Bloolips were a theatre troupe formed in London in 1977 by Bette Bourne. They created funny, camp shows with titles such as Lust in Space, Slung Back & Strapless and Get Hur. The brochure by Paul Shaw that accompanies the exhibition, states that “The drag was known at the time as radical drag, in Bloolips case it meant no female padding or impersonation”.

Their leader Bette Bourne was building a successful career in theatre with West End shows and TV in the early 70’s when he had an epiphany after a performance when he was told “We are not really seeing anything of you in it”. Bette promptly joined the Gay Liberation Front and ran away with the circus – or rather went on tour to New York with out-gay theatre group ‘Hot Peaches’  (which Marsha P Johnson was a also a member of) forming Bloolips on his return.

 

The rest, as they say is a genre defying, cultural milestone that would help shape the gay live performance scene in ways that are still being referenced today by tribes such as Sink the Pink, The Glory and the wider ‘alt-drag’ scene of east London.

A new Bloolips Retrospective had only had a short run, but the venue is the tiny Platform Gallery in Southwark. It is entirely well suited for this exhibition as it was incredibly warm and welcoming on Queerguru’s arrival with various members of the troupe (who it must be said are quite elderly now) sitting around chatting and laughing. Its extraordinary to see the posters with hand drawn artwork and handwritten venue details. They are clearly a labour of love along with the hilarious and extraordinary costumes – typical of which (and dominating the room) is the enormous skirt of oversized paniers adorned with red scarves and bracelets with matching platform shoes in red and silver tinsel. Its astonishing to think that “safety pins were our style…no-one in the show knew how to use a sewing machine”.

Bloolips lasted for around 20 years, and forged a reputation in Europe, USA and Canada. Describing their appeal, Heathcote Williams in the International Times in 1978 said they were “juicy, jokey and joyous”. Many of the group brought a formal training in dance/theatre/music to their work which underpinned an anarchic and what we would now call a ‘hot mess’ style of performance.

One theory about their New York success was down to being an antidote to the razor-sharp comedy of the time (such as Joan Rivers). They were more the ‘Dads Army’ of comedy where the audience were ahead of the performers at every turn – a welcome change! As Bette said before a show with an audience with a reputation for being difficult “Now remember girls – end of the pier – loud and cheap”.

 

 

 

 

 

 

REVIEW : JONNY WARD

Jonny Ward, Queerguru Contributing Editor is a drama graduate but has worked backstage for many years at venues such as The Royal Albert Hall, The 02, Southbank Centre and is currently at The National Theatre. He lives in Hoxton, London and is delighted to check out the latest, the hottest and the downright dodgy in queer culture for Queerguru. (P.S. He is currently single)  @JonnyWard360