In a show that celebrates every aspect of Drag – as an artform, as a political movement of queer expression, and as a fabulous night of sublime entertainment – a recurring discussion on stage centres on legacy and the passing of the baton. Directed by Daniel Williams and co-written by Williams and Sophie Roberts, D.R.A.G (Dress Resembling a God) succeeds in honouring the queens and trans men and women of Aotearoa who paved the way. It pays tribute to trailblazers like Georgina Beyer and Carmen Rupe, who carried the fight from lip- synching on tiny stages all the way to the steps of Parliament.

Their presence is felt in the photographs that line the walls, alongside other icons who carved out space for the performers of today. This is what makes D.R.A.G so powerful. It’s a spectacle in every sense of the word – the gowns, the music, the performances, the wit and comedy – yet it never forgets those who came before.

Told in two parts, the first half of the production unfolds like a traditional play, taking the audience backstage at Lady T’s – the longest-running drag club in Aotearoa. Here we meet the current owner and resident diva Adina Delights (Adam Burrell), her right-hand man and in-house drag king Hugo Grrrl (George Fowler), and proud mana wāhine Māori Slay West (Levi Waitere).

Each community within drag – from queens to kings – is represented with care and authenticity.

Yes, there’s bitching, back-handed comments, cackling, and gloriously over-dramatic moments, but beneath it all lies the true love language of the drag community. The foundation is always about love and camaraderie. Adina represents the older generation of drag queens, grappling with – and at times clashing with – the new wave of women and trans men performing as drag kings and those pushing for broader gender-diverse representation.

The first half explores issues frequently played out online, and no conversation about drag today can ignore the pros and cons of the RuPaul’s Drag Race phenomenon. For Adina, RuPaul has given drag a public face and allowed it to be embraced by the mainstream, meaning more work and visibility for performers worldwide. For Hugo, they despise RuPaul for a lack of inclusivity – particularly the exclusion of drag kings across 18 U.S. seasons. And for Slay, the concern lies- with the anti-trans sentiment RuPaul has expressed in the past on social media and in interviews.

The show doesn’t shy away from the generational differences within drag or the tensions and transformations shaping the artform today. All of this drama unfolds against the urgent need to raise funds for a new lease at Lady T’s – and around a central question: is Adina secretly preparing to retire and walk away from the artform that has been both her livelihood and her salvation for so many years? Is she trying to pass the baton?

The first half of the show also features a guest performer who arrives to audition for a spot in Lady T’s lineup. At our performance, the auditionee was Bryony Skillington – a master of comedy and cabaret – who delivered a hilariously sharp anti-Christmas number. One of the show’s most delightful elements is that this guest slot changes every night, meaning each audience experiences a completely unique performance. It’s a clever touch and perfectly fitting for a show about drag – an artform that thrives on surprise and reinvention.

After the interval, when the audience returned to their seats, the show took a sharp and exhilarating turn. Our three main characters launch into a full drag extravaganza, delivering both group numbers and standout solo acts – from Cher to Donna Summer, from dazzling showgirl glamour to cowboy chic.

This is where set designer Michael McCabe and lighting and sound designer Sean Lynch truly work their magic. They transform the space from a cluttered backstage environment to a full front-of-house drag extravaganza, with lighting shifts and soundscapes that elevate every performance. Spotlights track the queens and kings flawlessly, enhancing the audience’s immersion, and the cabaret-style table seating is used to brilliant effect – pulling us directly into the world of Lady T’s.

If the first half wrestled with RuPaul’s Drag Race and its exclusion of drag kings, the second half responds with flair: Hugo finally gets the spotlight to demonstrate exactly why drag kings deserve a place in any drag spectacular.

From embodying Shania Twain to lip-syncing as Jesus to the gay classic “I Will Survive,” Hugo proves they can go heel-to-heel with any Drag Race lip-sync assassin. When Slay joins Hugo onstage as the Virgin Mary singing “Like a Virgin,” the pair launch into a brilliantly blasphemous religious medley. Their performance alone shows why drag exists: to be performative, political, and a platform for bold provocation.

While the younger performers make their mark, Adina reminds us that true old-school drag can be just as powerful. No gimmicks, no tricks – just a classic, commanding lip-sync.

Demonstrating why she is one of Auckland’s most consummate performers, Adina delivers her signature number, Patti LaBelle’s “Come as You Are,” relying solely on her emotional connection and mastery of every word. It’s the second time I’ve seen Adina perform this piece, and she gets a standing ovation every time.

If the purpose of the first act is to explore and acknowledge drag in Aotearoa – its layers, history, and generational perspectives – then the second act is purely about performance and a full-throttle celebration of drag. For longtime followers of the artform, D.R.A.G is a crowd-pleaser, and if it happens to be your first drag show experience, then there’s no better introduction.

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