Production Grants

Recipients of past grants include the following production companies and other organizations:

  • About Face Theatre (Chicago, Ill.) for Abraham Lincoln Was a Faggot, by Bixby Elliot, and Brave Like Them, by About Face Youth Theatre
  • Adonis Theater (Seattle, Wash.) for History in Voice
  • Alembic Cinema (Providence, R.I.) for Happy and Gay
  • All Out Arts (New York, N.Y.) for The Conversion of Alice B. Toklas, by Carol Polcovar
  • Allied Media Projects (Detroit, Mich.) for the video series D-town Sound, by Raising Voices!
  • Amas Musical Theatre (New York, N.Y.) for 108 Waverly and A Taste of Chocolate
  • American Lyric Theater (New York, N.Y.) for The Life and Death(s) of Alan Turing
  • American Opera Projects (New York, N.Y.) for Patience and Sarah, by Paula Kimper and Wende Persons
  • Anam Cara Theatre Company (Enka, N.C.) for woman: revised and Butterfly (2014), and And Everything Nice (2016), all by Trish Cole
  • Anonymous Ensemble (Brooklyn, N.Y) for Turing, by William Antiniou and Eamonn Farrell
  • Aubin Pictures (New York, N.Y.) for the films Born to Fly and Amor Puro y Duro and the video series A Moving Body
  • Babes with Blades Theatre Company (Berwyn, Ill.) for 180 Degree Rule, by M.E.H. Lewis and Barbara Lhota
  • Bailiwick Arts Center (Chicago, Ill.) for A Cardinal Deposed
  • Bailiwick Repertory Theatre (Chicago, Ill.) for Prism, by Diann Russell
  • Bartholomew Road Theater (London, U.K.)
  • Bless Bless Productions (New York, N.Y.) for Heartbeat of the Heartland, directed by Susan Muska and Greta Olafsdottir
  • Bluebarn Theatre (Omaha, Neb.)
  • Blue Heron Theatre (New York, N.Y.) for Uncle and Farm Boys
  • Blue Mountain Pictures (Los Angeles, Calif.) for Wiktor, by Julian Siminski, and Don’t Ask Don’t Tell
  • Brüka Theatre (Reno, Nev.) for Malvolio . . . Or What You Will. A Transgender Story, by Sandra Brunell Neace and Rachel Lopez
  • CLAGS (Center for Lesbian and Gay Studies) (New York, N.Y.) for its Performing Que(e)ries series
  • Cauldron & Labrys at Dragon Farm (Newcastle, Maine) for The Parmachine Belle, by Carolyn Gage
  • Celebration Theatre (West Hollywood, Calif.) for Gaveston, Favourite of the King and The Bacchae, for the “50 Years of Queer Theatre” play-reading series, and for its 2015 and 2016 play-reading series
  • Center for Independent Documentary (Boston, Mass.) for In the Hollow, directed by Austin Bunn, and I Am Romeo/Casa Cushman, written and directed by Leigh Fondakowski
  • Charis Chorus (St. Louis, Mo.) for Vegans of Provincetown
  • Chica Luna Productions (New York, N.Y.) for Sista Hood on the Mic
  • Chris Burnside and Dancers (Richmond, Va.) for “M”
  • Civic Ensemble (Ithaca, N.Y.) for The Loneliness Project, co-produced by Cornell University’s Department of Performing and Media Arts
  • Clubbed Thumb (New York, N.Y.)
