Material Type

Artifact

Other Name

MAMA DIDI PINK WIG

Date Range From

2013

Date Range To

2023

Materials

MODACRYLIC FIBER

No. Pieces

1

Height

35.3

Length

34.0

Width

23.1

Description

HOT PINK BOUFFANT-BOB WIG WITH BANGS AND ROSE-GOLD HIGHLIGHTS. BLACK TAG ON INSIDE OF WIG CAP, FRONT OF TAG READS, “100% MODACRYLIC FIBER.” BACK OF TAG READS, “PIECE MADE IN CHINA.” GOLD THREAD IS WRAPPED AROUND LACE PIECE OF WIG CAP NEAR TAG. LOOSE THREAD ON INSIDE OF WIG CAP, WIG HAIRS ARE TANGLED AND FRIZZY, BANG HAIR IS SLIGHTLY STAINED NEAR SIDES. OVERALL VERY GOOD CONDITION.

Subjects

ADORNMENT

Historical Association

LEISURE

PERSONAL CARE

History

ON MARCH 20, 2024, COLLECTIONS TECHNICIAN, KEVIN MACLEAN INTERVIEWED JAY WHITEHEAD REGARDING THEATRE OUTRÉ’S DONATION, SPECIFICALLY THE PINK WIG AND FAUX HUMAN SKULL ON STAND. THE FOLLOWING INFORMATION IS DERIVED FROM THAT INTERVIEW. WHITEHEAD EXPLAINED HOW HE IS ABLE TO RECOGNIZE THE PINK WIG: “…[THE PINK WIG] WAS THE VERY FIRST WIG THAT I GOT WHEN I CREATED MY DRAG CHARACTER, ‘DIDI D'EDADA’, OR ‘MAMA DIDI’. IT DATES BACK TO, I BELIEVE, 2013, [WHICH] WAS WHEN I ORIGINATED THE CHARACTER [MAMA DIDI], AND I FOUND THIS WIG ON A WEBSITE. I BELIEVE IT WAS ETSY, AND IT WAS PRE-STYLED. [IT] CAME IN A LARGE BOX TO MY RESIDENCE, AND I WORE IT FOR THE FIRST EVENT THAT WE EVER THREW IN OUR VENUE, WHICH WAS THEN CALLED ‘BORDELLO’. [THE EVENT] WAS CALLED, ‘LOVE STINKS’ [AND] IT WAS A VALENTINE’S DAY CABARET… [THE WIG] KIND OF BECAME MY SIGNATURE-LOOK THROUGHOUT MY TIME IN LETHBRIDGE, WEARING IT, YOU KNOW, AS RECENTLY AS LAST YEAR (2023) AT FORT MACLEOD PRIDE, AT THE EMPRESS THEATRE.” ON WHY HE CHOSE THIS WIG SPECIFICALLY, WHITEHEAD EXPLAINED: “PINK IS MY FAVORITE COLOR AND I’VE ALWAYS BEEN DRAWN TO KIND OF A RETRO OR VINTAGE AESTHETIC, YOU KNOW, FASHIONS OF PREVIOUS DECADES, AND IT KIND OF STRUCK ME AS KIND OF A 60S SORT OF BOB. AND ALSO, [I] LIKE IT WASN’T AN ATTEMPT TO LOOK LIKE REAL HAIR. I WANTED [THE WIG] TO EXPRESS THE IDEA THAT I WAS MAKING A COMMENTARY ABOUT GENDER BY WEARING SOMETHING THAT WAS ‘CAMP’ AND OVER-THE-TOP, AND NOT REALISTIC IN ANY WAY.” ON CREATING SPACE FOR THEATRE OUTRÉ IN LETHBRIDGE, ALBERTA, WHITEHEAD EXPLAINED: “…PART OF THE IMPETUS TO CREATE ‘BORDELLO’, WHICH BECAME ‘CLUB DIDI’, WHICH BECAME ‘DIDI’S PLAYHAUS’, WAS TO BE MORE VISIBLE WITHIN THE COMMUNITY AND TO CREATE A SPACE THAT WAS NOT JUST FOR THEATRE BUT FOR, YOU KNOW, SOCIAL INTERACTION WITHIN THE COMMUNITY, AND PERFORMANCE. AND THAT WAS KIND OF THE BEGINNING OF THE DRAG RENAISSANCE, AS I LIKE TO CALL IT, IN LETHBRIDGE, WHICH CONTINUES TODAY… I DON’T TAKE