Petey Gibson Photo by Nile Scott Studios and Maggie Hal

The story of Becoming a Man, which opened Saturday night in a Z Space Production, dives right into this challenging but ultimately hopeful and uplifting tale of one person's journey to discovering and embracing their true self. Written by P. Carl and based on his memoir, also entitled Becoming a Man, this 90-minute intermission-less play is a glorious, heartrending yet life-affirming tale of how Polly became Carl–and the hurdles he had to overcome on his journey.

The show begins with a simple, clear statement: "On March 16, 2017, I became a man." Carl (played by Petey Gibson) then goes on to say, joyfully, that everyone at the hotel he was checking into that day addressed him as a man. When he relates how "they called me 'sir'," the smile he delivers seems to warm the entire capacious interior of Z Space's Steindler Stage (formerly a tooling factory for a can company and a manufacturer of airplane parts during WWII). After that, things get a little murkier.

Having been married to his wife when he presented as a she (though a relatively butch she), their same-sex marriage suddenly becomes far more like a traditional heterosexual union, which becomes a major problem for wife Lynette (Laura Domingo). And who can blame her? She fell in love with a fellow lesbian, only to have her wife embrace her identity as male, leaving her cut adrift, despite Carl's protestations of love.

As a man, Carl revels in his "new" body, enjoying the increased size of his pecs after a year of working out, and even loving his receding hairline. As part of his new life, Carl loves going to the gym, especially learning to swim–something he had previously claimed to be averse to. But "in the right swim suit," he says, it becomes wondrous and freeing to him. His swim coach and trainer, Eddie (Eric Esquivel-Gutierrez), provides gentle encouragement, and when Carl finally decides to out himself, Eddie seems completely unsurprised, immediately accepting of Carl regardless of his gender. This is exactly what Carl needs. Or, as he states, "I like being in places where I feel like a regular guy, not a curiosity."

One might think that transitioning might come at some significant cost to the relationship with his parents, but they have their own problems to deal with: Carl's father (Erin Gould) is fighting cancer, and his mother (Joanne Winter) struggles vaguely with dementia. But both seem completely accepting of their new, third son. Dad even teases Carl that "it must be ok" for him to help his father bathe now that he's a boy.

The action all takes place on a set (designed by Randy Wong-Westbrooke) that evokes a public swimming pool, all blue tile, with separate entrances that suggest male and female locker rooms–though there is no signage visible anywhere, reminding us that gender is fluid and public spaces divided by gender have been a focus of the right when attacking trans people. The two-inch deep by two-feet wide pool that stretches all the way across the front of the stage serves not only to reflect light in shimmering forms on the walls, but also as a powerful metaphorical path for Lynette and Carl to navigate near the show's conclusion.

The performers do excellent work here: Gibson's Carl exudes the joy of self-discovery, while also embodying the egoism of someone so focused on their own issues that they find it challenging to truly empathize with what others are simultaneously experiencing. Domingo's Lynette wears the pain of abandonment (as it feels to her) not just on her face, but in her entire physical expression. The chemistry between the two of them is palpable and is most clearly expressed when Carl realizes that his transition means "She's grieving and I'm celebrating."

As Carl finds his new life–and simultaneously struggles to finish his PhD dissertation–we get to travel along with him on this spectacular journey of self-discovery, one that is expertly directed by Lyam B. Gabel. This is a show that deserves to be seen by, well, everyone–for we can all use some exercise for our muscles of empathy, regardless of our gender or orientation.

Becoming a Man runs through June 14, 2026, at Z Space, 450 Florida Street, San Francisco CA. Performances are Thursdays-Saturdays at 8:00pm, with matinees Saturday and Sunday at 2:00pm. Tickets range from $35 to $75. For ticket and information, please visit www.zspace.org.