  • Columbia College Chicago (Chicago, Ill.) for the student film Jack and Anna
  • Cornell University Library (Ithaca, N.Y.), Human Sexuality Collection, Division of Rare and Manuscript Collections
  • CounterPULSE (San Francisco, Calif.) for Rainbow Logic: Arm in Arm with Remy Charlip, by Seth Eisen
  • Creative Ammo, Inc. (New York, N.Y.) for Spades, by J. E. Robinson, and B-Boy Blues, by James Earl Hardy
  • Creative Combustion (Reno, Nev.) for The Gulli, by Joseph Andrejchak Galata
  • Culture Project SoHo (New York, N.Y.) for Expatriate
  • Cupid & Psyche Studios (Olympia, Wash.) for Sophisticated: The Hollywood Story of Miss Dorothy Arzner, by Marilyn Freeman
  • Darling Day Productions (New York, N.Y.) for Candy & Dorothy
  • David Gaard Productions (New York, N.Y.) for The File on Ryan Carter
  • DAViELSHYFiLMS (Chicago, Ill.) for the film The Ladies Almanack
  • Desert Rose Productions (Cathedral City, Calif.) for Dare, by Allan Baker
  • Diversionary Theatre (San Diego, Calif.) for The Boy Who Danced on Air, by Charlie Sohne and Tim Rosser; The Loneliest Girl in the World, by Gordon Leary and Julia Meinwald; and Bull in a China Shop, by Bryna Turner
  • Dixon Place (New York, N.Y.) for Blue Fire on the Water
  • Dragon Theatre (Redwood City, Calif.) for Caeneus and Poseidon, by Bridgette Dutta Portman
  • The Elephant Theatre Company (Hollywood, Calif.) for Dearboy’s War, by Mike Ambrose
  • Emelin Theatre (Mamaroneck, N.Y.) for J. Edgar Klezmer: Songs from My Grandmother’s FBI Files by Eve Sicular
  • Emerging Artists Theatre (New York, N.Y.) for Vile Affections
  • Enigma Theater Company (Monroe Township, N.J.) for The File on J. Edgar Hoover, by Steve Gold
  • eta Creative Arts Foundation (Chicago, Ill.) for Eye of the Storm: The Bayard Rustin Musical, by McKinley Johnson
  • Evolution Theatre Company (Columbus, Ohio) for Abraham Lincoln was a Faggot, by Bixby Elliot
  • Eye Zen Presents (San Francisco, Calif.) for Homo File
  • The Field (New York, N.Y.), for Retro Productions’ We Are a Masterpiece, by Gina Femia
  • The Film Arts Foundation (San Francisco, Calif.) for Lou Harrison
  • The Film Collaborative (Los Angeles, Calif.) for Terrence McNally: Every Act of Life, directed by Jeff Kaufman; Half a Life, directed by Tamara Shogaolu; and Heroes & Heretics: Uncovering the History of Same-Sex Desire (TV series), produced by Bennett Singer and David Deschamps
  • Film London (London, U.K.) for the film Wren Boys, by Try Hard Productions
  • Foundry Theatre (New York, N.Y.) for O, Earth, by Casey Llewellyn
  • 4th Meal Productions (Brooklyn, N.Y.) for From the Inside Out
  • Fractured Atlas (New York, N.Y.) for Love at Home, by Mary Matoula Webb; Mirrors, by Azure D. Osborne-Lee; The Gray Hours, by Alyson Mead; and Lured, by Frank Avella
  • Frame Work Pictures (New York, N.Y.) for If You Find Something
  • frank theatre co. (Vancouver, B.C.) for Walt Whitman’s Secret, by Sean O’Leary
  • The Frolic Project (Montgomery, N.Y.) for Frolic
  • From the Heart Productions (Oxnard, Calif.) for the documentary The Bachelors of Broken Hill Farm, directed by Erika Yeomans
  • Gayfest NY, Inc. (New York, N.Y.) for Edward the King
  • Georgetown Theatre Company (Arlington, Va.) for The Girl in the Iron Mask
  • GLBT Historical Society (Chicago, Ill.) for The Woman’s Project
  • The GLBT Historical Society (San Francisco, Calif.) for Looking for Compton’s
  • Grand Canyon Performing Arts (Phoenix, Ariz.) for Two Boys Kissing, by David Leviathan
  • Green Thursday Theatre Project (Tucson, Ariz.) for White Garden
  • Guerilla Girls on Tour (New York, N.Y.) for Guerillas 2007
  • Harrington Arts Alliance (Loveland, Colo.) for The Laramie Project
  • Heartland Men’s Chorus (Kansas City, Mo.) for I Am Harvey Milk, by Andrew Lippa, and We, the Unknown, by Timothy C. Takach, Rob Hill, and Pat Daneman
  • Hell’s Kitchen Opera (New York, N.Y.) for American Lit, by Jeffrey Lependorf and Jeffrey Jullich
  • HERE Arts Center (New York, N.Y.) for Genet Porno, and for Life, Labor, Lust, by Sara Farrington
  • Highways Performance Space (Santa Monica, Calif.) for Jerker
  • Hispanic Theatre (San Diego, Calif.) for Listen America
  • Hole in the Wall Theater (New Britain, Conn.) for Lysistrata, by Aristophanes
  • The Hour Glass Group (New York, N.Y.) for The Beebo Brinker Chronicles
  • Houston Grand Opera (Houston, Texas) for Prince of Players, by Carlisle Floyd
  • Human Resources LA, Inc. (Los Angeles, Calif.), for catalogue for Tyler Matthew Oyer’s video of The Conquest of the Universe
  • International Documentary Association (Los Angeles, Calif.) for  CandyPants, directed by Francis Gasparini, and Disclosure: Trans Lives on Screen, directed by Sam Feder
  • In The Life Television for “Billy Strayhorn Story,” “Lesbian Herstory Archive,” and “Romaine Brooks” segments
  • The Intersection for the Arts (Joshua Tree, Calif.) for Maggots and Men
  • InViolet (New York, N.Y.)
