So So Gay
That’s the name of her show, you understand, not my review. In fact I haven’t seen her show, because despite the promise of a “preview” the assembled rag tag bunch of fans, press, people who lent her a shop window, were treated to a lecture/interview/rambling chat in the loft of the ever swanky The Hospital Club instead.
We are assured the show is a celebration of sex, freedom, comedy, politics, art and heartfelt monologues. But actually, we don’t have to take her word for it, because the show was born out of the New York downtown art scene and is now celebrating its 20th anniversary (or gay jubilee, Penny says, because 20 years is 60 in queer years). BDFH’s reputation precedes it: it arguably created the post-Weimar international burlesque scene, it’s been a hit in 25 cities, and featured guest performers including Jeff Buckley, Marianne Faithful and Quentin Crisp (who, along with Penny, was the subject of the film An Englishman in New York featuring John Hurt and Cynthia Nixon).
Penny says she climbed out of her bedroom window at 13 to join a world of queers, whores, stars and geniuses. By 20 she was one of the stars of Andy Warhol’s Factory, and now at age 62 is only just starting to feel like she’s a kid again. She’s as sweet as young child, innocently proclaiming truths that we are supposed to feel ashamed of as adults as she sits back in an oversized chair, legs swinging off the ground. She claims to be a Parrhesiast, having read a book by Foucault in Turkey, which means that she has the inescapable urge to tell the truth, no matter how much it hurts her.
The truth for Penny is that queer identity is everything, and yet the community should not be ghettoized. She says that a queer person is someone who has experienced isolation and persecution because of who they are, to such an extent that they cannot judge or persecute others for who they are. She argues that heterosexual people who campaign for gay rights are the new queers because of how ostracized that now makes them – and that we owe them a debt. She does however rail against traditional establishments such as marriage if they become just marketing campaigns for gay wedding cakes, rather than actual equality: such as in America where new gay marriage legislation will not entitle a partner to a passport.
Returning to the show, the team are very excited about the hundreds of erotic performers who have applied to be in Bitch! Dyke! Faghag! Whore! Wherever they go, they pick up locals to give a sexy show and represent/involve the audience. Penny recalls that this interactive method made a big splash when male dancers were introduced in 1992, and how at the time London was the only place that would talk about her show openly, and even print the name of it. The event was originally intended to be in Quentin Crisp’s old stomping ground of the West End, but has since changed to the Arcola Theatre in Dalston – and Penny is thrilled. Having visited Dalston the previous night, she is convinced that it’s a thriving hub of genuine creativity and individuality (not like Shoreditch and its “hipsters” she says with disgust). The less glamorous, but raw and exciting environs of the Arcola Tent promise to be the perfect setting for her vibrant show.
Penny Arcade, the legend, will also be touring with satellite events including a conversation about An Englishman in New York at the BFI, a stint with the infamous Duckie at the RVT, Latitude Festival and World Pride. If you’re not familiar with her work, but appreciate the likes of Duckie, David Hoyle and Madam Jojo’s then you really must take this opportunity while you can – she talks without breathing and there’s far too much for me to report here. She says she wants to make friends with everyone (and truly she tried to at this event, sitting and chatting with anyone). A performer with as much charisma, sweetness and verbosity as her should have no trouble in doing just that.
Bitch! Dyke! Faghag! Whore! runs at the Arcola Tent 27 June – 22 July 2012.
