1 Theorising Queer Performance

Notes

1 . For a broader introduction to the domain of queer theory, see Nikki Sullivan’s A Critical Introduction to Queer Theory (2003), and Robert Corber and Stephen Valocchi’s Queer Studies: An interdisciplinary Reader (2003). For an introductory overview of issues of sexuality and performance, see Jill Dolan’s Theatre & Sexuality (2010). 2 . As Moya Lloyd has argued, such logic is self-reproducing and grounded in the assumption that gender is constative, a cultural statement which is either true or false: It signals ‘what we are’: subjects of a discernible and given set of characteristics. Moreover, these are characteristics not shared by the Other. Rather, masculinity assumes analytically the existence of femininity ... Male assumes female; female assumes male. (Lloyd, 1999, p. 196) 3 . Here, the performative is distinguished from performance in that the latter does not presume a subject – ‘where there is an ‘I’ who utters or speaks ... there is first a discourse which precedes and enables that ‘I’ ... ’ (Butler, 1993, p. 225). 4 . Sue-Ellen Case characterises that development as a departure from pre- existing modes of political activism and activists: ‘the deconstructive break with the personal as the political sought to reaffirm the author as floating signifier. [ ... ] The queer call was to return to that unmarked patriarchal, Eurocentric language of, well, the French and German phil- osophical traditions. “Philosophy to fore!” cheered queer. Queer thus functioned as the sign of sexual politics cut loose from earlier, grassroots lesbian feminism’ (Case, 2009, p. 53). 5 . Claire Colebrook articulates the pragmatic politics of this trade-off: ‘On the one hand we need to be critical of constituted identities, which might come to function as restrictive norms. On the other hand, without the tactical or strategic adoption of such an identity we risk political invisibility and ineffectiveness’ (2008, p. 25). 6 . Butler’s Excitable Speech (1997a), which explores the ways in which (hate) speech may be injurious, provides the outline of this discourse. For Butler, to become a subject means to become subjected to a set of implicit and explicit norms which govern the kind of speech that will be legible as the speech of a subject (1997a, pp. 133–5). Those whose speech moves outside of those norms are not only intelligible, but unrecognisable as subjects. A movement outside of the domain of speakability is to there- fore risk one’s own status as a subject.

210 Notes 211

7 . Martin continues to suggest that there may be potential in the cultural naturalisation of femininity, observing that a ‘passing’ of the femme lesbian as a straight woman ‘implies the possibility of denaturalizing heterosexuality by emphasizing the permeabilities of gay/straight boundaries’ (1994, p. 113). 8 . Annabelle Willox’s (2009) counter-reading of Halberstam’s account of female masculinity (discussed above) explicitly rejects the notion that butch performs masculinity, or otherwise pastiches or parodies male- ness through a dramatic performance of pre-existing masculine and feminine categories. For Willox, butch identities should be understood through a phenomenological account of ‘the experience of being butch’ (2009, p. 100) – that is, without claiming an incongruity between identification and bodies. Accordingly, Willox argues for an understanding of identity which refutes the necessity of ‘truth’ to gender in order to allow ‘for embodiments to be comprehensible regardless of any apparent contradictions over time; there is no contradiction where there is no assumption of a fixed or constant identity’ (2009, p. 107). 9 . For further discussion of drag performance in the context of the USA, see Esther Newton’s Mother Camp: Female Impersonators in America (1979) and, more recently, Leila R. Rupp and Verta Taylor’s Drag Queens at the 801 Cabaret (2003) for discussion of ‘drag queerness’ as ‘outside femininity or masculinity’. 10 . Accordingly, one might follow Butler to read authenticity sceptically as the successful fulfilment of cultural norms relating to gender and sexuality, as the ‘passing off’ of restraint as naturalised sex/gender. While there are harsh punishments for those who do not fit prescribed gender roles, those who perform well are provided with the illusory reassurance ‘that there is an essentialism of gender identity after all’ (Butler, 1990, p. 186). 11 . Charles Guignon, for example, argues that ‘postmodern thought goes beyond de-stabilising the binary oppositions that frame the concept of authenticity; it obliterates any notion of a self whatsoever’ (2004, p. 126). 12 . Alessandro Ferrara (1998), for example, has described a mode of authenticity centred on a kind of reflexive self-awareness of others, arguing ‘that reflection upon who we are entails seeing ourselves from the stand- point of another person – real, imaginary, or ideal. To live reflectively is to live through the eyes of another and, to that extent, it keeps us from simply being ourselves’ (Larmore, 2004, p. 8).

2 Claiming Representation: The Performance Politics of Gay Sweatshop

1 . The following discussion is not concerned with determining whether particular practitioners were lesbian, gay or not; I am, instead, concerned with the reasons why that question was significant and the kind of 212 Notes

