Cleveland's 7th Annual Variety Show

by Laura Lavelle

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The 7th Annual Variety Show, sponsored by Oven Productions, was held on February 20. Some 400 women came to engage in what has become a ritual of celebration; a self-parody of the absurdities of being a woman, being political, being gay; a time to laugh at what we take so seriously the rest of the year-jobs, studies, families, relationships, political activities, working for change in our own lives and the world.

During the past two months I have watched the great amount of energy the 40-50 women expend who make the Variety Show happen. I saw other activities suspended and friends unavailable so preparations could be made. Word filtered out of the planning meetings about what ideas were being considered. As the various acts coalesced, additional performers and technicians were sought. Each act practiced separately (some had already been working for months). Costumes were designed and acquired in various ways: sewn by performers, mothers, friends; bought used from second hand stores; dug out from the backs of closets. Finally all the acts met to work out set changes, transitions, lighting and sound technicalities. Alongside the performance preparations were support activities, such as overall coordinating, publicity, ticket sales, and party arrangements.

In trying to appreciate why so many women are willing to put this much effort into the Variety Show, I talked with several people involved. Some women wanted to meet new women. Some liked the bond that develops from working on a common project. Other women were looking for an opportunity to be creative, to use or perfect their skills and to learn new ones, to get exposure; to make peo-

"The Royal Wedding"

Photo by Janet Century

the display, such as having to repaint the display room walls and listening to expected reactions from unexpected viewers. Leda, a four-woman musical group, sang with accompaniment.

Four women demonstrated in unison the martial art of T'ai Chi Ch'uan. Their flowing movements and concentration were in a dramatic setting of black dress and quiet music. A different type of movement was provided by Dance Fever. This was a revised version of the TV show with flashy dress and individualistic dancing. The hip movements of the Four Corners style of dance was revived by the host, and one couple dressed in surgeon green showed how crutches and a neck brace can make for a unique dance. Did you know that couple number four really are mother and daughter?

The Moral Chorale was brought back from last year by popular demand. Six ladies, dressed in quite proper attire, sang their new tune "Stay at Home, Ladies" and their now classic tune "The Feminists." The Blues Sisters came out of the convent to sing in their black and white habits complemented by red shoes and western boots.

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Hysteria in Hysperia provided snatches of scenes from the Michigan Women's Music Festival. Guitarist Sweet Rocks in the Honey sang so poorly that half the audience rose to volunteer for security duty. An S&M workshop was portrayed, as well as the natural healing tent where massage was the cure for everything from sunburn to bodycast itch to the trots.

The closing act depicted The Royal Wedding with great attention to costume and ironic detail. A BBC commentator walked us down the aisle with Princess

"The Moral Chorale"

Photo by Janet Century

ple laugh. Many were looking for a sense of accomplishment and the positive feedback they get after the show.

For some the challenge was working out the relationships among the coordinator, the stage manager, the performers, and the technicians. Others got satisfaction from improving the technical quality of the show (microphones are turned on when needed, music comes in at the right time, etc.). For some the costumes and characters were a way to reclaim aspects of themselves which were given up as oppressive but still may be enjoyable at times (for example, using makeup, dressing and acting in traditionally feminine ways). Some affirmed their sexual selves by including positive references to sexuality in the acts. Some received support for forming an ongoing performance group (the Comedy Troupe first worked together in last year's Variety Show).

There were some improvements over last year's show. A new stage director was aided by the previous director, thus providing new energy while maintaining the knowledge learned in the past. The performance hall was larger than in the past, permitting only one show instead of the previous two. The hall also had better lighting facilities, but still got too hot. The party afterward was held in the same location, making it easier for women to attend.

In case you missed the show, here's a brief synopsis. The show opened with a rollicking Cuyahoga Country Hoedown, complete with chickens, kitchen band, dancers, gothic couple, Minnie P., and chicken jokes. Dolly Does It and Tammy Why Not performed a sentimental serenade.

Providing continuity in the show were the MC's, a puppet named Veronica, and the Comedy Troupe. The Comedy Troupe did sketches of the Sister Sarducci Choir, a bag lady interview, and a Tupperware-like party.

The Dinner Party skit gave a glimpse of some of the absurdities of working on

"'The Blues Sisters"

Photo by Janet Century

February-March, 1982/What She Wants/Page 7