LGBTQIA+ Theatre

Max Cerci discusses watching Gemma Cooper-Novak’s Through the Glory Hole and What We Found There as a summer intern for The Theater Offensive, reflecting on his theatre background and his queer identity.

Tatiana Gil reflects on her experience interning for The Theater Offensive in Boston, Massachusetss last summer, sharing her vision of organizing creative spaces for queer youth.

CJ Byrd on Taylor Mac’s A 24-Decade History of Popular Music, a “communal, intelligent, erotic, participatory, spectacular performance art concert; a marathon survey dedicated to destroying through exposure the racism, patriarchy, supremacy, and fascism suppressing the fabulosity of all our country’s different beleaguered Others over the years.”

Jess Barbagallo and Chris Giarmo discuss design questions for Jess’s play My Old Man (and Other Stories) and the recently increased interest in trans artists.

Raphael Khouri writes about creating a work of queer Arab theatre in secret.

Todd London writes about playwright and performer Taylor Mac, and looks forward to A 24-Decade History of Popular Music.

Priscilla Page on Ricardo Gamboa and Sean James William Parris’ Space Age at Free Street Theater in Chicago, Illinois.

Playwright Cherry Lou Sy discusses Vineyard Theatre’s production of Indecent, reflecting on the culture of fear and the queer artists who have influenced her.

In this installment, Briandaniel Oglesby shares updates leading up to the performance of his students’ queer adaptation of Romeo & Juliet.

Playwright John J. Caswell, Jr. meditates on the trajectory of queer theatre, and the tendency to normalize the form.

Meg Greene explores the casting process as a socially responsible practice that considers and values gender identity.

In the first installment of his series, playwright Briandaniel Oglesby discusses adapting Romeo & Juliet with youth.

Playwright Kathleen Warnock reports on WOW Café Theatre’s reunion and book launch for Memories of the Revolution, which chronicles the first ten years of WOW Café.

Playwright Josh Inocéncio shares his experience self-producing and touring his autobiographical solo show Purple Eyes.

In this first installment, C. Fischer starts their series, exploring the intersections of gender, drag performance, and acting.

Azure D. Osborne-Lee and Kestryl Cael Lowery recap the Trans Theatre Artists Convening that took place in December, 2015.

Dramaturg Alexander Charles Adams writes a response to Tim Miller and David Román’s 1995 essay “Preaching to the Converted.”