I can forgive Vicinus for starting off by claiming that much of the historical work on cross-dressing men has focused on the theater and especially on Shakespeare’s works, only because this article was written before much of the work on gender-crossing and trans history has been done. She’s looking at the couple of decades around 1900, a time when understandings of gender and sexuality were undergoing one of those periodic revolutions. The instability of how to read “male impersonation” came from both the multiplicity of framings of the act itself and the attitude of the viewer.