Together, Theatre for Life and Beyond Reflections have developed an intergenerational verbatim theatre performance tour celebrating trans+ stories, histories and voices across generations. The company of LGBTQIA+ theatre makers blend music, digital storytelling, and cabaret, in a trailblazing verbatim play developed from personal narratives in creative workshops, interviews, and conversations with trans+ people across Hampshire and beyond. In this blog I share thoughts and feelings from the first three performances, and how they reflect the experiences shared within the creative workshops.
Tickets are still available for upcoming London and Portsmouth shows – get yours now!
I Was Always Here
I have been lucky enough to see this production come to life from the powerful stories shared within creative workshops, through co-production sessions and many, many rehearsals. I became especially familiar with a Frankenstein-inspired trans masc song and monologue on creating your body – not being born in the wrong body but MY body.
Even after all these sessions and conversations, I still didn’t know what to expect. I Was Always Here is funny, sad, a little sexy, joyful, painful and totally unforgettable. The songs were funny, silly, harrowing, and totally camp. Queer people have always had the knack of making fun of ourselves, our circumstances and the sheer ridiculousness of this world. The musical numbers from I Was Always Here are no exception.
“I Was Always Here is an electrifying journey through trans+ histories. From the first openly trans surgeon, to the green rooms of the 90s club scene, through 1920s speakeasies and gothic literature, we celebrate the lives of trans+ people that history so often forgets.”
Original copy for the performance.
I adored the cabaret scenes. What an excellent cast to perform camp songs about second puberty, “Promoting homosexuality as a pretended family” (as per Section 28), and gyrating on the floor whilst wearing a Maggie Thatcher mask.
Many scenes also shared the real worry for trans+ people currently in the UK – including thinking and planning for leaving the country if our rights are attacked any further. And how to talk to the nursery about the terms your child uses for you that aren’t Mum or Dad. The fears for the future are bounded up in hopes for the future – working together, living together and being an active community who looks after each other. Coming together outside of the glitz and glamour of nightlife to eating together, food shopping together, taking each other to the doctors. One scene was a real interrogation of what we think ‘friendship’ means.
Another stand out scene was a retelling of a walking stick user being asked to go-go dance. How this person, and trans disabled bodies more widely, can not only be seen as acceptable but also desirable and sexy. That got me right in the feels. There was also a moving monologue on being a Black, mixed heritage, trans femme growing up in the church in the U.S. Secretly listening to Prince and joining a drag troupe.
The formidable Kim Tatum powerfully performed a poem I wrote during the creative workshops.
The narratives shared in this performance are so well looked after and shared. I was moved to tears often and knew to bring tissues to the second show!
Honestly, the more I think and write about this performance, the more I realise it is all my favourite. There was never a dull moment, just raw emotion, tongue-in-cheek hilarity, and a everlasting love and appreciation for those who came before us.
Gathering feedback
I have been able to see so much behind the scenes, as well as all three shows at the MAST studios, because I am supporting the evaluation of the project. I was lucky to overhear a group behind me before the show – one was trying to work out what they were about to see as they had been brought to the show for a birthday surprise. Afterwards, they shared with me that they were very pleasantly surprised.
People gathered to share their feedback at the Katie Cubby. There were questions, tears in eyes, holding back tears, laughing, and resonating. The show was so good and the response from the those watching was incredible. People shared that they felt seen, that this was part of understanding themselves or a loved one better. Many commented on the importance of talking about the HIV/AIDS crisis and Section 28. Everyone loved the finale, one person shared: “That last number, wow! It’s such an educational piece of art, thank you so much”
“The production excels in capturing intergenerational experiences of the community while thoughtfully honouring its intersectionality, beautifully weaving in the nuances of race and disability. The underlying message that the fundamental desire to live authentically is universal really resonated with me.”
Another attendee shared the importance of hearing from disabled trans+ people. They asked about getting involved with Theatre for Life, after years of trying to engage in inaccessible theatre making spaces. They shared, “This is art doing what it should do – challenging things.”
What’s next?
Honestly, it is going to be difficult to write a succinct evaluation for The National Lottery Community Fund (our halfway feedback was also very large!). I now get to look through all the feedback and share that with the funders, and the cast of course. The evaluation process not only tells our funders what went well and what we would do better next time but allows us as trans and queer people to show funders that trans+ theatre making is an integral part of keeping safe people, safe, alive and thriving.
What else is next is more shows of course! Tickets are still available for:
Pleasance Theatre, London
20 October 7 pm. 21 October 9pm. 22 October 9 pm
BOOK HERE
Portsmouth Guildhall Studios
2 November 8pm. 3 November 2pm & 8pm
BOOK HERE
This project was made possible by the National Lottery Community Fund.