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Slave Play
Broadway promotional poster for Slave Play, by Jeremy O. Harris and directed by Robert O'Hara
Broadway promotional poster
Written byJeremy O. Harris
Date premieredNovember 19, 2018 (2018-11-19)
Place premieredNew York Theatre Workshop
Original languageEnglish
Official site

Slave Play is a three-act play by Jeremy O. Harris.[1] The play is about race, sex, power relations, trauma, and interracial relationships.[2][3] It follows three interracial couples undergoing "Antebellum Sexual Performance Therapy" because the black partners no longer feel sexual attraction to their white partners. The title refers both to the history of slavery in the United States and to sexual slavery role-play.

Harris originally wrote the play in his first year at the Yale School of Drama,[4][5] and it debuted on a major stage on November 19, 2018, in an off-Broadway New York Theatre Workshop staging directed by Robert O'Hara. It opened on Broadway at the John Golden Theatre on October 6, 2019. In 2019, Slave Play was nominated for Best Play in the Lucille Lortel Awards,[6] and Claire Warden won an Outstanding Fight Choreography Drama Desk Award for her work in the play.[7] The play has been the center of controversy due to its themes and content.[8] At the 74th Tony Awards, Slave Play received 12 nominations, breaking the record set by the 2018 revival of Angels in America for most nominations for a non-musical play.

Characters

  • Kaneisha – A 28 year old black woman who is in a relationship with Jim. She plays as a slave in the first act and she has anhedonia.
  • Jim – A 25 year old wealthy white man who is in a relationship with Kaneisha. He plays a master in the first act.
  • Phillip – A 30 year old mixed-race man who is in a relationship with Alana. He plays a mulatto servant in the first act and he has anhedonia.
  • Alana – A 36 year old white woman who is in a relationship with Phillip. She plays a mistress in the first act.
  • Dustin – A 28 year old gay white man who is in a relationship with Gary. He plays as an indentured servant in the first act.
  • Gary – A 27 year old gay black man who is in a relationship with Dustin. He plays a black overseer in the first act and he has anhedonia.
  • Teá – A 26 year old mixed-race woman who is in a relationship with Patricia. She studies black feminism and queer theory, and is holding a study in Racialized Inhibiting Disorder in interracial couples with Patricia.
  • Patricia – A 30 year old light-skinned brown woman who is in a relationship with Teá. She studies cognitive psychology, and is holding a study in Racialized Inhibiting Disorder in interracial couples with Teá.[9]

Plot

Act One: "Work"

Act One begins at McGregor Plantation, a southern cotton plantation in pre-Civil War Virginia.[10] The first act chronicles three private meetings and sexual encounters of three interracial couples. The play begins with the song "Work" by Rihanna playing in the McGregor's overseer cottage.[11] Kaneisha, a slave, begins to twerk to the song when Jim, an overseer, walks in holding a whip. Jim is repeatedly uncomfortable when Kaneisha calls him "Master," but berates for not cleaning the room better and throws a cantaloupe on the ground, calling it a watermelon and asking Kaneisha to eat it. After Jim cracks his whip, Kaneisha begins to eat the cantaloupe off the ground in a dog-like manner. While she is eating off the floor, she begins to dance again, which confuses Jim but also arouses him.[12] The overseer then initiates sex with the enslaved Kaneisha.[13] Jim places Kaneisha's hands on his erection, and he proceeds to perform cunnilingus while she asks to be called a "nasty, lazy negress."[12]

The scene transitions to the boudoir of Madame McGregor, the wife of Master McGregor. Madame McGregor, or Alana, calls upon Phillip, her mulatto servant, and asks him to play the fiddle. Phillip begins to play Beethoven's Op. 132. Alana stops him, calling European music boring, and asks him to play "negro" music (19-20). Phillip begins to play “Ignition” by R. Kelly. While he plays, Alana dances suggestively, then begins grinding on Phillip. She says she is under Phillip's mulatto spell and she wants to be inside of him (22).[12] She then uses a dildo to penetrate him, asking him if he likes being in the woman's position.[14] Phillip replies that he is unsure.[12]

