The convention of men playing women on stage dates back to ancient Athens and the birth of theatre itself. Indeed, only as recently as 1660 that women have had the freedom to represent themselves on stage, and even then it wasn’t consistent. In Shakespeare’s day, these actors were adolescent males known as boy-players. These young actors were apprenticed to theatre troupes at a young age and trained in the delicate art of playing females. They would play every female role, from queens down to a scullery maids. Once puberty hit and voices dropped, they would spend some time as trainers for new apprentices before transitioning into men’s roles or leaving the profession entirely.
The exclusion of women from acting was usually done (as these things generally were) in the name of decency. The playhouse was a rough and tumble place of vice and folly. Actors and show-folk were associated with prostitutes, thieves, and other such sinners, and a respectable lady could never be associated with such rabble. And while women could attend the theatre with a proper escort, the patriarchal norms of their time restricted them to the domestic sphere. Much different from the patriarchal norms of our time, which demand a regimented approach to gender and strict adherence to the tenets of masculinity and femininity. One could be forgiven for pointing out that the patriarchy can’t seem to make up its mind about these things.
In UNSEX’d, we’re treated to a reimagined Elizabethan London and a look into a world that is seldom explored. After all, the boy-players would have been in competition for roles and they would have had to work with each other despite jealousies. No doubt an environment like that would lend itself to petty, backstage rivalries that could have easily gotten out of hand. But behind the laughs and witty references is a throughline that connects several topics that resonate within the gay community. From aging and ageism to body image and self-worth, the characters in UNSEX’d experience the worst excesses of human shallowness, and are only worth what their youthfulness and appearance allows.
In a moment when the subjects of gender and drag are at the forefront of our national conversation, presenting this play feels like a minor act of rebellion. It’s always been my belief that as a theatre artist, I have a duty to reflect the times in my work, and while UNSEX’d is a fun and campy satire, it’s important to remember that these characters come from real places, and their experiences, while exaggerated, aren’t that much different from our own.
