During his first year in the MFA program at Columbia, D.A. Mindell attended a fascinating class called American Spectacle, taught by the acclaimed playwright Lynn Nottage. The course had a unique twist: students explored theatrical forms beyond traditional plays, including pro wrestling, megachurches, and even the Coney Island Freak Show. After these experiences, they were tasked with writing short plays influenced by what they observed.
One eye-opening evening at a burlesque show sparked Mindell’s interest in the theme of nakedness. He expected just a brief critique from Nottage after sharing his work, but instead, she engaged him in a deep theological discussion that lasted half an hour. She pondered, “I wonder if there’s an evolutionary function to shame.” This thought stuck with Mindell. “When someone like Lynn offers a thought like that, it’s irresistible,” he reflected.
Mindell’s exploration of shame led him to think critically about gender dysphoria. His curiosity ignited when he stumbled upon a study showing a higher incidence of gender dysphoria in identical twins. This breakthrough became the foundation for his latest play, The Evolutionary Function of Shame.
Starting February 12, this play will be part of Second Stage Theater’s Next Stage Festival. It dives into the complex intersection of genetics and gender identity. The story revolves around Adam, a transgender man expecting a baby with his partner. After some challenges in their first pregnancy, his twin sister Eve, who is a neonatal geneticist, agrees to help with his prenatal care. Things become complicated when Adam discovers unsettling truths about Eve’s research.
Mindell draws a parallel to the classic film Jurassic Park, where a character warns, “‘Your scientists were so preoccupied with whether they could, they didn’t stop to think if they should.’” He stresses that science is not merely objective; it can be skewed. He cites the Cass Review, a controversial UK study on trans youth, as an example where science may actually harm vulnerable people.
In Mindell’s play, the bond between Adam and Eve is filled with both love and tension. “I’m fascinated by siblings,” he admits, despite being an only child himself. “They can hurt each other deeply, not out of spite, but because they know each other so well.” He credits insights from an identical twin and discussions with colleagues who have trans siblings for shaping this intricate dynamic.
Mindell also shared the thought behind his choice of character names. “When Adam and Eve became aware of their nakedness and felt shame, wasn’t that the first moment of gender dysphoria?”
Even with its deep themes, On the Evolutionary Function of Shame has a comedic side. Mindell believes that the best tragedies often contain humor. “I use comedy to connect with the audience. When we laugh with characters, their pain hits harder later. You need humor to feel the weight of sorrow,” he explained.
The play arrives at a crucial time, as trans rights face significant challenges. For Mindell, who identifies as transgender, this work resonates on a personal level. “I wish my work didn’t have to be so relevant,” he admits. “But as long as our community is under threat, I’ll use my voice to support and affirm every trans person seeking peace and privacy.”
Check out this related article: Empowering Women and Girls in Science: Join Us on International Day to Bridge the Gender Gap in STEM
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