VIZA: the Queen of Mean

15 May 2025. by Drew Rowsome - Photos by David Hawe

Years ago when I worked at fab magazine, there was a writer who always managed to put a hilarious spin on their assignments. When they arrived one day to drop off copy before racing off to their first drag performance, they managed to turn the office chaotically upside down with their nerves, excitement, demands for attention, and a constant stream of one-liners. Little did we know that we were witnessing the not-so-virginal birth of the Queen of Mean. Now VIZA, after a few other evolutionary personas, is an established drag queen and comedian, having just released their first recording VIZA: A (Semi) Legend in the Making. Colour us intrigued.

When VIZA's publicist got in touch, I fired off a few questions expecting a bunch of one-liners and publicity blather. I had underestimated the Queen of Mean. What I received back was a mini-essay on the state of drag, the state of comedy and the state of gay, filtered through the unfiltered, quick-witted words of VIZA. As such, it is here presented, lightly edited, in almost its entirety, for your perusal and elucidation. With a bonus one-liner sample at the very end. 

VIZA: Of course I remember you! fab was such an integral part of my early years in drag (and coming out) so what a lovely full circle moment to reunite this way.

The snippets of your album that I’ve heard are hilarious, I laughed out loud at the definition of strap-ons and ozyempic babies. Is VIZA: A (Semi) Legend in the Making a greatest hits compilation or a snapshot of a typical set or . . .?

VIZA: It’s my introduction to the comedy world. I recorded this to have something tangible that I can show and remind people I’m here, too. I’ve encountered gatekeepers in the drag world, and unfortunately they also exist in the comedy scene as well. I’ve been able to decipher very quickly who has and hasn’t been the most welcoming with respect to a drag queen taking up space in venues and lineups. There are many people who have been supportive, but there are others who don’t take me seriously or have reduced me to simply a “novelty act.” I’m fine with paying my dues again, but don’t act like what I do and say is meaningless. There’s very much a boy's club mentality at times and it’s wild to see it in 2025. The goal of this album was to show off my comedy writing and what I can do with a mic. To capture and document my voice and POV at this stage of my life. It’s definitely not a greatest hits collection as I’m just getting started.

Comedy and a quick wit (and put downs) are necessary tools for successful drag queens. Why are you the first Canadian drag queen to release a comedy album?

VIZA: As much as I would love to have that accolade, I’m not the first Canadian queen to release a stand-up album. A good judy named Karla Marx from Alberta owns that accomplishment. I am, however, the first Toronto queen to record a stand-up album in this city. I’m not sure why I’m the first since Toronto has a rich history of Canadian drag artists who included comedy regularly in their acts. From Craig Russell to the B-Girlz, Toronto has produced some great comedic drag voices.

Why choose the comedy instead of glamour and/or lip-synching route?

VIZA: I’m not glamorous?! How dare you! Comedy has always been the heart and soul of my drag persona, so it just seemed like a natural route to follow. My biggest influences have always been women in comedy. Other queens can have their Chers and Gagas, but I’ll gladly stick with my Joans and Kathys. I know a lot of people think I hate lip-syncing now. I don’t, I’ve just evolved past it. Lip-synching served a purpose in my career, but it also felt limiting. I could lip sync to my comedy mixes and routines, sure. But my true goal has always been stand-up comedy. A lot of Village shows aren’t set up for a queen to do a 10-15 min comedy set though. Toronto Village bar audiences are almost trained in a way to expect four song sets with a “Y’all want more show?!” thrown in now and then. I would LOVE to just act as an MC and bring out queens, telling jokes in between their sets, but the show system isn’t designed for that. I didn’t feel I could accomplish what I truly wanted with my drag in most of those settings, which is why I started venturing out beyond Church Street. When I walked on stage for the first time at Comedy Bar Bloor in 2019, I felt I had truly discovered what I was meant to do. There I was performing a 10 min set of just jokes. I didn’t have to talk over 20 different conversations happening throughout the bar. There wasn’t a Whitney Houston song on standby for me to cut to. It was just me, a mic, and my unfiltered thoughts. Most importantly: a captivated audience whose undivided attention I had without a Grindr notifications to distract them.

What comedians/comediennes did you model your style on (is that where the moniker “Queen of Mean” comes from?) When did you feel you had found your own distinctive groove?

