ross-gender adaptations of c famous works have ' become something of a cliché in the art world in recent years. While some continue to consider such productions the cutting edge in queer arts, others see them as attempts to exploit the community for either profit or some coveted “altemative” sta- tus. The productions are often 5. predictably amusing, nudging the audience gently in a “wink wink” _'kind of way. Romeo’s Juliet sud- denly becomes Julio, and the mere substitution of woman for man supposedly turns what was once the classic heterosexual love story into a gay parable. The problem with such adap- tations is fairly obvious. Rather than break new ground, more Swan in LOVE: In Appreciation of Ma hew Boume’s #56! often than not they merely lay down Astroturf over grass. Despite its intended subversion, the implicit heterosexuality remains and neither side —‘— homo nor hetero — benefits greatly from the exchange. Then along comes something truly stunning like Kenneth Boume’s theatrical remake of they Tchaikovsky ballet Swan Lake." wan A review Lake u Hugh Coule An import from London that just finished a successful stateside run in New York City, the production casts men in the traditionally female roles of the swans. Boume made the cross-gender ‘decision not out of some simple desire to stir up controversy, but rather in MATTHEW, p 27 Gone are the hallerinas prancing across the set en pointe. In their place Bourne gives V’ — and a sexual force a to he reck- l lined with. 3‘ £2‘ . If Would your organizationfgroup like to be part of the week no Vert? please c’ontact Virginia Renfrew g renfrew@sover.net or 802-496-4333 Interested in organizing a town MEI:TIlllii idufing 9 9 l y /\ your region For more information about Equality Beginsat Home‘ in Vermont, check out COALITION NOTES in this issue. MARCH 21-27, 1999 equal VERMONT flax CjBfl3.‘J: fl) at tfie Statefiau/J2, F b e1Ei‘1‘i'ry ilv 1’: I‘'‘‘—‘‘‘‘————'——_—_-'—_—_———————_————————————————————————