Christopher Speaking On:
I’d Like You to Know
Identity and Awareness
Mentoring and Support
Spirituality and Religion
Spokane in Perspective
You’ve seen Kevan Gardner do his work [performing in drag], haven’t you? I mean, he may not be that pretty, but my God! He’s wonderful! Last year at the Pride awards he did a musical number from . . . Oh, what’s the name of the musical? . . . You find some reference to “gay” in the name of every state. “Oklahomo.” There’s some reference to gay in every state in this song. He sang it, and he’s just a professional from the word “go.” [He has a] theater background. You see that! He doesn’t have to be pretty. I see the work, and the talent, and the performance, and I am like, “Yeah! That’s what we’re looking for!” Yeah, he comes off as this assured [performer]. And yet the drag queens just come off as mean, and nasty, and dirty here. Not all of them, but some of them.
I get a kick out of Nova Kaine. I really do. He’s a classic. He’s what many of the drag queens used to be like, when they really knew their material. He’s not using his own voice—but when they knew their material, they had a style, and they did it through the whole thing. And he doesn’t really does the choreography and the blocking the way a lot of them used to. [The older drag queens] were musical lovers. They were choreographed. They were blocked.
Source: Interview with Maureen Nickerson, 8 August 2007; audio held in the Museum of Arts and Culture; transcribed and edited by Laura S. Hodgman.