IT’S THE SEASON of gay revivals on Broadway and Off, and the latest is Harvey Fierstein’s Torch Song, formerly known as Torch Song Trilogy. The original four-hour production of 1982 has been trimmed into a two-act version under three hours, including intermission. Yet the play still covers the same ground: the travails of Arnold Beckoff, a flamboyantly self-dramatizing and wisecracking drag queen seeking true love.
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The organizers of Trigger can be commended for including contributions by pioneering artist Nayland Blake, whose “fursona” is hybrid bear-bison “Gnomen,” who playfully morphs into a different species and gender right before our eyes.
Battle of the Sexes could not have been released at a more perfect time, and for two reasons. First, Donald Trump’s irresistible desire to plunge into the racial politics of “taking the knee” by NFL players reminds us that sports have always had a political side. Second is the fact that LGBT and women’s liberation remain closely intertwined.
IF THEATER IS a temporary rearrangement of life to spark discovery, the musical Fun Home, adapted from cartoonist Alison Bechdel’s bestselling graphic memoir of the same name, exceeds requirements, not only yielding insights but whipping up exuberance out of anguished chaos in the process.
Indecent is at once a compressed history of a daring Yiddish play, God of Vengeance, written by the Polish novelist Sholem Asch in 1907, and a celebration of the stagecraft that makes theater distinct from film.
Afterglow, based in part on S. Asher Gelman’s own experience with an extra-marital relationship, shows that he can write strong individual scenes for his actors that have the ring of truth.
Lane’s performance in this production is simply jaw-dropping. Kushner’s pleasure in writing such a dark character is evident: he gave Cohn a lot of the best lines.
Florine Stettheimer is remarkable as a woman and artist because, although a privileged white intellectual, she knew that she had both the freedom and responsibility to represent what she saw as the truth.
THE TITLE of this eight-part series that aired on FX refers to the famous feud between those titans of Tinseltown who costarred in What Ever Happened to Baby Jane?, Bette Davis and Joan Crawford.
In keeping with its name, Gently Down the Stream proceeds at a leisurely pace, but Gabriel Ebert’s hyperactive Rufus keeps the emotional narrative percolating.