{"id":6759,"date":"2025-03-01T19:56:42","date_gmt":"2025-03-01T19:56:42","guid":{"rendered":"http:\/\/www.tornspacetheater.com\/home-2015\/?page_id=2173"},"modified":"2026-08-05T18:15:07","modified_gmt":"2026-08-05T18:15:07","slug":"legend-of-georgia-mcbride","status":"publish","type":"page","link":"https:\/\/www.tornspacetheater.com\/home\/past-productions\/legend-of-georgia-mcbride\/","title":{"rendered":"The Legend of Georgia McBride"},"content":{"rendered":"<style type=\"text\/css\">\n\t\t#builder-section-1455563769501 .builder-banner-slide {\n\t\tpadding-bottom: 600px;\n\t}\n\t@media screen and (min-width: 600px) and (max-width: 960px) {\n\t\t#builder-section-1455563769501 .builder-banner-slide {\n\t\t\tpadding-bottom: 62.5%;\n\t\t}\n\t}\n\t<\/style>\n<section id=\"builder-section-1455563769501\" class=\"builder-section  builder-section-first builder-section-banner builder-section-next-text\">\n<div class=\"builder-section-content cycle-slideshow\" data-cycle-log=\"false\" 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class=\"builder-text-column builder-text-column-1\" id=\"builder-section-1455479464450-column-1\">\n<div class=\"builder-text-content\">\n<h1>The Legend of Georgia McBride<\/h1>\n<h2>Written by Matthew L\u00f3pez<br \/>Directed by Dan Shanahan and Melissa Meola<br \/>Producing Consultant: Javier Bustillos<\/h2>\n<p class=\"p1\"><strong>May 30 \u2013 June 20, 2026 | 7:30pm<\/strong><\/p>\n<p><strong>Performers<\/strong><\/p>\n<p>Miss Tracy Mills&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;.Jimmy Janowski<br \/>Casey&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;..Anthony Alcocer*<br \/>Miss Rexy&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;Michael Blasdell<br \/>Jo&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;..Christine Turturro-Beausoleil<br \/>Jason&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;Michael Seitz<br \/>Eddie&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;.Annette Daniels Taylor<\/p>\n<p>*Member of Actors&#8217; Equity Association, the Union of Professional Actors and<br \/>Stage Managers, appearing under a special agreement with Actors&#8217; Equity Association.<\/p>\n<p><b>Production Team<\/b><\/p>\n<ul>\n<li><b>Co-Directors <\/b><span style=\"font-weight: 400;\">&#8211; Dan Shanahan, Melissa Meola<\/span><\/li>\n<li><b>Producing Consultant<\/b><span style=\"font-weight: 400;\"> &#8211; Javier Bustillos<\/span><\/li>\n<li><b>Production Manager<\/b><span style=\"font-weight: 400;\"> &#8211; Carly Kulak<\/span><\/li>\n<li><b>Stage Manager <\/b><span style=\"font-weight: 400;\">&#8211; Mary Margaret Keenan-Brown<\/span><\/li>\n<li><b>Scenography<\/b><span style=\"font-weight: 400;\"> &#8211; Kristina Siegel<\/span><\/li>\n<li><b>Choreography-<\/b><span style=\"font-weight: 400;\"> Michael Blasdell<\/span><\/li>\n<li><b>Lighting Designer<\/b><span style=\"font-weight: 400;\"> &#8211; Matvey Kitchen<\/span><\/li>\n<li><b>Assistant Lighting Designer <\/b><span style=\"font-weight: 400;\">&#8211; Frank Napolski<\/span><\/li>\n<li><b>Sound Design<\/b><span style=\"font-weight: 400;\"> &#8211; Justin Rowland<\/span><\/li>\n<li><b>Video Designer<\/b><span style=\"font-weight: 400;\"> &#8211; Brian Milbrand<\/span><\/li>\n<li><b>Costume Design<\/b><span style=\"font-weight: 400;\"> &#8211; Jimmy Janowski, Michael Blasdell, Zoe Dillinger\u00a0<\/span><\/li>\n<li><b>Facilities Manager <\/b><span style=\"font-weight: 400;\">&#8211; Daniel Toner<\/span><\/li>\n<li><b>Audio Engineer <\/b><span style=\"font-weight: 400;\">&#8211; Dan Neveu<\/span><\/li>\n<li><b>Construction Coordinator <\/b><span style=\"font-weight: 400;\">&#8211; Sean Kulak<\/span><\/li>\n<li><b>Construction Assistants<\/b><span style=\"font-weight: 400;\"> &#8211; Jim Sikorski, Travis Armbruster, Brian Jascur<\/span><\/li>\n<li><b>Wardrobe Manager<\/b><span style=\"font-weight: 400;\"> &#8211; Zoe Dillinger<\/span><\/li>\n<li><b>Draper<\/b><span style=\"font-weight: 400;\"> &#8211; Gabrielle Hall\u00a0<\/span><\/li>\n<li><b>Scenic-<\/b><span style=\"font-weight: 400;\"> Thea Duskin<\/span><\/li>\n<li><b>Box Office \/ House Manager <\/b><span style=\"font-weight: 400;\">&#8211; Jennifer Carter-Tillapaugh, Joey Ryan<\/span><\/li>\n<\/ul>\n<p><b>Special Thanks:<\/b><span style=\"font-weight: 400;\"> The Adam Mickiewicz Library and Dramatic Circle, Obermeier Kraatz Creative, Buffalo State College, Tom Makar for the use of his song, \u201cI Was Lost,\u201d Kalub Michael Thompson.