Dr. Frank-N-Furter: Is it Drag?
- Robert Nagby
- Oct 12
- 2 min read
Although Frank-N-Furter cannot be classified as a drag queen in the conventional sense, The Rocky Horror Show unmistakably embodies the central aesthetics and cultural functions of drag performance.
Exaggeration: The production revels in heightened theatricality, extravagant costumes, elaborate wigs, bold makeup, and characters whose very identities are performed “over the top.” Such exaggeration aligns with drag’s long-standing tradition of caricaturing gender, exposing its constructedness and fluidity through amplification rather than concealment.
Parody: Frank and his cohort of transgressive figures exemplify the satirical impulse at the heart of drag. Their camp sensibility would integrate seamlessly into the parody challenges of RuPaul’s Drag Race, where theatrical send-up and homage coexist. In this sense, The Rocky Horror Show functions almost as an extended “Rusical”, a portmanteau of RuPaul and musical, a hybrid of musical theatre and drag parody that destabilizes cultural norms while celebrating performance itself.
Liberation: Both drag and Rocky Horror articulate a philosophy of authenticity through performance. RuPaul’s oft-cited maxim, “We’re all born naked and the rest is drag,” underscores the idea that all identity is performative. Frank’s corset and heels are no less “drag” than Brad’s ostensibly “normal” suit and tie; both are costumes that signify chosen roles. The radical invitation of Rocky Horror is to embrace the performance that feels most true to oneself.
Ultimately, the joy, rebellion, and raw authenticity of The Rocky Horror Show create a theatrical space where audiences are encouraged to laugh at the rigidity of traditional gender roles and to celebrate the liberatory possibilities of self-invention. To attend, to dress up, to shout back, and to dance is not merely to participate in a cult tradition—it is to engage in a ritual of freedom, one that mirrors the emancipatory spirit of drag itself.
Further Reading
