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That reality has not gone away just because the mainstream is embracing queerness.” The play says that life is more nuanced than just, ‘Speak your truth.’ There are a lot of queer people being marginalised, held back, beaten up, killed. However, the empowerment anthems every female pop star is singing – the whole you-are-the-rainbow thing – is a sentiment gay people pioneered, and it’s been co-opted by straight culture.
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“I don’t want to be the old stodgy person saying, ‘We’re not the same as straight people!’ You go to the parade and you think cheerfully, ‘Oh my God, I’m part of this!’ Then for many of us it would become, ‘Oh my God, I’m part of this?’ The Writer feels he’s in this community but also not, and the play switches around constantly, too.” He feels ambivalent about the place of queerness in society. “All of the discussion of community was sparked by the feeling I’d get around Pride. You'd go to the parade and think ‘Oh my God, I’m part of this?’ It was partly sparked by the feeling I got around Pride. No wonder there is such conflict in the play surrounding the idea of community.
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It isn’t only that they might curb their campness the Writer and the Academic worry also about whether sniffing poppers during sex is ratifying cliches, and if simply noticing an attractive 16-year-old upholds the homophobic stereotype of the gay man as paedophile. He dramatises acutely the way gay people tend to police themselves in even the most private situations to avoid inflaming prejudice. I wanted to capture that disorientation.”Īlthough an act of violence forms part of the drama, Seavey is equally concerned with the internalisation of homophobia. “You weren’t able to predict how he would look or be each day, and I think that’s why a lot of the scenes start and end abruptly.
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The daily micro-shocks of witnessing his friend’s recovery informed the structure of the play, with its unheralded temporal jolts. It’s the homophobia that you know is out there but you try to ignore.” “I have some degree of liberal obliviousness, but I’m also a little cynical, so I wouldn’t say I was surprised by the attack. Homos was inspired by Seavey’s experience of visiting an ex-partner who had been the victim of a hate crime. “But the time it took helped the emotions and politics of the play simmer.” For all its narrative experimentation and verbal candour, an air of nostalgia pertains to its pre-Grindr world of faintly embarrassed online interaction (“ Friendster for ever!”). “As you write it, you’re instantly thinking, ‘OK, we’re ready to go, get me my Tony!’” he says over iced tea in a cafe near London’s Finborough theatre, where Homos is making its European premiere. The 37-year-old, Brooklyn-born playwright bashed out a frenzied first draft in 2011, then honed it while waiting five years for the New York premiere. “Thank God no one will ever hear this conversation,” the Academic says, distilling the impression that we are eavesdropping on uninhibited intimacies not intended for the stage. The action leaps back and forth between his breakup with his boyfriend (“the Academic”) to their boozy first date, from arguments bristling with jealousy to a debate about threesomes. With that remark an emotional bomb, rather than the bath-time variety, seems to explode, and the play is built from the resulting rubble of non-chronological memories. I n the opening scene of Jordan Seavey’s funny and fragmented four-person play Homos, Or Everyone in America, a man known only as “the Writer” is browsing in Lush when the sales assistant asks if he’s shopping for a “special someone”.