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    In ‘Public Obscenities,’ the Transgender Activist Tashnuva Anan Makes Her New York Debut

    Tashnuva Anan Shishir, who became her country’s first transgender news anchor in 2021, is performing in “Public Obscenities” at Soho Rep.When Shayok Misha Chowdhury wrote the character of Shou for his new bilingual play, “Public Obscenities,” about a couple who interviews queer locals in Kolkata, India, he was “super worried” about casting the role. The performer would not only need to be of the appropriate gender but also a Bangla speaker with the right “linguistic fluency” to capture the character, who speaks “exuberantly and forthrightly and confidently,” he told me recently.Shou identifies as kothi, an Indian gender that encompasses a breadth of expressions, Chowdhury said. So he reached out to a friend for advice: Debanuj DasGupta, a professor at the University of California, Santa Barbara, who is “very in the sort of Bangali queer and trans space.” After the professor mentioned Tashnuva Anan Shishir, Chowdhury searched her name online, and several questions came into his head: Is she even in New York? Would she be interested in auditioning?When he posted a casting call on Instagram, and Anan responded, a plan started to coalesce. She was in New York, performing in Queens, in “I Shakuntala,” a play by Golam Sarwar Harun and Gargi Mukherjee, a married couple who would also go on to star in “Public Obscenities.” Anan’s role was small, but she “stole the show,” Chowdhury said.After she auditioned for his play, it was practically unanimous, he said: “We have found the person.” While Shou doesn’t appear until 50 minutes into “Public Obscenities” — its run at Soho Rep (in a coproduction with the National Asian American Theater Company) has been extended through April 16 — the character has been among its most memorable.In “Public Obscenities,” Anan, center, plays a scene-stealing interview subject, our critic wrote in a review of Shayok Misha Chowdhury’s play.Julieta CervantesIn March 2021, Anan made history as the first transgender news anchor in Bangladesh. For three minutes, on International Women’s Day, she spoke on the air and was seen by millions of her compatriots. She went on to anchor occasionally for the network, Boishakhi TV, through November 2021.In December of that year, she came to New York, her first time in the United States. Her trip was primarily to receive care related to what she calls her transformation. And while here, professional opportunities have arisen: Last year she became the first transgender model from Bangladesh to walk in New York Fashion Week.Anan, 31, grew up in a conservative Muslim family and has had a grueling journey to this point. She has endured relentless harassment and survived suicide attempts; been shunned by family members, including her father; and lived penniless in a slum.“I really wanted to be an actress,” Anan, who performed in theater in South Asia and in a small Bangla film, “Kosai,” told me recently in a video interview. “People shouldn’t be considered by their gender. People should acknowledge their work. People should acknowledge their skill.” Being a news anchor in Bangladesh was eye-opening, she said, but it couldn’t quite open up the world for her like the United States could. “I was feeling that I have to swim. So I should swim in the ocean, not in a pond, not in a river. So if I can achieve, I can achieve. If not, then not.”Here are excerpts from our conversation, which have been edited for length and clarity.“I had to pay a lot. I had to leave my family to prove my identity,” Anan said.Desmond Picotte for The New York TimesHow has life in New York been for you?It’s a lot of adaptation. I’m born and raised in a village, not a city. The city is highly competitive, but I like this competition. Being an activist, this is a great eye-opening for me to learning, to adapting to each other, to teaching how is the activism going on. When I was in Bangladesh, I was working in a national level. Now I’m in New York, and I’m working globally. I’m contributing internationally. So this is a good opportunity for me.You’ve shown remarkable perseverance. What gives you strength?For myself, that I believe: Do your own job. Just do hard work. There is no shortcut in life. Just believe in yourself. And just, first, inspire yourself. I have competition only with myself, because I’m trying to do a little bit better than yesterday.Why do you think Shou has been so memorable to audiences?Shou is intelligent, Shou is extra-talented, an extrovert, and Shou knows actually about this scenario: the situation of queer people, queer activism, especially in Kolkata, Bangladesh, Pakistan. So Shou is charming everyone. Shou is connected with everyone.Shou is very common character in South Asia because Shou is kind of a feminine guy, so Shou would like to wear femininity in her body or in their body. So this feminine guy represents South Asian queer community also.How do you see yourself in this character and how are you different?Tashnuva bold, Tashnuva sexy, Tashnuva brave, Tashnuva