Duckie (group)  Duckie is a collective of performance artists that describes itself as “a post-gay independent arts outfit.” They produce a mix of so-called "cultural interventions", such as club nights, new-mode pop, burlesque and performance events, as well as anti-theatre experimentation. They have described their work as "mixing the arthouse with the dosshouse" and putting "highbrow performance in backstreet pubs and lowbrow performance in posh theatres". Supported by grants from the British Council and Arts Council England, Duckie is based in London but has played in Berlin, Germany, Greece and Tokyo as well as the Edinburgh Festival Fringe, Blackpool Tower Ballroom and the Sydney Opera House. It runs cabaret and club nights every Saturday at the Royal Vauxhall Tavern.. It won an Olivier Award for its show "C’est Barbican". Duckie’s work is characterised by its engagement with the queer lifestyle and community, showcasing queer performers and performance art at its weekly Saturday club night and providing “a creative forum for alternative gay and lesbian performance and culture”. Other focusses include anti-class and anti-corporate ideals, including a rejection of corporate culture and gay commercial culture. This latter is highlighted in Duckie’s highly successful "Gay Shame" events, produced annually between 1996 and 2009 as an alternative to Gay Pride. The company’s outlook is distinctly working-class, drawing influences in John McGrath, the Victorian music hall, punk culture and illegitimate theatre. The collective dates back to a club night called "Duckie" that started in November 1995 in south London pub the Royal Vauxhall Tavern, created by producer Simon Casson – also known as “Simon Strange” – and compere Amy Lamé. They were joined by DJs Mark Wood and Mark Johnston - who called themselves The Readers Wifes [sic] - and box office artistes under the name of “Father Cloth and Jay Cloth”. Further members of the collective include Dicky Eton, Casson's co-producer, Mark Whitelaw and Robin Whitmore, director and designer for Duckie's larger shows respectively. Burston indicates that at the start of Duckie’s tenure the RVT was somewhat in decline: “Lack of investment meant the venue remained dark during the week, only coming to life at the weekend with Duckie and … the Dame Edna Experience.”