Hosted at Heldeke! by the EKA Queer Students’ Union (EKA Tudengite Kväärühing), the delightful drag show Gender Bender took the stage on 14 December. As someone who keeps a “social construct” jar for the frequent occasions I get mad about such things, I have been delighted by the drag (and, relatedly, burlesque) scene that I’m slowly becoming more familiar with here in Tallinn for the playful deconstruction of gender, sexuality, and indeed humanity.
The audience this evening was calm but buzzing, a glorious mix of age and gender presentation from elderlies on a night out to drag lifestylers to folks prepared in case a music video started filming.
The host this evening is Vilma Vaginosis, giving us an introductory set with well-planned props and what my notes suggest is, though I can’t recall the reason for, “mime drag”. More memorable, and therefore explainable, is the note that says “relatable puns”. With that introduction, we were off for a night of fascinating work, starting with Jimmy’s Powertools. Transitioning from leather nun to goth ballerina, their set was part burlesque, part ballet, and a solid dose of love for those among us of the hirsute persuasion (and/or appreciation!). Serious dance and drama were delivered with a rock-star grin, exploding any binaries one might wish to cling to.
Next up is Mesimagus, red-faced but shameless with a knockout performance something like burlesque in reverse as we watch the black-silk robe be traded for lavender boxing gear. Made of legs, dramatic eyes, and fantastic poses, Mesimagus made great use of levels and floorwork, even though visibility can be difficult due to the seating arrangements in the venue. An intense, deliberate performance that I quite enjoyed.
The last act before intermission was, I’ll say it now, probably my favourite of the evening (take note from past reviews that I’m a huge fan of weird, challenging, thought-provoking art). Miss Elsa washed onto the stage in layers of plastic and chains, backing audio disquieting and movement limited. This was drag as the marriage of performance art and costume, as Miss Elsa drove up the tension, fear, and anticipation of the audience through the tiniest trembling movements and contortions, a grotesque lip-syncing of electrical noises. It was otherworldly and apocalyptic, put me in mind of how much humanity’s destroyed the environment, and had me jotting a note that reads only “if Bjork”.
At intermission, I’m thinking about drag and expectations, and how the live experience differs from the cultural touchpoints we’ve become familiar with through recorded shows. A live show is an altogether different experience, when artists are performing for a present audience rather than future broadcast – a broadcast further intermediated by producers, editors, and others. The skill, style, and energy served by physical people making art in front of you feels more real than the enjoyable but chopped-up two-dimensional presentations of what is an incredibly diverse section of humanity. It’s possible I’m too in my head about this, but it makes sense that a show devised by students would be steeped in theory, or at least opportunities to explore theories related to gender and performance.
Vilma welcomes us back for the second half of the show by introducing Marla Burroughs, “the Princess Di of Estonian drag”, in delightful form as Mrs. Kohviveski from the late 70’s Estonian film Siin Me Oleme!. It is not the first occasion this evening I’ve enjoyed a well-crafted audio accompaniment – I do love when performers edit and mix their setpieces for best effect – but it is incredibly performed. Starting in costume as something between classic lady and leather mommy, as the set evolves we get to enjoy both humour and impeccable lip-syncing.
Molly Matrix was the penultimate performer, bringing a Ru Paul-ready, high-energy set full of athleticism, showcasing drops, splits, and bounces that had the audience gasping and cheering. Vogueing and hair-flipping, Molly owned the stage in heels and tights, delighting the crowd. The night wrapped up with a gorgeous performance by Anu the Drag Queen, which my notes suggest first as “tragic Lady Gaga” before correcting myself to “blonde Amy Winehouse”. Either way, an excellent way to end the evening.
I sincerely hope to see more EKA-organised drag, as well as other local groups’ efforts (see: House of Pedestrian who collaborate regularly with HUNGR). As ever, for more shows at Heldeke!, keep an eye on their calendar. What a great, strange, city we live in, that has such artists in it!
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