Centre Stage recently put on a production of Head Over Heels and in speaking to the director, Stuart James he explained to me the work that had gone into making the production more inclusive and the initiatives he took sounded like something that all amateur companies should be considering so he kindly agreed to share his learnings and thoughts about gender inclusivity in am dram with me. So over to Stuart –

I recently directed the London premiere of Head Over Heels, the hit Broadway musical, for Centre Stage London. Described by BuzzFeed as “the most radically queer show on Broadway” when it premiered in 2018, the Go-Go’s jukebox musical features a non-binary lead, a genderqueer lead, a lesbian principal couple, and several genderqueer characters in the ensemble. This kind of representation is still rare in musical theatre, and the show celebrates identities and experiences that are often missing from the spotlight. Because of the authenticity required to portray these characters with integrity, I knew the rehearsal process needed a framework that actively supported and ensured inclusivity for all cast, creative and production team from the very beginning.

From the outset of our production, fostering an inclusive, respectful, and empowering environment for everyone involved—onstage and off—was one of my core priorities. I recognised the importance of ensuring that each member of our cast, creative team, and crew felt seen, heard, and safe throughout the process, and I actively implemented a number of practices to support this.

At the audition stage, I included a space on our audition forms for auditionees to share their pronouns, setting the tone early on for a rehearsal room that prioritised identity and respect. I carried this approach into our first rehearsal, where name tags that included both names and pronouns were given to each cast member/crew attending to help foster an environment of openness and mutual respect from day one.

Costume design was approached collaboratively and with care. My costume forms invited actors to describe what their ideal costume would look and feel like. This allowed the Wardrobe team to design costumes that were tailored to each individual—not just in terms of fit, but in a way that made the actors feel confident, comfortable, and empowered while onstage. No one was expected to conform to a standardised look or wear a costume that was traditional to the show and/or hired and unchangeable; instead, we celebrated costumes withindividuality and personal expression.

Halfway through the rehearsal process, I hosted a dedicated inclusivity check-in. This session provided an open space for cast and creatives to reflect, voice any concerns, and ensure that everyone felt safe and supported within the process. It also helped us identify any additional needs and adjust our approach accordingly.

As a team, we were intentional about the use of pronouns in all of our materials. Pronouns were included for all members of the cast, creative team, and crew in the show programme, on the production website and anywhere names were publicly displayed. I also provided the wider production team with the cast’s pronouns for use in technical documents such as mic plots and check in/check out forms ensuring respectful and consistency across all departments. 

Ahead of our performances at the Bridewell Theatre, I worked with venue management to ensure gender-inclusive signage was placed on bathroom facilities. This small but meaningful change helped ensure that our cast, crew, and audiences all felt welcome and included while in the building.

We also made sure that audiences were informed and cared for. Trigger warnings were clearly displayed inside the theatre, highlighting content including themes of gender dysphoria. Additionally, we created an accessibility guide that included detailed information on content, access provisions, and how to navigate the space. Our goal was to empower audiences to engage with the show in a way that felt safe and informed for them.

I’m really proud of what we achieved together, and I hope our approach can serve as a useful model for future productions. Many of the practices we implemented were carried over and refined from previous Centre Stage shows, but tailored specifically for Head Over Heels. That said, it’s important to acknowledge that gender inclusivity is an ongoing and evolving conversation. As awareness deepens and our understanding of gender continues to grow, new and more effective practices will naturally emerge. I encourage theatre groups to begin by connecting with their own members—listening openly, asking questions and identifying the specific needs of their community—as a meaningful and essential first step toward creating a truly inclusive environment.

Written by Stuart James (he/him)

If you like this article about gender inclusivity in am dram you might also like my review of Head Over Heels, Bare and The Wedding Singer by Centre Stage.