A Personal Guide to ChroFATica
Let’s be real, life has been stressful because of a certain pandemic and we are all in desperate need of fun. For me, that fun was manifested into ChroFATica, a lyrical parody of Lady Gaga’s Chromatica.
Featuring topics like NBC’s Superstore and actor John Candy, which I swear makes sense in context, I was treated to a wonderful production produced by and starring the hilarious Hillary Yass – a drag performer from the House of Lix in Toronto. Truly, ChroFATica was a stellar addition to Theatre Kingston’s Storefront Fringe(supported by the Kick & Push Festival) this year.
The need for queer spaces cannot be understated, but especially a queer performance space that acknowledges the significance queerness has culturally, personally, or socially influenced the audience as well as the artist. With drag culture rising in mainstream entertainment, it is important that we don’t forget the multi-facetedness of this artform and the necessity of the safe space for artists to explore their ideas, and most importantly, their joys. In the past and currently, the 2SLGBTQ+ community has had to stay hidden out of fear of discrimination and violence and to find the chance to celebrate the community (especially after a year-and-a-half away from live performances), I know for me, it is extremely humbling and gratifying.
Personally, I don’t think it’s necessary to be well-versed on the Chromatica album itself, but listening once through should provide enough aural memory to elevate each song parody onto another level. The format of the show is structured to loosely mimic what you may expect at a Lady Gaga concert, which includes wig and costume changes, audience interaction, and a soulful acoustic rendition. The rendition would normally be on the piano, which Hillary swapped for a ukulele as they do not know how to play one (it was still just as lovely). I attended the show’s opening night and though it had its moments of technical difficulties and wardrobe malfunctions, Hillary played with every moment, incorporating these fumbles into the experience.
Having been to a few local drag shows before, I had an idea of what to expect. But I’ve never experienced a drag performance in a theatre space, and I had an adverse reaction I didn’t think I would have. Perhaps it is the social conditioning or media portrayals of behaviour in theatre, but I felt too self-conscious to cheer Hillary on while she was twirling away on stage. This is when I realized I’m encountering an inadvertent cultural discrepancy between a bar and theatre setting. It is important to note that having fun is a priority, so please be assured that it’s okay to cheer (it’s encouraged really).
Of course, formality should be followed to an extent–don’t be overly disruptive, don’t shout over dialogue, etc. Remember, she’s the star! And we are here to celebrate her and her artistry.
While this event was appeared to heavily focus on body positivity, only some of the songs that were performed explicitly talked about it. I was disappointed to experience otherwise, but that got me thinking, what did I want out of this? After sitting on this question, I realized my own prejudice on this topic, which is to believe that I am owed a certain amount of specific conversation. Explaining personal body positivity is one thing, but to just inhabit in bliss is another.
I could not recommend this show enough especially if you just want a laugh-out-loud, genuine, and authentic production. Not only was ChroFATica entertaining, but showed me yet another way to have an effective conversation on the body positivity movement. Hillary’s presence is undeniable, and her vulnerability deserves to be applauded. Though it is for everyone, keep in mind that there may be crude language and body humour so if that is something particularly triggering, please keep that in mind.
ChroFATica was part of Theatre Kingston’s Storefront Fringe and was performed live at the Baby Grand Theatre. Don’t forget to follow Hillary Yass on Instagram @Hillary Yass!
