In the late nineteenth century, sexologists began to construct theories about homosexuality and homosexuals, whom they described as “inverts.” Many of these theories are now understood to be transphobic and harmful, but they were also the beginnings of the modern understanding of the term lesbian. Early on, male impersonators provided commentary on masculinity, but as gender norms shifted, so did their performances. Rodger notes that the audiences for male impersonators were predominantly men in the beginning, although women did also attend performances. But by the late 1870s, the male roles became younger and more feminine, and the most popular male impersonators came from England.
In Just One of the Boys: Female-to-Male Cross-Dressing on the American Stage, historian Gillian Rodger explains that early male impersonators were quite realistically masculine, and were played by older American women. In its earliest years, male impersonation was not queer-coded, and it was usually performed by heterosexual women. Although male (and female) impersonation had long been part of the theatrical world, and actresses were sometimes allowed to play young male roles (such as Romeo in Romeo and Juliet), it differed from what we call “drag” today. In the United States, professional male impersonation on the vaudeville and variety circuit began in the nineteenth century. In today’s Notes From the Telegraph Club, I offer a brief (ish) history of male impersonation, and some thoughts on its connections with drag. Today we no longer use the term “male impersonator” to describe a woman who performs onstage as a man today we’d use the term “drag king.” But male impersonation was once a popular and mainstream entertainment, and some male impersonators were famous enough to tour nationally. The Telegraph Club was inspired by many of the real lesbian nightclubs that existed in San Francisco in the 1940s and 50s, and Tommy Andrews was inspired by the male impersonators who performed at them. Something went still inside Lily, as if her heart had taken a breath before it continued beating.” It was a relatively large ad that included a photo of a person who looked like a handsome man with his hair slicked back, dressed in a tuxedo. “It read: TOMMY ANDREWS MALE IMPERSONATOR-WORLD PREMIERE! THE TELEGRAPH CLUB. At the beginning of Last Night at the Telegraph Club, Lily Hu is drawn to a nightclub ad in the San Francisco Chronicle.
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