new pronouns

‘Hir’: Everything is everything

Defunkt Theatre tackles Taylor Mac's beyond-the-kitchen-sink drama about transgendering and family conflict

Defunkt Theatre has cooked up a hot mess with its production of one of the most acclaimed Off Broadway works of 2015, Hir. The kitchen sink dramedy (which includes vomiting into the sink) is set in a decaying prefab house in a conservative West Coast suburb. A soldier returning from war confronts his changing home and family dynamic.

Despite the piles of dirty takeout containers, grime on dated appliances, and teenage-sized piles of laundry, magic is in the air. Described as New York’s darling, playwright Taylor Mac creates “radical faerie realness ritual.” Mac uses the pronoun judy, as in Garland. Before judy begins a project, judy writes down all the things judy doesn’t want to talk about and those become the play. Judy is known as a Queer-American-Artist-Historian-Shaman and much of judy’s dialogue is as much a mouthful. There’s an enviable unbridled creativity to judy: anthropology with a splash of anarchist emotional and intellectual intelligence. While Mac wasn’t at Defunkt during the performance, judy’s spirit filled the theater. Audience members shed their modesty and checked in with each other during intermission and after. Defunkt’s Hir sparked conversation and a sense of community. Mac was in New York performing A 24-Decade History of Popular Music, which New York Times critic Wesley Morris described as “one of the great experiences of my life.”

Taylor Mac, performing in New York. Photo: Ian Douglas/2015

Taylor Mac, performing in New York. Photo: Ian Douglas/2015

Director Andrew Klaus-Vineyard set up the play with more counterbalances to step away from what he described as “the situational comedy” approach two earlier productions carried. If you haven’t been part of the dialogue around gender the last few years, Hir is great edutainment. Paige McKinney is a Baby Boomer mom whose quest for liberation has turned self-absorbed and controlling. She’s made a poster child out of her transitioning daughter-to-son, Max. Max (Ruth Nardecchia) is a kid on the cusp of many things and has assumed the world on their (this, or “ze,” is the pronoun the play finds preferable) shoulders. Paige’s husband, Arnold, played by Anthony Green, is a former plumber who is now a housebound stroke survivor. Isaac (Jim Vadala) is their son, a lumbering vet who sweats testosterone with military order.

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