personal, professional and political investments which the emphasis on performer sexuality might represent or enact. 2 . This context may also explain the impulse in later lesbian work to explicitly examine the history of invisibility, as in Tasha Fairbanks’ Pulp (1985/6) which interweaves 1950s America and 1980s Britain to explore lesbian relationships in societies which vilify homosexuality. 3 . See, for example, de Jongh’s discussion of Robert Anderson’s 1953 play Tea and Sympathy (de Jongh, 1992, pp. 59–63). 4 . Freshwater suggests a more pernicious form of silencing, noting the House of Lords ‘infamous decision to reject a bill designed to crimin- alise lesbianism in 1921, on the grounds that the very discussion of lesbianism, even for an act of prohibition, was more dangerous than the benefits of containment through legislation’ (2009, p. 51). 5 . The following in-text references to manifestos, company minutes and other documents correspond to materials held in the Gay Sweatshop Theatre Company archive at Royal Holloway, University of London. 6 . See de Jongh’s discussion of the difficulties of casting of John Osborne’s A Patriot for Me at the Royal Court only a few years earlier: ‘The reluc- tance of major actors was attributable to shrewd and simple calculation. To be seen playing the role of a homosexual would be liable to lead to the whispers of sexual insinuation’ (1992, p. 110). 7 . Osment also notes a review from Desmond Rushe of the Irish Independent following performances of Any Woman Can and Mister X at the Projects Arts Centre which described the plays as ‘propagandist in the most crudely offensive manner’. Under pressure from groups including The League of Decency, Parent Concern and The Society to Outlaw Pornography, the amenities committee of the local government council suspended and later withdrew the venue’s grant (Osment, 1989, p. xxviii). 8 . I am conscious that such a formulation may remain problematic. One might argue that such thinking merely defers the terms of the authenticity it assumes; it may invoke an essentialised proof of lesbian and gay subjectivity (‘shared experience’) while leaving the nature of that subjectivity unexplored. 9 . This account finds a parallel in Weeks’ suggestion that the male domi- nance of the London GLF had produced a seeming prioritisation of gay male concerns and strategies over lesbian issues, which was in turn reflected in what was seen by the women of GLF as the reproduction of traditional sexist power arrangements: ‘By early 1972, after a think-in on the subject, the women in London GLF decided to withdraw and set up an autonomous organization. They gave three reasons: the drain on their energy by the endless fight against the men’s sexism; the unrad- ical nature of GLF politics generally; and the need to provide a “viable alternative to the exploitative ‘straight’ gay ghetto”. This was not, in fact, a final break as women and men continued to work together in various functional groupings, but it was indicative’ (Weeks, 1990, p. 200). Notes 213

3 Community and Nation: Staging Queer Histories

1 . See, for example, The Coming Out Stories (1980) edited by Julia Penelope and Susan J. Wolfe, and Margaret Cruikshank’s The Lesbian Path (1980); as well as more recent texts including Suzanne Neild and Rosalind Pearson’s Women Like Us (1992), Patrick Merla’s collection Boys Like Us (1996) and Joan Nestle, Clare Howell and Riki Wilchins’ GenderQueer (2002). 2 . For further detail of Brighton Ourstory’s work and archive, see http: //www.brightonourstory.co.uk/ 3 . I am conscious here of the Foucaultian sense of a ‘history of the present’ as a kind of anti-history which challenges the function of history by exposing the gaps between different kinds of experiencing and knowing the world. For further discussion, see Michael S. Roth’s ‘Foucault’s “History of the Present”’ (1981). 4 . See John Roman Baker’s The Crying Celibate Tears Trilogy (2008). 5 . See OurStory Liverpool. http://www.ourstoryliverpool.co.uk/ 6 . See OurStory Scotland. Storytelling. http://ourstoryscotland.org.uk/storytelling/index.htm (accessed January 31, 2011). 7 . Mass Observation Communities Online was a JISC (Joint Information Systems Committee) funded project based at the Centre for Community Engagement at the University of Sussex, and takes the form of an online archive of everyday-life drawn from community, history and support groups around the UK. See http://www.mocoproject.org.uk/ 8 . As noted elsewhere, the issue of queer performance and community in relationship to place and space is addressed in greater detail in Chapter 5’s discussion of public protest, and Chapter 6’s discussion of queer arts festivals. 9 . 7:84 Theatre Company was founded by John McGrath (taking its name from a statistic published in The Economist in 1966, which reported that 7% of the population in the UK owned 84% of the nation’s wealth), split- ting from the English sister company in 1973. For substantial accounts of 7:84 (Scotland)’s early activities, see Catherine Itzin’s Stages in the Revolution (1980) and Maria DiCenzo’s The Politics of Alternative Theatre in Britain, 1968–1990: The Case of 7:84 (Scotland) (1996). Citing ‘changing funding structures’ in Scottish theatre, 7:84 (Scotland) company ceased to produce work at the end of 2008. 10 . Edwin Morgan’s ‘Transgression in Glasgow’ (2000) offers a useful historical frame for describing the ways in which the presence of identifiable gay subjects may act as a doubled index of risk and safety, drawing on Glasgow’s Green’s Playhouse (a large cinema, famous as ‘a place of gay resort’) and Glasgow Green (a large public park in the east end of the city). 11 . The following in-text references to company minutes and other documents correspond to materials held in the 7:84 (Scotland) company archive at the National Library of Scotland, Edinburgh. See bibliography for locations of unpublished playscripts. 214 Notes

