Çicada L’Amour/Max (he/him/his)



Originally from Providence, RI, Max Yeshaye Brumberg-Kraus is a playwright, poet and performance artist in the Twin Cities, MN.  He graduated from Beloit College, WI with majors in theatre and classics.  He received departmental honors in theatre for his play, Henosis, about the afterlives of the ancient poet Sappho and 20th French gay pornographer J.D. Cadinot.   In 2014 he co-founded the House of Larva Drag Co-Operative with Guadalupe Angeles, and in 2015-16 served as the Artistic Director of Beloit Independent Theatre Experience (BITE).

Since moving to Minnesota, he has engaged in a number of theatre projects. In 2016 mace performed as a queer Isaiah the Prophet in Day of the Dead Poet’s North at Pangea, and in 2017 was a finalist in Day of the Dead Poet’s Slam in Rochester, MN, where he performed as Antonin Artaud. Max is a member of the Arts Organizing Institute at Pangea World Theatre in Minneapolis. He has performed in three different shows with Patrick’s Cabaret and is currently collaborating with local artist Kallie Melvin on a children’s puppet show The Bookworms, at In the Heart of the Beast Puppet and Mask Theatre. Max also works part-time at the United Theological Seminary of the Twin Cities, where he is also pursuing an MA in Theology and the Arts.



The formation of lgbtq communities across time and space.
Transgenerational trauma.
Queer theology.
Theology of gay male artists of the AIDS crisis.
Healing justice.
The location of trauma and memory in the body.
Theatre as a tool for interreligious and intercultural dialogue.

Max’s current work is on developing a “drag theopoetics,” and the use of drag as a platform for revelation and gnosis.  Current projects include the poem/essay Revelations of Divine Love: a Drag Theopoetics, which puts in conversation the medieval mystic Julian of Norwich and John Waters’ film Pink Flamingos; an academic paper, “Uncontrollable (Demi)Urge: Camp Mythopoeia as Resistance in a World of Unchecked Daddies”; the play Pelagius, a retelling of medieval nun Rhotsvitha’s story on the martyr Saint Pelagius of Cordova; a paper on the gendered implications of reciting Song of Songs in Jewish communities; and of course, House of Larva’s Lowlands.  




Çicada L’Amour is a drag ogress, a once evil queen, hairy housewife, slut shaman, and a human fly.  Inspired by insect queens and bearded ladies, L’Amour is the leader of the human adjacent Bitchfaggots, a deprived and liberated nation who struck a bargain with the deity Admiral Benwa Breedwinner, the Demiurge who enslaved humanity through heterosexuality, reproduction, and sex drive.  WIth her body, L’Amour demonstrates how she is caught in a cycle of abuser and abused, that she is both colonizer and colonized and that there is no pleasure that is separate from pain.