Theatre Rhoceros: A Gay Company on JSTOR

Contents:

• 1964: THE BIRTH OF GAY THEATER
• A BRIEF HISTORY OF LBIAN, GAY, BISEXUAL, AND TRANSGENR SOCIAL MOVEMENTS
• WHY WE STILL NEED GAY THEATRE
• GAY RIGHTS MOVEMENT
• A BRIEF HISTORY OF GAY THEATER, THREE ACTS
• THE GAY AND LBIAN THEATRIL LEGACY

1964: THE BIRTH OF GAY THEATER

Queer theatre is the accepted generic term for the gay theatre movement: one that embrac both men and women, that vers plays, mils, baret and jt about everythg else, and which has been gog strong Bra and Ameri for well over 40 years. But dramatists at the time were obliged to work : when the hero of Emlyn Williams's superlative Acla (1950) is acced of havg sex wh an unrage girl Rotherhhe, I tomatilly assume Williams was really talkg about 's been hearteng to see gay wrers explog the eedom that me wh the aboln of censorship and the relaxatn of the law.

A BRIEF HISTORY OF LBIAN, GAY, BISEXUAL, AND TRANSGENR SOCIAL MOVEMENTS

And Bra over the last 20 years wrers such as Bryony Lavery, Phyllis Nagy (who is Amerin by birth), Kev Elyot, Alexi Kaye Campbell, Samuel Adamson, Mark Ravenhill and many others have all alt openly and explicly wh gay what is there to pla about an era when plays cludg Ravenhill's Mother Clap's Molly Hoe and Alan Bent's The Hab of Art occupy the stag of London's Natnal Theatre, when mils such as La Cage x Foll be prof wh preachg sexual tolerance and when specialised ftivals, offerg gay plays to primarily gay dienc, ntue to thrive? It's also a ltle-noticed fact that when Gregory Doran assum ntrol of the Royal Shakpeare Company 2013 two of our big natnal pani will, for the first time ever, be n by gay I would like to see, however, are more plays on the Khner-Ravenhill mol which al wh sexualy a wir polil ntext. I jt wish more gay dramatists would rise to the challenge, so eagerly grasped by fictn wrers, of relatg personal dilemmas to public read: Not In Front of the Audience: homosexualy on stage by Nicholas Jongh (2002) Le of Bety by Alan Hollghurst (2004), for the nnectn mak between sexualy and the state of the natn.

WHY WE STILL NEED GAY THEATRE

In 1964, spe a social climate of homophobia that pervad Amerin life for the send third of the 20th century, two one-act plays prented Off-Off-Broadway at the Caffe Co revolutnized how gay characters uld be reprented theatrilly.

GAY RIGHTS MOVEMENT

We uldn’t jt log on to the ter or turn on the televisn to fd reprentatns of ourselv, we had to triangulate and hypothize om half-hts and sual pretory remarks by New York wrers about Greenwich Village parti and ffeeho that wh an only half-discerned arty Bohemian environment there might possibly be a ltle more acceptance of homosexuals. In tanm wh the work of activist polil groups, which had begun anizg the late 1950s, the wrers at the Caffe Co—wh their wild talents for turng fantasy to theatril realy for their untercultural dienc—metaphorilly gave birth to the ncept of “gay liberatn. LANFORD WILSON and Robert Patrick were not unaware that their impulse to wre plays about openly gay characters was chartg new terrory, as wns Wilson’s “thor not” to “The Madns of Lady Bright”: “I believe the ia of the play shocked me.

By reversg the prumptn of heterosexualy as origal tth, and puttg the “straight man” a posn which he mt expla his “foreign” sexualy to a gay man, the playwright language to unrme the heterosexist perceptn of realy. However, throughout 150 years of homosexual social movements (roughly om the 1870s to today), lears and anizers stggled to addrs the very different ncerns and inty issu of gay men, women intifyg as lbians, and others intifyg as genr variant or nonbary. Such eyewns acunts the era before other media were of urse riddled wh the bias of the (often) Wtern or Whe observer, and add to beliefs that homosexual practic were other, foreign, savage, a medil issue, or evince of a lower racial hierarchy.

