It’s impossible to work in the theatre industry and not have colleagues, business partners and life-long friends who are gay. I have always viewed this fact as one of the most wonderful and enriching dynamics of the theatre community.  It’s so invigorating being part of a show (which very soon takes on the characteristics of a family) and have people from every walk of life represented, often by “Type A” personalities who bring joy and variety to the daily routine of presenting a show.

After collaborating with gay associates for almost thirty years, I’ve reached the conclusion that most gay men hold a fundamentally center/right view on most economic and national security issues.  The over-riding feeling expressed to me from my gay friends is the deeply held desire to be left alone.  And after watching GOProud Chairman Christopher Barron take this obnoxious attack from non-entity Cenk Uyger for having the temerity to identify himself as a conservative, I’ve reached the greater conclusion that the conservative movement needs articulate and courageous voices like this as part of our team.

As Mr. Barron puts it: “I have an easier time being openly gay with conservatives than I do being a conservative with other gay people.”  So, if CPAC and the Republican Party can be accepting of gay conservatives who don’t hold exactly to every single position espoused by the party, why can’t Broadway do the same?
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Playbill announced that the very successful Off-Broadway play “Next Fall” will be transferring from its home at the non-profit theatre “Naked Angels” to the Helen Hayes theatre in the Spring of 2010.  In many circles this is seen as a New York success story.  A small, non-profit produces a new American play, it sells well after a glowing NY Times review and backers finance a move to the big time.  So, let’s take this play as a “teachable moment,” if you will, and let’s discover what kind of plays get transferred to Broadway.  This way, many of my readers who happen to be playwrights can also figure out a way to get their plays produced.

I always find it instructive to examine the press agent’s description of the play because the language is always carefully thought out.  The thought process is always “don’t give away too much about the play so that we reveal key plot points, and also, make sure we don’t make the theme come across as too controversial so as not to alienate potential ticket buyers.” (more…)