Archive for the Drag and/or LGBT Category
Today is the 100th anniversary of the release date of the Charlie Chaplin short A Woman (1915).
In this Essanay comedy, Chaplin plays his usual park masher, who ends up coming home with Edna Purviance and her mother (Marta Golden), whom, I must say are not very discriminating about whom they bring into the house. When the father (Charles Inslee) comes home, the Little Fellow runs upstairs and dons feminine garb as a means of escaping the house without getting his neck broken. Later after the father has made a pass at him, Charlie (now “Nora”) uses that fact to blackmail the dad into letting him date his daughter. And I must say he doesn’t make a bad looking woman!
A little over ten years ago, I worked up a screenplay with the intention of filming a re-make of this short, which is still on my to-do list as part of my series of silent comedy experiments like this one. ‘Til then, there’s Chaplin’s original version:
For more on silent and slapstick comedy don’t miss my new book: Chain of Fools: Silent Comedy and Its Legacies from Nickelodeons to Youtube, just released by Bear Manor Media, also available from amazon.com etc etc etcFor more on show biz history, consult No Applause, Just Throw Money: The Book That Made Vaudeville Famous, available at Amazon, Barnes and Noble, and wherever nutty books are sold.
In celebration of Pride Weekend (now upon us) and today’s Supreme Court decision in favor of same sex marriage, a quick mini-post to connect you quickly to posts on Travalanche about some well-known queer vaudevillians. Just click on the links below to learn more about each act:
The above list contains folks we are pretty certain had same-sex proclivities. But of course, the realm of drag is much more ambiguous: the list of drag performers who were either sexually “straight” or we-just-don’t-know is much, much longer, but I think we can all agree that the gender bending nature of cross-dressing qualifies them for the broader category of “queer”. We’ve a whole section on drag on Travalanche, you can browse through it here (a lot of the film clip links are now dead – -I need to do some house cleaning soon).
To find out more about the history of vaudeville, consult No Applause, Just Throw Money: The Book That Made Vaudeville Famous, available at Amazon, Barnes and Noble, and wherever nutty books are sold.
And check out my new book: Chain of Fools: Silent Comedy and Its Legacies from Nickelodeons to Youtube, just released by Bear Manor Media, also available from amazon.com etc etc etc
On the development history of, and plans for the current show Longing Lasts Longer:
We started work in June of 2014. It’s a work in progress. I’ve always developed my pieces in front of audience. I’m one of the only people who actually does that. We have the four performances at Joe’s Pub. Then we’ll be getting ready for the Edinburgh Festival August 25-30, and then the Soho Theatre in London. Then hopefully we’ll come back here to remount a full production in 2016.
On working with long-time collaborator Steve Zehentner:
I’ve been working with Steve for 23 years. I first met him at PS 122 when he came to shoot the video for Bitch! Dyke! Faghag! Whore! He said he had never seen a show where it changed every night because of the improv. He became a kind of dramaturg for my work. We work on everything together. I do most of the writing. He does a small percentage of the writing and devises the sound score. But I pick the songs I want to use. And we both co-direct the piece. He is probably the overall structure guy; I’m the detail person.
On drag, burlesque, showmanship, and connecting with the audience:
Drag is any costume that you put on — including people who dress up to go to their office job. In the ’80s and into the ’90s, my work was very costumed, with wigs and costumes, make up and glitter. In the 90s, I stopped doing that and started dressing in black. When some of the dancers I work with saw video from the ’80s, they were shocked. It never occurred to them that I used to have costumes and characters and had rock bands and I sang. Performers evolve – look at someone who’s been a performer for a long time like Jackie Gleason or Bob Hope, you look at their work from the ’50s or ’60s, and then you find out they did music hall, vaudeville. As a performer you go through many different incarnations . I identify most with 1950s comedy writers. I try to make jokes, something will make people laugh in a way that means something, not just crass below the belt humor. I like that [my work] is quotable. I like work that has more life to it than just me on stage…
…Bitch! had a lot of erotic dancing in it. Stripping is an art form. I stripped to Lenny Bruce’s speech on obscenity. Other people developed their own thing through the ’90s and ran with it. But burlesque has become annoying. Ubiquitous. Every 22 year old does it now. But instead of political and anarchic neo-burlesque like Dirty Martini and Julie Atlas Muz do, it’s become like a cheerful burlesque lite. It’s very Victoria Secrety. There is no influence of [that kind of] burlesque on my work. I was always interested in down and dirty erotic female dancing. Real erotic dancing, which one usually sees at the lower end of the class spectrum. It’s a feminist art form. It’s the only thing devised by women that controls men, unlike practically everything else. I love erotic dancing with a tribal hypnotic trance background.
