What do you think?
Rate this book
Torch song trilogy: three plays
Drama, American Literature, Gay and Lesbian Studies, Plays
Torch Song Trilogy is a collection of three plays by Harvey Fierstein rendered in three acts: International Stud, Fugue in a Nursery, and Widows and Children First! The story centers on Arnold Beckoff, a torch song singing Jewish drag queen living in New York City in the late 1970 and 1980s. The four hour-plus play begins with a soliloquy in which he explains his cynical disillusionment with love.
Each act focuses on a different phase in Arnold's life. In the first, Arnold meets Ed, who is uncomfortable with his bisexuality. In the second, one year later, Arnold meets Alan, and the two settle down into a blissful existence that includes plans to adopt a child, until tragedy strikes. In the third, several years later, Arnold is a single father raising gay teenager David. Arnold is forced to deal with his mother's intolerance and disrespect when she visits from Florida.
Torch Song Trilogy is a collection of three plays by Harvey Fierstein rendered in three acts: International Stud, Fugue in a Nursery, and Widows and Children First! The story centers on Arnold Beckoff, a torch song singing Jewish drag queen living in New York City in the late 1970 and 1980s. The four hour-plus play begins with a soliloquy in which he explains his cynical disillusionment with love.
Each act focuses on a different phase in Arnold's life. In the first, Arnold meets Ed, who is uncomfortable with his bisexuality. In the second, one year later, Arnold meets Alan, and the two settle down into a blissful existence that includes plans to adopt a child, until tragedy strikes. In the third, several years later, Arnold is a single father raising gay teenager David. Arnold is forced to deal with his mother's intolerance and disrespect when she visits from Florida.
84 pages, Paperback
First published June 1, 1978
50 people are currently reading
1971 people want to read
About the author
Harvey Fierstein
23 books159 followersHarvey Fierstein is an acclaimed American actor, playwright, and screenwriter known for his unmistakable gravelly voice and groundbreaking work in theatre, film, and television. He first rose to prominence with Torch Song Trilogy, which he wrote and starred in, earning Tony Awards for both Best Play and Best Actor in a Play. Fierstein followed with another major success, writing the Tony-winning book for the musical La Cage aux Folles, and later won Best Actor in a Musical for playing Edna Turnblad in Hairspray, a role he reprised for Hairspray Live!.
In addition to his acting accolades, Fierstein wrote the books for Broadway musicals such as Kinky Boots, Newsies, and A Catered Affair, continuing to shape musical theatre with stories that center empathy and inclusion. He has been widely recognized for bringing LGBTQ+ narratives to mainstream audiences and was inducted into the American Theater Hall of Fame in 2007.
Fierstein’s screen work includes memorable roles in Mrs. Doubtfire, Independence Day, and voicing Yao in Disney’s Mulan. A versatile performer and vocal activist, he has authored op-eds and scripts that champion visibility and equality. His 2022 memoir, I Was Better Last Night, became a New York Times Bestseller and offered personal reflections on his identity, career, and survival.
Openly gay since early in his career, Fierstein has long been a pioneer in LGBTQ+ representation on stage and screen. Though he resists labeling his gender identity, he embraces his unique experience, saying, “I’m comfortable being me.” His influence remains vital to American culture and theatre.
In addition to his acting accolades, Fierstein wrote the books for Broadway musicals such as Kinky Boots, Newsies, and A Catered Affair, continuing to shape musical theatre with stories that center empathy and inclusion. He has been widely recognized for bringing LGBTQ+ narratives to mainstream audiences and was inducted into the American Theater Hall of Fame in 2007.
Fierstein’s screen work includes memorable roles in Mrs. Doubtfire, Independence Day, and voicing Yao in Disney’s Mulan. A versatile performer and vocal activist, he has authored op-eds and scripts that champion visibility and equality. His 2022 memoir, I Was Better Last Night, became a New York Times Bestseller and offered personal reflections on his identity, career, and survival.
