Ginger Minj and Gidget Galore deliver heartfelt, awash-in-comedy notes in ‘The Broads’ Way’

Featuring two of the most exuberant talents in the queendom of drag, “The Broads’ Way” showcases the varied and often gleefully ridiculous talents of self-proclaimed glamor toad Ginger Minj, co-star Gidget Galore and musician Michael Burlow. Together, the pair of drag queens and their musical maestro serve up a variety show that shines the spotlight on Galore’s collaborative comedy and Minj’s Broadway-worthy vocals.

Penned and directed by Minj, “The Broads’ Way” — running through Feb. 4 at the Venus Cabaret Space adjacent to Lake View’s Mercury Theater — is a rollicking emotional ride: One moment you’re groaning at the intentionally, ultra-campy stupidity of a particularly lewd double-entendre. The next, you’re gobsmacked by the almighty power of Minj-as-Mamma-Rose from “Gypsy.”

While “The Broads’ Way” may not be the most slickly-produced show, and the costumes need a bit more dazzle, the chemistry between Galore and Minj is fabulous. Together, they have a zany Lucy-and-Ethel dynamic — their comic bits woven around a series of big Broadway showstoppers, most of them delivered by Minj’s belting pipes.

Minj first brought her towering orange curls and star quality to a worldwide audience when she placed in the top three in Season 7 of the Emmy Award-winning “RuPaul’s Drag Race.” Minj returned to compete again in “Drag Race All Stars 2” and “Drag Race All Stars 6,” placing eighth and third, respectively.

As Minj’s pouffy blonde counterpart, Galore’s persona is part Jayne Mansfield, part Shirley Temple, with plenty of personality.

Alas, “The Broads’ Way” gets off to a slow start. The first 20 minutes are all about comedy, with Minj and Galore combining sketch with a tinge of improv and a whole lot of pandering double entendres. Once the musical numbers kick in, they do so with a vengeance. Galore and Minj pack snippets from roughly 10 Broadway shows — along with a melange of low-rent props and costumes — into a medley that clocks in well under 10 minutes.

Trevor Beaty

Starting off the medley with the iconic opening riff of “A Chorus Line,” Galore and Minj move with manic energy through a series of highly emotional passages, most of them requiring Minj to end on a massive money note.

“Grease,” “Funny Girl,” “Hamilton,” “Rent,” “Hairspray,” “Wicked” and “Phantom of the Opera” are all skewered, the last with a hilariously cheesy attempt at referencing the boat scene on the Phantom’s candlelit underground lair. “One Day More,” the anthemic call-to-courage from “Les Mis,” has Galore and Minj striding forth, hoisting trans pride fans to the skies.

While Galore nails most of the comedy, Minj goes in for the emotional kill on the vocals. Her full-on rendition of “Rose’s Turn” from “Gypsy” is a scathing, belting barnburner. When Minj pronounces — per the lyrics — “Hold your hats and hallelujah/Mama’s gonna show it to ya,” you’ll want to buckle your proverbial seatbelt. Mama’s about to blow the roof clean off the joint.

The duo also fill the theater with moments of sheer, unabashed silliness. Among them, when Galore does a medley of “The Sound of Music” tunes in a spangly version of Julie Andrews’ spinning-over-the-alps novice outfit. Before moving into the musical’s yodeling goat puppet show, Galore leads the audience in a “Do-Re-Mi” sing-a-long with such charm, it’s all but futile to resist.

Then there’s Galore as orphan Annie, whose tantrums about “tomorrow” have her spinning her little (stuffed) dog Sandy around by the neck like he’s more akin to a tetherball, tongue flopping like a big red fish.

The pair come together on a finale driven by “Chicago’s “Hot Honey Rag” and “Nowadays.” It’s a sparkling sisterly delight.

And that pretty much describes the whole show. It’s got flash and pizazz and a pair of uber-talented queens who are anything but a drag.