Your cart is empty.
Q2Q: Queer Canadian Theatre and Performance

Q2Q: Queer Canadian Theatre and Performance

Edited by Peter Dickinson, C.E. Gatchalian, Kathleen Oliver, and Dalbir Singh
Subjects: Non, 2SLGBT / Queer Theatre
Series: New Essays on Canadian Theatre
Imprint: Playwrights Canada Press
Paperback : 9781770919136, 336 pages, June 2018

Table of contents

Putting the Qs in Q2Q by Peter Dickinson, C.E. Gatchalian, Kathleen Oliver, and Dalbir Singh

No Blood on the Sheets: Lesbian History and Identity in the Life and Theatre of Amy Redpath Roddick by Kym Bird

The Queer Future That Dared Not Be Imagined: Aging and “Post- AIDS” Theatre by Dirk Gindt

Passing the Torch Song: Mothers, Daughters, and Chosen Families in the Canadian Drag Community by Cameron Crookston

Constituting Community: The Gay Heritage Project, Body Politic, and the Performative Power of Theatre by Stephen Low

Scrambling SCUM by Moynan King

Queer Insularity: On Québec, Webseries, and Performances of Community by Sean Metzger

Performing Your Fictional Identity: The True Imaginary by Sky Gilbert

Homesteading a New Queer Frontier: Queering Performance and Cultivating Community from Outside the Centre by Richie Wilcox and Jay Whitehead

Unsettling the Frontier Fable by Jean O’Hara

Queer Youth and the Cultural Politics of Failure in the Work of Jordan Tannahill by Cordula Quint

Queering Genre and Tragic Communitas in Minh Ly’s Ga Ting (Family) by Eury Colin Chang

Re: Form: (An Informal Set List Of Considerations) by Evalyn Parry

Proudly Welcoming: Is Diversity in the Queer Theatre Community by Invitation Only? by Laine Zisman Newman

2-Spirit or Not to Spirit? . . . It’s Not Even a Question by Ryan Cunningham

Divisions Within: Staging Internecine Conflicts Between Gay Subcultures by T. Berto

Productive Contrary: Counterperformative Resistance of the Queered-Queer, the Othered-Other by Spy Dénommé- Welch

Queer Redo by Sarah Garton Stanley


  • Winner, Patrick O’Neill Award 2020


This collection seeks to understand why it is important not just to continue to tell queer stories on stage, but also to piece together the larger historical narrative of Canadian queer theatrical production and reception through academic research. Through these essays, artist reflections, and curatorial statements, the contributors generate theories and new ways of understanding how queer theatre and performance have contributed more broadly to the political and social development of LGBT2Q communities in Canada. Q2Q: Queer Canadian Theatre and Performance asks what a comparative analysis of contemporary queer performance practice in Canada can tell us about current appetites and potential future programming.