Happy Pride everyone! I hope everyone reading this is decked out head to toe in glitter, rainbows and body paint. To mark the momentous occasion, there has been a victory within the gay community; the pride react button is back on Facebook. Truly, this is an event up there in the pantheon of queer successes along with gay marriage, the return of Will & Grace and this.
Everyone loves rainbows right? They’re fun and colourful and 9/10 times there’s an untouched pot of gold at the end; surely that should be reason enough for the LGBTQ+ flag to be a rainbow right? And what’s up with the recent brown and black additions? What kind of rainbow has brown and black stripes? Let’s have a look at a brief history of the most fabulous flag the world has seen.
God wasn’t 2016 rubbish? In the next few weeks, Boshemia will almost definitely be musing over how god awful the last year was, but today we’re going to be looking at one of the prevailing themes of the year: Toxic Masculinity. In a year of Trump asserting his masculinity in dangerous ways over everything he seemed to cross, and then somehow getting awarded for it; a year of Brexit and the following fight for the Prime Minister spot being nothing more than a dick measuring contest, only for the cursed position to go for a woman, almost certainly setting her up for failure. In a year of rape accusations, police shootings, terrorist attacks (good god the year’s even worse when you write it all down!), we coincidentally lost three icons of masculinity and gender subversion. On December 25th, aged 53, George Michael joined Prince and David Bowie in the pantheon of people destroyed by 2016; the trifecta of 80s queer icons has gone, politicians are swiftly moonwalking away from identity politics, and the world is basking in the stench of toxic masculinity. Merry Christmas.
Young Jean Lee has brought to Washington, D.C. audiences a deeply perceptive, provocative play about race and identity during a time when this particular demographic— straight, white, male— is undergoing an essential investigation. Straight White Men is no base attack on whiteness and masculinity, nor a send-up of xenophobic caricature or supremacist stereotype, but instead a nuanced examination of the “well-meaning white man.” Presented by the Studio Theatre and directed by Shana Cooper, Lee offers a thorough exploration of privilege, ambition, and the lasting effects of white guilt.
Emerging from New York’s avant-garde, Young Jean Lee is no upstart playwright, boasting 12 produced works under her belt and touted by The New York Times as “the most adventurous downtown playwright of her generation.” A veritable force in the contemporary theater world, Lee is known for her daring voice and experimental style, notably so in her 2011 production of Untitled Feminist Show. Straight White Men breaks her practice of non-traditional storytelling to present a linear, naturalistic performance that seduces traditional theatre-going audiences [white, wealthy] into confronting often unspoken anxieties about race [their whiteness].