“Vampire Lesbians of Sodom”- 40th Anniversary – Hysterical

The 2000 year-old rivalry of two fatally seductive, bloodsucking actresses in a cult classic by the inimitable Charles Busch

By Alix Cohen

Onto the 54 Below stage file very old friends, but for one, original cast members and director of the 1984 phenomenon, Vampire Lesbians of Sodom. One wears a garden party hat, one a red bow tie and handkerchief. Julie Halston (La Condesa/ the Succubus) is gowned in fluid sequins. Charles Busch (Madeline Astarte) in full theatrical makeup and wig, is festooned with necklaces.

Cue dramatic horror movie music. Two guards, one manly, savvy, gregarious, the other a timid newbe (Arnie Kolodner and Michael Belanger) stand idly conversing at the lair of the Gomorrah Succubus. Hapless virgin Madeline Astarte, wakes from hypnotic fog to realize she’s about to be sacrificed. “Save me! I’m totally alone, a mere child of fourteen…” Neither Pauline tied to the tracks nor Lillian Gish could project more innocent distress. “Permit me a moment to say goodbye to my girlhood.” She waxes extremely poetic.

Madeline pleads with the predator, but gets nowhere. “You envy me. True, I have caskets of sparkling jewels, but where the fuck can I wear them?” the bitter Succubus complains. “What keeps me goin’ is a sense of humor. An age old story, laugh succubus, laugh!” Halston is imperious, patrician, off-handedly evil. “Look into my eyes…” Madeline resists with physically vaudevillian push-pull, but eventually succumbs. The Succubus embraces her, teeth in neck.

Facial expressions and overt gestures reflect classic silent film. Adding voices- Madeline’s “quasi-Bulgarian accent”, elongating or clipping words, masterful comic retorts, Renee’s blood-curdling screams…creates the smartest kind of camp. Timing is impeccable. Character types exaggerate cliché, yet the piece is riotously original. Charles Busch has perfected the art of seeming both dignified and outrageous in his roles.

Cue “Hooray for Hollywood.” It’s the 1920s. Popular leading man, King Carlisle (director Kenneth Elliott, acting as straight man, no pun intended) has come to plead with star La Condesa (The Succubus) for the body and soul of her latest victim, his love, Renee Vain (Theresa Aceves, a perfect ingénue replete with bankable scream.)

“Rumor has it she’s not only a vamp, but a vampire!” Carlisle declares. Renee is having none of being rescued. The dull life of a wife is no competition for opportunity to dance on tabletops. “This place is a social goldmine,” the bright-eyed starlet (literally) growls.

Former hatchet-wielding vaudeville star, now butler Etienne (the mercurial Andy Halliday) interrupts to proclaim “Astarte is here!” Enter Madeline. Having sucked as well as been sucked as a virgin sacrifice, the Succubus’s lunch became a vampire instead of dying. Now both creatures are actresses.

Competition erupts as it apparently has over centuries. Both think they’re contracted to play Madame du Barry AND Peter Pan. Insults and threats fly. Moral indignation is jealousy with a halo. (HG Wells) “I’ve seen it all,” La Condesa mutters. “The poor dear’s been around the block so many times, she’s been mistaken for a taxi,” Madeline snaps. Introducing herself to the nubile Renee, Madeline suggests the girl co-star as in an upcoming production of Sapho. She approaches-and bites.

Oatsie (rubber-faced Tom Aulino), a Louella Parsons-like interviewer from Hearst, practically salivates to see the two divas together. She/he insinuates knowing what they are, then unhats to become Gregory Salazar, Vampire Hunter, wielding a Florentine cross. The creatures react with a vivid St. Vitus dance. Accompanied by the Los Angeles Fire Department, ”which is even now dousing your mansion with holy water,” he seems to foretell their end until together the creatures call Banshees to the rescue.

The last scene takes place in contemporary Las Vegas where Madeline- now Madeline Andrews- is a headliner, La Condesa a cleaning lady. “Poor investments,” she grumbles. They recall past victories and losses. Having acquired the power, Madeline finds she can’t bring herself to kill La Condesa. The two need one another. “I-am-needed?!” he Succubus exclaims astonished. Madeline agrees to help get her back onstage. Perhaps they’ll create an act. Of course top billing is an issue.

The audience erupts. It cheers, stamps, claps and wipes away laughter-induced tears. Oh to have seen this play fully wigged and in costume! A marvelous evening, cleverly written, beautifully performed, adroitly directed.

History:
The first time Charles Busch entered storefront art gallery/bar Limbo Lounge on the Lower East Side, it felt sympatico. “The crowd was gay, Goth, leather. Everyone spoke with a quasi-Bulgarian accent.” Busch approached the young owner hoping to schedule a show and was shocked to be booked the following weekend. Here was an opportunity to do something other than solo performance.

“I’d just read Interview with a Vampire…” Busch wrote the script while working as a temp. Now to cast. “Everybody turned me down. It was a dangerous neighborhood, the place had no bathroom, there’d be no pay…The last person on my list was this blonde girl who worked on Wall Street. Her only acting experience was a school production of The Seagull.”

The aspirant auditioned for Busch and director/roommate Ken Elliott, whose verdict was a resounding “no.” “They had to take me,” Julie Halston tells us. “There was no one else…I said, ‘I can’t act, but put me in a wig in front of 60 gay men and I’m gonna glow.’”’ They did and she did.

Capitalized at $55,000, Vampire Lesbians of Sodom moved to Provincetown Playhouse in 1985 and ran five years. “Nothing escapes the demolition by laughter… The audience laughs at the first line and goes right on laughing at every line to the end, and even at some of the silences. That’s no mean achievement. ” The New York Times

Brava.

54Below Photos by Alix Cohen

Vampire Lesbians of Sodom 40th Anniversary Celebration
Author/Actor Charles Busch, Julie Halston, Theresa Aceves, Tom Aulino, Andy Halliday, and Arnie Kolodner recreating their iconic roles. Original director, Kenneth Elliott. Michael Belanger subbing for the late Robert Carey
54Below 254 W 54th St. Cellar https://54below.org/