By Kevin Ferrisi –

Despite the political and cultural challenges of our times, there’s been a notable rise in support for the LGBTQ+ community. Today, an increasing number of establishments are embracing queer-friendly practices, creating safe spaces where diverse groups can come together. This shift is providing opportunities for individuals who might not typically intersect, allowing them to broaden their worldviews and foster greater understanding across different communities. Among these welcoming spaces is the Phoenix Stage Company in Oakville. KC Ross, the Outreach Coordinator, and Ed Bassett, the Executive Director, spoke with ConnecticutDrag.com to showcase their commitment to fostering a safe and inclusive environment.

The Phoenix Stage Company recognizes the transformative power of drag, especially in a climate where the art form faces increasing hostility and attacks. Committed to their mission of inclusivity and support, they sought to create a safe space where performers could grow and showcase their craft without fear. This led to a decision to expand their programming to better serve the LGBTQ+ community and other marginalized groups. They brought KC Ross on board as the Outreach Coordinator and hosted their first Pride event this past year, marking the beginning of a broader initiative.

They are currently planning Play Out Loud Thursdays, a series of sober events for the LGBTQ+ community, including game nights, karaoke, and open mic sessions. The goal is to foster a sense of safety and community at the theater. Looking ahead, they are preparing for the Play Out Loud Festival in June of next year, a week-long celebration of Pride featuring a short play festival, film screenings, drag shows, and various other events. This mixed-media festival aims to support the community, encourage diverse art forms, and offer a vibrant space for artistic expression.

They felt a deep sense of responsibility as an arts organization, recognizing that the arts have the power to address questions and confront challenges. Driven by a need to support the queer community amid rising attacks, they committed to expanding their programming. The aim was to foster understanding and acceptance through art, presented in a non-threatening way. The onset of the COVID-19 pandemic shifted their approach, pushing them to adapt creatively to stay relevant. Nervous but hopeful, they introduced virtual drag queen bingo, an event that exceeded their expectations with enthusiastic acceptance.

The success of the event led to opportunities to bring it to new venues, like a local brewery, further validating the positive impact of drag as entertainment. This exposure helped shift perceptions, even among conservative individuals, who began to appreciate drag as a brilliant art form. The theater’s growth, bolstered by unwavering support from subscribers and patrons, highlights their journey from past struggles to a thriving, inclusive space.

At the start of their theater journey, they were part of Bravo Theatrical Design, a costume design company that created elaborate costumes and set pieces for various theaters. They worked closely with Agnes Dan, another founder, and together they contemplated opening a dedicated space to not only enhance their craft but also to use performance as a marketing tool. They found a modest 2,000-square-foot retail space in Naugatuck, Connecticut, which they leased on July 17, 2010, and opened on August 27, 2010.

Initially uncertain about how to populate their calendar, they saw an opportunity when the Thomaston Opera House closed for renovations, leaving several directors in need of a venue. They offered their space for these shows, including the inaugural production Bleacher Bums. Through this process, they discovered that running a theater was far more demanding than anticipated, but they found great satisfaction and meaning in the work, embracing the challenges with enthusiasm and dedication.

When they first opened the theater, their goal was to create a space where people felt free to explore their talents without fear of judgment. This welcoming environment resonated with many, leading them to realize they had successfully fostered such a space. As a result, they decided to disband Bravo Theatrical Design and establish Phoenix Stage Company. All the costumes, props, and resources from Bravo were donated to the new theater, laying a strong foundation for its future. For five years, they operated from this location until early 2015, when the strip mall’s owners presented them with a substantial rent increase – double their current rate.

Unable to afford this hike, and with season tickets already sold, they sought an interim solution. They approached Clockwork Repertory Theater in Oakville, which had a long history but did not use their space in the summer. During the negotiations, the executive director revealed their plans to retire and offered Phoenix Stage Company the chance to take over the space permanently. Seizing this opportunity, they moved into a much larger 150-seat theater, transitioning from their original 2,000-square-foot space to an expansive 11,000 square feet.

The move to the larger theater marked an exciting new chapter, with their first show, Almost Maine, setting the stage for a thriving future. By 2019, the theater was once again selling out performances, but the arrival of COVID-19 brought a sudden halt. The pandemic derailed their plans to purchase the building, forcing them to use their savings just to stay afloat during the 18-month shutdown. To keep audiences engaged, they launched creative initiatives like the podcast Take Flight Live with Phoenix Stage Company, produced in-house movies, and maintained a YouTube channel to share their content.

The podcast, aired live every Thursday, became a beacon for many during the monotonous days of quarantine, providing a vital connection. They also explored new forms of entertainment, including a virtual drag queen bingo event featuring Charlie Hides from London. This event, along with future ones incorporating both drag queens and kings, proved to be a huge success, demonstrating their audience’s openness to innovative and diverse experiences even during challenging times.

They were initially nervous about introducing drag into their theater space due to concerns about community reception. The previous operators had warned them that certain segments of the audience might not be receptive to more provocative or unconventional performances. Transitioning into a new space with an audience accustomed to a different style of entertainment, they were cautious and aimed to align with their expectations while gradually introducing their own programming. Over time, as they established their presence and built a relationship, they began to explore more diverse and edgy shows.

They realized that despite a few negative voices, most people were open to new experiences and content. The introduction of more varied and inclusive entertainment, including drag, eventually received a positive reception, with diminishing pushback as their audience became more accepting. They found that while detractors will always exist, the overall response has been supportive and enthusiastic, reflecting a growing openness to diverse forms of artistic expression.

They were cautious about introducing unconventional content to their theater, worried about how it would be received. One of their significant productions, A Man of No Importance, tackled sensitive subject matter. Set in 1964 Dublin, the musical told the story of a gay man living a double life – secretly in love with a bus driver, deeply involved in his Catholic church, and running a local theater company. Despite his fears of being ostracized, the story revealed that his friends and community continued to support and love him.

The positive reception of this show marked a turning point, showing them that their audience was more open to diverse and challenging topics than they had initially assumed. This realization shifted their perspective, allowing them to embrace a broader range of programming without the same level of apprehension. Ed acknowledged that his role as Executive Director involved not only maintaining the theater’s financial stability but also recognizing the audience’s willingness to engage with new and provocative content. As their confidence grew, they began to trust more in their audience’s capacity for appreciation and understanding.

They envision establishing a consistent presence in their theater with a new initiative called First Fridays, where every other Friday would feature a different event. The lineup would include an improv group named A Bridge and a melodrama company called Shenanigans, which they were excited to reintroduce to their audience. They also hoped to integrate drag into this regular programming, envisioning a scenario where a familiar drag queen could host these events. By having a regular drag presence, they believed it would create a sense of familiarity and acceptance among the audience, helping to dispel any apprehensions and showcase the vibrant world of drag. This approach aimed to make the theater a welcoming space for diverse performances and encourage a deeper connection between the community and the art form.

This November 16th, Phoenix Stage Company will transform into a Thanksgiving wonderland for Get Stuffed Drag Bingo, where the fabulous duo, Summer Orlando and Barbra Joan Streetsand, promise to serve up more than just bingo cards! Anticipation is already building as fans prepare for an evening of high-energy entertainment, from show-stopping performances to side-splitting comedy, all wrapped up in holiday cheer. Guests are encouraged to don their best turkey-themed attire, ready to laugh, play, and maybe even snag some incredible prizes. With glitter, glam, and a generous helping of humor, Get Stuffed Drag Bingo is set to be the most delectable event of the season! Doors open at 7:00PM and the event is from 8:00PM to 10:00PM. To check out their latest shows visit their website.