Nick Hern Books
Type: Text

Frances Poet's play Adam is the true story of a young trans man, Adam Kashmiry, making the journey from his native Egypt to Scotland, across borders and genders, in his search for a place to call home. It was conceived by Cora Bissett and first performed, with Adam Kashmiry playing the part of himself, at the Traverse Theatre, Edinburgh, as part of the Made in Scotland Showcase, on 6 August 2017 (previews from 30 July), presented by the National Theatre of Scotland, winning a Fringe First award.

In the play, the central figure of Adam Kashmiry is represented as two distinct but complementary characters, Egyptian Adam and Glasgow Adam, 'two sides of a single coin'. Together they narrate the story of Adam's realisation of his true identity while growing up in Egypt, his decision to leave his native country, his journey from there to a cramped room in Glasgow, and his ongoing struggle to assume his new identity as a man.

The premiere production was directed by Cora Bissett with music by Jocelyn Pook and set and costume design by Emily James. It was performed by Neshla Caplan and Adam Kashmiry, featuring a recording of Myriam Acharki as Adam’s mother, and additional recorded performances from Rylan Gleave, Harry Knights, Juliana Yazbeck, Umar Ahmed, Adam Buksh and Nafee S. Mohammed.


Bloomsbury Publishing
Type: Text

Babies is a warm-hearted, buoyant and very funny comedy about homosexuality and judgement in a working-class setting.

Liverpudlian Joe Casey is twenty-four and a form tutor at a south-east London comprehensive. Alternately advising and battening down a group of fourteen-year-olds with a mixture of naivety and Scouse nous, Joe keeps his homosexuality a secret from the insult-slinging Year Nines. At home, he is flummoxed by his partner Woody’s reliance on drugs. Then there is a pupil’s birthday party to negotiate: Joe must fend off the advances of her rapacious, wisecracking mum, only to find himself entangled with her uncle.

Based on Harvey’s own experiences as a teacher, but with a comic spring in its step, Babies premiered at the Royal Court Theatre in 1994.

Banana Boys

Nick Hern Books
Type: Text

Evan Placey's Banana Boys is a play about the challenges of being on the school football team – and secretly gay. It was commissioned by Hampstead Theatre’s youth theatre company, heat&light, and first performed at Hampstead Theatre, London, on 9 December 2011.

The play revolves around the friendship between two sixteen-year-old boys, Calum and Cameron, who become obsessed with American girl-group, The Banana Girls.

In an introduction to the published script in Girls Like That and other plays for teenagers (Nick Hern Books, 2016), Placey writes: 'Growing up queer there weren’t many young gay role models to look up to. So instead I looked up to music divas. I’m not sure what it was, but there was something about their power, their confidence, and their absolutely being at ease in their own skin that left me in awe. And so the opportunity to create my very own group of divas, The Banana Girls, was irresistible. My favourite films as a teen were the romcoms, except the queer characters didn’t exist in them, never mind being forefront. So it was my chance to rectify the past.'

The Hampstead Theatre premiere was directed by Debra Glazer and designed by Robbie Sinnott. It was performed by members of heat&light youth theatre.

Beautiful Thing

Bloomsbury Publishing
Type: Text

Upliftingly optimistic, Harvey’s play about two teenage boys falling in love refuses melodramatic clichés to offer a story bright with sensitivity, pathos and wit.

Sixteen-year-old Jaime lives with his mum Sandra and her younger boyfriend in a low-rise block of flats in Thamesmead, London. Living next door is the rowdy Leah, who has been expelled from school and spends her days sunning herself and listening to Mama Cass. And on the other side is Ste, also sixteen. His father’s anger means that he often hides out in Jaime and Sandra’s flat, spending the night there to escape being beaten. Ste and Jaime start off top-and-tailing in Jaime’s bed, since there’s nowhere else to sleep, and Harvey unfolds their tentative, awkward relationship with delicacy and with joy.

Beautiful Thing’s crisply authentic dialogue darts between aching, soul-searching emotion and sharp winning comedy, perfectly capturing the thrill of a first love. Beautiful Thing was first performed in 1993 at the Bush Theatre, London.

The Best Brothers

Playwrights Canada Press
Type: Text

Bunny Best has met her unfortunate end after a mishap at a Gay Days parade. Now her two sons, Kyle and Hamilton, have the task of arranging her funeral and caring for her most beloved companion, a troublesome Italian greyhound named Enzo. In the bustle of obituary-writing, eulogy-giving and dog-sitting, sibling rivalry quickly reaches its peak and years of buried contentions surface.

Boom Bang-A-Bang

Bloomsbury Publishing
Type: Text

It’s 1995, it’s the Eurovision Song Contest and Lulu’s ‘Boom Bang-a-Bang’ is the soundtrack to this exuberant conjuration of a Eurovision party that starts as camp and ends as farce, though there is a real power to Harvey’s discussion of sexuality.

Norman the lonely neighbour upstairs is trying every trick in the book to get himself invited to the party, but it is strictly for close friends only. In fact, it’s really just for people who knew Michael, Lee’s deceased boyfriend, as the couple used to host the best Eurovision parties and Lee wants to honour his memory. But most of his friends have opted for a rival party, and so Lee is left with his sister Wendy, the camp and irrepressible Steph, the gorgeous raver Roy, and the sparring couple Nick and Tanya. And the evening he had planned, full of kitsch, Bucks Fizz and douze points, goes astray amid the covert love affairs, accidental fires, memories and tears.

Boom Bang-A-Bang was first performed in 1995 at the Bush Theatre, London.


Bloomsbury Publishing
Type: Text

In 1960s Liverpool Tom and Billy hide their love in the closet, then go their separate ways. As pits close and the dole queues grow, Mickey and Russell escape to find Heaven in 1980s London. But today the paparazzi turn judge and jury over a love story that could tear this family apart. Then a grieving mother gets lost up a mountain, with a vicar for some dubious consolation.

A deeply moving, funny, uplifting and often magical story about love, honesty and being brave enough to sing out at the top of your voice. With style.

Canary premiered at the Liverpool Playhouse on 23 April 2010 in a production by Liverpool Everyman and Playhouse, English Touring Theatre and Hampstead Theatre.

