Clichettes

Their subversive practice was typified by an exaggeration of the hallmarks of contemporaneous female performing groups as well as camp references to drag-performance and science fiction.

Coincidentally, it was the Queen Street West area that budded with potential and style - associated with not only music and visual arts, but also theatre, design, fashion, and dancing.

[citation needed] By 1981, the trio's lip-sync performances had begun to expand to include increasing theatricality, and influences were drawn from more subversive sources.

Their 1985 production Go To Hell saw the group adopt anatomically correct male bodysuits as a means to expand their critique to the stereotypes of masculinity.

The success of their performances proved that cultural criticism could also be fun, rather than strictly moralistic; and control of the means of representation could be a playful engagement with the "oppressor".

[2] In 2017, the group was commemorated in a virtual exhibition, 150 Years | 150 Works, celebrating the history of Canadian art for Canada's 150th anniversary.

The exhibit showcased works that have shaped or changed the country's history over the past century and a half and selected The Clichette's famous Go to Hell (1985) lip-sync performance as a feature.

[14] The trio's enduring impact on Canadian dance is evident in that several Clichettes performances are frequently recreated by Danny Grossman's dancers.