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Drag Performance and Queer Communities in London

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Drag Performance and Queer Communities in London When The Lights Are Shining On Them: Drag Performance and Queer Communities in London Joe Parslow A thesis submitted for the degree of Doctor of Philosophy, University of London, Royal Central School of Speech and Drama, October 2019 1 I declare that this thesis is a presentation of original work and I am the sole author. This work has not previously been presented for an award at this, or any other, University. All sources are acknowledged as References. The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without acknowledgement and the prior written consent of the author. ORCID ID: 0000-0002-3125-9213 2 Abstract Drag performance is and continues to be intimately linked to queer communities. This thesis explores drag performances and queer communities in contemporary London. It argues that these performances offer fertile sites for the emergence and sustenance of queer communities, focussing on the work of twelve performers in contemporary London. Starting from the understanding that homophobic and transphobic violence is increasingly prevalent in the context of this study, it describes and theorises drag performance and its relation to the practice of queer communities both in response to and regardless of this violence. Overall, this thesis proposes that drag and the spaces in which these performances happen facilitate queer communities and as such are connected to queer modes of survival. There has been a resurgence in drag performance in the UK both as a result of and a resistance to the rise in popularity of RuPaul’s Drag Race (World of Wonder, 2009). As a result of this show, drag performers and performances are being seen and understood on an international scale. This inquiry, however, argues for the importance of drag as live performance in bars, pubs and clubs, despite and because of the increase of these kinds of queer venues closing in major cities in the UK. As a way of theorising these performances, this thesis proposes a ‘queer-side eye’ as an overarching methodological framework and tactic that recognises the complex and contingent ways in which the researcher is imbricated in the research. A queer side-eye is also a physical position in the world and describes not only a way of looking or watching – and being looked at – but also a playful attitude and position characterised by the acerbic wit of 3 drag performers. The tactic is constructed through field notes made from extensive observations. It is also connected to ideas of queering knowledge explored by Halberstam (2012) and Muñoz (2009), queer autoethnography proposed and practiced by Adams and Holman Jones (2008 & 2014) and Holman Jones and Harris (2019), and other modes of producing alternative knowledge in academic practice. Alongside the significant new insights that a structure of a queer side-eye offers for the study of queer performance forms, this thesis argues for the importance of queer venues and drag performance in the context of homophobia and transphobia in contemporary London and beyond, arguing that drag performance offers queer forms of survival. 4 Acknowledgements This thesis was made possible in part by the generous support of the Royal Central School of Speech and Drama and the Elsie Fogerty Scholarship. It has also been made possible by the support and generosity of peers, colleagues and course teams at Central who have facilitated opportunities for me to teach and share my research. Thank you to Dr Stephen Farrier and Dr Katharine Low who as supervisors have been critically generous, supportive beyond measure, and provided me with invaluable advice throughout my time at Central. Your support, tireless reading of my work, and robust and careful mentoring has taught me how to be a better teacher and I am indebted to you for the starting point you have given me in my research career. Great thanks is also due to my peers at Central. Particular thanks to Adelina Ong, Ben Buratta, Cathy Sloane, Sherrill Gow and Simon Dodi, whose generosity with time, conversations and wine have all improved this research beyond telling. It has been a pleasure to be alongside you and I look forward to working beside you all in our futures wherever we may find ourselves. Mzz Kimberley, Meth, Virgin Xtravaganzah, Sadie Sinner, Ruby Wednesday, Myra Dubois, Lilly Snatchdragon, LoUis CYfer, Michael Twaits, Fagulous, Herr and Victoria Sin: thank you for making work that moved to me write. In particular to Meth, who went so far as to marry me, I thank you for putting up with me, championing my writing and research, and continuing to make work that was exciting, challenging, joyous and inspiring to me. We have been put through the forge and come out stronger for it. The research would not have been possible without the vibrant, beautiful and diverse drag and queer performance work that I have been witness to in London. It would not have been possible without the people who run bars, the bar staff, and the programmers who help keep queer venues in London alive. It would not have been possible without the producers and promoters who make events happen. I am indebted to the queens, kings, legends, up-and-coming superstars, and performers of every type, and to the vibrant queer communities that surround them. Like glittery cockroaches, we remain. 