Care Takers

Aurora Metro Books
Type: Text

Ms Lawson, a new teacher at Newall South High School, believes Jamie Harrow is being bullied because he's gay. She wants to help but Mrs Rutter, the Deputy Head, thinks it will sort itself out. Is Mrs Rutter speaking from experience or is there something more unsavoury about her uncaring attitude? A battle royale occurs between youthful idealism and the system that evolves to choke it.

Most plays that deal with homophobia in schools look at the children in the playground, but what happens when the people in charge of our children are homophobic? Care Takers is an intense two-hander that follows a new teacher who tries to do something about one of her pupils who is being bullied for being gay.

Homophobia remains a fault-line in our society and especially in our multicultural, inner-city schools where original research undertaken by writer Billy Cowan showed these tensions are still very real. The play shows how complicated things have become for teachers in these schools when it comes to dealing with homophobic bullying, and how vulnerable young gay people still are in these environments – especially if the system gets in the way of their safety.

Includes Teachers' Resources to aid structured discussion and exploration of the themes raised in schools, colleges and beyond. Care Takers is part of an Edge Hill University (Birmingham, UK) research project on homophobia; and can be used as a source text for all those interested in the impact of creative practices in health, psychological well-being and enhancing social inclusion of people (hospitals, social and community centres, mental health centres, schools, and museums).

Certain Young Men

Faber and Faber
Type: Text

What are two grown men doing living together faking all the stupidities of a fake straight relationship?

A sharp and poignant comedy of contemporary manners, Certain Young Men explores the lives of Stewart and Michael, David and Christopher, Andrew and Tony, and Robert and Terry.

Certain Young Men premiered at the Almeida Theatre, London, in January 1999.

Coming Clean

Nick Hern Books
Type: Text

Coming Clean, Kevin Elyot’s first professionally produced play, looks at the breakdown of a gay couple’s relationship and examines complex questions of fidelity and love. It was first performed at the Bush Theatre, London, on 3 November 1982.

The play is set in a flat in Kentish Town, north London, in 1982. Struggling writer Tony and his partner of five years, Greg, seem to have the perfect relationship. Committed and in love, they are both open to one-night stands as long as they don’t impinge on the relationship. But Tony is starting to yearn for something deeper, something more like monogamy. When he finds out that Greg has been having a full-blown affair with their cleaner, Robert, their differing attitudes towards love and commitment become clear.

In his foreword to Kevin Elyot: Four Plays (Nick Hern Books, 2004), Elyot writes 'From 1976 to 1984 I'd acted in several productions at the Bush Theatre, and Simon Stokes, one of the artistic directors, had casually suggested I try my hand at a play. I presented them with a script entitled Cosy, which was passed on to their literary manager Sebastian Born. He responded favourably and, largely through his support, it finally opened on 3 November 1982 under the title Coming Clean. Cosy had fallen out of favour – a pity, as I'd always liked the pun on the opera which plays such an important part. I came up with the present title as a necessary compromise after what had proved to be quite a bumpy ride from acceptance to premiere.'

The Bush Theatre premiere was directed by David Hayman and designed by Saul Radomsky. The cast was Eamon Boland, C.J. Allen, Philip Donaghy, Ian McCurrach and Clive Mantle.

Coming Clean won the Samuel Beckett Award for writers showing particular promise in the field of the performing arts.

Death and Dancing

Bloomsbury Publishing
Type: Text

In a spiky, angry duologue between ‘She’ and ‘He’, Dowie interrogates the labels with which society constricts everyone – gay, lesbian, straight, man, woman.

‘He’ has come over from America to study at a London University, and is out and proud, but he might fancy ‘She’ a bit. Particularly when ‘She’ is wearing a leather jacket, and making him wear a dress, because ‘She’ is determined to be anything she wanted to be, and wants to show him that you don’t have to be feminine or be masculine or wear a costume or buy a suit. Death and Dancing is about two people going dancing and the social categories of sexuality which try to pin them down.

Death and Dancing was first presented in 1992 in Honolulu, Hawaii.

Drag Act

Bloomsbury Publishing
Type: Text

Drag Act is a proud and punchy monologue spoken by Rose, a fifty-two year old lesbian who can’t stand being told how she should dress. She was told by her mother that she should be more girly and feminine, and now she finds she’s being told that she’s letting down ‘the Cause’ by wearing trousers; she’s sick of people thinking she’s trying to be a man. So she’s reluctant when her new younger girlfriend Sarah insists they go to a drag club for her birthday, until she realises that among the sequins and the feathers are people just like her.

Drag Act was first presented in 1993 at the Grand Theatre, Blackpool.


Bloomsbury Publishing
Type: Text

You know what would really fuck them off? If you went out there and found the least suitable, most inappropriate, most outrageous hunk of a man that this fine city has to offer, and the pair of you rock up to that church service in May, arm in arm.

Seán is feeling wronged because his boyfriend Tim has been excluded from a family wedding back home in Ireland. What does it matter that they've just broken up? The problem for his family is that Tim is femme, fabulous and worst of all, English. Spurred on by righteous anger, Seán is determined to do something about it.

As Greek myths, hook-up apps, and the musical stylings of Sinéad O'Connor collide, Seán launches into his hunt for the most disruptive plus-one possible.

First Episode

Nick Hern Books
Type: Text

Terence Rattigan’s professional debut as a playwright, First Episode was co-authored with his fellow undergraduate Philip Heimann whilst they were both studying at the University of Oxford. It was first performed at the Q Theatre, Kew, London, on 11 September 1933. It subsequently transferred (with a slightly revised text) to the West End, opening at the Comedy Theatre on 19 January 1934, where it enjoyed a moderately successful run.

The play is set in a thinly disguised Oxford. With three weeks to go before their final exams, its main characters gamble, booze and are heavily involved in a production of Shakespeare's Antony and Cleopatra. The drama stems from the fact that Tony, the show’s director and male lead, is besotted by his imported professional co-star, Margot Gresham. The mature Margot, however, makes a far bigger investment in their affair than Tony and, when things unravel, she realises her lover’s closest bond is with his oldest friend, David.

As Rattigan scholar Dan Rebellato writes in his introduction to his edition of the play (Nick Hern Books, 2011), 'The story has, in some ways, a very conventional shape: it is a love triangle. Usually, such stories involve two men as rivals for the love of a woman, or perhaps two women competing for the love of a man. In First Episode, we see a man and a woman, David and Margot, battling for the love of a man, Tony.'

