Rarely-spotlighted Asian lesbians, enbies, and trans characters confront their demons onstage.
If you have been waiting your whole life for the arrival of Asian American lesbian/queer horror theatre, playwright Nina Ki is here with complexly flawed characters and razor-sharp dialogue ablaze. Ki, a self-described "Queerean" (Queer + Korean) playwright who uses xe/she/they pronouns, is one of the most exciting and important new voices in modern playwriting amid a bloom of spotlighted, Asian American-targeted content for the stage. While new Broadway works like HERE LIES LOVE and the short-lived but triumphant KPOP are vehicles for glamor, stardom, and spectacle, Asian Americans, especially further marginalized LGBTQ+ Asian Americans, and then even further marginalized AFAB (assigned female at birth) Asian American queers, are ever in need of stories that humanize, humble, and interrogate the culturally informed patterns, traumas, joys, connection, and loneliness of existing day-to-day as an Asian queer person trying to find community.
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If you have been waiting your whole life for the arrival of Asian American lesbian/queer horror theatre, playwright Nina Ki is here with complexly flawed characters and razor-sharp dialogue ablaze. Ki, a self-described "Queerean" (Queer + Korean) playwright who uses xe/she/they pronouns, is one of the most exciting and important new voices in modern playwriting amid a bloom of spotlighted, Asian American-targeted content for the stage. While new Broadway works like HERE LIES LOVE and the short-lived but triumphant KPOP are vehicles for glamor, stardom, and spectacle, Asian Americans, especially further marginalized LGBTQ+ Asian Americans, and then even further marginalized AFAB (assigned female at birth) Asian American queers, are ever in need of stories that humanize, humble, and interrogate the culturally informed patterns, traumas, joys, connection, and loneliness of existing day-to-day as an Asian queer person trying to find community.
Rarely-spotlighted Asian lesbians, enbies, and trans characters confront their demons onstage.
If you have been waiting your whole life for the arrival of Asian American lesbian/queer horror theatre, playwright Nina Ki is here with complexly flawed characters and razor-sharp dialogue ablaze. Ki, a self-described "Queerean" (Queer + Korean) playwright who uses xe/she/they pronouns, is one of the most exciting and important new voices in modern playwriting amid a bloom of spotlighted, Asian American-targeted content for the stage. While new Broadway works like HERE LIES LOVE and the short-lived but triumphant KPOP are vehicles for glamor, stardom, and spectacle, Asian Americans, especially further marginalized LGBTQ+ Asian Americans, and then even further marginalized AFAB (assigned female at birth) Asian American queers, are ever in need of stories that humanize, humble, and interrogate the culturally informed patterns, traumas, joys, connection, and loneliness of existing day-to-day as an Asian queer person trying to find community.
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If you have been waiting your whole life for the arrival of Asian American lesbian/queer horror theatre, playwright Nina Ki is here with complexly flawed characters and razor-sharp dialogue ablaze. Ki, a self-described "Queerean" (Queer + Korean) playwright who uses xe/she/they pronouns, is one of the most exciting and important new voices in modern playwriting amid a bloom of spotlighted, Asian American-targeted content for the stage. While new Broadway works like HERE LIES LOVE and the short-lived but triumphant KPOP are vehicles for glamor, stardom, and spectacle, Asian Americans, especially further marginalized LGBTQ+ Asian Americans, and then even further marginalized AFAB (assigned female at birth) Asian American queers, are ever in need of stories that humanize, humble, and interrogate the culturally informed patterns, traumas, joys, connection, and loneliness of existing day-to-day as an Asian queer person trying to find community.
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Theatre Rhinoceros
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4229 18th Street, San Francisco, CA 94114
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