The last couple is introduced in the McGregor's barn. There, Dustin, a white indentured servant, and Gary, a black slave, are together. Gary is in charge of Dustin. Gary taunts Dustin, finding it humorous that he is in charge of a white man because of Dustin's status as an indentured servant. Gary kicks Dustin down and asks Dustin to dust his boot. He calls him "Boot Dustin" and tells him that because he is an indentured servant, he is lesser than other white people.[12] The song “Multi-Love” by Unknown Mortal Orchestra begins to play. The two fight before they engage in sexual intimacy.[2] Gary tell Dustin to get on the ground and has him lick Gary's boot clean; this causes Gary to orgasm. He suddenly starts crying and cannot be comforted by Dustin.[12]

The scene shifts back to the other couples. Phillip keeps playing music that Alana does not like on his fiddle and Kaneisha and Jim are engaged in doggy style sex. As Kaneisha begins to near orgasm and asks to be called a "negress." Jim stops participating as Kaneisha calls him "Masta Jim" even as Kaneisha nears orgasm. Jim then switches to speaking in a British accent and tells Kaneisha that he is not comfortable with the situation.[12] Jim uses his safeword,[13] which is "Starbucks," to end the encounter.[12]

Suddenly, new characters in modern clothing, Patricia and Teá (also an interracial couple[14]) come into the room. They recommend for the three couples to meet back at the main house soon.[12] It is revealed that in reality the characters are modern couples participating in a role-playing exercise meant to improve intimacy between white and black partners.[13]

Act Two: "Process"

The second act is dedicated to a contemporary group therapy session among the three couples.[10] The two therapists speak through affirmations and academic jargon for most of the session.[15] They are on Day Four of the therapy, which is meant to treat anhedonia, the inability to experience sexual pleasure. Day Four focuses specifically on fantasy play. Dustin begins by noting that Gary came, which he could not do before, but Gary counters that Dustin was uncomfortable in making his whiteness hyper-visible. Alana says she enjoyed the release of the fantasy, and asks Phillip if he enjoyed it too, noting that he got an erection when he had trouble before.[15]

Jim keeps interrupting speakers with laughter; Teá asks him to unpack his thoughts and emotions, especially since he was the one who said the safeword. Jim is confused and overwhelmed by the therapy. Teá clarifies that the therapy, titled Antebellum Sexual Performance Therapy, was designed to help black partners feel pleasure again with their white partners. Jim is uncomfortable with playing the role of the slave overseer and finds the experience traumatizing for him and his wife, which frustrates Kaneisha. He says he feels like he is ruining his relationship with Kaneisha. Kaneisha voices that she felt betrayed.[15]

After Patricia and Teá read back to the group what they have said, Alana points out that mostly white men are speaking. Dustin proclaims that he is not white. Dustin and Gary get back into an old argument over Dustin wanting to move into a more gentrified neighborhood. Dustin does not see his own whiteness, and Gary feels that by self-identifying as not white he erases Gary's identity.[15]

Phillip, who has not spoken much, says that the therapy seems fake to him. Alana speaks over him, saying she is still upset about Jim saying the safeword.[15]

Patricia and Teá explain the origins of Antebellum Sexual Performance Therapy in treating anhedonia. The two of them shaped it as their thesis together at Smith and Yale. Patricia, who keeps speaking over Teá, explains that they are a couple. They state that anhedonia is caused by racial trauma, passed down through history: black partners may be unable to orgasm in sex with their white partners is because of “Racialized Inhibiting Disorder." Teá previously experienced anhedonia with Patricia, and it was through fantasy play that she worked out her racial trauma. With Teá's background in black feminism and queer theory and Patricia's background in cognitive psychology they are foregrounding the study through their academic background and experiences in their own relationship. They mention a list of symptoms associated with Racialized Inhibiting Disorder, such as anxiety, obsessive-compulsive disorder, and "musical obsession disorder."[15]

Phillip says none of his partners are able to see him as black and he struggles with being mixed race. Gary asks why music was playing during the fantasy play. Teá respond that they did not play music during the play, but certain people have associations with particular songs. Kaneisha says she felt in control during the fantasy play, and Jim took that away from her when he used the safeword; Gary agrees with her but Phillip does not. It is revealed that Phillip and Alana met because her ex-husband had a cuckold fetish, and that when Phillip was with her under those pretenses, he felt sexually excited because he was viewed as black. Now, though, Alana insists it had nothing to do with race, and now that they are in a committed relationship Alana views him as a complex person. Alana breaks down. Gary confronts Dustin, asking why he always says he is not white. Gary says he does not know why he is here anymore, and he and Dustin almost get into a fight before Patricia and Teá break it up.[15]