The play’s frank (for the times) depiction of undergraduate life, and its homosexual subtext, provoked outrage in some quarters, and Rattigan was forced to make some changes and deletions to satisfy the requirements of the Lord Chamberlain, British theatre’s official censor. This definitive edition, prepared by Dan Rebellato from the six extant versions of the play, restores most of those deletions, while aiming to offer the most coherent and satisfying version of the play.

The Q Theatre premiere was directed by Muriel Pratt and performed by Max Adrian, Owen Griffith, Noel Dryden, Meriel Forbes-Robertson, Patrick Waddington, Rosalinde Fuller, Vincent King and Robert Syers.

Joining the cast when it transferred to the Comedy Theatre were Angus L. MacLeod, William Fox, Barbara Hoffe and Jack Allen.

The play received its US premiere at the Ritz Theatre, New York, on 17 September 1934 in a production directed by Haddon Mason.

Gently Down the Stream  

Bloomsbury Publishing
Type: Text

Beau, a pianist expat living in London, meets Rufus, an eccentric young lawyer, at the dawn of the internet dating revolution. After a life spent recovering from the disappointment and hurt of loving men in a world that refused to allow it, Beau is determined to keep his expectations low with Rufus.

But Rufus comes from a new generation of gay men who believe happiness is as much their right as anyone else's, and what Beau assumed would be just another fling grows into one of the most surprising and defining relationships of his life.

A remarkably moving, brilliantly funny love story, Gently Down the Stream is the latest play from acclaimed playwright Martin Sherman. The play reflects the triumphs and heartbreaks of the entire length of the gay rights movement, celebrating and mourning the ghosts of the men and women who led the way for equality, marriage and the right to dream.

It received its world premiere at the Public Theatre, New York, on 14 March 2017 in a production starring Tony-award winner Harvey Fierstein.

A Hard Rain

Nick Hern Books
Type: Text

Jon Bradfield and Martin Hooper's A Hard Rain is a play about a key moment in the history of gay rights, set in New York in the weeks leading up to the Stonewall riots in 1969. It was first performed on 26 February 2014 at Above the Stag Theatre, London, a fringe theatre with a focus on producing LGBT-themed theatre. Above the Stag Theatre had previously staged several adult pantomimes written by Bradfield and Hooper.

The play's action takes place mostly in New York City in June 1969. It centres around a seedy, illicit gay bar in Greenwich Village owned by the mafia. Kicked out of the military after a year in Vietnam, cross-dressing Ruby (male, aged 26) winds up in Greenwich Village with no prospects. There he meets Jimmy, an abused, cheeky 16-year-old street kid who will change his world.

The premiere production was directed by Tricia Thorns and designed by David Shields. It was performed by Nigel Barber, Stephanie Willson, Michael Edwards (as Ruby), Rhys Jennings, Oliver Lynes and James El-Sharawy (as Jimmy).

Hushabye Mountain

Bloomsbury Publishing
Type: Text

Danny is a young man, waiting to be let into heaven. There seems to be some difficulty about it, but Judy Garland reassures him as she passes by in a boat full of stars. Away from the dreamlike and unexpected version of the afterlife, the people who were closest to Danny struggle with his death from AIDS. His partner Connor is flattened by grief, and groping awkwardly towards a new relationship. Connor’s brother Lee and his wife Lana, who was Danny’s best friend, find their new marriage overshadowed by the hole Danny's absence has left in their lives. And Danny’s mother Beryl, who had kept in contact via increasingly paranoid letters after Danny’s father disowned him, is now in a mental hospital and being updated by Judy Garland about her son’s progress towards heaven.

First performed in 1999 at the Lyceum Theatre, Crewe, Hushabye Mountain reveals a world that has learned to live with AIDS. It is a world full of love, pain, laughter and friendship, where drugs in their various combinations are exhilarating, destructive, costly and even life restoring.

If We Got Some More Cocaine I Could Show You How I Love You

Bloomsbury Publishing
Type: Text

Halloween. A small town in the west of Ireland. There’s a party to get to and Mikey and Casey have everything they need . . . Booze. Cash. Drugs. Each other. The only problem is they’re stuck. Stuck on a roof. Stuck together. And as they wait for the Guards to stop circling the house, they find out there are some truths you just can’t climb down from. A raucous and unlikely romantic drama, twenty feet up.

I have AIDS!

Playwrights Canada Press
Type: Text

Following Prodon through the five stages of acceptance – Denial, Partying, Loss of Control, Religious Conversion and Acceptance – I have AIDS! pops in and out of monologues with Prodon and into scenes with Lady Booty, an outrageous drag queen, Ron, a man who has made AIDS his personal religion and the ever-supportive Vidor, each giving their own advice on how to take the news. A black comedy like no other, I Have AIDS! is a play about gay men who are neither tragic nor sad, and we are led to laugh with them, not at them.

Leaking From Every Orifice

Bloomsbury Publishing
Type: Text

Leaking From Every Orifice is a forthright monologue about motherhood, told by a woman who thinks womanhood is crap, and being a mother is insufferable. The story begins, she tells us, when she was performing Dowie’s own earlier play about gender, Why Is John Lennon Wearing A Skirt?, and she met an old friend who hated the play. Being a mother and having the capacity to nurture, said the old friend, made everything else unimportant. So Leaking From Every Orifice is the story of how a lesbian became pregnant with a gay man, and struggled through nauseating baby-books and patronising antenatal classes to discover for herself what motherhood means.

Leaking From Every Orifice was first presented at the 1993 Bisexual Conference, Nottingham.

The Mommiad

Playwrights Canada Press
Type: Text

Poetic and heartfelt, The Mommiad chronicles the relationship between a mother and her son, the ups and downs they shared, and the toll that alcohol and dementia would eventually take on Patricia Tucker Gilbert's life. Intimate and affirming, Sky Gilbert confirms the bond he shared with his mother, both in his own voice and through the voice of his alter ego, Jane. The Mommiad is lyrical and tragic and true, an artist's self-reflection and an endeavour to turn one woman's life into an artistic experience.

