ARTS The Michigan Daily Friday, November 13, 1987 Page 5 'Dress Suits': Love, lust, pain By Elizabeth Atkins Imagine two passionate, feisty, foul-mouthed, erotic lesbians who live in a costume rental shop and change identities as easily as they change clothes. Now you've got the elements of Dress Suits To Hire, a feminist play written by Holly Hughes. Instead of a plot, the women, named Deeluxe and Michigan, per- form shocking, sexually explicit scenes in a competitive, love-hate lesbian relationship and fill the voids in each other's lives. For 15 years they live in their own fantasy-world and assume bizarre identities, including sisters, cowboys, twins, lovers, and a murderer and victim. "The characters withdraw from their world, so they create a world for themselves," Hughes says. The women try on different roles as one would try on a dress suit. Words and memories from their bonded pasts spark seductions, break- ups, nostalgias, sexual fantasies, and games. Their homogeneous identities prevent them from distinguishing one life from the other. For exam- ple, Michigan and Deeluxe make biological references to our state but are unsure whether they've actually visited it. Hughes, who grew up in Saginaw, says she feels very p~"Michigan identified." Deeluxe, a "tough cookie with a glamor complex," may have been a stripper during her life but she is unsure. Hughes says the character is a combination of Rita Hayworth and Frank Sinatra. Actors Peggy Shaw and Lois Weaver of the Split Britches com- pany, which is known as a "queer theater" group, play Deeluxe and Michigan, respectively. Hughes says her work fits into the "queer theater," a rebellious off- shoot of feminist and lesbian theater. As traditional feminist theater has certain values, political meanings, and functions (similar to Thanksgiving to Americans, Hughes says), "queer theater" is anarchistic, disruptive, and avant-garde mod- ernist. Hughes says "queer theater" confronts the contradictions in femi- nist and lesbian theater. The playwright adds that the unfolding of her characters takes precedence over an intricate plot. "These two women and their relationship is more important than what happens, like a significant event," Hughes says. Actor Weaver explains that "queer theater" is to feminist theater as the word "dyke" is to lesbianism. "Queer theater goes beyond the political definition (of lesbianism) and gives a sense of power, a sense of anarchy, and a desire to disrupt," she says. Hughes describes the characters as "outsiders, outlaws, and quasi- criminals." She wrote Dress Suits based on a legend in New York's East Village about two sisters who lived together in a tux-rental shop and frequented a seedy bar called "Little Peter's." One of the sisters got killed by an intruder. Shaw and Weaver relayed the myth to Hughes and asked her to write a play about it. Other works by Holly Hughes include The Lady Dick and The Well of Horniness. Dress Suits has been described as rude, politically incorrect, sleazy and overtly sexual. Hughes follows the structure of films noirs and the raw energy of early '60s off-Broadway theater to explore images of women and sexuality. Two leading feminist drama critics - Sue-Ellen Case, a drama professor at the University of Wash- ington, and Elin Diamond, an En- glish professor at Rutgers University - will hold a panel discussion following each performance. DRESS SUITS FOR HIRE will be performed tonight and tomorrow at 8 p.m. in the Trueblood Theatre. Tickets are $6 for general admission and $4 for students and are available - at the Michigan League Ticket Office or at the door. 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