Jim starts to read something he wrote on his phone. He does not understand why Kaneisha looks at him with disgust, like he is "a virus," nor does he know what he is supposed to do about it. Kaneisha validates what he says, realizing that "virus" is the description she has been searching for. She tells him that he does not listen to her, and she knows that the problem in their relationship is not in her, but in Jim's race.[15] She refers in particular to the extermination of the indigenous peoples of the Americas by European colonialists.[2] She confronts Patricia and Teá, saying they are wrong in their theorizations of black desire.[15]

The act ends with “Work” by Rihanna playing again.[15]

Act Three: "Exorcise"

In the third act,[10] Kaneisha is packing in a room when Jim comes in. Jim and Kaneisha talk through their feelings about the therapy and recount how they met. Kaneisha reflects on her childhood, specifically on having to visit plantations on school field trips. She tells him that she fell in love with him, a white man, because he was not American.[16] Jim begins to initiate foreplay while Kaneisha says that the relationship went downhill when she stopped feeling sexual pleasure three years ago. It was then that she began to recognize Jim's whiteness and power, even though he did not, and understood that, though he is not American, his whiteness is also related to colonialism and historical abuses. She say that reading about Antebellum Sexual Performance Therapy made her feel sexual again, and Jim pushes her down.[16] Jim returns to his overseer role and orders Kaneisha to have sex with him, until she says the safeword and they stop. Kaneisha thanks Jim for listening.[17]

Themes

Slave Play deals with the themes of race, sex, power relations, trauma, and interracial relationships.[2][3] Lapacazo Sandoval wrote that the play provides a real look at racism in America, especially in how racism persists even past the abolition of slavery.[3] The play attempts to uncover current racism and microaggressions through the lens of slavery.[3] Aisha Harris, writing for The New York Times, said the play “bluntly confronts the lingering traumas of slavery on black Americans."[18] Through the reoccurring theme of psychoanalysis, Jeremy O. Harris examines how slavery still impacts both the mental states, and the relationships, of black people in the present.[18]

By staging a conversation between slavery and the present, the play uses the theme of time and history to depict how the trauma of slavery persists.[18] As Tonya Pinkins writes, racism does not have a safe word in the play, and throughout the narrative, white characters are forced to recognize their historical and social locations in relation to their partners.[8] The play dwells on the impact of black erasure in interracial relationships.[10] Throughout the narrative, the white partners are incapable of recognizing, or naming, their partners race, rather it is because of guilt, or because they get defensive.[10] By placing sex and racial dynamics in juxtaposition through the Antebellum Sexual Performance Therapy, the play makes whiteness, and white privilege, hyper visible in interracial relationships.[10] Soraya Nadia McDonald points out that the play works to uncover racial innocence.[14] Racial innocence is the concept that white people are innocent of race, and therefore they are racially neutral.[19] By placing the white characters in the position of the master, the mistress, or the indentured servant, the play makes whiteness visible to the white characters.[14]

History

Author Jeremy O. Harris
Director of New York Theatre Workshop and Broadway productions Robert O'Hara

Author Jeremy O. Harris has said that he wrote Slave Play during his first year at the Yale School of Drama,[5] from which he graduated in 2019.[20] In October 2017, a production of Slave Play was presented at the Yale School of Drama as part of the annual Langston Hughes Festival.[21][22]

The play was announced for the 2018-2019 season of the New York Theatre Workshop (NYTW)[23] and was taken into the development program of the National Playwrights Conference at the Eugene O'Neill Theater Center.[24][25] Later that month, Robert O'Hara[26] who had known Harris since his brief studies at De Paul University and was one of his teachers at Yale,[27] was announced as director.[28] At the end of July 2018, the first public reading of the work was held at the conference.[29]

Previews of the production at NYTW, under the patronage of the production company Seaview Productions, began on November 19, 2018.[30] Due to high demand, the duration of the show's run was extended before the official December 9 premiere, with the final performance being postponed from the original closing date of December 30, 2018, to January 13, 2019.[31] Over the next two weeks, tickets for all performances sold out.[32][33]

On September 18, 2019, the play ran and hosted a Broadway Blackout night where the audience consisted of only black identified artists, writers, or students.[34] The play began its Broadway run at the John Golden Theatre in October 2019.[35][36] The play opened its 17-week limited Broadway engagement on October 6, 2019, and closed as scheduled on January 19, 2020.[36][37] Harris and his team promised that 10,000 tickets would be sold at $39 in an effort to diversify the crowd.[38]

