225 Acting and Actors, 22, 54–55, 72, 78. See Also Names of Individuals
Index
Acting and actors, 22, 54–55, 72, 78. Antihomophobia, 81, 100, 157, 184, See also names of individuals 185 Action (Shepard), 145, 148 Antiracism, 29, 81, 100, 174 Adler, Thomas, 25–26 Art, 12, 13, 16, 17, 216n. 17 Advertising and marketing, 7, 13, Art museums, 16, 19, 23 43–45, 48 As Good as It Gets (film), 180, 181–82, Affirmative action, 149–50, 152 184, 186 Africa, 98, 151, 153 Astor del Valle, Janis, 69, 80 African Americans, 20, 92, 126, 140, Atkinson, Brooks, 26, 49, 53 149, 183; gay male, 68, 182; male, Auden, W. H., 10 152, 173; and music, 32–34, 40, 54 Audiences, 23–24, 40, 55, 67, 75; lib- AIDS and HIV status, 27, 41, 77, eral, 62, 129, 202 112–13, 132, 186, 195 Audrey (The Little Shop of Horrors), 179 Albee, Edward, 65, 87, 131 Austin, Gayle, 166 Allen, Robert, 150 Authenticity, 37, 38–39, 45–46, 47, 188 Amin, Samir, 83 Avant-garde, 4–5, 9, 12, 13, 16, 26, And Baby Makes Seven (Vogel), 191, 66–67; sexual, 37, 178 193–94, 195, 200 Andersen, Kurt, 13 Bakke, Allan, 149–50 Anderson, Benedict, 119, 121 “Bali Ha’i” (South Pacific), 31 Angel (Rent), 40, 42, 210n. 128 Baltimore Waltz, The (Vogel), 189, Angels, the (Angels in America), 195–96, 204 114–15, 118, 120, 133 Baumol, William J., 23 Angels in America (Kushner), 18, Bazin, André, 71–73, 75 62–63, 67–68, 75, 107–33, 215n. 1; Beauty and the Beast, 18 ghosts in, 83, 93, 95; Millennium Beckett, Samuel, 97–98 Approaches, 108, 114, 126; Pere- Beidler, Philip, 29, 30 stroika, 107–8, 109–10, 115–17, 128; Belize (Angels in America), 96, 109, success of, 57, 66, 78 118, 126–28 Anna (The Baltimore Waltz), 189, Benjamin, Walter, 45, 95, 117, 216n. 195–96, 204 17; and Angels in America, 108, 110, Anna I and Anna II (The Seven Deadly 112–15, 120, 121, 132–33, 215n. 14; Sins), 190 “Theses on the Philosophy of His- Antifeminism, 137, 150 tory,” 110–12, 116
225 226 Index
Benny (Rent), 38 Cabaret (Kander and Ebb), 46, 54 Bercovitch, Sacvan, 121–22, 124, 129 Cable, Lieutenant (South Pacific), Berlant, Lauren, 124–25, 128–29 30–32, 209n. 97 Between Men (Sedgwick), 159 Canby, Vincent, 52 Binarisms, 67, 138, 141, 146, 173, 175, Cannibalism, 170, 172, 175–78 203; in Angels in America, 109, 113, Canon, 15, 96, 98, 158, 188; American, 116–17, 122 17, 26, 125, 131 Blackness, 170, 173–75. See also Capital, 15, 78; cultural, 12, 15, African Americans 129–31 Blair Witch Project, The (film), 84 Capitalism, 83, 95, 119, 128, 190, 203; Bloody Mary (South Pacific), 30–32 early, 121; industrial, 122; late, 13, Blue Room (Hare), 51, 54 114, 135; mercantile, 123 Bly, Robert, 135–39, 145, 151–54 Carby, Hazel, 124 Bohème, La (Puccini), 35, 37, 41 Carl (The Baltimore Waltz), 189, 204 Bohr, Niels (Copenhagen), 79 Carlson, Marvin, 89 Bourdieu, Pierre, 5, 17, 100, 129 Carousel (Rodgers and Hammerstein), Bourgeoisie, 5, 33, 173 34, 