Mouth to Mouth

Nick Hern Books
Type: Text

Kevin Elyot's Mouth to Mouth is an intricately plotted drama about a man haunted by feelings of guilt and shame over an incident in his past. It was first performed at the Royal Court Theatre, London, on 1 February 2001.

Playwright Frank is suffering from AIDS. Having just been through a rather nasty eye operation, the play opens with him talking to his close friend, Laura. The serenity of the scene is interrupted by the ominous sound of a motorbike revving in the distance, before flashing back to Frank’s lunch the day before with his preoccupied doctor, Gompertz. He tries to confess to an incident from his past that is haunting him but can’t quite seem to find the right moment before we are hurled back in time once more to the incident in question. The play explores notions of guilt and death, as well as our inability to truly know even our closest acquaintances.

The Royal Court premiere was directed by Ian Rickson and designed by Mark Thompson, and performed by Michael Maloney, Lindsay Duncan, Adam Godley, Peter Wight, Andrew McKay, Lucy Whybrow and Barnaby Kay.

The production transferred to the Albery Theatre, London, on 17 May 2001.

My Night with Reg

Nick Hern Books
Type: Text

Kevin Elyot’s My Night with Reg follows the ups and downs of a circle of gay friends in London over a period of several years, and tackles with brutal honesty the impact that AIDS/HIV had on the gay community during its height in the 1980s, as well as examining the pain of unrequited love and the joy of friendship. The play was first performed at the Royal Court Theatre, London, on 31 March 1994 before transferring to the West End.

The play's action takes place over three scenes, all of them set in the living room of Guy’s flat in London: during Guy's flat-warming party (Scene 1); after Reg's funeral, some years later (Scene 2); and after Guy's funeral (Scene 3).

The group of friends, most of them in their thirties, meet at irregular intervals, often at Guy's place. Guy himself is a lonely man. Ever since their university days, he has had a crush on John, but he has never dared to tell him about it. Rather, he lives a solitary life, which he only spices up with phone sex and an occasional visit to a gay pub – that is where he meets 18 year-old Eric, who then helps him decorate his new flat. On holiday on the island of Lanzarote, he meets a gay man who eventually forces himself on Guy and has unprotected sex with him – the last thing Guy has been looking for. At his flatwarming party, he has just come back from his holiday and is still quite shocked about what happened. It is hard for him not to start crying when, as a present, John gives him a cookery book specialising in dishes for one.

The most popular member of the circle is Reg, who is conspicuously absent from the party (he doesn't in fact appear in the play at all). Reg has had a long-term relationship with Daniel, but Daniel himself suspects Reg of occasionally being unfaithful to him. In fact Reg seems to be sleeping with every man he can get hold of (even, it seems, with the vicar). In the course of the play, John, Benny and even his seemingly faithful companion Bernie have secret sex with Reg. Ironically, they all confide in Guy. It hurts Guy most to hear that John – whom he himself fancies – is having an affair with Reg, thus betraying their mutual friend Daniel. After his fling with Reg, Benny panics because he thinks he might have contracted HIV, but he does not confess it to his partner, Bernie.

When Reg is dying from AIDS, he is looked after by his partner, Daniel. Ironically again, the next one to die is Guy, the only one who has not had sex with Reg and who seems to have been infected with HIV when he was raped during his holiday in Lanzarote. Guy bequeaths his new flat to the love of his life, John, who does not need it at all because he comes from a rich background. In the final scene, John tells Eric that he has discovered a hoard of memorabilia in the flat dating back to his and Guy's student days. He realises – belatedly – that Guy was in love with him.

The Royal Court premiere was directed by Roger Michell and designed by William Dudley, with Anthony Calf as John, David Bamber as Guy, Joe Duttine as Eric, John Sessions as Daniel, Roger Frost as Bernie and Kenneth MacDonald as Benny.

The production transferred to the Criterion Theatre, London, on 15 November 1994, then to the Playhouse Theatre, London, on 27 June1995.

My Night with Reg won the Evening Standard and the Olivier Awards for Best Comedy and was later turned into a feature film directed by Roger Michell with a screenplay by Kevin Elyot, featuring the original Royal Court cast. The film was released in 1997.

The play was revived at the Donmar Warehouse, London, in July 2014, in a production directed by Robert Hastie.

Out in the Open

Bloomsbury Publishing
Type: Text

Out in the Open is a funny and honest exploration of love and the limits of friendship set over a long, hazily hot summer weekend in London.

It is six months after the death of Frankie, Tony’s partner, and Tony has brought home a younger man called Iggy from the pub. Tony is far from over Frankie’s death, but Iggy is really quite handsome and Tony wonders if it might be time to start moving on. But Frankie’s memory is being kept determinedly alive by his exuberantly eccentric mother Mary, who is always popping round with watermelons or flans for Tony. And there’s a secret that Tony’s best friends, the unemployed actress Monica and his lodger Kevin, should have told him a long time ago.

Out in the Open is a warm and emotional comedy looking at the different ways people deal with loss and betrayal. It premiered in 2001 at the Hampstead Theatre, London.

Over Gardens Out

Faber and Faber
Type: Text

Frustrated with the tedium of suburbia, mummy’s boy Dennis is drawn to Borstal boy Jeffry in a camaraderie that veers into volatile and unarticulated eroticism. Deftly depicting the frustrations of 1960s living, Over Gardens Out is a finely tuned sketch of friendship and family life.

Over Gardens Out by Peter Gill was first performed in the Theatre Upstairs at the Royal Court Theatre, London, on 5 August 1968.

Rupert Street Lonely Hearts Club

Bloomsbury Publishing
Type: Text

Jonathan Harvey’s heart-wrenching and hilarious play is about five people who are irrational, lonely, loving, a little bit crazy, and very real.

In the middle flat at 15 Rupert Street lives Shaun, a hairdresser whose girlfriend has gone to Barbados for a funeral. Staying with him while she’s away is his gay elder brother Marti, who practically brought him up. As Shaun says, he was weaned on queenery, and the brothers can perform the greatest scenes of gay cinema by heart.

Living downstairs is George, a secondary-school English teacher who can’t stop mentioning her ex-boyfriend. Living upstairs is the eccentric Clarine, or is it Zoe Wanamaker? Clarine’s identity is a little wobbly. And Shaun’s brought Dean over, a transvestite also known as Fifi Trixabelle La Bouche.

