Halloween Witchcraft and the art of not fitting in

The outcasts of the outcasts make their own stages, where they shine bright

Fringe ArtsAren Scarano — Published November 2, 2025 0 minutes

But on the night of Oct. 31, community-organized show Halloween Witchcraft transformed it into a grandiose venue showcasing some of Montreal’s most unique and creative drag artists. 

Purele and Goblin Harlequin, who produced the show, are both relatively new to drag, having performed for three and two years, respectively. Yet, their collaboration with Performing Arts Queer Collective (PAQC) created an immersive experience that captivated the audience and left everyone speechless. 

Harlequin spoke of the overwhelmingly positive light that being a drag king and producing shows brought to his life. 

“I wanted something to get out of my comfort zone [...] and now drag has given me so many opportunities and improved my mental health so much,” he said. 

Purele expanded on this, emphasizing not only her personal journey but also the importance of creating a space for alternative forms of drag.

“I don’t fit into the typical narrative of a drag queen,” Purele said. “I like PAQC because it’s so diverse and so welcoming. I don’t think I could’ve found these opportunities anywhere else.”

Like any small, community-organized show, Halloween Witchcraft faced a few challenges, like limited lighting, a small stage and occasional microphone feedback. 

Many of the people involved were new to drag and live performance. A few of the acts took time to find their footing on stage, but that only contributed to the show’s electricity. Beauty grew out of the rough edges, proof that drag doesn’t need perfection to be powerful. 

Purele said that she used to beat herself up over this process, but said she changed her philosophy.

“It’s never going to be perfect,” she said. “Drag is messy. It has to come as it is.” 

You could feel this sentiment throughout the show. The grit transformed into passion, and no matter where a performer was in their development, they gave it their all. 

Audiences clearly welcomed this: the show sold out, with cheers and claps echoing down the street. Despite lacking the typical glitz and glamour of a standard drag show, Halloween Witchcraft was a memorable labour of love. It had everything from a handmade wooden coffin to light-up costumes programmed to the beat of the music—all done by the performers themselves. 

Maya Iconique, who began doing drag three years ago after immigrating to Canada from Ukraine, delivered two spellbinding performances, entrancing the audience with her stage presence and incredible hand-crafted costumes. 

She, like all the other kings and queens of the night, emphasized her gratitude for the community and opportunities she found through alternative drag.

“When you come from another country, you immediately want to find queer community and queer art,” Iconique said, “[...] and I found there were a lot of supportive people, so I could express new things in this artistic scene.” 

Across the board, performers were hungering for the stage, regardless of how much or how little experience they may have had. This made for a raw and spectacular show, and reminded us that it’s artists like these who make Montreal’s heart beat.