Beyond the Binary: How the Trans History Project is Rewriting the American Stage – and What It Means for the Future of Storytelling
The response to the Trans History Project’s open call for submissions was, by all accounts, staggering. Over 170 applications flooded in, a testament to the pent-up demand for narratives centering transgender and gender nonconforming (TGNC) experiences – stories that have been historically marginalized, erased, or simply never told. This isn’t just a moment for theatre; it’s a cultural shift, and the implications extend far beyond the stage.
Unearthing Lost Histories: The Core of the Project
Launched in spring 2025 as a collaboration between Baltimore Center Stage (BCS) and Breaking the Binary Theatre, the Trans History Project aims to commission 10 TGNC playwrights over two seasons, pairing them with regional theatres to develop their work. The inaugural cohort – featuring Yona Moises Olivares, Roger Q. Mason, Bree Lowdermilk, Lady Dane Figueroa Edidi, and the collective Mirage Auto Depot – represents a remarkable diversity of voices and perspectives. Their plays aren’t simply about TGNC people; they’re actively reclaiming and reimagining history itself.
This focus on historical narratives is crucial. As Bo Frazier, the project’s leader, explains, a surprising number of submissions explored previously unknown or overlooked figures. The frequent appearance of the Public Universal Friend, a genderless Quaker evangelist from the 1700s, in the submissions highlights the rich, often hidden, history of gender variance. The project isn’t just filling gaps; it’s revealing a more complex and nuanced understanding of the past.
More Than Representation: A Form of Resistance
The timing of this project is no accident. Frazier explicitly frames the Trans History Project as a “form of protest” – a deliberate act of creation and community building in the face of increasing anti-trans legislation and societal hostility. This speaks to a broader trend: the arts as a vital space for marginalized communities to assert their existence, reclaim their narratives, and build resilience. The project’s success in securing a National Theatre Company Grant from the American Theatre Wing underscores the growing recognition of this importance.
This isn’t simply about representation; it’s about power. By controlling the narrative, TGNC artists are challenging dominant cultural frameworks and creating space for empathy and understanding. The project’s emphasis on commissioning new work, rather than simply reviving existing plays, is particularly significant. It’s about investing in the future of TGNC storytelling and empowering a new generation of artists.
The Plays Themselves: A Glimpse into the Future
The selected plays offer a compelling preview of the stories to come. Roger Q. Mason’s The Gladys Bentley Project delves into the life of a pioneering Harlem drag king, while Bree Lowdermilk’s musical Days of Awe tackles the complexities of family acceptance. Yona Moises Olivares’ miss EMERICA offers a sharp critique of the American Dream through the lens of undocumented experience. Lady Dane Figueroa Edidi’s A Continent of Forget honors the life of Lucy Hicks Anderson, a remarkable figure largely absent from mainstream history. And Mirage Auto Depot’s BI(T)CHES promises a trans-historical experiment rooted in queer art history.
These aren’t niche stories; they’re universal stories told through a uniquely TGNC lens. They explore themes of identity, belonging, love, loss, and resilience – themes that resonate with audiences of all backgrounds. The diversity of genres – from musical theatre to experimental performance art – further demonstrates the breadth and depth of TGNC artistic expression.
Beyond Theatre: The Ripple Effect
The impact of the Trans History Project will likely extend far beyond the theatre world. The project’s success could inspire similar initiatives in other art forms – film, television, literature, music – leading to a more inclusive and representative cultural landscape. Furthermore, the project’s focus on historical narratives could spark broader conversations about gender, identity, and social justice.
The demand for these stories is clearly there, as evidenced by the overwhelming response to the open call. This suggests a growing appetite among audiences for narratives that challenge conventional norms and offer fresh perspectives. The project’s model – pairing artists with established institutions – could also serve as a blueprint for other organizations seeking to promote diversity and inclusion. As Ken-Matt Martin, producing director of Baltimore Center Stage, notes, the project aims to be a “model for others to reshape how new work is developed in this country.”
The Future is Inclusive: Investing in Untold Stories
The Trans History Project isn’t just about correcting the historical record; it’s about building a more equitable and inclusive future. It’s a powerful reminder that storytelling has the power to shape perceptions, challenge assumptions, and inspire change. As the project expands to include regional partners in the American South, Pacific Northwest, and Midwest, and seeks funding for culturally specific organizations, its impact will only continue to grow. The question isn’t if these stories will be told, but how we will ensure they reach the widest possible audience. What untold stories are you eager to see brought to life on stage and screen? Share your thoughts in the comments below!
