-performance
self how he was able to create a project like
Genderfantasy at all.
“During the rehearsal, I started to think
about where I come from, and how it is that
I’m able to parade around in fucked-up wigs,
and messy but beautiful makeup,” recalls
Pepper. “How is it I came to be who I am?
That led me to really pay attention to my
influences and my inspirations, and the bulk
of those are dead queer artists.”
Throughout preparations for the perfor
mance, Pepper developed a keen apprecia
tion for the challenges of a project so much
bigger and more involved than his typical
solo or group work.
“Doing a project of this
size is difficult because not
only am I the creative direc
tor, choreographer and danc
er, and a collaborator with
the music and the makeup,
but I’m also the project man
ager,” explains Pepper. “It’s a
lot for one person to do.”
And it’s been an at-times
daunting journey. Pepper says
he’s faced significant bouts of
conceptual struggle as the
creation of the piece has un
folded. The organic nature of
the performance, and the
malleable notions derived
therein, compete with each other for both
visceral attention and a tangible takeaway.
But Pepper says he’s more interested in
challenging the audience’s perception of
how they’re supposed to feel, and what
they’re supposed to think about the piece.
“The thing about Genderfantasy is that it
really is an exploration of evolution and
identity,” says Pepper of the morphing na
ture of the show. “I feel that it’s always going
to be evolving, just like our construction of
gender is always evolving, and just like the
construction of how we see each other in
our own identities, how gender lays on the
body, and how I believe that gender in es
sence is a fantasy.”
The final version of Genderfantasy is, in
fact, still evolving. Three separate satellite
performances—essentially early version ex
NO VEM BER 11. 2011
MUSIC MILLENNIUM
cerpts of the finished product—helped in
form aspects of the show in the months
leading up to its premiere. Up until opening
night, it’s likely Pepper will be fine-tuning
the various cogs of his drag/dance opus. Be
fore that time comes, Pepper has launched a
Kickstarter campaign to help fund the final
weeks of the project, and to sustain the tal
ented artists he’s worked with for the past
six months.
The mystery of what this project is telling
Pepper—and what it will tell those who see
it—is something he says he won’t know until
the opening.
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“I really feel like the mystery is the rela
tionship between the experience of what the
dancers experience inside themselves, and
then what the audience experiences with
them,” explains Pepper. “ Genderfantasy
works on the axis of authenticity and enter
tainment, so I’m working really hard at cul
tivating a level of realness in our movement,
our characters, our presence and our ferocity.
But it’s also a drag show. I hope people get
to live at that intersection.”
MAKE IT A HOUDATE &
SAVE 50%
Genderfantasy opens Ihurs., Dec. 1 and runs
through Dec. 4 at The Headwaters Theatre (55
NE Farragut St.). Doors open and the Fliptogra-
phy installation begins at 7:30 p.m., show is at 8.
Tickets are on a S10-S15 sliding scale, and are
available via Brown Paper Tickets. For more in
formation, visit genderfantasy. wordpress. com.
ON ANY THURSDAY
PERFORMANCE*
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M IL L E N N IU M
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fu ll walk in
je :
FEATURING SUSANNAH MARS
DECEMBER 10-22, 2011 / KELLER AUDITORIUM
'Empires 12/22/11. Limit 4 tickets. Not
valid on previous purchases. May not
be com bined with any other offer.
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OREGONBALLETTHEATRE
CHRISTOPHER STOWELL / ARTISTIC DIRECTOR