Thursday, Jul. 09, 2009
Life is a drag for Local Entertainers
Kristina DeeVine - photo by Scott Smallin, Weekly Surge.
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It is late on a Monday night and the crowd is thick at a local nightclub. Backstage, a group of performers gets ready – a last minute touch of lipstick, a brush of glitter on eyelids and cheekbones, push-up bra making the most of the gifts their mamas gave them. One by one, they’ll sing and dance as a captivated audience cheers in appreciation.
Above the smoke and lights, the emcee announces the next performer to take the stage. “Ladies and Gentlemen, Miss Stephanie O’Brien!” O’Brien is poised in a billowing black and white ball gown, blonde hair swept into an up-do, her earlobes and neck adorned with jewels. She extends her arms, and perched on one rhinestone bejeweled wrist is a stuffed animal, a white cockatiel, a puppet to be more precise. Singing to the strains of Yanni’s haunting ballad “Until the Last Moment,” they sing a duet, taking turns singing in both English and Spanish. The crowd stares transfixed at the illusion, at the skill of the puppeteer, then erupts in cheers and applause at the end of the song.
Though the act is Vegas-worthy, this is Myrtle Beach. The club is Time-Out!, downtown Myrtle Beach’s legendary gay nightclub. And Miss O’Brien, the blonde stunner with the cinched waist and heaving bosom? She’s a man. It’s the Monday night KnockDown DragOut! competition at Time Out!, and, as the saying goes, may the best man win.
Female impersonation is nothing new; the idea of men in girly adornments has entertained us for decades, if not centuries. Performed during the 16th and 17th centuries, at a time when women where forbidden to take the stage, the great female leads of Shakespearean dramas, comedies and tragedies where all played by men. Our grandparents got a kick out of Milton Berle dressed in drag, and FBI chief J. Edgar Hoover was rumored to love the feel of pantyhose and the way that high heels made his legs look. From Tony Curtis and Jack Lemmon dressing in drag to hide from mobsters while getting close to Marilyn Monroe in 1959’s “Some Like It Hot” to Robin Williams’ 1993 portrayal of a father desperate to do anything to see his kids in “Mrs. Doubtfire,” Hollywood has gotten laughs out of putting men in women’s clothing. At the other end of the spectrum, England gave us that “sweet transvestite” Dr. Frank N. Furter (played with unabashed sensuality by Tim Curry) from the 1975 cult classic “Rocky Horror Picture Show,” strutting his sexual ambiguity in stiletto heels and black lace bustier. Beyond the sight gag of men in dresses and heels, female illusionists often bring a touching subtlety to their performance. Tyler Perry’s maternal Madea may be over the top, but we all know someone like her, and below the surface she has more to offer than just laughs.
GENDER BENDERS
Our sex refers to the biological – hormones, chromosomes, genitalia and reproductive systems, the things that distinguish men and women from each other in every corner of the world. According to the American Psychological Association, gender is about how people act and interact with others, as well as how they view themselves – the typical behaviors associated with boys and girls. It’s hard today to imagine a time when women were forbidden to wear pants (too mannish), or when a man would be ridiculed for showing any emotion, much less crying (S.C. Gov. Mark Sanford makes us yearn for those days). Roles of gender are always redefining themselves and they change depending on where you are – kilts are common ceremonial wear in Scotland, members of Parliament don frilly wigs in England.
Transgendered is an umbrella term that refers to individuals who tend to identify themselves and express themselves differently than the associated way of their culture. Transsexual are people who actually live or wish to live as the opposite sex, and includes those transitioning from male to female with the help of hormonal drugs and surgery. Cross-dressers and transvestites simply enjoy wearing the clothing of the opposite sex for comfort, enjoyment or sexual arousal, and many are them are straight. Then there are drag queens and female illusionists, many of whom don’t consider themselves transgendered at all. They are perfectly happy being men – they just love performing as women.
WHAT’S IN A NAME?
