Adèle Anderson (born 14 June 1952) is an English singer, actress, and lyricist best known as one third of the acclaimed cabaret trio Fascinating Aïda, which she joined in 1984, just a year after its formation. Her wit, distinctive contralto voice, and sharp lyrical sensibility have made her a beloved fixture of British musical theatre and cabaret for decades. Before finding fame, Anderson earned a degree in drama from Birmingham University, where she began her professional journey in theatre while still living publicly as a man. After graduation, she worked as a civil servant and a secretary, all the while preparing for a major personal transformation. Eventually, she reinvented herself as a jazz singer and performer, carving out a unique place in British cultural life. With Fascinating Aïda, Anderson earned a 1995 Laurence Olivier Award nomination for Best Entertainment. She frequently collaborates with fellow group member Dillie Keane to write many of the group’s satirical and poignant songs. The pair also co-wrote material for several hit musicals, including The Challenge and The Ten Commandments, both staged by Mercury Workshop, of which Anderson was a member.
Anderson's solo and ensemble stage credits are extensive and diverse, with performances in The Best Little Whorehouse in Texas, Follies, Into the Woods, Sunset Boulevard, Closer to Heaven, Nine, Elegies for Angels, Punks and Raging Queens, and Plan 9 from Outer Space – The Musical, among many others. She directed pantomimes, performed internationally, and collaborated with pianist Warren Wills on jazz/cabaret shows in London and abroad, including the Hong Kong Fringe Festival. Her film and television work includes roles in Lady Jane, Company Business, Hotel Babylon, Fish, New Tricks, and The Romanoffs. She also made a cameo and served as a consultant for the film Different for Girls. Outside of performance, Anderson is a passionate humanist. She is a patron of Humanists UK and later trained as a humanist celebrant, specializing in non-religious weddings. In 2010, she joined 54 other public figures in signing an open letter opposing Pope Benedict XVI’s state visit to the UK.
Monika: Hello, Adèle! I’m absolutely thrilled to be speaking with you. I still treasure the memory of seeing you perform live with Fascinating Aïda, it was unforgettable. I even had the chance to meet you off-stage and told you I was transgender. You were so kind, and I still have your autograph! Though I’m guessing you probably don’t remember me.
Adèle: Hello, Monika. How could I possibly forget such a charming lady? It’s lovely to reconnect. What would you like to chat about today?
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| Cheap Flights (YouTube) |
Monika: Last year marked the 30th anniversary of Fascinating Aïda, what an incredible milestone! You joined the group just a year after its creation, back in 1984, which means you’ve been performing alongside Dillie Keane for nearly three decades. (And of course, Liza Pulman joined the fun in 2004.) What’s the secret to keeping such a fabulous and long-lasting creative partnership going?
Adèle: First of all, I hugely admire Dillie and her extraordinary talent. We discovered that we just “clicked” as a writing partnership. She has made me a much better songwriter than I would ever have been on my own.
Secondly, it is extremely satisfying to perform a show that one has written and to enjoy the reactions of the various audiences up and down the country and, sometimes, abroad. Dillie and I have learned to be upfront about any disagreements and not to be offended if one of us doesn’t like a lyric that the other one has written, or thinks it isn’t good enough.
Monika: Fascinating Aïda has enjoyed an extraordinary journey, touring over 100 theatres in the UK and performing internationally in countries like Australia, New Zealand, the USA, Germany, Kenya, and Singapore. Alongside that, you've made countless television and radio appearances, released multiple albums, DVDs, and even published two autobiographies. With such an impressive legacy, is there one artistic moment with the group that remains especially unforgettable for you?
Adèle: Being the opening act of Australia’s bicentennial celebrations in 1988. We performed in the theatre of the Sydney Opera House. Also, having Broadway diva Patti LuPone record two of our songs. Our song about budget airlines, Cheap Flights, has had over ten and a half million hits on YouTube and brought us a whole new audience. It’s remarkable how a single satirical song managed to connect us with an entirely new generation of fans.
Monika: Cabaret has undergone significant shifts over the last few decades. How did the scene look when you first started, and what role did Fascinating Aïda play in that early landscape?