The group is rather a mis-matched one in the first place, and things only get worse when Shaun begins to go to pieces in his girlfriend’s absence, creating a moving and tender psychological drama, flecked with Harvey’s inescapable wit.

Rupert Street Lonely Hearts Club was first produced in 1995 at the Contact Theatre, Manchester.

St. Francis of Millbrook

Playwrights Canada Press
Type: Text

Being a teenager is hard, especially if you’re questioning your sexuality and growing up in rural Ontrio in the mid ’90s. Add to that a temperamental, homophobic father and a tenacious love for Madonna, and it’s almost unbearable. Despite it all, Luke loves working on the family farm, and at least he has the support of a group of local outsiders who invite him into their circle.

True Love Lies

Playwrights Canada Press
Type: Text

Sparking a series of further revelations, the sudden reappearance of David exposes suppressed emotions and desires in everyone and the family must renegotiate their relationships with each other and, ultimately, redefine their family. In sharp, non-stop dialogue, Brad Fraser brings each of his characters to life with a depth, humour, and emotion that tears open the nuclear family and finds the heart that is often lost and forgotten.

Twilight Song  

Nick Hern Books
Type: Text

Kevin Elyot's last play, Twilight Song was not performed until after his death in June 2014. It is a bittersweet drama tracing a single family’s hidden liaisons over half a century, exploring the pressures faced by gay men before and after the decriminalisation of homosexuality. It was first performed at Park Theatre, London, on 12 July 2017, in a production by Cahoots Theatre Company and David Sloan in association with Park Theatre.

The play takes place in the same sitting room of a Victorian villa in North London during the early summers of 1961, 1967 and the present day. In the first scene, set in the present, retired pharmacist Barry (now in his mid-fifties and living with his elderly mother, Isabella) shows the family home to estate agent Skinner, eventually succumbing to Skinner's sexual insinuations. The action then tracks back to an evening in 1961, when Barry's father Basil (played, according to a note in the script, by the same actor) was preparing to go out for supper at Le Caprice with the pregnant Isabella, his gay uncle Charles, and Charles's married lover, Harry. Charles and Harry have long had to keep their lust for each other a secret from the family. By 1967, the year of the Sexual Offences Act, Isabella feels free to make a confession to Charles about her sex life, while liberation has come too late for Charles and Harry.

The Park Theatre production was directed by Anthony Banks and designed by James Cotterill. It was performed by Philip Bretherton (as Harry), Adam Garcia (as Skinner/Gardener), Bryony Hannah (as Isabella), Paul Higgins (as Barry/Basil) and Hugh Ross (as Charles).

Twilight Song premiered at Park Theatre, London, in 2017.

Under Wraps

Playwrights Canada Press
Type: Text

The moment Mark meets David his world is thrown off balance. Who could have predicted finding love in a furniture store, or finding it with an unemployed lifeguard? But despite their immediate connection, Mark isn’t sure if David is gay. Mark isn’t even sure if Mark is gay. As he falls deeper in love, Mark works desperately to make David nothing more than a friend and to make that enough. Filled with hopeful exhilaration and devastating missed opportunities, Under Wraps nimbly tracks one man’s tumultuous quest to finally love himself and let it all out.

Vincent River

Bloomsbury Publishing
Type: Text

After her son, Vincent, is murdered in a homophobic attack, Anita must come to terms with her loss, and the hidden fact of his sexuality, an aspect of his identity that she had refused to countenance while he was alive.

This grief and acceptance is complicated by the arrival of Davey, a battered and bruised seventeen-year-old boy, who confesses to Anita that he cannot escape Vincent's ghost. Anita believes that Davey has come to admit to the murder, but it is a deeper crime, a crime of omission, that is haunting her son's lover.

Vincent River was first performed at the Hampstead Theatre, London, in 2000.


Faber and Faber
Type: Text

— And your husband forgave you. But what did you do? Decided that forgiveness was offensive and walked out on your marriage. With nothing. Into nothing.
— Into everything, I think.

It's 1959. Robert leaves Ibsen's A Doll's House outraged by its attack on the sanctity of marriage; his wife Daisy dashes round to the stage door, in love with both Nora and the actress who plays her, thrilled by their promise of escape.

Daisy is at the crossroads. Her moral compass tells her to go one way, society the other. What she chooses to do next will have consequences not just for her and Robert, but for four couples who come after them over ninety years.

The truth is we have to give up parts of ourselves if we want to be with someone. And what if, before you know this, you run away from the wrong person?

Samuel Adamson's Wife premiered at Kiln Theatre, London, in May 2019.

The York Realist

Faber and Faber
Type: Text

When the farm labourer George is cast in an amateur revival of the York Mystery Plays he meets the assistant director John. John wants George to move to London, where he is working in theatre. George’s final decision has repercussions for others as well as himself.

Peter Gill’s The York Realist is not only a finely drawn love story, it also makes us think about the depth of class allegiances, the strength of family, and the origins and ownership of art.

The York Realist was first performed by English Touring Theatre, starting at the Lowry in Salford Quays and moving to Bristol Old Vic in autumn 2001, before visiting the Royal Court Theatre, London, in spring 2002.

If ‘gay theatre’ is taken to mean plays written by and for homosexuals, then it is true that there was almost no ‘gay theatre’ before that produced in the aftermath of the gay liberation movement of the early 1970s. Such a definition, however, dismisses the formal variety of twentieth-century gay culture, and fails to take account of the specific contradictions and complications produced by the double movement of that culture since the beginning of the century. One direction of movement has been towards the elaboration of an autonomous subculture with its own sites and styles; the second, occurring simultaneously, has been towards the integration (often superficial and always troubled) of gay images, languages and individuals into the culture as a whole. Between these two ideals of autonomy and integration lies a spectrum of cultural operations devised by those who have supported, challenged, appropriated and exploited the existing order. It is within this spectrum that we must try to place a diversity of theatres – a glam drag act in a working-class pub, a radical drag version of Marlowe’s Dido, Queen of Carthage in a fringe arts venue, a lesbian comedy thriller in the same venue, a play about AIDS with a gay cast, a play about AIDS with a straight cast, Lindsay Kemp’s staging of A Midsummer Night’s Dream, a wildly camp version of Cocteau’s Oedipus staged by a leading gay actor in a respectable repertory theatre, a lesbian cabaret act, and an utterly straight staging of Otway’s Venice Preserv’d in which both director and star (playing one-half of an eighteenth-century ‘heroic friendship’) are gay men. The twentieth century has been a period of extraordinarily rapid social and cultural change for gay people, but within all this diversity and change one factor has remained until recently constant. The writing and production of theatre have remained largely male operations, and it is not until the early 1970s that the phrase ‘gay theatre’ can be honestly used to describe work by, for or about lesbian women as well as gay men.

