Description
Book SynopsisThis book situates the production of
The Boy Friend and the Players' Theatre in the context of a post-war London and reads
The Boy Friend, and Wilson''s later work, as exercises in contemporary camp. It argues for Wilson as a significant and transitional figure both for musical theatre and for modes of homosexuality in the context of the pre-Wolfenden 1950s.Sandy Wilson''s
The Boy Friend is one of the most successful British musicals ever written. First produced at the Players'' Theatre Club in London in 1953 it transferred to the West End and Broadway, making a star out of Julie Andrews and gave Twiggy a leading role in Ken Russell''s 1971 film adaptation. Despite this success, little is known about Wilson, a gay writer working in Britain in the 1950s at a time when homosexuality was illegal.Drawing on original research assembled from the Wilson archives at the Harry Ransom Center, this is the first critical study of Wilson as a key figure of 1950s British theatre
Table of ContentsAcknowledgements Chapter One: And this is My Friend Sandy . . . Chapter Two: Mapping Theatreland: Soho, the West End and Homosexual Law Reform Chapter Three: The Ivy League: Binkie Beaumont, Noël Coward and Ivor Novello Chapter Four: ‘Oh! The Fairies’: The Players’ Theatre Club Chapter Five: ‘That certain thing called The Boy Friend’: the 1953 production of
The Boy Friend Chapter Six: ‘What Next?’ After
The Boy Friend Chapter Seven: Queer Utopianism: Valmouth Chapter Eight: 'A walpurgisnacht of self-indulgence': The Ken Russell film of
The Boy Friend, His Monkey Wife, The Clapham Wonder and Aladdin Conclusion Afterword
