By AJ Jaffari
What happens when espionage, natural disasters, drag, and enough inappropriate jokes to fill an airplane all collide under one roof? Disastrous! at Oasis SF answers that question with absolutely no interest in playing it safe. D’Arcy Drollinger’s latest Champagne White adventure embraces the wonderfully ridiculous world of 1970s disaster and exploitation films, serving up a whirlwind of comedy, camp, and characters that seem to become more outrageous with every passing scene.
At the center of the madness is Champagne Horowitz Jones Dickerson White, whose supposedly relaxing trip to Acapulco quickly spirals into espionage, danger, and one increasingly absurd predicament after another. The plot moves at lightning speed and rarely gives you enough time to process one joke before the next arrives. But honestly, trying to make too much sense of it would probably defeat the purpose. Disastrous! knows exactly what kind of evening it wants to provide: big personalities, bawdy humor, and plenty of unapologetic queer chaos.
I’ll admit, this was my first time at Oasis, so I walked in without much knowledge of the venue’s history or the characters who clearly already have a devoted following. But it didn’t take long to understand that this place means something to people.
Watching the audience interact with the performers and enthusiastically respond to familiar characters gave the evening an almost communal feeling. There was a warmth in the room that went beyond simply attending a show. Oasis struck me as the kind of place where people can walk through the doors and feel like they belong, and there’s something incredibly special about that.
As for Disastrous! itself, I was wildly entertained. It’s quick, inappropriate, unpredictable, and bursting with talent. I genuinely never knew which direction the story was going to take next, and that became half the fun. This is the kind of comedy where committing halfway simply wouldn’t work—and thankfully, this company commits to absolutely everything.
D’Arcy Drollinger leads the charge with the confidence of someone who knows exactly how to work a room. Her connection with the audience was immediate, and she navigated the chaos with a combination of charisma, quick wit, and wonderfully heightened comedy. There’s an ease to the way Drollinger interacts with a crowd that makes even the most ridiculous moments feel completely at home.
Steve LeMay provided plenty of laughs while tackling several roles throughout the evening, though Sharon was easily my favorite. Every transformation seemed to bring another layer of absurdity, and LeMay understood exactly how far to push each character for maximum comedic effect.
James Arthur M. was equally hysterical. I last saw him in the considerably different world of City Lights Theater Company’s Running After Shadows, so watching him dive headfirst into this kind of comedy was especially fun. His commitment to the druggie bit had me cracking up, and seeing such a different side of him as a performer was a treat.
Matthew Martin brought an electric presence to the villainous Cafetan (I hope I’m spelling this right, someone fact-check me), making every entrance feel like an event. And the Eartha Kitt impression was worth the price of admission alone. Martin embraced the heightened style of the piece completely and added another wonderfully eccentric personality to an already colorful collection of characters.
But my personal favorite of the evening was Michael Phillis. Taking on several roles throughout the show, Phillis seemed to find a completely different comedic rhythm for each one. Officer Jack Hammer was the standout for me, and every time Phillis appeared in another incarnation, I found myself waiting to see what he would do next. His timing and commitment to the ridiculousness were simply fantastic.
What impressed me most about the company as a whole was the fearlessness of the performances. Everyone seemed completely willing to look ridiculous, push a joke further, and embrace the heightened world Drollinger has created. That level of commitment is what allows camp like this to really work.
Disastrous! also reminded me that not every theatrical experience needs to leave you pondering some enormous existential question on the drive home. Sometimes theatre can simply provide a room full of people with the opportunity to laugh together—and there is tremendous value in that.
My first trip to Oasis certainly won’t be my last. Between the energy of the audience, the wonderfully fearless performers, and the feeling of community within the space, I walked away understanding why this venue has such a passionate following.
If you’re looking for an evening filled with laughter, booze, camp, and a whole lot of gay humor, Disastrous! may be exactly the night out you need. Leave your seriousness at the door, grab a drink, and enjoy the chaos.
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