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Posts Tagged ‘Cherdonna Shinatra’

International Fringe 2018: A Welcome to Artists from Around the World

Posted September 2nd, 2018

The United States government may be pursuing an isolationist policy but the Philadelphia Fringe is doing the opposite: opening its doors not only to the most creative American performers and performances but also to the best and most creative theater artists and their productions from around the world—overcoming the ancient fear of the symbolic Tower of Babel with people not understanding each other.

To show the worldwide scope of the 22nd Philadelphia Fringe Festival, we offer this spotlight on performers from abroad and productions by American artists that present a global perspective.

Theater writer Henrik Eger, editor of Drama Around the Globe and contributor to Phindie and Broad Street Review, among other publications, has lived in six countries on three continents and has visited Africa and Australia as well. He bids everyone a hearty WELCOME to the City of Brotherly Love—this year in 18 different languages: Arabic, Celtic, Chinese, English, Esperanto, Estonian, Farsi, French, German, Greek, Hebrew, Hindi, Irish, Italian, Latin, Polish, Romanian, and Spanish.

We start this year’s overview with a special welcome to two programs featuring a wide range of global creators:

INTERNATIONAL CREATIVES

  1. le super grandBienvenue & welcome to Montreal-based choreographer Sylvain Émard and Le Super Grand ContinentalLe Grand Continental wowed audiences during its run at the 2012 Fringe Festival and has garnered enthusiastic response across the world. Fully realizing a blissful marriage between the pure delight of line dancing and the fluidity and expressiveness of contemporary dance, the celebratory event enlists hundreds of local people to perform its synchronized choreography in large-scale public performances. The world’s most infectious performance event returns to the front steps of the Philadelphia Museum of Art in an even larger spectacle of dance.

More info and tickets here

  1. Bonvenon, willkommen, bienvenido, witamy, bienvenue & welcome to Do You Want A Cookie? from The Bearded Ladies Cabaret—a world premiere with an international cast. Do You Want A Cookie? serves up a delicious romp through cabaret history, with an international cast of artists performing a live revue of cabaret from the Chat Noir to Weimar nightlife to 21st-century drag. The all-star cast comes draws from around the world, including Bridge Markland (Berlin), Malgorzata Kasprzycka (Paris/Warsaw), Dieter Rita Scholl (Berlin), and Tareke Ortiz (Mexico City).

More info and tickets here

REFUGEES and EXILES

  1. ear whispered

    As Far As My Fingertips Take Me. Photo by

    وسهلا اهلا (ahlaan wasahlan) & bienvenu. Welcome to Tania El Khoury who lives in Lebanon and the UK with her multifaceted program ear-whispered. Little is known about Palestinian refugee camps and their communities. El Khoury presents her Fringe work in five parts through interactive performances and installations at Bryn Mawr College:

    1. Gardens Speak, an interactive sound installation containing the oral histories of ten ordinary people who were buried in Syrian gardens. (Bryn Mawr College.) Read more.
    2. Camp Pause, a video installation that tells the stories of four residents of the Rashidieh Refugee Camp on the coast of Lebanon. (Bryn Mawr College.) Read more.
    3. As Far As My Fingertips Take Me, an encounter through a gallery wall between a single audience member and a refugee. (Old City & Bryn Mawr College.) Read more.  
    4. Stories of Refuge, an immersive video installation that invites audiences to lay down on metal bunk beds and watch videos shot by Syrian asylum seekers in Munich, Germany. (Old City.) Read more.
    5. Tell Me What I Can Do, a newly commissioned work featuring letters that audiences have written in response to Gardens Speak. (Bryn Mawr College.) Read more.

More info and tickets here

  1. Bienvenido & welcome to the bilingual (Spanish & English) cast of La Fábrica performing Gustave Ott’s Passport. Lost in a foreign country, Eugenia is detained and thrown into a vicious maelstrom of miscommunication. This poetic and immersive Kafkaesque thriller delves into the question of immigration—exposing the mechanics of language and power. Some performances will be presented in English, some in Spanish, and some will be decided at the toss of a coin.

More info and tickets here

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The History of Cherdonna Shinatra: From Name to Fame

Posted February 23rd, 2018

Photo by Lou Daprile

This weekend, Seattle-based dancer and choreographer Jody Kuehner, aka Cherdonna Shinatra, will take the stage in all her queer drag glory for Clock that Mug or Dusted. It’s sure to be a wild ride, one filled with live installation art, dance, birthday cake, found objects, and a commentary on all things queer feminism. While getting ready for Ms. Shinatra to perform, I feel it’s important to discuss where her stage name derives from and the journey she has gone through to make it to this point.

