Dramaturgy

Go beyond the stage with our dramaturgy hub, your source for deeper context, artist insights, and creative inspiration behind SpeakEasy’s 2025–26 Season. Explore the themes, histories, and ideas that shape each Boston and New England premiere, and discover how our artists bring these powerful new stories to life.

Primary trust

Compiled by Reyn Ricafort

On Loneliness

Our Epidemic on Loneliness and Isolation
The U.S. Surgeon General’s Advisory on the Healing Effects of Social Connection and Community

“What is Causing our Epidemic of Loneliness and How Can We Fix It?” 
Harvard Graduate School of Education 

The Loneliness Epidemic
The Gray Area With Sean Illing (Podcast)

Speaking of Psychology: Why is it So Hard For Adults to Make Friends? 
American Psychological Association (Podcast)

An Uphill Battle: Why Are Midlife Men Struggling To Make – and Keep – Friends? 
The Guardian

on friendships, community, and kindness

Why Community is So Important – And How to Find Yours
Reader’s Digest

Three Ways to Create Community and Counter Loneliness 
Harvard Health Letter

Friendships: Enrich Your Life and Improve Your Health
Mayo Clinic

How to Have Deep Male Friendships with Scott Erickson
Three Percent Co. (Podcast)

Why You Should Talk to Strangers by Kio Stark 
TED Talk (Video)

Creating a Community and Finding Your Purpose by Stepehn Jon Thompson
TED Talk (Video)

Acts of kindness and community – building throughout the country

A Look Inside Community Groups Working to Build Trust to Bridge Divides
PBS News

How Penn State’s Employee Resource Group Are Building Community, Belonging
Penn State Human Resources

The Kindness of Strangers: A Nurse Saw Me Crying And Asked If I Wanted a Hug
The Guardian

Leaves Piled Up After Her Husband’s Injury. Then a Friend Showed Up With a Rake
NPR

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Lizard boy

Written by Reyn Ricafort (Production Dramaturg and Assistant Director)

Mount St. Helen’s Volcano

In Lizard Boy, Mount St. Helens volcano plays a significant role in shaping the trajectory of Trevor’s life. Not only does its initial eruption lead to the protagonists’ scaly green skin, but the possibility of a second explosion drives the play’s action.. 

The real-life Mount St. Helens volcano is located in Southwestern Washington, 50 miles northeast of Portland, Oregon. Characterized by its steep cone-like structure and explosive eruptions, the volcano is formally classified as a stratovolcano, also known as a composite volcano, due to both its appearance and unique properties.

In 1980, after two months of activity–10,000 earthquakes, hundreds of small explosions, and the outward growth of the volcano’s north flank by more than 20 feet–a 5.1 magnitude earthquake struck beneath the volcano, leading to its eruption on May 19. Playwright Justin Huertas references this historic event in the script, specifying that although the original eruption occurred in 1980, the story’s eruption occurred 20 years ago today.

Temperatures within the explosion reached 570 degrees Fahrenheit, and about 520 million tons of ash were blown across 22,000 square miles of the Western United States. Lahars from the volcano (fast-moving floods of water and volcanic debris) ripped trees from their roots, destroyed 27 bridges, and damaged over 200 homes. The lahars also affected more than 185 miles of highways and roads and killed around fifty-seven people. 

After 18 years of relative quiet, the volcano reawakened in September 2004 after a series of intensifying earthquakes. This continued for four more years until 2008. 

Further reading: 

Mount St. Helens, Washington
USGS

Mount St. Helens Erupts. 
HISTORY

Footage of the 1980 Mount St. Helens Eruption
Smithsonian Channel (Video)

1980 MT ST HELENS ERUPTION–FOOTAGE AND PHOTOS
Patrick Croasdaile (Video)

Lizard man

The story’s protagonist, Trevor, is described as having green scales for skin, akin to that of a lizard. In fact, he’s referred to in the play as the “Lizard Boy of Point Defiance.” Although not explicitly based on the classic American folklore, Trevor bears significant resemblance to a similarly reptilian creature native to Bishopville, South Carolina–the Lizard Man of Scape Ore Swamp.

According to the 1988 legend, Lee County teenager Chris Davis was replacing his tires at the edge of Scape Ore Swamp one evening when a lizard-like creature came running at him and attacked his vehicle. Davis held off on reporting the incident to the police out of fear of being mocked until another family from Lee County reported similar strange marks on their car. Davis would even end up taking a polygraph test and passing it upon being questioned about what he saw.

The lizard-like creature was described as standing approximately seven feet tall, with green scaly skin, red eyes, and three toes on each foot. Other reports of damaged cars and chewed-up bumpers would come out in the following weeks, spurring a police investigation that led to the discovery of three-toed footprints around the swamp. The incident attracted news organizations and journalists to Bishopville, garnering the town worldwide attention. Presently, belief in the original myth is ambivalent at best, but the cultural impact of the Lizard Man of Scape Ore Swamp is widely celebrated and remembered.

