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The Power of Visibility: A Body That Feels Like Home

By Heath Umbreit

As a trans/nonbinary person who uses they/them pronouns, I've been thinking a lot about the concept of visibility lately. Visibility is such a complex, fraught topic for trans people; being visibly trans can be emotionally draining, exhausting, and even dangerous. All we have to do is look at the commentary in the news and at the laws being passed around the country to see why. I don’t want to ignore that the struggle for rights and the difficulties of marginalization are as fundamental an aspect of visibility, of seeing, of being seen, as the other parts are. But visibility can also be celebratory, and in that spirit I want to talk about why I choose to move through the world as a visibly trans person.

The first time I visited my parents after coming out, my mother confronted me in tears. In the midst of an hours-long questioning, of wondering what she and my dad had "done so wrong" to end up with a trans child, and of trying to convince me to reconsider, she asked me to promise I would never start hormone replacement therapy (HRT). At the time, it was an easy promise—I genuinely didn’t think it was something I wanted or needed. What didn’t occur to me was that, really, my mother was asking me to promise I would never seek to become visibly trans.

As time passed and I continued my transition, the tension between who I am and how other people perceived me heightened. I had changed my pronouns, name, style of dress; but pronouns and names aren’t visible, and clothing is, realistically, gender-neutral. External observers were still putting me into one of two boxes—man or woman—depending on their individual criteria of what a man or woman looks like.

Simultaneously, I came to understand the fallacy inherent in our thinking about what it means to live in a cisgender body versus what it means to live in a transgender body. The assumption is that trans bodies are worse and less natural than cis bodies, and therefore trans bodies—visibly trans bodies—should be avoided. This is also a way of saying that defying easy categorization for other people should be avoided—because people assign you a gender based on how they perceive your body, and if your body is untranslatable to them, they won’t know how to categorize you. And so I realized that, for me, starting HRT would accomplish exactly what I wanted: it would complicate categorization for other people, it would make other people have to look again, listen again, and maybe still not know how to parse my gender. It would make other people have to consciously make a decision.

In that sense, HRT has allowed me to exercise my own agency, by taking control over how I am perceived in a way that was previously denied to me. The benefits to my mental wellbeing have been immeasurable. I love being trans, and I love my trans body, in spite of everyone and everything suggesting I should feel otherwise. For me, that’s the power of visibility: the chance to be a full-fledged person in a body that feels like home. And I would encourage everyone reading this to consider, as you go forward, how you can shift the way you look at others to make space for and celebrate and really see them for who they actually are—not just who you think they are, or should be, or appear to be at a glance.

Heath Umbreit (they/them) is trans/nonbinary and genderfluid. In their work as a librarian, they study information systems and advocate for trans inclusion. They have been a proud SpeakOUT volunteer since 2022. You can learn more about them at: www.heathumbreit.com.


Lurenzone Theatrics: Bringing Dragsicals to Boston

By Richie McNamara

By day, Nick Lorenzen is a school administrator, but by night he produces drag-centered musical extravaganzas within the local Boston queer scene. Creating a network of queer talent has been a driving force for Nick since he graduated from the University of Maine’s theater program. A drag performer himself for eight years, Nick spent some time in Western Massachusetts before being drawn to Boston’s active queer entertainment scene.

When the pandemic struck in 2020, Nick used his spare time to write a drag parody of Disney Channel’s High School Musical, becoming High School Dragsical. The script portrayed protagonist Troy Bolton as a bowling star who secretly auditioned for a drag show. In the fall of 2021, he utilized this script to get his drag friends back on the stage. In the long-standing Boston gay bar Jacques’ Cabaret’s basement venue, Jacques’ Underground, Nick produced his flagship show, not realizing it would be the start of his own production company, Lurenzone Theatrics. “Lurenzone is how I can bring people I know from different places together,” says Nick.

Lurenzone Theatrics Flagship Production: High School Dragsical in Jacques’ Underground.  From left to right: Regina Jackson, Betti, Patty Bourrée, Vivienne Vagemite, and Dottie Ave

Also during the pandemic, Nick began hosting Serve-vivor, an online reality game on the streaming website Twitch. This eventually turned into a live show featuring local drag talent with long-time collaborator, Kandi Dishe. “Serve-vivor combines improv theater with a reality television competition in a really interesting way,” Nick explains.

Nick struck an untapped but fruitful market with Serve-vivor. The reality competition fandom has a sizable queer sector who appreciates live theater performances, which has helped make Nick’s live shows a success. While producing Serve-vivor, Nick began writing a Mean Girls parody. “I want to give my friends (who are drag artists) opportunities that are fun and they can get paid for,” says Nick.

Nick’s proudest Lurenzone moment was selling out his parody of the musical Six at Club Cafe. “It was three nights, 300 seats, and we filled all of them!” 

Mean Queens Cast Photo: From left to right: Anya Nuttz, Carlos, Wilhelmina, Alex Wedge, Chanel the Angel, Alessandria, Nick Lorenzen, Evan, Regina Jackson, Dottie Ave, Mike Hawk, Barry, and Gwenitalia

One of the challenges Nick has had to face is finding a venue that has the proper tech required for a theater production and is willing to host him. Since drag is generalized as a nightclub activity, it is difficult to book actual theater spaces for his productions.

Despite drag being pushed to the center of political discourse in our country, Nick has luckily avoided any public backlash.

“Drag is fun. It is inherently political, but it’s not hurting anyone,” Nick says about political discourse on drag. “Drag performers aren’t the ones causing problems. The hateful reactions are what is problematic, and they must be addressed.”

In a time when drag is being politicized and targeted by lawmakers, it is vital that we support local drag artists. You can do so by attending drag shows and advocating for LGBTQ+ rights in whatever capacity you can.

Follow Nick and Lurenzone Theatrics on Instagram @lurenzonetheatrics to find out about upcoming performances. 

Richie McNamara graduated from UMass Amherst with a BA in Communication and a published thesis project titled Beyond Our Boundaries, which looks at how face-to-face, personal narrative storytelling can create social change. Currently, Richie works in social media marketing for a local general contractor. Interests include reality television, pop culture, content creation, and cross country running.

Editor’s Note: SpeakOUT will be highlighting the work of other local drag artists in future blog posts to more deeply touch upon how the current attacks on drag performers are affecting the individuals behind the wigs and makeup. We’ll also be covering the rash of anti-transgender legislation that is rapidly spreading across the country and endangering the lives of trans youth by removing access to gender-affirming health care. In this time of extremism and violence, this is when we speak out. Want to stand up for trans rights locally? Join the community for the Amplify Trans Youth rally at the Massachusetts State House on Tuesday, March 28, 9:30-11:30am.