What is a Fantasy? Advice for Future LeatherSIR/boy Contestants

The fantasy is a genre unique to our Leather tradition. The performance of fantasies onstage goes back to the early 1980s. In a general sense, fantasies are an opportunity for Leatherfolk to have fun on stage and to show off their SM prowess. In the past, it was not unusual for full evenings of fantasies to be produced as fundraising events, each titleholder vying to be the most inventive. In the context of LeatherSIR/Leatherboy, the fantasy gives each contestant the opportunity to demonstrate creativity and stage presence. It also allows him to show off his play skills while providing a necessary respite for the audience from the more formal elements of the contest.

The fantasy portion carries a great deal of weight in the judging of a LeatherSIR/Leatherboy contest. 60 points total, as much as the Interview portion. It should be planned out far in advance, with music, costumes, staging, and props carefully chosen.

Here are the things I look for when I judge a fantasy:

• The fantasy must have a plot, that is, a beginning, a middle, and an end to the narrative.


• A fantasy must be entertaining. Humor and surprise are often useful in telling a story and in engaging the audience.


• The fantasy should use tropes common to Leather or contemporary society. For example, if the given theme is MOVIES, using "Rocco and His Brothers" is not a good choice. While a brilliant, Italian film (and one of my personal favorites), it is a poor choice because most people have not seen it. For the Northwest regional contest I chose "The Wizard of Oz" because everyone knows it and recognizes the characters.


• Action should be broad. A good rule of thumb, eliminate unnecessary movement. Think in terms of big gestures. The performance often takes place in a bar setting with less than adequate stage lighting and lots of noise. Trying to communicate onstage creates a challenge. Using movement well can overcome these obstacles.


• Good fantasies often include the audience as an unseen "player." This can be done by using the old theatre trick. Address the audience directly at times, turning to look out as if to share a secret. Playing with the audience as a performer can often bolster weaker sections of the narrative.


• The music must be supportive of the action. It helps if it has a driving beat. Avoid using recorded narrative as much as possible. In fact, mix your own music. It's easy and fun. And with today's powerful computers and media applications there is no excuse for relying on found material. For my ILSb fantasy, BAD WOLF, I spent at least 20 hours to find the right music and sound samples. I used three Nine Inch Nails mixes of "Closer," two songs by Sam the Sham and the Pharohs from the 1960s, and at least ten, live wolf calls.


• Finally, a fantasy MUST have play. Actual play, not just feigned play. While a fantasy is NOT a scene, it must demonstrate your ability as a player. Once again, in BAD WOLF, I single tailed Little Red Riding Hood, boy dan. With no warm up, he took the whip and stayed in character, not an easy feat. And his reaction to the severity of the whip was part of the narrative.

I love the fantasy tradition in Leather. As a Leatherboy, I looked forward to the fantasy portion of the old Drummer contests, the highlight of the evening. I am especially proud that the LeatherSir/Leatherboy contests continue to build on that tradition.

To sum it all up, play and have fun!