Play[ing] her part correctly': Helen Keller as Vaudevillian Freak

Abstract

Helen Keller and Anne Sullivan Macy's 1920s vaudeville routine is compared to freak show entertainment. Vaudeville and freak show histories are used to show that Keller's act exemplifies the historical connection between the two entertainment forms. Deploying many of the freak show conventions catalogued by Bogdan (1990, 1996), her routine is examined through the critical debate over freak shows between Bogdan (1990, 1996) and D. Gerber (1996). Bogdan claims freak shows engage discursive conventions that showcase their performers' talents, whereas Gerber argues they exploitatively display anomalous bodies. Through analysis of publicity materials and newspaper reviews, it is concluded that Keller's routine appealed to audiences as a sideshow display but was carefully packaged to downplay its exploitative qualities.