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Popular Culture Review
Transgender Cabarets in Two Cities
To further understand how cultural explanations and interpretations
influence the popular presentation of transgenderism, we sought out comparable
venues located in two very different cultures, Las Vegas and Bangkok. Both
cities are similar in that they are world-renowned tourist destinations and have a
history of established female impersonation performances, but they are far apart
in terms of acceptance of transgenderism.
In Las Vegas, “La Cage” is the premier impersonation show, especially
after the closing of “Boylesque” in 2002. “La Cage” has been the marquee
attraction at -the Riviera Hotel and Casino for more than 15 years. It is very
popular, with performances selling out regularly. Similar to the 801 Cabaret, the
format of “La Cage” features actors in drag impersonating female celebrity
vocalists and lip-syncing their popular songs. The production is hosted by Frank
Marino, a self-identified gay man, who portrays comedian Joan Rivers in a
procession of evening gowns that are designed by fashion houses such as
Armani and Christian Dior (Marino, Marks, and Marks, 1997). Frank Marino is
the indisputable star, and all the other acts revolve around his monologues and
dazzling couture. “La Cage,” however, is not an all-male revue. Five female
backup dancers are used to support the performances. There is minimal
interaction with the audience and no audience members are brought onstage.
The crowd at “La Cage” is made up primarily of middle-aged and elderly
heterosexual tourist couples. The three categories of performances found by
Rupp and Taylor (2003) at the 801 Cabaret are all evident at “La Cage.” Some
performers embrace traditional images of femininity and heterosexuality and
convincingly portray celebrities such as Liza Minnelli, Judy Garland, Tina
Turner, Reba McEntire, and Diana Ross. Other performers mock or reject
traditional images of femininity and heterosexuality. For example, a large and
beefy performer gives outrageous, overblown portrayals of Madonna (with
torpedo breasts) and Tammy Wynette (mimicked as Spraynette). Another
performer provides more subtle, but equally hilarious, portrayals of Cher and
Celine Dion.
The third type of performances noted by Rupp and Taylor were those
meant to dramatize “onmisexuality” (2003, 126) and to make a statement on the
foolishness of conventional gender labels. There were two such performances in
“La Cage.” In the first, a performer portrays Michael Jackson. While Jackson in
his own right is gender-bending, die performance is made more convoluted
when the “La Cage” dancers accompany his song “Beat It.” The five young
women who make up the backup dancers dress in men’s street clothing
including black leather jackets. In effect, the act involves a male performer
portraying an androgynous male vocalist (Jackson), supported by a cast of
females (h*essed as males.
The second instance of omnisexuality is in the last act of the show.
Interestingly, this is the same concluding act used at the 801 Cabaret. In this