Sparkle motion

Paul Festa marries drag and ballet in The Glitter Emergency

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Paul Festa (center, with Martyn Garside and Jaime Garcia Castilla) calls the shots and wears shoes to die for
PHOTO BY DANIEL NICOLETTA

arts@sfbg.com

FILM The wind blowing through the California Palace of the Legion of Honor courtyard would chill ordinary mortals to the bone on this Monday morning in early May. The museum is locked tight but the organ music that keeps wafting through its majestic outdoor columns seems oddly appropriate to the cavorting of two very slender, bare-chested young males and the object of their teasing attention, a spectacularly adorned ballerina. San Francisco Ballet dancers Jaime Garcia Castilla and Martyn Garside, and Trannyshack favorite Matthew Simmons, a.k.a. Peggy L'Eggs, apparently don't mind a bit of physical hardship in the service of dance. They are the stars of Paul Festa's new film, The Glitter Emergency.

Commissioned by ODC Theater, Glitter is the centerpiece of Festa's full-length theater work, The Violin Show which will premiere in fall 2011. Right now on this gray day, the trio — with SFB dancer Myles Thatcher acting as choreographer — is dancing to music that only Festa hears.

He has had the score, Tchaikovsky's Violin Concerto in D Major, inside his head every since he first heard it as a teenager. Planning a career as a concert violinist, he started to play it at 15. "It's music I always thought should be a ballet," he explains in a phone interview from his home in San Francisco. To his ears it sounded like leftovers of some ballet music. Considering that the Concerto was written in 1878, one year after Swan Lake, that is not a surprise.

Growing up gay in the 1980s when there was a "huge closet door" in the way of role models, Festa was always latching on to historical figures who might have been or were rumored to be gay. So the Tchaikovsky concerto was a natural match. He remembers the first movement, in particular as "so extremely joyous, so over the top, so excessively pushing boundaries" that to him it overflowed into camp.

Drawing on his experience performing at the Trannyshack, he decided to perform at least part of the score in drag, pretending to lip-synch the music while actually playing it live. He tried it a few times but it didn't work. For one thing, Festa remembers, "it's very difficult to act and play the violin at the same time." But he also found that, though he could make fun of something that he also deeply loves -- an essential ingredient to contemporary drag -- he himself could not physically embody that experience. "What I needed," he explained, "was a drag queen."

He found her in Peggy L'Eggs; a few years ago, he had accompanied her in a one-legged, roller-skating rendition of Fokine's Dying Swan. She became Peg-Leg Ballerina, Glitter's Cinderella who desperately wants to become a dancer but whose dream seems unrealizable because of a substantial physical handicap. Two evil stepsisters (Rumi Missabu of the Cockettes and Eric Glaser) hold the poor thing captive until the arrival of superhero Stringendo (Festa on live violin) and his two pixie assistants.

It's not by chance that Festa went into the world of ballet for this parable about hope and transformation. Ballet has long resonated in queer culture, probably in part because of its presentation of an "unnatural," aestheticized, and idealized body — female and male. In many ways ballet is an absurd art. It shouldn't be possible. Additionally, it embraces giving pleasure as an end in itself. In some eyes, this makes the art intellectually suspect, unlike modern dance, for instance, which supposedly deals with weightier, more substantial issues regarding the human condition. But for those outside accepted norms of being, ballet can be welcoming.

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