208n. 97 Bowen, William G., 23 Carroll, Noël, 85 Bowles, Jane, 68, 155–57, 165–66, Cat on a Hot Tin Roof (Williams), 73 168–69, 200, 201, 222n. 26 Cats (Lloyd Webber), 53 Boys in the Band, The (Crowley), 65, Chablis, Lady (Midnight in the Garden 69 of Good and Evil), 182 Brackett, Howard (In and Out), Chambers, Jane, 69, 193 181–82, 185, 186 Characters: female, 60, 189, 191, 193; Brantley, Ben, 35, 42, 47, 49–50, 51–53 gay, 108, 180–86; identification Brecht, Bertolt, 71, 87, 109–10, with, 60, 71–74, 79, 173, 212n. 27; 188–90, 202, 203 lesbian, 41, 54, 56–58, 62, 180, 185, Brennan, Timothy, 121 195; male, 191; queer, 41; split or Brick (Cat on a Hot Tin Roof ), 73 doubled, 189–90, 194, 196, 203 Broadway, 33, 42, 46–47, 50, 59, 61, Charlene (Hot ’n’ Throbbing), 190, 191 131; and Angels in America, 122; Chauncey, George, 59 and British theater, 51, 53–54; and Cheney, Sheldon, 19 culture vs. economics, 129–30; and Chicago (Ebb and Fosse), 46 Rent, 35–36 Christmas Carol, A (Dickens), 83 Brown, Wendy, 58, 77 Churchill, Caryl, 36, 118 Brustein, Robert, 108 Cinema, 19, 21, 70–73, 86–87, 90, 102. Bürger, Peter, 37 See also names of individual films Burns, Anthony (“Desire and the Civil rights, 76, 149, 185 Black Masseur”), 171–78 Class, 75, 128, 131; middle, 10, 23, 40, Burroughs, William, 177–78 46, 62; white, 58, 66, 76, 149, 182, Bush, George H. W., 82, 123 184; working, 5, 21, 22, 23, 149 Bush, George W., 82, 123 Closet dramas, 68, 131, 157–58, 161, Butch-femme, 164–66 168, 182–85, 201 Butler, Judith, 74–75, 92, 144, 161, Clum, John, 108, 109 164, 177, 193 Cocteau, Jean, 97, 98 Index 227
Cohn, Roy (Angels in America), 93, culture; Highbrow culture; Middle- 110, 112–13, 132 brow culture Cold War period, 4–5, 9–12, 65, 85, Cunanan, Andrew, 185–86 116, 132 Coleman, Robert, 156 Darling, Alexi (Rent), 38 Colonialism, 30, 83, 98, 99, 103, 151 Death, 86, 90, 93, 121, 140, 175, 178; Coming out, 181, 185, 188 in films, 182, 185 Commodities, 13, 44, 179 De Becque, Emile (South Pacific), Commodities, cultural, 4, 14, 31–32, 29–30, 32 33, 42; art as, 12, 46, 139; difference Deconstruction, 46, 66, 68–69, 90, as, 124; hotness of, 48; productions 122, 186; and Paula Vogel, 193–94, as, 37 203 Commodity culture, 95, 114–15, 178 DeGeneres, Ellen, 180, 185 Communism, 5, 6, 9, 83 Democracy, 119, 126–28, 217n. 46 Communists, Cowboys, and Queers Depression, Great, 7, 20, 21, 85 (Savran), 173 Derrida, Jacques, 88, 93, 95, 96, 101, Community, 63, 68, 76, 102, 109, 119, 192 121 Desdemona (Vogel), 191, 193 Congress, 7, 87, 88, 217n. 39 Desire, 60, 73–74, 79–80, 97, 133, 176, Conroy, Marianne, 17, 22 198–99; contradictions in, 174; Conservativism, 122, 129, 133 cross-race, 170; and fantasy, 160, Consumers and consumption, 6, 13, 179; in In the Summer House, 43, 45, 77, 178, 185 157–62, 167–68, 169; lesbian, Contradictions, 126, 130, 148 66–67, 157, 167–69, 