Jeremy Wade

Jeremy Wade is the queen in service of Puddles the Pelican, “This bird has me working like a dog,” says he/him. Disruption, Excess, Hyper Vulnerability – Wade is an extreme performer and performance maker. His works, also incorporating curation and social practice, are disturbing and thought-provoking: they revolve around queer and feminist strategies of world making, the relational ethics of care, neo liberal critique and the violence that social norms cause on bodies of difference.

Wade grew up in a mill town in Southern Maine, USA, son of two social workers. After barely graduating highschool, he got on a bus to NYC, there, he quickly made a name for himself as a club kid, hooker, glitter mess and party promoter. “I was working my ass off by bartending, gogo dancing, painting apartments, turning tricks and barely surviving the Big (Badass) Apple. I worked at the original world famous The Cock on Avenue A. which back in the day was the sleaziest most amazing gay bar in the universe. Here, you got syphilis if you sat on the couch. I was doing a lot of drugs, having a lot of sex in dark rooms, dressing up wildly, crowd surfing naked at the Cock’s legendary Saturday night party called Foxy. Eventually I threw my own parties at The Cock and a Saturday Night House Party with Honey Dijon called Audio Nasty. Cruising, being an asshole at parties and dancing in clubs were my first experiences of dance, I realized that was the only thing I was good at.”

After graduating from the School for New Dance Development in Amsterdam, 2000 and receiving a Bessie Award for his first evening length performance “Glory,” at Dance Theater Workshop in New York City, 2006, he moved to Berlin and since then works in close collaboration with the Hebbel Theater, Sophiensaele, Haus der Kulturen der Welt and Gessnerallee, Zurich. Recently, Wade has created “Fountain,” “Death Asshole Rave Video,” “Drawn Onward,” and “Between Sirens.” In May, 2019 Jeremy premiered a new solo titled The Clearing, with musician Marc Lohr, a three-act post- apocalyptic horror trip dealing with the death of hope that was hallucinatory, overblown, bizarre and absurd, with Wade as a garbage-busting android, a tragic sufferer and a scrappy Cabaret Queen named Puddles the Pelican performing on an apocalyptic Cruise Ship. His current focus is all things a performer, performance maker, curator and teacher. His recent works “Together Forever”, “Death Asshole Rave Video” and “DrawnOnward” explore queer theory, failure, the death of man, zombie subjectivity, strange modes of being and affective alliances to undermine the social codes that define and oppress our bodies. In 2017 he curated “Take Care,” a symposium in the frame of the No Limits-Festival Berlin on the relational ethics that disability culture demands and will direct a three-part performance project addressing care as a political strategy comprised of: “The Battlefield Nurse” (a drag lecture performance that investigates the work of fellow nurses on the battlefield), the “Future Clinic for Critical Care” (a world-making forum dedicated to art, activism and social work), and “Between Sirens”, a new trio processing supportive propaganda for toughened times.



Puddles the Pelican (Jeremy Wade) and her band, The Creatures from the Deep (Tolimieri Keys, Zieniawa Percussion, Wong Guitar) are a Blood and Guts Concert Odyssey, Puddles, a survivor of the Deep Horizon Oil Spill, is a broken, scrappy, one-eyed bird of a cabaret singer, coming to you live from a cruise ship floating through hell. Welcome to Minus Level 9, the classy shit hole nightclub in the basement of the ship where she and her band play one gut wrenching torch song after the next. She sings, squawks, moans and tells stories past and present of love and loss. “Once a glorious bird, now covered in oil, I’m a mess, but which one of you bitches has a match? Let’s light it up tonight!” 

The Project is an experimental concert/performance bridging and defying multiple formats i.e. Cabaret, Hörspiel, Stand-Up, Blues, Indie Rock and it’s basically Apocalyptic Piano Bar Drag Musical on Acid. 



To The Mountain was a piece I made in 2001, a trio choreographed for dancers Ligia Lewis, Rodrigo Sobraso and Florentina Holzinger. The piece was a strange child like ritualistic passage to another world making use of one score I called Other Impulses. The score is a petulant child, a vessel for longing, a dance of death, a dance of relinquishing the familiar habitual and comfortable impulse for the unfamiliar other side of the dance you dance. In reverence of last dances I will guide the group through Other Impulses where we will take a little bit of desire, plus perversity in pursuit of alterity. 

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