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Place for Us: Essay on the Broadway Musical by D.A. MillerIt used to be a secret that, in its postwar heyday, the Broadway musical recruited a massive underground following of gay men. But though this once silent social fact currently spawns jokes that every sitcom viewer is presumed to be in on, it has not necessarily become better understood.
In Place for Us, D. A. Miller probes what all the jokes laugh off: the embarrassingly mutual affinity between a general cultural form and the despised minority that was in fact that forms implicit audience. In a style that is in turn novelistic, memorial, autobiographical, and critical, the author restores to their historical density the main modes of reception that so many gay men developed to answer the musicals call: the early private communion with original cast albums, the later camping of show tunes in piano bars, the still later reformatting of these same songs at the post-Stonewall disco. In addition, through an extended reading of Gypsy, Miller specifies the nature of the call itself, which he locates in the postwar musicals most basic conventions: the contradictory relation between the show and the book, the mimetic tendency of the musical number, the centrality of the female star. If the postwar musical may be called a gay genre, Miller demonstrates, this is because its regular but unpublicized work has been to indulge men in the spectacular thrills of a femininity become their own.
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Lopez, then a slight, isolated sixteen-year-old, begged his mother, an elementary-school teacher, to take him to see the film during its brief run in his home town of Panama City, in the Florida Panhandle. Nonetheless, Lopez had the uncanny sense that Forster, writing almost a century earlier, had intended the book just for him. Now Lopez thinks about a strain of repression underlying the narrative. Lopez, too, is gay, a fact that he resisted reckoning with in his teens. His stated ambition for moving to the city—to become an actor—has languished. Various stints as an executive assistant, initially intended merely to support his audition-going, have led to what he has to admit is a real job. He has started writing plays, but feels that he has little to show for his three decades.
This audience interactive show features a night of laughs and unexpected chances to be frisky as the best-selling book comes to life on stage. When a handsome and muscular stage assistant enters the picture, Dan turns the book discussion into a playful seminar on what to do and what not to do with hysterical outcomes and audience participation on stage. Will Robyn find the ticket to get the hunk? Only Dan knows! Take the humorous book about some of the most intimate parts of a relationship and have it all play out live on stage with audience participation!
More than a year before the Stonewall riots changed the face of gay activism in the U. Now it finally makes its Broadway debut in a 50th-anniversary production that features a starry cast of openly gay actors, directed by Joe Mantello Wicked.
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He was a good student in Hebrew school, and his interest in theater was already evident. Finn was still a student at the time, and of course, he cast himself as the lead in the production, which was performed one Sunday morning at temple. But it was horrible, I guarantee it. Finn went on to a long and varied career, bringing his conversational lyrical style to a wide range of shows, from the serious his show A New Brain chronicled his own near-fatal experience with a neurological ailment called arteriovenous malformation to the light-hearted The 25th Annual Putnam County Spelling Bee ran on Broadway in , featuring Jesse Tyler Ferguson before Modern Family made him a household name. The characters in Falsettos have proven his most enduring. They first appeared in the musical In Trousers in , then again in March of the Falsettos in , and finally Falsettoland in —all off-Broadway. The second and third parts of the trilogy were later combined to become Falsettos , which premiered on Broadway in at the Golden and ran for more than a year, winning Finn two Tony Awards.