Zee Zee go my heart strings

Two of the most beloved queens in Vancouver — Queen of the Eastside Isolde N Barron (Cameron Mackenzie Deveau) and her husband, or, er, wife, Peach Cobblah (David Mackenzie Deveau) — also run their own theatre company, called Zee Zee, which is presenting its first full season!

Last year, Zee Zee brought us My Funny Valentine, written by David and directed by Cameron, about the hate crime murder of Larry Fobes King, who, in 2008, was shot point blank in the head by a boy in his class who he asked to be his Valentine.

My Funny Valentine was one of the most moving plays I saw in 2011, and rumour has it that it’ll be making its return to Vancouver this year! Larry’s murder is deeply important to me, as it is the inspiration behind a young adult novel I’ve written, and I’m so proud of the sensitive and powerful way Zee Zee told Larry’s story.

If you support local theatre, specifically local queer theatre, please take a minute to like Zee Zee on Facebook. The more funding they get, the better plays they’re able to put on, the more entertainment we have . . .

All that at the click of a button!

If you’d also like to support Zee Zee by getting shit-faced (button clicking and boozing — sounds like supporting the arts to me . . .) then you may be interested in their Rebranding Launch Party.

Keep Reading

The cover of Perverts

‘Perverts’ shows the cost of sexual self-censorship

Mac Crane’s short-story collection follows queer and trans characters who are both stuck—and free
Sun

Rosalía’s ‘Lux’ tour taught me things I didn’t even know I could know

After years of pining, I finally went to the Catalan superstar’s concert. I wasn’t ready for what it did to me
The protagonists of Blood Lines embracing

The big twist in ‘Blood Lines’ is more than shocking

Gail Maurice’s queer Métis romance takes a massive risk—letting it dig deep into the pain and loss perpetuated by colonial structures
A still from Girls Like Girls

‘Girls Like Girls’ once meant everything to me. I’ve outgrown it

Hayley Kiyoko’s new movie tries to recapture the magic of the mid-2010s music video it’s based on. But time has dulled its revolutionary edge
Advertisement