Maggie Keenan-Bolger and Rachel Sullivan Host Panel Discussion on Gender and Sexuality in Musicals

On Sunday, July 23, Honest Accomplice Theatre co-founders Maggie Keenan-Bolger and Rachel Sullivan will host a panel discussion at The Castillo Theatre, exploring where past musical productions' representations of gender and sexuality have been successful, what boundaries are still in place, and how we can continue to challenge the status quo in our storytelling.

"There need to be more cis women, queer women and trans people involved in the creation of theater," Keenan-Bolger and Sullivan told EDGE in a recent interview. "Not only as characters in shows, but behind the scenes as playwrights, directors, stage managers and casting directors and stage crew.�The more diversity represented across the board means far more diverse stories being told in responsible ways by the individuals who are experiencing them."�

Panelists for the event include casting director Rebecca Feldman, composer Brin Solomon, Stage & Candor founder Michelle Tse, writer and interdisciplinary artist Ty Defoe, and actress Aneesh Sheth. The event is part of the New York Musical Festival.

Organizers say it is important to have representation of women in the theater for many reasons, including the impact it can have on young people looking for positive LGBTQ role models.

"Think of the twelve-year-old girls who can now listen to 'Ring of Keys' [from 'Fun Home'] and know they are not alone in their thoughts and experiences," they said. "It's our responsibility as people who have benefitted from the culture of music theater to be able to make it accessible to as many people as possible."

Keenan-Bolger and Sullivan said that shows like "Fun Home" and RENT" are groundbreaking examples of musicals with successful representations of gender and sexuality -- but also note that many more similar shows are needed.

"There are a lot of awesome new musicals happening downtown and off Broadway. The main problem is that we aren't seeing very many mainstream musicals by and about women and/or queer women and/or trans people getting produced," said Keenan-Bolger and Sullivan. "'Fun Home' is incredible but represents the story of a very specific sector of white, queer, upper middle-class lesbians.�And no single show will ever be able to represent the diversity of gender and sexuality in our world. But the more shows there are, the more stories can be represented."

What's preventing these stories from making it to the musical stage is that age-old stumbling block: money. Keenan-Bolger and Sullivan said that many of the groups they try to represent in their work with Honest Accomplice Theatre are disenfranchised groups.�This means it's far more difficult to find individuals from those communities who have the time and resources to dedicate to theater-making.�

"Not everyone is financially able to spend every day after work and weekends in a rehearsal room," they said. "The wealth in our country is disproportionally allotted to a largely white, cis-male demographic. They tend to be more interested in funding projects that reflect their stories and ideas, which means that women, people of color, LGBTQIA individuals, people with disabilities, any marginalized populations are frequently left out of the mix."

Changing this status quo will take the efforts of everyone combined. It begins with questioning it: When you do see a show, look at the program; how many people on stage are women? How many people behind the scenes are women? Are trans characters being played by trans performers? Is the theater accessible? Are there people of color playing roles other than maids or stereotypes? Is it possible for people without a lot of money to see the show?

Theater makers must collaborate with those from other communities, listen to them and compensate them for their time, say Keenan-Bolger and Sullivan. They must cast nontraditionally, and make sure not everyone in the cast or production team looks the same or comes from the same background. Think about how to get your theater to communities who might not otherwise be able to see it. When you get there, listen to what those communities have to say about the piece. And support other artists doing these things.

Funders must be intentional in their funding, and make a point of supporting women, trans people, queer people, people of color, and people with disabilities. If you aren't getting applications or requests for funding from minority groups, reach out and make sure people know that they will be seriously considered if they apply for your grant or scholarship. Make sure you have people on your staff who also represent marginalized identities. And support theater that questions privilege, even if it makes you uncomfortable.

Theatergoers need to do their part, as well, by buying tickets to shows about communities you wouldn't otherwise be exposed to. We must urge foundations to be intentional in their selection processes, making their financial awards accessible to women, LGBT communities, and other marginalized groups. And we must persuade companies producing new work to seek out plays by, for and about underrepresented issues.

"Then, when those works are produced, we must go and see them! Audiences, think critically about what you're seeing," said Keenan-Bolger and Sullivan. "Seek out productions with people on stage who don't look like you. And don't lend your support to theater that doesn't challenge oppressive ideas and structures."

If you're interested in issues of wider diversity and representation in musical theater, head to the Castillo Theatre for this enlightening panel discussion.

The Honest Accomplice Theatre Panel will be held on Sunday, July 23 at 1 p.m. at the Castillo Theatre, 543 W. 42nd Street, New York, NY 10036. Tickets are $12.25. For information or tickets, visit https://ci.ovationtix.com/52/production/974247