iconic — and the brand I created, I had to pay a lot. I had to leave my family to prove my identity. Shou is also powerful. Shou is also entertaining. Shou is also jolly. Shou is also friendly. Tashnuva is sometimes moody, because people can consider my self-esteem or people can consider my self-respect as an ego, but I had to maintain it. But Shou doesn’t have that; Shou is more friendly.When I get confirmation from my team, I was a little bit tense actually, because, see, I have long hair, and the show is going to put, like, a wig. Then I asked Misha, “Should I cut my hair? I can’t!”First time, when I watched myself with that wig, with proper costume, I was so low — believe me, I was so low. I didn’t feel well because still, then, I didn’t believe Shou. So I was trying to just discover what was going on. Now, I literally fall in love with that wig. Yeah, this is me, this is Shou.How has the reception been from South Asian audiences?Oh my God, they appreciate a lot. They were looking at their sorrows in front of them. They’re looking at their life in front of them, through Shou’s eyes. I got lots of messages from my friends — “Tashnuva, you’re doing really well because this is not doing acting, this is very natural.” I wanted to be a natural actor. I want to play a character that should be more natural, that should be believable. I really believe when I am doing something, people should believe.Last night, when I’m coming toward audience, a girl literally was crying, and she was from Bangladesh, and she born and raised here. She only heard me by social media, and this is the first time we get connected in person. And she was telling me, “Tashnuva, this is the story that we know but we couldn’t tell in front of people.”What’s next for you?I don’t like to say my dream because people are always critics. So I love to keep my dream inside. I am looking for opportunities to act more. So I think now, just now, after this project, I want to jump into another project. There I can play a more powerful character. There I can say another story. I don’t want to pursue any character that is very common.When I think about performance — light, camera, action — I love Broadway performance. Today and tomorrow, is my dream that I will perform in Broadway, or I will perform in a Hollywood film. When I start working, I just forget my every pain. I just forget everything. And this is the performance that inspired me a lot, that did a lot for me. More

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    Tennessee Law Limiting ‘Cabaret’ Shows Raises Uncertainty About Drag Events

    The measure is part of a wave of legislation by conservative lawmakers across the country against drag performances. Many are wondering how it will be applied.NASHVILLE — A bill signed into law this week in Tennessee makes staging “adult cabaret” on public property or anywhere a child could see it a criminal offense. The law forbids performances in those places by topless, go-go or exotic dancers, strippers, or male or female impersonators who, as the law defines it, provides entertainment that is “harmful to minors.” The word “drag” does not appear in the legislation. And to some legal experts, the description provided in the letter of the law would not apply to drag as they know it. But many in the state are still trying to grasp how the measure will ultimately affect drag events, theater performances that involve drag, and even transgender and gender nonconforming people as they go about their lives.The law is part of a cascade of legislation across the country fueled by a conservative backlash to drag events, which has also spurred protests from far-right groups and threats directed at performers. Now that it is one of the first to succeed, with lawmakers in other states pursuing legislation with similarly ambiguous language, the law has prompted concerns about how it will be enforced and the implications it could have.“The murkiness of this law is causing a lot of people to be on edge,” said Micah Winter, a performer and board member of Friends of George’s, a theater company in Memphis whose shows are often centered on drag.Proponents of the legislation have described it as a way to safeguard children, asserting that drag events can have sexualized language and suggestive performances that may be too mature for younger viewers.“This bill gives confidence to parents that they can take their kids to a public or private show and will not be blindsided by a sexualized performance,” Jack Johnson, the Republican state senator who sponsored the legislation, said on Twitter.Gov. Bill Lee of Tennessee giving his State of the State address in February. Mark Zaleski/Associated PressStill, the legislation figures into a campaign by conservative lawmakers across the country to curb the rights of people in the L.G.B.T.Q. community. In Tennessee, one proposal would block transgender people from changing the gender listed on their drivers’ licenses, and on Thursday, the same day Gov. Bill Lee signed the adult cabaret bill, he approved legislation that prevents all puberty-delaying treatment, hormone therapies and referrals for transgender children to receive gender-affirming medical care in the state.Drag has become more mainstream in Tennessee, as in much of the country. Performers in vibrant costumes that upend gender assumptions could simply be reading a book, promoting acceptance and literacy. Or they might be “reading” — that is, playfully mocking — tourists piled onto buses rolling through Nashville or lip-syncing in variety shows in boozy brunches in Memphis or Chattanooga.