200; masochis- Copenhagen (Frayn), 78–79 tic, 143–45, 178; between men, Corman, Roger, 179 146–47; and men of color, 173; sex- Critics, 47–52, 54–55, 156, 170, ual, 157, 177, 201 182–83; feminist, 136, 145, 202. See Deviance, 8, 58, 95, 168, 194 also names of individuals Dialectics, 126, 128, 144, 189 Cronenberg, David, 86 Difference, 11, 181, 189 Crow (The Tooth of Crime), 146, 148 DiMaggio, Paul, 19 Crowley, Mart, 65, 69 Dirty Blonde (Shear), 46, 78–79 Culture, 25, 124; commercial, 15, 17; Dissensus, 125–26, 129–30 counter-, 42, 151; elite, 15–16, 22, Diversity, 123, 125, 126, 180 36–37, 56, 62, 107, 203; hierarchy Divine, 187–88, 203 of, 13, 17, 48, 52, 97; Hipbrow, Dolan, Jill, 58, 80, 157, 192 45–46; of hotness, 13–14, 15, 27, 45, Drag, 40, 74, 77, 126, 182, 194–95; 48; lowbrow, 3–6, 12, 20, 33, 78; and Paula Vogel, 187, 188, 199, 202, mass, 8–9, 23–24, 47, 84–88, 97, 203 107, 132; Native American, 135–36; Dyer, Richard, 182 1950s, 3, 7, 8, 9–10, 12, 65; 1960s, 11, 12, 65; 1990s, 65–66, 76; No- Eagleton, Terry, 110 brow, 13–14, 45; popular, 15, 36, 53; Early, Gerald, 33 sub-, 14, 77; youth, 12, 42. See also Edson, Margaret, 51, 63 Commodities, cultural; Commodity Ellen (In the Summer House), 160–61 228 Index
Ellen (television program), 56, 180 56, 65, 131, 184. See also names of Ellis, Havelock, 165 individuals Europe, 66, 85, 98, 99, 103, 110, 151; Gender, 57, 74, 128, 164, 190, 194, ancient, 89, 91 199; fluidity of, 187, 200–201; Ewen, David, 28 norms of, 137, 146, 191; perform- Experience, 39, 45, 96 ance of, 118, 193 General, the (The Wedding on the Falk, Florence, 145 Eiffel Tower), 98 Faludi, Susan, 136–37 Gershwin, George, 26 Fanon, Frantz, 100 Gertrude (In the Summer House), Fantasy, 135, 152–53, 160, 171, 173, 158–61, 164–69, 222n. 26 179; masochistic, 140–41, 176, 177 Ghosts, 82. See also Theater, ghosts in Fear, 9, 173, 176, 186 Ginsberg, Allen, 43, 177–78 Federal Theatre Project, 21, 87 Glass Menagerie, The (Williams), 201 Femininity, 6–8, 117, 137, 146–47, God (Angels in America), 115–16, 118, 185, 190, 203 120, 125, 127 Feminism, 12, 81, 100, 149, 152, 192, Goodman, Charlotte, 222n. 26 203; and critics, 136, 145, 202; les- Good Person of Setzuan, The (Brecht), bian-, 193–94; and Paula Vogel, 190–91, 203 188, 189, 191 Gordon, Suzanne, 136 Feminization, 94–95, 148, 152, 173 Greek Chorus (How I Learned to Fiedler, Leslie, 4 Drive), 190, 198 Films, 13; gay and lesbian, 180–86; Green, Stanley, 27 noir, 182–83, 185. See also Cinema; Greenberg, Clement, 4, 6, 8, 10 names of specific films Greif, Michael, 39–40, 41 Forbush, Nellie (South Pacific), 29–30, Gross, Robert, 176 32 Group Theatre, 21, 87 Fornes, Maria Irene, 69–70, 80 Frayn, Michael, 78–79 Hair (MacDermot, Ragni, and Rado), Freud, Sigmund, 10, 74, 195; “The 37 Economic Problem in Masochism, “ Hamer, Diane, 200 140; and homosexuality, 67, 163, Hamlet (Shakespeare), 