Adèle: When we first began, alternative cabaret was just starting. Most of the female comics wore dungarees and talked about their periods. We came on in beautiful dresses and sang barbed lyrics in posh accents. Those alternative comedians became today’s established comedians. It seemed that comedy took over the scene and the other types of act (ventriloquism, sword swallowing, etc.) got pushed to one side.
Monika: How has the public perception of cabaret changed over time, especially within major cultural events like the Edinburgh Fringe?
Adèle: For years, there was no cabaret section at the Edinburgh Fringe Festival. To find out if we were appearing, you had to look under Comedy and/or Music. Now, cabaret is alive and well and positively thriving, alongside its sister, burlesque. Audiences today are far more open to variety and appreciate the craft and theatricality that cabaret offers.
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| From the left: Dillie Keane, Liza Pulman and Adèle. |
Monika: How has your style evolved as a cabaret performer since you first stepped on stage?
Adèle: I was very inexperienced when I joined Fascinating Aïda, and so my on-stage persona was extremely stern (to cover my nerves). Over the years, I have learned to “lighten up” and enjoy engaging with the audience. I also took several years of voice coaching to improve my singing technique. Learning to trust myself and the audience made all the difference in developing a more relaxed and compelling presence.
Monika: Beyond your cabaret work, you've also appeared in a few films, such as Lady Jane (1986), Company Business (1991), The Winjin' Pom (1991), and Hotel Babylon (2008). Do you enjoy acting on screen?
Adèle: I do, but I don’t get many opportunities to do so. I wasn’t in Different for Girls, but I advised on the script. Filming involves a lot of sitting around, so I prefer stage work. Some of my best work has been in small London fringe theatres. There’s something irreplaceable about the immediacy and energy of live performance that I deeply cherish.
Monika: Some argue that modern art doesn't offer enough space for women's voices or stories that resonate with female audiences. Do you share this view?
Adèle: No. There are many young female playwrights seeing their work on in London’s West End. The likes of Caroline Aherne (The Royle Family), Ruth Jones (Gavin and Stacey), and Victoria Wood provide excellent stories and opportunities for other women on television. As an actress, parts can be thin on the ground (especially as one ages), so more and more women are writing projects for themselves. Fascinating Aïda wouldn’t have lasted this long if we didn’t keep writing new shows. The landscape is still challenging, but it's shifting because women are refusing to wait for permission, they’re creating the work themselves.
Monika: Are there any exciting new projects you're currently involved in?
Adèle: We spent last year writing the new show, Charm Offensive, which will tour for most of 2014. I hope to fit in some solo cabaret work, too, if the schedule allows. Staying creative and collaborative is what keeps the work fresh and fulfilling for me.
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| With her first role model April Ashley after the show of Fascinating Aïda. |
Monika: How would you describe the current experience of transgender women in British society, especially when compared to what you witnessed during the 1970s?
Adèle: It is so much better than I ever dreamed it could, or would be. To be fair, even in the 70s, when I transitioned, my employer, the Civil Service (a branch of the Government), operated a policy of non-discrimination, so I never had any trouble at work. Back then, though, the general public was uninformed about the subject so, if anyone did find out, I always had to answer a barrage of questions. These days, most people (children included) take the news in their stride. It’s heartening to see how far understanding and acceptance have come.
Of course, we still have a way to go, media narratives can be divisive, and political debates often frame our lives as ‘issues’ rather than human experiences. But on a day-to-day level, I now go about my life without fear, which was never guaranteed back then. Social media has been a double-edged sword, but it’s also given younger trans people a sense of community I never had. Representation in TV, film, and literature is slowly improving, and that matters, it tells us we belong. I often think of my younger self and how astonished she would be at the visibility we now have. It makes me hopeful for the future, especially for the next generation coming out into a world more ready to understand them.
Monika: During your transition, were there any transgender individuals you looked up to or who helped guide your journey?
Adèle: My first role model was April Ashley. I remember reading about her divorce case when I was 17 and marveling at how beautiful she was. Last year, she attended one of our shows and I was extremely honored to meet her afterwards. Then there was my hairdresser. She had the daintiest hands I’ve ever seen and looked every inch a pretty young woman. Later, a fabulous American, who had transitioned in her teens, became my mentor. She was a make-up consultant and taught me everything I know about how to apply it to the best possible advantage. Role models like these made me feel that a future was possible.