12 . mct (standing for ‘mollies’ collar and tie’, old euphemisms for lesbians and gay men) was founded under artistic director Christopher Dean in 1996 with the intention of addressing Scottish gay identity. The company disbanded in 2000. 13 . The ‘Keep the Clause’ campaign was a privately funded political campaign mounted in 2000 with the aim of resisting the repeal of Section 28, a clause of the Local Government Act (1986) which forbade the ‘promotion’ of homosexuality by local government authorities. Brian Souter, co-founder of the Stagecoach Group, supported a private poll on the issue with a reported £1 million of his own money (see BBC News, ‘Souter to bankroll clause referendum’, March 28 2000, http://news.bbc.co.uk/1 /hi/scotland/693172.stm). Though the poll attracted more than a million votes in favour of retaining the legislation, Section 28 was repealed by the Scottish Parliament in June 2000 with a 99 to 17 majority vote. 14 . See, for example, Loran MacLaren’s ‘Never the Bride’ in The Herald (Glasgow), 26 October 2000. 15 . Bailes’ later discussion distinguishes between ‘non-professional’ performance and the performance of ‘amateurism’, understood as the gathering together of certain affects ‘that can be used strategically in performance to avoid the hegemony of notions of mastery and skill’ (2011, p. 93). In that discourse, amateurism is understood as a form of labour which intentionally underperforms or ‘misses the mark’ within the conventions that the work usually aspires to. 16 . For further discussion of the ‘queer rural’ see Bell and Valentine’s ‘Queer country: Rural lesbian and gay lives’ (1995), Smith and Holt’s ‘‘Lesbian migrants in the gentrified valley’ and ‘other’ geographies of rural gentrification’ (2005), and Mary L. Gray’s Out in the Country: Youth, Media, and Queer Visibility in Rural America (2009). 17 . In April 2007 Sgript Cymru and The Sherman Theatre merged to create Sherman Cymru, who produce work in Welsh and English, with a particular interest in new works by Welsh and Wales-based writers. 18 . I am indebted to Dafydd James and Gruffudd Jones for granting me use of the English-language surtitle script which was used during the original touring production. The following excerpts are taken from that unpublished text. James’ original Welsh-language script, as published by Sherman Cymru, is noted in the bibliography. 19 . Grangetown is a district of the city of Cardiff; Dr Who – a popular British TV science-fiction programme – was at that time frequently filmed in and around Cardiff as a BBC Wales production. 20 . Iolo Morganwg has had a lasting impact on Welsh culture, seen most notably in his foundation of the Gorsedd (meaning ‘throne’ in Welsh), which is a community or coming together of modern-day bards, i.e. the national Gorsedd of Wales. 21 . Ron Davies resigned as Secretary of State for Wales in 1998 following a self-titled ‘moment of madness’ in which he met a man while walking on Clapham Common (a popular gay meeting place) and was mugged at knife-point. He later came out as bisexual, though the full details of the event have never emerged. Notes 215

22 . The Eisteddfod is a Welsh festival of literature, music and performance, dating back to at least the 12th century. The annual National Eisteddfod of Wales is the largest festival of competitive music and poetry in Europe, completed entirely in the Welsh language.

4 Legitimately Queer: Identity Claims in Theatre-In-Education

1 . Though the following discussion focuses on readings of performance texts, I am conscious that the dramas described here are only one element of broader programmes of work. In their staging, these plays were accompanied by discussions, workshops and classroom activities; while I have attempted to reflect that body of work, there are undoubtedly situated dynamics – of peer groups, of particular school environments, of individual teaching approaches – which cannot be fully recognised here. The accounts presented here, as elsewhere in this work, are partial, not least because of the ethical and legal parameters of disclosure and confidentiality surrounding work with young people, as this Chapter’s later discussion of the work of Gendered Intelligence will seek to describe. 2 . The use of the term ‘trans’ in the following discussion adopts the terms offered by A Guide for Young Trans People in the UK (Gendered Intelligence and GALYIC, 2007). Accordingly, ‘trans is an umbrella term. It includes cross-dressers, transgender and transexual as well as anyone else who is in any way gender variant’. Similarly, ‘genderqueer is also a colloquial or community term that describes someone who identifies as a gender other than “man” or “woman”, or someone who identifies as neither, both, or some combination thereof. In relation to the male/female, genderqueer people generally identify as more “both/and” or “neither/nor”, rather than “either/or”’ (McNamara and Rooke, 2007, p. 192). 3 . For an overview of recent British theatre-in-education practice, see Roger Wooster’s Contemporary Theatre in Education (2007). 4 . See Open Clasp Theatre Company: http://openclasp.org.uk/ 5 . Matthew Waites (2001) offers a usefully detailed discussion of the relationship between reform of Section 28, and the related issue of sex education and the age of consent in the UK. Also see Yvette Taylor (2005) for discussion of social class in relation to notions of ‘inclusive’ citizenship following repeal. 6 . For discussion of the impact of Section 28 on Gay Sweatshop’s work in the early 1990s, see Freshwater (2009, pp. 107–9). 7 . Colvin and Hawksley argue that Section 28 was dangerous precisely because it lacked any clear definition of ‘promotion’ or advocacy: accordingly, and without ever coming to court, the legislation would be ‘misunderstood and misinterpreted, and used to justify acts and deci- sions which result in censorship and discrimination’ (1989, p. 5). 8 . It is a mark of Stonewall’s established relationship to the then-Labour administration that the organisation was commissioned in 2007 by 216 Notes