83, 93, 96 165–66, 200; “Instincts and Their Hammerstein, Oscar, 14, 19, 21, 24, Vicissitudes,” 147; “Mourning and 27–29, 87 Melancholia,” 92, 162; and sado- Hannah (Angels in America), 117–18 masochism, 141, 146, 170, 172–73, Hansen, Klaus, 119, 121 175–76 “Happy Talk” (South Pacific), 30, 32 Frohman, Charles, 24, 36 Hare, David, 51, 54 Fukuyama, Francis, 116 Harper (Angels in America), 110, Funding, 53, 88, 132 117–18 Hart, Lynda, 192, 193 Gattaca (film), 183–84, 186 Harvey, David, 75, 99, 178 Gay men, 41, 54, 57, 76, 210n. 128; Hawkins, William, 156 characters, 62–63, 65–66; white, Heidi Chronicles, The (Wasserstein), 58, 66, 81, 131, 182, 184; writers, 18, 107, 203 Index 229
Heisenberg, Werner (Copenhagen), 79 Identity, 58, 67, 69–70, 135, 144; alien- Henri (And Baby Makes Seven), 195, ating, 196–97; and desire, 157; 204 destabilization of, 187; gender, 164, Heterosexuality, 32, 41, 65, 78, 160, 199; heterosexual, 162; homosexual, 195–96, 200; and binarisms, 173; 157, 164, 180–81; politics of, 13–14, compulsory, 161–62; critique of, 52–53, 58, 63, 76–77, 108, 127; sex- 165, 169; in film, 182; and ual, 69, 199, 201 masochism, 146; normativity of, 58, “I’m Gonna Wash that Man right outa 67; oppressive, 164; passing for, 157; My Hair” (South Pacific), 32–33 performance of, 74; requirements Imperialism, 82, 95–100, 116, 152–53 of, 168 In and Out (film), 180–82, 184 Highbrow culture, 3–5, 12, 15, 30, 32, Income levels, 5, 41, 55, 149 42, 77; pretensions to, 44, 185 Individualism, 109, 112, 117, 119, History, 88–95, 110–11, 121; in Angels 120–21 in America, 108, 112–13, 115–16, Inge, William, 21, 65, 131, 157, 168 125, 133 In the Summer House (Bowles), Hodges, Drew, 44 155–69, 195; as closet drama, Hohenberg, John, 25 157–69; criticism of, 155–56; desire Holly, Catharine (Suddenly Last Sum- in, 157–62, 167–68, 169 mer), 176, 178 Ionesco, Eugène, 97, 98–99 Hollywood, 21, 53, 62, 129, 180–86 Iron John (Bly), 135, 137–38, 145, Homoeroticism, 145–46, 158, 169, 153–54 177, 183 Homophobia, 9, 64–65, 145–46, 157, Jack (L.A. Confidential), 183 177, 183, 185 Jackson, Jesse, 150, 217n. 46 Homosexuality, 8, 27, 65, 160, 199; James (Love! Valour! Compassion!), 66 criticism of, 6, 9, 59, 64; and desire, Jameson, Fredric, 98 158–59, 170; destigmatization of, Jeep (Action), 148 156; and Freud, 67, 163, 165–66, Jelly Roll Morton (Jelly’s Last Jam), 83, 200; and identity, 157, 164, 180–81; 91, 95, 102 renunciation of, 161; and sado- Jelly’s Last Jam (Morton, Henderson, masochism, 171, 178. See also Anti- and Birkenhead), 83 homophobia Jerome (Gattaca), 183 Horror, 84–86, 176 Jim (The Mineola Twins), 195 Hoss (The Tooth of Crime), 146 Joanne (Rent), 38 Hot ’n’ Throbbing (Vogel), 189, 190, Joe (Angels in America), 110, 117–18, 191 126, 132–33 “Howl” (Ginsberg), 177–78 Hughes, Holly, 57, 64, 66–68, 193 Kammen, Michael, 3, 12 Kauffmann, Stanley, 64–65 Ibsen, Henrik, 83, 87 Kerr, Walter, 156 Identification: with characters, 60, King, Stephen, 84, 88 71–74, 79, 173, 212n. 27; cross- Kissel, Howard, 40, 41 gender, 158, 160–61, 195, 198–99; Klee, Paul, 111 gender, 164 Klein, Naomi, 44–45 230 Index