<\/span><\/p>\n<h3 class=\"p1\">Director&#8217;s Note<\/h3>\n<p><span style=\"font-weight: 400;\">In The Legend of Georgia McBride all identity is performance.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Identity is fragile. What is the core essence of an individual?\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Identity throughout the play is unstable and continually rebuilt. Each character tries on, discards, rebuilds a sense of self.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Roles are not simply played when we enter drag. Each scene reveals shifts in performance that occur in everyday life; the roles we perform at work, at home, and within relationships.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Cleo\u2019s on Panama City Beach, Florida is a laboratory for identity construction. It is also a business where Casey as a struggling performer must adapt to survive, to endure in a world defined by supply and demand. Each character must adapt to survive. The economic realities of despair, survival, and reinvention create the conditions for transformation.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">When discarded we need mentors to bring us back in from the cold. Traci coaches, constructs and from this, a new family structure emerges.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Home should represent safety and stability, yet in this play it becomes another stage where identities are constructed, and pressure accumulates. The domestic world transforms into a site where gender, labor, and expectation collide and where a pizza can act as a financial death spiral because it is tied to overdraft fees and bounced checks. One false step and this all goes away. The walls are a continual feed of normative expectations.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Visually and sonically, this production draws from underground club culture, where fantasy, vulnerability, glamour, and escape coexist and create a place for people who are on the margins.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The Legend of Georgia McBride is about the possibility of reinvention and the freedom that can emerge when performance does not conceal identity but reveals it.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">I want to thank Javier Bustillos for bringing this remarkable production to my attention and for his support, the fantastic dynamic cast who brought so much to this show and were creative partners throughout, the production team who works so hard to bring a project like this to life and the designers who develop imaginary worlds that are both thoughtful and totally unique.<\/span><\/p>\n<ul>\n<li><span style=\"font-weight: 400;\">Dan Shanahan, <\/span>Director<\/li>\n<\/ul>\n<h3><b>Producing Consultant&#8217;s Note<br \/><\/b><\/h3>\n<p><span style=\"font-weight: 400;\">There is a particular satisfaction in watching one of my long-held artistic dreams finally lock into place. For years, as founder of Buffalo United Artists (BUA), Buffalo\u2019s longstanding queer theater company, I have spoken with Torn Space Theater\u2019s Dan Shanahan and Melissa Meola about creating a project that would bring BUA\u2019s queer sensibility into conversation with Torn Space\u2019s avant-garde aesthetic. On the surface, the two companies might seem to inhabit very different worlds, one explicitly devoted to LGBTQ+ stories, the other known for bold, visually driven performance installations and reimaginings of classic and contemporary works, but our conversations always circled the same questions: identity, perception, and transformation.