Further reading: 

The Lizard Man of Scape Ore Swamp
City of Bishopville

The Legend of Lizard Man: Horror in Rural Carolina
Swamp Ape Review

Beware the Lizard Man! 
Discover South Carolina

American comics and superheroes

Lizard Boy was largely inspired by the comic books playwright Justin Huertas grew up reading and the superheroes he adored: Spider-Man, X-Men, Power Rangers, and Teenage Mutant Ninja Turtles. Not only does the play capture the aesthetic qualities of the comic medium (fast transitions, mid-battle quips, split-scenes, etc.), but it also imagines a superhero who more aptly reflects Huertas’s identity as a Queer Filipino-American.

The history of American comics begins in the 19th century, but true American-style comic books emerged later in 1933. The creation of Superman in 1938 kick-started what is known as the “Golden Age” of comic books in America (1938–1956), a period in which the comic book genre gained popularity in the United States with new superheroes like Wonder Woman, Captain Marvel, Batman and Robin, Green Lantern, and Flash. 

Part of the genre’s popularity came from its ability to reflect the sentiments and morals of the American population during World War II–comics dramatized stories of good triumphing over evil, loyal superheroes acting on behalf of the greater good, and characters who were courageous and willing to fight for what they believed. Captain America, for example, was created as a symbol of patriotism and some might say, propaganda. Soon after the war, superheroes lost steam, and the Golden Age of comic books came to a halt. This, however, didn’t stop the genre from evolving. 

Throughout American history, comic books have consistently reflected the attitudes, cultural shifts, and conversations of the American people. During World War II, in prioritizing American nationalism and patriotism, comic books found themselves employing modes of ethnic stereotyping to articulate the enemy or the “other.” After the war, comics captured the people’s fear of nuclear conflict along with the touted spread of communism. 

Naturally, modern-day comics and superheroes grapple with the conversations of today: cultural diversity, climate change, war, gender and sexuality, etc. The expanding discourse on how to champion inclusivity in sectors of life has led to the creation of superheroes and characters that better reflect the diversity of the American people: characters of different religions, ethnicities, genders, and sexualities. 

Lizard Boy, in many ways, is Huertas’s attempt to put front and center the facets of his identity he wished he saw in superheroes growing up.

Further reading: 

The Golden Age of Comics
PBS

Superhero
Britannica

Comics, Graphic Novels, and Manga
Triton College Library

Superhero Diversity: Improving Diversity in Comic Books
Quality Comix

In Lizard Boy, Justin Huertas is Creating the Queer and Asian Superhero He Wanted Growing Up 
Playbill

Social othering

In the play, Trevor’s green skin and reptilian features make him the subject of social rejection and isolation. This can largely be seen as the story’s overarching metaphor for the nuanced experiences of those who’ve been subjected to skin-based prejudice and discrimination. More broadly, however, the metaphor touches upon a societal process known as “othering,” wherein a group of people are fundamentally seen as inferior due to perceived differences, justifying the abuse and mistreatment of individuals. 

Although similar, othering differs from categorizing, a natural human instinct to group complex information into classifications to better understand them. However, the content and implications of those classifications are not automatic, but socially constructed. Central to this process is a strong ingroup identity, giving rise to an “us” vs. “them” dynamic wherein the outgroup is stripped of their own identity (characteristics, ideas, backgrounds, and desires) and essentially seen as just members of the “other group.” Often, they are not even seen as human. 

Group definitions and boundaries are the result of complex collective and social processes rather than just individual interactions. Through talks, tales, gossip, and stories, the image of a subordinate group is reinforced, leading to behaviors such as racial prejudice, which is then perceived as “natural” and easily attributable to biological difference. Some scholars believe that the physical manifestations of othering start at the normalization of hate speech, meaning that meaningful prevention starts with the words we use. 

Effectively countering social othering requires embracing that which is different and promoting an overall atmosphere of inclusivity, rather than stifling difference. Cary exemplifies this by sharing what makes him different with Trevor, albeit minuscule in comparison. 

“I hope you learn to understand the monsters in the sky / I hope you ask them questions even as they make you cry” (Trevor, “Eleventh Hour”).

Further reading: 

The Problem of Othering: Towards Inclusiveness and Belonging
Othering & Belonging

The Process of Othering
Montreal Holocaust Museum

Queerness

Gay Men of Color

Huertas describes the play as a story about a “queer person of color who learns self-love, self-acceptance, and self-empowerment.” Trevor’s experiences of marginalization as a result of his green skin can be seen through the framework of the exclusion of gay men of color in larger society and in their own community. 

Qualitative and quantitative data show that non-white individuals are often placed at the lower end of the sexual hierarchy, while white individuals are placed at the top. In addition to the pressures of obtaining a desirable body (ripped and fit), gay men of color have the added stress of not being “white” enough, resulting in a continual process of subconscious comparison to the ideal, leading to a general feeling of anxiety. 

