A London-based performer known by the stage persona Midgitte Bardot is using drag, writing and live performance to examine social attitudes toward dwarfism, gender identity and public scrutiny, drawing on personal experience to inform their work on prominent cultural stages.

The artist, who identifies as a non-binary trans drag performer with dwarfism, has gained recognition for combining provocative performance with autobiographical storytelling.

Appearing in fishnets and theatrical costume as Midgitte Bardot, they have developed a reputation for performances that challenge audience expectations and address issues of identity, representation and social perception.

Their work gained wider attention through participation in Sound of the Underground, a queer cabaret revue created by Travis Alabanza. In one performance, the artist delivered a blues-rock number while elevated on stage equipment, incorporating visual and thematic elements that drew a strong audience response at the Royal Court Theatre.

The performer has since returned to the stage with a new production, Shooting From Below, presented at the Southbank Centre. The show marks their first major appearance following spinal surgery undertaken after a condition that risked paralysis.

According to the performer, spinal complications are relatively common among individuals with dwarfism, and their own condition involves curvature in the lower spine.

The production centres on a fictional narrative in which the stage character addresses an audience directly, framing the performance around themes of historical marginalisation and contemporary objectification.

The performer cites examples, including accounts of individuals with dwarfism being treated as novelty figures in social settings, to illustrate ongoing patterns of exclusion and commodification.In interviews, the artist has described frequent public interactions that they say reflect intrusive curiosity and harassment.

They report being stared at, filmed without consent and subjected to personal questions in public spaces, including inquiries about their body, family background and personal relationships. Such encounters, they say, occur regularly in everyday settings such as streets and public transport.

The performer notes that these experiences have shaped both their artistic direction and personal outlook. While they emphasise that such behaviour does not represent the majority of interactions, they argue that it reflects broader social attitudes toward visible difference.

They also describe concerns about being followed after initiating casual conversations in public, which they say has influenced how they navigate social situations.Their work engages with historical representations of dwarfism in entertainment, which they describe as marked by exploitation and limited roles.

They reference examples from film and popular culture in which individuals with dwarfism have been depicted as symbolic or comedic figures, often reinforcing stereotypes. According to the performer, opportunities in the arts sector can be accessible but frequently involve forms of representation that they consider reductive.

The performer also references historical accounts, including the case of a family of performers with dwarfism who survived detention during the Holocaust after being selected for medical experimentation by Nazi physician Joseph Mengele.

They cite this example to illustrate what they describe as a contradictory dynamic in which individuals with dwarfism have been both marginalised and subjected to intense scrutiny.Midgitte Bardot, as a stage persona, is intended to challenge these dynamics by reclaiming language and reframing identity through performance.

The artist says the name deliberately references a historically derogatory term, recontextualised to assert control over its meaning. Through humour and narrative, the performances incorporate personal experiences, including instances of rejection and discrimination, into structured theatrical material.

The artist describes their approach as rooted in self-acceptance and visibility. They say their earlier life was shaped by attempts to conform, but that their current work reflects a conscious decision to foreground difference as a central element of their identity.

They also link this perspective to their understanding of gender, noting that their experiences have informed their identification as non-binary.Born in Gloucester and raised in Cheltenham, the performer recalls early experiences of being perceived as different from peers, which led them to begin writing at a young age.

They continued to develop this practice academically, studying creative writing at Liverpool John Moores University, where they graduated with top honours.During their university years, they began participating in literary and performance events, including hosting open mic nights.

Their transition into drag performance followed encouragement from peers, including a fellow performer known as Auntie Climax. The Midgitte Bardot persona gained local recognition in Liverpool, leading the artist to relocate to London in 2021 to pursue broader opportunities within the performance circuit.

The performer says their understanding of gender identity evolved alongside their work in drag. They describe observing differences in how they and others were perceived in public, particularly in relation to attention and scrutiny, which contributed to their self-identification as non-binary trans.

They also emphasise the importance of directly addressing harassment, rather than ignoring it. According to the performer, confronting such behaviour can deter repeat incidents and challenge assumptions about vulnerability.

