‘The end of Sydney drag is nigh’ chant the doomsayers. But, says author Carol Langley, nothing could be further from the truth. 

The most successful industries are those able to evolve and adapt and Sydney drag has proved itself adept at doing just that, both historically and today.

The traditional pub or club show is a cornerstone of the industry and drag queens such as Minnie Cooper have clearly put their own generational stamp on a very entertaining format. It is undeniable however that the drag industry has seen turbulent years and the closure of some venues and reduced investment by others has been extremely difficult for drag performers. This has however driven many to take their art in new directions, and in doing so, to redefine what constitutes a drag show.

 Be it Claire de Lune’s ‘Grand Dinners’ or Courtney Act’s sassy cabarets or Kitty Glitter as DJ or Dallas Dellaforce’s performance art or those in high demand for their hosting skills, drag takes on new shapes to suit a changed environment.

Significantly, we are also seeing drag starting to be reinstated in venues which had gone on to trial other kinds of attractions. However, we mustn’t stop yearning and striving for what could be. Imagine for instance, what could be achieved by marrying a drag queen’s creative brilliance with more workable budgets. Or by closing ranks and building on the camaraderie and support that already exists within Sydney drag.

A healthy industry is one that nurtures new talent, provides a career path for existing talent, and arms its members with skills and experiences should they wish to test the waters outside that industry.
Cynics claim that shows which draw mainly on unpaid novices are merely inexpensive ways of staging entertainment. However, ‘Polly’s Follies’ and the many competitions provide an invaluable platform for a newcomer to learn and develop – and hopefully be discovered.

In 2008 and 2009 respectively, Portia Turbo and Mitzi Macintosh celebrate 20 years of continuous drag performance. Twenty successful years in any industry is an amazing achievement, and drag – competitive and highly political – is a tough one. However, a number of drag queens still earn a living solely through drag and that’s very impressive in any field of the arts

 Many drag queens have gone on to forge careers of note in other industries both in Australia and overseas, testimony to the fact that Sydney drag provides the opportunity to develop valued, transferable skills.

Drag has always had its critics – and often from within the gay community. It’s important to bear in mind that today’s anti-drag letter or blog comment – no matter how vitriolic – is simply part of that cycle rather than an indicator of an ominous new trend

In academia, drag is considered an important part of the performing arts. Earlier this year, I gave a two hour lecture on Sydney Drag Performance to 125 students at the University of NSW, a session at which Maxi Shield and Verushka Darling generously offered to perform. An overwhelming number of the students had never seen a drag show before, and watching Maxi and Verushka so completely bewitch potential members of a whole new generation of punters was a most telling experience.

Carol Langley is the author of Beneath the Sequined Surface: An Insight into Sydney Drag.

 

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