FULL CREDIT FOR THAT RENAISSANCE. I THINK, YOU KNOW, ‘RUPAUL’S DRAG RACE’, FOR EXAMPLE, KIND OF CAME INTO PROMINENCE DURING THESE YEARS, AND IT JUST KIND OF CREATED A REAL DESIRE TO SEE THIS ART FORM DONE LOCALLY.” WHITEHEAD CONTINUED ON THE BORDELLO VENUE: “…I THINK IT WAS LIKE 2012-2013, WHEN WE FIRST GOT THE ‘BORDELLO’ SPACE ABOVE ‘THE OWL’, AND WE WANTED TO DO QUEER THEATRE, AND I HAD WRITTEN A PLAY WITH MY FRIEND, DANIEL JUDES, FROM GRAD SCHOOL, CALLED ‘UNSEXED’, AND WE NEEDED A VENUE. THAT WAS KIND OF THE REASON WHY WE TOOK THE VENUE, BUT ALSO, WE THOUGHT WE COULD CONTINUE TO FUND THE VENUE BY DOING OTHER EVENTS LIKE DRAG CABARETS. AND THAT WAS WHEN ‘DIDI’ WAS BORN, OUT OF THAT DESIRE TO MAINTAIN A VENUE, AND A SPACE FOR THE COMMUNITY, THAT WAS IN THE HEART OF THE CITY!” ON IF HE HAD OTHER DRAG CHARACTERS PREVIOUS TO ‘DIDI,’ WHITEHEAD CLARIFIED: “…I DIDN’T REALLY CONSIDER MYSELF A DRAG QUEEN UNTIL ‘DIDI’ CAME ALONG. I’M A TRAINED ACTOR, AND SO I’VE ALWAYS BEEN INTERESTED IN GENDER PERFORMANCE, AND KIND OF SCREWING AROUND WITH THE IDEAS OF GENDER. I WAS OFTEN CHALLENGED THROUGHOUT MY ACTING TRAINING FOR BEING EFFEMINATE, AND WHEN I GOT OUT OF THEATRE SCHOOL, I STARTED EXPLORING, YOU KNOW, PLAYING FEMALE ROLES, AS A MALE-PRESENTING ACTOR…” WHEN ASKED IF THERE WERE OTHER DRAG PERFORMERS AT BORDELLO, WHITEHEAD EXPLAINED: “IT STARTED OUT AS MYSELF AND ‘CASTRATI’, (WHO IS MY DRAG KING SON, PLAYED BY KATHY ZABORSKY), AND ‘CASTRATI’ IS AN OPERA-SINGING EUNUCH, AND WOULD ACCOMPANY ME ON PIANO DURING THESE EARLY CABARETS. AND THERE WAS A CHARACTER DYNAMIC BETWEEN US THAT WE DEVELOPED OVER THE YEARS. DURING THOSE EARLY YEARS, I REMEMBER A LOCAL DRAG PERFORMER, JORDAN PAYNE, (AKA ‘SOPHIE WRIGHT’), KIND OF COMING INTO THE PICTURE, AND THEN, WHEN WE MOVED TO THE NEW SPACE (ON 4TH AVE), AND STARTED DOING MORE DRAG EVENTS, THAT’S WHEN, KIND OF, ALL THE DRAG BABIES CAME OUT OF THE WOODWORK, AND WE WOULD HOST EVENTS LIKE LIP SYNCH ROULETTE AND STUFF LIKE THAT. AT A CERTAIN POINT, THERE WERE, YOU KNOW, I WOULD SUGGEST UPWARDS OF 10 TO 15 LOCAL DRAG QUEENS AND KINGS, THAT WE WOULD TRY TO PROVIDE A PLATFORM FOR THEM TO PERFORM IN VARIOUS TYPES OF EVENTS, AND DEVELOP THEIR CHARACTERS AND THEIR AESTHETIC… THAT KIND OF CONTINUES TODAY…” WHITEHEAD COMMENTED: “I WOULD SAY BETWEEN THE YEARS OF 2016 TO 2018 WAS KIND OF THE [DRAG SCENE] BOOM” ON HOW THE CHARACTER ‘MAMA DIDI’ GREW THROUGHOUT THIS TIME, WHITEHEAD REFLECTED: “…FOR ME, DRAG HAS ALWAYS BEEN ABOUT SCREWING WITH GENDER IDEALS… ‘DIDI’ IS NEITHER MALE, NOR FEMALE. IT’S AN EXPRESSION OF THE FACT THAT GENDER DOESN’T HAVE TO BE THIS BINARY