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40 reviewsschool, where my professor decreed, “It’s painting, not painted. Art is a
verb.”
The three plays of Torch Song Trilogy were written and produced
sequentially. I included enough backstory from one to the next so that each
could be experienced independently, but in my mind I was telling a single
tale.
The International Stud was written and performed at La MaMa E.T.C. in
1978. We moved it to a commercial run at the Players Theatre on
MacDougal Street, where it ran a few months and closed.
The following season I wrote Fugue in a Nursery and premiered it at La
MaMa E.T.C., as well. A commercial producer transferred it to the
Orpheum Theatre on Second Avenue, where it, too, met commercial failure.
While awaiting that transfer I wrote the third part of the trilogy, Widows
and Children First! Once again, it premiered at La MaMa, and once again it
was optioned by a commercial producer. But when Fugue closed OffBroadway I soured on the notion that Widows would do any better on its
own than the first two had. Thankfully, that production never materialized.
The following June, John Glines was putting together a Gay Play Festival
under the auspices of his theater company, The Glines, and asked if I could
arrange a one-night event of readings from the trilogy. That was the first
time I studied the script as a whole, to choose what scenes were necessary
to tell the entire story in a brief presentation. The evening was a great
success and proved to me that the plays needed to be seen together.
Fortunately, John agreed.