PARROTS AT THE PAGODA Brings a Colourful Drag Origins Musical Off-Broadway

Unlike many musicals that borrow from mythical lore or well-trodden novels, PARROTS AT THE PAGODA is rooted in the real life of Johnny Rodríguez, a pioneering Puerto Rican drag artist who left his mark on the worlds of entertainment, social activism, and nightlife. But who exactly was Johnny Rodríguez? Born well before the era when drag gained mainstream recognition, Johnny carved out a space for gender-bending performances in Puerto Rico—both as a director of a touring revue of female impersonators and as the owner of an iconic venue named El Cotorrito (The Little Parrot). As if that weren’t intriguing enough, he also happened to be the brother of legendary musician Tito “El Inolvidable” Rodríguez.

Written and directed by Jorge B. Merced, PARROTS AT THE PAGODA is described as a “drag origins story,” complete with vibrant costumes and timeless songs drawn from Johnny Rodríguez’s own catalogue. The production, courtesy of Pregones/Puerto Rican Traveling Theater, will take flight from 1 to 25 May. And if you’re imagining an explosion of colour, music, and unorthodox storytelling—you’re on the right track.

The Unfolding of a ‘Bio-Musical’

One reason theatre buffs are so eager to see PARROTS AT THE PAGODA is the way it redefines the notion of a musical biography. Traditional “bio-musicals” often serve up a linear cradle-to-grave narrative, featuring re-enactments of milestone moments. This show, however, opts for a more playful approach. Jorge B. Merced calls it a “joyously unorthodox” telling of Johnny Rodríguez’s life, anchored by a 15-song setlist carefully selected from more than 200 compositions.

What’s genuinely surprising is the production’s vantage point: it’s told by a chorus of “chattering parrots,” a choice that at first sounds whimsical but is deeply tied to the man’s legacy—after all, his beloved club was named The Little Parrot. Merced has spent years studying Rodríguez’s life, unearthing details of his stints as a boxer, singer, social activist, and champion of genderbending nightlife. The result is a piece that not only offers a glimpse into Puerto Rico’s drag culture but also shines a spotlight on the broader Caribbean music scene from the 1930s through the 1980s.

A Trailblazer

Now, there’s no shortage of musicals clamouring for attention in New York’s bustling theatre scene. So what makes PARROTS AT THE PAGODA a must-see? For one, the seldom-heard backstory of Johnny Rodríguez alone is a compelling draw. You won’t find him in your standard musicals 101 curriculum. His life intersected with cultural, political, and entertainment spheres at a time when acceptance of drag and LGBTQ+ performers was far from assured. Seeing his experience dramatised onstage, complete with the same defiant flamboyance he championed in real life, feels like both a celebration and a reclamation of hidden history.

Second, the production team is far from inexperienced. Jorge B. Merced is the Associate Artistic Director of Pregones/Puerto Rican Traveling Theater, a group renowned for championing Latinx artistry. Their shows often fuse elements of bilingual performance, rhythmic movement, and community-based storytelling. For PARROTS AT THE PAGODA, they’re pulling out all the stops: set design by Gerardo Díaz Sánchez, lighting by Emanuel Delgado, costumes by Harry Nadal, and sound by Eduardo Lalo Reséndiz. Choreography is in the capable hands of Veraalba Santa, while the music itself is arranged by Ricardo Ponsa and Desmar Guevara, with Guevara doubling as music director.

A Cast that’s Ready to Sing and Soar

No musical soars without a robust ensemble, and this one has a particularly intriguing line-up. Fernando Contreras (BRUISE & THORN) appears as Jongo, Bryan J. Cortés (NEW YORK, NEW YORK) as Jóngolo, Samy Figaredo (THE OTHER TWO) as Júngulu, Rubén Flores (¡AMERICANO!) as Johnny, Khalid Rivera (RUSSIAN DOLL) as Jínguili, Ansi A. Rodriguez (RED SKY) as Jungu, and Sebastian Treviño (ON YOUR FEET!) as Tito. Rounding out the company is onstage swing Jorge Donoso (AT THE WEDDING). Casting was overseen by Bass/Valle Casting, and given the show’s emphasis on live musical performance, you can count on the cast to deliver not only theatrical flair but also impressive vocal chops.

