Review: Jinkx Monsoon and Major Scales Find CHRISTMAS MOURNING Glory at the Laurie Beechman Theatre

"Not every drag queen can belt that high."

Throwing out that quip early on in CHRISTMAS MOURNING at the Laurie Beechman Theatre during the December 15 show, Jinkx Monsoon was not and is not wrong. It's part of what makes the RUPAUL'S DRAG RACE star, otherwise known as Jerick Hoffer, a rare bird: a genuine talent, a winner, and yet someone who seems to be underestimated and underrated at every turn, even nearly four years after their winning run on the show's fifth season.

Though the room was well-filled, some seats were left empty, leading the drag queen to remark, "I need to feel your energy so we can pretend I have a sold-out crowd!"

Right off the top, Jinkx admitted to not being "a big fan" of Christmas, making it clear it's less about not being a gentile and more about the trappings of the season in general. Thus began the central push-and-pull between the queen and longtime collaborator Major Scales---the alter ego of Richard Andriessen---accompanying on piano.

Upon explaining that recent political events have left many wanting to flee not just the country but the planet, the performer seamlessly segued into a rendition of David Bowie's "Life on Mars?" That's when the aforementioned belting arrived, with Jinkx confidently telling the audience, "Yes, that's when you should applaud."

If it ever seemed like the duo was going for an easy bit, it was a set-up for something much weirder. A familiar line about the Christmas season seemingly starting earlier and earlier took a sharp left, with Jinkx joking about dressing up as a reindeer for Halloween to get a jump on things. "Two stones, one bird," Jinkx said, trailing off and gazing out with a hysterical thousand-yard stare.

A brief Cher impersonation, complete with warbling, yodeling, and barking, had a great deal of set-up compared to what little payoff it offered, until Jinkx followed it up by slaying with another impression, this time of LAna del Rey.

Teasing that the singer is as "a ball of energy" known for her "zany antics," the queen said seeing del Rey's performance was life-affirming, not being "the only narcoleptic on television," leaving the crowd in hysterics. Jinkx then gave a well-received take on "Video Games" (del Rey, Justin Parker), filled with mumbling and grunting instead of lyrics.

Perhaps the biggest laugh of the night came from Jinkx's wardrobe misfortune. After a malfunctioning zipper rendered a more holiday-appropriate ensemble unwearable, the star had no choice but to improvise. The end result is best left up to Jinkx to describe: "Lucky for me, I had this giant purple muumuu!"

As Jinkx continued on a downward spiral of hilarious holiday un-cheer, Major Scales, at first seemingly resigned to the role of the straight man, anxiously tried to keep things lively, or, as Jinkx put it, "to mansplain Christmas."

Fans looking for a night of lovely Christmas songs need not apply, especially considering Jinkx's controversial insistence that the only good Christmas song is "Santa Baby." In fact, the closest thing to a holiday "classic" was an energetic rendition of Sarah Silverman's decade-old "Give the Jew Girl Toys."

Standing up from the piano, Major took center stage as Jinkx exited the stage for a costume change, revealing the cracks in the façade of his own Christmas spirit before breaking out into "Passive Aggressive Christmas," a song he wrote himself. Having already proven himself to be a worthy sparring partner for Jinkx, with the Wham-esque holiday number, he left no doubt that he was a captivating performer in his own right.

Jinkx's return to the stage was paired with a perfectly passive aggressive riff on being "a world-famous drag queen in a basement with drunk strangers." While it's certainly one ingredient in the potion, the queen's greatest asset isn't self-deprecation but vulnerability, which is what made for such a compelling reality TV presence.

And that was on full display here as well, as Jinkx opened up about feeling like "a 45-year-old named Janet" as a 10-year-old boy, or calmed an overly enthusiastic young fan sitting right upfront by simply making them feel seen.

Jinkx, who described themself as genderless during the show, hit on something real with "Just Me (The Gender Binary Blues)" (Major Scales), stunning with the simple lyric, "No, I'm not either or/ What a bore/ I'm just me."

Near the end of the show, the pair gave 'em a new "Razzle Dazzle," putting a holiday spin on the lyrics to the CHICAGO hit, a spot-on pick for the comically pessimistic Christmas show.

Yet the night wasn't all about sheer nihilism, despite Jinkx following up that number with a rousing, "I believe it was Camus who said, 'Life is insignificant...'" But at that moment, the pair dropped the tug-of-war over holiday spirit, allowing Jinkx to speak about the importance of protecting and supporting one another in the New Year.

(Un)-wrapping things up, the pair selected another atypical holiday track by "none other than the late, great Miley Cyrus" (who, it must be stated after a relentless year of celebrity deaths, is still very much among the living). Their unconventional take on "We Can't Stop" was captivating, in a cadence all their own and with significant portions sung in unison.

Much like the rest of the show, with the stellar arrangement and the synthesis of their voices, Jinkx and Major brought CHRISTMAS MOURNING to a close by inspiring great laughter and a true feeling of unity. And, if that's not enough, they can always take pride in hosting the only Christmas show to connect two of the world's all-time greatest philosophers, Camus and Miley.