Review: Latrice Royale


Latrice Sings! And she’s actually pretty damn good at it! There’s no attempt at giving you “girl singer” – “Barry White in drag” is how she describes her basso stylings – but she clearly models her approach to song interpretation on the likes of Ella Fitzgerald and Aretha Franklin. She may not have the pristine vocal instrument of those titans, but she certainly understands their lessons in musicality and expression. And her take on cabaret standard “Here’s to Life” (also the name of the show and her CD) marks the first time I’ve heard it as a determined look at the future rather than a wistful look back.

Here’s to Life is solidly in the mold of traditional autobiographical cabarets. It’s more talk than song, and the large and in charge diva’s story-telling is well served by her warm authenticity and infectious positivity. Latrice traces her tale from growing up gay in Compton, to finding her drag vision in Miami, and ultimately to the trail of tribulations that led up to the “unfortunate incarceration” she sometimes referred to when she was on Season 4 of RuPaul’s Drag Race.

Latrice Royale is backed by a very able jazz trio led by her boyfriend Christopher Hamblin on the piano. Here’s to Life feels more polished than the cabaret acts I’ve seen from other Drag Race alumni, while still running a bit on the long side. There were precious few backstage stories from Drag Race, but her humor, soulfulness and candor more than make up for it. Latrice is the real thing, and I want to hear much more from her as a singer. Highly recommended.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see

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