The first artist in her name is none other than Cher, the Goddess of Pop, known for songs like “I Got You Babe,” and she’s “got” the queer community on her side. Cher has become a gay icon, in part through her son Chaz, but also for her sense of style and fashion. Drag queens—specifically Chad Michaels and Charlie Hides from RuPaul’s Drag Race—have imitated her, feeling that her struggle and story relates to their coming out processes. Madonna, the other half of Cherdonna’s namesake, is another another legend worth talking about. The Queen of Pop, known for bestsellers including “Like a Virgin,” is also considered a gay icon. She was introduced to the queer community as a teenager, and since then, has been a welcome presence. Like Cher, many drag queens have imitated her, seeing her journey to stardom as very similar to their struggles. And then we have Frank Sinatra who, while not necessarily a gay icon, was a legendary singer known for classics like “My Way.” Adding his name at the end of her stage name cements Cherdonna Shinatra as the legend that she is. In discussing the origin of her character, she also offers, “I feel like Cherdonna is an extension of myself in a way that’s not like an ‘other’… For me it’s a heightened version—more or less myself, or my less censored self.”

Courtesy of the artist

Cherdonna’s work has been shown in every major venue in Washington State and all over the country, but she hasn’t always been alone in the spotlight. From 2008-2013 she performed with Ricki Mason, also known as drag king Lou Henry Hoover, as “The Cherdonna and Lou Show.” The character of Cherdonna started with Lou in this cabaret-style series of performances which often included dance, theater, drag, burlesque, glitter, and featured celebrity impersonations, including an infamous Sonny and Cher routine. Both artists would transcend their queer identities with how they presented themselves on stage—Cherdonna with her long legs, platform heels, big blonde hair, and copious makeup and Lou as a petite drag king wearing a neat mustached face and all. In a 2016 interview, Kuehner commented on her and Mason’s stage duo’s gender play, noting, “We’re both queer people, and we had started diving into more work about gender and gender play… Over the last six years, it’s been diving in more. I got hooked, and just felt there was so much to explore in it.” Kuehner performing drag as the gender that she identifies with is a revolutionary concept, as it transcends what the audience expects from drag.

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Making a Radical Mess: An Interview With Jody Kuehner aka Cherdonna Shinatra

Posted February 7th, 2018

Courtesy of the artist

Cherdonna Shinatra is a drag queen who’s not a drag queen. Not in the way we’ve come to expect, anyway. She’s the alter-ego of Jody Kuehner, a Seattle-based dancer and choreographer, and a queer woman. That last bit makes Cherdonna—a simple, brilliant portmanteau of icons Cher and Madonna—a bit of an anomaly in the world of drag, as does her penchant for dipping her creative toes in the worlds of performance art, experimental theater, and contemporary dance.

Over the last several years Cherdonna has evolved from a cabaret performer with her former artistic partner, drag king Lou Henry Hoover (played by dancer Ricki Mason), to one of Seattle’s preeminent boundary pushing performance artists. She’s created evening length performances like Worth My Salt and more recently Kissing Like Babies; she regularly performs with drag artists like former RuPaul’s Drag Race contestant BenDeLaCreme, Kitten LaRue, and the aforementioned Hoover; and she recently “crashed” a production of Ibsen’s A Doll’s House at Washington Ensemble Theatre. And that’s simply scratching the surface.

Her solo piece, Clock That Mug or Dusted, rolls strains of all her artistic endeavors into one. Then through some paint. And maybe a birthday cake. Kuehner has described the work as a “conceptual and inspirational homage to feminist performance artists” and an artistic dare to “find what present day queer/drag feminism might be.” It’s a search left open-ended by the show’s improvisation-friendly structure and reflective of Kuehner’s own avoidance of easy categorization. We caught up with her recently to learn more about the piece’s origins, its challenges, and why she’s looking for a “might be” rather than an “is.”

FringeArts: What made you think up the title Clock that Mug or Dusted?

Jody Kuehner: The title came out of a drag saying that you’ve “clocked” something, meaning you’ve noticed something you like or dislike or generally want to bring attention to. This work is largely improvisational so the idea of noticing things as they come, “clocking” every moment is central. Giving “face” aka “mug,” means giving attention to. Dusted coming from the idea of putting on your face, “being dusted,” and also it’s used as a word to mean being under the influence or even death—“turning to dust.” All these layers are in the work.

FringeArtsHow was creating Clock That Mug or Dusted an artistic leap or creative challenge to you?

Jody Kuehner: Using so many materials continues to be a creative challenge. Not knowing exactly how they will play in the space or what I will be inspired by, it changes with every show. The materials add a whole new cast member to the piece. I like the risk in that. It’s an unknown.

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