Bold & Beautiful: Lilia Maughn

Her dominion located in Utah County, Lilia Maughn is redefining the art of drag. From her early days of experimentation to the now-polished performances, Lilia, or Jacob Kelly out of drag, has become a symbol of resilience and creativity. A proud product of Utah’s ever-evolving drag scene, Lilia’s story is one of artistry, community and self-discovery.

Kelly’s foray into drag wasn’t immediate. Having spent their early years immersed in music and indoor percussion, their initial experiences with drag came at a time when it was far from mainstream. “There were only a few performers in Salt Lake City,” Kelly recalls. “I was more into music and playing music, and I was getting too old to compete in indoor percussion. I needed something else to do to perform, and drag happened to be that thing.”

The transition to drag coincided with exposure to RuPaul’s Drag Race. Inspired by queens like Violet Chachki, Miss Fame and Pearl, Kelly decided they wanted to create something equally beautiful yet distinctly their own. “I saw them and thought, ‘They look pretty, but they are drag queens.’ That made me think, ‘I want to do that.’”

 “I needed something else to do to perform, and drag happened to be that thing.”

Lilia Maughn’s drag persona is as layered as her performances, and it starts with her drag name. Lilia Maughn, a play on “She Really a Man,” is both a nod to her Thai heritage and a reflection of her grandmother’s reaction to her drag journey. “My grandmother with her Thai accent, saw some pictures and said, ‘Jakey, you so pretty! But, uh, don’t they know that, uh, she really a man?’” It’s a phrase that bridges the gap between humor and heritage, encapsulating the intersection of her identity and art.

Kelly’s first outing in drag was Halloween of 2016, dressed as Marilyn Monroe. Though that night of Halloween karaoke marked their initial foray into drag, they count their first real performance as a 2017 audition and subsequent collaboration in Gia Bianca Stephens’ Beauties on Broadway, an ensemble drag brunch at Club 50 West. Singing “Dancing On My Own” by Calum Scott, Lilia Maughn’s heartfelt rendition captivated the audience. “It was really cool because my husband’s mother, who was actually involved in our life, came down from Pocatello just to see me perform …It felt really good to have that family support,” she says. 

“You just have to do it. It’s less so of a cultural or community statement and more of a personal statement.”

Navigating the drag world in a deeply religious community posed significant challenges. “I had some family members who were excited, but others thought it was weird,” Lilia shares. “I started getting not invited to family events and felt iced out.” Yet, this rejection became a source of strength. “It’s a bizarre thing, but it happens and you kind of just have to move on and just be happy for yourself.”

This newfound freedom has become a hallmark of her performances. Lilia’s unapologetic authenticity allows her to explore themes like religion and sexuality with humor and emotional depth. “It doesn’t matter if [the audience is] questioning their religion, or just have a different outlook on life than people that are from here. You just have to do it. It’s less so of a cultural or community statement and more of a personal statement,” she says.

Lilia’s drag draws heavily from her childhood in the ‘90s. “It’s like a Pinterest board and a love letter to that time.” From fashion to makeup, her performances are a unique blend of nostalgia and originality. “It’s going to feel like you’ve seen this before but never in this combination.”

“The power isn’t in the budget; it’s in the energy you pour into it.”

Her artistic influences extend beyond aesthetics. Collaboration with her fellow queens often leads to moments of backstage hilarity and improvisational brilliance. “Drag is live theater,” Lila emphasized. “If your heel breaks or your wig falls off, you roll with it. That’s the beauty of it.”

In talking about Kelly’s accomplished career, which includes recently returning from performing in Germany, the conversation turned to something more local — the ability to perform at HRC Allies Gala in 2024 with Marlo Suzzanne and the Galaxxy Band. “We opened the gala with an incredible number, working alongside amazingly talented artists. It was surreal to be on such a huge stage,” she says.

“I would still have Salt Lake as my home base. There’s something kooky and crazy about [this state.]”

As drag evolves, so does Lilia Maughn’s vision for the future. She sees potential in creating spaces beyond bars and clubs, encouraging communities to support drag in all its forms. “Drag is an important art form because it’s controlled by the artists.  Every single drag queen has their own approach, has their own backstory, has their own everything, and the community is just a culmination of thousands of drag queens being themselves.”

Though she dreams of global exploration, Lilia is rooted in Utah. “Even if I did make it on Drag Race, traveling and performing, I would still have Salt Lake as my home base. There’s something kooky and crazy about [this state.]”

At its core, Lilia believes drag is about authenticity and passion. “We all start somewhere, and we all deserve the stage to say what we need to say. The power isn’t in the budget; it’s in the energy you pour into it.”

Whether she’s performing an emotional ballad, poking fun at societal norms or dazzling audiences with nostalgic flair, Lilia Maughn is a testament to the bold and beautiful spirit of drag. In her words, “You have to just roll with the punches. It doesn’t matter if your heel just broke off or if you just stepped on your outfit and ripped half of it off. What are you doing with it?” Keep up with Lilia Maughn’s upcoming performances by following her on Instagram at @sheliliamaughn. And check out the talented designer of Lilia’s outfit and member of the Galaxxy Band,  M’Lady Wood at @mladywood 

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