\u200b<\/span><\/p>\n<p><span style=\"font-weight: 400;\">That shared curiosity has now found its home in <\/span><i><span style=\"font-weight: 400;\">The Legend of Georgia McBrid<\/span><\/i><span style=\"font-weight: 400;\">e, realized with the cast I first envisioned on the night I saw this play in August 2015: Buffalo stage legend Jimmy Janowski as Tracey, joined by Anthony Alcocer as Casey, Michael Seitz, and Bebe Bulgari. All four are artists deeply connected to BUA and to Buffalo\u2019s queer theater history, and to see them together on Torn Space\u2019s mainstage under the direction of Torn Space founder and co-artistic director Dan Shanahan is both exhilarating and deeply affirming. It marks a convergence of communities, aesthetics, and histories that have shaped queer performance in this city.\u200b\u200b<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Matthew L\u00f3pez\u2019s play is frequently described as a comedy about drag and reinvention, following Casey, a struggling Elvis impersonator who unexpectedly becomes a drag performer to support his growing family. Yet it is equally a play about how \u201cnormal\u201d and \u201cqueer\u201d are defined and policed in everyday life.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Every character in<\/span><i><span style=\"font-weight: 400;\"> The Legend of Georgia McBride<\/span><\/i><span style=\"font-weight: 400;\"> can be read through both lenses, depending on who is looking: the straight man entering the world of drag, the seasoned queens who teach him their craft, the wife forced to renegotiate her sense of home and partnership, and the bar\u2019s patrons challenged to accept a new kind of show.\u200b<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Consider Casey himself. From one angle, he is the &#8220;normal&#8221; one; a working-class husband, soon-to-be father, clinging to respectability even as his Elvis act fails. The world of drag represents everything he should resist: femininity, queerness, financial desperation masked as art. But shift the lens slightly, and Casey has always been queer: an artist performing masculinity through Elvis, already in drag, already failing at &#8220;normal&#8221; life. His transformation into Georgia McBride isn&#8217;t corruption; it&#8217;s liberation into a truer performance.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Jo, his wife, presents the same instability. Is she the voice of heteronormative responsibility, the pregnant woman trying to anchor her husband to conventional manhood? Or is she the radical one, supporting his gender transgression, prioritizing survival and artistry over respectability, refusing the script of the disapproving wife? She queers motherhood itself by embracing what most would see as a threat.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Tracy Mills and Rexy\/Anorexia appear to be the &#8220;obvious&#8221; queers, the drag queens representing everything outside mainstream life. Yet they are also consummate professionals: skilled performers, generous mentors, small business entrepreneurs with work ethic any &#8220;straight&#8221; world would recognize. They embody artistic excellence and community care. Who, exactly, is outside the norm here?<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Even Eddie, the struggling bar owner, created as a man but here played by the marvelous female actor Annette Daniels Taylor, shifts depending on where you stand. S\/he&#8217;s making desperate capitalist decisions, yes, but s\/he&#8217;s also creating space for queer performance, defying conventional business models, operating outside mainstream success. Is s\/he exploiting the drag queens or enabling their art?<\/span><\/p>\n<p><span style=\"font-weight: 400;\">This is L\u00f3pez&#8217;s brilliance, and what makes this play essential: these categories: normal, queer, straight, gay, masculine, feminine, are never stable. They depend entirely on who is looking and what they need to see. The play asks: What if &#8220;normal&#8221; is simply the performance we don&#8217;t call out? What if we&#8217;re all doing drag, but only some of us get caught?<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Torn Space\u2019s work has long inhabited this territory, even when the titles are not explicitly queer. In productions such as <\/span><i><span style=\"font-weight: 400;\">The Killing of a Chinese Bookie, Scenes from a Marriage, A Streetcar Named Desire, The Bitter Tears of Petra von Kant, Far Away<\/span><\/i><span style=\"font-weight: 400;\">, and <\/span><i><span style=\"font-weight: 400;\">The Homecoming<\/span><\/i><span style=\"font-weight: 400;\">, the company has probed gender, power, domesticity, and desire, core themes in queer experience and in any exploration of what passes for \u201cnormal.