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 (Sharon, Mass.), for In the Hollow
  • 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”
  • Clubbed Thumb (New York, N.Y.)
  • 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 Playhouse (Rancho Mirage, Calif.)
  • Diversionary Theatre (San Diego, Calif.) for The Boy Who Danced on Air, by Charlie Sohne and Tim Rosser, and The Loneliest Girl in the World, by Gordon Leary and Julia Meinwald
  • 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
  • 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 for Terrence McNally: Every Act of Life, directed by Jeff Kaufman, and for Half a Life, directed by Tamara Shogaolu
  • 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
  • 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
  • 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
  • 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
  • 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 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, and The Ice Front, by Eric Samuelsen
  • 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
  • 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
  • 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
  • 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 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 Joanne, Pyrates!, War Bonds, The Tempest Tossed, Island Girls, Women of the Wind, The Three-Mile Limit, and Ghost Light Now & Then, all by Barbara Kahn; also, The Ghosts of 14th Street and A House Divided
  • 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
  • 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 Theater Program, Association for Theater in Higher Education
  • Women Make Movies (New York, N.Y.) for Women’s Work and for Cecilia Aldarondo’s documentary Memories of a Penitent Heart
  • Xoregas Performing Company (New York, N.Y.) for Brocade