On dating apps like Grindr (which is more accurately a hook-up app), gay men of color are either outright excluded in the name of sexual preference or racially fetishized. Although the latter functions on inclusion, it hinges on racially specific sexual characteristics that are inherently racist. The experiences of racial minorities result in racialized feelings, or the set of feelings that specifically have to do with one’s race, which dramatically affects the way they see and perceive the world. The material consequences of racialized feelings can manifest in the body or in one’s behaviors. 

This explains, in part, Trevor’s outburst near the end of the play where he assumes the worst from Cary–he carries with him the visceral expectation of rejection, an expectation that has colored his perception of other people. 

The majority of Grindr users are white, and research has shown that race is an important predictor of online connections and offline meetups. An interview study found that online, Black and Asian men were disproportionately rejected by white men and racial minorities compared to white men. 

“He knows I’m green and still said come over so maybe I’m not…just a boy who looks like a lizard.” (Trevor, “Willy Nilly”)

Further reading: 

For Queer Men of Color, Pressure to Have a Perfect Body is About Race Too
Them

Feeling Like a Fetish: Racialized Feelings, Fetishization, and the Contours of Sexual Racism on Dating Apps
The Journal of Sex Research

People of Colour Say Racism, Exclusion, Fetishization, Rampant in LGBTQ+ communities 
CBC

Loneliness Among Gay Men

In the play, loneliness affects both Trevor and Cary, albeit in different ways: Trevor feels lonely because of his green skin and previous romantic fallout, whereas Cary’s loneliness stems from his lack of friends despite regularly engaging in hookups. 

Loneliness is generally understood as a subjective experience; one can be surrounded by lots of people and still feel lonely. Much of the loneliness gay men feel begins in adolescence, when they first taste the exclusionary experience of being different from other boys. Patterns of emotional withdrawal (keeping to oneself) are then carried over to adulthood. 

Research shows that gay men and queer individuals experience higher levels of stress, anxiety, and depression, all of which contribute to feelings of loneliness. Researchers largely attribute these negative emotions to minority stress–the extra effort it requires to be part of a minority group. Gay men experience loneliness not because of an inherent defect, but because of structural heteronormativity and homophobia. Gay men may be primed to expect rejection, and thus go about life carrying this fear of exclusion, whether they realize it or not. For gay men of color and for those who don’t fit the ideal beauty standards, exclusion in their own community is not uncommon. 

Researchers generally agree that the antidote to loneliness is community, and although exclusion towards members runs rampant in gay spaces, it seems like the solution is to keep looking (be brave like Trevor), steer clear of unhealthy behaviors, and be selective about where one looks and who one forms bonds with. 

Further reading: 

Why Do Gay Men Often Deal With Feelings of Loneliness?
The Roots of Loneliness Project

The Epidemic of Gay Loneliness
Huffington Post

Experiences of Loneliness Among Gay Men: A Systematic Review and Meta-Synthesis
Journal of Homosexuality

Grindr 

Throughout history, sexual minorities have sought to create their own networks where they can meet outside the purview of a generally unwelcome society. In the play, Trevor and Cary meet on one such network–Grindr. 

Started in 2009, Grindr is a geo-location social “networking” app for the LGBTQIA+ community. More colloquially, however, it is known as a “hookup” app. Profiles are spread out on a grid, organized by location, where users can view other users and directly message them if they are interested. Unlike dating apps like Tinder or Hinge, users need not have mutual interest to message one another and send photos. In addition to sex, people use Grindr for dates, friends, actual “networking”, or simply to kill time. 

Grindr receives its fair share of criticism for promoting a hook-up culture that many say only exacerbates systems of exclusion in the gay community, which in turn leads to feelings of loneliness. This critique is not exclusive to Grindr, however, as social media as a whole seems to be undergoing a period of critical interrogation by the general public. In truth, conventional research paints a more complicated picture and often produces mixed results. 

For example, one study found that intimate self-disclosure (disclosing personal details about oneself to another user) on Grindr decreased feelings of loneliness because it provided queer people a safe space to discuss their sexuality. There seems to be a difference between direct communication (private messages to people online) and passive media consumption (scrolling through Instagram). This same study found that passive consumption increased feelings of loneliness. 

If we can assume that the majority of Cary’s hookups were from Grindr, then his persistent feelings of loneliness despite those engagements support that networks like Grindr have only exacerbated social isolation. At the same time, Grindr plays an important role in connecting Trevor and Cary, kickstarting what would become a profoundly meaningful relationship for both characters. Truthfully, the consequences of Grindr are a little bit more nuanced in the story, just like in real life. If the story makes anything certain, it’s that genuine relationships are not only beneficial but necessary to understanding our worth as individuals. 

Further reading: 

Social Consequences of Grindr Use: Extending the Internet-Enhanced Self-Disclosure Hypothesis
Cornell University

What is Grindr?
Grindr