Broadway buggers and show queens

There is an amusing historical coincidence that came coupled with the arrival of the very first hit piece of musical theatre. The Black Crook, a tale of fairy queens and satanic promises featuring over-the-top dance numbers and a bevy of songs including “You Naughty, Naughty Men,” debuted in New York in 1866 just as German sexual anthropologist Karl-Maria Kertbeny coined the term “homosexual.” It could be argued that one wouldn’t have thrived without the other. The anything goes nature of the musical offered a life of singing, dancing and vamping that encouraged a flamboyant sensibility rather than punished it.

As a theatrical convention, musicals soar high on camp, spectacle and glamour attracting fags like honey with escapist themes, ripped and flexible chorus boys and scenery chewing leading ladies who were pure inspiration for drag queens. It would be there on stage that the first steps towards public acceptance of gays would be made, even if only through an appreciation of us as extraordinary entertainers.

Musical pioneers like Noel Coward and Cole Porter lived deliciously salacious but secretive gay lives while they turned out hit after hit. Unable to live openly they, like many in the industry, got their jollies from coyly inserting gay innuendo and references into their work. These dirty details and homo-lingo went over the heads of the average theatregoer but thrilled all the show queens desperate for a little acknowledgement. As the years went on movie musicals took centre stage giving gay directors like George Cukor and songwriter/arranger/producer Roger Edens even more room to be outrageous and grandiose. Gay icons like Judy Garland and Angela Lansbury emerged as huge stars that embodied the bravado, optimism and underdog spirit that categorized the early gay rights movement.

It wasn’t until after Stonewall that Broadway shows like Seesaw, A Chorus Line, Cage aux Folles and Rent finally featured out characters talking frankly about their sexuality and their lives, to critical and box office success. Included in that list should be the 2004 Tony Award winner for Best Musical, Avenue Q playing now in Toronto. With a book written by openly gay writer and vocal queer champion Jeff Whitty, the show features a gay closeted Republican character who provides comedic relief due to the fact he’s so uncomfortable with being out even though no one else is concerned. The times have clearly changed and it would be hard to ignore that musicals have played a part in creating space for and dialogue about the gay male experience.

In this issue we say goodbye to our Style columnist Chris Jai Centeno who is off to Morocco. Chris will be missed but we’re lucky to have found a replacement with Max MacDonald. He’s a freelance fashion writer for Elle Canada, OUT Magazine and XYYZ.ca to name a few and starting next issue he will bring his fiery criticism and spot on advice to the pages of fab.

Matt Thomas
Associate Editor
editor@fabmagazine.com