VIZA: VIZA is a collection of several comedic influences. I like to think she’s a bit of Karen Walker, a few dashes of Miss Piggy, and a hefty dose of Kathy Griffin. Nevertheless, my ultimate comedic influence, the one VIZA is most modelled after, is the late, great Joan Rivers. I remember being a closeted kid and watching Joan on the red carpet as she tore into those pretentious celebrities. She’d say whatever came to her mind in the moment, which is something I’ve adopted and that can sometimes get me into trouble. When I discovered her stand-up sets as I got older, it quite literally changed my life. It helped shape the comedic writing style that I still follow to this day. I’ve allowed myself to be called the Queen Of Mean because I’m not afraid to say what others won’t, whether it’s nice or “hateful.” There’s a difference between being an outright hater and just being an honest critic, willing to say what others might be thinking but won’t dare vocalize. Knowing the difference is how I’ve settled into my groove and style.

How do gay audiences differ from straight audiences? Do you feel compelled to do outreach to straight audiences?

VIZA: I love gay audiences. They just get it. They’re willing to be silly, absurd, and go to the extremes with me. There are many straight crowds that have been great as well, but I can definitely tell a few minutes into my set when a crowd (no matter the age) may be leaning more “conservative.” They may have preconceived ideas of drag queens and queer people, which is an uphill battle to try and change in the limited time on stage I have. I’ve had people (mostly men) get up and leave seconds into me walking out on stage, not even giving me a chance to get out one or two jokes. It was deliberate and almost like they were trying to make a point of disrespecting me. Those experiences have caused some pre-show anxiety at times, with the unknown looming over me, but as of late it’s something I’ve been working on putting out of mind and not allowing to affect me or my performance. Some days are easier than others. 

I usually have one or two ice breakers so straight audience members can settle into my act and style. Unfortunately, you can’t win over everyone. What I, as a queer, agnostic, pop culture enthusiast, find funny and entertaining might not be what Karen and Chad from Newmarket find amusing at all. And that’s ok. To each their own. I used to let that get to me, but now I just like to think “well you’re the ones missing out on a good laugh, not me.”

Some of your material is not specifically queer or drag-oriented. Is that conscious or is funny just funny? What inspires you to come up with a bit?

VIZA: I think funny is funny. There is some funny that has mass appeal, and some funny that is meant for a specific demographic of people. The other night I did two shows back to back. Same room, two different audiences. I ran the same set in both. First show was an older, more straight, likely more conservative leaning crowd based on the immediate reception I felt. The 9pm had a younger crowd who were WAY more into what I was delivering. The shows were like night and day from my perspective. Some of my material isn’t for everyone and I’m ok with that. If I were to just do forty mins of jokes simply about being queer or a drag queen, it would not only be boring for the audience, but also stale for me as a performer. I’d rather not feed into stereotypes and pigeon hole myself. I have thoughts and feelings about a number of topics, subjects, and public figures. Why limit my humour?

What is the difference between working at a drag show and working at a comedy club?

VIZA: The pay for starters. At least with a drag show I can expect a set fee and there’s always the chance of tips. With comedy shows, your fee depends on ticket sales and how much of a crowd the producer was able to draw. Some producers are very fair with their rates, but others are extremely cheap. In general, I don’t think comedians get paid enough for what they do. PERIOD.

Referring back to your first time as a drag queen, how has performing and transforming changed since that time?

VIZA: That’s a loaded question! During my 17 year career, so many different aspects of drag and this industry have changed. And not all for the best. At 37 I’ve definitely been made to feel like a relic, which is why I’ve played up on the tagline “critically ignored.” When I started drag, you had to pay your dues. You had to eat shit (figuratively) and oftentimes you looked like it too. We didn’t have YouTube tutorials and makeup influencers to give us tips and tricks. We had to figure out our “face” with trial and error. Where the eyebrows should go, how thick of a lip liner should you apply, how much blush was too much blush (the limit does not exist). You hit the jackpot if a veteran queen scouted you to join her family and take you under her wing. We often didn’t have designers we could readily call or text for a garment. If you knew someone with a sewing machine and basic stitching skills, they were your best friend. You relied on glue guns, shopping retail, and sometimes even thrift stores. You’d pray to find something with enough sparkle that would be eye-catching on stage, or that could be stoned or combined with something already in your closet to make for a unique ensemble.

We didn’t have Instagram or TikTok to gain a following. You’d hit the pavement in full drag, acting as a social butterfly fluttering from bar to bar trying to get your stage name on people’s lips. You’d show up to any talent competition you could for the stage time. You entered pageants at the various bars, praying the manager or booker noticed enough of a spark in you to consider you for next month’s show schedule. Drag has always evolved through the decades, but RuPaul’s Drag Race excelled the progression to new heights making drag so mainstream. Queens of my generation, who started their drag careers before that show was on the air, did so because they saw an artform and were inspired to entertain. They wanted to unleash their artistry and use whatever platform they had for important causes. In the last five-eight years, every new queen I come across seems to have the goal of solely getting on reality TV while comparing their booking schedules with one another. Entertaining audiences is no longer at the forefront, which drives me insane! So many queens don’t bother to even learn their lyrics anymore, let alone learn how to use a mic or basic choreo. There’s a lot of cosplay/walking around on stage now. Queens will also do an open stage one week and expect to be a regular booked act the next, painfully unaware they don’t even have an act yet.

