Review: KNOCKIN' BOOTS at The Triad Serves Up Queer Country Realness

For one hour on June 19, the Triad Theatre turned into a denim-filled dreamscape as Chorus Girl Productions brought their latest original show, Knockin’ Boots, to life. It was country music reimagined with an all-queer cast, complete with fringe, vocal runs, high kicks, and heartfelt twang. Led by producers Emmarose Campbell and Maggie Winslow, this one-night-only cabaret offered a fresh take on a genre that rarely gets this fabulously camp.

Backed by a live band with Music Director Ashley Grace Ryan at the piano, the cast performed a wide range of country hits, from traditional classics to modern chart-toppers. The transitions between old and new were seamless, making the show feel both nostalgic and current.

The full ensemble included Jenna Barricklo, Arissa Claire Brown, Olivia Busche, Emily Das, Van Eveslage, Olivia Greco, Ash Hood, Sara Lily, Emily Maddison, Lora Margerum, Mei McCall, Adam Boggs McDonald, Mei Melenovsky, Nino Ruggeri, Natalie Shaw, Ryan Stephenson, Max Suwarno, and Kat Sweeney..

One of the night’s cleverest numbers came from Natalie Shaw, who mashed up Dolly Parton’s iconic “Jolene” with Beyoncé’s reimagined version. The result was a dynamic new story told using two people's perspectives, that paid tribute to the song’s legacy while injecting it with a whole new power. Shaw moved between the two vocal styles effortlessly. It was smart, interesting, and completely original.

Another standout was Kat Sweeney with “Hold My Beer (While I Kiss Your Girl),” a tongue-in-cheek number that walked the line between flirtation and full-on chaos. At one point, she handed her (root) beer to an audience member (me) and immediately started flirting with my friend sitting next to me. It was personal, playful, and a perfect reminder that cabaret thrives on trying to get the audience involved in any way possible.. Sweeney’s presence was confident and electric, and the audience was right there with her.

Arissa Claire Brown brought rich emotion to “Girl Crush,” delivering the ballad with a soft country twang and heartfelt restraint. Max Suwarno followed with a stripped-down, piano-backed version of “Rainbow,” delivering a sincere, touching performance that quietly stole the moment proving that not all cowgirls are girls. Both artists help create levels throughout the show and create a balance between the very high energy numbers.

Throughout the show, tips were collected to benefit the Campaign for Southern Equality, adding purpose to the party. It was a reminder that even while serving rhinestone fantasy and tight harmonies, this was still a community-driven piece of cabaret.

With tight pacing, strong vocals, and genuine enthusiasm radiating from the cast, Knockin’ Boots felt like the kind of queer country night we don’t get nearly enough of. The inserting of queerness in a typically very hetero perceived genre is sending the message that queer people will not be hiding anywhere.

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Follow the producers of Knockin' Boots on Instagram here.

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