LGBTQIA+ Theatre

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.”

Henrik Eger reports on the trajectory of the Catholic docudrama Full of Grace from vision of the late Bishop Joseph Sullivan of Brooklyn to the stage in Philadelphia.

This installment of the Gender Power and Politics Series is written by Rosza Daniel Lang/Levitsky, who discusses the lack of opportunities for trans women artists.

Director Emma Went interviews international arts activist Lisa Wolpe about the origins and ethos of TranShakespeare.

MJ Kaufman interviews playwright, director, and performer Azure D. Osborne-Lee about his plays and what he sees in the field as a trans artist.

Shauna Brock describes Salt Lake City’s monthly open mic series When She Speaks I Hear the Revolution and its strides for diversity and inclusion.

Dramaturg Emily White looks at the amount of LGBTQ characters in theatre, film, and television, and wonders why so few of them are bisexual. 

Guillermo Reyes reflects on the twentieth anniversary of his play, remembers how it was received, and the challenges he came across making it.

In the first of a series of four posts documenting the process of producing Rent with students in North Dakota, Chelsea Pace describes overcoming her own mixed feelings about the musical to see the value in the project.

In this installation, MJ questions what makes a trans character credible onstage, and how does gender fit into color-conscious casting?