BY SCOTT STIFFLER | Actress, singer, writer, and educator Bianca Leigh, a transgender woman, is currently collecting oodles of accolades for educating Broadway audiences—not about pronouns, mind you. The thing that has capacity crowds swooning is the way Bianca—as Louise, first lady Mary Todd Lincoln’s personal assistant and steadfast supporter—navigates the Lyceum Theatre stage with skill and grace, while wearing a cumbersome hoop skirt. It’s a tribute to the power of physical comedy in partnership with nuance—a skill that handily delivers the sermon to the choir and others, no preaching necessary.

On August 25, for one performance only, Bianca returns to an old haunt—the Laurie Beechman Theatre—located just a few doors (streets, actually) down from where Broadway’s Oh, Mary! is taking place. It’s a decidedly bittersweet booking, as will be any booking at the Beechman from now until the end of September. That’s when the iconic downstairs performance space is set to close, along with its upstairs sister space, the West Bank Cafe.

As for what Bianca brings to the Beechman: Press materials describe Transvestigation as “a delicious melange of comedy, songs, and character sketches… a comedic ‘transvestigation’ of life’s challenges, including gender, work, stupidity, and death (not necessarily in that order). Standup, theatre, and cabaret come together in an exploration of life’s absurdities, and ways to laugh in the face of all of them.”

Are you sold on that? Well then, jump to the final part of this preview piece (the all-italicized paragraph), make your reservations, and then return right here. Proceed scrolling down, as you enjoy the revealing (as in, insightful and also as in, “one boob”) Q&A conducted with Bianca Leigh.

Scott Stiffler, from Chelsea Community News (CCNews): Talk about the show/shows you’ve brought to the Laurie Beechman Theatre. If being at the Beechman influenced the material or your performance moving forward, how so?

Bianca Leigh (Bianca): I did my solo Busted at the Beechman twelve years ago. We had workshopped it at The Bowery Poetry Club, so it was in pretty good shape when we did the Beechman. Busted was produced by Chip and Ron of Spin Cycle, directed by Tim Cusack, and the Musical Director was Will TN Hall. It was a blast. It’s a lot of work to play all the characters AND sing several song, but I loved doing it.

CCNews: Transvestigation on August 25 replaces a previously announced staged reading of Busted: The Musical. Tell us a little about that work, especially as it regards the role the Beechman played in its development. (A press release for Transvestigation notes, of Busted, “Bianca wrote and performed her solo musical BUSTED, about the challenges and dangers facing a young Trans woman in pre-Disney New York, at the Laurie Beechman Theatre.)

Bianca: Will, our musical director for Busted, is on an Atlantic Cruise at the moment, so we couldn’t make the Busted reading work. I did Transvestigation at Pangea less than a year ago, so dusting that off was more realistic. It’s a good thing. And the material is much more topical.

CCNews: What/Where is your vision for when Busted: The Musical becomes a full production?

Bianca: I’d really like to do another production, there’s something very special about Busted. I would definitely have two or three other actors play some of the roles next time. That was my original vision, but, in 2012, we were hoping to get onto the festival circuit, and that’s easier with a one person cast. I’ve been speaking to Lucas McMahon of Alchemation (one of our Oh, Mary! producers) about possibly doing a reading.

CCNews: Let’s play a game called Sweeping Generalizations: Are there things about the Beechman and/or NYC audiences that set them apart from other venues/towns you’ve played?

Bianca: I don’t see big differences, and I’ve done a lot of regional theatre. I guess New Yorkers can be louder – more ‘woo-hoos’ and such. Snapping fingers is very New York. Londoners don’t laugh nearly as much as Americans– you think, “Oh, no, I’m dying out there!” – but then they applaud wildly at the end. Hopefully.

CCNews: Have you experienced any “anomalies” during Beechman performances, i.e. laughter or audible reactions to a part of the show that never got that reaction before? Conversely, did something flop that usually killed? Do you recall any improvised quips, saves, or audience interactions that became “keepers”?

Bianca: Busted was twelve years ago, so I can’t remember many specifics, but I can say that lots of small things went wrong and the audience loved it. Over the years of performing in cabaret spaces and downtown plays, I’ve developed a knack for improvising—it’s kind of a specialty at this point. LOL The Beechman has always been a place where the unexpected is welcome and appreciated, and I appreciate that. I do remember one incident. At one point during Busted, my character has to expose her breast to a Corrections Officer in exchange for basic amenities. It’s a deadly serious moment and you can hear a pin drop. One night, when I took my breast out. I heard a camera click. I said, “Did you just take a picture?” I well and truly gagged. I finished the show and prepared to go out and ask the gentleman to please delete the photo, but several audience members were already in his face, cussing him out. It was bedlam. He kept saying, “But I’m European! It’s artistic!” LOL I said, “Sir, you may be European, but it’s my tit! Delete it.”

