It’s a coming-out party like never before.
Lewis is turning twenty-one. His best friends Priya and Alex are arriving early, his boyfriend’s on the way, and the party will go smoothly. There’s just one problem: he hasn’t come out to his parents yet.
LAVENDER BAY is a binary-blasting farce of thwarted confessions, mysterious packages, mistaken identity, and the looming threat of a band of gender whisperers. The first public reading of a new work by Nadia Bracegirdle and Eugene Lynch, this play on queerness and respectability will leave you in stitches – one way or another. Hold on to your gender identities, and get ready to take revenge on the 38%.
Join us at Theatre Works on Sunday 17 March before the reading for a fascinating discussion and Q+A with a panel of trans theatre makers and theatre-watchers, facilitated by writer and director Charles O’Grady.
The experience of being transgender in the world right now is, by a conservative estimate, pretty fraught. Scott Morrison practically opened his Prime Ministership by accusing us of whispering terrible corruptions to children, while in the US, Donald Trump plans to redefine us out of existence. In a world that continues to marginalise us, we need to think about what kind of stories we are, or should we be, telling about trans lives.
We have already seen an upswing in transgender stories on large stages in Australia recently, from the Sydney Theatre Company’s ‘Still Point Turning’, to Belvoir St, Red Stitch, and Black Swan all staging productions of ‘Hir’. It’s a significant step, facilitated by indie theatre companies, pioneering small-scale productions, and scores of dedicated, risk-taking individuals. But where do we go from here? How do we as an industry work with and represent trans voices on stages that continue to exclude us, and how do we as trans people navigate the theatre world – in foyers, on stage, and behind the scenes?