Christine
Jorgensen Reveals:
A story of gender, identity and America's first transsexual
10
August 2005
What
does it mean to be a man/woman? The question of gender as biological imperative
or social construct is a perennial controversy. And it's one indirectly explored
in this presentation of the only ever interview with Christine Jorgensen,
America's first transsexual. Created and performed by New York lipsynch artist
Bradford Louryk, the show portrays a poised and prudent woman, who spoke openly,
voicing views that still feel very relevant.
A refined Jorgensen, clad in '50s chic, takes up the interview seat, while Mr. Russell (Rob Grace) questions from the crackling TV screen. Louryk mimes with fascinating precision. He realises her controlled gestures, elegantly crossing and uncrossing his legs and gently tugging his skirt, with an absorbing composure so clearly characteristic of the real Jorgensen. She speaks of gender, sexual identity and the pressure to conform as constructs of society. She speaks of the so-called "problems" they raise, as persistently suggested by the interviewer, as merely labels by society's attitudes. For America in the '50s, this was pretty damb radical. The disbelieving Mr. Russell represents the prejudices of a whole nation with his 'what did they do with the bits?' and 'what should we do about the problem of homosexuality?' questions and would be funny if he wasn't so shameful. His thinking doesn't feel that distant, which is why this performance is so engaging. It's a scary reminder that perhaps we haven't come so far after all.
A refined Jorgensen, clad in '50s chic, takes up the interview seat, while Mr. Russell (Rob Grace) questions from the crackling TV screen. Louryk mimes with fascinating precision. He realises her controlled gestures, elegantly crossing and uncrossing his legs and gently tugging his skirt, with an absorbing composure so clearly characteristic of the real Jorgensen. She speaks of gender, sexual identity and the pressure to conform as constructs of society. She speaks of the so-called "problems" they raise, as persistently suggested by the interviewer, as merely labels by society's attitudes. For America in the '50s, this was pretty damb radical. The disbelieving Mr. Russell represents the prejudices of a whole nation with his 'what did they do with the bits?' and 'what should we do about the problem of homosexuality?' questions and would be funny if he wasn't so shameful. His thinking doesn't feel that distant, which is why this performance is so engaging. It's a scary reminder that perhaps we haven't come so far after all.
- Claire Piela
