Part classic standup comedy special, part teen zine vomit confessional, They, Themself and Schmerm is Becca Blackwell’s disturbingly hilarious personal tale of being adopted into a Midwestern religious family, trained to be a girl, molested, and plagued by the question “How do I become a man, and do I even want that?”
This performance is part of No Safety Net. Get the No Safety Net pass now for $120. Individual tickets and student tickets will go on sale to the general public on September 25.
Inspired by a self-produced video by the late actor Corey Haim called Me, Myself and I, Becca engages in loving confrontation with the audience, detailing the tragic-comic transitions in life, family, sex, and gender while asking what it truly means to be authentic.
A New York-based trans actor, performer, and writer, Becca exists between genders and prefers the personal pronoun “they.” They performed with Young Jean Lee’s Theater Company in Untitled Feminist Show and work collaboratively with playwrights and directors to expand our sense of personhood and the body through performance. “The audience emerged from the theater with a greater awareness of a sociocultural transformation underway…from confusion to denial, to reconciliation to who-the--cares-let-the-love-in…” (Bomb Magazine)
This performance is part of No Safety Net. Get the No Safety Net pass now for $120. Individual tickets and student tickets will go on sale to the general public on September 25.
Inspired by a self-produced video by the late actor Corey Haim called Me, Myself and I, Becca engages in loving confrontation with the audience, detailing the tragic-comic transitions in life, family, sex, and gender while asking what it truly means to be authentic.
A New York-based trans actor, performer, and writer, Becca exists between genders and prefers the personal pronoun “they.” They performed with Young Jean Lee’s Theater Company in Untitled Feminist Show and work collaboratively with playwrights and directors to expand our sense of personhood and the body through performance. “The audience emerged from the theater with a greater awareness of a sociocultural transformation underway…from confusion to denial, to reconciliation to who-the--cares-let-the-love-in…” (Bomb Magazine)
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