THING, ALTHOUGH I DID TYPICALLY WEAR FEMALE-PRESENTING COSTUMES. THAT WAS JUST THE WAY I WANTED TO EXPLORE IT, BUT, FOR ME, THE ACT OF GETTING INTO DRAG, (THE MAKEUP, THE CLOTHES, THE WIG, ETCETERA), WAS NEVER THE PART THAT I LOVED THE MOST. I ALWAYS LIKED THE PERFORMANCE ASPECT OF IT… AND ‘DIDI’ KIND OF DEVELOPED INTO THE MATRON OF THE SPACE; DJ-ING DANCE PARTIES, AND HOSTING VARIOUS EVENTS IN A VERY KIND OF SEX-AND-BODY-POSITIVE ENVIRONMENT AND FOLLOWING THAT [THEATRE OUTRÉ] MANDATE. ‘DIDI’ WAS ABOUT FREEING ONESELF FROM THE SHAME THAT MANY OF US EXPERIENCED GROWING-UP QUEER. AND THAT WAS KIND OF MY AMBITIONS AND MY DESIRE WAS TO EXPLORE THOSE THEMES THROUGH MY DRAG…” WHITEHEAD REITERATED: “…IN PUTTING ON THE MASK OF ‘DIDI’, (THE MAKEUP, THE HAIR, THE COSTUME), THERE’S ACTUALLY, LIKE, A REMOVING OF A MASK THAT OCCURS. I FEEL MORE FREE WHEN I’M IN DRAG. I FEEL LIKE I CAN CHALLENGE THE STATUS QUO MORE FREELY IN DRAG. THERE’S SOMETHING FREEING ABOUT ADOPTING THE COSTUME AND THE MANNERISMS IN A WAY THAT IS A BIT – IT’S KIND OF LIKE HOLDING UP A MIDDLE FINGER TO SOCIETY, AND SAYING, ‘YOU SAY I CAN’T PRESENT THIS WAY. HERE I AM!’ AND IT GAVE ME A CERTAIN PERMISSION TO SPEAK MY MIND OPENLY AND HONESTLY AND FREELY. AND THAT, FOR ME, WAS ALWAYS THE POWER OF THE CHARACTER, AND THE POWER OF DRAG…” WHEN ASKED IF THERE WERE ANY OTHER CHARACTERS HE DEVOLVED, WHITHEAD EXPLAINED: “…I’VE PLAYED A VARIETY OF CHARACTERS IN STAGE PLAYS, TEMPORARILY, BUT THERE WAS NO OTHER CHARACTER THAT KIND OF STUCK AROUND FOR AN EXTENDED PERIOD OF TIME.” ON HOW HE FEELS LEAVING MAMA DIDI BEHIND IN LETHBRIDGE, WHITEHEAD EXPRESSED: “…THERE’S A MOURNING THAT’S HAPPENING RIGHT NOW. I’M EXPERIENCING A LOT OF SADNESS ABOUT MOVING ON, BUT ALSO A REAL KIND OF HOPEFULNESS FOR THE FUTURE OF WHAT DRAG IS BECOMING IN LETHBRIDGE, AND, YOU KNOW, OPENING UP THIS KIND OF MOVEMENT THAT WE STARTED, TO NEW VOICES, AND FRESH VOICES, AND MORE DIVERSE VOICES, I THINK IS AN EXCITING THING AS WELL. SO, AS AN ARTIST, AND AS AN ARTISTIC LEADER, ESPECIALLY ONE WITH SOCIALLY MINDED ASPIRATIONS… THERE COMES A TIME WHEN YOU HAVE TO PASS THE BATON, IN ORDER FOR THE ART FORM TO EVOLVE. AND, AS HARD AS THAT WAS PERSONALLY AND EMOTIONALLY, I FEEL CONFIDENT IN MY DECISION TO MOVE ON, AND TO HAVE, KIND OF, A LEGACY THAT CONTINUES, AND EVOLVES ACCORDING TO THE NEEDS OF THE CURRENT GENERATION.” WHEN ASKED IF DURING HIS UNDERGRAD AT THE UNIVERSITY OF LETHBRIDGE, IF THERE WERE ANY MEMBERS OF THE COMMUNITY PERFORMING IN DRAG, WHITHEAD REFLECTED: “I DON’T RECALL, DURING THE YEARS OF MY UNDERGRAD, THAT DRAG WAS EVEN REALLY A BIG THING IN THE COMMUNITY. LIKE, WE