My Portfolio

A pop up gig at a local queer bar. I performed one of my staple numbers, "Free the Animal" by Sia.

A Pride nightlife performance stripping Ethereal back to one of drag’s simplest pleasures: look good, move, entertain and let people get their fucking life. KISS at Purgatory during Pride 2026 represents the nightlife side of the practice: sensuality, movement, fashion, lip sync, audience energy and the immediate relationship between performer and room.
That simplicity matters.

Ethereal Sacrilege’s performance practice has never existed exclusively inside nightlife. CUNY Lavender Graduation brought the work into an institutional queer-community setting centered around celebrating LGBTQ+ students and their accomplishments.

The appearance reflects another through-line of Ethereal’s career: drag as both entertainment and community practice. From Pride and queer youth programming to university events and activism, performing outside the nightclub has remained as important as performing inside it.

During a period when live performance and queer gathering abruptly disappeared, Bad Kidz Club became both a performance outlet and a community-building project.

As co-founder, producer, host and performer, Iggy helped coordinate participating artists across six counties and produce digital drag programming during the COVID-19 pandemic. The project raised more than $2,000 in support of mutual aid, Black Lives Matter organizations, LGBTQ+ centers and queer/displaced artists.

Bad Kidz Club also produced a virtual drag interpretation of The Rocky Horror Picture Show attended by more than 200 people.

The project became an early foundation for Ethereal’s work beyond performing: producing, organizing artists, hosting, directing concepts, coordinating events and using drag as a tool for community rather than simply individual visibility.

The Masculinity Project | 2026
Role: Writer, Creator, Performer
Status: 2026 performance and writing project.

An interdisciplinary performance and writing project examining masculinity, gender expression, queer identity, desire, and power. Through autobiographical writing, drag, sound, and performance, I explore how masculinity is constructed, enforced, desired, and reproduced, including within queer communities themselves.

The three-headed serpent operates as a central metaphor for the overlapping pressures and contradictions surrounding gender, identity, and social expectations. The project considers masc4masc culture, desirability, transness, and the ways queer spaces can both challenge and reproduce the hierarchies we inherit. Rather than presenting masculinity as one fixed identity, the work questions who gets to define it, who benefits from those definitions, and what happens when we refuse to perform them.

Documentation focus: written material and available performance documentation.

Long before horror became increasingly integrated into Ethereal Sacrilege’s interdisciplinary work, it was already living inside the drag. For Ellipsis Queen’s HOHOHO: Edit 2: O’Da Horror at Magnet Theater, Ethereal created a horror-comedy drag number balancing grotesque imagery with sexuality, glamour and humor. Performed in a red dress made for the number, the piece demonstrates an earlier version of a philosophy that still defines the work today: frightening does not have to mean humorless, and beauty does not have to be safe.

Reasonable Reality (Nonsense) is a darkly theatrical drag work created for FRIGID Nightcap: FUTURE TENSE, combining horror, camp, political satire, experimental sound, movement, lip sync and queer performance.

Built around the question “Who gets to decide what’s normal?”, the piece turns anxiety, identity and social critique into something deliberately surreal, funny and cathartic. Rather than separating nightlife entertainment from conceptual performance, Reasonable Reality uses both at once, allowing absurdity and spectacle to carry the argument.

The work reflects a central part of Ethereal Sacrilege’s practice: using horror to examine systems that define certain bodies and identities as strange, threatening or unacceptable, then reclaiming that strangeness through drag, humor and performance.

Hunter Puppet Slam | Hunter College | 2025–2026
Role: Creator, Puppet Designer and Builder, Performer
Status: Performed, with further development and expansion ongoing.

Radioactive Waltz is an original horror-based puppetry and physical theatre performance featuring Nikolai, a large, handmade, humanlike puppet. Set in a radioactive wasteland, the performance follows two lovers sharing a final ballroom dance as their bodies and relationship deteriorate. The work combines grotesque romance, horror, movement, puppetry, practical effects, and tragic theatrical storytelling.

I developed Nikolai through experimentation with fabric, stuffing, armatures, cardboard, paint, and other accessible materials. The puppet evolved from a smaller, more realistic figure into a larger, exaggerated and deliberately unstable character. Its visible construction became part of the work’s unsettling visual language. The performance explores the relationship between a human performer and an object that appears simultaneously alive, dying, and already dead.

Documentation focus: photographs of Nikolai, construction images, and performance documentation.