Kohn, Hans, 121 McCarthy,Joseph,6,132 Kosmo (Mad Dog Blues), 135, 154 McCarthyism, 4, 64–65, 93, 164, 171, Kroll, Jack, 108 177 Kushner, Tony, 36, 61, 81, 86, 87, Macdonald, Dwight, 4, 5, 8–10, 14–15, 215n. 14, 217n. 46. See also Angels 19, 25 in America Mackintosh, Cameron, 23 McNally, Terrence, 57, 62, 66, 78, 81 L.A. Confidential (film), 182–83, 186 Mad Dog Blues (Shepard), 135 Lacan, Jacques, 174, 196, 197 Maggie (Cat on a Hot Tin Roof ), 73 LaChiusa, Michael John, 55 Male impersonation, 191, 199, 204 Lahr, John, 107 Mamet, David, 191 Larsen, Nella, 158 Margrethe (Copenhagen), 79 Larson, Jonathan, 34, 37, 41, 81 Mark (Rent), 38, 41 Laureen (Suicide in B-Flat), 139 Marks, Peter, 35, 52 Leftists, 4, 76, 103, 110, 116, 123, 131 Marshall, Thurgood, 150 Leight, Warren, 51 Martin, Jesse L., 40 Lesbians, 41, 60, 76, 78, 184, 200; in Marx, Karl, 83, 93, 95, 178, 190 film, 56, 62, 185; modern, 201; plays Marxism, 83, 92, 102, 110, 116, 128, by, 54, 57, 63, 66–67, 157; relation- 129 ships between, 164–66. See also Masculinity, 7, 117, 146–52, 199, 202, names of individuals 203; centrality of, 15, 118–19; and Liat (South Pacific), 30–32 gay men, 185; and lesbians, 165, Liberalism, 32, 40, 48, 64, 180–81, 200; and Robert Bly, 136–39, 151; 217n. 46; in Angels in America, 109, and sadomasochism, 154, 166, 173; 122, 127–29; of audiences, 62, 129, and Sam Shepard, 134–35, 139, 144, 202 147–48, 151 Liberal pluralism, 4, 63, 65, 109, Masochism, 135, 138, 140–47, 153, 124–26, 128, 131 171–77. See also Sadomasochism Life, 12, 14 Masseur, the (“Desire and the Black L’il Bit (How I Learned to Drive), 91, Masseur”), 170, 172, 173, 174–75, 101–2, 189, 196–201 176 Lim, Dennis, 76 Mast, Gerald, 27 Lionel (In the Summer House), 159, Materialism, historical, 112, 125, 132 162–64, 222n. 26 Maureen (Rent), 38, 39, 43, 45, 46 Little Shop of Horrors, The (film), 179 Maxwell, Richard, 16 Louis (Angels in America), 109–10, May, Elaine Tyler, 9 112, 116, 126–28, 133 May, Rollo, 10, 11 Louis (Suicide in B-Flat), 139, 142–43, Meaning of Anxiety, The (May), 10 146–47 Media, 13, 78, 96, 108, 155, 185–86 Love, 158–59, 163, 166–68, 183 Melnick, Jeffrey, 33 Love! Valour! Compassion! (McNally), Memory, 88–95, 121, 196 62–63, 66, 67–68, 78 Men, 141, 145–46, 176, 186; of color, Lucas, George, 99 68, 152, 173, 182; and desire, Luce,Henry,90 167–69, 200; white, 81, 147, 149, Lynes, Russell, 4, 5, 6, 7, 14 151, 177. See also Masculinity Index 231