  • Iron Crow Theatre (Baltimore, Md.)
  • The Ivy Theatre (Los Angeles, Calif.) for Letters Home and The Rape of Djuna Barnes, both by Dee Jae Cox, and for Throwing Rubies
  • Juventas New Music Ensemble (Boston, Mass.) for The Body Politic, by Leo Hurley and Charles Osborne
  • Keap Street Productions (Pacific Palisades, Calif.) for Another Interested Party
  • Krazy Kat Theatre (Brighton, UK) for a work by Kinny Gardner based on T. S. Eliot’s “Prufrock”
  • L.A. Women’s Theatre (Toluca Lake, Calif.) for Prove It on Me 
  • Lambda Literary Foundation (Los Angeles, Calif.) for Lambda’s Writers Retreat Scholarship Fund
  • Latino Theater Company (Los Angeles, Calif.) for Members Only, by Oliver Mayer
  • The Lesbian, Gay, Bisexual and Transgender Religious Archives Network (Chicago, Ill.; now Berkeley, Calif.)
  • The Living Church at Woodlawn Pointe (San Antonio, Texas), for The Kindness of Strangers, by Bernard J. Taylor
  • Magica Mascara Theatre (San Diego, Calif.) for Loving Comrades, by Jesus Sierra Oliva
  • Make a Difference Trust (London, U.K.) for A Kind of Marriage, by Charles Leipart
  • The Mauntner Project (Washington, D.C.) for Coming Out of Cancer, by Victoria Brownworth
  • MIX NYC (New York, N.Y.) for Public Square Films’ Sylvia & Marsha
  • Movement Theatre Company (New York, N.Y.) for And She Would Stand Like This, by Harrison David Rivers
  • MySpiderheart Productions (Bayside, N.Y.) for Beautiful Blood
  • Nash Mir Company (Kiev, Ukraine) for From Soviets to New
  • New Directions Theater (New York, N.Y.) for Triptych, by Richard Willett
  • New Village Productions (New York, N.Y.) for My Mother Always Told Me
  • New York Live Arts (New York, N.Y.) for Left of Canvas, by Maeko Productions
  • New York Musical Festival (New York, N.Y.) for Sonata 1962, by Patricia Loughrey and Thomas Hodges
  • New York University (New York, N.Y) for a staged reading of Trigger, by Darrel Holnes
  • Nico’s Spoon Company (New York, N.Y.) for Elizabeth Rex
  • On the Road Productions (New York, N.Y.) for Forgetting the Many: The Royal Pardon of Alan Turing
  • Open Fist Theatre Company (West Hollywood, Calif.) for Celebration Theatre’s productions of Sonata, 1962, by Patricia Loughrey and Thomas Hodges, and The View UpStairs, by Max Vernon
  • Opera Fusion (Fort Lauderdale, Fla.) for Not in My Town, by Michael R. Ross
  • OutHistory.org (New York, N.Y.) for the United States of AIDS project
  • Out Productions (Montreal, Quebec, Canada) for Camera, Woman, by R.M. Vaughan; A Collection of One-Acts; and The Factory Project
  • Out West Performance Society (Vancouver, British Columbia, Canada) for The Fruit Machine, by Brian Drader
  • Overtime Theater (San Antonio, Texas) for The Last Days of Oscar Wilde, by Bernard J. Taylor
  • Owldolatrous Productions (Aliso Viejo, Calif.) for Upstairs: A New Dramatic Musical
  • Participant, Inc. (New York, N.Y.), for untitled Mario Montez documentary by Conrad Ventur
  • Paula Kimper Ensemble (New York, N.Y.) for the opera Patience and Sarah
  • Perseverance Theatre (Douglas, Alaska) for Wild Nights with Emily, by Madeleine Olnek
  • Pittsburgh Pride Theater (Pittsburgh, Pa.) for Their Town
  • Plan-B Theatre Company (Salt Lake City, Utah) for Virtue, by Tim Slover; The Ice Front, by Eric Samuelsen; and An Evening with Two Awful Men, by Elaine Jarvik
  • Playwrights Local 4181 (Cleveland, Ohio) for To the Orchard, by Les Hunter
  • Pride Films & Plays (Chicago, Ill.) for Some Men, by Terrence McNally, for Ten Dollar House by Rick Kinnebrew and Martha Meyer, and for A History of Summer, by Adam Mathias and Jonathan Monro
  • Profile Productions (Long Beach, Calif.) for The Passionate Pursuits of Angela Bowen
  • Project Performance Art (Detroit, Mich.) for Punk, by Patrick Burton
  • Puma Spirit Rising (Minneapolis, Minn.) for Being Spirits and Standing on the Bones of Ancestors
  • Redhouse Arts Center (Syracuse, N.Y.) for its “Redhouse Gone Wilde” program
  • (re)discover theatre (Chicago, Ill.) for Les Innocents/The Innocents
  • The Representatives (New York, N.Y.) for Veritas, by Stan Richardson
  • Ruby Moon Productions (Tucson, Ariz.) for Silver Linings: Paths of Lesbian and Gay Elders
  • Sage Theatre (Calgary, Alberta, Canada) for Legislating Love (The Everett Klippert Story), by Natalie Meisner
  • Same Planet Different World (Chicago, Ill.) for Return of the Galli
  • Sam Rowe Theatre Ltd (Glasgow, Scotland) for Denton and Me, by Sam Rowe
  • San Diego Human Dignity Foundation (San Diego, Calif.) for David Bobrow’s film Country People
  • S.F. Buffoons (San Francisco, Calif.) for Spunk & Gold
  • SF Film (San Francisco, Calif.) for Ahead of the Curve, by Frankly Speaking Films
  • SFJAZZ (San Francisco, Calif.) for Champion: An Opera in Jazz, by Terence Blanchard (composer) and Michael Cristofer (libretto)
  • 7 Stages (Atlanta, Ga.) for fml: how Carson McCullers saved my life
  • Simpatico Theatre (Philadelphia, Penn.)