WEREN’T REALLY TALKING ABOUT IT OR DOING IT…” WHITEHEAD REFLECTED ON HOW THE DRAG SCENE IN LETHBRIDGE HAS EVOLVED FROM HIS UNDERGRAD TO LEAVING AGAIN IN 2024: “…AFTER LEAVING THE LETHBRIDGE [DRAG] SCENE, AND HAVING BEEN PART OF ITS EVOLUTION AND GROWTH, WHAT I LOOK BACK ON, AND WHAT I FEEL STILL EXISTS HERE TODAY, IS A REAL SPECIAL SENSE OF COMMUNITY AND FAMILY, THAT I HAVEN’T REALLY EXPERIENCED ELSEWHERE. WE DO USE THE WORD ‘FAMILY,’ AND OFTEN DRAG FAMILIES WILL CALL THEMSELVES THAT!... I THINK, GIVEN THE SIZE OF THE COMMUNITY WE’RE IN, AND THE FACT THAT LETHBRIDGE TENDS TO MORE SOCIALLY CONSERVATIVE IN MANY WAYS, THERE’S A REAL SENSE OF SUPPORT AND KIND OF COMING-TOGETHER IN THE [DRAG] SCENE HERE, THAT HAS BEEN VERY GRATIFYING TO BE A PART OF, AND THE REASON WHY I KEEP SUCH STRONG CONNECTION TO THE COMMUNITY HERE…” WHITEHEAD PROVIDED AN EXAMPLE OF WHAT HE LOVES ABOUT THE LETHBRIDGE DRAG SCENE: “…I WAS JUST AT A DRAG SHOW AT ‘THE OWL’, TWO WEEKS AGO/A WEEKEND AGO, AND THEY BROUGHT IN SOME QUEENS FROM THE TV SHOW, ‘CANADA’S DRAG RACE’, BUT THE PART THAT REALLY HAS ALWAYS BEEN THE MOST IMPORTANT FOR ME, WHICH I OBSERVED THAT NIGHT, WAS THE ELEVATING OF LOCAL VOICES ON STAGE, AND SEEING PEOPLE EXPRESS THEMSELVES FROM A COMMUNITY THAT, PERHAPS, ISN’T AS WELCOMING TO THEM, AND WHERE THEY’RE TAKING A CERTAIN RISK BY DOING THAT. AND I APPLAUDED, AND I’VE ALWAYS BEEN VERY MOVED BY IT...” ON WHAT THE WIG REPRESENTS TO HIMSELF AND THE COMMUNITY, WHITEHEAD REFLECTED: “…THE WIG – ALTHOUGH FOR ME THIS IS AN IMPORTANT PART OF OUR [LETHBRIDGE DRAG SCENE] HISTORY, IT WAS AN IMPORTANT PART OF THE AESTHETIC OF OUR FIRST PRODUCTION (AND PROBABLY ONE OF OUR MOST SUCCESSFUL PRODUCTIONS). THE WIG KIND OF REPRESENTS A LONGER SORT OF PERIOD OF TIME AND EVOLUTION, AND CONTINUED GROWTH OF A CHARACTER THAT WAS KIND OF THE FOUNDATION FOR WHAT [THEATRE OUTRÉ] CREATED…” ON MARCH 11, 2024, COLLECTIONS TECHNICIAN, KEVIN MACLEAN INTERVIEWED DEONIE HUDSON REGARDING THEATRE OUTRÉ’S DONATION OF A PINK WIG, CURTAINS, FAUX HUMAN SKULL ON STAND, ASSORTED FAUX HUMAN BONES, AND A FLORAL HEADPIECE. DEONIE HUDSON, AT THE TIME OF THE INTERVIEW, WAS WORKING WITH THEATRE OUTRÉ FOR EIGHT YEARS; STARTING AS AN INTERN, RESIDENT DESIGNER, INTERIM ARTISTIC DIRECTOR, AND FINALLY INTO THE PERFORMANCE COORDINATOR ROLE. THE FOLLOWING INFORMATION IS DERIVED FROM THAT INTERVIEW. ON WHAT THE WIG REPRESENTED, IN TERMS OF IDENTITY, HUDSON COMMENTED: “[THE WIG IS] KIND OF A LIVING HISTORY WHERE, ANYBODY WHO WAS AROUND FOR ANY OF THAT TIME PERIOD WOULD RECOGNIZE THAT WIG IMMEDIATELY, AND KNOW WHO IT BELONGED TO, AND WHAT IT