Youth's Lives Every Day
Spencer Liff’s past Broadway credits include “Head Over Heels”, with music by the Go-Go’s, The Lincoln Center revival of “Falsetto’s”, the Tony Award-winning revival of “Hedwig And The Angry Inch” starring Neil Patrick Harris, and the critically acclaimed and Tony-nominated revival of “Spring Awakening.” Spencer has earned two Emmy Nominations for Outstanding Choreography for his work on the hit FOX TV series “So You Think You Can Dance,” where he has been a resident choreographer for the past 10 seasons. Highlights of his other TV credits include Dancing with the Stars, B Positive, One Day At A Time, Parks and Recreation, How I Met Your Mother, Mike and Molly, 2 Broke Girls, The Latin Grammy Awards, The Emmy Awards, and The Oscars. Films include the upcoming Legendary Pictures feature film The Toxic Avenger, Steppin’ Into The Holiday starring Mario Lopez, and Stephen Karam’s Speech and Debate.
Written by Ryan Bernsten (he/him), Director, Editorial & Copy
RYAN: What exactly is Drag the Musical? Where is it running, and how would you describe it?
SPENCER: Drag the Musical is currently running off-Broadway at New World Stages in New York City. It’s really the most authentic representation of drag artists that I have seen in musical theater. Unlike Broadway shows like La Cage aux Folles or Priscilla, Queen of the Desert, which portray drag queens through the eyes of musical theatre actors, this show features real drag artists — names you know from RuPaul’s Drag Race.
At its core, it’s a story about two rival drag clubs who face challenges that force them to work together to survive. The story follows Alexis Gilmore, a drag queen played by Nick Adams, who must reconnect with his estranged brother, Tom, played by Joey McIntyre (and soon to be Adam Pascal), to save the club. Tom brings along his 10-year-old son, Brendan, and through the show, you see the family begin to heal their past traumas while Brendan discovers his own identity.
RYAN: Having to confront the past in order to achieve familial reconciliation feels like such a universal theme, even beyond the queer context.
SPENCER: Absolutely. This isn’t just a queer story — it’s about family. The layers of miscommunication between Alexis and Tom resonate with anyone who’s struggled with a sibling or family member. They both have legitimate grievances. Alexis shut Tom out for years, but Tom also feels betrayed because Alexis wasn’t there for him when his wife passed away.
Tom isn’t painted as homophobic, which I think is an important nuance. His actions stem from a misguided belief that he was “toughening up” Alexis for a world he thought would be cruel to someone like him. There’s a pivotal moment in the show when Tom explains, “I was trying to toughen you up,” and Alexis fires back, “You were supposed to protect me.” Their relationship isn’t one-sided, and I think that’s why it feels so real. By the end of the show, they find a way to rebuild their bond — not by ignoring the past but by confronting it. It became clear that many in the cast shared similar stories — especially those of us who grew up as queer younger siblings to older, straight brothers.
RYAN: And Brendan’s journey adds another layer. Can you talk about his role in the story?
SPENCER: Brendan’s journey is my favorite part of the show. He’s a shy, reserved kid who has lost his mother and doesn’t quite know where he fits in. Being around these fabulous, unapologetically themselves drag queens opens up a world of self-expression for him.
When I read the script, I immediately connected with Brendan. I thought, this is so important. I was that boy. I loved putting on rhinestone costumes and headdresses as a kid, and I was lucky enough to be in an environment that didn’t tell me it was wrong. But I know many kids aren’t as fortunate. There’s a moment when Tom catches Brendan experimenting with women’s clothes, and in his fear and frustration, he says to Alexis, “If you think I’m going to let my son turn out like you, you’re crazy.” That line is heartbreaking, but it’s also a turning point for Tom. Through Brendan, Tom begins to see the importance of letting people — especially the ones he loves — be who they truly are.
Brendan could have fallen in love with baseball or baking or anything else. It’s not about pushing an agenda; it’s about celebrating individuality and showing kids that it’s okay to be themselves. Fashion, for example, is such a powerful tool — it’s the first thing people see, and it can say so much about who you are. Unfortunately, society has these rigid rules about what’s “appropriate,” especially for kids. But we’ve always had icons like David Bowie and the rockers of the 70s who challenged those norms. If Brendan’s story can inspire just one kid to feel less alone, we’ve succeeded.
RYAN: In one of our documentaries, Learn with Love, we captured a grandfather reconciling with his trans granddaughter after ten years of estrangement. These stories are so raw and relatable, but it shows that change is possible. From your experience with the show, what have you learned about these family dynamics and the communication breakdowns that often occur?
SPENCER: From the beginning, we received such a powerful response. People would come up to us and say, “That’s my story. I was Brendan or Alexis.” One of the most moving parts of this journey has been hearing audience members say, “I need to bring my sister and her son,” or, “I have a friend with a gender-questioning child who needs to see this.” While we are doing something entertaining, art can have a bigger purpose in terms of making people feel seen. Representation is everything. It can’t be stated enough how much it matters to see a character on stage that you can identify with.
RYAN: What do you think someone unfamiliar with drag would learn from seeing this show?
SPENCER: First, they’d gain immense respect for the artistry. Our queens are extraordinary — true artists. Their makeup, costumes, comedic timing, and the sheer stamina required to perform eight shows a week in heels, wigs, and pads — it’s remarkable.
People often come in expecting a RuPaul’s Drag Race experience or a casual drag show, and they leave saying, “I had no idea this would be a full musical with original songs and a heartfelt story.” It’s been rewarding to see people’s minds open to the depth and sophistication of drag as a performance art.
RYAN: So it’s not just for one audience — it’s reaching a broader spectrum.
SPENCER: Exactly. While the show is undeniably queer, we’re intentional about making it inclusive. We didn’t want to create a narrative where straight audience members feel alienated. Instead, we focus on universal themes — family, love, acceptance — that anyone can relate to.
RYAN: For young people who are inspired by this work and want to get involved in performing arts, what advice would you give them — especially queer youth who may feel uncertain about their place in this industry?
SPENCER: The reality is, it’s harder than ever to break into the performing arts. But you have to start somewhere — your high school musicals, community theatre, whatever’s accessible to you.
If you’re LGBTQ+, you might face the added challenge of feeling like there aren’t roles for you. But I always tell people: don’t let anyone pigeonhole you. Say yes to all opportunities. I’ve worked on all kinds of stories — queer and not — because I don’t want to be boxed in. You deserve to explore every facet of who you are as an artist.
RYAN: I know how vital theatre can be for queer community-building. Why do you think so many queer young people gravitate toward theatre?
SPENCER: Theatre kids are often the ones who don’t fit the mold. They find each other and create chosen families — people who share their values and celebrate their differences.
For queer youth especially, theatre becomes a sanctuary. It’s a space where they can express themselves fully, without judgment. I’ve seen it firsthand in the Broadway Dreams Foundation, a nonprofit I work with. We run programs across the country, and of course it’s the epitome of diversity in every single possible way and there’s so much kindness in those groups. They are so happy to be around other people that get them and where they can be themselves and where they’re not going to get made fun of for being different.
I’ve met so many young people who might have felt lost without their theaters. These spaces give them confidence, a sense of belonging, and a platform to be themselves. For many, it’s life-changing.
This interview was edited for length and clarity.
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