Openly gay since early in his career, Fierstein has long been a pioneer in LGBTQ+ representation on stage and screen. Though he resists labeling his gender identity, he embraces his unique experience, saying, “I’m comfortable being me.” His influence remains vital to American culture and theatre.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 30 of 92 reviews
December 31, 2007
I read this script after watching the movie -- they're similar, but reading it actually makes me impressed how well it was adapted from the stage into film. I only wish I could have seen Harvey Fierstein in it on stage. It's a phenomenal work. Some stuff I've read about it has suggested that it's too conservative/assimilationist. Maybe I'm just defensive, but I don't think that's quite the case.
October 7, 2022
How have I gone this long without ever reading this play? Or more accurately, these plays, as it is a group of three distinct stories, that all work as individual plays. However, the combined effect of reading them all back to back was much more impactful then if I believe it would have been reading them alone. I’m sure seeing them performed would be similar.
There is a lot that I loved about Torchsong, and honestly very little that I didn’t love.
We can start with the characters. Every single character, was written so well. They each had their unique qualities and their own voice. Each felt integral to the success of the story. There wasn’t one character that felt out of place, and while it is clear that Arnold is the star, each of the other major characters had so many beautiful moments.
The dialogue between all of them, accompanied by the stage direction and set up, was so effortlessly nuanced. The conversations, while dramatic, were all rooted in just enough reality that I could escape into them. We’ve all had that “why don’t you love me,” phone call. We’ve all had moments where we get disconnected from a parent.
From the very first line, “Let me finishing emasculating this eye, and I’ll be right with you…” I knew I was in for a treat! That first monologue was perfection! There was so much said in that opening. So much humor, and heart, and commentary. It was a brilliant monologue that I only wish I had known about when I was a theatre kid!
I also found myself in so much admiration of how each play sort of evolved with the characters. The first is very abstract with little staging and very little dialogue between characters. The second focuses more on the relationships and the staging is set to feel connected but vulnerable. When you reach the third play, the staging is realistic, and visceral. As the characters, relationships and story progress from to play to ply, so too does the dialogue, staging, and aesthetic.
Honestly, I would love to see this performed! I have no idea how I have sat on this for so long! I picked it up because I’ve started to read Harvey Fierstein’s memoir and wanted some more context to him then the movies he’s done.
This play was beautiful, hilarious, and deeply human! I fell in love with every aspect of it!
There is a lot that I loved about Torchsong, and honestly very little that I didn’t love.
We can start with the characters. Every single character, was written so well. They each had their unique qualities and their own voice. Each felt integral to the success of the story. There wasn’t one character that felt out of place, and while it is clear that Arnold is the star, each of the other major characters had so many beautiful moments.
The dialogue between all of them, accompanied by the stage direction and set up, was so effortlessly nuanced. The conversations, while dramatic, were all rooted in just enough reality that I could escape into them. We’ve all had that “why don’t you love me,” phone call. We’ve all had moments where we get disconnected from a parent.
From the very first line, “Let me finishing emasculating this eye, and I’ll be right with you…” I knew I was in for a treat! That first monologue was perfection! There was so much said in that opening. So much humor, and heart, and commentary. It was a brilliant monologue that I only wish I had known about when I was a theatre kid!
I also found myself in so much admiration of how each play sort of evolved with the characters. The first is very abstract with little staging and very little dialogue between characters. The second focuses more on the relationships and the staging is set to feel connected but vulnerable. When you reach the third play, the staging is realistic, and visceral. As the characters, relationships and story progress from to play to ply, so too does the dialogue, staging, and aesthetic.
Honestly, I would love to see this performed! I have no idea how I have sat on this for so long! I picked it up because I’ve started to read Harvey Fierstein’s memoir and wanted some more context to him then the movies he’s done.
This play was beautiful, hilarious, and deeply human! I fell in love with every aspect of it!
June 21, 2025
i was honestly bored during the whole story. it was also so questionable during so many parts, and the characters felt just like stereotypes of themselves. i am only putting that extra star because of the third and final part of the book, which was better.
and maybe scripts are just not for me.
and maybe scripts are just not for me.