The man in the polo shirt and jeans is tall and slender, wholesome and good-looking in a natural, all-American way. His birth name is Carlos Mangum, but he rarely uses that name anymore, and most people refer to him as her. “When people ask me my name, I say ‘Morgan Richards’. It’s a male/female name, so it works.” As a female impersonator, Richards is the beautiful and talented emcee for Time-Out!s’ KnockDown DragOut! Contest, as contestants vie each week to make it to the final rounds of competition. The champion will be crowned Monday. “I think it’s been great,” says Richards, a legend in her own right who has been performing in Myrtle Beach for the last six years. “We’ve been able to see a lot of new talent that the beach has to offer.” In addition to her role as emcee for the contest, Richards also performs shows at Rainbow House, around the corner from Time-Out! at 815 N. Kings Highway in Myrtle Beach, every Saturday night.
“With female impersonation, the whole transformations from looking like a dude to being a beautiful woman – people appreciate that, the illusion.” As a female impersonator, Richards doesn’t favor the elaborate costumes or gimmicks that some drag artists employ. Dressed to take the stage with a flowing mane of jet black hair and a burgundy one-shoulder evening dress cut short enough to show off legs that go on for days, Richards is stunning as a woman. Of her desire to perform in drag, she says, “Just like me being a gay male, I knew at an early age.” As a young boy, Richards dreamed of singing onstage, and was inspired by another young man several years older who was getting national attention. “I didn’t wish I was Michael Jackson, but I wanted to be a performer, the same as he was. He’s the reason I am an entertainer.” Richards remembers listening to the 1972 Jackson song “Ben,” about a lonely boy and his one special friend. (In the case of the 1972 flick by the same name, that friend was, sadly, a killer rat.) As for the future pop icon’s emerging persona, Richards says, “At the time, he was this shy little kid, and I was, too. I could relate to him.” Diana Ross was another early inspiration, and Richards enjoys performing many of Ross’ songs at her shows. “I love anything Diana Ross, anything from Whitney Houston. When I hear that music and I hit that stage, I’m lost in it, and it’s a wonderful feeling.” Richards has won her share of contests and pageants during the 14 years she’s been a female impersonator. “I’ve won quite a few titles,” she says, “but I don’t take things like that to heart. I just love to entertain.”
For Richards, performing in drag is exhilarating, but it is also work. “When you’re out in the public eye you have to be serious and very professional, really give 110 percent,” says Richards. Though in drag Richards seems larger than life, she says of performers like her, “Under all the makeup, we’re real, down- to-earth people. This is our job and what we love to do – entertain.”
HE SAID, SHE SAID
“Hell-LER!” Chaz Stubbs greets his friends, in imitation of Tyler Perry’s maddening, yet endearing Madea. Stubbs and his boyfriend live a quiet life, enjoying cookouts on the terrace of their Myrtle Beach townhouse and hanging out at the ocean with friends. Stubbs is vivacious and talks animatedly about his “other half,” Stephanie O’Brien. “I had a renowned drag entertainer who loved my bone structure and decided to play life-sized Barbie doll with me,” says Stubbs, “and when they turned me around and showed me myself in the mirror, that spawned Stephanie O’Brien and she’s been hell on heels ever since.”
As a child, he was greatly influenced by his mother’s sense of style and femininity. “I used to love to sit and watch her put her makeup on, the way she fluffed her skirt, and how delicate she was about making sure every last hair was in place,” he says. “I was a boy of nine and it intrigued me, to where I wanted to know what it felt like, myself.” With his mother’s support and encouragement, he studied theatre, and began learning about hair design and makeup artistry, as well as the art of puppetry. As for his alter ego, O’Brien began performing in drag at small venues in North Carolina and Virginia before moving to Myrtle Beach eight years ago. She was approached to fill in at Time-Out! on a night when the club was short a performer, and soon thereafter her puppetry landed her a gig with The Theatre of The Republic. When Stubbs heard The Palace Theatre was looking for performers, he auditioned. “I auditioned with my puppet, but as Chaz. The judges looked at me and said there is something about you, and I said if I get called back, I’ll have something ready for you.” They called, and Stubbs went back dressed as Stephanie. “I did ‘Beauty and the Beast,’ with my white cockatiel. They hired me, and that performance ended up being one of the highlights of my career.” Though the Palace gig was billed as Chaz Stubbs, it was Stephanie O’Brien that they got. In her repertoire, O’Brien impersonatesBarbra Streisand, Whitney Houston and Reba McEntire, and in addition to portraying Belle from “Beauty and The Beast,” she’s also portrayed Pocahontas onstage. Her skill as a puppeteer combined with the art of female impersonation leaves audiences captivated. O’Brien explains, “I incorporate magic – it’s an illusion, to emulate a female, while doing a duet with a puppet.”
