No: 13 Queer Theatre | Pocketmags.com

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No: 13 Queer Theatre

 30 Years Of LGBT+ Theatre In Ireland

In 1996, Gerard Stembridge’s play The Gay Detective made its Irish premiere. Set before 1993’s decriminalisation of homosexality, its candid look at gay sexuality was a blast of fresh, subversive air for a theatre-going public unused to such frank portrayals. More importantly, the play was a huge success. It seemed not only was the country beginning to acknowledge the existence of queer theatre, but its artists were more than ever determined to create it.

Over the last 30 years, queer theatre gained momentum. No longer just content with the LGBT+ experience sidelined into the joke or the secret shame in mainstream theatre, there was now a movement to bring queer lives to the fore.

In the early 21st century, both Loughlin Deegan’s The Queen And The Peacock and Deirdre Kinehan’s The Passage depicted the experiences of queer Irish emigrants living lives in England that were not so welcome at home.

Confrontational, angry works such as Neil Watkins’ bracing A Cure For Homosexuality raged against the destructive power of shame, its intimate staging forcing the audience to confront the truth in its polemic against society.

As well as looking outwards, queer artists found inspiration in their own lives, as confessional works feature strongly in the new canon. Veronica Dyas’ poetic and cathartic In My Bed and the aforementioned Neil Watkins’ startlingly honest The Year Of Magical Wanking showed how the pains of generational shame still impact modern lives. There was celebration too, with Sonya Kelly’s How To Keep An Alien, a battle between love and the visa system, being a joyous highlight. Rory O’Neill’s iconic drag persona, Panti, illuminated the world in the biographical shows High Heels In Low Places and A Woman In Progress.

Prolific production company THISISPOPBABY have featured prominently, presenting works such as Phillip McMahon’s nightlife odyssey Danny And Chantelle (Still Here) and Mark O’Halloran’s Trade. The company’s subversive musical Alice In Funderland, stormed the Abbey Theatre, bringing high camp to the national stage.

In the last decade, trans life has received overdue attention with Una McKevitt’s documentary piece The Big Deal and Amy Conroy’s Luck Just Kissed You Hello particular standouts. Conroy’s look at masculinity through the trans experience stood in contrast to her love story between middle aged women, I heart Alice heart I. Middle-aged and older men who were out and proud during the Catholic-dominated 70s and 80s featured in Sean Millar’s stunning song-cycle, Silver Stars.

With queer artists continued recognition, evidenced by Trans Live Art Salon winning the Spirit of Dublin Fringe Festival in 2017, it appears the momentum begun all those years ago shows no signs of slowing.

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