“Wearing pantyhose, three-inch heels and a dark-brown wig,” Tommy Femia defies socially prescribed gender roles to portray Judy Garland in the Off Off Broadway cabaret “Don’t Tell Mama.” His performance reflects the diversity of the New York cultural scene and reinforces the notion that a given role can always be reinterpreted in an innovative, sensational manner. Writer of “
The Boy Who Became Judy Garland,” Dan Barry chronicles the measures taken by the Femia family to establish the clan’s cooperative spirit and support for Tommy.
Tommy’s older brother, Bobby, does anything necessary to accommodate his sibling, whether it be fixing his back zipper or helping him onto the stage. Barry lucidly communicates Bobby’s altruistic demeanor and illustrates how his actions unify the family. From an early age, he knew of Tommy’s homosexuality and “ occasionally gave Tommy a ride to one of the gay bars in Greenwich Village.” Now, in anticipation of Tommy’s showcases, Bobby feels a sense of “joyful anticipation and a certain air of responsibility.” Prior to each performance, Bobby works “24 of the previous 32 hours,” drives home in his 1998 tan Toyota Camry — bought used — gets cleaned up, and then collects his parents in Dyker Heights.” Tommy’s parents, Cosmo, 83, and Ann, 80, “both have some trouble moving around but they never miss a show.” Originally repulsed by Tommy’s sexuality, Ann has matured to become her son’s biggest supporter and critic. The family, in effect, is as much a part of the cabaret as Tommy; its presence both, literal and emotional, propel Tommy to deliver his best as Judy Garland.
The male portrayal of an iconic female singer also suggests a relaxation in cultural bigotry. “Juggling gigs around the country,” Tommy has acquired a national following with hoards of people eagerly anticipating each performance. While some may write Tommy off as a “drag queen,” an overwhelming majority salutes him, none more proudly than his own family.
