Rsia lnch homophobic ‘gus who’s gay’ realy TV petn

Contents:

• 1964: THE BIRTH OF GAY THEATER
• THE 5 BEST MOSW GAY CLUBS & BARSSEE ALL THGS TO DOGAY CLUBS & BARS MOSW
• RSIA LNCH HOMOPHOBIC ‘GUS WHO’S GAY’ REALY TV PETN
• GAY MOSW · CY GUI

1964: THE BIRTH OF GAY THEATER

IF “GAY THEATER” is fed as beg by, for, and about uncloseted gay people, then 2014 arguably marks the 50th anniversary of the genre’s existence. 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.

THE 5 BEST MOSW GAY CLUBS & BARSSEE ALL THGS TO DOGAY CLUBS & BARS MOSW

Produced a readg of “Hnted Host” 2008 an eveng honorg Robert Patrick for his ntributn to gay theater over the past five s. The plays marked a major cultural turng pot, nsirg the outright censorship that gay playwrights faced the precedg s.

At the height of the Pansy Craze the late 1920s, Mae Wt penned The Drag, a “social problem” play that argued for sympathetic treatment of homosexuals. Dranian measur om Cy Hall, cludg the passage of New York Cy’s 1927 “padlock bill, ” prohibed homosexual subject matter on the Broadway stage.

A few years later, the Hays Co of 1934 banned imag of homosexualy on the Hollywood screen.

RSIA LNCH HOMOPHOBIC ‘GUS WHO’S GAY’ REALY TV PETN

Consequently, censorship of gay them theater and film was the norm the U. Although Doric Wilson had wrten gay characters historil settgs for the Caffe Co as early as 1961 (Now She Danc!

Satirized the trial of Osr Wil sympathetilly), the Wilson and Patrick one-acts were unique that both featured gay characters set the prent time who were not only open, but boisteroly fiant. Beatniks, homosexuals, and alienated artists like Patrick were flockg to the Village om all over the untry the late ‘50s.

GAY MOSW · CY GUI

He emphasized the reprsed liv that most gay people led ral Ameri durg those years, and the extent to which most reprentatns offered were negative on:.

I was a southwtern art fairy, and gays outsi major ci had to live totally unrground liv back then. People more remote parts of the untry were vaguely aware of the gay culture New York Cy, but an extremely negative way. 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.

The Co fulfilled the dream of a Bohemian enclave, and at the same time startled wh s undreamed-of possibily of gay aterny as well. As Patrick observed, the ncept of “gay liberatn” didn’t exist at the time the early plays were performed. 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.