In June 2020, the producers and creative team of Slave Play made a donation of $10,000 to the National Bailout Fund and released a statement in support of Black Lives Matter.[39]

Roles and principal casts

Character Off-Broadway
(2018) 		Broadway
(2019)
Kaneisha Teyonah Parris Joaquina Kalukango
Jim Paul Alexander Nolan
Phillip Sullivan Jones
Alana Annie McNamara
Dustin James Cusati-Moyer
Gary Ato Blankson-Wood
Teá Chalia La Tour
Patricia Irene Sofia Lucio

Reception

Critical reception of Slave Play has been polarized.[3][8] Due to themes revolving around sexuality and slavery, reviewers have either defended the play or criticized it.[40] In particular, Harris believes that making a play palatable would be buying into respectability politics, and reviewers such as Tim Teeman and Soraya Nadia McDonald have noted how Slave Play's explicit content is utilized to critique racism in the United States.[10][14][40]

There have been petitions to shut down Slave Play because of its themes.[41] In particular, audience members and writers have criticized the play for its treatment of black women characters, and voicing that it disrespects the violent history of rape in chattel slavery.[41] In 2018, a petition titled "Shutdown Slave Play" was started, with the petitioner describing the play as traumatizing and exploitative of human atrocities.[41] Critic Elisabeth Vincentelli noted the similarities between the themes and style of Slave Play and those of the plays An Octoroon (2014) and Underground Railroad Game (2016).[42][43]

Despite the controversy, many reviewers have met the play with acclaim.[8] Peter Marks describes the play as funny and scalding, while Sara Holden wrote that Harris manages to make every character an archetype while at the same giving them depth.[44][13] Positive reviews of the play herald Slave Play as both confronting racism and unpacking the nuances of interracial relationships, and cite it as comedic and entertaining.[44][13] Aisha Harris wrote about the experience of seeing Slave Play as a black woman, stating that the uncomfortable narrative of the play allows for productive thought.[18]

Other reviewers have reviewed the play negatively. Thom Geier reviewed the play as intentionally designed to provoke, and calls the play uneven.[2] Juan Michael Porter II, a black theater writer, reviewed the play as consisting of oversimplified confessions meant to titillate the audience.[45]

Awards and nominations

Original Off-Broadway production

Year Award Category Nominee Result
2019 Lucille Lortel Awards[6] Best Play Nominated
Outstanding Featured Actor in a Play Ato Blankson-Wood Nominated
Drama Desk Award[7] Outstanding Lighting Design for a Play Jiyoun Chang Nominated
Outstanding Fight Choreography Claire Ward Won
Outer Critics Circle Award[46] John Gassner Award Jeremy O. Harris Nominated

Original Broadway production

Year Award Category Nominee Result
2020 Tony Awards[47] Best Play Pending
Best Performance by a Leading Actress in a Play Joaquina Kalukango Pending
Best Performance by a Featured Actor in a Play Ato Blankson-Wood Pending
James Cusati-Moyer Pending
Best Performance by a Featured Actress in a Play Chalia La Tour Pending
Annie McNamara Pending
Best Direction of a Play Robert O'Hara Pending
Best Original Score Lindsay Jones Pending
Best Scenic Design of a Play Clint Ramos Pending
Best Costume Design of a Play Dede Ayite Pending
Best Lighting Design of a Play Jiyoun Chang Pending
Best Sound Design of a Play Lindsay Jones Pending
Drama League Awards[48] Outstanding Production of a Play Nominated
Distinguished Performance Award Ato Blankson-Wood Nominated
Outer Critics Circle Award[49] Outstanding Actress in a Play Joaquina Kalukango Honoree
GLAAD Media Award[50] Outstanding Broadway Production Nominated

