From Publishers Weekly
In 2002, David Weissman's and Bill Weber's documentary
The Cockettes brought the eponymous 1970s San Francisco glitter-rock drag theatrical troupe back into the spotlight. In this colorful account, Tent, one of the ensemble's few "real women," relives the glory days. Fleeing Detroit for San Francisco in 1969, Tent found some kindred souls, most of them drug-addled drag queens and all of them young and ambitious. The Cockettes were born soon after and performed in midnight musical extravaganzas at the Palace, a seedy Chinatown movie theater. Tent locates the Cockettes' origins in show biz and the avant-garde; one pioneering Cockette, Hibiscus (né George Harris Jr.), came from a family with deep roots in New York theater; another, Link Martin, had been a protégé of poet Helen Adam and the lover of Samuel R. Delany. In the background lurk the East Coast shadows of Andy Warhol's Factory and Charles Ludlam's Theater of the Ridiculous. In their prime, the Cockettes brought a masculinist energy to drag theater (they speckled their beards with glitter) and produced two dozen vaudeville pageants and several films, but drugs, internal rivalry and a New York performance debacle ended the Cockettes' reign in the fall of 1972. With earthy humor, Tent deftly juggles a huge cast of characters while providing a nostalgic trip through San Francisco's gender-bending heyday.
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From Booklist
Although the Cockettes gave their last public performance in 1972, interest in the zany theatrical troupe was reawakened following the appearance of David Weissman and Bill Weber's documentary film
The Cockettes (2002).Back in the day, an appreciative column by Rex Reed led to the San Francisco-based gender-bending and LSD-fueled act's playing New York, where many in an audience studded by the likes of John Lennon, Anthony Perkins, and Angela Lansbury walked out in disgust or frustration. Lansbury leaving an avant-garde performance was no kiss of death, of course, but productions like
Tinsel Tarts in a Hot Coma were not instantly accessible, let alone entertaining, to audiences beyond the Cockettes' zany Bay-area home turf. Though the company lasted little more than two years, its outrageous performances and perspectives provide a book's worth of entertaining reminiscence for founding member Tent. Valuable as a cultural artifact, Tent's lighthearted chronicle also reminds us of what radical sixties-era theater was really like before big-budget behemoths like
Hair and
Oh! Calcutta adulterated revolutionary brio into bankable BO.
Mike TribbyCopyright © American Library Association. All rights reserved
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