Queering the Orchestra: Classical Music in Drag

Last October, I went to a very queer night. A drag queen was putting on her comedy show, giving some shade, and revealing fabulous outfits. The music was perfect, I could dance to some of my favorite tunes by Lady Gaga, Madonna, Cindy Lauper, and Dolly Parton. There even was a small catwalk, and ballroom’s prizes were eventually given to the contestants. Wigs were flying, glitter was sprinkled, rainbow flags were raised. And yes, it was a classical music concert with an actual orchestra. Or better, it was American drag queen Thorgy Thor’s show with the Thorchestra, put on the stage of the Kitchener-Waterloo Symphony (ON), with resident musicians conducted by Daniel Bartholomew-Poyser. If you are passionate about classical music and are queer (or an ally, as me), you probably know the rarity of this kind of events in classical venues’ programs. And that is exactly why I am writing this, now. The reader will forgive me if I get a bit more personal this time, as my scholarly feelings (rather than reflections) are deeply entangled in my experience of the night.

As a music scholar, I often find myself discussing the musty, elitist, patriarchal, heterosexual, and very white environment of classical music. I cannot count how many times I have heard or participated in debates about the need to diversify classical music, at all levels of participation. While I welcome these debates enthusiastically, I am still quite cynical about the change that is actually happening in the classical music environment. As a listener and part of the audience – the only way I actively participate in classical music – I often find orchestras and opera houses’ programs repetitive, conservative, and rarely innovative (not to say problematic, see one of the latest settings of Verdi’s Aida with blackface on stage). In addition, the costs of classical performances or opera tickets still remain prohibitive, particularly for younger people and new generations, in a society where finding a (well-)paid job remains a privilege of few.

In such a dry landscape, Thorgy and the Thorchestra’s show has really been a breath of fresh air. The queer and the classical got together on stage, with evergreens from composers such as Bach, Mozart, Beethoven, and Rossini, interspersed with classical renditions of queer anthems such as “Born This Way,” “Vogue,” “Girls Just Wanna Have Fun,” and “I Will Always Love You.” But it was not just about good music and fun, it was also a learning experience. In fact, a few moments were dedicated to highlight the struggle of the queer community in Canada, with Bartholomew-Poyser recalling a few historical milestones for 2SLGBTQIA+ rights and the often-violent episodes that accompanied them, after which the orchestra played the Canadian anthem. Plus, the setlist included dedications to the women of the community, with K.D. Lang’s “Constant Craving,” Ethel Smyth’s “March of the Women,” and the recollection of an episode of discrimination against a few female friends enjoying themselves on a night out in Toronto while singing “I enjoy being a dyke.”

Here, I must give an honorable mention to Thorgy Thor, who (literally) dragged the show while at once giving space to others to perform their talents. Yes, the show has her name, but she is not its (only) shining star. Apart from sharing the spotlight with Bartholomew-Poyser and the orchestra – conducting it at times and also playing violin, viola, and cello – she brought on stage local young performers and dancers. With the name and worldwide fame she acquired after participating twice to the RuPaul’s Drag Race franchise, she is using her success to create a safe, queer space in the classical music environment, uniting both old and new generations of queers and allies with people outside of the community, as well as classical music aficionados with club kids. If you live in Toronto and want to experience queer classical music in first person, Thorgy will be playing with the Toronto Symphony Orchestra in June. Cover yourself in glitter and go participate to change!

Other cool, queer, and classical music projects in Canada: Jacob Edward Caine's Classical Queer, Stuart Beatch's He Opens: queer love songs for baritone and piano, and everything that Jeremy Dutcher does.