References

  1. ^ Megarry, Daniel. “Jeremy O. Harris.” Gay Times (09506101), Mar. 2019, pp. 32–35.
  2. ^ a b c d e Geier, Thom (2018-12-09). "'Slave Play' Theater Review: A Twisty Play That's One Giant Trigger Warning". The Wrap. Retrieved 2019-09-30.
  3. ^ a b c d e Lapacazo Sandoval, Contributing Writer. "'Slave Play' by Jeremy O. Harris a Real Look at Racism in America —Opening on Broadway, Oc-Tober 6." Los Angeles Sentinel (CA), 9 Oct. 2019.
  4. ^ Daniels, Karu F. (2019-01-07). "Rising Playwright Jeremy O. Harris Addresses Backlash Over Controversial Slave Play". The Root. Retrieved 2019-09-30.
  5. ^ a b Cuby, Michael (2019-03-08). "For Jeremy O. Harris, Playwriting Is Just the Beginning". them. Condé Nast. Retrieved 2019-09-30.
  6. ^ a b Gans, Andrew (2019-04-03). "Nominations for 34th Annual Lucille Lortel Awards Announced; Carmen Jones and Rags Parkland Sings the Songs of the Future Lead the Pack". Playbill. Retrieved 2019-09-30.
  7. ^ a b Fierberg, Ruthie (2019-07-02). "Tootsie, Hadestown, and The Ferryman Lead 2019 Drama Desk Award Winners". Playbill. Retrieved 2019-09-30.
  8. ^ a b c d PINKINS, TONYA. “Racism Doesn’t Have a Safe Word.” American Theatre, vol. 36, no. 6, July 2019, pp. 40–41.
  9. ^ Harris, Jeremy O. "Slave Play." American Theatre, no. 6, 2019, p. 39-67.
  10. ^ a b c d e f g Teeman, Tim (2018-09-12). "What Makes Jeremy O. Harris' 'Slave Play' Such a Powerful Play About Racism". The Daily Beast. Retrieved 2019-09-30.
  11. ^ Harris, Jeremy O. "Slave Play." American Theatre, no. 6, 2019, p. 42-50
  12. ^ a b c d e f g h i Harris, Jeremy O. "Slave Play." American Theatre, no. 6, 2019, p. 42-50
  13. ^ a b c d e Holdren, Sara (2018-12-10). "Theater Review: Slave Play Blends the Terrifying and the Tantalizing". Vulture. Retrieved 2019-09-30.
  14. ^ a b c d e McDonald, Soraya Nadia (2018-12-14). "The subversive 'Slave Play' peels back the veneer of racial innocence in Northern whites". The Undefeated. Retrieved 2019-09-30.
  15. ^ a b c d e f g h i j Harris, Jeremy O. "Slave Play." American Theatre, no. 6, 2019, p. 50-64
  16. ^ a b Harris, Jeremy O. "Slave Play." American Theatre, no. 6, 2019, p. 64-67
  17. ^ Jung, E. Alex (2019-03-06). "How to Fuck With White Supremacy". Vulture. Retrieved 2019-09-30.
  18. ^ a b c d Harris, Aisha (7 October 2019). "What It's Like to See 'Slave Play' as a Black Person". The New York Times.
  19. ^ Bernstein, Robin. Racial Innocence.
  20. ^ Murphy, Tim (2019-08-19). "These Boundary-Pushing Playwrights Talk Theater, Creative Activism, and Turning Trauma Into High Art". Departures (magazine). Time Inc. Retrieved 2019-10-01.
  21. ^ Kafadar, Eren (2017-10-27). "Langston Hughes Festival: Giving Voice to New Playwrights". Yale Daily News. Retrieved 2019-10-01.
  22. ^ "Friday, October 27, 2017". Yale Calendar of Events. Yale University. 2017-10-27. Retrieved 2019-10-02.
  23. ^ Clement, Olivia (2018-04-04). "New York Theatre Workshop Unveils 2018–2019 Season". Playbill. Retrieved 2019-10-01.
  24. ^ Cox, Gordon (2018-04-17). "Beth Henley, J.T. Rogers and Sarah DeLappe Set for 2018 O'Neill Playwrights Conference". Variety. Retrieved 2019-10-01.
  25. ^ Goldberg, Wendy C. "national playwrights conference — NPC '18". Eugene O'Neill Theater Center. Retrieved 2019-10-01.
  26. ^ Clement, Olivia (2018-04-27). "Robert O'Hara Will Direct World Premiere of Jeremy O. Harris' Slave Play". Playbill. Retrieved 2019-10-02.
  27. ^ Simpson, Janice C. (2019-07-16). "In Conversation With Jeremy O. Harris and Robert O'Hara on Slave Play". Broadway Direct. Nederlander Organization. Retrieved 2019-10-10.