April 19, 2019
Ed, Alan, David, and Ma are all as dear to me as if I’d loved them myself. Arnold is more, like a part of myself come alive, only grander, with historical importance. This play is part of our queer heritage. It was put into my hands by an older gay man who told me, “You MUST read this.” So if you’re queer and young, this is me, an older (though not yet derelict) queen, taking your hand in mine and saying, you MUST read this.
May 6, 2011
A lovely play/trilogy of plays that is 100% Fierstein but completely universal. Funny, tragic, and wise.
June 24, 2025
Can’t stand a single character that stayed alive…. Except David…. Give it a one star just because I did highlight some quotes. That’s it.
September 6, 2013
" You want to be a part of my life, I'm not editing out the parts you don't like."
a New York City drag queen, through various stages in his life throughout the ’70s and ’80s. Brillant, one of my favorite book !
a New York City drag queen, through various stages in his life throughout the ’70s and ’80s. Brillant, one of my favorite book !
February 7, 2021
Spoilers!
Holy cow. How have I missed this play before??
Upon the first reading of all three in a row, I was absolutely FLOORED by how much I connected to this story and felt for our main character, Arnold. The first show opens in Arnold’s drag bar (The International Stud ) and has a few monologues from both he and his new love interest, Ed. Arnold immediately endears himself to the audience by not being a caricature of a gay man or a drag queen. He is a balanced, fully fleshed-out character that skates a fun line between his constant witticisms (“Try as I may, I just can’t walk in flats”) and painful truths. He does not see himself as particularly stunning (“I will never be young and beautiful”), but he is a romantic. I typically am not a fan of long monologues in plays because I find it does not always do the pacing any favors, but I have yet to stumble across such masterfully crafted ones as here.
Holy cow. How have I missed this play before??
Upon the first reading of all three in a row, I was absolutely FLOORED by how much I connected to this story and felt for our main character, Arnold. The first show opens in Arnold’s drag bar (The International Stud ) and has a few monologues from both he and his new love interest, Ed. Arnold immediately endears himself to the audience by not being a caricature of a gay man or a drag queen. He is a balanced, fully fleshed-out character that skates a fun line between his constant witticisms (“Try as I may, I just can’t walk in flats”) and painful truths. He does not see himself as particularly stunning (“I will never be young and beautiful”), but he is a romantic. I typically am not a fan of long monologues in plays because I find it does not always do the pacing any favors, but I have yet to stumble across such masterfully crafted ones as here.
The first moment of heartbreak occurs on a painful phone call to his (now ex) lover, Ed, though it seems clear from the beginning that Arnold knows exactly how this call will go. Ed struggles through the entire trilogy with his sexuality and what it means to be an out gay or bisexual man in the 1970s. Arnold calls him out on his secret shame, proclaiming that he knows Ed isn’t scared for his parents to meet Arnold- “...you weren’t scared for them to meet me. You’re scared they’ll meet you.”
Facing who he is and what he wants is Ed’s inner turmoil, but his unwillingness to introduce Arnold to the people in his life is a choice they can not move forward from together. Towards the end of this painful scene, Ed asks Arnold what he is thinking, and is met with the deeply sad line, “I am thinking about how it feels to be a no one in the life of someone you love.”
Arnold tries to move forward in the arms of other lovers in the backroom of the club, a place he had sworn to himself never to go. And again, has a hilarious and tragic monologue while engaging in full-blown intercourse with a man who doesn’t know his name (and never speaks to him). The disconnect of Arnold’s deep desire for true intimacy and love is at war with his need to feel wanted in this moment. He tries to foster some sort of connection within the dark shadows of the backroom, the stranger thrusting behind him. He remarks candidly- “You know, I really like you. Maybe that’s a stupid thing to say in a place like this.”
