Comic entertainer Micah McCain left a thriving career Los Angeles to seek his fame and fortune on Broadway, but bitch has been working his ass off trying to get his first big break on the Great White Way. McCain, whose “Hey Gurl,” a brilliantly witty redub of the opening number from Disney’s Beauty and the Beast became an internet sensation in 2011, has now found a clever way to add those magical words “Broadway credit” to his resume, he’s starring in a comedy-and-song-filled one-man show titled…drum roll… Broadway Credits (February 8 at New York’s Duplex Cabaret Theatre). McCain chatted with Queerty about what to expect from the show, the perils of doing drag in the snow and his dream to one day play the immortal Norma Desmond.
Your show is called Broadway Credits, which begs the obvious question: Do you have any Broadway credits?
I have Off-Off Broadway credits, which are a real thing and Off-Off-way Off Broadway credits, which are not a real thing. I think at this point those are referred to as “regional” credits…and I have tons of those…but as of right now, I do not have Broadway credits on my resume…yet!
When you were in L.A. you often worked as a very highly-regarded drag performer called Bridgette of Madison County. Is she still part of your act?
Right now, Bridgette is on a performance sabbatical. That’s not to say she is dead, ’cause she’s not, it’s just, my feet hurt and I’m sick of shaving and… I’ve never done drag in a place where it snows. Do they make snow boots with a sensible heel? I think Bridgette will always be part of the act though, because Micah was always part of hers.
How does the entertainment community in New York compare to the one you left in L.A.?
On one hand, I think it’s exactly the same, just with a different medium. Actors in New York are working just as hard as Los Angeles actors, if not harder, trying to express themselves creatively while trying to make a living doing what they love. It’s just harder because New York is much more expensive than Los Angeles and actor’s have no way of making the same type of money acting in New York the way they can in L.A., unless they are in a Broadway show on a production contract.
On the other hand, it’s completely different. There’s a community here. Everyone wants and supports everyone to create new shows and opportunities because everyone wants everyone to work. I don’t remember that in L.A. In New York, you can see Audra McDonald walking her dog and exchange waves. You can see Sutton Foster at intermission of a show you both are audience members of and say hello. You can go to the first preview of a Broadway musical and tell Jason Robert Brown, in person, his score is incredible. You can’t do those type of things in Los Angeles. Both industries though, you have to scream and fight your way into. That’s why I’m going back to my one-man-show roots.