Gays have always made up a disproportionate number of people in the arts -- theatre, dance, and music especially. From Wilde to Coward to Inge, Williams, Porter, Bernstein, Samuel Barber, Sondheim, Laurents, Robbins, Albee, Herman, McNally, Bennett, Landford Wilson, Fierstein, Kushner et al to say nothing of the countless performers and designers (and many closeted folks I've chosen not to name).
Yet, despite so many gay folks on stage, behind the scenes and in the audience, it's only been a relatively short period of time that positive gay characters have become the norm in American film, television and theatre. If theatre seems "gayer" now than a few decades ago, I think that's more a function of the growing acceptance gays have attained in general society than anything else. Gay writers and composers were very hesitant to deal with gay subject matters a half a century ago, partly because they were closeted and feared what damage acknowledging their sexuality would have on their careers, and partly for fear of whether the audience would accept such stories (interestingly, two of the only hit shows to deal with homosexuality before 1960 -- "The Children's Hour" in the 30's and "Tea and Sympathy" in the 50's -- were written by straight playwrights).
Tennessee Williams was able to push the envelope considerably in the 50's with "Cat" and "Suddenly Last Summer" but the gay themes there were veiled and hardly positive or flattering to the (closeted) gay community. Read Vito Russo's "The Celluloid Closet" (or the Lily Tomlin-hosted documentary based on it) and you'll see that for generations, from silent film through the 80's, nearly anytime gays were depicted on screen (and many of the films were adapted from plays), they were the object of ridicule or scorn and in a horrifically high number of times (in several dozens of films), they were murdered or committed suicide by the final reel of the film.
Williams and other gay playwrights of the time were controversial figures and famously, three of them (Williams, Albee and Inge) were accussed by the Times of writing women characters who were actually gay men in drag, which all vehemently denied. During the 60's, gay writers, while respected in some circles, were marginalized and held up to ridicule by certain very powerful critics and producers.
With the opening of "Boys In The Band" in 1968 just prior to the Stonewall riots, mainstream audiences were for the first time able to see a play written by a gay playwright, featuring gay characters (and a mostly gay cast) and no one died at the end. While there later was a backlash against the play and subsequent film by some in the gay community who saw its characters as too self-loathing and bitter, it remains a landmark in the history of gay theatre (the original off-Broadway run lasted a 1000 performances).
In the 35 years since "Boys In The Band" we've seen the flowering of the gay rights movement and the concept of "gay pride" enter the lexicon. As more and more gays have come out and become visible, society as a whole has become more accepting of the gay community and, as such, with more out gay actors and directors and playwrights and composers than ever before, it's been a natural progression for more gay-themed works and characters in end up in the mainstream. In the era of "Will & Grace" and "Queer Eye" and "Angels In America" (and certain gay composer-lyricists smooching on the Tonys -- Go Marc & Scott!), it's clear that society at large -- gay and straight -- is willing to embrace good work that prominently and unapologetically features gays and lesbians. It's taken a very long time and it should be celebrated.
And speaking of celebrations, I need a drink and a burger, so let me end yet another long-winded missive by saying, "HAPPY 4th!" I'm off to a barbeque.......
"What a story........ everything but the bloodhounds snappin' at her rear end." -- Birdie
[http://margochanning.broadwayworld.com/]
"The Devil Be Hittin' Me" -- Whitney
Updated On: 7/4/04 at 07:30 PM