Q&A: Ash Gordon's Journey from Music to the Stage with ‘Drag: The Musical’
WITH A PEN IN ONE HAND — and glitter in the other, Ash Gordon is redefining the intersection of drag and theater. Raised by her grandparents in Long Island, New York, she has spent over a decade writing and producing for drag artists like Alaska Thunderfuck and Trixie Mattel and has landed multiple #1 albums on iTunes in the process.
With the highly anticipated release of Drag: The Musical, Gordon’s creative vision shines through in a humorous and unique production that has received praise from Variety and Billboard. Co-created with longtime collaborators Alaska Thunderfuck and Tomas Costanza, the off-Broadway show features the brightest stars of the drag scene and aims to resonate with audiences of all backgrounds.
We sat down with Gordon as she reflected on her deep connection to the drag community, her artistic evolution, and the empowering messages she’s woven into her work - proving that individuality is the true essence of creativity. Read below to learn more.
LUNA: You've been working with drag artists for over a decade, long before the mainstream embraced drag culture. What initially drew you to the world of drag, and how did those early collaborations shape your career?
GORDON: Drag has always been a part of my life. I grew up watching The Birdcage with my grandparents every Sunday. Gay culture was always around me. I listened to artists like the B-52's, and it was never an issue that someone was queer—it was just really cool art to me. I remember my dad introducing me to Rocky Horror Picture Show at a young age. It wasn’t about queerness; it was just this amazing, left-of-center way of expressing art. As I grew up and realized, "Oh, these are men dressing as women," I was in awe. They could sing, dance, do comedy, act—they were the ultimate artists.
When I started in the music industry, I made it a point to work with artists who marched to the beat of their own drum, and a lot of them ended up being queer artists. The first was Sharon Needles, who gave me my first opportunity to work on a full-length album—the first full-length album by a drag queen. She included other queer artists like Jayne County, Amanda Lepore, and Ana Matronic. It was eye-opening, and after that, I was hooked. I only wanted to work with drag queens.
LUNA: I'm sure it's amazing to look back on that progression, knowing from the start this was what you wanted to do. Drag: The Musical is receiving great buzz ahead of its release. Can you tell me a bit about how the concept for the show came about and what inspired you to bring the story to life?
GORDON: Alaska Thunderfuck, Tomas Costanza and I have been writing music since Alaska’s Nails, which was years ago. Tomas is one of my best friends. He had this wild idea to write a musical with Alaska. We thought, "Why not?" We set aside a day each week to work on it. It started with the song Drag Is Expensive, and it continued from there. Just three friends trying to do something cool, no agents, no managers, just very organic.
LUNA: You’ve collaborated with drag icons like Alaska Thunderfuck, Trixie Mattel, and KATYA, all of whom have distinct styles. How do you tailor your music and writing to fit each artist’s unique voice and persona?
GORDON: I love all kinds of music and never put myself in a box. I have a rock-leaning voice, but that doesn’t work for everything. I set my ego aside and think about what fits each artist. Trixie, for example, has an incredible singing voice, and we have similar musical DNA from the early 2000s, so we just get each other. KATYA, on the other hand, leans more metal, which I also understand. And I love pop, so it’s easy for me to work in different genres and bring them together in a pop format. I get to write in a million different voices, and I love it.
LUNA: That sounds like so much fun, getting to experiment with different voices and genres. As a strong ally of the LGBTQ+ community, you wrote the theme song for the Drag Isn’t Dangerous digital fundraiser. What was that experience like, and how did it feel to see the overwhelming support?
GORDON: Anytime I can use my talents for good, it’s a gift. I was honored to be asked. When I was asked to write the song, the melody just popped into my head. I brought in a producer and a co-writer, and we made it happen. When I saw how much money the telethon raised, I was blown away. It was during the height of the drag bans, and it made me realize that what we were doing was making a difference—not just fun pop songs, but actually changing lives.
LUNA: It’s amazing that you’re able to combine your passions with making a real difference in the world. Drag: The Musical has been described as both hilarious and heartfelt. What message or feeling do you hope audiences take away from the show?
GORDON: I want people to feel happy, inspired, and empathetic. Empathy is big for me. I grew up in Long Island, where there are some closed-minded views on sexuality and gender expression. My mission was to create something in the queer zeitgeist that everyone can enjoy, something that everyone can relate to.
We have a character in the musical who’s a father working through generational trauma with his son’s interest in gender expression. Joey McIntyre does an amazing job portraying the gray areas—someone who claims not to be homophobic but still struggles with ideas that might be. It’s about expressing yourself and being happy. My hope is that anyone watching, no matter where they are on the LGBTQ+ spectrum, can relate to and feel moved by the show.
LUNA: With Drag: The Musical coming to Off-Broadway and beyond, what are your future plans or dreams for the production? Do you see it expanding into other forms, like film, streaming, or any other ideas?
GORDON: The answer is yes to all. I’d love to see a US tour, and I’d love to go to the West End and rework the script for that audience. A movie, maybe even a prequel would be amazing.
LUNA: As someone who's been a trailblazer in drag music and now theater, what advice would you give to aspiring artists, especially those from marginalized communities, looking to carve out their own space in the industry?
GORDON: Being different is your superpower. Don’t let anybody say otherwise.
