Arts & Entertainment
Anti-conversion therapy activist was consultant on ‘Boy Erased’
Born Perfect Campaign co-founder Mathew Shurka shares survivor experience
Mathew Shurka says conversion therapy is flourishing in places people would not expect. (Photo courtesy Shurka)
Mathew Shurka knows first-hand the horrors of “conversion” therapy. Despite what he says were good intentions on the part of his parents, five years of the practice he calls “particularly cruel and damaging” with a licensed therapist who claimed he could make gay people straight took a heavy toll.
Shurka now works as an anti-conversion therapy activist with the Born Perfect Campaign. He’s co-founder and strategist for the project that’s part of the National Center for Lesbian Rights. Based in New York, he’s one of four full-time staff members working on the project.
Shurka knew “Boy Erased” author Garrard Conley years before he wrote his memoir which has been adapted into the movie of the same name (see review here). Shurka and the Born Perfect team were involved throughout the making of the film as consultants to ensure accuracy and sensitivity.
“They really kept us in the conversation the whole time,” Shurka says. “Myself and two other representatives were on the set in, we gave feedback on the script through each round of edits, and then actually involved in the editing rooms. Every time they did a big round of edits, they wanted to make sure it would still make sense to a viewer who’s never even heard of conversion therapy. And then also down to the marketing and stories of survivors. They really kept us in the conversation the whole time.”
Shurka says seeing a major screen production devoted to the topic and being involved in its creation has been powerful.
“I contemplated suicide for two years,” the 30-year-old New York native says. “Conversion therapy was a trauma that I survived and it altered my life forever so to be part of this movie has been really surreal.”
Shurka’s work with the campaign involves keeping tabs on where conversion therapy-related legislation is in the works throughout the country. It’s still legal for minors in most of the U.S. Shurka visits states considering bans and works with regional LGBT groups to ensure passage. He’s not a lobbyist but says his personal story as a survivor gives him credibility with legislators. The campaign was launched in 2014.
Shurka says conversion therapy is alive and well in the U.S. and flourishing in places people might not expect.
“There’s actually a concentration of it in Los Angeles and New York which people can’t even imagine,” he says. “Think, ‘Oh yeah, it’s in Arkansas, that makes sense,’ but actually the biggest organizations are in big cities. … In Los Angeles, they’re in Orange County or in L.A. proper, they’re in urban areas and we’ve seen new ones open in Manhattan in the last two to three years. They’re disguised as therapists and they use different terminology. They sell it as a form of addiction and are very sneaky about it.”
Shurka says that although 2018 has been his organization’s most successful year, 2019 is “looking scarier than ever.”
He says “Boy Erased” provides unprecedented exposure for the issue.
“I think this has great potential to shift or transform hears and minds,” he says.
Find out more about the Born Perfect Campaign at nclrights.org/born-perfect.
WorldPride 2025 concluded with the WorldPride Street Festival and Closing Concert held along Pennsylvania Ave., N.W. on Sunday, June 8. Performers on the main stage included Doechii, Khalid, Courtney Act, Parker Matthews, 2AM Ricky, Suzie Toot, MkX and Brooke Eden.
(Washington Blade photos by Michael Key)
The 2025 WorldPride Parade was held in Washington, D.C. on Saturday, June 7. Laverne Cox and Renée Rapp were the grand marshals.
(Washington Blade photos by Michael Key and Robert Rapanut)
Theater
A hilarious ‘Twelfth Night’ at Folger full of ‘elegant kink’
Nonbinary actor Alyssa Keegan stars as Duke Orsino
‘Twelfth Night’
Through June 22
Folger Theatre
201 East Capitol St., S.E.
$20-$84
Folger.edu
Nonbinary actor Alyssa Keegan (they/them)loves tapping into the multitudes within.
Currently Keegan plays the melancholic Duke Orsino in Folger Theatre’s production of Shakespeare’s romantic comedy “Twelfth Night.” Director Mei Ann Teo describes the production as “sexy, hilarious, and devastating” and full of “elegant kink.”
Washington-based, Keegan enjoys a busy and celebrated career. Her vast biography includes Come From Away at Ford’s Theatre; Cat on a Hot Tin Roof (Helen Hayes Award, Best Actress) and Paula Vogel’s How I Learned to Drive, both at Round House Theatre; Diana Son’s Stop Kiss directedby Holly Twyford for No Rules Theatre Company; and Contractions at Studio Theatre, to name just a few.
In addition to acting, Keegan works as a polyamory and ethical non-monogamy life and relationship coach, an area of interest that grew out of personal exploration. For them, coaching seems to work hand in hand with acting.
WASHINGTON BLADE: You’re playing the lovesick Orsino in Twelfth Night. How did that come about?
ALYSSA KEEGAN: The director was looking to cast a group of actors with diverse identities; throughout auditions, there were no constraints regarding anyone’s assigned sex at birth. It was really a free for all.
BLADE: What’s your approach to the fetching, cod-piece clad nobleman?
KEEGAN: Offstage I identify as completely nonbinary; I love riding in this neutral middle space. But I also love cosplay. The ability to do that in the play gives me permission to dive completely into maleness.
So, when I made that decision to play Orsino as a bio male, suddenly the part really cracked open for me. I began looking for clues about his thoughts and opinions about things like his past relationships and his decision not to date older women.
Underneath his mask of bravura and sexuality, and his firmness of feelings, he’s quite lonely and has never really felt loved. It makes sense to me why his love for Olivia is so misguided and why he might fall in love with the Cesario/Viola character.
BLADE: As an actor, do you ever risk taking on the feelings of your characters?
KEEGAN: Prior to my mental health education, yes, and that could be toxic for me. I’ve since learned that the nervous system can’t tell the difference between real emotional distress and a that of a fully embodied character.
So, I created and share the Empowered Performer Project. [a holistic approach to performance that emphasizes the mental and emotional well-being of performing artists]. It utilizes somatic tools that help enormously when stepping into a character.
BLADE: Has changing the way you work affected your performances?
KEEGAN: I think I’m much better now. I used to have nearly debilitating stage fright. I’d spend all day dreading going onstage. I thought that was just part of the job. Now, I’ve learned to talk to my body. Prior to a performance, I can now spend my offstage time calmly gardening, working with my mental health clients, or playing with my kid. I’m just present in my life in a different way.
BLADE: Is Orsino your first time playing a male role?
KEEGAN: No. In fact, the very first time I played a male role was at the American Shakespeare Center in Staunton, Va. I played Hipolito in Thomas Middleton’s The Revenger’s Tragedy.
As Hipolito, I felt utterly male in the moment, so much so that I had audience members see me later after the show and they were surprised that I was female. They thought I was a young guy in the role. There’s something very powerful in that.
BLADE: Do you have a favorite part? Male or female?
KEEGAN: That’s tough but I think it’s Maggie the Cat. I played the hyper-female Maggie in Tennessee Williams’ Cat on a Hot Tin Roof at Round House. In the first act she didn’t stop talking for 51 minutes opposite Gregory Wooddell as Brick who barely had to speak. That lift was probably the heaviest I’ve ever been asked to do in acting.
BLADE: What about Folger’s Twelfth Night might be especially appealing to queer audiences?
KEEGAN: First and foremost is presentation. 99% of the cast identify as queer in some way.
The approach to Shakespeare’s text is one of the most bold and playful that I have ever seen. It’s unabashedly queer. The actors are here to celebrate and be loud and colorful and to advocate. It’s a powerful production, especially to do so close to the Capitol building, and that’s not lost on any of us.
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A hilarious ‘Twelfth Night’ at Folger full of ‘elegant kink’
