Obligatory Scene opens with the construction of a bedroom — that is to say the furnishing of the room, and the construction of the bed itself from frame, mattress and blankets. Two women carry in and position furniture, then laugh and kiss as they try to make the metal pieces of the bed frame fit together. Dru is happy with the lack of physical intimacy; Vivey is not. Both are deeply unhappy with the emotional distance that has grown between them. Readers of Sally Rooney will know the type: these characters are better at discourse than they are at communication, but their attempts to understand one another make them likeable despite their flaws.
Please refresh the page and retry. H ow do you choose which plays to stage? Written by Sarah Daniels. Written and directed by Tarell Alvin McCraney. Wig Out! F lamboyant and fabulous, when the play was staged in New York and London — less than a decade ago — it formed an eye-opening introduction to a strangely exotic sub-culture for many critics and audiences.
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. 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.
Q ueer theatre is the accepted generic term for the gay theatre movement : one that embraces both men and women, that covers plays, musicals, cabaret and just about everything else, and which has been going strong in Britain and America for well over 40 years. The results are to be seen everywhere: on big national stages, on and off Broadway and in specialist mini-festivals such as Manchester's recent Queer as Fringe. Now might be a good time to ask: what next? What strikes me first of all is how theatre always reflects social conditions. In the oppressive s, where every play had to be approved by the lord chamberlain before it could be performed in public, British dramatists were necessarily oblique in their presentation of gay issues.