Theatre has always been a space of reinvention — a realm where imagination and passion collide to captivate audiences around the world.
For many, it conjures images of glitz and glamour, bright lights, and standing ovations. But for those in the LGBTQ+ community, being in the theatre industry isn’t just about the spectacle; it’s about prevailing in a field that has long struggled with homophobia and discrimination, even as it publicly celebrates self-expression.
Historically, visibility for LGBTQ+ performers has been an uphill battle. Pre-Stonewall, it was nearly impossible to see openly queer figures in film, television, or theatre. The infamous Hays Code, which governed Hollywood from the 1930s through the 1960s, explicitly banned what it called “perverse” material — including any mention of queer characters or sexuality. Many were forced to operate in secrecy, hiding their identities to avoid blacklisting. Even now, echoes of “Don’t come out” linger in the entertainment industry.
In more recent years, widely admired gay actors such as “All of Us Strangers” and “Fleabag” star Andrew Scott and “Wicked” and “Bridgerton” star Jonathan Bailey have opened up about being encouraged to hide their sexualities early in their careers. Bailey has described the “shame” that LGBTQ+ performers often feel, while Scott revealed he was advised to remain closeted just to keep working. Unfortunately, these stories are all too common.
“I was signed by one of the biggest agencies in the UK,” said “Heartstopper” star Alan Turkington in an interview with the Gay Times. “My agent at the time said, ‘We can go one of two ways here. We can go down the gay route in which case your casting would be very limited, or…’ and they left a gap there as far as I can remember and I filled it in.”
Actors like Elliot Page and the late Hollywood legend Rock Hudson also faced similar pressures to remain silent. Despite some progress — GLAAD’s 2022 “Where We Are on TV” report found that roughly 11.9% of series regulars on broadcast television identified as LGBTQ+ — many performers still wrestle with balancing authenticity and career prospects. Although the industry publicly claims to champion inclusion, private conversations behind casting tables often paint a more complicated picture.
Not every theatrical environment is unwelcoming, however. At FAU, many queer students describe a supportive community, crediting the Theatre Department for fostering an open-minded atmosphere.
When asked if she believes the Theatre Department is a safe haven for LGBTQ+ students, Alexys Fenning, a junior majoring in Theatre Design and Technology with a minor in Film, said, “For sure.”
Fenning also works on scenic painting and construction costumes for the Theatre Department.
“A lot of the theatre students are part of the LGBTQ+ community and even some of the faculty,” said Fenning. “Everyone is very accepting and don’t even blink an eye when I mention I’m bisexual.”
Simon Lopez is a senior majoring in Theatre Design and Technology with a minor in Studio Art. He handles scenic painting and tracks props while participating in the Black Undergraduate Theatre Collective (BUTC) — a group dedicated to uplifting Black, Hispanic, and queer students.
“As of right now, especially in school, the theatre community has been very open here,” said Lopez. “The most you’ll get is confusion from some people. There are so many trans and queer people in theatre and art. I’ve never felt alone here. I’ve always felt like I have a voice.”
Lopez says that confusion often comes from people who have never met a transgender individual. While he appreciates the “surface level acceptance,” he also encounters a deeper lack of understanding.
“Oftentimes, I’m faced with surface level acceptance of my identity, but not understanding on a deeper level,” said Lopez. “On a grand scale, I’m glad I’m being respected. I understand the confusion if you aren’t fully involved in the community.”
FAU’s Theatre Department, like many others, has had its share of challenges — namely, a predominantly white, cisgender faculty and a history of casting primarily white actors in mainstage productions. However, the department is making strides to address these shortcomings. A crucial part of this effort is the BUTC, established in 2017 to help marginalized students gain experience through smaller shows, eventually leading to mainstage roles.
“The BUTC is a club of Black students run by Black students that works to allow Black, queer, and Hispanic students to have a bigger part and voice in theatre,” said Lopez. “It was formed back in 2017 because, during those past few years, most of the main performances were only casting white actors and actresses.”
Organizations like the BUTC demonstrate how change is possible when a community actively addresses systemic shortcomings. While it may seem daunting to push for sweeping transformations in Hollywood, these local efforts can spark broader reforms. Theatre thrives on innovation, and for every performer who feels pressured to hide their identity, there is a stage ready for untold stories and fresh perspectives.
“Theatre right now is a really important place to be in,” said Lopez. “Especially queer art, Black art — culture as a whole is being surpassed, and it’s up to us to have our voices be loud. Not be hidden or pushed aside.”
As the lights dim and the audience settles in, the spotlight rests on a future where LGBTQ+ authenticity is not just permitted but celebrated. If more academic departments and production companies follow FAU’s lead — truly listening, making space for underrepresented talent, and prioritizing genuine inclusion — then we can look forward to a theatre industry that fully embraces the richness and diversity of all its performers and creators.
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