Each of them gave me something unique, confidence, kindness, and practical knowledge I could never have found in books. At a time when resources were scarce and support networks practically nonexistent, these women were my lifeline. They didn’t just teach me how to present myself, they showed me how to carry myself with pride. I still carry their advice with me to this day. It’s amazing how even a single word of encouragement can echo across decades. I only hope I’ve managed to pay that gift forward in some small way.
Monika: Do you think transgender rights represent a new chapter in the broader human rights movement?
Adèle: I think it’s likely to be overtaken by intersexualism, because intersex people are often mutilated by doctors shortly after birth. Transgender people go through a rigorous screening process before they are allowed to do anything to their bodies. As you know, the situation in the UK is paradise compared to, say, Brazil, where so many of us are murdered. The fight for bodily autonomy and dignity, whether for trans or intersex people, is ultimately about the same core principle, respect for identity.
Monika: Have you ever been involved in any lobbying or activism campaigns? In your view, can transgender women have a real impact on political change?
Adèle: I know they can. April Ashley was made an MBE (Member of the British Empire) for her services to gender equality, and thanks in part to her efforts, we were able to obtain a Gender Recognition Certificate and a new birth certificate. I sign online petitions, but I’ve yet to stand outside a government or newspaper office to protest.
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| Whites' Blues (YouTube) |
Monika: Have you ever taken part in a protest or campaign that led to a specific outcome?
Adèle: I did once protest successfully over a passport. I was renewing my female passport and was told I would have to go through the entire process of providing a doctor’s letter attesting to my surgery. I pointed out that I had already done this when I obtained my first passport and that my circumstances hadn’t changed. Also, other people renewing passports didn’t have to provide documentation every time they renewed. I won, but that was before the era of heightened security concerns. I think everything is much stricter now.
Monika: How has love shaped your journey, both in terms of romantic relationships and your connection with family?
Adèle: Love is important. I was estranged from the love of my family for a decade, but now we are all very close, which is a delight to me. I have had the same lover for the past thirteen years, but we do not live together. I prefer to live alone. I wouldn’t be without him, but I enjoy our time apart just as much as our time together. Our relationship works because it gives us both the freedom to be ourselves while still staying deeply connected.
Monika: Are you interested in fashion at all? What kind of outfits make you feel most like yourself, and do you ever follow specific styles, colors, or trends?
Adèle: I have no interest in fashion, as Dillie and Liza will attest. I know how to dress, but, when you tour a lot, there’s no point in getting dressed up just to sit in a vehicle taking you to the next town for the next show. I do have some great pieces in my wardrobe, though. I look good in trouser suits (preferably with long jackets), with boots. And the chance to wear a full-length dress is always welcome. For years I wore nothing but black and white, but now I’ll wear practically any color, other than yellow and lime green.
Monika: Many transgender women feel inspired to share their journeys in writing. Have you ever considered telling your own story in a memoir?
Adèle: I have, and so have kept a journal for many years. But I don’t think my being transgender (although transsexual is the term I prefer) is the most interesting thing that’s happened in my life. Also, my family wouldn’t enjoy seeing themselves in print. And one has to be so careful when writing about the entertainment world. Perhaps someone will write a posthumous biography, using my journals.
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| It Isn't Too Late To Be Famous (YouTube) |
Monika: What advice would you give to young transgender women who dream of building a career in the performing arts?
Adèle: Being transgender is not enough on which to hang a career; you’ve got to have talent, too. And a good deal of luck helps. Try and ally yourself with two good women. Seriously, I have been incredibly fortunate to have worked with two other women for thirty years who, when the going has got tough, have been staunch allies. I have learned from them not only how to be a performer, but also a woman.
There’s so much strength in sisterhood, especially in an industry that can be unforgiving. Surround yourself with people who challenge you creatively but also lift you up when you stumble. Always keep learning, voice, movement, presence, it all matters. Don’t be afraid to take up space or to claim your narrative on stage. The more authentic you are, the more powerful your performance will be. And don’t let rejection crush you; it’s part of the business. You’re not just carving out a career, you’re helping shift the culture, and that’s something extraordinary.
Monika: Adèle, thank you so much for sharing your insights and experiences with me today!
All the photos: courtesy of Adèle Anderson.
© 2014 - Monika Kowalska
