The invitation arrived with a disbelief that lingered even as it solidified: Elliot Page wanted to be involved. For Phoebe Kemp, the director of Trans What You Will, a theatre company dedicated to Shakespearean productions with all-trans and non-binary casts, it felt surreal. “We were like, ‘Ha, that’ll never happen,’” Kemp recalls, a laugh still coloring their voice. Then, unexpectedly, Page said yes, marking a pivotal moment for the burgeoning company.
This July, Trans What You Will presents its most ambitious undertaking yet: a production ofAs You Like Itat The Space Theatre. The performance, running July 22nd-24th, will be simultaneously livestreamed globally, with Page introducing the premiere from New York. The company’s journey began with a single, powerful reading ofTwelfth Nightlast year, opened by Ian McKellen, which resonated deeply, selling over 2,300 tickets and raising vital funds for a trans charity.
Kemp’s vision forAs You Like Itisn’t simply about representation; it’s about reimagining the play’s core. It’s about shifting the emotional landscape to reflect a shared experience. “In a lot of interpretations, Rosalind can be seen as non-binary,” Kemp explains. “But when everyone is trans and non-binary, it stops being about one character being different. It becomes a collective journey.”
The play’s contrasting settings – the restrictive court and the liberating forest – mirror a reality familiar to many in the LGBTQ+ community. The court embodies societal expectations, the pressure to conform. The forest, however, represents freedom, acceptance, and the discovery of authentic selfhood. “That’s a journey a lot of trans people experience,” Kemp says, “being told what to be, and then discovering other ways of being.”
This production intentionally strips away traditional theatrical elements. It’s a script-in-hand performance, eschewing elaborate sets and costumes in favor of a focus on sound, movement, and the collective energy of the cast. A deliberate sonic contrast will define the two worlds: quiet, individual voices in the court, and a vibrant chorus of music and harmonies in the forest.
Movement will further articulate this distinction. The court will be structured and rigid, perhaps even confined to a grid. The forest, in contrast, will be fluid and circular, reflecting a sense of liberation. Kemp acknowledges the complexities within the text itself, particularly concerning potentially problematic language. “Some of the language – especially around women – can feel reductive,” they admit, “We’re figuring out how to approach that.”
Shakespeare’s own perspectives on gender and sexuality present further challenges. Certain plot points require specific gender alignments, creating inherent limitations. Kemp isn’t attempting to resolve these tensions, but rather to expose them, allowing the contradictions to exist and spark conversation. Even seemingly subtle nuances, like the close relationship between Rosalind and Celia, are being carefully considered: “Do we lean into the queer potential, or not? I haven’t decided yet.”
Despite the growing attention surrounding Page’s involvement, Kemp remains committed to the company’s grassroots origins. The partnership with The Space is crucial, representing a community-focused venue rather than a West End spectacle. This commitment extends to dedicated matinees for LGBTQ+ youth, workshops, and ongoing support for other trans artists, recognizing the systemic barriers they face. “There are so many trans and non-binary creatives,” Kemp says, “But the doors aren’t always open.”
Kemp remembers a powerful moment before last year’sTwelfth Nightperformance: “We paused and said, ‘Everyone in this room is trans.’ That doesn’t happen very often.” At the heart of this work is a celebration of joy, a deliberate counterpoint to the often-trauma-focused narratives surrounding trans lives. “It’s getting harder to be trans in the UK and globally,” Kemp acknowledges, “But it doesn’t have to be the only story.”
As You Like Itoffers a space for joy, play, and freedom – a demonstration of the diversity within transness and a powerful assertion of the right to exist without constant struggle. Kemp hopes the production will create a sense of release, a shared experience of belonging. “Hopefully there’s a weight that lifts when everyone in the room is trans or non-binary,” they say, “And then we can share that with the world and go: why not this?”
Kemp envisions a future where productions like this are commonplace, where “first, but not only” becomes the norm. Already, performers from last year’s production are finding opportunities with major institutions like the RSC, a testament to the company’s impact. Ultimately, Kemp’s hope for audiences is simple: to recognize the brilliance and diversity of trans people, to understand that transness is as multifaceted and complex as any other human experience. “That we are as multiple as anyone else.”
