Stevens first laid eyes on Ms. LeHoot, as he insists on calling her in public, in the early 1990s when he got into a local dive with a fake ID while under 21.
“I was kind of mesmerized and kind of shocked because she reminded me a little bit of my mom … if my mom was a stripper,” Stevens said, noting Ms. LeHoot, like his mother, was full-figured and partial to black eyeliner and high heels.
Like McSweeny with Tanner, Stevens said he saw a TV personality in LeHoot, namely Delta Burke as the “brassy broad” Suzanne Sugarbaker on the sitcom “Designing Women.” Stevens, who said he did not considered doing drag until he met McSweeny, likened drag training under the veteran queen to a pup replicating her mama’s actions.
Aside from drag queen skills Stevens picked up from LeHoot, he said McSweeny made him a better son to his mother during a period of estrangement.
“You need to call your mom, she’s worried about you,” Stevens said McSweeny would tell him. Before Stevens’ ailing mom died from cancer some years ago, McSweeny spoke to her, mother to mother, and said, “I’ll always look out for him.”
Standards shift but show goes on
There has been an emergence of new drag queens that often stray from the time-honored discipline of drag talents, like singing, dancing and comedy, McSweeny said.
“Anybody can get in drag, but that does not make you an entertainer,” he said.
He worries the artistry of up-and-coming drag queens is constrained by an overreliance on bodysuits, ponytail shakes and the so-called death drop. Popularized in recent years by the competitive reality TV series “RuPaul’s Drag Race,” the dance move involves the performer slamming their back against the floor after falling from their feet.