The queer community’s long-standing admiration for drag performers is finally reaching mainstream appreciation, thanks to shows like RuPaul’s Drag Race and POSE. However, drag remains a niche art form for many, sometimes dismissed as too flamboyant to be taken seriously. By showcasing both amateur and professional drag artists, we aim to highlight the multifaceted talent encompassing costuming, choreography, writing, staging, and performance that defines this unique art form. This article, part of a special series on Queer Kentucky’s storytelling platform supported by the Snowy Owl Foundation, celebrates drag as a vital art form in Louisville by increasing the visibility of its performances and performers.
Photos by Sydni Hampton
Imagine: Flip Flop Jack’s, around 2012. Salem is preparing for her first foray into National Entertainer of the Year, a prestigious drag pageant. At that time, she wasn’t the most widely recognized name in drag, but one performance was all it took to leave audiences utterly speechless and forever captivated.
Entering the venue, with its industrial-meets-beach-bar aesthetic, I watched Salem command the stage during a benefit show, raising funds for her national competition ambitions. What struck me immediately was her presence. At just 5’5”, even in heels, she appeared petite, yet her performance was anything but. She was small but undeniably fierce. The room buzzed with smiles, and dollar bills stretched out in every direction, a testament to the audience’s support for her NEOY dream. Salem has always had this incredible ability to evoke joy, laughter, and awe, seamlessly blending drag, burlesque, and dance into breathtaking performances.
A true Scorpio, Salem embodies chaos in her artistic vision, yet in her everyday life, she is remarkably shy, quiet, and humble, as I’ve come to know over more than a decade. It’s under the spotlight where she truly explodes with brilliance. Whether it’s commanding a standing ovation at Play Louisville on New Year’s Eve with a powerful rendition of ‘New York, New York,’ or transforming into a graceful rose en pointe for ‘Here Comes the Rain Again,’ her agility, strength, and captivating stage presence are undeniable. In a crowded bar filled with distractions, Salem commands attention. When she takes the stage, her full-throttle performances ensure every eye is glued to her twirls and dances.
I believe I offer this perspective without bias, despite our decade-long friendship punctuated by frequent disagreements – a Scorpio versus Taurus clash of unwavering opinions. Yet, beneath the arguments, a deep mutual respect has always existed. Salem’s raw talent demands recognition, regardless of any past disputes. Her demanding rehearsal schedule and numerous projects often make interviews challenging to secure. I finally caught up with her in her drag room as she hand-sewed gauntlets for an upcoming Va Va Vixens performance.
SH: Tell me about your beginnings in drag.
SVT: It started years ago at Sumchees Family Room, a café that hosted drag shows for a younger crowd. My friend Danielle suggested I participate in their open stage night with a Disney theme, suggesting my ‘Cinderella thing.’ I had been rehearsing a Cinderella ballet piece, which hadn’t materialized, but the routine was ready. I performed it, and they invited me back the next week. I didn’t realize lip-syncing was the norm, so the following week, I joined in. Then they asked me to join the cast.
SH: Legendary!
SVT: It wasn’t paid; it was more of a badge of honor – “I’m on cast somewhere.” We earned tips. I was around 23 or 24 and stayed there for about two years. It was fun and where I got my start.
SH: What was your first Cinderella performance in drag like?
SVT: Yes, it was in drag.
SH: Was it your first time with drag makeup?
SVT: What drag makeup? There was some foundation, but color-matched? Probably not. I was pretty opaque for a while.
SH: Chapstick and mascara – been there! What happened to Sumchees?
SVT: It’s literally a parking lot now, across from Wix shoes.
Even after Sumchees closed, Salem continued to make waves, competing in pageants and performing from Akron to Knoxville. During this period, she realized she was a transgender woman and began hormone replacement therapy. She had always felt like a girl but lacked role models. Discovering the Le Boy Le Femme show at the Connection nightclub opened her eyes to a world far beyond her small-town upbringing in Radcliff, KY.
SH: Tell me about your first exposure to drag.
SVT: My friend, my ‘gay mentor’ Jimmy, introduced me to the Connection during my senior year of high school. I was so excited to go. This was during the height of Queer as Folk.
SH: So, around 2005, 2006?
SVT: Oh, no, no no. No.
SH: Wait, you’re 35? 36? No? I’ve been telling people you’re mid-to-late 30s.
SVT: That’s quite a jump from when you used to say I was 60!
SH: Well, that was back in 2000. Bush era. Senior year for you was my fourth or fifth grade.
Salem recounts entering the Connection nightclub, now a hotel in downtown Louisville, lamenting the loss of another iconic space. She remembers the mirrored lobby, the infamous ‘piss wall’ in the bathroom, a fountain drowning out the sounds of public urination. The sticky floors, a hallmark of any great gay bar, and surfaces barely fit for touching. The dance floor pulsed with LED lights, creating a Rubik’s cube effect. But the real attraction was the grand showroom, accessed through another mirrored hallway, revealing a legitimate theater – dark, warm, and anchored by an impressive stage. It was the largest stage she had ever seen for drag performances, flanked by bars and a balcony. The setting was familiar to Salem from her dance background, but the performances were revolutionary. She would later compete for National Entertainer of the Year on that very stage.
