Theater Queen: The Legendary Charles Busch Goes Off-Script
Receiving a Judy Icon Award, the Tony-nominated institution also speaks about the loss of his dear friend and collaborator Andy Halliday
May 27, 2026
Charles Busch is a bunch of words that people use too often. In his case, they all apply: icon, living legend, genius. Drag queen. (Because a lot of people who claim to be those are mere drag subjects.)
Ever since his play Vampire Lesbians of Sodom premiered in 1984, Busch has been reinventing drag onstage and in front of the camera, and creating works that revere Old Hollywood, wit and melodrama, even as too many other plays, TV shows and films lean into comic books, franchises and whatever is safe.
I’ve been privileged to bump into Charles — to beat about the Busch — at many events, becoming friendly with him as we’ve watched Dionne Warwick sing or Renée Taylor swan in her one-woman show. I also once noticed a drawing he made and sent to Greta Garbo being auctioned by her nephew, which tickled Charles as it was proof the Swedish Sphinx had kept his handiwork. (If you want to hear about the time Busch and Garbo interacted, you’ll have to read Leading Lady: A Memoir of a Most Unusual Boy or ask him yourself on Instagram.)
Our chat arrives as Busch is about to accept the Judy Icon Award at the 14th Annual Night of a Thousand Judys, held June 1 at Joe’s Pub in NYC. The Tony-nominated playwright of The Tale of the Allergist’s Wife is being recognized for his contributions to queer culture as well as for his overall legendary status.
Read on for a lightly edited version of our talk, and/or listen to my podcast episode with Charles above. The podcast allows you to hear his answers in that one-of-a-kind voice …
