Taylor Mac: how a 24 -hour pop odyssey redefines American history

The performer is embarking on an ambitious project a 246 -song marathon performance that seeks to sum up a new, queer vision of America

A couple of weeks ago, Taylor Mac expended the evening rehearsing a number from A 24 -Decade History of Popular Musicat St Anns Warehouse in Brooklyn. An ecstatic and skeptical exploration of American song, Macs project is divided into eight three-hour concerts that will eventually be scrunched together into one 24 -hour cathexis.

The number at hand was Tiptoe Through the Tulips and Mac was rehearsing an epic dance-off between 12 ukulele-strumming Charles Dickenses and 12 tapping Tiny Tims. As none of the strummers or hoofers had been called to rehearsal, Mac was alone onstage.

It didnt is felt that way. Mac attained the tinselswagged platform feel crowded, hectic, delirious. A sometimes solo artist with titanic presence, outsized glamour, and coruscatingly queer sensibilities, Mac can fill a room as awesomely as the gods of the Homeric hymns, who would cast off their human disguise and abruptly soar to the ceiling.( He can display a deities cruelty, too. Especially if youre a patron with a bourgeois air and an aisle seat .)

But offstage, bereft of eyeliner and trash-drag couture, Mac looks nearly poignantly human with a bald head, sad eyes and a demure smile. Mac favor the ambiguous gender pronoun judy, which is, Mac says, its own performance art piece and its own fun, but when garmented down he presents as male. Theres something nearly childlike about Mac and you can glimpse that queer child from the California suburbs, who first found refuge in community theater and then in the wild club scene.

Macs oeuvre includes pieces in which Mac has imagined the apocalypse, played a sentient bloom, portrayed Macs dead parents former pen pals. Mainstream culture is not exactly judys thing, but for the past five years, Mac has heard America singing, then selected 246 sungs that define the country from 1776 to the present, eventually working with the pianist and arranger Matt Ray to accommodates them for Macs voice( a warm and unexpectedly hardy tenor) and for an orchestra that begins with 24 musicians and shrinks to simply one. The producer Mark Russell, an early champ of Macs, calls the result a magic act and a music act and a complete astound at all times.

Mac describes the show, performed by more than 200 people, as a radical fairy realness ritual. Like Macs last piece, the more or less realistic Hir, A 24 -Decade History isnt an outwardly political run. But the popular songs and the narratives Mac swirls around them are available to make American audiences face up to the nations past, especially the parts of the past that weve rejected, stifled, scaped. A 24 -Decade History offers a return of the repressed. This time the repressed is dres sequins and a hot-pink merkin.

Its about were all in this room together and we happen to have this history on our back, Mac says. How do we deal with it?

Taylor Mac: determining the queerness in mainstream songs. Photo: Nathan Keays

Mac isnt sure. Each decade renews the question, offering criteria such as Take Me Out to the Ballgame and Dont Fence Me Inas answers of a sort. Mac conjures a theme and a narrative spin for each decade and few ballads are given straightforward performance. Every single sung has some kind of queer thing in it and every song doesnt, he says.

Mac has a talent for find the queerness inherent in mainstream anthems, pointing out the innuendo in Yankee Doodle Dandy, for example. When the songs defy, Mac just goes ahead and queers them, as where reference is stages Ted Nugents Snakeskin Cowboy as a slow dance number at a junior high faggot prom.

Early inspiration for the piece lay in memories of an Aids walk that Mac attended in the pre-retroviral epoch. Mac, a suburban teen, watched humen come together to celebrate themselves, their fans, their family, their friends, even as so many “d die”. That experience resulted Mac to explore, how communities build themselves because theyre being torn apart, something that America has so often faced.

The marathon is uproarious, upsetting, and at the least a little kinky. Photo: Nooshig Varjabedian

Mac refuses to explore it alone. To legislate these conflicts and convergences, he recruits audience members, sometimes individually and sometimes by the hundreds. Garmented in hand-me-down drag glamour distributed by his dandy minions, spectators play various opponent factions Americans and British, women and men, alcoholics and teetotalers.

This audience participation isnt always comfy, which is how Mac likes it. I dont want it to feel like Oprah, Mac says, where everyone is agreeing and applauding. I want people to be a little lost. I dont want them to feel like theyre satisfied with their buy. Unless your idea of a date is uproarious, upsetting, and at least a little kinky, It shouldnt feel like date night.

Mac enjoys attaining people uncomfortable and at a recent performance, Mac constructed joke after gag at the expense of the donors in the audience. Mac is an artist who likes to bite the hand that feeds him and then rub some glitter in the meander.

Which is not to say that there arent compensations. The ballads are pure delight, the costumes extravagant bliss. Various concerts include marionettes, burlesque dancers, a marching band, free root beer. As Lear deBessonet, a director who has often worked with Mac explained in an email, Mac employs fizzy beverages, a staggering stage presence and outsized glamour to disarm audiences, and in that nation of being loosened up with pleasure, thats when he can pierce your heart, she wrote.

Outsized glamour and a staggering stage presence enable Mac to penetrate the audiences hearts. Photo: Ves Pitts

This injury is designed to elicited the audience into rebelling against judy, against mainstream ideology, against American politics, but most of all against themselves. I merely want people to rebel against the sense of who they are a little bit, Mac says.

A lot of that rebellion will probably take place during the course of its 24 -hour marathon, an act of endurance, for performer and for audience, that Mac has never rehearsed and will never perform again. I wouldnt wishes to put myself or anybody else through that on a regular basis, he says. A 24 -hour show, its cruel.

Mac doesnt know if his voice or his body will sustain him. Im supposed to fall apart, the audience is supposed to fall apart, the musicians fall apart as we go forward, Mac says. The last decade knows where to find him alone onstage with my limited musical ability, trying to carry on.

In words of necessities, Mac will have an outhouse onstage should the want arise and moments of eating and drinking built into each hour. Initially Mac planned to surreptitiously scarf almonds and sip smoothies during trumpet solo, but what happens, Mac learned, is that when I check out the audience checks out, so I cant ever check out.

Mac also has learned that judy cant check out of America either. The show hasnt made Mac feel more patriotic( he has a costume riffing on the American flag, that costume is assless) or less angry. If hes pleased that the country has finally had the decency to acknowledge the basic human rights of fags, girls, minorities, etc, hes appalled at how long it has taken. Still its helped Mac to claw back some sense of pride in the countrys pluralism.

Theres not a default of America that is bland and conservative and straight and white, he says. Im saying this is what America is too.

Read more: www.theguardian.com

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