Demian needed to stop working on the Purple Circuit in order to realize his other projects, such as publishing the book “Operating Manual for Same-Sex Couples: Navigating the rules, rites & rights,” now available on Amazon, and to publishing his “Photo Stories by Demian” books based on his more than 6 decades as a photographer and writer.

QueerWise and Michael Kearns have committed to offering a continuation of the Purple Circuit. The new Web address is purplecircuit.org. Bill Kaiser continues as editor and can be reached at purplecir@aol.com

Bill and Demian express their appreciation for the hundreds of writers, directors, actors, and publicists who sent their articles and play data. They have toiled mightily to bring our gay, lesbian, trans, and feminist culture into public view, and appreciation.

Ted Monte, x, x (upper), x (lower), Kimberly Lewis, Momma, x, x, x (upper), x (lower), x photo: Michael Calas

The ensemble of “girls gone bad” are absolutely right on, and the combination of talented women and men in drag is a novel approach to the show. The cast are uniformly good starting with Kimberly Lewis as Louise, the matron’s underling who gives the best pre-show instructions that I have ever heard.

Others to single out are: Tara Karsian, as Gloria the lifer, who puts the diesel in dyke; Mary K. DeVault, as the sweet Cheri; Dudley Beene as Blanche, who lives out that fantasy; Marianne M. Arreaga as Ada, who has had too much shock therapy; Jessica A. Goldapple as Mary-Eleanor, the ingénue, who transforms into a hardened criminal. Notable performances also come from Pip Lilly as JoJo, Dawnmarie Ferrera as Guadalupe, and Ted Monte, who plays all the males.

The lighting design by Matthew Denman, costumes by Michael Mullen, scenic design by Kurt Boetcher, and especially the sound design by Veronica Lancaster are first rate. The clips from the “B” movies that the play spoofs are quite effective.

Director Kurt Koehler has done a fine job of meshing these talented performers into an edgy ensemble and continues the trend that Celebration Theatre started with Joe Pietro’s “Fucking Men” and late night with Justin Tanner’s “Oklahomo.”