Drag Queen’s On Trial puts society’s prejudices on the witness stand.
Produced by the Queen’s Theatre Troupe (QTT) and Adele Liao, HealthSci ’28, and directed by Linden Imeson Jorna, ArtSci ’25, Drag Queen’s On Trial: A Courtroom Melodrama runs from April 2 to 5 in Convocation Hall. Written by Canadian playwright Sky Gilbert in 1985, QTT is putting its own spin on the story—satirizing the social persecution of drag queens and exploring themes of non-conformity and the social stigma towards gay men during the AIDS crisis.
The 1980s were a time of great social and political upheaval in Canada, including an expansion of feminism and 2SGBTQ+ movements. QTT’s performance inspires consideration of some of these themes and their continued relevancy.
Opening night featured all the flair of a student production. From a cheering audience filled with classmates, to the occasional slip-up adding to the colour and spontaneity of the night’s performance.
The play features three drag queens—Marlene Delorme, played by Sloane Climie, ArtSci ’28, the lighthearted blond Judy Goose, played by Peter Rogers, ArtSci ’26, and the witty Lana Lust, played by Nic Lindegger, ArtSci ’26—all on trial for being drag queens.
Following a play-within-a-play format, some scenes take place in the dressing room, where the queens are shown getting ready and talking about the ’80s Toronto drag scene. The courtroom segments serve as a theatrical trial in and of themselves. The meta quality makes the dressing room scenes feel more intimate while inspiring introspection during each testimony.
In the first two testimonies, Delorme and Goose plead not guilty in the court of public opinion, explaining that their identities have always been part of who they are. In the final testimony, Lust defends her right to be a drag queen, also pleading “not guilty” to the charge.
With only three cast , each actor is tasked with multiple larger-than-life monologues—something they pulled off with only a few slip-ups. At one point, Lindegger couldn’t help but laugh at their own joke. But even these mistakes lent themselves to the lighthearted nature of the play, which was filled with funny moments and audience interaction—one of these being when Lana Lust points a flashlight into the audience at whoever they believed was “sexually confused,” prompting a chorus of laughter from the audience.
Delorme’s character was a highlight of the production. With incredible comedic timing and the right amount of stoicism during her monologues, the character was played with unbelievable versatility. In a stunning two-piece set and bright blonde wig, the performance sparkled almost as much as her corset.
Rogers was similarly as impressive as Goose. Goose is an airheaded queen whose misuse of words at the right time adds a comedic element to her courtroom testimony, which touches on some serious themes. While explaining the abuse the queen experienced as a child, they would frequently mispronounce words with a completely straight face, prompting laughter to lighten the sincere nature of the scene.
Despite the humorous tone and well-timed jokes, Drag Queen’s On Trial was a serious meditation on the effects of being outcasted socially, highlighting what it means to grow up feeling like you don’t fit in.
Throughout the show, surprise witnesses—played by the queens themselves—interrupt the courtroom proceedings dressed as a hairstylist, a guidance counsellor, and a doctor. The testimonies show how eager society can be to prosecute people for being themselves, without listening to her side of the story.
In a twist during the final testimony, Lust pleads “not guilty” to the charge of being a drag queen, defending her right to express herself however she chooses.
Unfortunately, the testimony is interrupted by a doctor, who diagnoses Lust with AIDS. This silenced some of the audience’s laughter, casting light on the serious nature of the disease and its social role during the ’80’s. As grave as the diagnosis is, Lust’s defiant response shows how a diagnosis doesn’t define her.
Drag Queen’s On Trial touches on a number of important themes, including identity and the AIDS crisis, without ever losing sight of the comedy element integral to drag culture. Masterfully balancing humour and heart, QTT’s production is a tribute to resilience, identity, and the true spirit of drag.
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