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BroadwayWorld is adulatory Pride Month with Behind the Rainbow Flag. This alternation will affection theatre artists, who are associates of the LGTBQ association administration their stories, advice, or added pieces accompanying to their identity.
Below, apprehend a allotment from author Azure D. Osborne-Lee, who describes their adventures actuality “a fat Black nonbinary auto anomalous person” in the theatre community, bigotry they accept faced, and admonition they accept for others like them.
It’s adamantine to say what actuality a Black auto actuality agency to me. Those are two primary aspects of my identity. Because my identities are not alternative for me, I angle proudly in them.
I’ve accomplished bigotry in my career due to my identities. I’m a fat Black nonbinary auto anomalous person. Like so abounding theatre makers, I started out as an actor. In my mid-twenties I accomplished that I didn’t feel safe accessory auditions. I had already spent my determinative years angry to accomplish allowance for myself in a theatre affairs that banned to casting added than one Black amateur per season. I absitively that I didn’t appetite my adeptness to participate in my industry to depend alone aloft actuality cast. So I started writing.
I cannot alive a activity alfresco of my body. I cannot consistently acquaint back I’m actuality discriminated adjoin for a accurate character of mine. What I can say is that authoritative a activity in the theatre hasn’t been accessible for me. I accept been anesthetized over added times than I can say. I accept been accursed from jobs because a white man anticipation I was a bit too uppity. I accept had critics with aught cultural adequacy attending bottomward on my work.
My admonition for added Black LGBTQ bodies is to seek out affection and association as abundant as you can. Find advisers and cheerleaders of your assignment and break abutting to them. These are the bodies who will advice you abound as an artist, who will break ashore back you charge it most. Also amount out whose acknowledgment agency the best to you. Who’s your ambition audience? The choir of those bodies are the ones to accept to back things get hectic.
Azure D. Osborne-Lee (he/him, they/them) is an award-winning Black anomalous theatre maker from south of the Mason-Dixon Line. He holds an MA in Advanced Theatre Practice (2011) from Royal Central School of Speech & Drama as able-bodied as an MA in Women’s & Gender Studies (2008) and a BA in English & Spanish from The University of Texas at Austin (2005).
Azure is the architect of Roots and River Productions and was a affiliate of the countdown Auto Theater Lab cohort. Azure’s assignment has been produced and/or developed by Auto Lab @ The Public and WP, Parity Productions, The Tank, The Flea Theater, BAX|Brooklyn Arts Exchange, BAM, JACK, Rising Circle Theater Collective, The Fire This Time Festival, Horse Trade Theater Group, The Castillo Theatre, The New Ohio Theatre, National Black Theatre, Freedom Train Productions, Downtown Urban Arts Festival, Lambda Literary Foundation, The Helix Anomalous Performance Network, and regionally.
Recipient of Parity Productions’ 2018 Commission for Women and Transgender Playwrights, Winner of Downtown Urban Arts Festival’s 2018 Best Play Award, and the 2015 Mario Fratti-Fred Newman Political Play Contest.
Finalist for Theatre Viscera’s Anomalous Playwrights’ Contest, VanguardRep’s 2019 Summer Production, BAX|Brooklyn Arts Exchange’s 2018 Artisan in Residence, National Black Theatre’s I AM SOUL Playwrights Residency, and Soho Rep’s Writer/Director Lab; Semi-finalist for the Burman New Play Award, Ars Nova’s Play Group and New York Theatre Workshop’s Emerging Artists Fellowship.
Azure’s feature plays accommodate Mirrors, Crooked Parts, Glass, The Beasts of Warren, Appetite, and The Crocus Eaters.
Learn added about Azure at azureosbornelee.com.
Photo Credit: Gaspar Marquez
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