The world of performance art is often defined by those who dare to challenge conventions, and few have done so with as much impact as Julian Eltinge. A name synonymous with the golden age of female impersonation, Eltinge was more than a performer; he was a cultural phenomenon whose career laid the groundwork for the drag queens of today. While contemporary audiences may be familiar with the flamboyant and competitive world popularized by shows like RuPaul’s Drag Race, the roots of this art form stretch back over a century. Eltinge’s story is a single, yet pivotal, pit stop along the extensive historical highway of cross-dressing and drag performance. His journey from the theatrical stages of the early 20th century to the silver screen illustrates the evolution of drag from a niche entertainment to a cornerstone of modern popular culture. This article will explore the historical context of Eltinge’s career, the societal perceptions of his time, and how his legacy paved the way for the mainstream visibility of drag queens in the 21st century.
The Genesis of a Legend
The origins of Julian Eltinge’s fascination with mimicking women’s fashion and body language are shrouded in some mystery. Various accounts offer different theories, creating a haze around his initial interest. Some origin stories suggest that his mother dressed him in girls' clothing during his youth. Others posit that he stumbled upon his gender-bending knack while taking dance lessons, discovering an innate talent for movement and expression. A third narrative claims that female impersonation on stage was simply a lifelong dream for him. Regardless of the specific catalyst, Eltinge’s path to stardom was set.
He was born William Dalton in 1881, and his professional career began in vaudeville. However, it was in 1911 that he achieved true theatrical acclaim. His starring role in the hit play The Fascinating Widow was a watershed moment. In this production, Eltinge’s transformation was so complete and his performance so captivating that it opened the door to his ultimate status as the father of modern drag queens. The play was a massive success, and Eltinge’s reputation soared. He was no longer just a novelty act; he was a bona fide star, commanding the attention of audiences and critics alike.
His fame soon transitioned from the stage to the silent silver screen. In an era where film was still finding its footing, Eltinge became one of its early luminaries. He commanded one of the highest salaries in show business at the time, a testament to his immense popularity. His influence extended beyond performance; he launched three fan magazines dedicated to his craft, a savvy business move that cemented his brand. He accumulated a cabinet's-worth of product endorsements, from cosmetics to household goods, making him one of the first celebrities to leverage his image for commercial gain. His reach was even royal, as he performed for a delighted King Edward VII of the United Kingdom, a prestigious engagement that elevated his status to international acclaim.
Navigating a Restrictive Era
To understand Eltinge’s achievement, one must consider the social climate of the early 20th century. This was a period characterized by restrictive views on gender and a widespread, often violent, disavowal of homosexuality. In such a context, a man performing in elaborate drag on stage could have been a career-ending, or even life-threatening, endeavor. Yet, Eltinge’s drag performances surprisingly didn't ruffle many contemporary feathers. Female audiences in particular delighted in his seemingly magical transformations into women. They saw his act not as a threat to gender norms, but as a delightful fantasy, a form of entertainment that allowed them to witness a perfected, almost ethereal, version of femininity.
However, Eltinge was acutely aware of the dangers that lurked beneath his stage fame. In his personal life, he displayed a distinct unease with his stage trickery. He was extremely concerned that fans might assume he cross-dressed offstage or, even worse for the time, engaged in sexual relationships with men. To combat these assumptions, the bachelor made well-publicized displays of his masculine passions and pastimes. He was often photographed boxing, smoking cigars, and fishing—activities that reinforced his manliness and served as a public shield against rumors and speculation. This careful curation of his public image highlights the immense pressure he faced to separate his art from his identity, a challenge that many performers in marginalized spaces have historically endured.
The Fading of an Era and the Rise of New Forms
By the 1930s, the landscape of entertainment was shifting dramatically. Eltinge’s silent film star had faded as "talkies" attracted larger audiences at the cinema. His specific brand of gender metamorphosis, which had been so novel and captivating on stage and in silent film, had begun to lose its novelty in the face of new technologies and changing tastes. The advent of sound in film created a new set of demands, and Eltinge’s act, which relied heavily on visual transformation, struggled to adapt.
His career decline did not, however, mark the end of drag. Instead, it signaled a transition. The torch was being passed to new forms and new mediums. The literary and cinematic tradition of cross-dressing continued to evolve. One can draw a direct line from Shakespeare’s gender-swapping in As You Like It, where Rosalind disguises herself as Ganymede, to the 1959 hit comedy Some Like It Hot, in which Jack Lemmon and Tony Curtis disguise themselves as women to join an all-girl jazz band. While Lemmon and Curtis were not drag queens in the performance sense, their on-screen drag served to undo gender norms, just as Eltinge’s had.
This Hollywood theme—of men dressing as women for comedic or plot-driven purposes—helped popularize the visual of drag in the public consciousness. Films like Tootsie (1982) and Mrs. Doubtfire continued this tradition. However, as Source [3] notes, drag was not always seen as a laughing matter. In Alfred Hitchcock’s Dial M for Murder (1954), a character is warned that he will be arrested if he walks out in the open looking like a woman, a stark reminder of the persistent social stigma attached to cross-dressing in many circles. This duality—drag as entertainment versus drag as a transgression—has been a constant thread throughout its history.
