Recovers the hidden history of theater professionals who transgressed the gendered expectations of their time

This intriguing, authoritative book tracks stage representations of lesbians and gay men from Oscar Wilde to the present day and examines scores of British and American plays and playwrights, including works by Wilde, Maugham, Coward, Hellman, O'Neill, Le Roi Jones, and Joe Orton.

(Applause Books). Applause Theatre & Cinema Books is proud to announce the publication of the first collected anthology of gay and lesbian plays from the entire span of the twentieth century, sure to find wide acceptance by general readers and to be studied on campuses around the world. Among the ten plays, three are completely out of print. Included are The God of Venegeance (1918) by Sholom Ash, the first play to introduce lesbian characters to an English-language audience; Lillian Hellman's classic The Children's Hour (1933), initially banned in London and passed over for the Pulitzer Prize because of its subject matter; and Oscar Wilde (1938) by Leslie and Sewell Stokes, a major award-winning success that starred Robert Morley. More recent plays include Mart Crowley's The Boys in the Band (1968), the first hit "out" gay play that was the most realistic and groundbreaking portrayal of gays on stage up to that time; Martin Sherman's Bent (1978), which daringly focused on the love between two Nazi concentration camp inmates and starred Richard Gere; William Hoffman's As Is (1985), which was one of the first plays to deal with the AIDS crisis and earned three Tony Award nominations; and Terrence McNally's Love! Valour! Compassion! (1994), which starred Nathan Lane and won the Tony Award for Best Play. The other plays are Edouard Bourdet's The Captive (1926), Ruth and Augustus Goetz's The Immoralist (1954) and Frank Marcus' The Killing of Sister George (1967). Forbidden Acts includes a broad range of theatrical genres: drama, tragedy, romance, comedy and farce. They remain vibrant and relevant today as a testament of art's ability to persevere in the face of oppression.

Against queer theory's long-suffering romance with mourning and melancholia and a national agenda that urges homosexuals to renounce pleasure if they want to be taken seriously, Acts of Gaiety seeks to reanimate notions of "gaiety" as a political value for LGBT activism by recovering earlier mirthful modes of political performance. The book mines the archives of lesbian-feminist activism of the 1960s–70s, highlighting the outrageous gaiety—including camp, kitsch, drag, guerrilla theater, zap actions, rallies, manifestos, pageants, and parades alongside "legitimate theater”-- at the center of the social and theatrical performances of the era. Juxtaposing figures such as Valerie Solanas and Jill Johnston with more recent performers and activists including Hothead Paisan, Bitch and Animal, and the Five Lesbian Brothers, Sara Warner shows how reclaiming this largely discarded and disavowed past elucidates possibilities for being and belonging. Acts of Gaiety explores the mutually informing histories of gayness as politics and as joie de vivre, along with the centrality of liveliness to queer performance and protest.

Passing Performances gathers a range of critical and biographical essays on notable personalities whose major contributions to the stage occurred before 1969, the year of the Stonewall riots that kicked off the gay rights movement in the United States. How these theater practitioners variously "passed"-- i.e., managed unconventional sexual inclinations both on- and offstage--significantly determined the course of their personal and professional lives and thus the course of U.S. theater history. The actors, directors, producers, and agents examined here include Edwin Forrest, Charlotte Cushman, and Adah Isaacs Menken, whose personal lives and careers traded on the same-sex erotics of "true love" in the antebellum period; Elisabeth Marbury, Elsie de Wolfe, Elsie Janis, Nance O'Neil, and Alla Nazimova, whose intimate female liaisons were variously interpreted around the turn of the century; the "lavender marriages" of Alfred Lunt to Lynne Fontanne and Guthrie McClintic to Katharine Cornell; the lesbian collaborations of Margaret Webster and Cheryl Crawford; the comic antics of Monty Woolley, which negotiated codified constructions of homosexual perversion in the post-Freudian interwar years; and the on- and offstage performances of Mary Martin and Joe Cino, which resisted the paranoid enforcements of heterosexual normality in the McCarthy era. Central to these investigations are the complex connections of performances of sexuality and gender and their different implications for men and women practitioners working under pervasive sexism and homophobia. The volume also includes striking archival photographs of the performers and their performances, and an index to facilitate the cross-referencing of subjects' intersecting careers. Passing Performances will engage both general and academic readers interested in theater, gay and lesbian history, American studies, and biography. Robert A. Schanke is Professor of Theatre and Chair of the Division of Fine Arts, Central College, Iowa. Kim Marra is Associate Professor of Theatre Arts, University of Iowa.

The “villainous homosexual” has long stalked America’s cultural imagination, most explicitly in the figure of the queer murderer, a character in dozens of plays. But as society’s understanding of homosexuality has changed, so has the significance of these controversial characters, especially when employed by LGBT theater artists themselves to explore darker fears and desires. Murder Most Queer examines the shifting meanings of murderous LGBT characters in American theater over a century, showing how these representations wrestle with and ultimately subvert notions of gay villainy. Murder Most Queer works to expose the forces that create the homophobic paradigm that imagines sexual and gender nonconformity as dangerous and destructive and to show how theater artists—and for the most part LGBT theater artists—have rewritten and radically altered the significance of the homicidal homosexual. Jordan Schildcrout argues that these figures, far from being simple reiterations of a homophobic archetype, are complex and challenging characters who enact trenchant fantasies of empowerment, replacing the shame and stigma of the abject with the defiance and freedom of the outlaw, giving voice to rage and resistance. These bold characters also probe the darker anxieties and fears that can affect queer lives and relationships. Instead of sentencing them to the prison of negative representations, this book analyzes the meanings in their acts of murder, confronting the real fears and desires condensed in those dramatic acts.

Stagestruck: theater, AIDS, and the marketing of gay America.

Documenting the explosion of contemporary gay and lesbian theater, this bibliography provides a single reference for American gay and lesbian plays, playwrights, and companies, containing listings for more than 700 plays whose primary characters or themes are gay or lesbian. In addition to authors, titles, and synopses, the entries include information about acts, characters, settings, and music. Appendices provide data on how the plays can be obtained, a list of theaters that produce works with gay/lesbian themes, names and addresses of playwrights and agents, a list of related references, and a matrix for the quick location of plays that meet certain criteria. Indispensable for repertory companies, producers, directors, actors, and scholars.

Recovers the hidden history of theater professionals who transgressed the gendered expectations of their time

The Queerest Art rereads the history of performance as a celebration and critique of dissident sexualities, exploring the politics of pleasure and the pleasure of politics that drive the theatre.