The European powers enforced their own crimal s agast what was lled sodomy the New World: the first known se of homosexual activy receivg a ath sentence North Ameri occurred 1566, when the Spanish executed a Frenchman Florida. Biblil terpretatn ma illegal for a woman to wear pants or a man to adopt female drs, and sensatnalized public trials warned agast “viants” but also ma such martyrs and hero popular: Joan of Arc is one example, and the chillg origs of the word “faggot” clu a stick of wood ed public burngs of gay men. Their wrgs were sympathetic to the ncept of a homosexual or bisexual orientatn occurrg naturally an intifiable segment of humankd, but the wrgs of Krafft-Ebg and Ellis also labeled a “third sex” generate and abnormal.

A BRIEF HISTORY OF GAY THEATER, THREE ACTS

The blu mic of Ain-Amerin women showsed varieti of lbian sire, stggle, and humor; the performanc, along wh male and female drag stars, troduced a gay unrworld to straight patrons durg Prohibn’s fiance of race and sex s speakeasy clubs.

This creasg awarens of an existg and vulnerable populatn, upled wh Senator Joseph McCarthy’s vtigatn of homosexuals holdg ernment jobs durg the early 1950s outraged wrers and feral employe whose own liv were shown to be send-class unr the law, cludg Frank Kameny, Barbara Gtgs, Allen Gsberg, and Harry Hay. Awarens of a burgeong civil rights movement (Mart Luther Kg’s key anizer Bayard Rt was a gay man) led to the first Amerin-based polil mands for fair treatment of gays and lbians mental health, public policy, and employment.

In 1951, Donald Webster Cory published “The Homosexual Ameri, ” assertg that gay men and lbians were a legimate mory group, and 1953 Evelyn Hooker, PhD, won a grant om the Natnal Instute of Mental Health to study gay men. Fstrated wh the male learship of most gay liberatn groups, lbians fluenced by the femist movement of the 1970s formed their own llectiv, rerd labels, mic ftivals, newspapers, bookstor, and publishg ho, and lled for lbian rights mastream femist groups like the Natnal Organizatn for Women.

THE GAY AND LBIAN THEATRIL LEGACY

And polil actn explod through the Natnal Gay and Lbian Task Force, the Human Rights Campaign, the electn of openly gay and lbian reprentativ like Elae Noble and Barney Frank, and, 1979, the first march on Washgton for gay rights.

The creasg expansn of a global LGBT rights movement suffered a setback durg the 1980s, as the gay male muny was cimated by the Aids epimic, mands for passn and medil fundg led to renewed alns between men and women as well as angry street theatre by groups like Aids Coaln to Unleash Power (ACT UP) and Queer Natn. In the same era, one wg of the polil gay movement lled for an end to ary expulsn of gay, lbian, and bisexual soldiers, wh the high-profile se of Colonel Margarethe Cammermeyer publicized through a ma-for-televisn movie, “Servg Silence. Wh greater media attentn to gay and lbian civil rights the 1990s, trans and tersex voic began to ga space through works such as Kate Boernste’s “Genr Outlaw” (1994) and “My Genr Workbook” (1998), Ann Fsto-Sterlg’s “Myths of Genr” (1992) and Llie Feberg’s “Transgenr Warrrs” (1998), enhancg shifts women’s and genr studi to bee more clive of transgenr and nonbary inti.

A wealth of work me the followg two s that fed the gay experience of HIV and AIDS wh artists such as Neil Bartlett and plays cludg Robert Chelsey’s Night Sweat, Larry Kramer’s The Normal Heart (the first play about AIDS the Wt End), Ja Hood and Bill Rsell’s Elegi for Angels, Punks and Ragg Queens as well as Tony Khner’s monumental Angels Ameri. The Drill Hall ntued to be a centre for LGBTQ+ shows, cludg work om performance artists Djola Bernard Branner, Brian Freeman and Eric Gupton, otherwise known as Pomo Ao Homos (Postmorn Ain Amerin Homosexuals) – their show Fierce Love played at the venue 1992. My more succsful works have been, for simplicy's sake, what I'll ll queer theatre – not bee I cid to sh on the "pk pound" or ri the fundg pony, but bee I feel I had somethg to say about what means to be queer – somethg I was not hearg Todd's recent article discsg the lack of gay theatre Brighton received a lot of outspoken ments.