REVIEW: Get On The Bus

What does the underground world of drag balls -- an LGBT subculture in which primarily queer youth get up in either makeshift or stolen couture and walk the runway, garnering trophies for their houses -- have to do with Syracuse? Ask the three "homo-thugs" on the Centro bus. They declared themselves as such, snapping fingers over their heads, snapping the illusion that they were gang-bangers. Ride that bus to Manhattan, walk a "realness" category at a ball, or just take in the new play Wig Out!

Terrell Alvin McCraney's new drama plays at New York’s Vineyard Theater. This piece owes an extreme debt to Jennie Livingston’s 1990 documentary Paris Is Burning and also takes as its master shot the drag ball competition, dressing it in a fairy tale so labored one spends the evening waiting for a queen to throw down her weave from the catwalks now lining the Vineyard space.

There are grace notes of brilliance, mostly courtesy director Tina Landau, who utilizes the radically reconfigured theater beautifully. Everything builds toward a second act drag ball in which jungle beats pump and the characters prance to the end of scenic designer James Schuette’s extreme thrust stage that literally intersects the audience.

The problem is that intersection never really merges. Where actual pier queen lingo still zings — witness Livingston’s drag ball judge tell two battling contestants: “If you touch, I’m chopping you” — McCraney’s language is so florid it sounds straight out of Lord of the Rings.

Add to that a heavy-handed “homage” to Livingston’s film that seats the aging mother of the House of Light before her lit makeup mirror ala Paris is Burning’s legend Dorian Corey, a Greek chorus of three Dreamgirls and a stagey “face” demo in which “unpainted” queens wipe their visage with a white handkerchief and this house of blusher sinks.

The cast is uniformly excellent. Daniel T. Booth’s Playbill bio is slim, but his outsized alter ego Sweetie makes an entrance. And nearly mops — pier lingo for stealing: remarkably absent from the universe of Wig Out! — the show as Serena, mother of the House of Di’Abolique. His chinoiserie lip-synch to Jefferson Airplane’s “White Rabbit” alone makes this play worth the trip.

BITE: Paris Is Burning's My New BFF

In 1990, documentary filmmaker Jennie Livingston released her seven-year labor of love Paris Is Burning. The film chronicled disenfranchised members of a New York subculture composed of various houses, or loose familial amalgams of young queens miles away from Fashion Avenue, yet close enough to hold a mirror up to its gorgeous excess.

These queens walked the runway in elaborate drag balls where members of competing houses would imitate everything from high fashion models to urban roughnecks in the category “banjee realness,” or as its explained in the film, “looking like the kind of girl that walks her little brother to school.”

Livingston’s film grossed almost four million dollars domestically, gangbusters for a nonfiction feature. Three months before Livingston’s Toronto International Film Festival debut, Madonna’s song “Vogue” hit the top of Billboard’s Hot 100. That song, and accompanying David Fincher video, provided a slick backdrop for the intricate gesture and tableaux freeze movement vocabulary approximating the titular fashion magazine come to life.

Over the course of one summer, two white women loosed the perfect storm, unleashing queer black culture on an unsuspecting pop landscape. Over the next fifteen years, New York’s landscape changed so dramatically that drag queens and hustlers fronting pier culture — so named for the abandoned West Village piers on which houses would gather to “do shows” — were replaced by manicured Rollerblade paths trafficked by aerodynamic, three-wheel, jog strollers. Paris had burned.

Cut to 2005. Livingston’s film has its long-awaited DVD release ($23.99) and a full-on Vogue resurgence fires up in London, bringing piers queens back like phoenix from the flame. Maybe. There are still aerodynamic, three-wheel, jog strollers, but some of the children are vogueing.