“The Slow Drag: A Jazz Play” at Ophelia's Jump Productions

From Left: Edgar Salas, Caitlin Lopez, Grace Buzzini (Photo by Brian Boudreaux)

Everyone Has a Secret Hidden Behind a Public Presenting Face

By Shannon Cudd

Throughout history, the unwritten rules that govern rigid societal norms have long forced people to hide parts of their true selves behind a mask or persona in order to follow their dreams. Ophelia’s Jump Productions’ upcoming offering of Carson Kreitzer’s “The Slow Drag: A Jazz Play” explores three individuals who must conceal aspects of their identities to pursue their passion for jazz music. Johnny, June, and Chester all have secrets-- and big ambitions to share their musical talents.

This rarely produced musical is full of classic 1920s, 1930s, and 1940s jazz standards. Director Sheila A. Malone first discovered it in the mid 2000s and wanted to work on it then, but life took another direction. She filed it away. When Producing Artistic Director Beatrice Casagran and Malone discussed the possibility of doing a cabaret style show, this musical immediately came to mind.

“It just hit me like, oh, I have this play that I was drawn to. I should pull it out,” Malone explained. “And I'm telling you, I went to the correct drawer, which is totally unusual for me to be able to find something.”

The musical aligns perfectly with Ophelia's Jump’s broader mission. Casagran founded the company in 2013 along with their oldest daughter and husband to tell stories exploring “intersectional representation.” The character of Johnny Christmas is loosely based on real-life jazz musician Billy Lee Tipton-- a transgender man assigned female at birth, who kept his gender identity private. It did not become public knowledge until his death in 1989. He maintained this privacy even with his five wives and three adopted children.

Johnny’s wife, June, is a cisgender woman who doesn’t fit neatly into traditional gender roles. She prefers life on the road to motherhood. The couple’s musician friend Chester passes as white but is actually African American.

From Left: Grace Buzzini, Caitlin Lopez (Photo by Brian Boudreaux)

According to Malone, the musical’s structure has movements similar to an opus, shifting from domestic scenes to jazz club performances. The audience is transported to “that dream space where you can contemplate and understand the choices that you have made in your life.”

Casting this production was a major undertaking. It was important to both Malone and Casagran to ensure authentic representation and provide opportunities to underrepresented artists. The casting call for Johnny specified a performer who was assigned female at birth and is either a transgender man or transmasculine. In addition to identity considerations, all three actors had to be accomplished jazz musicians.

“The musicality and the musicianship are as important as the acting, which is why I think it was so difficult,” Malone explained. The hard work was worth it as Malone expressed she has assembled an exceptionally talented group of artists to tell this story.

These quadruple threats are just one of many reasons audiences should come see this production.

Malone promises “an evening of amazing entertainment fueled by really rebellious storytelling with a touch of nostalgia and historical magical realism. The music is fantastic.” Additionally, the audience will not be seated in the traditional manner.“

We're transforming the whole theatre basically into a jazz club. People are will be sitting around tables. It's going to be a really immersive, engaging night of wonderful jazz music, and storytelling,” Malone continued. “I want to create a whole experience for people who come to the show-- from the second they step through the door.”

From Left: Caitlin Lopez and Edgar Salas (Photo by Brian Boudreaux)

Casagran believes this story is both necessary and timely, particularly given the current political climate. “We are the last defense. Our institutions are failing. Our leaders are failing to lead. Theatre and art is what has historically still spoken truth to power,” they said. “So I love this not only because it's well done but also because it's gonna tell a human story. It's telling a story that right now is transgressive just because it exists-- which shouldn't be the case.”

Ophelia’s Jump has specifically chosen to present this production during Pride Month and is partnering with local organizations for cross-programming to benefit the LGBTQ+ community. Casagran and Malone hope the story encourages audiences to connect with the characters on a human level and challenges any preconceived biases or fears they may hold. The tension between ambition and societal expectations is a universal experience after all.

Shannon Cudd is a writer, actor, and theatre lover in Orange County, California. 

“The Slow Drag: A Jazz Play” Ophelia's Jump Productions

2009 Porterfield Way, Unit I, Upland, CA May 30 - June 29, 2025

(909) 734-6565, www.OpheliasJump.org