The complications of what might be meant by the phrase ‘gay theatre’ pre-date the coining of the terms (and indentities) ‘homosexual’ and ‘gay’ in the late nineteenth century. The often homoerotic and always transvestite theatre of Marlowe, Shakespeare and Fletcher was attacked by contemporary critics such as Prynne as the home of catamites and Ganymedes; John Wilmot, Earl of Rochester, rewrote Fletcher’s Valentinian in the late 1670s as a maelstrom of confused desires whirling around an outspoken boy-loving emperor; Shadwell, Southerne, Dilke, Farquhar and Vanbrugh all exploited cross-dressing on stage at the same time as the development of an off-stage subculture by men who described themselves as mollies, meeting in private brothels and semi-public taverns in women’s clothes as part of their sexual and social life. By the turn of the nineteenth century, at the end of a 40-year period in which both the subculture and its collisions with the world of culture had produced increasingly confident gay styles, the distinctive features of the gay theatre of our own century had been set.

This formative period was not, however, characterized by a collective sense of gay culture. Few of the following artists active at that time would have been aware of each other’s work, or would have perceived themselves as differing practitioners within a single culture: Wilde, the most famously homosexual of all theatre artists, who never created a gay character – if we discount the page-boy in Salomé – but whoseobsessive demolition of polite sexual and social relations in works as diverse as The Importance of Being Earnest (1895) and La Sainte Courtisaine (unfinished) was surely profoundly informed by his observations from the perspective of a social and sexual outlaw; Diaghilev, who was about to commence the lifelong series of works created with and for his lovers Lifar, Massine, Dolin and Nijinsky; Malcolm Scott, billed as ‘The Woman who Knows’ in a series of drag routines at the London Pavilion in 1903; Julian Eltinge, the first, greatest and most successful of the Broadway drag queens, who crossed the Atlantic to play to royalty in 1906; John Gray and André Raffalovich, a homosexual couple, both published poets, whose play The Blackmailers portrays the strengthening of a male homosexual relationship under the pressure of a family melodrama and was produced by J. T. Grein at the Prince of Wales, London on 7 June 1894; John Todhunter, whose 1893 play The Black Cat decorates a standard marital crisis with a caricature of a homosexual dandy; or John B. Fuller, whose play At St Judas (New York, 1896) climaxes in the forced suicide of a best man in love with the groom at a society wedding.

All the categories of contemporary ‘gay theatre’ are there in that catalogue, with the exception of theatre created for rather than by or about gay people although Gray and Raffalovich may be seen as having written the first play clearly intended to hearten the gay people in its audience as well as educate its liberals and shock its conservatives.

The most continuous and the richest theatrical tradition built upon these early works has been that of the drag artists – though their work has been the least honoured and the least documented, because it is a popular (i.e. working-class) tradition, and is rarely dependent on scripts or playwrights. The least continuous – since each artist apparently attempts to reinvent theatrical language in isolation – has been the series of acknowledged ‘great artists’ who are recognized by the critical establishment as gay but whose work is rarely if ever ‘about’ gay characters or incidents. Williams, Cocteau, Genet, Lorca and Orton were not the product of some generalized ‘gay sensibility’, but each is similar to the others in that his work was decisively influenced by the language, role-playing, bitterness and need to either decisively conform to or disrupt conventions of the very different gay cultures in which he lived.

The ‘problem play’ is the most extensive section of any bibliography of gay theatre; it will include both plays in which homosexuality is a minor, decorative problem (The Black Cat) and plays in which ‘the problem of homosexuality’ is the main dramatic interest (The Blackmailers or Mart Crowley’s infamous The Boys in the Band, 1968). The popularity of the genre arises from the fact that incidental gay stereotypes or stereotyped gay incidents provide ample opportunity for the bestselling theatrical ingredients of sex, misery and disguise. Also, homosexuality as a construct is the site of many of the culture’s most-discussed social crises sexual licence and sexual identity, the conflicting demands of liberalism and conservatism, parenthood and marriage. It would be a mistake to see such plays as The Captive (Eduard Bourdet, 1926), Rope (Patrick Hamilton, 1929), The Children’s Hour (Lillian Hellman, 1934), A Taste of Honey (Shelagh Delaney, 1958), A Patriot For Me (John Osborne, 1965) and Staircase (Charles Dyer, 1966) as ‘merely’ commercial or exploitative. They rather form a genuine acknowledgement that the formation of homosexuality in the twentieth century has been inextricably mixed up with the formation of other controversial identities – the ‘nonconformist’, the ‘pervert’, the ‘independent woman’, the ‘virile’, ‘promiscuous’ or ‘effeminate’ man. Some ‘problem plays’ are sympathetic to or actually militant on behalf of homosexuals – Mae Wests’s 1927 The Drag or Sewell and Leslie Stokes’s Oscar Wilde (1936). Some are the work of homosexuals themselves: J. R. Ackerley’s Prisoners of War (1925), James Fugate (Barr)’s Game of Fools (1954), Roger Gellert’s Quaint Honour (1958). Others are cryptic or transposed homosexual works by authors unable or unwilling to write explicitly – the works of Coward, Rattigan and Maugham, for instance. The cryptic or implicit use of gay themes should not, however, be simplistically read as evidence of the author being ‘in the closet’. Somewhere in the category of ‘problem play’, for instance, one would have to locate the series of works by Brecht in which the ‘problem’ of an intense relationship between two men in love is used to expose and tear apart the workings of the society in which they live – Baal, In the Jungle of Cities, Edward II and Galileo – the portrayal of the hero and his beloved pupil in the latter surely influenced by Brecht’s collaboration with the great gay actor Charles Laughton.

