The UK drag circuit has been shaken by reports of late or missing payments, abrupt cancellations and uneven working conditions that have left performers vulnerable. In response, Divina De Campo—a high‑profile alumna of RuPaul’s Drag Race UK and an opera‑trained performer—has co‑founded Kiki Entertainment with producer‑marketer Stefan Evans. Their stated mission is straightforward: to provide a more transparent, professional pathway for queer entertainers so artists can focus on craft rather than chasing wages. The move reframes promotion and touring as a matter of basic worker rights and creative respect, not just club bookings and one‑night paperwork.
To put that ambition into practice, the team will take a major show on the road this April featuring the season seven cast of RuPaul’s Drag Race UK. The lineup includes Bonnie Ann Clyde, Bones, Catrin Feelings, Chai T Grande, Elle Vosque, Nyongbella, Paige Three, Pasty, Sally ™, Sillexa Diction, Tayris Mongardi and Viola. Rather than a stripped‑down club appearance, De Campo promises a concert‑style experience with deliberate staging: tight choreography, advanced lighting rigs and upgraded sound design that give each performer room to shine. The goal is to demonstrate what a professionally produced drag tour can look like when financial and production systems are aligned with artistic needs.
Why the company was created
Behind the launch is frustration born from experience: many performers, including prominent names, have been left short‑changed by unreliable management and deceptive promoters. Unpaid fees and last‑minute cancellations are cited repeatedly as systemic problems that damage livelihoods and fan trust. By forming Kiki Entertainment, De Campo and Evans intend to address those failures with clearer contracts, prompt payment practices and accountable promotion methods. In doing so they hope to repair the relationship between artists, venues and audiences so that live drag can be reliable for everyone involved.
A model informed by lived experience
De Campo often points to being a working performer as a key advantage when running a company. A drag artist must juggle creative direction, touring logistics and audience engagement—skills that translate directly into production management. As an opera‑trained vocalist and a touring act who already completed a solo run earlier in 2026, De Campo combines artistic discipline with first‑hand knowledge of what performers need on and off stage. That perspective shapes company decisions, from rider standards to rehearsal schedules and the way talent is promoted to venues and fans.
What audiences can expect from the tour
The roadshow is being framed as more than a collection of club sets: it’s intended as a full‑scale theatrical event with layered choreography, costumes designed for running a show, and technical standards that meet concert practice. Production values are emphasized—lighting programming, sound engineering and stage direction will be prioritized to support each queen’s act. This approach aims to elevate the audience experience and to give performers consistent technical support from city to city, reversing the patchwork setups that have often defined drag touring.
Practical support for emerging talent
Beyond headline production, Kiki’s mission includes concrete support structures for up‑and‑coming artists. That means clearer booking terms, transparent fee schedules and career guidance so performers can plan sustainably rather than scrambling gig to gig. De Campo and Evans describe the company as a bridge between grassroots performance culture and professional touring circuits, helping artists to scale their work while safeguarding income and creative control. In short, the aim is to professionalize without erasing the community roots that make drag culturally vital.
Possible ripple effects across the scene
If successful, the initiative could nudge other promoters and managers toward better standards: consistent payments, reliable schedules and higher technical expectations. For audiences, the return should be more predictable, better produced shows and a sense that the people onstage are treated with respect offstage. While challenges remain—touring economics and venue realities are complex—this plan reframes touring as a sector that can be improved with clear policies and ethical leadership. As of March 18, 2026, De Campo’s Kiki Entertainment is positioning itself as a practical attempt to restore trust and model a healthier future for live drag in the UK.