CCNews: Any lasting memories, life lessons, miscellaneous thoughts, and/or anecdotes, regarding off-stage aspects of the room such as tech rehearsals, pre-show rituals, post- show goings-on, meet-and-greets, Beechman drinks, menu items, staff, etc.?

Bianca: My fondest memory is when I came to see Joan Rivers, at Chip and Ron’s invitation, and Joan smacked me on the fanny during her exit. I felt so seen! I always enjoy having a giggle with Chip and Ron [of Spin Cycle NYC], and there have been wonderful post-show gatherings at the bar upstairs in the restaurant.

CCNews: Not to get morbid, but are there other venues you’ve played that are no longer with us? If so, what did their presence contribute, and what about their absence is felt?

Bianca: I did a couple shows at a place called Judy’s Chelsea. It was a lovely room. Just gorgeous. I really didn’t know what I was doing, however. My patter was very hit-or-miss—it was all improvised at that time—but, when it worked, it was heaven.

CCNews: Congratulations on your role in Oh, Mary!—on Broadway through November 10. Has the density of performances (8 shows a week) or the high profile of being on Broadway brought along any new ways of thinking/being—both in terms of playing the role, and doing what you must when not at the theatre, to meet any physical or emotional challenges?

Bianca: I’ve done plenty of theatre, but never such a long run. Maybe ten weeks, max. So, I’m learning every day. The show has remained very much the show – you don’t want anything to become bloated – but it’s amazing to see so many things become more nuanced and more specific over time. Some of Cole’s lines – which have always landed – are now honed to absolute perfection. Bulletproof. It’s happened to a few of my moments too. That, to me, is thrilling. “Oh! It’s the head tilt, not the impish smile…” LOL. Emotionally, Louise is very vulnerable. I usually play characters with much more edge. Louise is a true believer in the innate goodness of people and she worships Mary. So, when the scales fall from her eyes… I feel it! LOL The play is hilarious, but part of why it’s funny is our characters take it all so seriously. The play is physically demanding, lot of running around, and Cole and I are in heavy hoop skirts and corsets (not to mention petticoats and bloomers). If you stop short, the skirt keeps moving! I have to do a very thorough stretch and workout before each performance, so that moving around in the skirt becomes effortless. I can even add a flourish or two—hoop skirt acting. The audience tells us they love watching us glide in and out of the double doors. And I certainly enjoy it.

“Transvestigation” is performed Sunday, August 25 at 7pm at The Laurie Beechman Theatre (inside West Bank Cafe at 407 W. 42nd St. at ninth Ave.). Tickets are $15 for general admission or $24 for VIP (which includes reserved seating and a meet and greet/photo op). There is also a $25 food/drink minimum. To purchase, click here. To see Bianca Leigh on Instagram, click here. For our review of “Oh, Mary!” click here.

BIANCA LEIGH is an actress, singer, writer and educator. Miss Leigh is currently playing Louise in the critically acclaimed play OH, MARY! at the Lyceum Theatre. Other acting roles include Waxy Bush in MTC’s THE NAP (Understudy/performed), Franny Halcyon in TALES OF THE CITY THE MUSICAL:THE CONCERT at the Music Box, Time/Wind in Taylor Mac’s theatre epic THE LILY’S REVENGE at Here Arts Center, Tatiana in Paul Lucas’ award-winning verbatim piece TRANS SCRIPTS at ART, and Beatrice in Christina Anderson’s MAN IN LOVE at Kansas City Rep. Bianca also appeared as Mary Ellen in the groundbreaking film TRANSAMERICA and as Dr. Rachel Sandow on LAW & ORDER: SVU. Bianca wrote and performed her solo musical BUSTED, about the challenges and dangers facing a young Trans woman in pre-Disney New York, at the Laurie Beechman Theatre. Her play, MBJrT, was part of the Monday Night Playwright Series at Kansas City Rep in 2018. She is featured in Laverne Cox’s documentary DISCLOSURE, an exploration of Trans representation in motion pictures and on television and can be heard on the Audible recording of Shakina Nayfack’s CHONBURI INTERNATIONAL HOTEL AND BUTTERFLY CLUB.

BEECHMAN BIO: West Bank Cafe opened on West 42nd Street in 1978 at a time when Hell’s Kitchen lived up to its name. Owner Steve Olsen opened The Laurie Beechman Theatre downstairs from the Cafe, which staged plays and hosted events nightly. A young Lewis Black was named playwright-in-residence; and the restaurant’s regulars included Tennessee Williams, Arthur Miller and Bruce Willis. It has been a launching pad for countless Oscar, Grammy, Emmy, Tony, and MAC Award-winning musicians, actors, comedians, and writers. The Beechman stage is where Joan Rivers performed her final set, where the original cast of Sunday in the Park With George rehearsed, where The Who gave four live performances while their musical Tommy was debuting on Broadway, and where countless stars of RuPaul’s Drag Race (including Jinkx Monsoon, Jackie Beat, Sherry Vine, BenDeLaCreme, Trixie Mattel, Latrice Royale, and Alyssa Edwards) premiered shows.