Charles Busch and Theatre-in-Limbo.
Item
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Title
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Charles Busch and Theatre-in-Limbo.
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Identifier
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AAI9405566
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identifier
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9405566
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Creator
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Niles, Richard.
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Contributor
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Adviser: Judith Milhous
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Date
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1993
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Language
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English
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Publisher
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City University of New York.
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Subject
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Theater | Biography
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Abstract
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Between 1984 and 1991, Theatre-in-Limbo presented a series of genre parodies which introduced drag performance to a growing number of mainstream New York audiences. This study is an historical overview of Charles Busch, actor/playwright, and the company for which he wrote. After an examination of Busch's first plays in Chicago (1975-1977), and his career as a solo performer (1978-1984), the study investigates the company's origins during the East Village renaissance of the mid-80s. Limbo's subsequent achievements have been placed in the context of contemporary gender theory, camp, and the gay sensibility, in order to aid in understanding the company's durability, the phenomenon of its cult audience, its production choices, and its manner of performance.;Limbo's productions (Vampire Lesbians of Sodom, Theodora: She-Bitch of Byzantium, Times Square Angel, Sleeping Beauty, or Coma, Pardon My Inquisition, Gidget Goes Psychotic/Psycho Beach Party, The Lady in Question, and Red Scare on Sunset) are shown to share several traits: camp treatment of material; cheap theatrics; metatheatrical conceits; and gender play through the use of drag performance. These features are addressed as each play is explored. In addition, the contributions of various other members are noted: Kenneth Elliott as director/producer; Brian Whitehill (sets), Vivien Leone (lights) and the various other designers; and the company of actors.;Although Busch and his company introduced drag to a wider audience by crossing over into major commercial theatre, a significant number of theatre-goers still resisted the act of drag and the camp sensibility, causing the progressively shorter runs which Limbo experienced. The last three film genre parodies the company produced are shown to reveal a growing ability to exploit the potential of drag beyond mere entertainment, while the most recent production, Red Scare on Sunset, which the author observed throughout its rehearsal and performance period, is shown to contain the company's most innovative performance and design elements.
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Type
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dissertation
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Source
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PQT Legacy CUNY.xlsx
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degree
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Ph.D.
