Garters – Pride & Romantasy

I must have been 10 or 11 when I first picked up Tamora Pierce’s The Song of the Lioness Series. It is a story of a young girl who wants to be a knight, and who’s twin brother wants to be a scholar. Neither role is socially acceptable, so they trade, each masquerading as the opposite sex. It became a favorite of mine, I read it over and over again. Over the series, the main character continues to grapple with gender roles and social expectations, as I myself did throughout my adolescence and young adulthood. In the press release for “GARTERS: A QUEER IMMERSIVE ROMANTASY PLAY” Tamora Pierce and Jacqueline Carey are both referenced as influences, and a love of the tropes of the Fantasy Genre resonates throughout the show. If you’ve ever dreamed of life as a bard, or in a caravan of tinkers and traders, or defeating a dragon, this show will feel in some ways like your dreams come to life.

Unlike those novels and many others from the 90s and early 2000s, the subtext has now become text. Writer Natalie Zutter uses familiar tropes and characters to explore gender identity, sexuality and power, and the intersection of social expectations and an individual’s need for self-expression.

Nearly every speaking role in this production reveals a perspective on the role of gender expectations in society and power in relationships. Heir to the throne, Varic (Jerome Michael Jones) spends most of his time on stage reconciling himself with his role as a powerful man, and how to use that power respectfully and responsibly. Lady Dagomar (Lauren Miller) Varic’s aunt and a royal advisor, uses sexuality, her own and that of her den of spies, to gain power. Sir Yvain (Kira Nutter) struggles to accept her childhood friend and lover, Hedy’s (Jenny Hoppes) choices when it comes to sexual expression, and Hedy struggles to understand Yvain’s need to adhere to their own gender identity, regardless of the consequences.

While all of this is going on, a classic fantasy quest for a magical object moves the plot: When Prince Varic’s father, the king, is injured on a hunt, Varic balks at assuming the throne. In an attempt to help, Yvain rushes off to find a magical jewel to help him. The jewel is said to be buried with a legendary heroine: Lady Clotilda, the first and only Woman-Knight. Yvain is joined by Hedy, who disappeared seven years earlier, after the meet in a brothel. As the two search for the jewel, they come across characters on the way, many of whom display a much more enlightened view on gender roles than usually expected in a stereotypical fantasy world. There are several rousing fight scenes, and a few sing-alongs: much like an afternoon at a Renaissance Fair, the ensemble often interacts with the audience.

The space is very small, the actors spent most of their time mere feet from the audience. This made for an intimate and challenging experience: without at least a little remove from the audience, remaining behind the fourth wall is a feat of concentration. At times, several actors seemed underprepared, as if they weren’t quite off-script. There was a struggle to encompass both the stylized, fantasy setting and the up close and personal space. Perhaps it was a character choice, but several of the actors were sometimes difficult to hear. Even a few feet from the audience, a low voice or hunched posture can make it difficult to follow the action. Any performance on a stage, regardless of how inward it might be, must always allow for outward expression.

Many of the best moments come from conversations between main characters, Sir Yvain, a non-binary Knight (Kira Nutter) and Hedy (Jenny Hoppes), a sex worker and former knight-in-training. Hoppes’ character was cast out from Knight Training for being a woman years before the action begins. Nutter’s character made it through training, and revealed themselves as a female knight, only to realize later that that identity no longer felt right. As Hedy and Yvain re-acquaint, Hedy struggles to understand her childhood friend and lover’s identity. Their conversations are frank and honest, and couched in a desire to understand and be understood, allowing the audience to engage with the ideas they present in a loving context.

Another stand out was the fight scenes. Sam Campos created intensity and action thoughtfully and used the available space very well. The cast also threw themselves into the action with abandon.

Ultimately, a fantasy setting felt perfect for exploring these themes. Fantasy worlds have often been places of refuge for kids who felt alone or misunderstood, and watching subtext become text was a refreshing and joyful experience. Theater and Fantasy are places where one can explore identity and ideas, and also a reminder that regardless of the trappings, we are all human beings, seeking to be seen and understood by those we love.

Somewhat Recommended

Reviewed by Alina C. Hevia

Presented at the Otherworld Theatre, 3914 N. Clark St. May 31-July 7, 2024, Fridays and Saturdays at 7pm, Sundays at 2pm. Tickets are $27 with a limited number of number of pay-what-you-can tickets available for each performance. GARTERS is thoughtfully crafted for mature audiences aged 18 and older; viewer discretion is advised.

Box Office: www.otherworldtheatre.org

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.