Men’s movement, 135–37, 152 Naked Lunch (Burroughs), 177–78 Metz, Christian, 70–72, 75 NEA (National Endowment for the Michener, James, 28 Arts), 62, 87–88, 131–32 Midcult, 8–9, 14–15, 25 Newton, Esther, 194–95, 200 Middlebrow culture, 3–4, 6; and anxi- New York City, 39, 42, 45, 54, 59. See ety, 10–12, 50, 54–55; lower, 7–8, also Broadway 14, 21, 54; upper, 14, 21–22, 25, 41, New York Times, 26, 47–55, 84, 134 45, 47–49, 51. See also Theater as Nicola, Jim, 36 middlebrow culture Niles (Suicide in B-Flat), 139–40, Midnight in the Garden of Good and 142–43, 145, 147–48 Evil (film), 180 Nora, Pierre, 90–91, 92 Millennialism, 112, 113, 119–20, 122, NYTW (New York Theatre Work- 124–25, 127 shop), 35–36, 40, 41 Miller, Arthur, 21, 87 Miller, D. A., 60 Occult, 84–86, 89 Mimi (Rent), 35, 38, 40–41 Oedipus complex, 73, 159–61, 166, Mineola Twins, The (Vogel), 189, 190, 176, 195, 196 195, 200 Off-Broadway theater, 51, 87, 194 Misogyny, 138, 193, 202 Of Thee I Sing (Gershwin and Modernism, 4–5, 60, 95–100, 191, 201 Gershwin), 26 Modernity, 116, 117, 119 Oklahoma! (Rodgers and Hammer- Molly (In the Summer House), 158–64, stein), 14, 34, 208n. 97 166–68, 222n. 26 O’Neill, Eugene, 25, 51, 61, 87, 97 Morals and morality, 25, 52, 151, Opera, 24, 29, 34, 87; as elite culture, 170–71, 190 16, 19, 23, 37 Mormons and Mormonism, 108, 118, Oppression, 10, 125, 128, 133, 156, 119–22, 127, 129 192–93, 218n. 56 Most, Andrea, 28, 30 Othello (Shakespeare), 191, 193 Mother Camp (Newton), 194–95 Other, 68, 84, 97, 114, 143–44, 186; Mother/daughter relationships, absolute, 203–4; black men as, 173; 158–60, 164–68 the colonized as, 99–100; and cul- Moyers, Bill, 135 tural difference, 124; desire to be Mr. Solares (In the Summer House), the, 153; domination of, 145; and 159, 164 masochism, 142; native, 30; within Mrs. Constable (In the Summer the self, 66, 70, 91–93, 138, 148–49; House), 158, 160–61 women as, 118 Mrs. Lopez (In the Summer House), 158, 160, 165–66 Pablo (Suicide in B-Flat), 139, 142–43, Mrs. Venable (Suddenly Last Summer), 146–47 177 Passing (Larsen), 158 Mulvey, Laura, 140–41 Patriarchy, 101, 132, 145–46, 189, Musicals, 23, 40, 54, 55, 59–61. See 190–91, 198, 202 also names of individual musicals Paullette (Suicide in B-Flat), 142 Myra (The Mineola Twins), 189, 204 People of color, 28, 29–30, 40, 54, 80, Myrna (The Mineola Twins), 189, 204 96. See also African Americans 232 Index
Performance, 118, 187, 193 Rent (Larson), 27, 34–46, 50, 78; and Periodicals, 4, 6, 7, 35, 59, 64, 151. See authenticity, 37, 38–39, 45–46 also names of individual periodicals Representation, 40, 67, 192 Perkins, Helvetia, 222n. 26 Reviews, 48–49, 156, 170 Perverts and perversion, 9, 80, 156, Revolution, 43, 111, 112, 113, 128 158, 168–69, 185, 201 Rich, Frank, 49–50, 108 Petrone (Suicide in B-Flat), 139, 146 Right Stuff, The (film), 134, 151, 154 Phallus, 197–200, 202, 204 Riverdance, 18 Phelan, Peggy, 90 Roach, Joseph, 90 Place for Us (Miller), 60 Rodgers, Richard, 14, 21, 27–29, 87, Poggi, Jack, 19, 20–21 208–9n. 97 Politics, 27, 29, 49, 