In 2024, a groundbreaking initiative quietly but powerfully reshaped the American theatre landscape. Funds for the Dolls, an unrestricted grant for trans women of color (TWOC), was launched by Theatre Communications Group (TCG) in partnership with Black Trans Liberation and Transformations. Guided entirely by trans women of color, this pilot grant program did more than offer financial aid—it recognized the value, vision, and very existence of trans women of color in the performing arts as sacred and necessary.
This first cycle awarded $50,000 to five TWOC grantees, while also ensuring that every applicant received some level of support. Unrestricted in nature, this fund was intentionally designed to give recipients the liberty to use it as they saw fit—from artistic ventures to healthcare, rent, rest, and everything in between. There were no formal reports to submit, no conditions to meet, only a deep trust in the recipients’ inherent worth and capability.
The Purpose Behind the Program
Funds for the Dolls was not a charity—it was an intervention. It responded directly to the systemic barriers and underrepresentation faced by TWOC in theatre. Often excluded from traditional funding, their lives are further complicated by transphobia, racism, and class inequality. This initiative acknowledged that access to money is access to safety, autonomy, and creative power.
The program was first publicly announced at the 2023 TCG Conference in Chicago. A year later, its impact has been deeply felt, not just by the grantees, but by the wider community watching their stories unfold.
Meet the Grantees: Powerhouses of Art and Advocacy
Each artist selected is a changemaker whose work lives at the intersection of performance, community organizing, and queer liberation. Here are four of the inaugural recipients:
Alluorra Rose (she/her)
A Black Deaf trans woman, Alluorra channels her lived experiences into queer performance art and burlesque, using her body and voice to express joy, pain, and resistance.
Ayo Jeriah Demps (she/they)
An actor, director, and educator, Ayo recently starred in a queer rendition of Jesus Christ Superstar in Florida and is now exploring intimacy certification to create safer spaces in theatre and beyond.
Venus Kii Thomas (xe/xym)
A multidimensional artist and abolitionist, Venus completed a fellowship showcasing a visual and poetic art installation that honored xir mother’s legacy through a decade of creative expression.
N’yomi Stewart (she/her)
The first Black trans woman graduate from UNC School of the Arts’ acting program, N’yomi is both a theatre visionary and an underground ballroom icon, blending academic excellence with cultural fire.
What the Grant Really Means
In a roundtable conversation, these artists shared what receiving an unrestricted fund meant for their lives and their work. Their answers were deeply emotional, profoundly personal, and unapologetically honest.
Venus Kii Thomas emphasized the mental and emotional shift that came with financial support. “It is expensive to be a Black trans woman in the U.S.,” xe said. “This grant helped me affirm my womanhood, take care of my needs, go on vacation, and gain mobility in my life.” For Venus, it was about seeing xymself and realizing that “there’s more after this.”
Ayo Jeriah Demps echoed similar sentiments, highlighting how the fund offered validation and freedom. “This allowed me to breathe, to say yes or no more freely, and to affirm my identity,” she said. “It’s not just about me—it’s about opening doors for others too.”
Alluorra Rose described the grant as a catalyst. “It was the message I waited for: ‘Stop dreaming. Start living.’” She shared how it transformed her approach to her craft, giving her space to respect the slowness, richness, and patience of creating honest art.
Across all stories, a common thread emerged—this grant gave them permission to rest, dream, and create in a world that so often denies them that.
Theatre as Sacred Ground
When asked about the broader implications of Funds for the Dolls, the artists did not shy away from naming both progress and pitfalls in the theatre industry.
Ayo expressed concern that the social justice energy sparked during the pandemic has faded. “We made progress when we were all locked down,” she said. “But much of that momentum was performative and has been forgotten.” She highlighted how trans pioneers like Angelica Ross and Laverne Cox are often ignored, even as others repurpose their messages.
Venus reminded us that “Theatre is a pulpit.” For xir, theatre is not just entertainment—it’s spiritual. “It takes dreaming, grounding, and a lot of energy for Black trans women to tell their stories onstage. But if the pulpit of theatre is to remain sacred, then you need us.”
Alluorra shared a powerful call to action: “Trans women should not only be celebrated during Pride Month. Our lives exist every day. One trans woman is not a body of representation for all.” She urged theatres to recognize the full humanity and diversity within the trans community, all year round.
What Still Needs to Change
While Funds for the Dolls has undeniably made an impact, the artists were clear: the fight for liberation and equity is far from over.
Key challenges remain:
Sustainable funding beyond one-off grants. Year-round visibility and inclusion, not just during Pride. Genuine relationships between theatres and TWOC artists. Safer, inclusive spaces that don’t tokenize but truly welcome. Systemic reform in who gets to lead, create, and be seen.
This grant is a model, not a solution. It’s a starting point for rethinking philanthropy, re-centering the margins, and investing in people who have historically been underfunded and undervalued.
As Pride Month closes, Funds for the Dolls offers more than just a feel-good story—it invites reflection and responsibility. The stories of Alluorra, Venus, Ayo, and N’yomi are both testaments to resilience and reminders of what’s still at stake.
Let this not be the end of the conversation, but a rallying cry to create ongoing, intentional, and reparative funding—because every trans woman of color in theatre deserves not only a stage but a life filled with joy, rest, and recognition.