Arts & Entertainment

Hidden history

New book examines cross-dressing in early America

Published

14 years ago

June 29, 2012

Terri Schlichenmeyer

‘Re-Dressing America’s Frontier Past’
By Peter Boag
University of California Press
$39.95/257 pages

The outfit was beyond your budget.

It was impractical, too, because you’d probably never wear it. It looked great on, it fit just right, it was so perfect, but it would just hang in your closet. Still….

You couldn’t whip your credit card out fast enough.

Do clothes make the (wo)man? Are we what we wear? In the new book “Re-Dressing America’s Frontier Past,” author Peter Boag, proves that those questions plagued our ancestors more than history admits.

Joe Monahan’s neighbors were shocked.

The fall of 1903 was short and winter came early. Tough and self-sufficient, Joe had come to the Mallory ranch complaining of illness and he didn’t look good. Shortly after his arrival, he died in the warmth of his neighbors’ home.

The shock came when they went to prepare Joe’s body for burial: Grizzled Joe Monahan was a woman.

Peter Boag says that such scenarios were common in the West in the decades between 1850 and 1920. Cross-dressers, for myriad reasons, were “very much a part of daily life…” and while people tittered and talked, general attitudes were based on late-19th-century beliefs on gender. Medical experts eventually claimed that cross-dressing was part of a “neurological disease” called homosexuality, and “…homosexuality was understood as an unfortunate by-product of modernization.”

But button-holing wasn’t so easy.

For women, the frontier was a man’s world. There was adventure and prosperity there, and becoming a man as much as possible was a way to seize opportunity. Safety was another reason for appearing masculine, cross-dressing could be scandalous fun, and it could help escape punishment for criminal behavior. There were also women who believed themselves to be boys from birth.

For smooth-faced men, it was common to dress as women for dances and parties because biological women were scarce. Men impersonated women to entertain others. In some Native American communities, “berdaches” were encouraged to embrace femininity. Like some women, males took on girlish appearances to escape crime, and then there were the men who simply wanted to be women.

But for those men, and their female counterparts, life wasn’t easy.

Being arrested for the “crime” of wearing clothes for the opposite sex was common and cross-dressers were often shunned. Interestingly, however, their partners (usually same-sex) were generally socially accepted.

“Re-Dressing America’s Frontier Past” is good, but long.

Author Boag offers lots of excellent examples to back up his reasoning behind why these stories are largely hidden from history, and what he found will set western fans (not to mention screenwriters) on their ears. This is fascinating stuff, on many levels.

And yet – the book has its distractions. It’s scholarly and often reads like a dissertation, which occasionally makes it hard to digest if you’re just looking for a peek at hidden history and not a lecture.

That aside, because it uncovers a wealth of stories that are overdue for telling, I liked “Re-Dressing America’s Frontier Past” and I think you will, too. If you’re a history buff especially, you need to outfit yourself with this book soon.

Related Topics:Peter Boag Re-Dressing America's frontier Past

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Theater

‘Feeling Afraid’ explores life of a neurotic stand-up comic

Navigating sex, work, and possibly love in London

Published

1 day ago

June 20, 2026

Patrick Folliard

Steven Webb in ‘Feeling Afraid As If Something Terrible Is Going To Happen’ (Photo by DJ Corey)

‘Feeling Afraid As If Something Terrible Is Going to Happen’
Through July 12
Studio Theatre
1501 14th St., N.W.
$55-$102
Studiotheatre.org

Wordily yet rightly titled, solo show “Feeling Afraid As If Something Terrible Is Going To Happen” dives deeply into the world of a neurotic stand-up comic as he navigates sex, work, and possibly love in London.

Busy arranging hookups and dates on “The App,” the 36-year-old gay funnyman juggles a full dance card; still he’s never been in a romantic relationship. While he’s willing to give love a shot, he’s not pressed about it. As he says, he harbors no fear of dying alone.

Currently making its American premiere at Studio Theatre, this darkly humorous Edinburgh Fringe import features terrific out English actor Steven Webb as The Comedian who’s about to explore what it means to spend all his time with one man.

At Studio’s intimate Mead Theatre, Kat Heath’s minimal set says standard comedy club (fluorescent tube lighting, the mic with a long cord, a single stool backed by a rose-colored curtain), but gay playwright Marcelo Dos Santos has conjured something much more than a live comedy set.

Yes, The Comedian bounces onstage in his red Converse high tops, jeans, and pink shirt with a huge mouth emblazoned on the back, but he delivers more than jokes. At times hilariously self-deprecating, then dark, and occasionally a lesson on what makes standup work, this is a layered, well-acted piece.

With Webb (a keen caricaturist of types and voices) playing all the parts while conducting The Comedian’s hilariously frenetic interior monologue, “Feeling Afraid” takes us through a summer of love. It seems after six chaste dates with The American, our nervous hero has found Mr. Right. The American is earnest, smart, hesitant to initiate sex. He’s also well built with a beautiful smile. And strangely, he’s been medically advised not to laugh aloud.

The Comedian delights in the joys of new love: dates, first kisses, sex, and then suddenly spending all of his time with the adored. Visits to art galleries become fun. Eating home cooked meals followed by grim documentaries is a thing. The Comedian is beguiled as his own boyish figure fills out, but something isn’t right. He can’t entirely relax.

Along the way we meet the Aussie doctor, our protagonist’s longtime hookup; a young runner with some exceptional body parts; the random third in a failed threesome; grumpy working comics, male and female; and an ineffectual counselor.

Webb gives a lightning-fast performance that boggles the mind (in terms velocity and virtuosity). He can be impish, very impish. He’s nervous energy incarnate, flashing jazz hands, grimacing but handsome when still. He’s likeable, a necessity when delivering a hilariously rude joke just feet away from two stone-faced audience members. (Perhaps they were laughing on the inside? At any rate, they stayed through the end the show.)

Produced by the team behind Fringe hits “Fleabag” and “Baby Reindeer,” small stage works that were developed into major TV screen successes, “Feeling Afraid” is funny for sure, and it’s also highly confessional, sexually explicit, and raw.

Written by Dos Santos during COVID lockdown, the piece was a smash hit in the 2022 Edinburgh Fringe before finding further success in London. Its depiction of a youngish queer guy navigating the big city rings entirely true. Like so much Fringe stuff, the one-man show is delightfully lewd and standup inspired.

One little moan: the show closes cleverly but too abruptly with its star dashing offstage without sufficiently basking in the admiration and applause of his thoroughly chuffed audience.

They say third time’s a charm, and regarding “Feeling Afraid,” I’d agree. After two performance cancellations (first for laryngitis and the second involving faulty air conditioning on an especially muggy June evening), I made my third trek to Studio where I found both the actor and AC in very fine fettle. And truly, Webb’s work was more than worth the wait.