Gents and Working Girls
Tommy Tune’s earliest work as a director-choreographer engaged with issues of gender, sexuality, culture, and politics. The Club was an evening of songs and jokes set in an exclusive Victorian-era men’s club that featured all roles played by women. Tune led the cast in creating a stylized body language that approximated male behavior but, as performed by women, blurred gender lines in ways both challenging and exhilarating. The cross-gender performance of this material laid bare its misogyny without overstatement, and The Club was a long-running off-Broadway hit. Tune next joined the creative team of The Best Little Whorehouse in Texas, based on a true story about the closing of a bordello prompted by a crusading television personality. As choreographer and co-director, with Peter Masterson, Tune injected a burst of musical comedy brightness into the homey musical. His creativity was boundless, and numbers featuring macho, clog-dancing football players and a female drill team made up of both live dancers and life-size sex dolls were crowd pleasers that also contributed to the show’s sly skewing of culture and politics.