the Department for Children, Schools and Families (DCSF) to write guidance on how to prevent and tackle homophobic bullying in schools. 9 . A key ally in continuing educational reform (whose work is not directly addressed in this chapter) is Schools OUT, who have emphasised the mutually reinforcing value of legislative and cultural change, and pioneered the introduction of LGBT History Month UK. See http://www. schools-out.org.uk 10 . See Chapter 5 for further discussion of the related issue of homonormativity. 11 . The assumed pre-existence of gay youth shares the rhetorical posi- tion adopted by reformist Labour MPs in post-1997 sexuality debates. Stychin suggests that gay youth was seen as unproblematic precisely because it was essentialised and, usually, biologised in speeches made by law reformers: ‘Sexual identity is described over and over as not being a choice, and it is certainly not a matter of any ambiguity, flux or the called “grey area”’ (2003, p. 35). 12 . The original staging and later film adaptation of FIT all bear the marks of collaborative production and sponsorship: the first three schools tours were produced, consecutively, by Ric Watts for Queer Up North, Howard Meaden for Drill Hall and Gary Everett for Homotopia, and executive produced through the collaboration of Contact Theatre, Drill Hall, Homotopia, Stonewall, Team Angelica and Queer Up North. 13 . Of particular note is Spare Tyre’s evolution from its origins as a women’s theatre company founded in 1979 – first exploring body image in a work based on Susie Orbach’s Fat Is A Feminist Issue (1978) – to include performance made with young unemployed and homeless people, theatre- in-education projects, work with adults aged 60-plus, work with adults with learning disabilities and projects within the LGBT community. See: http://sparetyre.org/about/history/ 14 . See Gendered Intelligence: http://www.genderedintelligence.co.uk/

5 Pride and Shame: Developments in the Performance of Queer Protest

1 . More pointedly, Richard Dyer suggests that the sense of ‘togetherness’ offered by camp may be partnered with ‘an attitude that you can’t take anything seriously’ (2002, p. 50). While the ‘fun’ aspect of camp might confirm and express being a gay man in a culture that confirms and expresses the right- ness of heterosexuality, Dyer suggests that camp’s self-mockery might also have a corrosive effect in the production and reproduction of images of non-heterosexuals as a ‘pathetic, inferior, lot’ (1999, p. 111). 2 . The Gay Liberation Front in the UK was a parallel movement to that founded in New York in 1969 immediately after the Stonewall riots, sharing many of the group’s political stances against capitalism, heterosexism and the nuclear family. Notes 217

3 . Mrs Mary Whitehouse is also notable for her successful private prosecu- tion of Gay News in 1977 for blasphemy following publication ‘The Love that Dares to Speak its Name’, a poem by James Kirkup depicting the sexual fantasies of a Roman Centurion for the body of Jesus Christ. See Freshwater (2009) for discussion of the related case made against Michael Bogdanov’s production of Howard Brenton’s The Romans in Britain . 4 . The GLF 1971 Manifesto makes particular mention of the necessary alliance of gay and women’s interests: ‘As we cannot carry out this revo- lutionary change alone, and as the abolition of gender roles is also a necessary condition of women’s liberation, we will work to form a strategic alliance with the women’s liberation movement, aiming to develop our ideas and our practice in close inter-relation. In order to build this alliance, the brothers in gay liberation will have to be prepared to sacri- fice that degree of male chauvinism and male privilege that they still all possess’. See People with a History: An Online Guide to Lesbian, Gay, Bisexual and Trans History , ‘Gay Liberation Front Manifesto (London)’, http://www.fordham.edu/halsall/pwh/glf-london.html. 5 . See Archives Hub, ‘Lesbians and Gays Support the Miners’, http://www. archiveshub.ac.uk/news/0403lgsm.html. 6 . For further accounts of ACT UP’s use of creativity and play in American protest, see Shepard (2010), Crimp and Rolston (1990), Kauffman (2002) and ACT UP/NY Women & AIDS Book Group’s Women, AIDS & Activism (1990). The ACT UP Oral History Project also houses a collection of inter- views with surviving members of ACT UP New York. See: http://www. actuporalhistory.org 7 . See, for example, Crimp’s ‘How To Have Promiscuity In An Epidemic’ (1987) for reproductions of interventions on New York City subway advertisements. 8 . See ‘Gays will test law with public kiss-in’, The Independent , 2 September 1990, and ‘A kiss is as good as a wink in gay civil disobedience campaign’, The Guardian , 3 February 1992. 9 . UK Black Pride – first organised in August 2005 and held annually in London – may present a notable conscious alternative to the often domi- nantly white European cultural face of Pride in the UK in promoting ‘unity and co-operation among all Black people of African, Asian, Caribbean, Middle Eastern and Latin American descent’ (UK Black Pride 2011). Emphasising links to trade union, volunteer and charitable groups and espousing the principle of ‘Pride before profit’, the event also receives support from commercial sponsors including publications from the Millivres Press group, Gaydar.co.uk and gay/bi women’s magazine g3 . In 2011, the major sponsor for the event was Stonewall. 10 . One of the most promising frames for this critique has been offered by the intersection of queer theory and tourism studies. See, for example, Markwell (2002) and Johnston (2005). 11 . See BBC News, ‘Mardi Gras Survives debt crisis’, 22 August, 2002. http: //news.bbc.co.uk/1/hi/england/2210196.stm; and Tanya Branigan, ‘Gay festival £400,000 in the red’, The Guardian , 3 August 2002. 218 Notes