5 Table of Contents TITLE PAGE………………….………………….………………….………………….…………………..1 DECLARATION………………….………………….………………….………………….………………2 AbSTRACT………………….………………….………………….………………….…………………….3 ACKNOWLEDGEMENTS………………….………………….………………….…………………….5 TAbLE OF CONTENTS………………….………………….………………….………………….…….6 TAbLE OF FIGURES………………….………………….………………….………………….………..9 INTRODUCTION………………….………………….………………….………………….…………..10 Methodology………………………………………………………………………………….24 Conclusions………………….………………….………………….…………………………28 Navigating the Thesis………………….………………….………………….………….29 CHAPTER ONE: QUEER bACKGROUNDS………………….………………….………………31 Introduction………………….………………….………………….………………………..31 Contexts………………….………………….………………….………………………………33 The Rest Is Drag………………….………………….………………….………..…………39 Queer Communities………………………….………………….……………..…………49 Queer Theories…………………….………………….………………….………..……….68 Conclusions………………….………………….………………….……………..………….82 Chapter breakdown………………….………………….…………………..……………83 METHODOLOGY: A QUEER SIDE-EYE………………………………………….……..……….87 Introduction: Developing My Side-Eye……………………….………..………..87 Not Looking Straight…………………….………………….………………….…………93 Orientations, Positions Peripheries…………….……………………….…………96 Queering Knowledge, or Knowing Queerly………………….…………….….100 Side-Eyes, backwards and Side-ways Glances……………………………....102 Ethnography………………….………………….………………….……….……………..110 (Queer) Autoethnography………………….………………….……….…………….115 Me in the Research………………………………………………………….……………120 Conclusions………………….………………….………………….…………….………….122 6 A Note On Ethics………….…………….………………….…………………….………126 CHAPTER TWO: QUEER TIMES………………….………………….………………….……...132 Introduction………………….………………….………………….……………………..132 Despite, In Spite Of, To Spite………………….………………….………………..136 Mzz Kimberley………………….………………….………………….…………….......147 Meth………………….………………….………………….…………………………………157 Virgin Xtravaganzah………………….………………….………………….………....167 Conclusions………………….………………….………………….…………………......179 CHATPER THREE: QUEER VENUES………………….………………….…………………….183 Introduction………………….………………….………………….………………………183 Oh, Good. Let’s Talk About Money………………….……………………….….185 Neoliberalism and Gentrification………………….……………………………..190 Queer Venues Closing and Opening…………………………………………....195 Sadie Sinner, and The Cocoa butter Club………………….………………….201 Ruby Wednesday………………….………………….………………….………………212 Myra Dubois………………….………………….………………….……………………..223 Conclusions………………….………………….………………….………………………234 CHAPTER FOUR: QUEER bODIES………………….………………….………………….…..236 Introduction………………….………………….………………….………………….....236 Killjoy Drag………………….………………….………………….………………..........241 Lilly Snatchdragon………………….………………….………………….….………...254 LoUis CYfer………………….………………….………………….……………….........264 Michael Twaits………………….………………….………………….………………...278 Conclusions………………….………………….………………….…………….….......284 CHAPTER FIVE: QUEER POLITICS……………….….………………….…………….…….….287 Introduction………………….………………….………………….…………….….......287 Queer Failure………………….………………….………………….…………….….....291 Queer Silliness………………….………………….………………….………….……...298 Fagulous………………….………………….………………….……………….............306 7 Herr………………….………………….………………….………………....................320 Victoria Sin………………….………………….………………….………………........332 Conclusions………………….………………….………………….……………….......342 CONCLUSION………………….………………….………………….………………................344 Queer Side-Eye ………………….………………….…………….....………………..348 Drag Performance and Queer Communities…………………..............349 bIBLIOGRAPHY...........................................................................................355 8 Table of Figures Figure 1: Mzz Kimberley at Her Upstairs, 2018. Image: FDPhoto Figure 2: Meth at Her Upstairs, 2017. Image: FDPhoto Figure 3: Virgin Xtravaganzah bloc bar, 2016. Image: AbsolutQueer Photography Figure 4: Sadie Sinner at The Cocoa butter Club at Her Upstairs, 2018: Image: AbsolutQueer Photography Figure 5: Ruby Wednesday at Her Upstairs, 2017. Image: AbsolutQueer Photography Figure 6: Myra Dubois at Her Upstairs, 2018. Image: FDPhoto Figure 7: Lilly Snatchdragon at LADS at Her Upstairs, 2018. Image: AbsolutQueer Photography Figure 8: LoUis CYfer as King Rat in a Pantomime at Her Upstairs, 2018. Image: FDPhoto Figure 9: Michael Twaits at the RVT, 2015. Image: AbsolutQueer Photography Figure 10: Fagulous as Liza
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