Arts & Entertainment
Genesis P-Orridge, who pushed the boundaries of gender and self, passes away
Genesis Breyer P-Orridge, a queer pioneer who identified with third gender pronouns and became an avant-garde icon, has died at the age of 70.
Born Neil Andrew Megson in Victoria Park, Manchester UK, s/he grew up in Essex, where as a teenager she became interested in occultism, avant-garde art, and music. After dropping out of college at the University of Hull, s/he founded a music collective, COUM Transmissions, and changed h/er name to Genesis P-Orridge.
As the Dadaist-inspired group was disbanding in 1976, P-Orridge formed the band Throbbing Gristle, alongside Chris Carter, Peter “Sleazy” Christopherson, and Cosey Fanni Tutti.
According to Pitchfork:
“The band incorporated white noise, tape-based samples, and spoken-word poetry into their work, and were notorious for provocative imagery—such as Nazi concentration camps and pornography—used at their live shows. Their abrasive blend of rock, electronic, and punk ethos would go on to become the groundwork of industrial music.”
Throbbing Gristle would release nine full albums during a career that was experienced a two-decade gap after an break-up in 1981.
Despite being known for h/er music (s/he was known as “the Godparent of Industrial Music”), as well as for various art projects (such as Psychic TV) and h/er viewpoints on occultism, sex work, violence, and other taboo topics, P-Orridge’s most famous legacy is her status as a non-binary explorer who pushed the boundaries of gender and self.
According to the New York Times, P-Orridge first conceived the alter-ego by which s/he would become known in the psychedelic era of the 1960s, envisioning a re-creation of h/erself as in a new form which could become “a canvas for a wide range of experiments: artistic, pharmaceutical, surgical and spiritual.”
“I’d grown up thinking that the world was what I saw, and then I realized it wasn’t — it could be anything at all,” s/he told the paper in 2018.
With h/er second wife, Lady Jaye, P-Orridge underwent the “Pandrogeny Project,” receiving body modification surgery to resemble one another as a single “pandrogynous” being named Breyer P-Orridge. They adopted gender neutral programs and spoke individually as a single combined entity, outside the binary model of gender. Injuries from a 1995 fire led to a cash influx for Genesis, after which they continued to fuse their identities with further physical alterations.
“We’d go to our plastic surgeon and say, what else can we do now to look more alike?” Genesis said.
Lady Jaye died of stomach cancer in 2007. P-Orridge continued to identify as pandrogynous for the rest of h/er life.
P-Orridge’s cause of death was leukemia, according to a statement from manager Ryan Martin. S/he is survived by h/er daughters, Genesse and Caresse, and a granddaughter.
Theater
A hilarious ‘Twelfth Night’ at Folger full of ‘elegant kink’
Nonbinary actor Alyssa Keegan stars as Duke Orsino
‘Twelfth Night’
Through June 22
Folger Theatre
201 East Capitol St., S.E.
$20-$84
Folger.edu
Nonbinary actor Alyssa Keegan (they/them)loves tapping into the multitudes within.
Currently Keegan plays the melancholic Duke Orsino in Folger Theatre’s production of Shakespeare’s romantic comedy “Twelfth Night.” Director Mei Ann Teo describes the production as “sexy, hilarious, and devastating” and full of “elegant kink.”
Washington-based, Keegan enjoys a busy and celebrated career. Her vast biography includes Come From Away at Ford’s Theatre; Cat on a Hot Tin Roof (Helen Hayes Award, Best Actress) and Paula Vogel’s How I Learned to Drive, both at Round House Theatre; Diana Son’s Stop Kiss directedby Holly Twyford for No Rules Theatre Company; and Contractions at Studio Theatre, to name just a few.
In addition to acting, Keegan works as a polyamory and ethical non-monogamy life and relationship coach, an area of interest that grew out of personal exploration. For them, coaching seems to work hand in hand with acting.
WASHINGTON BLADE: You’re playing the lovesick Orsino in Twelfth Night. How did that come about?
ALYSSA KEEGAN: The director was looking to cast a group of actors with diverse identities; throughout auditions, there were no constraints regarding anyone’s assigned sex at birth. It was really a free for all.
BLADE: What’s your approach to the fetching, cod-piece clad nobleman?
KEEGAN: Offstage I identify as completely nonbinary; I love riding in this neutral middle space. But I also love cosplay. The ability to do that in the play gives me permission to dive completely into maleness.
So, when I made that decision to play Orsino as a bio male, suddenly the part really cracked open for me. I began looking for clues about his thoughts and opinions about things like his past relationships and his decision not to date older women.
Underneath his mask of bravura and sexuality, and his firmness of feelings, he’s quite lonely and has never really felt loved. It makes sense to me why his love for Olivia is so misguided and why he might fall in love with the Cesario/Viola character.
BLADE: As an actor, do you ever risk taking on the feelings of your characters?
KEEGAN: Prior to my mental health education, yes, and that could be toxic for me. I’ve since learned that the nervous system can’t tell the difference between real emotional distress and a that of a fully embodied character.
So, I created and share the Empowered Performer Project. [a holistic approach to performance that emphasizes the mental and emotional well-being of performing artists]. It utilizes somatic tools that help enormously when stepping into a character.
BLADE: Has changing the way you work affected your performances?
KEEGAN: I think I’m much better now. I used to have nearly debilitating stage fright. I’d spend all day dreading going onstage. I thought that was just part of the job. Now, I’ve learned to talk to my body. Prior to a performance, I can now spend my offstage time calmly gardening, working with my mental health clients, or playing with my kid. I’m just present in my life in a different way.
BLADE: Is Orsino your first time playing a male role?
KEEGAN: No. In fact, the very first time I played a male role was at the American Shakespeare Center in Staunton, Va. I played Hipolito in Thomas Middleton’s The Revenger’s Tragedy.
As Hipolito, I felt utterly male in the moment, so much so that I had audience members see me later after the show and they were surprised that I was female. They thought I was a young guy in the role. There’s something very powerful in that.
BLADE: Do you have a favorite part? Male or female?
KEEGAN: That’s tough but I think it’s Maggie the Cat. I played the hyper-female Maggie in Tennessee Williams’ Cat on a Hot Tin Roof at Round House. In the first act she didn’t stop talking for 51 minutes opposite Gregory Wooddell as Brick who barely had to speak. That lift was probably the heaviest I’ve ever been asked to do in acting.
BLADE: What about Folger’s Twelfth Night might be especially appealing to queer audiences?
KEEGAN: First and foremost is presentation. 99% of the cast identify as queer in some way.
The approach to Shakespeare’s text is one of the most bold and playful that I have ever seen. It’s unabashedly queer. The actors are here to celebrate and be loud and colorful and to advocate. It’s a powerful production, especially to do so close to the Capitol building, and that’s not lost on any of us.
The Washington Blade hosted the inaugural WorldPride Boat Parade at The Wharf DC on Friday, June 6. NBC4’s Tommy McFly served as the emcee.
(Washington Blade photos by Michael Key)
The 2025 Capital Pride Honors awards ceremony and gala reception was held at the National Building Museum on Thursday, June 5. Honorees included Cathy Renna, Jerry St. Louis, Ernest Hopkins, Lamar Braithwaite, Rev. Dr. Donna Claycomb Sokol, Kriston Pumphrey, Gia Martinez, Kraig Williams and SMYAL. Presenters and speakers included U.S. Rep. Mark Takano (D-Calif.), Amber Ruffin, Raven-Symoné and Paul Wharton.
(Washington Blade photos by Michael Key)
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