As It's Written | Virtual Reading

Caroline Hull (Playwright) is a senior at the University of Central Florida double majoring in Theatre Studies and Creative Writing. She has been writing plays for the entirety of her college career, and her goal is to help develop scripts for high schools and universities. Her first original play, Break, won the John Cauble Award for an Outstanding Short Play at KCACTF Region IV in 2019. Caroline also has experience in the art of Dramaturgy, and recently won an award for Digital Dramaturgy for her contribution to UCF’s production of Kill Move Paradise. She hopes that her writing helps inspire others to create their own stories.

Syd Deines (Scenic Design Response) is a junior in the BFA Design and Technology program. Their previous credits include Urinetown (Assistant Props Manager), the Fall 2020 Amplify, Empower, Illuminate series (Assistant Multimedia Design and Production), Much Ado About Nothing (Assistant Multimedia Design and Production) and Scaramouch in Naxos (Props Manager).

Rosalind Krabill (Robin) is a sophomore in the BFA Acting program.. She has recently been seen in Moment2Moment’s production of The Crucible (Ann Putnam). She has also been seen in her high school’s productions of And Then There Were None (Vera Claythorne) and Hamlet (Ophelia).

Katherine Polgar (Costume Designer) is a first-year student in the BFA Design and Technology program. This is her first production that she is designing with Theatre UCF. While her focus is costume design, she pursues bodypainting and SFX makeup in her free time. Katherinepolgar.com

Jessica Lang (Parker) is going into her senior year in the BFA Acting Major program with a minor in dance. Her previous credits with Theatre UCF include Project Spotlight’s production of The Second Circle (Gabby) and various understudy and ensemble roles in The Rover. She just completed a reading of Dear Helena as part of Pegasus Playlab this year. 

Hannah Schorr (Stage Directions) is a sophomore in the BFA acting program. She was last seen as a part of the Bacchante ensemble in Theatre UCF’s production of Scaramouch in Naxos. Hannah has had the opportunity to stage manage an equity production of Driving Miss Daisy at JCAT Miami. Some of her favorite onstage roles include The Addams Family Uncle Fester) and The Miracle Worker (Kate Keller). Hannah has taught children’s theatre classes and run sound/lighting cues for several different shows.

Forrest Stringfellow (Ethan) is second-year transfer student who was recently accepted into the BFA Acting program. Forrest was most recently seen in The Grumpiest Boy in the World (Dad/Grump 2). Professional credits include The Lieutenant of Inishmore (Joey) and American Idiot (St. Jimmy). 

Erica Fox (Sound Designer) is a second-year in the BFA Design & Technology program. Previous credits include the Knight’s Ghostlight Podcast (Student Asst. Sound Designer) and Dear Helena (Sound Designer). She is involved in Celebrate TYA’s 24 Hour Play Festival as the sound designer for the past year. Instagram: @efox_theatre

Emily Joy Nardoni (Jordan, Agent, Mrs. Kilpatrick) is a sophomore in the B.A. Theatre Studies program. Emily is making her Theatre UCF debut, and has previously worked in South Florida with various companies as a youth theatre teacher and director.

As It’s Written by UCF student Caroline Hull is a queer romance that tackles themes of internalized homophobia and its relationship to image, particularly in regard to fame and celebrity.

While members of the LGBTQIA+ community experience homophobia from colleagues, strangers, and family members, some also struggle with internalized homophobia withing themselves.

It affects people differently, but it can cause “self-hatred, shame, fear, anxiety, and depression” and sometimes lead to more serious physical and mental health issues (Psychology Today). Internalized homophobia can also cause difficulty acknowledging or feeling ashamed of one’s own sexuality. Both homophobia and internalized homophobia can cause physical and mental health issues.

This play shows us that homophobia and fame blend in a strange way. Despite public acceptance of the LGBTQIA+ community growing rapidly over the years, queer people still face harassment and discrimination often. Even those in the entertainment industry, often seen as a very progressive field, experience the same struggles. In fact, the film, television, and commercial theatre scenes have a surprising history of homophobia; in the past, publicists and agents used to arrange marriages between gay men and lesbian women to create the illusion of a straight couple for the public. Popular playwrights like Tennessee Williams were celebrated for their mainstream success, but not fully embraced for who they were.

Thus, many celebrities “stay in the closet” to protect themselves. In a 2013 article in The Independent, actor Rupert Everett warned “young male actors who were ambitious should not come out if they wanted to play leading roles.” A study done by the Williams Institute asked members of SAG-AFTRA “Does LGBT discrimination exist in the professional entertainment industry?” and they found the answer to be yes. The 2012 study published on the website Backstage, showed that 20% of gay men and 13% of lesbian women working in entertainment experienced harassment, even more reported “hateful or discomforting comments.” As recently as this year, Kate Winslet mentioned she knew some actors that were still scared to come out in the public eye. While Pride Month celebrations are in full swing today, it is also important to understand the progress remaining to be made.

The relationship to homophobia (internalized or not) to fame and the entertainment industry is relevant to the general public because it bleeds into wider systems of media and culture, not necessarily in an overt way. The simple lack of inclusion of the queer community in movies and television can affect anyone; take this play’s character Robin, for example, who grew up never seeing gay people like herself on the big screen. Overt and subtle forms of homophobia affect celebrities we look up to and, in turn, can affect the way you think. Understanding the impact of this lack of representation will help us understand the characters in As It’s Written and how they perceive themselves. Additionally, I hope it will help us collectively move towards a fairer and more accepting world.

https://www.merriam-webster.com/dictionary/homophobia https://www.backstage.com/magazine/article/lgbt-discrimination-exist-entertainment-industry-11892/

https://www.psychologytoday.com/us/blog/queering-psychology/202002/what-is-internalized-homophobia

https://www.psychologytoday.com/intl/blog/communication-success/202005/10-signs-internalized-homophobia-and-gaslighting

https://www.independent.co.uk/arts-entertainment/films/features/homophobia-hollywood-why-gay-movie-stars-still-can-t-come-out-closet-8455751.html

Design Responses

While these readings won't have sets, costumes, lights or sound design, a team of student designers worked with the creative team to develop design concepts. This process helps the cast and creative team understand what the play may look and sound like while they continue to develop the story and characters.

Costume Design Response by Katherine Polgar

Parker:

Robin:

Design Responses

While these readings won't have sets, costumes, lights or sound design, a team of student designers worked with the creative team to develop design concepts. This process helps the cast and creative team understand what the play may look and sound like while they continue to develop the story and characters.

Lighting Design Response by Stevie Bleich

Past

Present

Design Responses

While these readings won't have sets, costumes, lights or sound design, a team of student designers worked with the creative team to develop design concepts. This process helps the cast and creative team understand what the play may look and sound like while they continue to develop the story and characters.

Sound Design Response by Erica Fox

Parker Playlist

Robin Playlist

Design Responses

While these readings won't have sets, costumes, lights or sound design, a team of student designers worked with the creative team to develop design concepts. This process helps the cast and creative team understand what the play may look and sound like while they continue to develop the story and characters.

Scenic Design Response by Syd Deines