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HIV/AIDS Theatre After Angels in America: How Neoliberalism Stifled the Genre’S Counterhegemonic Origins

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HIV/AIDS Theatre After Angels in America: How Neoliberalism Stifled the Genre’S Counterhegemonic Origins HIV/AIDS theatre after Angels in America: How neoliberalism stifled the genre’s counterhegemonic origins A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2020 Louisa Hann School of Arts, Languages and Cultures 2 Table of Contents Abstract ........................................................................................................................ 4 Declaration ................................................................................................................... 5 Copyright Statement .................................................................................................... 5 Acknowledgements ...................................................................................................... 6 About the Author ......................................................................................................... 7 Introduction: Reading HIV/AIDS plays in the neoliberal twenty-first century ........... 8 Examining the composite nature of HIV/AIDS theatre scholarship ...................... 17 Hegemony, cultural materialism, and everyday neoliberalism .............................. 31 A note on the organisation of this study ................................................................ 43 Chapter 1: Neoliberal nostalgia versus subcultural radicalism: (Re)Defining first-, second and third-generation HIV/AIDS theatre after 1994 ....................................... 48 Reviving and reinforcing homonormativity: First-generation AIDS plays on the contemporary stage ................................................................................................ 53 A lost (second) generation? .................................................................................... 72 After Abdoh: The transition from second- to third-generation HIV/AIDS theatre 90 Chapter 2: ‘History is about to crack wide open. Millennium approaches’: Chiliastic neoliberalism in pre-millennial HIV/AIDS plays ...................................................... 93 Intersecting forms of millenarianism in Angels in America................................... 97 Parodying millenarianism in Paul Rudnick’s The Most Fabulous Story Ever Told .............................................................................................................................. 108 Testimonial millenarianism in Tim Miller’s My Queer Body .............................. 121 Chapter Three: From Grindr to Kickstarter: How the (neoliberal) Web 2.0 economy is shaping third-generation HIV/AIDS theatre ........................................................ 137 Volatile intimacies: Staging digitally mediated discourse in Lachlan Philpott’s Bison and Patrick Cash’s The HIV Monologues .................................................. 145 Promises, pledges and shoestring budgets: Crowdfunding HIV/AIDS theatre in a post-crash economy .............................................................................................. 162 Chapter 4: Exploring HIV/AIDS through solo performance in neoliberal times .... 175 Solo performance, community, and the Royal Vauxhall Tavern ......................... 180 “I wank, therefore I slam”: Neil Watkins’ The Year of Magical Wanking .......... 194 The changing face of solo performance ............................................................... 210 Chapter 5: Third-generation HIV/AIDS theatre and the question of queer heritage 214 The Inheritance: Queer heritage and ‘progressive neoliberalism’ ....................... 218 The Gay Heritage Project: Historicising queerdom onstage ............................... 236 3 Conclusion: After The Inheritance: Where next for third-generation HIV/AIDS theatre? ..................................................................................................................... 257 The Inheritance and the problem of neoliberal market-communities .................. 258 Angels in America in the twenty-first century: A blueprint for fourth-generation dramaturgies? ....................................................................................................... 270 Works Cited ............................................................................................................. 283 Word count: 79,980 4 Abstract Since the outbreak of the global HIV/AIDS pandemic in the 1980s, playwrights have been using the stage to process, engage with, and negotiate its political and cultural effects. In the early years of the crisis, particularly in the US, HIV/AIDS plays homed in on the ways in which neoliberal governance stigmatised and oppressed those affected by the virus, a reaction largely attributable to its association with gay men and intravenous drug users. In some ways, the auditorium offered a place of solace for those witnessing death and pain, many of whom were queer or marginalised, as well as a platform on which to disseminate political ideas and galvanise audience members to fight wilful governmental inaction. The political and biomedical developments that have taken place since then have been seismic, with HIV now treatable as a chronic illness and the burgeoning neoliberalism of the 1980s having secured ever more robust hegemony as the new millennium has worn on. In turn, the HIV/AIDS genre has continued to evolve. In certain respects, it has retained its queer roots, with many twenty-first-century plays continuing to scrutinise how such marginalised groups are detrimentally affected by the virus despite the introduction of new treatments. At the same time, however, the genre has (somewhat inevitably) been affected by the marketisation of theatre under neoliberalism. To varying degrees, theatres’ impetus to sell tickets and imagine their spectators primarily as consumers has stifled the counterhegemonic spirit found in earlier work. Somewhat paradoxically, such political suppression has caused the genre’s popularity to wane. Despite a glut of recent HIV/AIDS plays such as Matthew Lopez’s The Inheritance having enjoyed mainstream success, Tony Kushner’s Angels in America, premièred in 1991, appears to hang on to an unofficial role as the most critically acclaimed and intellectually rich example of the genre. In part, this can be explained by its frequently cited relevance to today’s political landscape, with reviewers of Marianne Elliott’s 2017 production of Angels at London’s National Theatre drawing strong comparisons between the Reaganist political landscape Kushner depicts and the socio-political volatility of today’s world. However, this thesis complicates such a reading, arguing that the ongoing attachment to Angels is also related to its uniquely galvanising and politically hopeful dramaturgy, drawing inspiration from Walter Benjamin to Bertolt Brecht to come up with a politics intent on improving the lives of the queer, the HIV-positive and the marginalised in a way that resonates with audiences to this day. To support this line of enquiry, a significant portion of this study is spent tracking how neoliberalism has continued to shape the genre’s dramaturgies from the première of Angels in the early 1990s until the present day. The theoretical framework on which my analysis hangs is cultural materialist in nature, used to compare several HIV/AIDS plays produced across some of the world’s most neoliberal nations including Australia, the UK, and the US. I focus on their potential as tools for anti-neoliberal intervention and queer liberation, as well as the extent to which the increased marketisation of theatre as an institution has hindered the production of counterhegemonic dramaturgies. I am particularly interested in uncovering the extent to which the plays I have chosen to examine established themselves as either mainstream or countercultural and, by extension, the extent to which this has helped them gain political traction. In establishing a kind of materialist genealogy of HIV/AIDS theatre, splitting up the genre into three distinct generations, this study elucidates some of the ways in which neoliberalism has indelibly affected such a popular genre, as well as analysing the wider implications for queer theatre more generally and the potential for the production of counterhegemonic work in future. 5 Declaration I confirm that that no portion of the work referred to in the thesis has been submitted in support of an application for another degree or qualification of this or any other university or other institute of learning. Copyright Statement i. The author of this thesis (including any appendices and/or schedules to this thesis) owns certain copyright or related rights in it (the “Copyright”) and s/he has given The University of Manchester certain rights to use such Copyright, including for administrative purposes. ii. Copies of this thesis, either in full or in extracts and whether in hard or electronic copy, may be made only in accordance with the Copyright, Designs and Patents Act 1988 (as amended) and regulations issued under it or, where appropriate, in accordance with licensing agreements which the University has from time to time. This page must form part of any such copies made. iii. The ownership of certain Copyright, patents, designs, trademarks and other intellectual property (the “Intellectual Property”) and any reproductions of copyright works in the thesis, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property and Reproductions cannot
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