Caribbean King is a de-colonial, trans-gressive, adaptive confrontation with Shakespeare’s King Lear in which Cord(elia) fights to survive against a catastrophic hurricane barreling towards his childhood home, and his father’s unshakeable belief that he is a daughter, not a son. The play begins with Cord’s return to the island of his birth for the first time since becoming an adult and moving to Brooklyn where he has lived openly as a transgender man. His father, the island’s last colonially appointed governor-general, has staged a public sit-in of the Governor’s Mansion insisting that he stay in residence despite the island’s recent transition out of the Commonwealth and into political independence. While Cord’s initial goal is to encourage his father to vacate the premises, his stalled efforts result in a reawakening to place, self, community, and what leadership can look like in service to queer collectives and in the face of the climate crisis. A love letter to found family and queer community building, the play features a chorus of drag performers who embody Cord’s rude and unsupportive older sisters, feverishly optimistic Island political commentators, and Cord’s community of fellow drag performers from Brooklyn, who roll deep and show up for Cord right when he needs them–in the eye of the storm.