The day Louisa Jacobson and I had our Zoom chat was a momentous one, not just for New York City, but for Jacobson herself. It was the second day of a scorching heat wave, the final week of Pride Month, and the one-year anniversary of Jacobson publicly coming out. Adding to the excitement, the third season of HBO’s “The Gilded Age” had just premiered, with Jacobson playing the role of Marian Brook, a young woman navigating high society in late-1800s Manhattan.
In a serendipitous turn of events, the night before our conversation, Zohran Mamdani had secured a groundbreaking victory over former governor Andrew Cuomo in New York City’s mayoral primary. Jacobson, a supporter of Mamdani, expressed her excitement over the historic win and the impact it would have on New York politics.
Coinciding with Mamdani’s victory was the American premiere of “Trophy Boys” off-Broadway at MCC Theatre. The play, written by Emmanuelle Mattana and directed by Danya Taymor, featured Jacobson and a cast of assigned-female-at-birth actors portraying an all-boys senior debate team. The premise of the play was to argue that “feminism has failed women,” challenging societal norms and exploring gender as a performance.
For Jacobson, the opportunity to delve into drag and explore the more masculine aspects of herself during Pride Month was a unique and fulfilling experience. She noted that this form of drag, which is less commonly depicted in popular culture, presented a new and exciting challenge. Despite tackling heavy themes such as privilege, toxic masculinity, and sexual-assault allegations, the play maintained a sense of playfulness and campiness.
One standout moment in the play was a raucous dance break set to Pretty Ricky’s “Grind With Me,” where the characters engaged in a provocative and humorous display of teenage lust and inexperience. This scene encapsulated the characters’ struggle to navigate their burgeoning sexuality within the confines of a competitive debate setting.
Overall, “Trophy Boys” provided a thought-provoking and entertaining exploration of gender, performance, and societal expectations. Jacobson’s involvement in the play during such a significant moment in New York City’s political and cultural landscape made for a memorable and impactful experience.