In the final scene of Act 1, Arnold holds his ground as Ed returns to confront him. He has grown during these months apart and accepted that they can’t go backwards, only forward- “I have never done time in the closet and I sure as hell ain’t gettin’ in one for you.”
Part 2 (Fugue in a Nursery) picks up a year later to introduce us to Ed’s female partner, Laurel, and Arnold’s new 18-year old boytoy, Alan. Laurel, to my surprise, enters as a fun foil for both Arnold and Ed to play off of. The way Ed describes her initially presents the character as an unattractive dullard, who is no more than a “safe” way for him to hide under the guise of a heterosexual relationship. But Laurel comes in straight out the gate to invite her lover’s ex (Arnold) and his new partner to their farm upstate for the weekend. In fact, she almost revels in the situation. She remarks to Ed, “Imagine being a hostess to your lover’s ex and his new boyfriend. Now if that isn’t civilized then what is?” She is a force of nature in her own way.
The four of them begin a very complex dance over the course of this segment where we see every combination of pairings, testing the waters and their individual boundaries. Alan is young and naive, fighting for the same love and attention from Arnold that Arnold once did with Ed. He continually asks Arnold why he loved Ed (but doesn’t love him), and Arnold responds yet again with such a universal human truth- “Because…I did. Because...he let me.” What is a more honest way to describe why you love someone?
Ed ends up seducing Alan in the barn, making him believe that the terms of their open relationship allow for this, while Arnold and Laurel form an unlikely friendship of their own. This portion of the play dances around some poly concepts, to which Arnold remarks “I can’t tell with these “Make ‘em up as you go along' rules. Monogamy’s a much easier system to keep track of.” Though we know he deeply yearms for a true love connection, he is still sexually engaging with the man in the backroom of International Stud. Part 2 concludes with the couples still firmly intact, Laurel and Ed are engaged to be married and Arnold and Alan have signed a contract to adopt a dog together.
The third and final installment (Widows and Children First!), continues their story five years down the road. We learn quite quickly that Ed is now separated from his wife and sleeping on Arnold’s couch, and that Alan has died. In this installment, we meet Arnold’s mother and his new, soon-to-be adopted son, David. David’s witty banter is a carbon copy of his new father’s and he more than keeps up with the adults in the room. He is non-stop quips and wisecracks, but also seems to be the only person that truly “gets” Arnold. Paralleling the technique of the revolving door in part 2, all the characters find little moments to interact just the two of them. We gain far more insight into the nuances of their relationships through this fast-paced scene structure.
Arnold and his mother’s relationship starts in a light-hearted, fun realm. The traditional Jewish mother nagging her son, making latkes, and criticizing his place. But, their conversations quickly get heated as she sneers over his loss of Alan, deeming it substandard to the loss she felt at his father’s death. Her lack of understanding of love in all its forms is clear as Arnold points out how alone he has felt- “You have thirty-five years to remember, I have five. You had your children and friends to comfort you, I had me!” It’s not about comparing pain, but her invalidating their love as if it is less meaningful or genuine than her heterosexual marriage. It all comes to a head as he screams at her and we find out the horrific, violent truth of Alan’s death. He condemns his mother for being part of the problem, her and people like her who believe they are different- “Cause everyone knows that queers don’t matter! Queers don’t love! And those that do deserve what they get.”
His mother grows increasingly cruel, claiming that he was the source of his father’s illness and that had she known that he’d be gay, she would not have bothered bringing him into the world. We see finally why Arnold is so desperate for the same unconditional love and acceptance he gives others, he has never had it before. In her mind, he is sick and can not be trusted to raise a healthy child.
Ed reveals his true feelings for Arnold to David, who encourages him to go after Arnold one last time. Arnold again laments about the new dynamic they are proposing, cohabiting men in a relationship with an adopted gay son (“I don’t even know what this is supposed to be. I can’t exactly buy a book or study some Reader’s Digest article that’s gonna tell me.”). Not being able to legally marry or even legitimize their relationship to their families is a tragedy in and of itself.