103, 188, 216n. 17; Roger (Rent), 41, 42 in Angels in America, 109, 118, Rolling on the T.O.B.A., 54 125–28, 132. See also under Identity Román, David, 126 Porgy and Bess (Gershwin), 26 Romance, 28, 31, 41, 96, 109, 110, Porter, Cole, 14 119 Postmodernism, 12, 37, 38, 99 Rosenberg, Ethel (Angels in America), Prices, 21, 23–24, 86 83, 92–93, 94, 95, 101, 112 Prior Walter (Angels in America), 75, Ross, Andrew, 4, 5, 11, 17 109–10, 112–18, 125, 128, 215n. 14 Rubin, Joan Shelley, 5, 17 Private sphere, 8, 63, 68, 122, 181 Rubin-Vega, Daphne, 39, 40 Progress, 111, 117–18, 120, 184 Rudnick, Paul, 181, 186 Public sphere, 63, 68, 122, 181, 184, 192 Sadism, 140–43, 147, 166, 173, 175 Puccini, Giacomo, 35, 41 Sadomasochism, 147–48, 152, 154, Pulitzer Prize, 18, 21, 25–28, 35, 51, 166, 178; and Freud, 141, 146, 170, 57, 196 172–73, 175–76. See also Masochism Queerness, 57–59, 66, 68–69, 77–78, Said, Edward, 48 158 Sarah Brown Eyes (Ragtime), 83, 91, 93, 94, 95 Race, 58, 66, 75, 127, 128, 175; and Schaunard (Rent), 35 sexual relationships, 28, 30–31, 170. Seabrook, John, 5, 13–14, 38 See also Antiracism Sedgwick, Eve Kosofsky, 57–58, 59, Racism, 27, 29, 30, 34, 92, 150, 152; 129, 145–46, 159, 199, 201 and violence, 93, 174 Self, 66, 68, 70, 90, 91, 97, 140; femi- Radicalism, 12, 108, 110, 122, 127–28 nized parts of the, 148, 152; and Radway, Janice, 4, 6, 17 masochism, 142, 144; violence Ragtime (McNally), 83, 92–93 against the, 135, 143 Rambo, John J. (Rambo), 135, 154 Seven Deadly Sins, The (Brecht), Reaganism, 92, 112, 122, 123, 132–33 190 Realism, 67, 75, 102, 155, 188–89, 192, Sexual dissidence, 156–57, 194, 200 202 Shakespeare, William, 52, 87, 109–10, Reik, Theodore, 141–42, 148, 170, 173, 191, 193 176 Shear, Claudia, 78–79 Index 233
Shenkar, Joan, 69, 80 Technology, 23–24, 90, 99, 184, Shen Te (The Good Person of Setzuan), 216n. 17 190–91, 195 Teiresias (Oedipus Rex), 109 Shepard, Alan, 145 Television, 22, 56, 86, 180 Shepard, Sam, 134–35, 138–40, 142, Theater, ghosts in, 83–103, 127; and 144–49, 151, 154 imperialism, 95–100; and mass cul- Shooter (Action), 148 ture, 84–88; and memory, 88–95; Shui Ta (The Good Person of Setzuan), and the visor effect, 100–102 190–91, 195 Theater, queer, 56–81, 169; and gay Side Man (Leight), 51 men, 56–57, 62–63, 65–66, 76; and Silver, Nicky, 69, 80 lesbians, 56–57, 62–63, 76, 78. See Silverman, Kaja, 148, 171, 172 also names of individual plays Simon, John, 42 Theater and theaters, 41–42; of the Simon (As Good as It Gets), 184–85, absurd, 97–98, 110; activist, 103; art 186 (nonprofit), 19, 22, 24, 36, 47–50, Sinfield, Alan, 59 53, 54–55; British, 50–54, 78; com- Sklar, Robert, 85 mercial, 22, 24, 36, 54; experimen- Smith, Joseph, 120, 122, 125, 128, 131, tal, 97; funding for, 22; regional, 133 129–30; straight, 50–51, 54 Social movements, 7, 76, 136, 149 Theater as middlebrow culture, 