  28. ^ "Jeremy O. Harris Talks New York Theatre Workshop's "Slave Play"". BUILD Series. YouTube. 2018-12-06. Retrieved 2019-10-08.
  29. ^ "One year ago today, SLAVE PLAY by Jeremy O. Harris (NPC '18) had its first public reading on our campus". Eugene O'Neill Theater Center. Twitter. 2019-07-25. Retrieved 2019-10-02.
  30. ^ McNerney, Pem (2019-07-31). "From Baked Goods to Broadway Productions: Shoreline Trio Tackles One of the Hottest Plays of the Season". Zip06. Shore Publishing. Retrieved 2019-10-08.
  31. ^ Clement, Olivia (2018-12-07). "Slave Play Extends Another 2 Weeks at NYTW". Playbill. Retrieved 2019-10-08.
  32. ^ Harris, Jeremy O. (2018-12-21). "The ⁦@nytimes⁩ is making me love ⁦@Mr_NaveenKumar⁩ even more than I did last month with this beautiful #tbt. Slave Play sold out but get a ⁦@vineyardtheatre MEMBERSHIP to guarantee a "Daddy" ticket!". Twitter. Retrieved 2019-10-08.
  33. ^ Peitzman, Louis (2018-12-21). "The Best Plays And Musicals Of 2018". BuzzFeed News. Retrieved 2019-09-30.
  34. ^ Smith, Kyle (September 18, 2019). "'Broadway Blackout'". National Review. Retrieved November 5, 2019.
  35. ^ Riedel, Michael. "Hot Ticket A Captive Audience? Downtown's Provocative 'Slave Play' Is Proving a Hard Sell on B'way." New York Post (New York, NY), 2019.
  36. ^ a b Lapacazo Sandoval. "'Slave Play' by Jeremy O. Harris a Real Look at Racism in America —Opening on Broadway, October 6.” Los Angeles Sentinel (CA), 9 Oct. 2019.
  37. ^ Wetmore, Brendan (21 January 2020). "'Slave Play' Changed Broadway's Accessibility Forever". Paper. Retrieved 5 June 2020.
  38. ^ Fierberg, Ruthie (October 30, 2019). "Why Jeremy O. Harris' Slave Play Is Inextricably Linked to Rihanna: The playwright talks about Rihanna's influence on the Broadway play, texting in the theatre, the price of theatre tickets, and more". Playbill.
  39. ^ Evans, Greg (4 June 2020). "'Slave Play' Team Pledges $10K To National Bailout Fund, Challenges Broadway Community". Deadline. Retrieved 5 June 2020.
  40. ^ a b Street, Mikelle. "No Intermission." Out, vol. 27, no. 4, Nov. 2018, pp. 80–83.
  41. ^ a b c B, Ashley. "Shutdown Slave Play". change.org.
  42. ^ Vincentelli, Elisabeth (2018-12-15). "I have seen it. And i have also seen the plays it rips off, namely An Octoroon and Underground Railroad Game". Twitter. Retrieved 2019-10-08.
  43. ^ Vincentelli, Elisabeth (2018-12-17). "I'll rephrase: the play covers very similar thematic and aesthetic grounds the earlier ones did, just not as imaginatively or skillfully". Twitter. Retrieved 2019-10-08.
  44. ^ a b Marks, Peter (6 October 2019). "'Slave Play' Is a Funny, Scalding, Walk along the Boundary between Black and White in America". The Washington Post.
  45. ^ Porter II, Juan Michael (15 October 2019). "Despite the Hype, I Hated 'Slave Play' [Op-Ed]". COLORLINES.
  46. ^ Andy Lefkowitz. "Hadestown Leads Winners of 2019 Outer Critics' Circle Awards". Broadwaybuzz.com. Retrieved June 10, 2020.
  47. ^ Libbey, Peter (October 15, 2020). "Full List of the 2020 Tony Award Nominees". NYTimes.com. Retrieved October 18, 2020.
  48. ^ "Drama League Award nominees 2020". dramaleague.org. Retrieved June 10, 2020.
  49. ^ Caitlin Huston (May 11, 2020). "Outer Critics Circle names 2019-2020 honorees". Broadway News. Retrieved June 10, 2020.
  50. ^ "The Nominations for the 31st Annual GLAAD Awards". glaad.com. Retrieved June 10, 2020.
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