; from the very beginning, we can see the strain as they argue, as well as the love when they play a little question-and-answer game at day’s end. The physical intimacy in their relationship — gentle touches or playful swats — contributes to the realism, courtesy of intimacy coordinator and producer Laura Bingham. It’s clear that Jo wants to trust Casey that everything will be alright, but she’s not sure that she can since he can’t even seem to figure out when to use his debit card. Hint: NOT before the rent is due.
Casey is unsure of how to move past losing his job when there’s a baby on the way. Enter childhood friend and landlord Jason, played with an everyman’s approachability by David Reph. His first scene had the audience roaring with laughter as he delivered some of the most relatable lines in the show. Though Jason wants to give Casey a break, Jason’s wife absolutely runs his world, and he makes it clear that the rent is due, or else. Casey heads to work and finds out he’s been replaced.
Casey’s boss, Eddie, the pragmatic owner of Cleo’s, has brought in a new act — his cousin-turned-drag-queen. Eddie, played with delightful comedic timing by Chas Roades, undergoes quite a transformation as he slowly warms to his queens. The star of the new show, Tracy Mills, is played with passion and panache by Ryan Kincade. Kincade’s sardonic delivery and cheeky pluck, combined with gentle warmth, create a larger-than-life character we all want to have as a friend. Tracy takes Casey under her wing when her co-star Rexy (Justin Latus) ends up drunk before showtime, which doesn’t seem to be an uncommon occurrence, and can’t perform.
Casey is extremely reluctant, but the necessity of earning money gets him yanking on padding and pantyhose. Seal perfectly captures the friction of the moment: Casey’s awkward battle with four-inch heels versus his struggle to find and embrace his authentic drag persona. The growing friendship and mentorship that develops between these two characters is an absolute joy to watch. And then there are the drag performances!
As the lights went down for the start of Act Two, the crowd cheered loudly in anticipation of what was to come. And wow, did Seal and Kincade deliver a spectacular round of performances! Director Mario Font’s choice of songs for the actors shows the passage of time at Cleo’s as they lip sync to classics like “It’s Raining Men” and my personal favorite, “Before He Cheats,” rendered complete with a bedazzled baseball bat and some hilarious uses of that prop, designed by Gary Bernard DiNardo.
The absolutely stunning wardrobe, the shoe and wig changes, and the breakneck speed in which those changes are made, keep the audience howling with infectious glee. Kudos to hair and makeup designers Rebecca Harris and Ryan Kincade, wig designer Ryan Kincade, and costume designer Joan Lawrence for all of their work to build this believable world of drag. Kincade, who plays Tracy, is best known as a drag queen comedian performing under the stage name “Anja Dick” and clearly brings a layer of deep authenticity (and probably personal wigs and costumes, too).
Though the venue is perfect in size for the intimacy of the drag show, the all-one-level seating created pockets of difficulty in seeing the action, especially in Casey and Jo’s home space. At times I would have appreciated a bit more depth in the writing regarding the couple’s emotional arc, in particular. It seemed there was also some trouble with the lighting instruments throughout; several times a random color would flicker brightly, causing some distraction from the action. None of these small issues would dissuade me from going to this exuberant show. If you want to see absolutely everything, and you do, I’d recommend a front row or center aisle seat. Just know that you’ll be in the prime drag queen interaction zone.
Rounding out the cast on opening night was the audience — we whistled, cheered, laughed, waved dollar bills at our favorite performers, and felt fortunate in how we chose to spend our Friday night. The energy was palpable throughout as the queens strutted their stuff. Lest we think drag is “just” camp or goofy fun, the character of Rexy returns to share a painful adolescent memory, and rally us all to understand the power contained in the art form. “Drag isn’t a hobby, baby. Drag ain’t a night job. Drag is a protest. Drag is a raised fist inside a sequined glove. Drag is a lot of things, baby, but drag is not for sissies.”
Director Mario Font has created a lovely tribute to the art of drag. From the initial cozy ambience of the theater to the rousing curtain call combo of various songs for each character, we willingly went along on Casey’s journey of self discovery. If you’re looking for a wildly entertaining evening, stop the search, grab your group, and head to this production of The Legend of Georgia McBride. Because, as Font says, “We could all use a little more glitter in our lives.”
Running Time: Two hours and 30 minutes, with one intermission.
The Legend of Georgia McBride plays through April 18, 2026, presented by McLean Community Players performing at the Great Falls Grange, 9818 VA-193, Great Falls, VA. Tickets ($15–$20) are available online.
Stage Manager: Ramah Johnson
Technical Director: Adam Renner
Sound Designer: Allan Wray
Lighting Designer: Marty Kelly