REPRESENTED – BRINGING DRAG TO LETHBRIDGE AND ALLOWING THAT COMMUNITY TO KIND OF THRIVE” HUDSON REFLECTED ON THE FIRST TIME SHE SAW THE DRAG CHARACTER ‘MAMA DIDI’: “…REALLY THE FIRST TIME THAT I EVER SAW DIDI WOULD HAVE BEEN WEARING THAT PINK WIG, AND WORE THAT SAME PINK WIG FOR YEARS, AND YEARS, BEFORE THEY STARTED BRANCHING OUT INTO A FEW OTHER STYLES. BUT ANY TIME WHEN WE WERE DOING ANY SORT OF EVENT THAT WAS GOING TO BE A VERY ICONIC DIDI-TYPE MOMENT, WHEN WE RE-LAUNCHED THE SPACE, AND RE-BRANDED IT FROM CLUB DIDI TO DIDI’S PLAYHAUS, DIDI WAS WEARING THAT WIG. ANY TIME WE’VE DONE ANY SORT OF BIG CHRISTMAS SHOW, OR ANYTHING LIKE THAT, TYPICALLY, THAT WIG WAS BROUGHT OUT AND WORN AGAIN. SO, THE WIG HAS BEEN WELL USED, AND WELL LOVED… I THINK THAT ANYBODY WHO ATTENDED ANY EVENT WITH DIDI, EVEN IF YOU DIDN’T KNOW IT WAS DIDI, FROM BEHIND YOU SAW THE PINK WIG, AND YOU KNEW WHERE YOU WERE, AND WHAT WAS HAPPENING.” ON WHAT SHE CAN REMEMBER OF THE FIRST PERFORMANCE THEY EXPERIENCED WITH MAMA DIDI, HUDSON RECOLLECTED: “…I KNOW THAT THERE WAS ALWAYS JUST SOMETHING SO ICONIC ABOUT THAT WIG, AND THE PIECES THAT DIDI WOULD PERFORM - THEY WOULD ALWAYS TELL A STORY; HAVE A LITTLE BIT OF A POLITICAL LEANING, LIKE REALLY NOT JUST A LIP SYNC, AND A DANCE. THERE WAS ALWAYS A LOT OF A STORY GOING ON WITH THINGS. I REMEMBER VARIOUS ONES WHERE JAY (WHITEHEAD) WOULD BE DEALING WITH THINGS THAT WOULD BE GOING ON IN THE WORLD…” HUDSON CONTINUED: “…THE WIG WAS SO USED THAT IT’S JUST A PIECE OF ‘QUEER’ HISTORY IN LETHBRIDGE REALLY, BECAUSE IT’S SOMETHING THAT IS SO MEMORABLE, AND SO EASY TO SPOT IN A CROWD, BECAUSE OF THE COLOR, AND THE VIBRANCY, AND THE SHAPE OF IT, THAT IT BECAME VERY RECOGNIZABLE.” HUDSON EXPLAINED HOW THE WIG BECAME ICONIC, ALONGSIDE THE CHARACTER MAMA DIDI: “…THE WIG AND THE DIDI CHARACTER BECAME PART OF THE LOGO OF ‘DIDI’S PLAYHAUS’…” HUDSON REITERATED: “…FOR ME, [THE PINK WIG] REPRESENTS THE HISTORY OF QUEER LETHBRIDGE MORE THAN ANY OTHER PIECE ON THIS TABLE (WIG STAND, CURTAINS, FAUX BONES, AND FLORAL HEADPIECE). I THINK IT IS THE MOST RECOGNIZABLE PIECE THAT PEOPLE WHO ARE FROM THIS AREA WOULD LOOK AT IT, AND KNOW WHAT IT WAS FROM IMMEDIATELY…” ON THE DRAG SCENE IN LETHBRIDGE AND MAMA DIDI, HUDSON REFLECTED: “…I CAN’T SAY THAT DRAG DIDN’T EXIST IN LETHBRIDGE PRIOR TO DIDI, BUT IT DIDN’T REALLY EXIST IN LETHBRIDGE. THERE WASN’T REALLY A SCENE, OR A CHARACTER, THAT WAS BRINGING PEOPLE IN… BECAUSE DIDI GATHERED A FAMILY; GATHERED A COMMUNITY IN LETHBRIDGE; GAVE A STAGE TO OTHER PEOPLE TO TRY DRAG; AND REALLY JUST KIND OF CREATED THIS VIBRANCY THAT ALLOWS US TO CONTINUE TO DO