The Components of the Art Form
The art of drag, as practiced by Eltinge and his successors, is built on a series of deliberate choices and performances. According to analysis of the historical record, there are typically three basic components of doing drag. First, a drag queen assumes a stage name. This act of renaming is a form of reinvention, creating a new persona separate from one’s daily life. A 1996 guide, The Drag Queens of New York: An Illustrated Field Guide, likens the cult-followings of Manhattan drag queens to bird-watching, listing mainstays like Hedda Lettuce, Miss Understood, and Perfidia. This practice of naming connects to the second component: taking the stage. The drag queen embraces the idea that “All the world’s a stage,” as Jaques famously declared in As You Like It.
The third component involves the performance itself. Most drag queens strive for overkill through the use of heavy makeup, “falsies” (false eyelashes), and a gender-bending technique known as “tucking.” The goal is not necessarily to pass as a woman, but to create an exaggerated, often hyper-feminine, caricature. As the text notes, “The authenticity of femininity is always undermined by a drag queen’s roughness, which often includes a vulgar stage presence and desire to shock.” This subversion is key; drag is not just imitation, but a commentary on gender itself. It is an "undoing of gender norms through doing (or dressing) the part of the opposite sex," a stark contrast to the secrecy of cross-dressing, where the intent is often to pass unseen.
The Modern Mainstream and the Legacy of Eltinge
While Julian Eltinge was the father of modern drag queens, the contemporary scene has been shaped by a new generation of performers who have brought drag into the global spotlight. Foremost among them is RuPaul, who has been touted as the most famous drag queen in the world. In 1994, RuPaul's single "Supermodel (You Better Work)" broke into the top 30 on Billboard Music's pop chart, catapulting the multitalented personality into a successful career with highlights including a high-profile cosmetics campaign, a bestselling autobiography, and, most significantly, a hit reality television series.
Since 2009, the Emmy award-winning RuPaul’s Drag Race has brought drag into the mainstream and given it international visibility. The show has launched the careers of many drag queens and has had a profound impact on popular culture. In 2023, a testament to this mainstream acceptance, RuPaul’s Drag Race two-time winner Jinkx Monsoon made her Broadway debut in Chicago in the role of brassy prison matron Mama Morton. This milestone underscores the journey drag has taken from the vaudeville stages of Julian Eltinge to the most prestigious theaters in the world.
The success of RuPaul’s Drag Race has spawned a plethora of drag TV shows, including Queen of the Universe, Call Me Mother, Dragula, AJ and the Queen, Drag Me Down the Aisle, We’re Here, Trixie & Katya, Super Drags, and Dancing Queen. These shows feature a wide array of drag performances, including lip-syncing, dancing, and comedy, showcasing the diversity and artistry within the community.
The Evolution of Identity and Terminology
The definition of a drag queen has also evolved. Historically, most drag queens have been men dressing as women. In modern times, drag queens are strongly associated with gay men and gay culture, but they can be of any gender and sexual identity. The community is inclusive of non-binary people, transgender individuals, and women. Female drag queens, for a time, went by terms such as “bio queen,” “faux queen,” and “hyper queen.” With today’s increased understanding of gender identity, these terms are falling out of usage. Some prefer “AFAB queen” (Assigned Female at Birth), while others refuse a gender-specific label and simply prefer to be known as drag queens.
This expansion of who can be a drag queen reflects a broader cultural shift. The art form is no longer solely about men impersonating women; it is about the performance of gender, the celebration of identity, and the power of transformation. Drag kings (women or trans men performing as male characters) are also part of this rich tapestry, though the term "drag queen" remains the most widely recognized.
Drag in Performance and Culture
Drag is a versatile art form suited for a wide variety of events. Beyond the stage and screen, drag queens are a great addition to a birthday party, wedding reception, bachelorette party, holiday party, corporate event, or product promotion. One particularly popular format is drag bingo, which is often described as a perfect happy hour activity. This accessibility has helped demystify drag and integrate it into everyday social life.
The history of drag is also one of persecution, as experienced by drag queens, cross-dressers, and drag kings. For centuries, performing outside the boundaries of one’s assigned gender has been met with social, legal, and sometimes physical violence. Yet, the tradition has persisted, a testament to its power as a form of expression and resistance. From the literary tradition of Shakespeare to the Hollywood comedies that followed, drag has remained a potent tool for exploring and challenging societal norms.
Conclusion
Julian Eltinge’s story is a foundational chapter in the history of drag. His ability to captivate audiences during a restrictive era, his business acumen, and his status as a mainstream star set a precedent for all who followed. While the performance styles, societal acceptance, and definitions have evolved dramatically since his time, the core elements of drag—the creation of a persona, the transformative power of costume and makeup, and the subversion of gender norms—remain. From Eltinge’s stage in 1911 to RuPaul’s runway in the 21st century, drag has grown from a hidden art to a celebrated global phenomenon. It is a living art form, continually reinventing itself while honoring the pioneers who dared to step onto the stage, don a dress, and challenge the world to see beyond the binary.