The watershed of twentieth-century gay culture is 1969, the year in which the Stonewall riots in New York dramatized the beginning of the gay liberation movement. Before neatly dividing gay culture into ‘before’ and ‘after’ Stonewall, it is salutary to consider the scale and diversity of the earlier work and to remember that all of the cultural forms pre-dating gay liberation have survived and developed. On the London stage (London is used throughout as an example of the complex development which might be traced in any English-speaking or European metropolitan gay culture; not because it was the centre of or leader) in 1968, for instance, you would have been able to watch the following shows, all of them by or featuring homosexual women or men: Simon Gray’s Wise Child; Colin Spencer’s Spitting Image; Orton’s Loot; Shaffer’s Black Comedy; Peter Luke’s Hadrian the Seventh; John Bowen’s Trevor, with its depiction of a lesbian couple; Brecht’s Edward II; Wilde’s The Importance of Being Earnest; the National Theatre’s all-male production of As You Like It; Charles Marowitz’s production of Fortune and Men’s Eyes; Christopher Hampton’s Total Eclipse; Paddy Chayefsky’s The Latent Heterosexual; Lanford WIlson’s The Madness of Lady Bright; Edward Bond’s Early Morning, with its lesbian affair between Queen Victoria and Florence Nightingale; Benjamin Britten’s Peter Grimes; the musical Hair; drag queens Rogers and Starr in the Gaiety Box Revue; and Danny La Rue fronting his own drag club in Hanover Square as well as playing Dame in Sleeping Beauty at the Golders Green Hippodrome.

Gay liberation did, however, decisively disrupt this spectrum of theatrical forms, and indeed the meaning of the phrase ‘gay theatre’. First, and most importantly, it created a theatre which had not only gay writers, performers and producers but also a gay audience; a theatre not only by and about but also entirely for homosexuals. Although there had been explorations of the idea of playing to a gay audience in the club and cabaret culture of, for instance, the Harlem Renaissance and pre-Hitler Germany, this theatre had in fact never existed before. Second, it proposed that gay women and gay men should work together to create a radical gay culture. Third, its main political tactic, ‘coming out’ – ceasing to pretend, behaving in public as an evident homosexual – made the enormous number of plays in which straight writers and performers had made such a drama of speaking as or for gay people seem immediately dated and rather distasteful.

In six years (1971–7) the impact of gay liberation on London theatre produced a development of new forms from street theatre (the drag disruption of the Miss World contest in 1971) to the complex operations of an established gay company, Gay Sweatshop. Their work included influencing the establishment of venues friendly or dedicated to new gay work (INTER-ACTION, ICA, Oval House); extensive regional touring of radical community work; major new plays like Dear Love of Comrades by Noël Greig; commissioning work from established writers (Bond’s Stone); and moving into youth theatre work (Royal Court, 1977). All successive work in this area – the establishment of community companies; the continuing existence of fringe venues promoting radical gay work; the influence of gay writers and gay sexual politics on experimental theatre as a whole – has been built on their pioneering efforts. The United States and to a lesser extent Europe have also seen the parallel establishment of numerous venues, authors and companies dedicated to the gay audience both as a cultural and political ideal.

Later gay theatre was a continuation of the variety of older forms, complicated further by the intervention of gay liberation. The more-or-less exploitative ‘problem play’ remained, in several forms. Homophobic details and narratives continued to be common in mainstream film and television. An upmarket version of the old style is provided by the work of Peter Shaffer, whose highly successful plays The Royal Hunt of the Sun (1964), Equus (1973) and Amadeus (1979) all sensationally portray the obsessive admiration of an older man for a younger. Most interestingly, gay writers themselves are producing what are in effect problem plays – commercially successful character-dramas focused on popular and painful issues – which are also explicitly the polemic writings of gay authors: Michael Wilcox, Larry Kramer, Tony Kushner, William Hoffman, Martin Sherman. Noël Greig and Michelene Wandor produce work which brings to ‘issue’ drama the full richness of perspective of their involvement in gay and women’s liberation – the result of their early polemic work is, paradoxically, a theatre whose politics are expansive and wide-ranging, embracing multiculturalism and formal experiment as necessary results of the cracks first opened in the theatrical establishment by the demands of the new gay theatre. Drag continues to be a popular tradition, with its inimitable and vital mixture of artistic and political awfulness with rare artistry. It is still the most challenging and the most gay of our theatres; most importantly, it is the only art form which has actual premises – buildings and stages – dedicated to an exclusively gay public. The Broadway musical and the ballet both survive as art forms whose history has often been determined by gay performers and producers, which have a large gay male audience and whose iconography has been much loved and used by metropolitan gay male culture, but neither of which is thought of as ‘gay theatre’. Perhaps the most exciting work is that of those artists in whom the new confidence made possible by the expansion of the subculture, and by the radical politics of liberation, has collided head on with the older traditions of drag, vaudeville, cabaret and the sex industry. In the performances of Lindsay Kemp, Charles Ludlum (New York) and Bloolips (London), in the ballets of Michael Clark and the films of Derek Jarman there is a theatre which seems distinctively and uniquely gay. These spectacles have an uncompromising strength which isthe result of our liberation, an eccentricity which acknowledges that we are still outside of the culture and a gorgeousness which is motivated largely by a desire to avenge all the repression and gloom which others have sought to stamp on our culture. They propose a theatre which goes beyond the simple categories of a theatre by, for or about gay people, since they are not always about the ‘gay world’. They imagine, attack and talk about the world in gay language.

In the United States: Playwright Robert Patrick once quipped that a ‘gay play’ is one that ‘sleeps with other plays of the same sex’. His humour sidesteps an entrenched critical debate. Anthologies sporting such unambiguous titles as Gay Plays: The First Collection (1979, ed. William M. Hoffman), Out Front: Contemporary Gay and Lesbian Plays (1988, ed. Don Shewey) and The Actor’s Book of Gay and Lesbian Plays (1995, ed. Eric Lane and Nina Shengold) examine the term ‘gay play’ carefully: Must it denote the work of an openly gay author? Must it be written for primarily gay audiences? Must it have gay characters, or just gay subtext? Many gender theorists argue that the very term ‘gay’ is specious; sexuality manifests too fluidly for language to contain it.

