The Pink Unicorn was inspired by actual events that took place in 2011. At that time, I was living in a small, conservative town, Ellensburg, WA. The local Presbyterian minister delivered a sermon (which is recreated in the play, tortured logic and all), wherein he likened supporting the gay community to "being a Nazi." He exhorted his congregation to reject the USA Presbyterian Church's decision to allow openly gay ministers to be ordained, and shortly afterwards they did just that, splitting with national leadership, and forbidding openly gay people from joining the church. This same discussion happened in multiple Presbyterian Churches throughout the country, with the same result.
At the same time, a nearby high school principal rejected an application for the Gay and Straight Alliance (GSA) to be included as a school club. When students protested, he suspended all school clubs and activities. Similar tactics to block the GSA were used by other school districts, throughout the country, around the same time.
I started asking myself, "How do people get to thinking like this? How can I talk to them? What are they afraid of?"
So I wrote a play about the treatment of young LGBTQ citizens in small American towns, from the point of view of a conservative Christian parent. The play is meant to entertain audiences, and to stimulate discussion about gender identity, civil rights, and youth. It attempts to create common ground for conservative and liberal audiences, for parents and youth, to come together and talk about gender identity, homosexuality, equality and social justice.
As to the intermission--yes! Of course! Smush both acts into one. As a performer, I wanted the option to pee and drink some water before I tackled the emotional minefield that is Mama, Junior and Earl's death. Plus, American audiences have horrifically short attention spans. But if your actress and your audiences are up for the whole haul, it certainly works as a long one act. - ELISE FORIER EDIE