“Not one of our performers on this bus has ever shown more skin than a Titans’ cheerleader on a Sunday afternoon,” David Taylor, an owner of the Big Drag Bus Tour in Nashville and bars that host drag events, said in a hearing on the legislation.Legal experts said the equivocal wording meant that the adult cabaret law was not exactly a ban on drag but could still have consequences.“It’s an anti-drag law,” said Kathy Sinback, the executive director of the American Civil Liberties Union of Tennessee, “because they passed it intentionally to try to chill and prevent people from doing drag, but that’s not really what the law says.”“It should not even touch any drag performances,” she added. But after watching public commentary and a series of legislative hearings debating the merits of the bill, she said, “it’s clear that some people think that drag in and of itself as an art form is obscene and that it should not be viewed by children.”But Ms. Sinback said the parameters set in the legislation should not apply to most drag performances, given that they would have to be considered extremely sexual or violent, lack serious literary, artistic, political or scientific values, and be considered broadly offensive and obscene to a child to warrant charging the performer with a crime.Mr. Johnson said that the law was not meant to target drag performances in general or discriminate against the L.G.B.T.Q. community. “It simply puts age restrictions in place to ensure that children are not present at sexually explicit performances,” he said in an interview with CNN.Critics said the legislation reflected what many in the gay and transgender community have described as a bleak and dangerous climate in Tennessee, threatening people who are often marginalized and already uniquely vulnerable. The law over medical care has provoked the most alarm. The Tennessee chapter of the American Academy of Pediatrics opposed the law, saying in a statement that it will “significantly limit our ability to practice to the standard of care established by numerous national medical organizations.”Sruti Swaminathan, a staff attorney for Lambda Legal, which is working with other civil liberties groups in mounting a legal challenge to the legislation barring gender-affirming care, said, “This is clearly an effort to villainize us and isolate us because they fear our resilience and our self-love and our collective power.”People protesting against the bill on cabaret restrictions in Knoxville, Tenn., in February. Jamar Coach/News Sentinel, via ReutersTennessee is one of more than a dozen states where conservative lawmakers, focusing on issues of gender and identity, have pursued legislation that explicitly or otherwise seeks to impose restrictions on drag events.Some of the bills would require venues to register as adult entertainment spaces or “sexually oriented businesses,” and others would forbid performances at schools or libraries. A proposal in Arizona would outlaw drag performances within a quarter-mile of public playgrounds and schools.The law in Tennessee has not yet spurred a legal challenge, but activists and lawyers were prepared to start one as they watched to see how it is applied. Those who violate the law will be charged with a misdemeanor or a felony for continued offenses.The drag performer Poly Tics attending a rally in Kentucky on Thursday. Bruce Schreiner/Associated PressIn Kentucky, where the State Legislature has advanced a sprawling bill to curtail health care access for L.G.B.T.Q. children, lawmakers had also considered restrictions that included prohibiting what the state classifies as “adult performances” from operating within 1,000 feet of child care facilities, schools, public parks, homes or places of worship. The legislation was amended on Thursday to limit such performances from taking place in public places or a location where the performance could be viewed by a child — a step that critics of the legislation took as a victory.“This version is much more narrowly tailored to just explicit sexual content,” said Chris Hartman, executive director of the Fairness Campaign, an L.G.B.T.Q. advocacy group in Kentucky, who acknowledged that much of his organization’s limited energy was focused on challenging the legislation on restricting gender-affirming health care.Compared with other proposals on L.G.B.T.Q. issues that advocates contend will have immediate and damaging impact, the ones that are tied to drag stir worries rooted more in uncertainty.For transgender and gender nonconforming people, who face a heightened threat of violence, some fear the law could be wielded as a tool to further discriminate against them.