The very last in-person social event I attended before the COVID lockdowns hit New Orleans this March was a Joni Mitchell tribute show at the AllWays Lounge. Watching drag queens, burlesque performers, and other assorted weirdos pay homage to as unlikely of an icon as Joni Mitchell was a bizarre treat, especially by the time Krewe Divine member CeCe V. DeMenthe was doing Mitchell as Divine in a Female Trouble-inspired get-up late in the show. I very much miss going to local, avant-garde drag shows like that Joni Mitchell tribute, most of which are anchored to the AllWays Lounge and the surrounding bars on St. Claude Ave. It’s a gaping, ever-widening hole in my social calendar that only became more glaring while watching To Decadence With Love, Thanks for Everything at this year’s (mostly) virtual New Orleans Film Festival.
To Decadence With Love is a local documentary that follows two exceptionally hard-working performers on the contemporary New Orleans drag scene: Franky and Laveau Contraire. Chronicling the two queens’ whirlwind of nonstop gigs over Southern Decadence weekend in 2019 (think Pride Weekend, only much sweatier), the film manages to capture a wide-ranging portrait of contemporary New Orleans drag over a shockingly short period of time. It’s amazing that Franky or Laveau had enough time to freshen their make-up or nap between gigs, much less talk to a documentary crew, but their guided tour of the city on a big moneymaker weekend is continually engaged & energetic. I don’t know that it fully captures what I love about watching these two performers in particular (Franky’s attention-commanding crowdwork and Laveau’s tightrope walk between the traditional & the avant-garde, respectfully), but it certainly sketches out a bigger-picture portrait of the scene where their art is near omnipresent.
I’m most grateful for this documentary’s efforts to capture how drastically different the New Orleans drag scene is now vs. the traditional Southern Pageant Drag I remember growing up with here. While Franky and Laveau Contraire are the overworked tour guides at the center, they make sure to pull the audience by the hand through the performance-art oddities of fellow weirdos & New Orleans Drag Workshop alumni like Maryboy, Apostrophe, Tarah Cards, and Gayle King Kong – some of my very favorite local performers, all of whom I miss tossing sweaty dollar bills at in various cabarets around town. Laveau Contraire in particular is a perfect choice of narrator in deciphering what makes the modern scene here so distinct & worthy of archival documentation, as she is intimately familiar with the traditional Pageant scene that contrasts it (which is still around, and still entertaining on its own merits). The movie also just wouldn’t be complete without her no matter what, since she tirelessly works practically every show on the local calendar.
I don’t know that To Decadence With Love will have much of a life outside of The New Orleans Film Festival, despite winning the fest’s Jury prize for Best Louisiana Feature. I imagine that, at the very least, its music clearance logistics would be an absolute nightmare in terms of distribution, considering how much drag relies on pre-existing pop media. There also isn’t much to its formal approach that distinguishes it as a documentary, outside maybe the way it interviews rideshare drivers on the trips between shows with equal weight as if they were also drag queens (emphasizing their shared reliance on spontaneous gigs & tips). Still, it’s a smart, entertaining document of a hyper-specific pocket of contemporary New Orleans culture that deserves this kind of attention before it’s lost to time. I also personally found it bittersweet to see that scene so vibrantly alive just one year ago, considering how drably uneventful my 2020 social life has been without it.