12 . John D’Emilio’s ‘Capitalism and Gay Identity’ (1983) is notable as one of the earliest explorations of gay subjectivity in relationship to an emergent neo-liberal politics. More recent scholarship has suggested the broader potential for cultural criticism. Margaret Denike (2005), for example, has mobilised the frame of homonormativity to explore the identity categories that underpin human rights campaigns, and the racist and/or nationalist sentiments within them. Karl Bryant describes a deeper historical frame for the term to argue how homophobia ‘may function not merely as expressions of homonormativity, but also as key sites for the production of homonormativity’ (2008, p. 456). As noted in Chapter 4 and elsewhere, Diane Richardson’s wide-ranging paper ‘Desiring Sameness?’ (2005) extends Duggan’s discussion to explore what she terms ‘a neoliberal politics of normalization’, reading citizenship claims of lesbian and gay rights movements in relation to claims made by neoconservative gay writers as to the normalcy of gay lifestyles. For further context, see Lisa Duggan’s The Twilight of Equality? Neoliberalism, Cultural Politics, and the Attack on Democracy (2003), Eng, Halberstam and Muñoz’s ‘What’s Queer about Queer Studies Now?’ (2005) and Michael Warner’s The Trouble with Normal: Sex, Politics and the Ethics of Queer Life (2000). 13 . Original performances: Euro Shame. The Coronet Theatre, London. 1 July 2006; Gay Shame. The Coronet Theatre, London. 2 July 2005; Macho Shame. The Coronet Theatre, London. 5 July 2008; Girly Shame. Brixton Academy, London. 4 July 2009; Gross Indecency. Camden Centre, London. 3 July 2010. 14 . For a comprehensive list of the members of the Duckie collective and associated artists, see http://duckie.co.uk/artists.php?submenu =artists. 15 . Duckie were not alone in facing a shortfall of funding: Spit-Lit, a London- based festival of women’s writing was cancelled in 2008 when organisers were told in advance not to apply for the usual grant of around £25,000. For further context, see Lyn Gardner, ‘Olympic costs mean arts funding for the high jump’, The Guardian, Tuesday 20 March 2007. 16 . For further critiques of commercialism and the queer consumer, see Penaloza (1996), Ingrebretsen (1999) and Whitney (2006). 17 . See Tim Lumsden’s short film ‘Gross Indecency: Duckie Gets Raided By The Police’. http://vimeo.com/13190883.

6 Staging Difference: The Rise of Queer Arts Festivals

1 . The 2010 Edinburgh Fringe Festival saw 40,254 performances of 2,453 shows in 259 venues. Comedy took up 35% of the overall programme (approximately 850 shows), with the smallest category, dance and physical theatre, making up 4.5% (approximately 110 shows). See Edinburgh Fringe Society Annual Review (2010). Notes 219

2 . Perhaps predictably, different comics have adopted different approaches to their sexuality in promoting their performances. One might contrast, for example, the Fringe 2010 programme listing for Paul Sinha (‘Paul Sinha has been described as a gay man, doctor, quizzer, bachelor, acclaimed comedian and racist. This year he’d like to deny one of those, while adding new labels of his own’) with that of Susan Calman, which makes no mention of her sexuality, or Craig Hill’s appearance in a pink kilt in his publicity images. 3 . Queer Up North has been titled, consecutively, as ‘It’s Queer Up North’, ‘Queer Up North’ and ‘queerupnorth’ since its inception. For ease of reading, I have adopted ‘Queer Up North’ throughout this chapter. 4 . For texts of Shaw’s solo shows, see Shaw and Dolan’s Menopausal Gentleman: The Solo Performances of Peggy Shaw (2011). 5 . The following interview excerpts are taken from transcripts held as part of the Queer Up North archive at Manchester Archives and Local Studies, Manchester. See: http://www.manchester.gov.uk/info/448 /archives_and_local_studies/520/lgbt_source_guide/4 6 . A video version of Goode’s performance, Where You Stand is available online. See: http://www.vimeo.com/14135962. 7 . Taken from the forewords to the 1998 and 1999 Glasgay! festival programmes. See the Glasgay! online archives: http://www.glasgay. co.uk/Archives. 8 . The Christian Institute’s ‘Case for Keeping Section 28’ in 2000 cited Glasgay! as a ‘matter of concern’, though offered little in the way of coherent criticism beyond a shocked and slightly lurid description of some of the festival’s events, alongside disdain for Glasgay!’s successful applications for city and arts council funds: ‘It is difficult to think of a heterosexual organisation that could boast of such a record’ (Christian Institute, 2000). 9 . For further discussion of the representation of gay HIV/AIDS subjectivities in Philpott’s Bison (2009–10), see Alyson Campbell’s ‘From Bogeyman to Bison: A Herd-Like Amnesia of HIV/AIDS in Theatre?’ (2011). 10 . The Unite Against Hate Campaign’s primary partners are the Equality Commission, Community Relations Council, Northern Ireland Office Community Safety Unit and the Police Service of Northern Ireland. See http://uniteagainsthate.org.uk. 11 . For example, OUTburst 2010’s staging of Joseph Mercier’s Giselle Or I’m Too Horny to be Prince was accompanied by a workshop introduction to queer politics and gender theories through movement and dance. In 2009, the festival coincided with the full-scale Here’s To You Mrs. Robinson: Performing Queer Subjectivities Conference at Queens University Belfast. 12 . Robinson made her original comments during a Northern Ireland Grand Committee meeting which discussed the risk assessment and management of sex offenders. Though Robinson initially strongly defended her comments as ‘based on Biblical pronouncements’ (McAleese, 2008), she later claimed her views had been misrepresented. 220 Notes

7 Networked Identities

1 . See Mark Brown, ‘Opera pulled after school protests over gay char- acter’, The Guardian , Monday 4 July 2011. http://www.guardian.co.uk /music/2011/jul/04/opera-beached-pulled-school-protests. 2 . See, for example, Pullen and Cooper (2010) and O’Riordan and Phillips (2007). 3 . For further discussion of coming out videos as ‘rhetorical action’, see Alexander and Losh (2010). 4 . See ‘A Message From Gregg Steinhafel, Chairman, President and CEO’ for the corporation’s original response to complaints from gay activists ( http://pressroom.target.com/pr/news/civic-activity.aspx ) and Abe Sauer’s later investigative report based on documents from the Federal Election Commission which suggested donations continued for months after Steinhafel had promised that Target would review its policies ( http://www.theawl.com/2010/12/the-anti-gay-donations-that-target- apologized-for-they-never-stopped ). Bibliography

Selected Performances

For ease of discovery, original performances are listed by company name, followed (where noted) by director and playwright. Performance texts, where available, are listed in the following bibliography.