“The language is vague enough that it leaves it in the hands of each individual jurisdiction to define what counts as a ‘male or female impersonator,’” said Dahron Johnson, who works in community outreach with the Tennessee Equality Project. “They could say I, just going about my daily life, am an ‘impersonator.’”In theater, there is a long history of performance featuring cross-dressing and drag — Shakespeare famously employed male actors to play female roles — and many touring shows feature some variation on the practice: “The Lion King” (a male meerkat, Timon, dons a dress to dance the Charleston), “Hairspray” (the protagonist’s mother is often played by a man in drag) and “1776” (now touring with a new production in which all the male characters are played by female, transgender and nonbinary actors).“Hairspray” and many other theater productions feature drag performances.Sara Krulwich/The New York Times“We’re absolutely opposed to any legislation that restricts the rights of our producers to present stories we’ve been presenting for 4,000 years,” said Charlotte St. Martin, the president of the Broadway League, a trade association representing producers and presenters around the country. Ms. Martin said the league is “very concerned” about the legislation under consideration in multiple states.Brett Batterson, the president and chief executive of the Orpheum Theatre Group in Memphis, said that on Friday, he paused conversations about bringing to Memphis a solo show, “Dixie’s Tupperware Party,” a small, long-running and popular touring production that has played all over America and is performed by a man in drag.“We decided we would pause our discussion to see how some of the language is interpreted,” Mr. Batterson said. “I think the law will be challenged, and we want to see how it plays out.”For now, Friends of George’s was not ready to change any of its plans. “We think it’s outrageous, but we’re forging ahead with our next production in spite of everything,” said Ty Phillips, the nonprofit’s vice president.Yet uncertainty remained. Mr. Winter noted that over the years he has played Mother Ginger in “The Nutcracker” and the mother in “Hairspray.”“Can I still do that?” he asked. More

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    Rattlestick Theater Names Will Davis as Its Next Artistic Director

    Davis will be the rare transgender theater artist to lead an Off Broadway nonprofit.Rattlestick Theater, a well-regarded Off Broadway company in the West Village, has decided to name Will Davis, a freelance director and choreographer, as its next artistic director.Davis will succeed Daniella Topol, the artistic director since 2016, who has decided to leave theater administration to pursue a career as a nurse. Davis, 40, is transgender, a distinction that he views as noteworthy.“One of the most important things I can do, as a very intentionally, very visible trans person, is offer a mirror to other emerging artists in all disciplines who may not feel like there is a space for them,” he said. “I’m very excited to be part of the group of people who can push this door open and leave it open.”Davis, who is particularly interested in developing new plays, previously served as artistic director of the American Theater Company in Chicago. He programmed experimental work there and box office revenue declined; his tenure ended with the shuttering of the theater company.Jeff Thamkittikasem, the chairman of the Rattlestick board, said the nonprofit had considered Davis’s experience in Chicago and was confident that the situation in New York was different.In Chicago, Thamkittikasem said, Davis “did what he could and produced great art.” In New York, Thamkittikasem said, “We are in a safer and stronger position that will allow him to flourish.”“Will is just an amazing artist with a beautiful eye, and we’re so excited for that aesthetic to be used for developing the culture of Rattlestick,” Thamkittikasem said.Davis said he was proud of the work he did in Chicago, and looking forward to the opportunity to lead in New York. “Rattlestick has always been a home for experimentation, and that has definitely been a part of what my work has been about,” he said. “There’s every possibility for us to make work that is exciting, that pushes the form, and that also feeds and sustains the theater.”Rattlestick, founded in 1994, is a small company with a penchant for adventurous work by emerging writers. This past week, the Obie Awards said it would honor a show the theater staged in 2021, “Ni Mi Madre,” by giving a prize for performance to the show’s creator and star, Arturo Luís Soria.The company has an annual budget of about $1.5 million, with five full-time and five part-time staffers. The company operates out of a theater, rented from a church, with about 93 seats; a $4 million renovation project is scheduled to begin at the end of this summer, and the company plans to stage its next season at locations around the city.Davis will start working alongside Topol in the coming weeks, and will assume the artistic director position full-time on May 1. More