O’Brien entered Time-Out!’s KnockDown DragOut contest for fun months ago, winning first place – you have to enter and win three times to place in the finals. On her second try, she performed with the white cockatiel and won wild applause from her many fans, but only second place in the contest. She’s spent time since mentoring some young hopefuls as they try to make a name for themselves in the world of female impersonation. Grateful for the opportunities to perform onstage at both Time-Out! and Rainbow House, O’Brien appreciates the contests and pageants local clubs hold. “It’s a really fun experience,” she says, “and it gives newcomers and those up-and-coming the venue to make a name for themselves as a drag entertainer.”
THE TRANSFORMATION
So how do these men make the transition from rugged and masculine to femme fatale, so well put together they would put a supermodel to shame? First, there is the wardrobe. “Every time I move, it’s like moving two people,” explains Stubbs, talking about the vast wardrobe he’s accumulated performing as Stephanie O’Brien. “You have my clothes and her clothes, and it seems that bitch takes up every closet in the house!” There are ball gowns, sequined cocktail dresses, velvet capes and feather boas.
Artist Adrian L. Acosta transforms himself into Amnesia Sparkles for the 2nd half of the photo shoot part of "1/2 Man, 1/2 Woman" where he's photographed himself as a man and as a woman.
A glue gun and a handful of rhinestones from Michaels craft store transform the ordinary to extraordinary: Beads, baubles, bangles, stitched and sewn onto hems and sleeves, trimming necklines and tucked into the hair. Stiletto heels and satin pumps dyed to match the dress, maybe the addition of a wrap or white gloves to make the outfit complete. And under it all? Web sites suchas www.browneyedbeautyqueen.com and www.drag-queen.com offer a variety of products that you can’t find at the local department store. They have bras that squeeze the pectorals to give cleavage while molded bras give form, and thong underwear with a discreet secret compartment to tuck and hide the male appendage, also known as “hiding the candy.” Waist cinchers, Spanx, stockings and garters – all help further the illusion. Brows are plucked; face, legs and body are waxed. Crème concealers and powders are layered to cover stubble and to create the canvas for shadows, blushers, highlighters. Lips are lined, plumped and glossed, and fingernails are long and lacquered to a shine. With the look comes the affectation – the higher, softer voice, the swaying hips – dressed as women, the illusion is convincing. “If I look like a woman, I’m going to emulate a woman, to the full extent,” explains O’Brien. “Until the lashes come off – you remain a lady.”
IN THE THROES OF COMPETITION
How did drag, as a performance art, become such an integral part of gay culture?
“The art of female impersonation began in the gay community many years ago, with impersonations of entertainers such as Judy Garland and Liza Minnelli,” says Tim McGhee, Executive Director for Theatre of the Republic in Conway. TOR recently wrapped its season with a production of “Victor/Victoria” a musical about a female pretending to be a man who gets a job as a female impersonator. “Female impersonation is a finely developed craft,” says McGhee. “The make-up itself, the choreography, I’ve seen firsthand the work that goes into it…” In addition to his work with TOR, McGhee is active in the gay community and, in particular, with the work of The Center Project, a non-profit organization located at 736 eighth Ave. N. in Myrtle Beach that provides support for the local GLBT (Gay, Lesbian, Bi-sexual and Transgendered) community. The Center Project was the sponsor for the Mr. and Miss Pride pageant held July 3 at Time-Out!, the kickoff for a weekend of festivities celebrated in honor of S.C. Gay Pride ’09. As emcee of the pageant, McGhee worked the packed house, reminding everyone of why they were there. “You’re not here to get drunk in a bar, you’re here to be who you are!” He invited several people onstage: a lesbian, a straight woman (“Can I have a straight person that works at Huddle House please?”), a bisexual, a gay man, a transgendered person. He had the bartender fix up a round of shots for the group he’d assembled, and invited them, along with the crowd, to toast – to diversity, to individuality, to acceptance. Then it was back to the pageant, where the contestants and the crowd waited to see who would win the title of Miss Pride 2009.
