#hhdragnight

Hello hello! Welcome to a little event thrown by yours truly. I was inspired by a HH drag night post on Patreon, and figured... why the hell not? No pun intended. This event is open to all, whether you write a canon character, an oc, or someone in-between able to attend. Characters 21+ only, of course. Just like or reblog this post to "buy a ticket," and I will send a ticket to your inbox to confirm! You don't have to be mutuals or even following me in order to participate. If you want your muse to perform, reach out to me and I'll put them on the schedule <3

OOC details:

While it's technically one night only in-character, things will be kicking off on the 13th to give people ample time to write so they're not trying to cram it all into a weekend. Things will not be "real time" since, y'know, that doesn't work for everyone.

Throughout the event duration, I'll be posting in the #HHDragNight tag with small surprises and such >.> Feel free to use the tag yourself for the same, open starters, commentary, outfits, or whatever else!

There's a flash as a band of Charlie's in various outfits that look less Western and more militaristic appear on stage. It's obvious that Charlie's been practicing some magic the past few days to put this whole act together.

It's not a bright and cheery song, as would be expected from the Princess of Hell. Of course not. This is not the Princess, after all, this is Danny Do-Bad in all his cackling, maniacal glory.

"Mama, we all go to Hell Mama, we all go to Hell I'm writing this letter and wishing you well Mama, we all go to Hell"

The music really kicks into gear as Danny struts and sings in all his mustache curling glory.

"Oh well, now, Mama, we're all gonna die Mama, we're all gonna die Stop asking me questions, I'd hate to see you cry Mama, we're all gonna die

And when we go, don't blame us, yeah We'll let the fires just bathe us, yeah You made us oh so famous We'll never let you go And when you go, don't return to me, my love"

Danny goes to the edges of the stage, making eye contact with the audience, changing focus with every line.

"Mama, we're all full of lies Mama, we're meant for the flies And right now, they're building a coffin your size Mama, we're all full of lies

Well, mother, what the war did to my legs and to my tongue You should've raised a baby girl, I should've been a better son If you could coddle the infection, they can amputate at once You should've been, I could have been a better son"

For a moment Danny's manic energy pulls back slightly.

"And when we go, don't blame us, yeah We'll let the fires just bathe us, yeah You made us oh so famous We'll never let you go"

And the energy starts to build again

"She said, "You ain't no son of mine For what you've done, they're gonna find A place for you and just you mind your manners when you go And when you go, don't return to me, my love (that's right)

Mama, we all go to Hell Mama, we all go to Hell It's really quite pleasant except for the smell Mama, we all go to Hell (two, three, four)"

Danny's spinning out, appearing to become more and more unhinged with each repetition of the word:

"Mama, Mama, Mama Mama, Mama, Mama, Ma"

A Charlie emerges from the band dressed in a black gown and veil for the next two lines.

"And if you would call me your sweetheart I'd maybe then sing you a song"

Danny charges to the front of the stage, less with graceful steps and more with thudding stomps.

"But there's shit that I've done with this fuck of a gun You would cry out your eyes all along"

The band of Charlies, including the one in the gown, starts to join in, the singing is almost sloppy, like it's more of a barroom sing-a-long than the normally put-together numbers one would expect from the Princess.

"We're damned after all Through fortune and flame, we fall And if you can stay, then I'll show you the way To return from the ashes you call We all carry on (we all carry on) When our brothers in arms are gone (when our brothers in arms are gone) So raise your glass high, for tomorrow, we die And return from the ashes you call"

Danny's energy has hit a fever pitch by the end as he death drops to the floor with maniacal laughter until the violin plays it's final note. And then he gets to his feet, another laugh and a bow.

"It has been a pleasure stealing your most valuable asset of all, my good citizenry: time!!!" Before there's another puff of smoke and he vanishes.

Then, she began to sing along with the rhythm. Her high-pitched voice was a far cry from the dulcet tones of the artist who inspired her drag look, but that hardly mattered. Her red and yellow pompadour bounced as she began do dance around the stage, the rats mimicing her movements with flawless choreography.

"The warden threw a party in the county jail. The prison band was there and they began to wail. The band was jumpin' and the joint began to swing. You should've heard those knocked out jailbirds sing."

Niffty began to bounce on her toes for the chorus, throwing her head up and down as she continued.

"Let's rock, everybody, let's rock. Everybody in the whole cell block was dancin' to the Jailhouse Rock."

Returning to the center of the stage, she pointed at certain rats near the front, as prompted by each line--- they pulled out their own tiny instruments.

"Spider Murphy played the tenor saxophone, Little Joe was blowin' on the slide trombone. The drummer boy from Illinois went crash, boom, bang, the whole rhythm section was the Purple Gang."

Then she was back to bouncing, more rats began to congregate in the audience, dressed like tiny officers. Each one jumped up on nearby tables, dancing in sync with the performance.

"Let's rock, everybody, let's rock. Everybody in the whole cell block was dancin' to the Jailhouse Rock."

For the next lines, she pointed at other rats, who had moved to take a more central position while the band rats had scampered to the sides of the stage, still engaging in that coordinated choreography reminiscent of Jpop.

"Number forty-seven said to number three: 'You're the cutest jailbird I ever did see. I sure would be delighted with your company, come on and do the Jailhouse Rock with me."

The two rats began to make out, falling off the stage as another duo moved to fill the space left by them. Once offstage, the rats disconnected and slyly scampered to join the rest of the dancers back on stage.

"Let's rock, everybody, let's rock. Everybody in the whole cell block was dancin' to the Jailhouse Rock."

The next bit involved Niffty pointing to a corner of the room, where a rat sat alone. One of the cop-rats [dressed fancier than the rest] stood beside it, pantomiming the lines that Niffty sang. And even procuring a tiny rat-sized chair.

"The sad sack was a sittin' on a block of stone way over in the corner weepin' all alone. The warden said, 'Hey, buddy, don't you be no square. If you can't find a partner use a wooden chair."

With the next chorus, Niffty lept out into the crowd, bouncing from bar table to bar table-- using her agility to her advantage, while also maintaining focus on her pelvic sorcery, which was key to this drag look going well.

"Let's rock, everybody, let's rock. Everybody in the whole cell block was dancin' to the Jailhouse Rock."

On the stage, two rats stepped ahead of the backup dancers, perfectly pantomiming the story being told through the lyrics. Then all the rats came together, dancing in a circle on the stage.

"Shifty Henry said to Bugs, 'For Heaven's sake, no one's lookin, now's our chance to make a break. Bugsy turned to Shifty and he said, Nix nix, I wanna stick around a while and get my kicks."

Niffty lept from one of the tables, flipping in the air and landing in the center of the rat circle, as they danced around her while she brought the song home.

"Let's rock, everybody, let's rock. Everybody in the whole cell block was dancin' to the Jailhouse Rock."

As the band finished playing, Niffty brought her microphone to her mouth, curling a lip and giving her best [falsetto] impression of The King.