By Liz Eichler
As many of us watch Olympic athletes stake their futures on a single four-minute skate or one final jump or run, we’re reminded how a life can pivot on a moment.
But what happens when that defining moment is trauma—unplanned, uninvited, and violently public?
Nearly half of women in the United States experience sexual violence, nearly half before the age of 18. (Click on those sources and explore.) Trey Tatum and Bridget Leak’s Slut Shaming, running through Feb. 22, 2026 at Xavier University’s Gallagher Student Center Theatre, brings the aftermath of rape into stark focus. It is an urgent, difficult, and necessary piece of theatre.
This marks the third time in ten years that Xavier has produced the play. The message still resonates. “It sears,” said Xavier’s Title IX Director Kate Lawson. Lawson and representatives from the Dean of Students office led a talkback after the show highlighting campus resources. Most don’t report until much after the event. Reporting has increased dramatically since resources became available. The discussion ran long—audience members eager to process what they had witnessed and to speak about trauma that is too often endured in silence and shame.
The Action
Lauren Lucas is portrayed by three actors—Nicole Grace, Anna Meister, and Anna Hittepole—fracturing the character into shards of memory, emotion, and aftermath. We see flashes of the assault, the dawning awareness, and the ripple effects on family, friends, and even the accused’s circle.
Scenes unfold in rapid succession, mimicking the disorientation of trauma. Lauren cannot fully recall the event—her mind resists—but her body knows something happened. That tension drives the piece.
As news spreads through her high school—as does a photo—Lauren’s ordeal becomes public spectacle. When she finally tells her parents, they attempt to pursue justice, only to ignite another wave of scrutiny. “This is a public stoning, not discourse,” one character observes.
Lauren oscillates between attempting normalcy and contemplating ending her life. The play does not sensationalize this struggle; instead, it examines perception. “If you can control what people see…you can control how you see yourself.” The script has some especially charged moments, including a confrontation when her brother discovers her search history. Additionally, the perpetrator has a number of people supporting him, lobbying for his right to play football. The adults and friends rally for him, and increase the vitriol against Lauren. Adults! And it makes the evening news!
Hope eventually surfaces. Lauren begins to detach herself from the looping images in her mind as she reclaims control of her life.
The Performers
Grace, Meister, and Hittepole handle the rapid-fire, staccato script with precision. Each brings a distinct shade to Lauren. Grace captures her initial confusion and disbelief. Meister delivers controlled fury (particularly compelling as the angry mother) before pivoting seamlessly between roles. Hittepole grounds the Lauren character in quiet devastation. The triple casting/writing underscores the fragmentation of trauma.
Leak directs with confidence and keeps the action going at break-neck speed. This is a piece she knows intimately. Written by her husband, Trey Tatum, and first performed at Cincinnati Fringe more than a decade ago, the play remains pointed and contemporary. (The only thing that reflects some age is the importance of “bread” on the newly updated Food Pyramid.) Tatum’s sound design heightens the psychological tension. Leak adds to the power of sound as the performers tap against the lockers on stage. Joe Beumer’s lighting effectively isolates and exposes. The sparse set includes a single locker with adaptable props (Kyra Sander and Veronica Talbert) keeping the focus squarely on the performers. Costumes by Jessica Pitcairn are appropriately unobtrusive.
Conclusion
There is a reason Slut Shaming has returned to Xavier’s stage three times in ten years. It is not comfortable theatre. It is purposeful theatre, driving conversation.
For a college campus audience in particular, this production functions not only as art, but as catalyst. Every college should stage this show. Every parent of a middle schooler on up should see this show, with their child.
Get Tickets to Limited Run of Slut Shaming
Performances of Slut Shaming continue Feb. 19–22, 2026, at the Gallagher Student Center Onstage Theatre. Get your tickets at THIS link. The show runs a bit more than an hour.
Coming Next at Xavier
Spring Awakening is sure to sell out. Coming April 10-18, it will be the 100th production of the Xavier University Theatre program.