They argue that advising individuals with dwarfism to avoid confrontation may reinforce perceptions of weakness.Looking ahead, the performer says they hope their current production will resonate with other individuals with dwarfism and contribute to the development of a more supportive community.

They note that their experiences performing in major venues are often marked by isolation, as they are frequently the only person with their physical characteristics on stage.

Their work continues to explore how visibility, performance and narrative can be used to address social attitudes, with a focus on expanding representation and creating space for more diverse perspectives within the arts.

A month-long trial of Meta’s smartglasses has highlighted concerns over privacy, usability and real-world application, as the wearable technology continues to draw mixed reactions from users and experts despite growing global sales.

The device, developed by Meta in collaboration with Ray-Ban, integrates a camera and an artificial intelligence assistant capable of responding to voice commands.

The assistant can provide directions, identify objects and read messages aloud, with users able to select from a range of celebrity-inspired voices, including one modeled on Judi Dench.

The company’s chief executive, Mark Zuckerberg, has said smartglasses could become a primary computing interface over the next decade, potentially replacing some smartphone functions such as taking photos, making calls and navigating.

Meta reported global sales of more than 7 million units in 2025.In practice, however, the experience of using the glasses appears uneven. Voice commands are not always accurately processed, and responses from the assistant can be incomplete or delayed.

Users often find themselves verifying outputs on their phones, undermining the intended hands-free functionality.The device’s visual recognition capabilities are also limited.

While it can identify basic objects and settings, it struggles with more complex queries. In one instance, it provided a generic description of an artwork at Tate Modern without offering meaningful context or interpretation. Similarly, attempts to identify specific items such as clothing accessories or provide product-related information were unsuccessful.

Real-time translation, another promoted feature, has also shown inconsistencies. During conversational tests, translations appeared with a delay and lacked clarity, resulting in less effective communication compared with established tools such as smartphone-based translation applications.

Public reaction to the glasses has been cautious. Users report that the most common question from others is whether they are being recorded. The presence of a built-in camera, even with a small LED indicator designed to signal recording, has contributed to discomfort among bystanders.

The indicator can be difficult to notice, particularly in well-lit environments, raising concerns about transparency.The device has gained traction among content creators, who use it to capture first-person footage.

However, it has also been associated with controversial use cases, including recording individuals in public without their knowledge. This perception has contributed to the emergence of the nickname “pervert glasses” in online discourse.Industry experts say the technology lacks clearly defined everyday applications.

Iain Rice, a professor of industrial artificial intelligence at Birmingham City University, said smartglasses may eventually find niche uses but currently do not offer compelling reasons for widespread adoption. He noted that previous attempts at similar technology, such as early smartglasses, faced limited uptake due to similar concerns.

Rice also questioned whether consumer demand aligns with the product’s design. While Meta has focused on aesthetics to make the glasses more appealing, he said it remains unclear whether users are willing to adopt wearable devices that are not essential to daily life.

The development of smartglasses comes as Meta continues to invest in emerging technologies, including its previously emphasized metaverse strategy. The company has reportedly scaled back some aspects of that initiative after significant financial investment, reflecting broader challenges in identifying sustainable use cases for new digital platforms.

Privacy remains a central issue in the adoption of wearable recording devices. While there are currently no specific laws in the United Kingdom prohibiting recording in public spaces, the introduction of discreet, always-available cameras raises questions about consent and personal boundaries.

Some users argue that the ability to record interactions enhances personal safety, while others view it as intrusive.Meta has stated that users are responsible for complying with legal and ethical standards when using the device.

A company spokesperson said the terms of service require users to operate the glasses “in a safe, respectful manner” and not engage in activities that infringe on privacy or constitute harassment.The experience of extended use suggests that familiarity with the device can reduce initial hesitation, potentially increasing reliance on its features.

However, this adaptation may also normalize behaviors that raise ethical concerns, particularly in relation to recording others without explicit awareness.

As smartglasses continue to evolve, their adoption is likely to depend on improvements in functionality, clearer use cases and regulatory frameworks addressing privacy and data use.

For now, the technology remains at an early stage, with its long-term role in consumer electronics still uncertain.