Review by Jaiden van Bork
Varla Jean Merman describes herself as the “Cilantro of Provincetown,” alluding to the divisiveness of her on-stage antics. But even if it’s not quite what you’re used to, it’s hard not to appreciate Merman’s incredible performance ethic.
Merman’s new show, The Drowsy Chappell Roan, gleefullytakes on contemporary white-girl stardom with full force as the Provincetown icon tributes, satirizes, and playfully desecrates the catalog of artists like Billie Eilish, Sabrina Carpenter, Olivia Rodrigo, Ariana Grande, and of course the show’s namesake and the central focus of attention—Chappell Roan. While Merman rips into these stars (and their predecessors, like Mariah Carey and Taylor Swift) Roan is spared Merman’s harshest berating, left mostly unscathed—and instead oddly venerated like a deity of the entertainment industry.
But it is no surprise that Roan has captured Merman’s attention. The 27-year-old lesbian pop sensation seems to have (at least for a moment) pierced through the cultural fabric of America in a way that few artists (especially those of the midwestern-lesbian-drag-queen-singing-about-oral-sex variety) have. In particular, her affinity for incorporating drag elements into her impressive performances has earned her a great deal of mutual respect from many of the queens who inspire her work. Thus, despite its playful tone, the fact that The Drowsy Chappell Roan even exists points to some interesting questions about Roan’s new and unique role in popular culture.
Riddled with toilet humor, The Drowsy Chappell Roan makes for an evening of laughter. Merman’s writing is solid, and her attention to detail in every aspect of the show shines through—from her goofy but clever re-interpolations of contemporary hits, to the incredible background graphics that appear behind Merman throughout the show. Now celebrating her 30th anniversary as a performer, Merman is clearly a master of her craft.
In addition, the undeniably talented Todd Alsup occasionally contributes smooth vocal harmonies and piano accompaniment, although most of the production’s musical numbers make use of synth-heavy backing tracks that make Alsup’s presence on stage underutilized (aside from offering some half-hearted banter between him and Merman). Nonetheless, the periodic interjections of his alto voice provide a lovely complement to Merman’s delightful baritone.
While Merman is held back by a few attempts at socially-relevant sincerity (which unnecessarily break up the show), she still manages to pepper the audience with her signature brand of raunchy humor. Together, Merman and Alsup deliver an exciting, crowd-pleasing show, successfully playing to multiple age groups by combining these icons of contemporary youth culture with self-aware humor about being frugal, needing to pee, and everything in between.
Varla Jean Merman performs The Drowsy Chappell Roan at the Crown & Anchor, 247 Commercial St., Provincetown, Tuesdays through Saturdays, 8:30 p.m., through September 20 (no show on August 21). For tickets ($40/$50 for VIP) and information visit onlyatthecrown.com.
