In this article I examine Lennox's earliest performance strategies, and her reasons for employing them, as well as some of the reactions to her adoption of transvestism as a sartorial style. I discuss three videos from Lennox's 1988 LP Savage, which, in my view, marked a radical shift in her approach to depicting gender through performance. I argue that Lennox may be more productively viewed by keeping in mind performance ideals of music hall and other popular musical theatre styles of the late nineteenth and early twentieth centuries. Finally I discuss Lennox's challenge to late twentieth-century gender construction using Judith Butler's theories of the performative nature of gender and of the subversive reiteration of gender, outlined in her books Gender Trouble and Bodies that Matter, and suggesting ways in which Lennox's performance embodies these theories, while extending them to include a broader range of sexualities.