The chorus leaned into the song’s defiant spirit, infusing it with playful theatricality and a touch of camp that had the audience laughing and clapping along. The performance walked a brilliant line between musical precision and cabaret flair, with soloists adding character and charm to the iconic back-and-forth lyrics.

With charisma, pathos, and unapologetic flair, Smith-Rollins took center stage to deliver a show-stopping rendition of “Fancy” by Reba McEntire—an iconic country anthem of survival, transformation, and fierce self-determination.

Rather than mimic Charles, Yarosh channeled the song through his own lens—warm, expressive, and sincere—imbuing every phrase with personal emotion and a sense of deep connection to the music.

Fortin, known for his signature swagger and vocal grit, brought a raw, authentic energy to the lead vocals. His delivery balanced rock-star attitude with theatrical precision, channeling the angst and longing of the song’s lovelorn narrator while also winking at its over-the-top dramatics.

With expressive glances, escalating confusion, and impeccable comic timing, Tricarico and Hession turned the stage into a musical sitcom episode set to Bernstein’s sweeping melody. They mimicked the classic theatrical poses of West Side Story, even playfully over-dramatizing the swelling orchestration as their characters spiraled from romantic euphoria into betrayed bewilderment.

The sextet leaned fully into the ridiculous premise, delivering a performance brimming with exaggerated accents, comedic timing, and expressive character work. Each performer brought a distinct personality to the piece, turning the song into a mini musical skit full of shifting roles and physical comedy.

Gabe Irizarry delivered the song with a remarkable balance of restraint and intensity. He began quietly, almost hesitantly, his voice tinged with the kind of fragile humor that comes from masking pain. As the song built, so did Irizarry’s emotional arc—each lyric unfolding like a confession, each line more emotionally exposed than the last.

The original number, a tango-infused duet between Mark and Joanne as they commiserate over their shared frustration with the charismatic and chaotic Maureen, was transformed with wit and flair. In this version, Maureen became Martin—a charming, maddening, emotionally unavailable man who had apparently swept both Omar’s and Jason’s characters off their feet… and straight into the same mess.

The crowd reached peak frenzy during the infamous "and every last inch of him’s covered with hair" section—when, to uproarious cheers and shrieking applause, Omila pulls up his shirt to reveal a gloriously hairy chest, striking a muscle-flexing pose that blended Broadway camp with unapologetic body pride. It was part burlesque, part drag-king fantasy, and 100% crowd-pleasing.

Michael Matheson’s performance, supported so beautifully by the Gay Men’s Chorus of Tampa Bay, served as a poignant reminder that names are not only what we are given, but what we hope to leave behind. It was a lullaby, a love letter, and a legacy wrapped into one simple, stunning moment of music.

The second half of the concert began not with a traditional choral piece, but with a sultry, show-stopping drag performance that set the tone for an unforgettable act two. Stepping into the spotlight with unapologetic glamour and commanding charisma, the evening’s emcee, Esme Russell, delivered a smoldering rendition of “Fever” that lit up the room—both literally and figuratively.

Opening with Smith’s smooth and inviting vocals, the song began with the familiar melody—but this version had a fresh sense of momentum and brightness that hinted at the energy still to come. Yarosh joined soon after, bringing a warm, emotional timbre that complemented Smith’s tone perfectly. Together, they traded verses and harmonized with ease, offering a grounded, emotionally rich take on the lyrics that felt both nostalgic and newly resonant.

It was a performance that honored Dolly Parton’s legacy while expanding the song’s emotional reach to include new narratives and new voices. Lu Velasquez didn’t just sing “Jolene”—he redefined it, making space for a story that many in the room recognized as their own.

Compton’s rendition of “Stacy’s Dad” stood out not only for its playful energy but also for its deeper resonance within the LGBTQ+ community. His charismatic stage presence and vocal prowess brought these themes to life, creating a memorable moment that highlighted the evening’s celebration of individuality and expression.

For fans and first-time attendees alike, Hayden Greer’s turn as the “Mona Lisa” figure—beautiful, complicated, unknowable—was not only a standout moment of the night, but also a reminder of the power of music to name, claim, and transform our truths.

As Johnny sang, he commanded the stage with charisma and poise, his voice booming with strength but laced with nuance. What could have been a straightforward homage to opera tradition instead became a defiant and joyful reimagining—one that delighted both longtime opera fans and newcomers alike.

Cummings’ rich, lyrical tenor blended seamlessly with Omila’s warm baritone, creating a vocal chemistry that was both tender and powerful. Their harmonies were flawless, yet it was the emotion behind the notes that truly captivated the audience. The tension and vulnerability in their performance suggested not only shared grief, but also unspoken histories—an emotional undercurrent that resonated deeply within the context of a queer chorus performance.

Swapping “Sue” for “Stu” and flipping the original song’s perspective, Rolon reinvented the doo-wop classic through a queer lens—bringing it into the 21st century with flair, vocal skill, and a wink of camp. The result was both a loving tribute to the golden era of rock ’n’ roll and a subversive retelling that celebrated queer relationships with humor and honesty.

For the Gay Men’s Chorus of Tampa Bay, the performance was another example of how they continue to push artistic boundaries while staying rooted in storytelling and community. In the hands of Williams, Nicholas, Florio, Irizarry, and Cummings, “Suddenly Seymour” wasn’t just a love song—it was a declaration of resilience, acceptance, and queer joy.

As the final beat hit and the chorus struck their last pose, the theater erupted in cheers. If the rest of the concert reminded the audience of the power behind a name, “Proud Mary” reminded them of the power behind a voice—and a community rolling forward together, proud and unstoppable.