A HARD ACT TO FOLLOW
Drew Sebastian doesn’t just step into the spotlight—he claims it. Known to many for his work in adult film, and to just as many for his fearless authenticity, Drew is now bringing his full self to the stage in his new cabaret, It Had to Be Drew at The Roost in Cathedral City on June 27.
Part homecoming, part reinvention, and entirely personal, this show is a deep dive into the experiences that shaped him—from growing up dreaming of Broadway, to singing in gay choruses, to owning his sexuality and spotlight in every form it’s taken.
With a mix of jazz standards, showtunes, sharp humor, and vulnerable storytelling, Drew reminds us that cabaret isn’t just about performance—it’s about truth. And in a world quick to judge, It Had to Be Drew is both a reclamation and a celebration of identity, artistry, and the power of just being yourself—loudly, unapologetically, and with great lighting.
Stage and Cinema sat down with Drew to talk about music, stigma, sex, survival, and what it means to take the stage not to prove something—but to be something.
How would you describe this show for someone who’s never seen your live work before?
This show is an autobiographical journey through some of the biggest moments in my life—coming out, discovering music, meeting my idol, and coming full circle by returning to the stage, musically.
I sing, I play the sax, I even tap dance… and yes, I tell bad jokes. Dad jokes, to be exact. Okay—really bad dad jokes.
You’ve lived a very public life through your work in adult film. How does that past inform who you are on stage?
I have so much to say now! I used to be content performing roles and choreography from someone else’s creation—but now I’m creating my own shows, telling my story.
And that’s something I never even imagined for myself… and I am so here for it!
Have you felt like people come in with assumptions about you? How do you confront—or subvert—that in the show?
Yes, I do feel like people come in with a lot of inaccurate assumptions. Some think it’s going to be a live sex show, or that I’ll be vulgar and talk about sex the whole time, or that I’m just a porn star trying to cash in on a cabaret because my popularity is fading.
But honestly, I think my popularity is as strong as it’s ever been—and no, I don’t talk about sex the whole time.
Most of my real fans already know: I’ve been singing in gay choruses the entire time I’ve worked in adult film. I’ve been known to cut up on set by bursting into “Greased Lightning” or even the echo song from Floyd Collins. (If you know, you know.)
I like to think of myself as a cabaret artist—or a singer—who’s done adult films, not just an adult film star trying to do a show.
And how do I shift people’s perceptions? I do what I love: I tell stories, have fun, joke around, and share a message.
There’s even a call to action in my show: Just be kind.
Is that really so hard?
You’re blending storytelling and song—how did you choose what to share?
Most of the music I sing in the show is what I grew up with—from Harry Connick Jr. to Dolly Parton, plus jazz standards and showtunes. I’ve even rewritten the lyrics for some of them to tell my actual story.
I want to have fun up there—but more than anything, I want the audience to have fun too.
You’ve mentioned reclaiming your narrative. Was this show a kind of artistic homecoming?
This show is absolutely an artistic homecoming—a true full-circle moment for me. I grew up watching the Tonys, dreaming of being on stage, doing what those performers were doing in those big musical numbers.
Eventually, I got to live that dream when I started working at Dollywood. And at the same time, I also had this separate dream of being sexy—of doing something bold and sexual like adult films.
Now, I’m back on stage, returning to my first true love—and I couldn’t be more fulfilled or excited.
Do you think there’s still a stigma when adult performers move into other forms of art?
Yes, there’s definitely a stigma attached to porn stars, no matter what they pursue outside of the adult industry. But let me tell you—these days, you can’t be in adult film without also being a business person. You have to fill out a 1099, file your taxes, promote and market yourself, maintain your appearance, and so much more.
If I asked half my friends whether they do all of that, most would say, “No, I just clock in and out.”
So when a porn star—who is already an artist—wants to move into another field, whether it’s law, theater, social work, or anything else, that person already knows how to approach it like a business.
Cabaret has always celebrated truth-telling, camp, and rawness—do you see yourself as part of that tradition?
Yeah—rawness?! LOL, you might not want to print that—haha.
One thing that draws me to cabaret is that it’s essentially your story. And I believe many of us carry multiple stories within us, which means there are many cabarets inside each of us.
If cabaret speaks to you, it means you’re drawn to truth-telling, camp, soul—and rawness. And that rawness is what makes all of it believable. It reveals your vulnerability.
What’s it like performing this show in this moment—especially in a queer space like The Roost?
This show is called It Had To Be Drew. It might be the last time I use the name “Drew” for one of my shows, because I feel like it’s time for Andy [Clements] to have the spotlight.
Performing at a place like The Roost feels like wrapping myself in a big security blanket. It’s full of friends and family who encourage me and protect me in the best ways—so I can keep developing my craft and keep connecting with that little boy who once dreamed of being on Broadway.
If someone walks in expecting one version of “Drew Sebastian,” what do you hope they leave with?
Merchandise—maybe some Drew DVDs or my new Mr. Hankey toy. But if people are open to discovering a new side of the person behind Drew Sebastian, I hope they leave with a deeper understanding of the experiences that shaped who I am today.
And honestly, most people who first found Drew Sebastian sexy on their computer screens usually tell me they find me even sexier after seeing me perform on stage.
Last one—if your cabaret had a signature cocktail, what would it be called and what’s in it?
I think we should call it “It Had To Be Drew’s Manhattan”
- M2 oz bourbon or rye whiskey
- 1 oz sweet vermouth (or a mix of sweet and dry vermouth for complexity)
- 25 oz cherry liqueur or maraschino liqueur
- 2 dashes of aromatic bitters
- Garnish with Luxardo Cherry and orange peel
(And then I would smoke it… but that’s just me!)
Final thoughts?
Thank you so much for asking me to talk about myself. I love talking about myself. I’m my favorite subject. No I’m just kidding. It’s actually hard for me to feel like I’m tooting my own horn… but I am trying to sell tickets to my show.
