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Straight Acting: Popular Gay Drama from Wilde to Rattigan (Lesbian & gay studies)

von Sean O'Connor

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"Between the trials of Oscar Wilde in the 1890s and the beginnings of legal reforms in the 1960s, the West End stage was dominated by the work of gay playwrights. Many of their plays, such as Private Lives , Blithe Spirit and The Deep Blue Sea are established classics and continue to inform our culture. In this fascinating book, covering both familiar and lesser-known works, Sean O'Connor examines the legacy of Wilde as a playwright and as a gay man, and explores in the works of Somerset Maugham, Noel Coward and Terence Rattigan the resonance of Wilde's agenda for tolerance and his creed of individuality. O'Connor contextualises these plays against the enormous social and historical changes of the twentieth century. He also examines the legal restrictions which regulated the personal lives of these writers and required them to evolve sophisticated strategies in order to express on stage, albeit obliquely, their dilemmas as gay men. From the delicate homoerotic frissons of Rattigan's early comedies to Coward's defiantly pro-sex stance, Straight Acting is a provocative and witty insight into the subtly subversive tactics of gay writers working in that apparently most conservative of forms, the 'well-made play'."--… (mehr)
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A group of essays on the "distinct, if overlapping, theatrical worlds created in the first half of the twentieth century by the British playwrights Somerset Maugham, Noël Coward and Terence Rattigan, and of their complex, shared debts to Oscar Wilde."

Faced with societal and legal restrictions on what could be said and produced on stage (until 1968, the Lord Chamberlain's approval was required for any play to be publicly presented in England), gay playwrights had to find subtle and subversive strategies for writing about their lives. O'Connor analyzes the work of four of the most prominent and influential of these men in great detail, and discusses how the plays (and, in some cases, films based upon the play) resonate for gay men.

"I might just as well come out about this now as later: I never tire of watching Brief Encounter. There, I've said it. Part of its appeal to me is my own very ambivalent attitude to it, for it seems to me to represent all the most attractive and most repellent aspects of English culture. It promotes on the one hand a nostalgic world of decency and niceness, suffused by the comforts of home, and on the other a repressed, class-ridden culture suffocated by its own nostalgia and characterized by emotional sterility and quiet self-sacrifice. I'm also aware of the 'deadly respectability' of the film's reputation and that in defending it I'll probably be condemned as a secret wearer of cardigans, slippers, brushed-cotton pyjamas and God knows what other horrors." Me, too.

Be warned, though: you'll be renting a lot of movies!
  lilithcat | Oct 20, 2005 |
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"Between the trials of Oscar Wilde in the 1890s and the beginnings of legal reforms in the 1960s, the West End stage was dominated by the work of gay playwrights. Many of their plays, such as Private Lives , Blithe Spirit and The Deep Blue Sea are established classics and continue to inform our culture. In this fascinating book, covering both familiar and lesser-known works, Sean O'Connor examines the legacy of Wilde as a playwright and as a gay man, and explores in the works of Somerset Maugham, Noel Coward and Terence Rattigan the resonance of Wilde's agenda for tolerance and his creed of individuality. O'Connor contextualises these plays against the enormous social and historical changes of the twentieth century. He also examines the legal restrictions which regulated the personal lives of these writers and required them to evolve sophisticated strategies in order to express on stage, albeit obliquely, their dilemmas as gay men. From the delicate homoerotic frissons of Rattigan's early comedies to Coward's defiantly pro-sex stance, Straight Acting is a provocative and witty insight into the subtly subversive tactics of gay writers working in that apparently most conservative of forms, the 'well-made play'."--

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