A Conversation with Playwright/Actress Rejyna Douglass-Whitman, "Trans Mom vs. Family Court: Justice Sees No Gender", Zephyr Theatre, Hollywood Fringe, by James Scarborough

Rejyna Douglass-Whitman transforms personal struggle into theatre in "Trans Mom vs. Family Court." Set in 1990s Los Angeles, this one-woman show chronicles a transgender musician's fight for custody of her daughter while navigating gender identity, conservative attitudes and legal prejudice.

The production avoids easy sentiment and predictable political messages. Douglass-Whitman, making her solo acting debut after years as a musician, brings authenticity to a story that balances personal revelation with social commentary. The show examines not just the obstacles faced by a trans parent, but also the unexpected alliances that can form in rigid institutions.

The timing is perfect. As today's policies challenge transgender rights, this story offers both historical perspective and commentary. It shows how legal precedents are established by individuals who challenge opposition.

By concentrating on motherhood rather than identity politics alone, Douglass-Whitman raises her story above mere biography, touching on universal themes of parental devotion and institutional bias that resonate regardless of one's circumstances. The production offers both emotional catharsis and intellectual challenge.

Below follows an email conversation with Rejyna Douglass-Whitman.

JS: As a musician transitioning to solo theatrical performance, how did you approach translating your personal experiences into a dramatic narrative that would resonate with audiences who may have no direct connection to transgender issues?

RDW: When creating my solo play, I focused on universal emotions like courage, love, and the drive to live authentically. I blend music and storytelling to help people connect, especially with the love and dedication a parent feels for their child. You don’t have to be transgender to understand that kind of devotion. I just want people to feel the humanity in my story.

JS: Your play is set in the 1990s, a period with significantly different legal and social attitudes toward transgender individuals. What aspects of that era's challenges do you find most striking when compared to today's environment? How does your production bridge these historical moments?

RDW: Setting the play in the 1990s reflects the reality of when the trial took place and brings out how different things were for transgender people. Back then, there were almost no legal protections, just being open about who you were could mean losing your job, your family or your safety. As a trans parent, I was terrified I might lose my child just because I wanted to live authentically. There was so much isolation and misunderstanding, and hardly any community support or resources.

What stands out to me now is how invisible we were. People didn’t talk about trans issues, our struggles were often ignored. Today, there’s more visibility and some progress, but that also comes with new challenges and backlash.

In my play, I try to bridge those times by sharing what it felt like to live through that era and by connecting it to what’s still going on today. I want people to see that, at the heart of it, things like love, family, and wanting to be accepted haven’t changed at all.

JS: Can you speak to the collaborative process with director Jessica Lynn Johnson in developing this deeply personal material? How did her experience with solo performances help shape your storytelling approach?

RDW: Working with Jessica Lynn Johnson has been such a rewarding experience, especially since this is my first play. We met years ago and kept reconnecting, always encouraging each other’s growth. Coming from a music and multimedia background, I needed a director who truly understands solo theatre and the Fringe world. Jessica’s expertise in solo performance and her passion for authentic storytelling blended perfectly with my creative approach. Together, we’ve merged our disciplines to create a show that’s both personal and dramatically dynamic.

JS: The title suggests an unexpected alliance within the court system itself. Without giving away too much of the narrative, how do you present nuanced portrayals of institutions that are often depicted as monolithically opposed to transgender rights?

RDW: I get why people expect courts to be against folks like me, and there’s a lot of history that backs that up. When I went through it, I saw just how messy and unpredictable the whole system can be. There’s definitely bias, and sometimes it feels like you’re just another case number. But sometimes you meet people in the system who actually seem to care or at least want to understand.

I can’t say how things will turn out for anyone. I just know that showing up with honesty and integrity mattered to me, even when the system felt cold or stacked. My story is really about how complicated, frustrating, and surprising it can be when you’re just trying to do right by your child and yourself. If anything, I hope people leave the show realizing there’s a lot more to these stories than what you see in headlines or court transcripts.

JS: Your background as a composer and musician must inform your performance. How does music function within the production? In what ways does it help convey emotional truths that might be difficult to express through dialogue alone?

RDW: Honestly, it’s the lyrics that really connect my music to the story in this play. As a songwriter, I’ve always used words and music together to get at what I’m feeling. In the show, the lyrics do more than just set the mood. They actually move the story along and help me say things that are tough to just speak out loud.

Sometimes it feels more natural to sing something raw or vulnerable than to just talk about it. The lyrics let me be real and a little poetic at the same time, people can feel what’s going on underneath. Even if someone hasn’t lived my experience, they can still connect with the emotion in the words and the music. That’s what I love most about bringing my songs into the show.

JS: The show is billed as both intensely personal and politically relevant. How do you balance authentic storytelling about your specific experience while also creating a work that serves as what you call a "rallying cry" for broader transgender rights?

RDW: I just try to keep it real and tell my story the way it happened, but I’m always thinking about how it fits into the bigger picture. My play is super personal, but I know that by being honest about what I went through, I can break down some of those old stereotypes and maybe help people see trans folks in a new light. I’m not out here pretending to speak for everyone, but I do think anyone can relate to things like family, love, and standing up for yourself.

At the same time, I don’t shy away from the political stuff. If something in my story shines a light on how the system messes with trans people, I say it. I want the show to fire people up a little, get them thinking, maybe even get them to care more about trans rights. I try to balance it all by showing not just the hard parts, but also the hope and the fight that keeps us going.

Really, I just want folks to walk out feeling like they’ve seen a real person’s life, not just a headline or a talking point. If my story gets even one person to care or speak up, I feel like I’ve done my job.

Performances are on June 5th at 5.30pm (preview), June 13th at 6pm and June 28th at 7.30pm. Tickets are $15. The Zephyr Theatre is at 7456 Melrose Avenue. For more information, click here.