For Alex Michaels, better known to RuPaul’s Drag Race fans as Alexis Michelle, stepping into Edna Turnblad’s sensible shoes isn’t just another role. It’s the culmination of a dream that began more than two decades ago.
When I caught up with Michaels ahead of Hairspray‘s run at the historic Cape Playhouse in Dennis, Massachusetts, the performer was still riding the excitement of opening week. Despite an intense rehearsal schedule, Michaels couldn’t stop talking about the magic surrounding the production, and why the beloved musical’s message feels even more meaningful in 2026.
A Dream Role Finally Comes Full Circle
The Cape Playhouse, often called “the place where Broadway goes to summer,” has welcomed generations of theater legends. Michaels admitted the venue’s history is impossible to ignore.
“It is a really special place,” Michaels told me. “The beautiful setting helps, but the history of this theater feels really strong. The dressing rooms backstage are largely untouched, and there are photos of all the legendary folks who have been through the Playhouse.”
The production itself came together at lightning speed.
“We put the show up in, I think, 11 days of rehearsal in New York City,” Michaels said. “Then we transitioned to the Cape and just had two days of tech before we were in front of an audience. It’s been a total whirlwind.”
Even with the hectic schedule, playing Edna has felt remarkably personal.
Michaels first saw the original Broadway production while attending the University of Michigan and immediately fell in love with the musical.
“I was like, ‘Oh wow. This is as good as all the hype,'” Michaels recalled. “There are so few drag roles in the musical theater canon that I thought, ‘Maybe someday.'”
That “someday” arrived after years of life experience that helped shape the performance in unexpected ways.
“My body image, my weight has fluctuated throughout a lot of my life,” Michaels shared. “While I’m far away from what Edna’s size is, my life experience emotionally has prepared me for this. I don’t actually feel I have to stretch very far emotionally to play Edna.”
Why Hairspray Hits Differently Right Now
While Hairspray has always celebrated inclusion, Michaels believes audiences are connecting with its themes in a new way.
“I almost wish it didn’t feel so timely,” Michaels admitted. “But it feels urgent right now.”
The actor credited director Bill Fennelly with encouraging conversations about the show’s deeper meaning during rehearsals, including discussions surrounding criticism that Hairspray can be viewed as a “white savior” story.
Rather than dismissing those conversations, the creative team leaned into them.
“He said perhaps Hairspray was a white student musical,” Michaels explained. “Tracy is pushing the story forward, but she’s looking to the people of color in her community to lead the charge. She’s looking directly to Motormouth and taking her advice to heart.”
For Michaels, that perspective has only strengthened the show’s message.
“The need for equality and rights for all Americans, particularly marginalized communities like Black and Brown people, just feels more present than ever.”
The Song That Stops Michaels Every Night
Although Hairspray bursts with upbeat numbers, Michaels said the show’s emotional center arrives during Motormouth Maybelle’s biggest moments.
“As a queer person who has discovered my own gender fluidity,” Michaels told me, “my connection with women, particularly women of color, has always been really present.”
One lyric, in particular, never fails to hit home.
“‘Hunger to be free. It’s time to finally taste equality.’ The way it’s written melodically catches me every time.”
Michaels also praised castmate Keisha Gilles, who stepped away from Aladdin on Broadway to portray Motormouth.
“She is delivering,” Michaels said. “Her performance is incredible.”
Why Drag Artists Belong On Broadway
As more drag performers continue finding success on Broadway, I asked Michaels why that relationship feels so natural today.
“The reason New York City drag is the way it is is because so many people flock to New York to pursue theater,” Michaels said.
According to Michaels, drag has always attracted performers with extensive theatrical training. What’s changing is the industry’s willingness to recognize those talents.
“I don’t think that’s a new thing,” Michaels said. “I think there’s a broadening understanding about who we are as artists.”
Michaels pointed to Bob the Drag Queen‘s recent Broadway debut in Moulin Rouge! as an example.
“It felt like a long time coming.”
Drag Race Prepared Them For Backstage Chaos
When I jokingly asked whether surviving a Drag Race challenge or pulling off one of Hairspray‘s lightning-fast costume changes was more difficult, Michaels immediately laughed.
“I’ve been talking about that!”
The comparison wasn’t far off.
“I found myself getting into my makeup with about 15 or 20 minutes,” Michaels recalled. “I joked, ‘This is like a mini challenge on Drag Race. Can you be ready when the curtain goes up in 15 minutes?'”
Like the competition series, theater leaves little room for hesitation.
“There’s no stopping the train once it starts.”
The Broadway Performer Who Left A Lasting Mark
To close our conversation, I asked Michaels to name the Broadway legend who has served as their North Star.
Instead of choosing one of musical theater’s biggest names, Michaels became emotional recalling legendary ensemble performer Joanne M. Hunter.
“I’ll never forget what it was like to watch that woman dance.”
Watching three ensemble members perform during Good Morning Baltimore now brings those memories rushing back.
“They’re making a moment like that,” Michaels said. “Some young person is going to look at that and think, ‘Oh my God… theater magic.'”
It’s a reminder that Broadway isn’t built solely by leading players. Sometimes it’s the performers lighting up the edges of the stage who inspire the next generation.
For Michaels, that sense of joy, and community, is exactly what makes this production of Hairspray feel so special.
“I’m having the best time doing theater here.”
Hairspray runs at the Cape Playhouse through Aug. 8. Following the production, Michaels will bring two solo shows to The Red Room in Provincetown from Aug. 18 through Sept. 2.
