Damian is the campy student who co-narrates the cautionary tale of Mean Girls and drops a few thousand celebrity references in the process. The winning Grey Henson is Tony and Drama Desk nominated for the part, and on a Theater Talk that’s airing this week—with me and co-hosts Susan Haskins-Doloff and Julie Halston—I got to tell him I feel his character will end up with a very hot boyfriend.

“Oh, God, fingers crossed,” replied Grey. “Damian is much more confident than Grey is, so I get to use that, which is a lot of fun.” “But you’re a Tony nominee!” shrieked Haskins-Doloff and Halston.

While I had him captive, I also mentioned that in the Mean Girls movie, Damian’s cohort Janis is called a lesbian, but she seems to end up with a guy, whereas in the musical, it’s kind of ambiguous. “Yeah, I think that’s something Barrett (Barrett Wilbert Weed, who plays Janis) really wanted to take on,” he responded, “and I think we were both excited about the idea of having two queer narrators in a show… Barrett sort of chose make it ambiguous… because something that is so special about this new generation of kids is that sexuality is very fluid with a lot of people. It’s open for discussion or debate for where you fall on that spectrum… You’re not gay or straight; there’s a lot of grey area, so I think Barrett took that on in a very special way too.” I loved talking to Grey about grey area!

Walter McBride/WireImage

Barrett Wilbert Weed and Grey Henson attend the Broadway Opening Night After Party for Mean Girls.

In straighter musical theater news, I caught up with Frozen and, though it has some bumpy tonal shifts, I basically found it a satisfying mix of pageantry, humor, and romance. Based on the smash 2013 animated film, the show centers on two sisters, one of whom has magical powers that can go awry and the other who just wants to live a normal life. They’re sort of like Paris and Nicky Hilton. When the older sister Elsa’s hands inadvertently twitch, their homeland chills and is desperately in need of a summer. (No, not Donna Summer; she’s two whole blocks away and not moving.) Perhaps heavy handedly, little sis Anna’s heart is suddenly frozen and needs an act of true love to warm up again, but it’s all done in a slick and peppy way that only the heartless could hate. The night I went, standby Aisha Jackson was a real pro as the endlessly optimistic Anna, and as Elsa, Caissie Levy has one of the best “dress reveals” in history during the socko Act One closer, “Let It Go.”

Andrew Eccles/Disney Theatrical

Caissie Levy and Patti Murin

On to more female empowerment: The next day, I went to a SAG: AFTRA “Conversation on Broadway” with host Richard Ridge interviewing Lauren Ambrose, who’s playing Eliza Doolittle in My Fair Lady. Lauren talked about how juicy the role is—you’re basically in a Shaw play, with glorious Lerner and Loewe music added—and said she’s onstage (or changing costumes) so much, “It’s like jumping onto a moving train… You grab on for dear life and go until it’s over.”

Ambrose added that the show is extra topical in the #MeToo era, seeing as “it’s about a woman who discovers her strength and power. What better time to do it?” That night, I caught the show and found it a ravishingly designed, potently acted three hours, with Ambrose quite compelling as the flower girl who’s made over and starts to resent her piggish mentor. (And she has a fine operatic voice, making “I Could Have Danced All Night” and “Show Me” into showstoppers.)

Harry Hadden-Paton is an expert Henry Higgins, suggesting he’s really a lost boy (and maybe even a complete marshmallow) underneath the misogynistic armor. And as Eliza’s dad, Norbert Leo Butz is full of fire and phlegm, making the character both shady and adorable. The highlight is “Get Me To The Church On Time,” during which Butz tap-dances and does hat tricks as various drag queens in feathers (and some drag kings too) high kick and act flirty. Alas, one creepy character is portrayed as flamingly gay, but still, he isn’t as creepy as Henry Higgins!

Bruce Glikas/FilmMagic

Lauren Ambrose and Harry Hadden-Paton at the opening night after party for My Fair Lady.

And there’s another welcome revival: Bitch! Dyke! Faghag! Whore!: The Penny Arcade Sex and Censorship Show is back 26 years after launching as a “freedom of speech anthem” that’s vehemently against sanitization, politicization, and complacence. The updated show—at Performance Space New York—begins with various exotic dancers creatively working their poles, after which veteran performer Penny (AKA Susana Ventura) emerges with a revival-meeting-style fervor to introduce them and then launch into a couple of choice characterizations: an exasperated madam trying to talk sense to her employees and clients, and a savvy TV host, who feels prostitution doesn’t lead to drugs, it leads to real estate. (She adds that prostitutes voted for Trump because “they said he was gonna be good for business—and after all, he’s a client.”)

And then Penny does herself, engaging in blistering and pointed monologues about the frustration of being a fag hag who’s not only dissed by gays, but by other fag hags; the ickiness of assimilationist gays who want to dictate what we can all say and do as they aim for the mainstream; and the horror of living through AIDS, as the government and media dutifully put their head in the sand about it.

I wasn’t crazy about stereotypical stuff about how lesbians now have more options because they can wear heels and have sex; even if you believe that backstory, it doesn’t sound like it’s celebrating the butch dykes as much as it should, especially in a show that lauds effeminate males. But who cares? Penny is so out there (she even wanders through the audience, ruminating, with the lights dimmed) that she sweeps you along with her charisma and points of view. There’s a dance break where the audience swarms onstage to wiggle to “I Will Survive” and “A Deeper Love,” and it all leads to an ending where Penny is naked, except for an American flag around her neck, as she states the need for a new language, one that will unite disparate people without excluding anyone or picking a winner. The audience is the winner with this show (created with help from Steve Zehentner).

Michael Musto is the long running, award-winning entertainment journalist and TV commentator.