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Not in Front of the Audience: Homosexuality on Stage

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First published in 1992. Routledge is an imprint of Taylor & Francis, an informa company.


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First published in 1992. Routledge is an imprint of Taylor & Francis, an informa company.

28 review for Not in Front of the Audience: Homosexuality on Stage

  1. 5 out of 5

    Leigh

    Useful as a basic survey of major modern gay plays, but terribly written. Please, get proofread before you publish.

  2. 5 out of 5

    Luke Devenish

    I well suspected this book would prove enlightening, but the surprise was that it was also highly entertaining. Thoroughly enjoyed this.

  3. 5 out of 5

    James

    This just about begins to scratch the surface of the topic. It is hampered by the author's frankly abysmal prose, the errors which litter its pages (he gets people's names and dates of plays wrong), and the entirely partial and haphazard choice of plays. It purports to be an overview of homosexuality on the mainstream London and New York stage over the course of about 70 years, but is actually only about representation of gay men - lesbians hardly feature. It may be argued (although de Jongh doe This just about begins to scratch the surface of the topic. It is hampered by the author's frankly abysmal prose, the errors which litter its pages (he gets people's names and dates of plays wrong), and the entirely partial and haphazard choice of plays. It purports to be an overview of homosexuality on the mainstream London and New York stage over the course of about 70 years, but is actually only about representation of gay men - lesbians hardly feature. It may be argued (although de Jongh doesn't bother) that very few plays dealt with lesbianism in this period, but that hardly excuses the author not even mentioning in passing Frank Marcus's The Killing of Sister George. There is a vague, and vaguely interesting, sense of narrative structure to the book's overview of representation - from stereotypical portraits of effeminate and predatory homosexuals to post-liberation assertions of gay identity. It ends on a downer, with Section 28 and the AIDS epidemic, but de Jongh entirely fails to predict that not only would Western liberal society have a complete volte face around homosexuality within the next couple of decades, but that theatre would more produce increasing numbers of gay plays in the 1990s and beyond. One could also take issue with the author's arbitrary insistence of seeing the play's discussed in terms of their contribution to the representation of gay men and their usefulness to an identity politics viewpoint. It is a specious way of reading drama, and quite falls apart as de Jongh attempts to come to terms with such sophisticated writers as Tennessee Williams and Joe Orton. It's a starting point, I suppose, in terms of its subject. But it is so poorly written, researched, fact-checked, and argued that it ought to have been superseded by now. It certainly does not deserve its reputation as a key text.

  4. 5 out of 5

    Walter

  5. 5 out of 5

    Maria Mahoney

  6. 4 out of 5

    Steve

  7. 5 out of 5

    Ezra Maloney

  8. 4 out of 5

    Richard Findlay

  9. 5 out of 5

    Christian

  10. 4 out of 5

    Little Bab

  11. 5 out of 5

    Antoinette Maria

  12. 4 out of 5

    Gary

  13. 5 out of 5

    Paul

  14. 5 out of 5

    Leah

  15. 5 out of 5

    Teodelina

  16. 4 out of 5

    C. Todd White

  17. 5 out of 5

    Elsa

  18. 4 out of 5

    Kevin

  19. 4 out of 5

    Bookend McGee

  20. 5 out of 5

    Daniel

  21. 5 out of 5

    Hazal Ilbay

  22. 4 out of 5

    Eleanor Affleck

  23. 4 out of 5

    Eeva

  24. 4 out of 5

    Kate Mulley

  25. 5 out of 5

    Chris Lilly

  26. 5 out of 5

    Erik

  27. 5 out of 5

    Lorenzo

  28. 4 out of 5

    Kirsten

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