Stamp Student Union’s Grand Ballroom sparkled with glitter and an impressive assortment of wigs Thursday at the annual SEE Spring Drag Show.

Four distinctive performers — HoSo Terra Toma, Sweet Pickles and King Molasses — showcased their talent at the event, introduced by the energy-filling, welcoming host Miss Toto.

Miss Toto, a returning host and University of Maryland alum, kicked off each set with the perfect balance of humor and sass. She infused her solo performance with a Western theme and style, channeling her inner Beyoncé with a soundtrack including several Cowboy Carter songs.

Her iconic hot pink, tiger-print matching set demanded attention, and her sparkle necklace and belt were the perfect complements to her cowgirl get-up. As her soundtrack transitioned to Beyoncé’s “Renaissance,” the performance picked up pace and the audience excitedly clapped along.

Some of her inspiration comes from the vibes of iconic pop stars such as old Britney Spears and Beyoncé who seamlessly incorporate drag into their on-stage personas. She also takes inspiration from artists such as Doechii and Rosalia.

Miss Toto proudly represents this university, where she discovered her passion for drag. For half of the show, Toto sported an oversized football jersey dress cinched with a sparkly belt.

“Even just seeing RuPaul Drag Race, watching it with my friends freshman year, squeezed on a tiny little bed in Denton Hall,” Miss Toto said. “That’s where I made my first queer friends in college and that’s what we bonded over.”

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Miss Toto was not the only performer from this university — Depression Manique, a sophomore English, studio art and immersive media and design major, strutted the stage in a blonde wig, white corset and incredible attitude.

The equally spooky and gifted headliner, HoSo Terra Toma, mesmerized the crowd with her horror-themed sets.

She created widespread anticipation for her performance, having previously appeared on several drag competition shows, with her most notable moment from “The Boulet Brothers’ Dragula.”

Emerging from behind the stage to the tune of “Earth Intruders” by Björk, Toma shattered the silence. Her swift, subtle movements contrasted with her elaborate makeup and costume, featuring horns, blue hair and a quilt-like outfit.

“I watch a lot of Butoh performance videos, just like Japanese traditional dance that mimics dead people,” Toma said. “The facial expressions, kind of like zombie-like movements.”

These performances are defined by her unique, animated facial expressions, along with an eerie feeling that lingers over the crowd. Lights accompanied her in every set, illuminating her figure with items like a lit vest or light bulbs, driving the crowd wild when they made an appearance.

As she waltzed around the stage perimeter, tossing petals and transitioning between dramatic looks of sadness and happiness, it quickly became obvious why she is a famous competitor.

Sweet Pickles, a performer from Richmond, Virginia, injected the show with an indescribable, yet much-needed energy. Her dance moves mirrored those of a professional — each leap, dip and kick was sharp and on-point as her yarn wig bounced.

Her presence was unmistakable, when the stage lights shifted to yellow or blue, or a vibrant heap of curls emerged from the side of the stage — you knew it was her time to shine.

“Y’all had such incredible production value in there,” Sweet Pickles said. “The lighting was wild, like that was great.”

Yellow played an amazing sidekick to her set, enhancing her lively aura. Everything from her bodysuit to her blazer, exuded yellow, even her energetic jazz moves. “Walking on Sunshine,” by Katrina and the Waves was the perfect pairing to the yellow theme and set the tone for the remainder of her performances.

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In contrast, King Molasses brought a sensual and captivating vibe to the stage.

For one set, Molasses featured the musical hit “Beauty School Dropout” from “Grease” by Frankie Avalon, using the track to evoke a sense of nostalgia among the audience. A white microphone never left Molasses’ side, except when they were on the ground, passionately engaging with the stage floor and filling the air with screams and whistles.

When Molasses hit the stage, it was expected that clothes would come off. At the end of each set, Molasses was always left either in a sleeveless shirt or without one at all. Extravagant fur coats, boas and sparkly pants and blazers defined their style, with each ensemble leaving guests in awe.

The grand ballroom was indeed met with grand talent that night, as each performer kept the energy high, filling the atmosphere with constant screams and applause.