  • St. Ann’s Warehouse (Brooklyn, N.Y.) for A 24-Decade History of Popular Music, by Taylor Mac
  • St Paul’s Arts Centre (London, UK) for The Mutant Man, by Christopher Bryant
  • Sweet Corn Productions (Seattle, Wash.) for Gilgamesh and Enkidu, by Demian
  • Tapit NeWorks (Madison, Wis.) for Questionable Origins, by Danielle Dresden
  • The Tank (New York, N.Y.) for tender of you too, by Anya Richkind
  • The Theater Offensive (Boston, Mass.) for Dirt by Abe Rybeck
  • Theater Askew (New York, N.Y.) for Cornbury, The Queen’s Governor and Horseplay, or, The Fickle Mistress: A Protean Picaresque
  • Theater for the New City (New York, N.Y.) for The Ghosts of 14th Street, 1918: A House Divided, Joanne, Pyrates!, War Bonds, The Tempest Tossed, Island Girls, Women of the Wind, The Three-Mile Limit, Ghost Light Now & Then, and Verzets Amsterdam, all by Barbara Kahn
  • Theatre 167 (New York, N.Y.) for Pirira, by J. Stephen Brantley, directed by Ari Laura Kreith
  • Theatre Rhinoceros (San Francisco, Calif.) for My Castle’s Rockin’, by Larry Parr
  • Third Street Theatre (Calgary, Canada) for its important work in the Calgary community
  • Third World Newsreels (New York, N.Y.), for the documentary film Mama Bears, directed by Daresha Kyi
  • Tight Braid Group (New York, N.Y.) for Won’t Be a Ghost, by Francis Weiss Rabkin
  • TOSOS (New York, N.Y.) for Eirebrushed, by Brian Merriman
  • Tri-Dyke Productions (Seattle, Wash.) for Spiritwoman
  • Truth Aid (Port Ewen, N.Y.) for the documentary film Who Is Reno Martin?
  • 20% Theatre Company Twin Cities (Minneapolis, Minn.) for The Naked I: Then & Now and The Naked I: 4.0
  • Twin Cities Gay Men’s Chorus and Scagliotti Productions (Minneapolis, Minn.) for Oliver Button is a Star, by Tomie de Paola
  • Unique Projects, Inc. (New York, N.Y.), for Carmen & Roesia, by Avant Projekts
  • Untitled Theater Company No. 61 (New York, N.Y.) for The Marriage of Alice B. Toklas by Gertrude Stein, by Edward Einhorn
  • Urban Stages (New York, N.Y.) for 27 Rue de Fleurus
  • The Venice Mootney Company (Santa Monica, Calif.) for Meat, by Glenn Hopkins, and Mrs. Roosevelt, Three Made Only of Clay
  • Women and Theatre Program, Association for Theatre in Higher Education, for an anthology of Jane Chambers Award–winning plays, to be published by NoPassport Press
  • Women Make Movies (New York, N.Y.) for Women’s Work,  Cecilia Aldarondo’s documentary Memories of a Penitent Heart, and Alexis Clements’s documentary All We’ve Got
  • Xoregas Performing Company (New York, N.Y.) for Brocade
  • Zeiders American Dream Theater (Virginia Beach, Va.) for The Orange Avenue Project, by Connor Norton, Haley Sullivan, AJ Palacio, and Colin Asercion