Mashuq Mushtaq Deen has a good story to tell in “Draw the Circle,” and a fresh way to tell it. It’s an autobiographical solo show about gender transition in which he plays his parents, his classmates, his doctors and his girlfriend – everyone but himself.
By the end he’s fully there, along with projected statistics about the rising U.S. murder rate of transgender people. This activist theater is molded from the raw material of being born to traditional Muslim Indian immigrants to the United States and assigned female; before the show starts, we see a photo of Deen as a young girl.
This 80-minute piece is running in rep at the Atlas Performing Arts Center with another hot-button solo act, Dan Hoyle’s “The Real Americans” – a survey of strangers Hoyle met during fact-finding road trips through the heartland. Hoyle may be a slightly more limber mimic than Deen, but Deen’s tale unspools more naturally.
Deen’s problem for years was feeling invisible (and worse), which is how we experience him as he takes on the voices of the people who give us his history of gender transition. Dressed in jeans and a blue T-shirt, he chronicles, with surprising empathy, not just what it was like to slowly, painfully come to terms with transition, but what it was like for loved ones who shunned everything about it. The father’s a card able to tell jokes, but the mother is sheer distress and shame. She frets about what the relatives back in India will think and laments the daughter – Shireen was Deen’s name, we are told – she feels she has lost.
Viewpoints come from a wide-eyed niece and, perhaps most poignantly, from Molly, who fell in love with Shireen and was then challenged by Shireen’s evolution to Deen. The
names of each character are helpfully projected on the back wall; Deen does good work switching vocal patterns and postures, but he’s more compassionate than chameleonic in his characterizations.
Director Chay Yew – a playwright himself, and artistic director of Chicago’s Victory Gardens Theater – keeps the lean performance percolating briskly. It’s all about the information: the stage is a bare white square floor furnished with only a plain white chair. There is nothing else but the names on the screen, and the narrative.
Trans playwrights are still emerging, which puts Deen’s show in the vanguard here (and let’s credit Mosaic Theaterfor boldly expanding its repertoire all the time). The story’s framework is simple yet striking, and more than a novelty: it’s an apt, big-hearted way to puzzle together many pieces of Deen’s journey. “Draw the Circle” does not sugarcoat his despair or incidents of violence, yet it rather amazingly reaches back to retrieve people who easily could have been cut out for life. The wrathful moment confronting us with the ongoing violence against trans people does not define the tone of this personable, entirely approachable show. Inarguably, though, it’s that flicker of wrath that gives the piece its purpose.