14–25, Sondheim, Stephen, 57 29, 39, 46–55, 61–62; and art vs. South Pacific (Rodgers and Hammer- commerce, 17–19, 22–27 stein), 14, 27–34, 40, 209n. 97 Theater troupes, 16, 20, 21, 35–36, 40, Spectators, 60, 71–72, 101–2, 141–42, 68, 87 174, 188, 197 Theology, 112, 121, 125. See also Mor- Specters, 93–97, 100–103 mons and Mormonism Spielberg, Steven, 114 Third World, 13, 96, 151, 153 Spirits, 86, 96, 127 Time, 115, 120, 121 Spirituality, 85–86 Time, 64, 170 Split Britches, 57, 64 Tolerance, 28, 123, 180 Stein, Gertrude, 68, 200 Tony Awards, 35, 54, 57, 66, 78, 87, Subjectivity, 66–67, 139, 141–42, 157, 131 171, 203; female, 172; homosexual, Tooth of Crime, The (Shepard), 145, 178; male, 138, 144; queer, 68 146, 148 Subotnik, Rose, 31 Transgenderism, 58, 160, 210n. 128 Suddenly Last Summer (Williams), Triangulation, 158–61, 169 171, 176–79 True West (Shepard), 145, 148 Suicide, 135, 143, 186 Suicide in B-Flat (Shepard), 138–40, Uncle Peck (How I Learned to Drive), 142–48, 151 83, 91, 94, 95, 101, 189, 197–201 Supreme Court, 149–50, 185 Uncle Tom’s Cabin, 215n. 1 Utopia and utopianism, 63, 75–77, Taccone, Tony, 47 94–97, 100, 203; American, 94, 96, Taste, 3–4, 5, 7–11, 12, 13–14, 25 124; in Angels in America, 108, Taubman, Howard, 64–65 110, 112, 114, 117, 127–30, 133; of 234 Index
Utopia and utopianism (continued) “Desire and the Black Masseur,” Mormonism, 120, 122, 127; queer- 170, 171, 174–75, 177; gay male, 58, ness as, 57, 58, 77 66, 81, 131, 182, 184 Who’s Afraid of Virginia Woolf? (Albee), 25 Venable, Sebastian (Suddenly Last Wilde, Oscar, 68 Summer), 171, 176–77, 178 Wild Party, The (LaChiusa and Wolfe), Vicinus, Martha, 157 55 Vidal, Gore, 184 Williams, Jesse Lynch, 25 Vietnam War, 149–51 Williams, Jim (Midnight in the Garden Vincent (Gattaca), 183 of Good and Evil), 182 Violence, 65, 98, 120, 134, 144–45, Williams, Tennessee, 21, 51, 65, 87, 147, 154; between men, 146, 173, 107, 201; closet dramas of, 68, 131, 176, 186; racist, 93, 174; against the 157; criticism of works of, 64, 156; self, 135, 143 “Desire and the Black Masseur,” Vivian (In the Summer House), 170–79; and In the Summer House, 158–61, 165–66 155, 168 Vogel, Paula, 57, 63, 81, 187–204; and Wilson, August, 54 feminism, 188–89, 191–94, 202, Wit (Edson), 51, 63 203; How I Learned to Drive, 83, Wittig, Monique, 66 91–92, 189–90, 196–203 Wolf, Stacy, 59–60 Wolfe, George C., 55 Wall Street Journal, 82, 102 Wolfe, Tom, 152 Warhol, Andy, 12 Women, 6, 31, 54, 118, 136, 158, 184; Waters, John, 187, 188 marginalization of, 80, 109, 126, Weber, Bruce, 37 132, 145, 192, 193. See also Anti- Wedding on the Eiffel Tower, The feminism; Femininity; Feminism; (Cocteau), 98 Lesbians Weitzman, Ira, 55 Wellman, Mac, 89 Yeager, Chuck, 134, 154 West, Mae, 79 Yew, Chay, 69, 80 Whiteman, Paul, 33 “You’ve Got to Be Carefully Taught” Whites, 29, 33–34, 76, 99, 140; in (South Pacific), 28–29, 34