Julian Eltinge, Vaudeville, and the Evolution of Drag

“It depends on where you put the paint, not how much you splash on.” -Julian Eltinge

There are many forms of entertainment we enjoy today, such as movies and television shows, comedy, music, and other stage acts. What most people don’t realize is that these types of shows have existed for hundreds of years, largely in the 19th and 20th centuries, with a genre of shows and performances called Vaudeville. Cross-dressing and drag performances, similar to what exists today, were very popular among vaudeville and paved the way for present day drag culture and performers. Vaudeville, and drag especially, have been quintessential in the creation and celebration of difference in American culture. While not always met with enthusiasm, these forms of entertainment, and the performers themselves, created spaces for equality, solidarity, and appreciation for groups of people who have been “othered” by social norms. There were many notable vaudeville singers, dancers, and talent acts, but one of the most influential was Julian Eltinge, a drag performer who challenged societal norms and paved the way for the plethora of drag queens and kings alike.

History of Vaudeville

Vaudeville was a form of stage entertainment, most prominent in big cities from the 1880s-1920s. Most variety shows were often only intended for white, male audiences, but with the growing population and rise in immigration rates, Vaudeville was created to provide family-friendly, American entertainment that anyone could enjoy. Each show usually consisted of over a dozen acts and could last for several hours. The shows took pride in displaying cultural traditions and differences, with musicians, singers, dancers, magicians, actors, comedians, and even contortionists and jugglers. Vaudeville created an entertainment space that allowed diverse groups, like different races and classes, to cross paths. Though driven to extinction by current forms of media, such as television, movies, and radio, Vaudeville paved the way for these outlets, and can be credited for much of the entertainment industry that exists today (Cofresi).

Female Impersonators

Drag has existed since ancient times; Women were never allowed to perform on stage, so male actors would perform as female characters in stage plays and productions. Once women were allowed on stage, male actors who still performed female roles were coined “female impersonators” (Mason).

Historians often argue the difference between “drag” and “female impersonation,” though the entertainment purposes were the same for both, and years of female impersonation eventually led to modern drag culture (Beyelia). Out of all vaudeville acts, female impersonators were often the stars of the show, as they attracted large audiences and higher salaries. This was an interesting development for a time where cross-dressing was often criminalized and laughed at. The difference is that female impersonators didn’t simply wear makeup or feminine clothes for comedic or personal purposes; They did these things to accurately imitate the opposite sex as entertainment, which made the performances popular among families. While cross-dressing in the streets was punished, vaudeville and female impersonators used it as a way of almost confirming the gender binary by making it clear that impersonation was different than identity, as sex was always disclosed at the end of the performance (Sears). One of the biggest and most popular vaudeville female impersonators of the time was a man named Julian Eltinge.

Julian Eltinge

Julian Eltinge was a vaudeville drag performer born in 1881. He was considered one of the most talented and popular female impersonators of the time, due to his feminine mannerisms and dress. He began performing in drag as a teenager in stage plays, but Eltinge’s father heavily disapproved of his son’s career choice and abused him so badly that his mother sent him to live in Boston for safety. Only 18-years-old at the time, Eltinge became his own, successful performer in the city (Beyelia).

Eltinge’s start with vaudeville allowed him to move on to Broadway shows in the early 1900s. In many productions, such as Cousin Lucy, Eltinge would play a male and a female role, making him a unique performer and a hit among audiences. He continued performing in vaudeville shows until they died down, and eventually started performing in nightclubs and silent films. After success on Broadway and modern nighttime entertainment, Eltinge returned to vaudeville and formed his own troupe, “The Julian Eltinge Players.” Eventually, he eventually participated in advertisements and endorsements for many beauty products and women’s clothing (Beyelia).

However, homosexuality became a circulated, derogatory term in the 1930s, making the mid-1900s a “dark period” for queer, trans, and drag communities (Andrew). Due to this, and legal crackdowns regarding cross-dressing, Eltinge faced limitations as a drag performer towards the end of his life, leading up until his death in 1941 (Mason).

Eltinge dedicated much time and effort into making sure his performances were flawless, creating the illusion that he was a woman instead of making it clear that he was only a man dressed as one. He had a Japanese dresser who helped him transform, a process that took over two hours. At the end of his performances, Eltinge would dramatically remove his wig and reveal to the shocked audience that he was actually a man and only impersonating a woman.

Though there was much speculation about his personal life and sexuality, Eltinge emphasized masculine behaviors off-stage, separating his art from his personal life. It was widely rumored that he had several affairs with men throughout his life, though Eltinge seemed to fight these claims with violence, language, and any other masculine traits that could reinforce his masculine identity (Keehnan). Regardless, Eltinge became very well-known for his impersonation and held a successful career as a performer, with vaudeville, Broadway, and local nightlife in the 1900s.

