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Continued from page 23
One explanation comes from within, as
Wolfe explains: “The pressure and politi­
cization of the religious right— and I hear
this over and over— have made us want to
show that we’re just like everybody else.
point out that
the United
States is ahead
of Europe in
one aspect. “The
fact is, the artistic
directorship of an orchestra would have
never been offered to a woman in Europe,”
she says. (Also a concert violinist, Huggett
divides her time between London and Port­
land.)
“If we want to be treated as equals we
have to have the courage to be really out,”
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"If we want to be treated as |
equals we have to have the I
courage to be really out.
Jf
Most of the time
j
it's only when that j
[homophobic responp]
happens that I /
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Monica Huggett violinist and artistic director
But it’s not true. We
have a profoundly
different percep­
tion of the
world.”
But she
believes the trend
could be reversed.
“If there was a
demand, we might see a
esurgence of courses,” she says. “They
:xisted because people said, ‘This is impor-
ant!’ ”
O n the other hand, Wolfe suggests that
jueers have depoliticized as a means to gain
political power. But what is really gained?
Volfe believes that hy being out, “artists
isk, not just a drop in season subscribers or
inrollment, but they could lose their pro-
jrams and companies altogether.”
It’s disturbing to hear repeatedly that
jueer artists are on such shaky ground.
Monica Huggett, artistic director of the
5ortland Baroque Orchestra, relates what
rappened when she was featured on the
:over of Just Out three years ago: “The
Chairman of the Board was very upset. He
wished I had not done
that. The orchestra
was in the middle
of fund raising and
it was perceived
that it would hurt
the effort.”
However,
Huggett is quick to
rn, , 4 m
she states flatly.
“Most of the time
it’s only when that
{homophobic response)
happens that 1 am thrust into the battle.”
So, does Huggett also find herself visit­
ing the closet as she rises in her career? “My
girlfriend’s father is an actor with the Royal
Shakespeare Company here in London,"
she replies in a late night phone call. “And
a magazine recently outed Nigel
Hawthorne, who is also with the company.
Nigel was furious. I, however, do not
evade.”
W hat about in the straight press?
“No, not even then. I
mention my girl­
friend,” she says
fearlessly.
And what is
the intrinsic
connection
between being
queer and having
an artistic tempera­
ment? Why does there seem
to be a high percentage of gays and bisexu­
als in the arts? Is it because queers are
already living “outside the box”? Are they
more daring? Is it about perceiving the
world as mysterious, dangerous, furtive,
magical?
Huggett responds: “Art effects change.
The reason one is driven to be an artist is
Continued on Page 2 7
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