Eric Jaffe, who has been performing as a drag queen in Philadelphia for ten years, didn’t make much money at first. Now, drag has been her only source of income since 2018 — and she works Wednesday through Sunday each week to maintain this job.
Jaffe’s “office hours” are filled with Zoom calls, emails, marketing and business development. She also has to schedule time for writing and rehearsing her material and perfecting her character’s look. She spends over two hours getting into costume before gigs.
“It’s not easy,” she said.
Jaffe, who has seven drag children, wants new and emerging performers to recognize that about the industry. While it’s easy to get caught up in the fun, it also takes a lot of hard work to succeed — and nightlife artists need to understand the scene before they just hop up on stage.
“The scene in Philadelphia is very conscious of what’s going on in the world and what’s going on within our community,” Jaffe said. “So when new performers show up, they do need to be aware of how we run things in this city.”
She recommended watching the 2020 nightlife town hall meeting, which included members of the drag, cabaret and burlesque communities. From the conversation, a set of standards were developed for fostering and respecting diversity —- especially with regard to how Black and Brown performers are treated.
There’s a history that exists both within the city that people need to be aware of when considering venues, producers and other performers to work with. There’s also an aspect of broader LGBTQ+ history that performers need to remember.
“While what I’m doing on stage might not look political, it’s still an act of defiance towards the patriarchy,” Jaffe said. “So while I may not be performing something that looks political, it is.”
Rosa Darling — a burlesque artist — emphasized that queerness, self-expression, nudity and satire are always political, whether performers want it that way or not.
“You also just have to be very cognizant of the inherent privilege you have,” she added, urging newbies to recognize that there is no such thing as an apolitical existence in this scene.
Darling — who is both white-passing and Mexican, and both bisexual and in a straight-passing relationship — explained that reckoning with this involves understanding how to embrace personal identities while also recognizing personal privilege.
“I can claim all these things as part of myself, but I’m not going to put myself in spaces where opportunities are meant for more marginalized people,” she said about supporting but not applying to shows for BIPOC artists or other opportunities that are designed for people who don’t share some of her privilege.
“In an ideal world, people would enter the spaces they want to be in with an informed perspective,” she said. “And understand the nuance that existed before you entered and be open to how it will continue to evolve while you’re in it.”
Darling, who is plus-sized and has always been a dancer, made her debut as a burlesque performer just over two years ago. She has often been the only plus-sized person in mainstream shows but noted that LGBTQ+ nightlife spaces tend to be more excited about diversity — and burlesque has given her space to celebrate her heritage and her body.
She workshopped an entire act in preparation for a student showcase during a class at Philadelphia Burlesque Academy. It gave her time and space to develop new skills as she also tackled the emotional aspect of preparing to take a new stage.
“I was interested in cultivating an experience for myself where I felt like I was honoring my body,” she said.
Other artists told PGN that a variety of classes helped them build confidence or learn new skills — including acting, improv and stand-up comedy classes, voice lessons, art and sewing workshops and other opportunities. Although some learning happens through informal interactions within the community — or is even possible if newcomers bring a pen and notebook to shows, more formal courses provide structure and help newbies stay committed to their goals.
Henlo Bullfrog is co-leading an upcoming class with Cyrus K. Stratton that will help drag king hopefuls. Sessions will focus on character and act development, stage presence, various makeup techniques, costuming approaches with easy-to-use and inexpensive tools, and other aspects of the craft.
“It’s a marathon, not a sprint,” Henlo Bullfrog said. “[Our] class will help set people up with brothers and siblings and friends who will continue to support each other as they grow as artists.”
Youtube tutorials and practicing routines in front of the mirror will help to hone skills, he added — noting that posting photos and videos online are also one way to begin connecting with more experienced locals. Joining Facebook groups has helped some artists learn about potential gigs.
“Part of integration is networking and supporting other shows and getting to know the community before you step into it,” said Cyrus K. Stratton — a Black drag king who moved to Philly from Madison, Wisconsin in part because he hoped to further his nightlife career.
He met other performers at brunch shows — where he asked questions about how to get involved.
“Show business is a lot of networking, so you should really get used to and practice just going up to people and introducing yourself,” Jaffe added.
She noted that a first conversation might feel intimidating, but stakes are low with potential for a high reward. Jaffe met each of her drag children because they approached her. Now, part of her role in supporting her drag family is helping newbies navigate the business side — for instance, helping them negotiate contracts and advocate for better pay.
Some performers warn newcomers to do their research before making those introductions.
“I think it should be more common for performers to vet producers in the same way that producers vet performers,” said Caresse Deville — a Black burlesque and flow arts performer, who noted that artists should take it slow when meeting new people.
“They’re not going to tell you about sketchy things they’ve done,” she said, noting that she’s been disappointed by some of her former mentors and collaborators who she learned were problematic after developing relationships. “You have to ask other people.”
It’s also important to know how to cold-pitch respectfully. Deville — who often produces shows — said emerging artists can send a friendly message with a video that shows an act (even one performed at home) or recorded skills.
“You have to be a certain level of polished and presentable and professional to consistently book brunch shows,” Henlo Bullfrog added, “because it’s one of our most forward-facing presentations as a queer nightlife community to the rest of the world.”
Instead, performers who are still developing skills should seek “open-call” shows or competitions aimed at beginners. Stratton underlined to tread carefully around competitions, which can be confidence killers. Newbies should know what they’re ready to handle emotionally.
Rejection is part of the industry — and so is remaining open-minded about new approaches.
“[My] character can be multifaceted and can grow and evolve,” said Stratton, who has had to constantly adapt. “I think that part of being successful in this scene is showing variety, that you can meet the challenge of the theme of the show.”
If nothing else is working out, it’s always possible to create something new. Establishing a collective with other newcomers could help ease the financial burden of that, Deville said. Bringing people together also often leads to innovation.
“You don’t have to do what’s already been done. You don’t have to stick to the same venues. You can have a show at a park, at a house, at a new place,” she said. “You could put a show on the pier by the Walmart and people will show up if it’s marketed to the right crowd.”