SVT: That first night, I saw Syimone perform. I remember, for some reason, she did Erykah Badu’s ‘Danger.’ I had never seen women like that, so elevated on that stage. At the time, I didn’t understand transgender women, so seeing these drag queens with breasts was impactful.
SH: Did you immediately think, “I want to do th-”
SVT: YES. I knew I wanted to be a gorgeous woman. I wanted to be like Syimone, like Dominique Chappelle. But I also wanted to keep my ballet roots. Dance was very serious to me.
SH: You’ve beautifully blended ballet and drag, each enhancing the other. That’s incredible.
As I fastened one of her gauntlets, she explained how she felt she lacked a future in dance, not due to talent, but because she disliked male-dominated lifts. She yearned to be a woman, and traditional dance roles felt limiting.
SH: How has drag shaped you personally?
SVT: It was life-changing. Drag was the catalyst for self-discovery. Deep down, I knew my truth. Drag gave me the courage to believe it was possible. I didn’t have to be confined to one type of performance. I was more than just a dancer or a singer.
SH: NO. Countless car rides to gigs in Tennessee and Ohio have proven – singing is not your forte!
While searching for a dropped needle, we laughed about years spent denying our trans identities, brushing off comments like “You know you’re a woman, right?” with adamant denials of “Noooo, I’m a boy!” We celebrated finally embracing our truths. She recalled Tatiana DeLaRouge, a prominent figure in the scene, being the one who finally broke through. Tatiana, a talent scout of sorts, recognized Salem immediately. “She clocked me the moment she met me, and she was right. It took me another 10 years to figure it out!” When Tatiana asked Salem, “When are you going to stop kidding yourself? You’re only happy when you’re in drag,” it was a turning point. From there, she sought HRT and began her journey of self-actualization.
SH: Do you feel your gender identity is still strongly linked to your drag persona?
SVT: Not anymore. Initially, after transitioning, I just wanted to be a woman – a beautiful woman. I was all about high glamour. Now, I embrace characters – male, female, or neither. I don’t need to be high femme all the time.
SH: I think I met you towards the end of that phase. Your perspective shifted considerably after we met. You became less pageant-focused and really enjoyed cosplay drag during our Sunday Funday cast days.
SVT: I didn’t want to just be a celebrity impersonator. I aspired to something bigger. I’ve always loved elaborate costumes – feathers, beads, rhinestones. I wanted to look like I belonged in the Ziegfeld Follies…
SH: How did your childhood influence your drag aesthetic?
SVT: As a child, I was a bit of an oddball – socially anxious and quiet. I wasn’t into Top 40 hits. I’d beg my mom for the Oklahoma! soundtrack. I loved classical music. I remember being obsessed with a two-sided cassette of Tchaikovsky classics from Walmart.
SH: Woooooooooooow. Cassette. What other vintage media will you use to date yourself?
SVT: I was completely obsessed with Disney’s Beauty and the Beast.
SH: That tracks.
SVT: How so?
SH: It’s understandable you’d be drawn to a film about a simple small-town girl who enters a magnificent castle and meets a prince, albeit cursed as a beast. Ultimately, she gets to wear a stunning dress, and the beast transforms into a handsome man. Rags to riches. A Cinderella story, minus the Stockholm syndrome, and very romantic.
SVT: Turns out, I was never Belle. I was the lady who needed six eggs.
SH: What inspires your drag aesthetic, your visual choices?
SVT: I’m really drawn to the Victorian era and shows like The Marvelous Mrs. Maisel. I love those classic, vintage styles.
SH: What are your aspirations for your drag career?
SVT: I’d love to have my own show someday. I want to pay my performers a fair rate and maybe even create my own drag version of The Nutcracker – a queer retelling.
SH: How have you leveraged drag to pursue other opportunities?
SVT: I’ve performed in the Hardin County Performing Arts Center’s annual Nutcracker, incorporating drag elements into my performance as myself. Now, I’m working with Va Va Vixens. Lola Delicious appreciated my ideas through Good Girl Corsets and recommended me to Lisa Frye, owner of Art Sanctuary. They offered me a booking, and I’ve been on cast since. It’s probably the best drag and non-drag experience I’ve had. I’ve always wanted to do Vaudeville, and now I am. It’s incredible to work alongside vocalists, aerialists, and burlesque artists.
SH: What advice would you give someone starting out in drag?
SVT: It’s a great path for self-discovery, but don’t let it become your entire identity. Don’t let it consume you.
SH: What mantra do you live by?
SVT: I like this one because it keeps me grounded: “The people you meet on your way up the ladder are the same people you’ll meet on your way down.”
Salem and I talked for an hour and a half about performances, drag, life, and how things have evolved since we first met. As my own 10-year drag anniversary approaches, I can’t help but feel sentimental about sharing this journey with Salem from the beginning. We’ve witnessed significant professional growth in each other, but our personal journeys have been even more transformative. Like many talented artists in Louisville, I believe Salem is deeply under-recognized and under-utilized. If you’ve never experienced a Salem Vytch-Tryells performance, I urge you to make it a priority. She is undeniably worth the ticket price and so much more.
