Doug Wright (1) (1962–)

CW: Transphobia (Misgendering, Deadnaming, Violence), Homophobia, Antisemitism, Neurodivergent Ableism, Nazis, Stasi

I have a lot of thoughts I need to put together in a document (I can't deal with another meltdown after pouring my heart out about Townies by Neel Patel and then the internet eating it - PSA: MAYBE DON'T READ ID YOU'RE TRANS), but in the mean time it's incredibly important to tell the stories of and discuss important figures in our history, discussing them warts and all, but with the compassion and understanding we don't share the same experiences. However, this play and Patel's short story highlight the importance of research, understanding, empathy, consultation and sensitivity reading when writing outside our own experiences, and just how vital it is to raise own voices in the telling of our own tales.

I don't believe Wright or Patel had any malice in the creation of their works, it is clear how invested in and caring about Charlotte they were. This doesn't change the fact that the Patel's story exploits trans trauma for the sake of drama and the language Wright uses around Charlotte's identity is disrespectful and harmful throughout the play, particularly in the closing monologue.

I would love to see a trans creator work with Charlotte's complicated, inspiring, and heartbreaking story paying the appropriate respect to her identity and exploring the uncomfortable dichotomy of her life and actions.… (altro)

A play about a German transvestite (now would probably be called a transwoman, since there is no indication the individual considered herself a man) who managed to survive both the Nazis and the Stasi, and became a bit of an overnight sensation after the Berlin wall came down and she was discovered running a quaint museum in Mahsldorf. Then she was discovered to have ratted out a friend to the Stasi, and an outcry ensued. It is a difficult play in many ways, challenging in the subject matter, and lapsing into frequent, untranslated German making it confusing at times. In addition, Wright has draped it over with the symbolism of having one man play all the parts, male and female (almost all male) wearing a simple black dress no matter what part is being played. I suspect this "clever" device would leave an audience confused. It is easy enough reading it to tell who is speaking, but trying to follow watching this, and having all the characters, including Stasi officers, dressed as women, when almost none of them are women, would probably cause the play to transcend confusion into...chaos? I also suspect it would not be as effective as symbolism as he would like, and would perhaps come across more as a "gimmick". At some point, the play sucked away my mood, and I was left feeling something I can't identify, but it wasn't good. The play was well written, but there was something wrong about it. I will continue to puzzle over that, and try to sort it out.… (altro)