7:84 (Scotland) and Scottish Aids Monitor. Talking Bollocks. The Citizens Theatre, Glasgow. 4–5 November 1995. 7:84 (Scotland). Talking Bollocks: Unzipped. The Ramshorn Theatre, Glasgow. 1–4 November 1998. 7:84 (Scotland) and mct. Just Pretending. Dir. Helen Devon, Lorenzo Mele, and Claire O’Hara. Tron Theatre, Glasgow. 27–28 October 2000. 7:84 (Scotland) and Ourstory Scotland. seXshunned. Dir. Claire O’Hara and Alana Brady. The Arches, Glasgow. 3–4 November 2004. The Drill Hall, Contact Theatre, Homotopia, Stonewall, Team Angelica & Queer Up North. FIT. Dir/Writ. Rikki Beadle-Blair. The Drill Hall, London and touring venues. September 2007 – February 2010. Duckie. Gay Shame. The Coronet Theatre, London. July 2, 2005. —— Euro Shame. The Coronet Theatre, London. July 1, 2006. —— Macho Shame. The Coronet Theatre, London. July 5, 2008. —— Girly Shame. Brixton Academy, London. July 4, 2009. —— Gross Indecency. Camden Centre, London. July 3, 2010. Gay Sweatshop. Mister X. Writ. Baker, Roger, and Drew Griffiths. Campaign for Homosexual Equality Conference, Sheffield. August 1975. Gendered Intelligence with Central School of Speech and Drama and Fringe Benefits. Brief Encounters. Theatre for Social Justice Institute, London. May 2008. Leicestershire Educational Psychology Service. Gay . Dir/Writ. Robert Higgs. Longslade Community College, Birstall; Burleigh Community College, Loughborough and Countesthorpe Community College. February–April 2008. mct. Fingerlicks . Dir. Natalie Wilson. The Arches, Glasgow. 4–8 November 1998. Posener, Jill. Any Woman Can . Leicester Haymarket, Leicester. November 1975. Sherman Cymru. Llwyth. Dir. Arwel Gruffydd. Writ. Dafydd James. Chapter Arts Centre, Cardiff. 15–24 April, 2010. Spare Tyre Theatre Company. Burning. Dir. Arti Prashar. Writ. Clair Chapwell. Originally staged London, 2004; UK tour September 26–December 9 2005.

221 222 Bibliography

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7:84 (Scotland) Theatre Company, Burroughs Wellcome, 141 76–89 see also The Wellcome Trust Just Pretending, 81–3 butch identities, 8, 16 seXshunned, 83–6 Butler, Judith, 6, 13, 15, 114, Talking Bollocks, 76–7, 80 118, 198 Talking Bollocks: Unzipped, 78–80 parody, 137, 143 performativity, 8–11, 109, 121, ACT UP, 4, 134, 141–2 131, 133, 202, 207 activism, see protest age of consent, 72, 84 camp, 16–20, 78, 85, 137–8 AIDS, 75, 84–5, 92, 140–3, 172, 174 Campaign for Homosexual Almost Free Theatre, 42, 45–6 Equality, 40, 74 amateur performance, 26, 30, 80, carnivalesque, 135–7 86, 88–9, 181 Case, Sue-Ellen, 4, 12, 174, 210 see also authenticity; Casson, Simon, 153, 155, 157, 161 autobiographical performance censorship, 36–9, 188, 215 Anzaldúa, Gloria, 4, 12 Chapwell, Clair, 115 applied theatre, 25, 100–3 Burning, 115–19, 122, 196 Aputheatre, 75 charities, 42, 76, 151–2, 186, Arts Council England, 155, 178 188–9, 203 authenticity, 26–8, 30, 53, 59, 211 CHE, see Campaign for Homosexual of amateurs, 86, 88 Equality in autobiography, 48, 53–4, 80 class, 24, 95, 149, 168–9, 196 and essentialism, 27, 80 closetedness, 17, 21–2, 25–7, 53–4 autobiographical performance, spatial metaphors of, 90 68–70, 77, 87–8 see also coming out; visibility autotopography, 91 collaboration, 6, 12–13, 44, 62, 193–4, 201 Baker, John Roman, 47, 75, 141 comedy, see stand-up comedy Baker, Roger, 52–3 coming out, 17–18, 21–2, 45–7, 53–7, (with Drew Griffiths) Mister X, 63–4, 91, 97 52–6 as collective action, 27, 29, 41, 50 Barlow, Gavin, 172–3, 176 narrative form of, 72, 87, 99 Beadle-Blair, Rikki, 110, 130 commercial sponsorship, 145–6, FIT, 101, 107, 110–15, 129–30, 189 148, 150–1, 155–6, 175, 188–9, Berman, Ed, 42, 46–7, 52 193, 216 Best, Jonathan, 176, 200 community arts, 42, 74–89, 103, 176 Brighton and Hove Pride, 151–3 community choirs, 96–7 Brighton Ourstory, 74–6 community histories, 67–8, 74–5 Burkett, Ronnie, 175 see also oral history projects

