Graduation Term

Summer 2026

Degree Name

Master of Science (MS)

Department

School of Theatre, Dance, and Film

Committee Chair

Bruce Burningham

Committee Member

Le'Mil Eiland

Committee Member

Derek R Munson

Abstract

This thesis will serve as an overarching analysis and historical discussion on the art of drag within the traditional theatrical space. By employing queer theory, I will analyze how the use of drag has evolved throughout the history of Broadway and the United States and how it is responding to the contemporary social attitude. Drawing from the arguments of Butler, Lorde, Rich, Foucault, and others, this thesis uses historical survey to examine the direct representation of drag in theatrical spaces in conjunction with each representation’s sociopolitical and cultural environments. Sociopolitical contemporary contexts of each representation influence not only the form the representation takes, but the audience reception thereof. While Broadway productions do host a sanitized version of drag compared to what audiences would likely see in a drag show or club, the usage of drag in theatrical settings still creates conversations surrounding the appropriateness of performance, the acceptance of the LGBTQIA+ community, and how different communities come together through the creation of spectacle. By focusing on shows that premiered during important time periods for the drag and queer communities, namely Mae West’s The Drag in the 1920s, La Cage aux Folles in the 1980s, and Kinky Boots in the 2010s, I will argue that the representation of drag in theatrical contexts has a rich history that not only has evolved throughout time but is in conversation with the contemporary sociopolitical locus of the queer identity. This thesis is especially timely as it is more important than ever to shine a positive light on drag and queer community as they continue to receive backlash from the federal government of the United States.

Access Type

Thesis-Open Access

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