Queer and classed: Intersectional queer performance in the liminal space between working- and middle-class worlds.

This article examines how queer and working-class artists use performance methodologies and spaces to represent an intersectional working-class identity. It critiques mainstream theatre's reliance on realism, which often frames LGBTQ+ lives within heteronormativity and working-class lives as deficient, and highlights the limitations of queer theory's frequent centering of white, middle-class subjects. Drawing on Black feminism and Queer of Colour Critique (QOCC), particularly the work of Audre Lorde and José Esteban Muñoz, the article proposes disidentification and coalition-building as strategies for creating counterpublics that embrace difference and material conditions. The analysis focuses on Black, trans, working-class artist Travis Alabanza's plays *Burgerz* and *Sound of the Underground*, illustrating how their work navigates individual and collective identities through experimental performance forms that challenge dominant narratives and foster intersectional solidarity.