Written by Mia Pajic
Drag has been a remarkable part of history, first appearing to play a notable role in shaping theatre performances in ancient Greek and Roman civilisations. Over time, it has continued to mould and influence the world of art and performance, acting as a medium of expression and leading to the formation of numerous unfolding subcultures in society and playing a crucial role in historical queer nightlife. Brighton’s drag scene began gaining recognition in the 1970s with the support of its emerging queer night scene and the inclusion of pioneering performers who played significant roles in shaping Brighton’s LGBTQ+ landscape. Icons such as Phil Starr, whose name still appears on numerous Brighton and Hove buses today, Alfie Ordinary, the self-proclaimed drag ‘Prince’ of Brighton and the UK’s oldest drag queen, Maisie Trollette, who has been an active and regular feature of Brighton Pride since1973, have all played a crucial role in keeping drag as a central part of Brighton’s cultural identity.
While the early drag scene was rooted in cabaret-style shows, where vocal performances would take place in historic pub and bar venues, modern-day drag has been widely influenced by mainstream, global hit shows such as ‘RuPaul’s Drag Race’ which largely focus on high-energy dance numbers and are more likely to be performed for a younger audience in club like settings. This shift in performance style not only highlights diversity within the queer community itself but also a wider-reaching acceptance in Brighton for drag as a medium among both straight and queer
communities with ongoing drag events being held in some of Brighton’s biggest hallmarks, such as the Brighton Dome.
Speaking with Suzi Maki, a 23-year-old Brighton drag Queen, she discussed how the art form continues to inspire personal explorations of identity and creativity, stating that it was lockdown that acted as a pathway into her drag career. Combining her passion for make-up transformations and love of horror, Suzi developed what she calls: “monster drag”, creating unusual, out-of-the-box looks consisting of: “clown-white make-up and eyeliner” paired with singular and unique fabrics. When questioned on drag as an art form and the alignment of identity with different visual and stylistic choices, Suzi states: “it’s the art of playing with gender”, saying that there are multiple factors when it comes to that type of visual expression someone may choose to pursue and that it may fall anywhere on the spectrum from hyperfeminine to hypermasculine. For Suzi, her visual expression relies heavily on transforming oneself into a: “creature” or something: “non-human”, noting that her drag experiments with androgyny and subverts the socialised expectations of gender. Rather than conforming to traditional norms of what drag should look like, Suzi states: “I don’t shave, I don’t tuck, it’s messing with those little things that play with the mind”, creating a character that explores gender as fluid and free from societal boundaries.
As a trans-feminine person, Suzi acknowledged drag as pivotal in her gender journey, commenting on how it acted as a gateway for exploring her femininity and identity. Suzi emphasised, however, that she’s not dressing up as a woman, stating instead that she views herself as a character she’s created, with most of her performances taking on a: “filthy and grungy” aesthetic. When delving deeper into her relationship with drag, Suzi comments further on the element of: “storytelling” in her acts. She disclosed how performance has always been her favourite part of the job, guided by her interest in the arts to create a well-thought-out persona for each act that she performs. Suzi comments: “I always ask myself who is this person that’s performing this song? Why are they performing it? What is their story?” saying that these curate: “alter-egos” make her feel more confident as a person who is naturally introverted and that drag has given her the ability to thrive in social settings that would otherwise frighten her.
Reflecting on her achievements, Suzi spoke on the journey of co-creating an alternative Brighton drag night named ‘Pus’, branding it as: “one of the filthiest drag nights in Brighton”. Suzi explains how she and co-founder Pip-Squeak enjoyed reclaiming derogatory queer stereotypes with pride describing their legendary event as: “fun and empowering”. When addressing underrepresentation within the queer community, Suzi highlights the lack of visibility for POC drag performers. She notes that: “they are usually overlooked or added to shows as a token cast”, underpinning the importance of uplifting marginalised drag communities, including POC performers and drag Kings. Suzi pointed out the abundance of talent within the drag King scene that is usually met with little excitement, emphasising the need to provide them with the same validity and space often given to drag Queens who are frequently associated with cis men.
When navigating Brighton’s unique queer scene, Suzi notes divisions between: “traditional drag artists” performing in venues like ‘Legends’ or the ‘Queens Arms’ and those who align with the mainstream ideals of drag, which is: “more fashion-forward and dance-based”. Despite contrasts, Suzi vocalises: “What’s different is how we’re all meshed together into one scene in Brighton”, adding that she has performed: “with traditional drag artists, with dancing artists; it just varies”, highlighting the cohesion of shared queer spaces in the city. When discussing the importance of queer spaces, Suzi asserts that: “it’s good we have queer spaces, but there are things we have to change”, particularly regarding security. She asserts that with the closure of mainstream venues, such as Brighton Pryzm, that cater to a predominately heterosexual crowd, there has been an influx of straight groups coming to queer venues. She adds: “It’s important for them to know that it is a queer space and that we’re enforcing rules of not being homophobic, transphobic, racist, ableist or misogynistic” and that whilst queer spaces are welcoming to all groups of people, there needs to be a mutual respect of these rules to keep these venues accessible and friendly to all.
Suzi offered a closing remark declaring it’s: “important to remember that not every artist is the same as you” She adds: “Do what makes you happy and comfortable because, at the end of the day, it’s your art and no one else’s”. Her message beautifully sums up Brighton’s ability to serve as a vibrant hub of cultural and queer difference, yet also inclusivity and acceptance. The city continues to offer a space for all art forms and remains a beacon for drag communities everywhere.
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