El musical drag más aclamado del momento, Que Suene El Tacón es el show mágico musical de La Más Draga, lleno de baile, glamour y mucho brillo. Nuestras feminosas te llevarán a un viaje único e inolvidable. Espectáculo no apto para menores de 13 años.[2]
Concept[]
The tour is marketed as a musical, which follows the story of a young boy that is constantly tormented and bullied for his sexuality, to the point of him wishing to simply not wake up anymore. This is when he is visited by his fairy dragmother, Letal, who informs him that several feminosas will be visiting him that night in order to teach him important lessons about love, courage, friendship and more.[3]
To celebrate the pride season, a special one-time-only edition of the show was held on the borough of Cuajimalpa in Mexico City. Unlike the regular version of the tour shows, this event was free and featured contestants from various seasons of the show.[10]
Sophia Jiménez only performed in Guadalajara, as she was filled in by Rudy Reyes in Monterrey and neither of them were present at the shows in Mexico City.[12]
Before the show in Mexicali was canceled, it was announced that Gala Varo would be filling in for Tiresias. Rudy Reyes was also going to be performing instead of Sophia Jiménez in here.[13]
While originally listed in the lineup of the event, Leexa Fox was forced to cancel her participation due to her also starring on Jamie: El Musical that same night.[14]
Trivia[]
The producers of La Más Draga have commented that the costs associated to producing Que Suene El Tacón are quite high, which has forced them to cancel a few dates and even consider dropping the tour altogether.[15]
In fact, the tour for La Más Draga Season 5 had to be cut short to just a single date after it failed to break even by a significant amount, thus making them lose money, during its opening night at Monterrey, Nuevo León.[16]
They also added that while there are still plans for the tour to continue for La Más Draga Season 6, it would have to return as a scaled-down version in order to reduce costs.[16]
For its second iteration, the majority of the numbers remained exactly the same, with songs, props and choreographies being reused. The main difference was simply the drag performer assigned to each number, although a few numbers did get new arrangements.[17]