There has, however, been little ambiguity in the American public’s animated consumption of ‘[male] gay plays’. Ever since Jazz Age heterosexuals thronged Greenwich Village cafeterias for ‘fairywatching’, US audiences have devoured male homosexuality. New York State law, which from 1927 to 1967 forbade theatrical treatment of ‘sex degeneracy, or sex perversion’, may have prevented Mae West’s The Drag (1927) from reaching Broadway; but soon thereafter West crashed New York with The Pleasure Man (1928), and its soaring ticket prices and heaving reviews revealed a public taste for forbidden gay spectacle. With its presentation of sinister effeminacy, the British import The Green Bay Tree (1933) by Mordaunt Shairp also thwarted New York law and allowed thousands of spectators ample opportunity for sordid sexual interpretation. Ironically, Robert Anderson, Tennessee Williams and Arthur Miller soon profited by Senator McCarthy’s terrifying implication that American audiences, blind to homosexual subversives, were not such savvy readers of maleness. Anderson’s Tea and Sympathy (1953) depicts the brutality foisted on effeminate, heterosexual Tom Lee by Bill Reynolds, his hyper-masculine, closeted headmaster. In Williams’s Cat on a Hot Tin Roof (1955), Brick’s former athletic glory and seductive masculinity cannot stem sexual suspicions surrounding his friendship with Skipper. In Miller’s A View From the Bridge (1955), Brooklyn longshoreman Eddie Carbone unleashes frustrated sexual desire for his niece by slamming a frenzied kiss on her effeminate fiancé’s mouth as ‘proof’ of the boy’s deviance. As with Bill and Brick, Eddie’s audience must ponder whether his homophobia reveals the attacker’s sexuality more than that of his target. Although this equation no longer shocks, View’s popular 1998 Broadway revival demonstrates America’s continuing need to plumb male performance for potential secrets.

In the 1960s Off-Broadway theatres such as the Caffe Cino in Greenwich Village began to showcase work by openly gay authors for equally open audiences. The Cino, which offered such writers unprecedented freedom, influenced the drag- and allusion-heavy dramaturgies of much subsequent gay theatre. For example, through his Ridiculous Theatrical Company, Charles Ludlam convulsed audiences until his death in 1987 with such works as his drag Camille (1974) and Gothic spoof The Mystery of Irma Vep (1984) – a 1998 revival of which sold out Off-Broadway under the direction of Everett Quinton, Ludlam’s longtime lover and successor. Encouraged by audience interest in these ventures, gay theatre troupes outside New York, such as San Francisco’s Rhinoceros and Gay Men’s Theatre Collective, began to flourish as well. While the Cino and Ludlam began to galvanize gay audiences, far more diverse masses flocked uptown to over 1,000 performances of Mart Crowley’s The Boys in the Band (1968), an instantly notorious play which spectators alternatively declared either the first ‘true’ portrait of homosexual misery or a gallery of dated stereotypes. This debate, which overlooks the play’s fairly progressive notions of gay relationships and effeminate-male courage, has followed Boys through a controversial film adaptation (1970) and a hot Off-Broadway revival (1996). As with A View from the Bridge, audiences continue to scrutinize staged maleness; witness the continuing amazement that Cliff Gorman, Boys’ original Emory, could convincingly play Crowley’s queen despite his heterosexuality.

Following Boys and the Stonewall Riots (1969), gay characters began to appear in mainstream drama that did not posit tortured (or torturing) homosexuals as its wrenching raison d’être. However, such works as James Kirkwood and Nicholas Dante’s A Chorus Line (1975) and Michael Cristofer’s The Shadow Box (1977) feature quipping queens who do encourage audiences’ associations of homosexuality with constant carnival. In Terrence McNally’s The Ritz (1974), David Rabe’s Streamers (1976), Ira Levin’s Deathtrap (1978) and Martin Sherman’s Bent (1979), gay protagonists figure within the lurid mises-en-scène of a bathhouse, a deadly army barracks, a murderous playwright’s cottage and a Nazi work camp, respectively.

Fittingly, the arresting visuals of drag and disease helped audiences to process emerging themes of homophobia and AIDS. Harvey Fierstein’s Torch Song Trilogy (1982) and book for La Cage aux Folles (1984) posit a politics of gay pride against a backdrop of glittering gowns. Larry Kramer’s The Normal Heart (1985) and William M. Hoffman’s As Is (1985) plunged American audiences into AIDS’s visceral horrors by staging the shouting, shattered bodies suppressed in spotty journalism. In Jerker (1986), Robert Chesley updated Bent’s infamous sex talk by having his characters masturbate on stage, even while demonstrating their vulnerability to AIDS.

By the early 1990s, the commercial demand to see gay bodies and to hear gay wit prompted such acclaimed Broadway musicals as William Finn’s Falsettos (1992) and John Kander, Fred Ebb and McNally’s Kiss of the Spider Woman (1993). Tony Kushner and Terrence McNally shared the Best Play Tony Award four years running with Kushner’s two-part epic Angels in America: A Gay Fantasia on National Themes (1992, 1993) and McNally’s Love! Valour! Compassion! (1994) and Master Class (1995), his Valentine to gay icon Maria Callas. Off-Broadway, the drag performance troupes Split Breeches and Bloolips presented Belle Reprieve (1991), their queer take on A Streetcar Named Desire, to strong reception; Pomo Afro Homos enjoyed considerable vogue for their Dark Fruit (1992). With The Night Larry Kramer Kissed Me (1992) and My Queer Body (1992), David Drake and Tim Miller drew substantial audiences to autobiographical queer monodramas.

Watchers of gay drama have made themselves into spectacle through heated politicking over McNally’s Corpus Christi (1998). Protesters (and counter-protesters) ironically mounted their own fiery drama by excoriating Christi’s suggestion of sexual involvement between Christ and his disciples. The play’s tepid reviews provided a startling anticlimax to months of anticipatory demonstrations. Clearly, American investment in the staging of male homosexuality did not languish as the century drew to its close. No other framed body allows spectators so ripe an opportunity to exercise their critical muscles.

from Neill Bartlett, Michael R. Schiavi, The Continuum Companion to Twentieth-Century Theatre, ed. Colin Chambers (London, 2002).