At what point will you feel able to remove the “semi” and just be referred to as a legend?

VIZA: For most people, a legend is defined by accomplishments and accolades. Though true, I also feel legends are those who stand the test of time. Those who continue to evolve, improve, elevate, but most importantly push through the setbacks and never give up on their passion. That’s why Joan will always be an inspiration. She was blacklisted and treated so poorly by an industry that she loved, but she never let it deter her from what she felt she was born to do. She found her own route to success. The front door wasn’t always open to her, so she made a side entrance and kicked that door in. I’ve faced setbacks and disappointments. I’ve been overlooked for gigs and opportunities I feel I should have received, but didn’t. Rather than allow that to make me completely bitter, jaded, and wanting to throw in the towel, I use that as motivation. I keep reminding myself “that one didn’t happen because something else is meant for you."  I’m still laying the bricks for my own path at the moment. It’s tedious, but it's an exciting journey. When will the last brick be put down? I’m not entirely sure. I still feel I have some time to go. But when I feel it’s done, that’s when I’ll consider dropping the semi.

Do you have more fans or more stalkers? How do you tell the difference?

VIZA: I’ll take either, at this point. Whatever helps my social media followers count and reach.

Drag Race has both mainstreamed the art of drag and monopolized it. Would you participate if RuPaul came knocking? Have you auditioned?

VIZA: At this point, no. And I know my door will remain untouched, which is why I can confidently say that. I am ACTRA, and the Canadian version of the show went completely non-union starting in season 3 after allegedly failing to meet ACTRA requirements. I’ve auditioned for the Canadian version several times, and even contemplated giving up my card should they show interest in casting me. However, someone involved with the production clearly isn’t a fan. I’ve never once even received their initial phone call a lot of queens get as a “get to know you” in early stages of casting. I’ve heard about MANY queens who have received these calls, and also see some who have been cast, and most aren’t even qualified to hold my tuck belt. I often have to remind myself: it IS Canadian reality TV after all, which classically casts the bad to pass it off as entertainment. I mean, the Canadian series is hosted by someone who bombed their season’s snatch game and lacks comedic timing. Your hosts can’t even deliver scripted lines to their fellow judges without it coming off as forced and cringe. Canadian Drag Race also made history last season with probably THE WORST snatch game in all of Drag Race history, across all franchises. Clearly this show isn’t seeking actual comedy queens. Their story producers and editors also want participants they can manipulate in confessionals or get to say key things they can edit around later. I’m not someone you can do that with.

How supportive has the drag community been? The queer community? The comedy community?

VIZA: I can count on one hand the drag entertainers who attended my album recording, and I’m fine with that. When I stepped away from the Village to pursue stand-up comedy over lip syncing, I knew some relationships I had in that scene would likely strain. But there are select people I still keep in touch with and get together with when our schedules allow. My fellow Canadian comedy queens from across the country have been extremely supportive, not only with my album but with coming to shows of mine when they’re in town visiting. I would LOVE the queer community to start venturing out of the Village to find comedy shows more regularly. The amount of people I’ve met or run into at Woody’s who say “I have to come see one of your stand-up shows” but then never actually attend is astounding. It’s simply lip service at this point. Even when there are comedy shows in the Village, it can be hard for producers to get a decent crowd out to attend. There’s more than just lip synching and go-go boys for entertainment, ya know? In terms of the comedy community, it’s like I said before: I’ve learned to decipher which comedians and venues are welcoming to someone like myself. I know there are people who actively don’t want to include me in things or keep me from opportunities, and that’s fine. I’ll find my own way like I always have. One thing is for sure though: karma is a bitch and she learned everything she knows from me.

Is there any subject that you can’t turn into a one-liner? Is there somewhere that the Queen of Mean will not go?

VIZA: Absolutely not. I will talk about ANYTHING and try my best to find the general funny in it, whether it delights, shocks, or offends.

A desperate last-go-to question you may remember from your time toiling putting together the Together column: How does your grandmother feel about your career?

VIZA: I actually ran into my estranged grandmother on the street last week. WHAT A DENT!

VIZA: A (Semi) Legend in the Making is available now.