SHOWS EVEN WITHOUT THAT SPACE, AND, I THINK, WITHOUT THAT WIG, AND WITHOUT THAT CHARACTER, I DON’T KNOW THAT THAT WOULD EXIST IN LETHBRIDGE THE WAY THAT IT DOES TODAY, OR WOULD HAVE HAD SUCH A VIBRANCY, AND SUCH A LIFE, WITHOUT DIDI. DIDI REALLY WAS THE DRIVING FORCE BEHIND BRINGING DRAG TO LIFE IN LETHBRIDGE.” HUDSON COMMENTED ON WHAT DREW HER TO THEATRE OUTRÉ AND STAY ON AFTER INTERNING: “…ONCE I GOT INVOLVED IN [THEATRE OUTRÉ], IT WAS THE COMMUNITY, AND IT WAS REALIZING HOW MUCH THE QUEER COMMUNITY IN LETHBRIDGE NEEDED A SUPPORT SYSTEM, AND BEING ABLE TO BE A PART OF THAT WAS REALLY WHAT DROVE ME TO CONTINUE ON, AND TO FIGHT THROUGH COVID, AND MONEY, AND, LIKE, ANYTHING THAT WE NEEDED TO DO TO JUST KEEP THAT COMPANY GOING, AND TO KEEP BEING A PART OF IT, AND FEELING THAT LOVE, AND THAT JOY, THAT THE COMMUNITY NEEDED, AND GIVING PEOPLE THAT SPACE TO BE THEMSELVES, AND TELL THEIR STORIES.” ON HOW LETHBRIDGE DIFFERS FROM BIGGER CITY CENTERS, HUDSON STATED: “…WHAT HAS HAPPENED IN LETHBRIDGE IS SO ANOMALOUS IN THE QUEER COMMUNITY THAT IT COULD ONLY EXIST HERE… THERE’S SOMETHING SO SPECIAL ABOUT THIS CITY, AND BEING IN A PLACE THAT, IN ALL THEORY, SHOULD NOT BE A PLACE THAT QUEER COMMUNITIES SHOULD THRIVE… BUT THE COMMUNITY IS SO STRONG, AND SO WONDERFUL, AND THE COMMUNITY THAT SURROUNDS IT IN THE ALLIES IS SO WARM, AND LOVELY, AND ACCEPTING, THAT IT HAS ALLOWED QUEER PEOPLE IN LETHBRIDGE TO REALLY THRIVE, AND REALLY BECOME SOMETHING THAT DIDN’T EXIST BEFORE. IT’S LESS UNDERGROUND…” HUDSON CONTINUED: “…YOU HAVE POCKETS OF QUEER THINGS THAT HAPPEN. YOU KNOW, YOU’VE GOT YOUR CLUBS, OR YOUR THEATRES, OR YOUR THIS, OR YOUR THAT, AND [THEATRE OUTRÉ] WERE ALL OF THOSE THINGS ROLLED INTO ONE, BECAUSE THAT’S JUST THE WAY THAT IT WORKED HERE.” THE FOLLOWING INFORMATION IS DERIVED FROM THEATRE OUTRÉ’S WEBSITE “ABOUT US” PAGE: “…THEATRE OUTRÉ IS A PROFESSIONAL THEATRE COMPANY BASED IN LETHBRIDGE, ALBERTA, FOUNDED IN 2013 BY FORMER ARTISTIC DIRECTOR JAY WHITEHEAD. THEATRE OUTRÉ IS A LEADING OUTLET FOR ALTERNATIVE AND QUEER THEATRE IN ALBERTA AND THE PRODUCER OF THE HUGELY SUCCESSFUL QUAINT, QUIRKY & QUEER CABARET & FESTIVAL (FORMERLY PRETTY, WITTY & GAY). THEATRE OUTRÉ ALSO PRODUCES A SERIES OF IMPROV SHOWS THROUGH IMPROMPTOU AND PROGRAMS DRAG SHOWS AND OTHER QUEER-FOCUSED EVENTS AT THE OWL AND THROUGHOUT THE COMMUNITY…” FOR FURTHER INFORMATION ON THE PINK WIG, DONOR SUPPLIED IMAGES, THEATRE OUTRÉ’S FACEBOOK AND WEBSITE, OR TO SEE FULL INTERVIEW TRANSCRIPTIONS, PLEASE SEE THE DONATIONS PERMANENT FILE.

Catalogue Number

P20240003001

Acquisition Date

2024-03

Collection

Museum

Less detail