“DRAG: the Musical” which was originally released as a concept album and had brief runs in Los Angeles in 2022 and 2024 has made its way to an off-Broadway theatre at New World Stages. The title lives up to its name, providing the audience with a glimpse into the multifaceted world of drag. The show is not a “drag” (excuse the pun), as it moves quickly and is filled with an overabundance of color, style, feathers, and sequins. The book, music, and lyrics by Tomas Costanza, Justin Andrew Honard and Ashley Gordon are not complex or groundbreaking, but they always straddle the lines between camp, drama, morality, and romance. Even if the plot is predictable the ride getting there is extremely fun and enjoyable.

The action is centered around Alexis Gillmore (a bold and determined Nick Adams), and Kitty Galloway (an outrageous Alaska Thunderf*ck), lovers in a relationship that came to a bitter end. Their dream to open a drag club together has vanished, so they each open their own rival club across the street from each other. The “Fish Tank,” owned by Alexis is in trouble with the IRS because Taxes have not been paid for the past three years. Enter Tom Hutchinson (a sincere Joey McIntyre), the estranged brother of Alexis, who is a single dad with a son Brendan (a precocious Yair Keydar) and is also an accountant. The news gets out, and it doesn’t take long for Kitty to take advantage of the situation. All is going well until Kitty’s rent is raised and she too is in dire straits. Add to this chaos the budding romance between Tom and Dixie Coxworth (an honest and loving Liisi La Fontaine) a female drag performer, and Brendan’s slow, self-realization of becoming a budding drag queen. Of course, as in most musical theater comedies, all ends well.

Director and Choreographer Spencer Liff moves the action along at a quick clip and utilizes every inch of the multi-level, runway stage, including letting cast members wonder about the audience. Costume design by Marco Marco is all that you would expect from the best of drag shows, extravagant, gorgeous and eye popping. Scenic Design by Jason Sherwood is bright and busy, illuminated with a competent Lighting Design by Adam Honore, that creates moods to compliment the action of each scene.

The score, although a bit pedestrian, is pleasant enough on the ear, and has the feel of a good old-fashioned musical, albeit contained in a modern-day package, tied with a big, bright “gay” bow. The cast is great and the vocals, although not the best on the New York stage, are adequate with a few stand-out numbers. One of those being Brendan’s solo number “I’m Just Brendan,” which brings down the house for several reasons. To quote W.C. Fields, “Never work with children or animals.”  This may not be the best musical now on the boards, but for a wonderful, fun, entertaining night at the theatre, it is top rate. It probably does what it is meant to do, which is to make its audience leave the theatre feeling good with a smile on their faces.