Entering pageants is a good way for a female impersonator to get the name recognition needed to secure bookings. Stephanie O’Brien worked for weeks getting Michele Montez ready for the Pride pageant. Waiting backstage at Time-Out! in an understated pink satin and tulle gown, Montez was nervous. After getting a last minute touch of eyeliner, her name was called, and she got votes of confidence from well wishers as she made her way to the stage – “Rock that, girl!” and “Let ‘em know you’re out to win!”
As Montez walked by, a buff young man in a black tank top says to a friend, “I want Dixie Crystals for my drag name – just like sugar, baby.”
Back by the dressing room, Kiki Merlot kept things moving. A veteran of pageants and the winner of many crowns, including Miss Red Ribbon 2008, Merlot is a beloved figure on the local drag circuit, and is the inspiration for many area performers. Merlot has known and mentored many drag artists throughout her career, and points out that few are able to make female impersonation a fulltime job. Popular drag performer RuPaul, who, in addition to releasing a number of CDs through the years, hosted a talk show on VH1 before hosting the reality TV show “RuPaul’s Drag Race,” is the exception, not the rule. “Most performers have a career (outside of drag), and many are professional people,” says Merlot. “Contests like this provide a place for performers to display their talents, and to speak about issues important to them,” Merlot says. Merlot has performed in drag since 1998, when a diagnosis of cancer emboldened him to do something he had only dreamt about. He entered his first contest and won it, and has been stealing hearts onstage and off ever since. Of his decision to enter the pageant and go public with the female persona, Merlot says, “I never wanted to be a should-a-would-a kind of person.”
As the time drew near to announce the winner, the contestants took the stage and held hands as they waited to see who would be crowned Miss Pride 2009. Miss Pride 2008, the inimitable Imani Tate, stood strikingly beautiful in her crown and a red spaghetti strap gown, the bottom flounced in the rainbow colors that represent gay pride. Beside Tate was the reigning Miss Time-Out!, Kristina DeeVine, a vision in a high-necked Kelly-green gown, tiara perched on a halo of blonde hair, her stature and features reminiscent of a young Heather Locklear. The emcee announced the winner is local performer, Dominique Deveraux. Deveraux bowed her head to receive the tiara, and then raised grateful eyes to the judges and the audience. On the stage, runner-up Jessica Diamond stood beaming with Tate and DeeVine as Deveraux circled the stage and acknowledged the adoring public that she will represent at activities for the next year as Miss Pride 2009. “A moment like this, some people wait a lifetime, for a moment like this…” came the singing voice of Kelly Clarkson through the speakers, and the illusion belied the reality – this is no mere beauty contest. This is about being who you want to be, loving what you do, and being the best you can be at it.
Another group of finalists will take the stage Monday at Time-Out!, and the winner of the KnockDown DragOut! competition will be announced. However, in the world of female impersonation, there are no losers. Developing talent, stage presence, hair and makeup artistry, and the subtle nuances of the craft – as well as winning the respect of peers – is hard work, and like most jobs, you work your way up the ladder. On the way home from the contest, Michele Montez reflected on her night. She was tired, and her feet were sore – “I can walk comfortably in high heels, but dancing? Oh, no.” But she’s content. Like many in the GLBT community, Montez struggles with acceptance from family members as well as the general public, and is shy and tentative about her talents. The thrill of the applause, the satisfaction of doing something you’d always wanted to do and being appreciated for it – Montez is happy. Seated in the backseat of a friend’s car, Montez looked every stitch a lady – and a winner. “They liked me,” she says simply. “I don’t need to win a crown to know they liked me.”
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