241 242 Index

Conservative party, 104 feminism, 7–8, 18, 69 constraint, 10, 15, 18, 114, 131 festivals consumerism, 154, 157–8 Edinburgh Festival Fringe, 171–2 cosmopolitanism, 167–9, 183, 194 Edinburgh International Festival, cultural capital, 167–8 169–70 GFEST, 186–9 D’Angelo, Dominic, 179–80 Glasgay!, 81, 83, 179–85, 193 Davis, Jill, 37 Homotopia, 189–90 De Beauvoir, Simone, 9 Manchester Festival of Arts and De Certeau, Michel, 199–200 Television, 172–3 De Jongh, Nicholas, 36–8, 41, 63 OUTburst, 190–2 détournément, 142 Queer Up North, 172–8, 191, 193 difference, 6–8, 11–13, 57, 108, SHOUT, 186 111–13, 116–17, 120–1, 155, film festivals, see Queer Up North 165–9, 177–8, 183–8 Forest Fringe, 171 see also sameness Foucault, Michel, 7, 10, 36 disclosure, 21, 26, 101, 109–10, Fountain, Tim, 171, 177 118–19, 130 Freshwater, Helen, 15, 29, 36–7, 56, disidentification, 19–20, 160–1 141, 143 Ditton, Cordelia, 179–80 diversity, 11–12, 103, 111, 145, Gay Liberation Front, 40, 47, 61, 182–4, 186–7, 194, 204 74, 217 drag, 17, 20, 61, 77, 85, 181, Gay Men’s Theatre Collective, 31, 182–3, 211 40, 47, 61 Duckie, 20–1, 153–63, 175 Gay Shame, 153–61 Euro Shame, 156 Gay Sweatshop, 12, 26–7, 29, 34–64, Girly Shame, 157–60 172–4, 197, 215 Gross Indecency, 161–3 ‘gay’ used as pejorative, 112–13, Macho Shame, 156–8 119–20 Düttmann, Alexander, 109, 114 gender binaries, 7–8, 19 gender norms, 6–7, 10, 13–14, 16–17, Edinburgh Festival Fringe, 171–2 111, 115, 127 Edinburgh International Festival, gender parody, 18–21, 83, 169–70 156–7, 160–1 education gender performativity, 8–11, 109 policy reform, 104–5, 107–8 Gendered Intelligence, 122–31, 197 Section 28, 82, 105–7, 143, 179–81 Brief Encounters, 125–9 theatre-in-education, 100–3, 106 GFEST, 186–9 Edwards, Tim, 16–17 Glasgay!, 32, 81, 83, 171, effeminacy, 17, 37–8 179–85, 187 essentialism, 7–8, 26–8, 201, 202 ‘glass closet’, 37–8 see also authenticity GLF, see Gay Liberation Front Goode, Chris, 178 Farman, Tanja, 172–4, 176, 200 Goodman, Lizbeth, 35, 51–2 femininity, 8, 18–19, 41, 111, 122, Griffiths, Drew, 52–3 160–1 (with Roger Baker) Mister X, 52–6 Index 243

Hall Carpenter Archives, 71, 73, 100 Jackman, Derek, 84 Halperin, David, 5, 7, 16, 18 James, Dafydd, 91, 96–7 Hamilton, John, 149 Llwyth, 68, 90–8 Harfleet, Paul Jenny Lives With Eric and Martin, 105 The Pansy Project, 191–2 hate-speech, 120–1 Kamatkar, Niranjan, 187 see also ‘gay’ used as pejorative; speech-act theory Lamé, Amy, 153–4, 156, 162–3, 175 Heddon, Deirdre, 69–70, 81, 179–80 Leddy, David, 181–2 heteronarrative, 72–3 legal reforms, 39–42 heteronormativity, 13–14, 40, 72–3, Section 28, 105–7 82–3, 106, 117, 134, 140, 150, Sexual Offences Act (1967), 144 195–6 Wolfenden Report, 39–40 as spatial norm, 120–2, 138, see also censorship 143–4, 163 Lesbians and Gays Support the see also homonormativity Miners, 139–40, 205 heterosexuality, 4, 7, 13, 20–2, 24, life-storytelling, see 69, 104, 108 autobiographical performance Higgs, Robert London Mardi Gras, 146–51 Gay, 119–22 Lord Chamberlain’s Office, see history-making, 5–6, 30, censorship 68–72, 75–6 Lucas, Ian, 136–7, 139–41 see also oral history Hoffman, William, 60 managerialism, 145–6, 193 homonormativity, 150, 198–9, 218 Mardi Gras, see Pride homophobia, 17, 21, 54, 81–2 marriage equality, 72, 83, 181 in performance, 37, 39, 42, 53, masculinity, 8–9, 16, 19–29, 41, 128–30 95–6, 112, 122, 156–7, 160 homophobic bullying, 105–7, Mason, Angela, 148–9 108, 120 McMaster, Brian, 170 Homotopia, 189–90, 192 McNamara, Catherine, 122 Howells, Adrian, 173, 182 McNeill, Anthony, 147 hybridity, 95–6, 102, 169 mct Fingerlicks, 81 iconicity, 7, 16 Mele, Lorenzo, 82 identification, 4–6, 19–20, 55–6, metropolitanism, 90–1, 166, 169 72, 89, 97, 111, 119, 142, 196–7, Miller, Tim, 181 204–5 Mitchell, Lindsay, 180–1 identity, 3–10, 13–16, 19–28 multiculturalism, 167, 185–6, 189, 191 Inter-Action, 42–3, 46–7 Muñoz, José Esteban, 19–20, 160, 201 InterChange, 188–9 intersectionality, 12–13, 139–40 National Curriculum, 104–5, 111, invisibility, 6, 14–15, 22–4, 36–7, 116, 118, 125 61–2, 73, 110, 179, 186, 200 neo-liberalism, 149–50, 156, It Gets Better, see The It Gets Better 159–60, 170, 199 Project see also sameness 244 Index

