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Through Art, Identity, and Liberation
"I think drag is political," asserts Ishmael Kirby, his voice carrying the weight of experience. Known for electrifying performances as drag thing CYRO at venues from Shakespeare's Globe to punking it up at Glastonbury Festival, Kirby embodies the intersection of artistry and activism in London's queer performance scene.
Currently navigating what he describe as his "creative midlife crisis," Kirby has made the bold decision to step away from several high-profile projects, including his role in a successful punk band. "2024 was about leaving," he reflect. "I spent the last year saying no and taking myself away from all these things that had built up." This decision, coinciding with his medical transition, represents a profound shift towards authenticity. "I wasn't doing the original drag acts that people had found me from – my more political numbers. I was doing what was commercially viable... If I'm censoring my own work and I'm scared to do the acts I wasn't scared to do when I was younger, then I've completely lost what CYRO is or what Ishmael is."
2024 was about leaving. I spent the last year saying no and taking myself away from all these things that had built up.
The path through entertainment has taught Kirby crucial lessons about the industry's complex relationship with marginalized voices. "Your career gets directed by the things that you say yes to and the choices you make," they explain. "I was very aware that the tokenization of myself was where I got work." This realization led to a deeper understanding of authentic representation versus commercial exploitation. As they note, "If you're getting your gender euphoria only from an audience's applause, that has to be readdressed because you kind of lose your humanity when you're something that you're performing on stage."
Looking at the industries his worked in, Kirby advocates for systemic change. "There has to be more trans people, more people of color in the roles that are not performers – like producers, technicians, directors," they insist. Their critique extends to the commercialization of drag culture and the music industry's tendency to silence political voices. "Everyone's scared of losing the very little that they have... It's cowardly, and it's also because everyone's scared."
There has to be more trans people, more people of color in the roles that are not performers – like producers, technicians, directors
The influence of drag and community on Kirby's journey has been transformative. Their drag persona CYRO, discovered during a production called "Divine Proportions" at The Vaults, became a vehicle for self-discovery. "I used to say when I started drag that CYRO was more Leah than Leah is," he recalls, referring to his former self. "Now I understand what that means – I was exploring my gender identity through CYRO." This exploration led to unexpected revelations: "I found Ishmael was so much softer than I've ever been, which is funny because of the connotations with people taking testosterone... I'm sobbing and I'm so emotional."
For those eager to witness Kirby's stage presence, bop along to BOOBLESS, an upcoming fundraiser run by Ishmael and his partner Richard Energy, happening next weekend on January 18th in Walthamstow, with an incredible lineup of performers. The event promises workshops, stalls, and a spectacular evening cabaret show, celebrating community, art, and transformation. Grab yourself a ticket for a day and night of sassy joy.
In a world increasingly driven by commercial interests, Kirby's journey stands as a testament to the power of choosing authenticity over acclaim. "There's no point trying to fit yourself into anyone else's box," he asserts, embodying the very essence of artistic rebellion and personal truth.
Catch Ishmael Kirby online by following on IG @ishmaelskirby
And keep up-to-date on CYRO via @cyrodragthing
Interview by Bethany Burgoyne
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