New Orleans has a new queer theater company. I recently had the pleasure of interviewing the company’s founder, Aaron Brewer.
FP: What prompted you to found Kaleidoscope Theatre Company?
AB: I’ve been performing consistently in the theater for over 20 years, and I have never played an overtly queer character in my career. In my everyday life—though I identify as male—I have a lot of feminine qualities. I have limp wrists, I make strong “s” sounds, and my hindquarters tend to stick out a bit. I can’t count the number of times a director has told me to “butch it up,” “lead with the hips,” or “make it more manly.”
Of course, as an actor, it’s my job to mold myself to the character and leave Aaron behind, so those notes didn’t bother me, at first. But after a while, I started asking: what about the queers?
About five years ago, I started questioning why I didn’t see characters and stories about people like me on stage. I did my research, read as many plays as I could, and went to grad school. I quickly realized that our stories are out there—and queer people make up a hefty portion of the theater community. So why do companies so rarely produce plays about explicitly queer characters?
Maybe they think the audience is too niche. Maybe the story feels too risky. Maybe the themes seem “other” instead of “universal.”
I decided: if I wanted to see our stories on stage, I’d have to do it myself.
Especially in our current political environment—which has taken a startlingly hostile turn against the LGBTQAI+ community—I want the world to know we’ve been here since the beginning. I want to pull our stories out of obscurity and put them center stage. I want to show that queer people are humans like everyone else. Our stories might not mirror the mainstream, but they’re still about love and loss, joy and pain, life and death.
What could be more universal than that?
FP: You’re planning a three-show annual season, combining adapted classical works, modern queer theatrical canon pieces, and new plays by queer playwrights. What can you tell us about the upcoming inaugural season?
AB: Yes! For a history nerd like me, our three-show season is one of the most exciting aspects of the company.
As we look back through time, the way queer characters are referenced in literature gives us powerful insight into how queer people were treated. From the Greeks to the Elizabethans to the Victorians, queer love has always been present—just called by different names. I’m thrilled to produce historical works that spotlight queer characters and relationships, restoring narratives that have been brushed over, sidelined, or coded.
The modern queer theatrical canon is also incredibly rich, though often overlooked. There’s a treasure trove of plays and playwrights from the last 100–150 years that illuminate what life was like for queer folks at the time. I can’t say for sure what we’ll choose from that era, but if I have my way, it’ll likely be something by Jean Genet. I love him!
And of course, one of the most important pillars of our company is producing a new work each season. Supporting emerging voices is essential, and new plays allow us to process the challenges and joys of our community in real time.
FP: The company’s Board of Directors is composed of a wealth of experience. Tell us a little about the Board, what they bring to the table.
AB: I’m so lucky to have a Board of Directors with a diverse skill set. Every Board member is a talented storyteller in their own right—each from a different discipline.
Adachi Pimentel, our President, is a gifted set and lighting designer originally from New York. She’s a passionate creative and a grounding voice in our community.
Vice President and Secretary Kirkland Green is a phenomenal vocal, recording, and theater artist. In addition to being a talented performer, he’s served on several boards and brings years of nonprofit experience and insight.
Treasurer Quinn Bishop is a mogul in her own right. She’s a social media maven and successful small business owner, helping guide our brand and expand community outreach.
There’s no way I could do this on my own. This powerhouse team has kept me inspired and on track. I’m endlessly grateful for each of them.
FP: Your first fundraiser, Drag Queen Kickball, is scheduled for April 19. What can people expect at that event?
AB: OOOOHHHH YEAH! Drag Queen Kickball is going to be like nothing you’ve ever seen!
We’ve partnered with underground drag staple SLAAP Cabaret to create something wildly unique. In true Kaleidoscope fashion, we’ve assembled a Who’s Who and Who’s That? of New Orleans drag. We’ve got some of the best in the business, and we’ve made space for newer performers, too, giving fresh talent a chance to shine.
Of course, you can expect hilarious entertainment—it’s built into the very concept of Drag Queen Kickball. But we’ll also have snacks, drinks, and fabulous raffle prizes from local businesses like Treasure Tattoo, Queer Underground Tours, Alligator Pear Goods, and Brewhaha Yoga—all supporting queer theater!
It’s going to be an incredible day. Admission is just $5, and no one will be turned away for lack of funds. We want this event to be accessible to everyone. Tickets are already on sale at kaleidoscopetheatrecompany.com and zeffy.com/en-US/ticketing/drag-queen-kickballkball.
FP: Tell us about yourself? How did you get to New Orleans? What drew you to theater?
AB: I did my first musical around the age of six in Northern Kentucky, where I grew up. From the moment I stepped on stage, I knew it was where I wanted to be.
I started performing regularly at around 12 when I was cast as Rolf in The Sound of Music. Naturally, I watched the Julie Andrews film to prepare. I was immediately entranced. I had never encountered a talent like hers—and that was it. From then on, theater was all I wanted to do. I idolized all the great musical theatre divas: Julie, Barbra, Patti, Bernadette… the list goes on.
Like many young theater gays, after earning my BFA in Musical Theater, I set off with a few hundred bucks in my pocket and stars in my eyes. I landed in San Francisco, where I played out my Summer of Love fantasy. I performed whenever possible, discovered the art of drag, and eventually began teaching fitness and yoga.
In 2016, I relocated to New Orleans in search of a better quality of life. San Francisco had become the most expensive city in the country, and I recognized New Orleans as a kindred spirit to SF—a city where I could work and play and not live in constant fear of rent hikes.
After the pandemic, I started grad school at UNO and hatched a plan to start a queer theater company. Four years later, Kaleidoscope Theatre Company was born—and our history is just beginning!
FP: Anything else you want to add?
AB: I’m so thrilled to be setting out on this adventure. Now more than ever, we need the support of our community. I don’t have to tell you that our rights are under attack and our voices are at risk of being silenced.
I hope your readers will join our theatrical crusade! If you’re reading this, please follow us on social media—Facebook, Instagram, TikTok. Come to kickball, attend our shows, and consider becoming a patron of the arts by making a tax-deductible donation to Kaleidoscope Theatre Company.
And please, reach out any time. I’m eager to connect with our community.