New Labour, 104, 108 protest, 134, 136–45 normativity, 4–5, 12, 22, 28, 114, see also ACT UP; Duckie; 131–2, 150, 155 OutRage!; Pride see also heteronormativity; homonormativity Qualification and Curriculum Authority, 130 O’Hara, Claire, 82, 84, 86–7 Queer Nation, 4 Olympics, 156 Queer Up North, 32, 171–9, 185, Open Clasp Theatre Company, 187, 199–200 103–4 ‘Operation Rupert’, 138 race, 4, 13, 19–20, 104, 108, oral history, 71–2, 74, 90 117–18, 187 oral history projects Rebellato, Dan, 37–40, 63 Brighton Ourstory, 74–5 recognition, 13–15, 68, 72, 105, 109, Ourstory Liverpool, 75, 189 120–1, 167–8, 197 Ourstory Scotland, 75–6, 83 Reekie, Iain, 88 OUTburst, 190–2, 196 rural spaces, 90, 214 OutRage!, 143–7, 150, 199 Salih, Sara, 9–10 paranoid gaze, 20 sameness, 101, 108, 114, 131, parody, 18–20, 83, 156, 198 196, 199 as protest strategy, 137–8, 160–4 Savage, Dan, 203, 205, 207 participant stories, 74, 76–7 Sci:identity Project, 122–4 passing, 21–3, 37, 58 Scottish AIDS Monitor, 76, 88 Patrick, Robert, 48 Scottish Arts Council, 84, 183 PBH’s Free Fringe, 170 Section 28, 82, 84, 105–8, 143, performativity, 8–11 179–81 see also under Butler, Judith Sedgwick, Eve, 5–6, 11–12, 20–1, Personal Social and Health 161, 165, 208 Education, 104–5, 107–8, 110, self-oppression, 26–7, 29, 45, 53, 116, 118, 125 57, 60 Phelan, Peggy, 14–15, 22, 130–1, sex education, see Personal Social 132, 199–200 and Health Education Plummer, Ken, 68–70, 72, 74, 87, 202 shame, 22, 57, 153, 184 Posener, Jill, 46, 52, 58, 60 see also Gay Shame Any Woman Can, 52, 56–9 Shaw, Peggy, 174, 178 Pride, 134, 137–9, 145–6, 149–50, SHOUT, 186, 196 153–4 Sinfield, Alan, 22, 36–8, 63, 91, 197 professionalism Sisley, Emily, 60 in arts management, 170, 172, site-specific performances 179, 192–3 Brighton Ourstory, 74–5 in performance practice, 44, 47, Outrage!, 143–4 49–51, 59–60, 88–9, 192 The Pansy Project, 191–2 see also managerialism solidarity, 5, 10, 26, 41, 50, ‘promotion’ of homosexuality, 82, 114, 201 105–6, 107, 150 ‘Some people are gay, get over it’, see also Section 28 see Stonewall Index 245

Spare Tyre Theatre Company, unmarkedness, 6, 14–15, 115, 118 22–4, 125 spectacle, 46, 135–7, 143–4 urban spaces, 32, 90–1, 145, 166–9, speech-act theory, 9, 113, 121, 143 186, 199 Split Britches, 172, 174 stage censorship, see censorship violence, 108, 128, 130, 132, stand-up comedy, 171, 174, 182, 186 143, 192 stereotypes, 16, 19, 38, 41–2, 44–5, virtual bodies, 206–7 52, 121–3 virtual communities, 202, 207–8 Stonewall, 27, 36, 40, 100–1, 106–9, visibility, 6, 14–16 145–6, 148, 203, 205–6 see also invisibility Stonewall campaigns Education for All, 27, 107–9, 115 Wandor, Michelene, 43, 47, 53, 57, ‘Some people are gay, get over it’, 61–2 27, 106, 108–9, 197 Waters, Sarah, 181–2 The School Report, 107–8 websites, 201–3, 207–8 Weeks, Jeffrey, 39–41, 71–2, Tatchell, Peter, 138, 141, 143–4, 131–2 148–50, 186 Welsh national iconography, see also OutRage! 92, 96 The It Gets Better project, 33, 203–7 ‘Wenglish’, 91, 93–6 The Wellcome Trust, 122, 124 whiteness, 23–4 theatre-in-education, 101–3, 106, Whitmore, Robin, 153–4, 157, 162 125, 130, 196 Williams, Tennessee, 184–5 Thompson, James, 25–6, 102, 130 Wilson, Natalie, 81 Thomson, Steven, 183–5 WiseThoughts, 186–7 tourism, 167, 217 With Downcast Gays, 27, 45 see also cosmopolitanism Wolfenden Report, 39–40 trans identities, 4, 8, 75, 125, 145, Women’s Theatre Group, 43 177, 183, 189–91, 215 Wyllie, Andrew, 45, 53, 55, 63 in performance, 83, 86, 122–31, 185 zaps, 138–9, 141–2