If you’re familiar with the high-energy vibe of Caribbean-themed productions—think sizzling salsa rhythms or the raucous carnival atmosphere—you’ll sense a similar undercurrent here. The difference is that it’s all filtered through the lens of drag culture, offering a unique musical tapestry. The songs themselves, penned by Johnny Rodríguez over five decades, range from bolero-esque ballads to playful, tongue-twisting numbers that capture his mischievous spirit.

The Lesser-Known Controversies

Beyond the brilliant costumes and toe-tapping tunes, PARROTS AT THE PAGODA may well surprise audiences with its historical revelations. Johnny Rodríguez’s brother, Tito “El Inolvidable” Rodríguez, stands tall in the annals of Latin music history, credited with hits that shaped the salsa and bolero genres. But fewer people know about Johnny’s achievements or the controversies that sometimes flared around his performances. According to local lore, his club, El Cotorrito, was a notorious hotspot that challenged social norms and ruffled feathers among the more conservative circles of the time.

Behind the sequins and headdresses, you find a man who championed underrepresented voices, forging safe spaces for performers who were otherwise marginalised. In a climate where living openly and authentically had real risks, Johnny stood firm. This mix of activism and artistry is part of what sets PARROTS AT THE PAGODA apart from more conventional musicals. It’s a show that resonates with current conversations about inclusivity, acceptance, and the power of self-expression.

Spotlight on Queer Latinx History

It’s easy to pigeonhole musicals that revolve around a drag performer as mere glittery extravaganzas. Yet, PARROTS AT THE PAGODA demonstrates how these stories can illuminate entire chapters of cultural history. Latinx drag culture, especially in Puerto Rico, has long been overshadowed by broader narratives or overshadowed by the mainstream success of artists like Tito Rodríguez. By turning the spotlight on Johnny, the production underscores an essential aspect of performance history that rarely sees the big stage.

For context, a 2017 study by GLAAD revealed that less than 6% of LGBTQ+ characters on television identified as Latinx, highlighting a broader visibility gap in entertainment. Theatre often boasts more diverse representation than mainstream film or television, but there’s still a tendency to concentrate on North American or European perspectives. PARROTS AT THE PAGODA helps address that gap, fostering greater awareness of the Latinx drag pioneers whose stories deserve a place in the limelight.

Hidden Depths

You might be thinking you already have a sense of what PARROTS AT THE PAGODA entails—fabulous costumes, lively tunes, an underdog narrative. But there’s a twist: the show is set “sometime after the end of this world,” according to Jorge B. Merced. That post-apocalyptic framing suggests we’re not merely dealing with a dusty historical reenactment; instead, the production inhabits a fantastical realm where flamboyant parrots pass down the legend of Johnny Rodríguez.

This choice to blend futuristic or dystopian elements with mid-20th-century real-world drag history is a bold creative leap. It underscores how legends can transcend time and place, reminding us that ground-breaking artistry and tenacious self-expression don’t simply vanish with the eras they inhabit. In other words, PARROTS AT THE PAGODA becomes both a tribute to the past and a reflection on how that past might live on—even after a cataclysmic end to society as we know it.

A Parrot’s Song for Tomorrow

PARROTS AT THE PAGODA isn’t just another musical floating in the crowded Off-Broadway sea. It’s a spirited tribute to a pioneer whose story touches upon drag, family legacy, social activism, and the kaleidoscopic world of Latin music. In an age where many musicals stick to tried-and-tested formulas, here’s one that cackles mischievously at convention—much like its parrot protagonists.

If you crave the thrill of discovering hidden gems and under-represented narratives, this production offers a rare chance to glimpse a side of 20th-century Puerto Rican culture that mainstream histories have largely overlooked. And if you simply adore a good show with memorable tunes, dynamic choreography, and outlandish costumes, well, you’re in for a treat. The flamboyant plumage of these performers might just remind you of why theatre can be so delightfully subversive.

As May winds its way to winter Down Under—while spring envelops New York—this audacious new musical will be lighting up the Off-Broadway stage with irreverence, heart, and a riot of colour. And when its final curtain falls on 25 May, I suspect the echoes of Johnny Rodríguez’s songs and spirit will linger in the air, reminding us that a truly trailblazing voice, much like a parrot’s call, can never be silenced entirely.