I met Becca Blackwell eight years ago, at a table read for a play called Pony, by Sylvan Oswald. Becca had bright red hair, wore their masculinity with ease (they/their/them are Becca’s pronouns of choice) and acted like a pro: an inspirational figure for a then-twenty-four-year-old baby butch like myself, new to the downtown theater.
When we think of Taylor Mac, what do we see? An immediate rush of beautiful colors and wild theatrics, creations grand in both presentation and content. From A 24-Decade History of Popular Music, in which he engages the audience in exploring how communities are built (“through dire circumstances”) while performing a concert revue of our last twenty-four decades of music, to The Lily’s Revenge, a five-act, five-hour piece with a cast of forty with each act directed by a different director, Taylor approaches theater with absolute abandon.