\u201d For me, this makes <\/span><i><span style=\"font-weight: 400;\">The Legend of Georgia McBride<\/span><\/i><span style=\"font-weight: 400;\"> feel less like a departure and more like the natural next step in Torn Space&#8217;s ongoing investigation of identity through image and performance. That Dan and Melissa have chosen to realize this vision with these artists and on this stage, is both an honor and a homecoming.<\/span><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Javier Bustillos, Producing Consultant<\/span><\/li>\n<\/ul>\n<blockquote class=\"ttfmake-testimonial\">\n<p><em>\u201cThis is a play that exposes \u201cnormal\u201d not as a stable category, but as a performance enforced by shame, and undone by those who refuse it.\u201d<\/em>\u00a0\u2013 Anthony Chase, Theater Talk<\/p>\n<\/blockquote>\n<h4 style=\"text-align: center;\"><strong><a id=\"ttfmake-1734370086\" class=\"ttfmake-button\" href=\"https:\/\/www.theatertalkbuffalo.com\/post\/elvis-in-drag-performing-normal-in-the-legend-of-georgia-mcbride\" target=\"_blank\" rel=\"noopener\" data-hover-background-color=\"#e5e5e5\" data-hover-color=\"#000000\">THE THEATER TALK REVIEW<\/a><\/strong><\/h4>\n<p>\u00a0<\/p>\n<p><em>The Legend of Georgia McBride was originally commissioned by The Old Globe, San Diego, California (Louis Spisto, Executive Producer)<\/em><br \/><em>Originally developed and produced at the Denver Center Theatre Company (Kent Thompson, Artistic Director)<\/em><br \/><em>New York Premiere at the MCC Theater September 9, 2015 (Robert LuPone, Bernard Telsey, &amp; William Cantler, Artistic Directors; Blake West, Executive Director)<\/em><\/p>\n<p>\u00a0<\/p>\n<p><strong>Production Photos Credit:<\/strong> Nickel City Headshots<\/p>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/section>\n","protected":false},"excerpt":{"rendered":"<p>The Legend of Georgia McBride Written by Matthew L\u00f3pezDirected by Dan Shanahan and Melissa MeolaProducing Consultant: Javier Bustillos May 30 \u2013 June 20, 2026 | 7:30pm Performers Miss Tracy Mills&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;.Jimmy JanowskiCasey&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;..Anthony Alcocer*Miss Rexy&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;Michael BlasdellJo&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;..Christine Turturro-BeausoleilJason&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;Michael SeitzEddie&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;.Annette Daniels Taylor *Member of Actors&#8217; Equity Association, the Union of Professional Actors andStage Managers, appearing under a special agreement &hellip;<\/p>\n","protected":false},"author":1,"featured_media":6773,"parent":1140,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"template-builder.php","meta":{"_exactmetrics_skip_tracking":false},"_links":{"self":[{"href":"https:\/\/www.tornspacetheater.com\/home\/wp-json\/wp\/v2\/pages\/6759"}],"collection":[{"href":"https:\/\/www.tornspacetheater.com\/home\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.tornspacetheater.com\/home\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.tornspacetheater.com\/home\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.tornspacetheater.com\/home\/wp-json\/wp\/v2\/comments?post=6759"}],"version-history":[{"count":3,"href":"https:\/\/www.tornspacetheater.com\/home\/wp-json\/wp\/v2\/pages\/6759\/revisions"}],"predecessor-version":[{"id":6760,"href":"https:\/\/www.tornspacetheater.com\/home\/wp-json\/wp\/v2\/pages\/6759\/revisions\/6760"}],"up":[{"embeddable":true,"href":"https:\/\/www.tornspacetheater.com\/home\/wp-json\/wp\/v2\/pages\/1140"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.tornspacetheater.com\/home\/wp-json\/wp\/v2\/media\/6773"}],"wp:attachment":[{"href":"https:\/\/www.tornspacetheater.com\/home\/wp-json\/wp\/v2\/media?parent=6759"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}