I love vaudeville. I love real entertainment. I’m an aficionado of that sort of thing. I hate reality style entertainment, like reality tv where they investigate reality with a microscope instead of making stuff up and being whimsical and fantastical. I never forget that I’m an entertainer, I’m not a journalist or an essayist. I try to give the audience some bang for their buck. It’s cultural analysis you can dance to. [At Longing Lasts Longer] the audience will be rocking in their seats.
The general public are the producers of my shows. People support the work by buying tickets. The audience is really interested in original art and I love them being the producers. I love that feeling when you look out in audience and you know everyone in that audience. It’s a way to come together. People say, “I laughed, I cried, you talked about what I think about.” We all have same thoughts. My job to dig a little deeper. Lee Breuer of Mabou Mines came to see my show. He said he had never been to see a show where people “called out” so much. People identify with what I’m talking about. It’s like a revival meeting.
Longing Lasts Longer opens at Joe’s Pub tonight: tickets and info here.
Today is the 100th anniversary of the release date of the Keystone comedy Miss Fatty’s Seaside Lovers (1915).
This was among the first silent films I ever saw. It came on a videotape I got for Christmas in high school, which also included Love, Loot and Crash and one or two others. I think it was actually in the Beta Max format!
In the film, three mashers (Harold Lloyd, Edgar Kennedy and Joe Bordeaux) wait around a hotel lobby at a seaside resort, looking for action. Then arrives a very Scottish looking mothball magnate (Walter C. Reed), his wife Billie Bennett, and his eligible daughter (Roscoe Arbuckle in drag!).
After much fooling around in the lobby, the family settles into a room. The suitors come up. Lots of fisticuffs with Fatty , which then evolves into dancing, and soon a total melee. The father kicks them all out. Then Miss Fatty puts on her ridiculous striped bathing suit, with cap and parasol. They all frolic on on beach. Fatty falls asleep on a rock. Wakes up, surrounded by water. The tide has come in . (Did this inspire a similar scene in Chitty Chitty Bang Bang?). The three guys try to rescue her and fail. The “surf Kops” too try, fail and fall. Finally she just makes her way back by herself. Notices her parasol is broken, starts to cry.
Now you can watch it too. It’s on youtube; check it out.
For more on silent and slapstick comedy don’t miss my new book: Chain of Fools: Silent Comedy and Its Legacies from Nickelodeons to Youtube, just released by Bear Manor Media, also available from amazon.com etc etc etc
For more on show biz history, consult No Applause, Just Throw Money: The Book That Made Vaudeville Famous, available at Amazon, Barnes and Noble, and wherever nutty books are sold.
Today is the anniversary of the release date of the Charlie Chaplin film A Busy Day (1914).
This one is priceless — priceless! Directed by the man Mack Sennett himself, this is one of his patented “improv at a real event” shorts, set against the backdrop of a real-life wharf opening in nearby San Pedro, California. Why do I say “priceless”? Chaplin plays a woman in the film, from beginning to end, in drag.
Charlie plays Mack Swain’s bothersome wife. There is a lot of Kid Auto Races at Venice business with a newsreel camera, several fistfights, some silly dancing, and in the end Ambrose (Swain’s usual Keystone character) can’t take it any more and throws the Mrs. off the dock.
Silent comedy is definitely a field where brevity is the soul of wit. This one clocks in at six minutes.
For more on comedy film history please check out my new book: Chain of Fools: Silent Comedy and Its Legacies from Nickelodeons to Youtube, just released by Bear Manor Media, also available from amazon.com etc etc etcTo find out about the history of vaudeville, consult No Applause, Just Throw Money: The Book That Made Vaudeville Famous, available at Amazon, Barnes and Noble, and wherever