“We’re all born naked; the rest is drag.” -RuPaul

Modern Drag

The type of female impersonation performances seen in vaudeville weren’t as exaggerated, loud, or campy as the ones we have today. As seen with Eltinge, these shows were more about fooling the audience and mimicking feminine styles and mannerisms. RuPaul’s Drag Race star, Peppermint, discusses the influence of Eltinge’s work as a performer on all modern day drag, stating that “the mainstream success of Eltinge just proves to me that drag is for everyone” (Polk). Because of the combination of entertainment, sexuality, and bending societal gender norms, both female impersonation and drag are similar in the creation and celebration of difference.

Today, drag is publicly performed and celebrated with popular media such as RuPaul’s Drag Race, events like pride parades, DragCon, and Wigstock, and nightclub and daytime drag performances. Drag is much more mainstream now than it was during the height of vaudeville, which can be largely due to the media, as well as the complex political history of America.

Even now, drag faces much scrutiny in several parts of the nation. One of the main differences between vaudeville performances and today’s drag performances are the views surrounding sexuality. In the 19th and 20th centuries, there was something known as “homosexual panic,” which had performers like Eltinge making a big show of their masculinity off stage and making their assigned gender well known by the end of the performance. Today, drag is very closely linked to the queer community, regardless of a performer’s sexual orientation.

Additionally, drag has evolved to become even more inclusive, with women performing as either drag queens or kings. However, there is a lack of attention and appreciation for these performers, as drag culture originated with female impersonators. Regardless, drag has evolved to become a space of entertainment, safety, and fun for anyone, whether they identify with the queer community or not (Sanders).

When counterculture movements threatened the queer community, drag culture went underground by creating drag houses and finding chosen families. Drag queens were important leaders in the queer liberation movement, in addition to supporting and helping queer communities during the AIDS crisis in the 1980s. Trans people eventually became involved in drag culture, as the two weren’t very well distinguished in much of the 20th century. Marsha P. Johnson was a transgender woman of color who participated in much of the queer liberation movement (Andrew).

According to drag historian Joe Jeffreys, “Drag is the theatrical exaggeration of gender.” Heterosexual gender norms, homophobia, and misogyny have led to much backlash against drag performances- backlash that has existed since the times of Eltinge and vaudeville. In the last few years, there have been political attempts to ban drag and restrict where, and for whom, it can be performed. There’s a fear of transgender criminalization due to negative views against cross-dressing and gender performance (Andrew). However, drag’s extensive history, mainstream popularity, and community support have allowed it to prevail for decades.

Conclusion

Difference has been created in many different ways throughout history, with female impersonation and drag being one of them. Cross-dressing has been a way for people to express their gender in any way they choose, often in a way that inspires confidence and sexuality. While not always openly recieved (as most groups of difference are), drag is a vital piece of entertainment and queer history. Vaudeville paved the way for many modern forms of entertainment, and Julian Eltinge influenced the world of drag that has evolved since then. Without gender difference, society wouldn't be able to function the same way; Groups of difference and expression allow for people to feel seen, heard, and loved, which is what drag is for so many.

Works Cited

Andrew, Scottie. “The US Has a Rich Drag History. Here’s Why the Art Form Will Likely Outlast Attempts to Restrict It.” CNN, Cable News Network, 29 Apr. 2023, www.cnn.com/style/article/drag-queen-us-history-explainer-cec/index.html.

Beyelia, Nicholas. “The King of (Drag) Queens: The ‘Fascinating’ Julian Eltinge.” The King of (Drag) Queens: The “Fascinating” Julian Eltinge, Los Angeles Public Library, 19 June 2018, www.lapl.org/collections-resources/blogs/lapl/king-drag-queens-fascinating-julian-eltinge.

Cofresi, Diana. “Vaudeville: An American Masters Special.” PBS, Public Broadcasting Service, 9 Feb. 2022, www.pbs.org/wnet/americanmasters/vaudeville-about-vaudeville/721/.

Keehnan, Owen. “Julian Eltinge.” Legacy Project Chicago, The Legacy Project, 2022, legacyprojectchicago.org/person/julian-eltinge.

Mason, Lana. “From the Archives: Julian Eltinge, Female Impersonator.” The National Theatre Foundation, 5 May 2023, www.nationaltheatre.org/from-the-archives-julian-eltinge-female-impersonator/.

Meier, Matt. “More to Explore: From Vaudeville to Drag Race.” Cherry Creek Theatre, Cherry Creek Theatre, 18 Apr. 2023, cherrycreektheatre.org/from-vaudeville-to-drag-race/.

Polk, David, director. Julian Eltinge: Female Impersonator of the Vaudeville Era. PBS, Public Broadcasting Service, 3 Aug. 2021, https://www.pbs.org/wnet/americanmasters/julian-eltinge-was-the-most-famous-drag-queen-ever-what-happened-masters-of-drag-peppermint/17353/. Accessed 14 Nov. 2023.

Sanders, Sam, and Josh Axelrod. “How Drag Queens Have Sashayed Their Way through History.” NPR, NPR, 27 June 2019, www.npr.org/2019/06/27/736320026/how-drag-queens-have-sashayed-their-way-through-history.

Sears, Clare. Arresting Dress: Cross-Dressing, Law, and Fascination in Nineteenth Century San Francisco. Duke Univ. Press, 2015.

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