Arnold’s core principles are love and acceptance, which he uses as a guide throughout his life and in raising his new son. There is no one way to be a man anymore than there is one way to have a good relationship. Even today, 50 years later, people who do not fit society’s molds are still ostracized and discriminated against for any kind of alternative lifestyles. But when we truly respect and love ourselves, as Arnold does by the final show’s completion, what the rest of the world thinks pales in comparison. He is older now, knows his worth, and is grateful for the people in his life that accept him as the deeply funny, loving, beautiful queen he is. Five stars for a reason ya'll.
“I guess a drag queen’s like a oil painting: You gotta stand back from it to get the full effect.” ♥
June 21, 2025
Nunca leo guiones de obras de teatro y este lo leí por el rainbow beans book club. Creo que no lo lei exactamente como si fuera un guión porque me medio brincaba las partes de la descripción de los escenarios, más bien me lo leí como una novela.
Este es una composición de 3 obras individuales pero que a la vez son una sola historia que transcurre a través de los años. Seguimos principalmente a Arnold, un hombre que vive su homosexualidad en el NYC de los 70s~80s.
En la primera parte, Arnold conoce a Ed y forman una relación que es inestable desde el inicio. Ed quiere a Arnold pero no una vida como pareja con él, tiene muchos prejuicios contra el mismo y con lo que las personas, especialmente sus padres piensan de él compartiendo su vida con otro hombre. Arnold por otro lado es la persona más abiertamente homosexual que existe, vive su vida sin temores y a pesar de amar a Ed, no necesita ese tipo de problemas en su vida.
En la segunda parte, Arnold y Ed no están juntos. Ed se ha casado con una mujer llamada Laurel y parece llevar una vida heteronormada como siempre lo quiso. Arnold ahora está en una relación con un joven llamado Alan y son invitados por Laurel a pesar el fin de semana a su casa. Esta fue mi parte favorita, en general el libro tiene un tono muy cómico que a veces no se toma tan en serio a sí mismo, y eso se ve mucho en esta parte. Está interesante y en cierto punto muy chistoso leer como Laurel quiere forzosamente que Ed, su marido hable con su ex Alan y que le comparta esa parte de su vida.
En la última parte, Arnold ha adoptado a un joven y su madre no está tan contenta con eso y con las vida que en general Arnold ha llevado. Esta es la parte más seria del guión y tiene los discursos más fuertes. La trama principal aquí es como la madre de Arnold tiene diferencias con su hijo que comienza con un homosexual adoptando, pero que explora muchos más temas sobre criar a un hijo que esperaban fuera heterosexual y como hay solo una parte de Arnold que la madre quiere aceptar.
En general me gustó el libro, las ideas del closet, una sociedad homofóbica, el rechazo de la familia no es algo super novedoso de leer para mí que he leído decenas de historias queer, pero entiendo lo innovador que pudo ser en su tiempo, y claro ver la obra en escena a leerlo no debe compararse en lo absoluto.
Torch Song Trilogy es una historia divertida y seria cuando tiene que serlo, me imagino a los personajes y sus diálogos en el escenario y siento que si me harían reír bastante. Está muy corto, me divirtió en ratos y me lo leí en nada, para mí, un libro ya cumplió su función con eso.
Este es una composición de 3 obras individuales pero que a la vez son una sola historia que transcurre a través de los años. Seguimos principalmente a Arnold, un hombre que vive su homosexualidad en el NYC de los 70s~80s.
En la primera parte, Arnold conoce a Ed y forman una relación que es inestable desde el inicio. Ed quiere a Arnold pero no una vida como pareja con él, tiene muchos prejuicios contra el mismo y con lo que las personas, especialmente sus padres piensan de él compartiendo su vida con otro hombre. Arnold por otro lado es la persona más abiertamente homosexual que existe, vive su vida sin temores y a pesar de amar a Ed, no necesita ese tipo de problemas en su vida.
En la segunda parte, Arnold y Ed no están juntos. Ed se ha casado con una mujer llamada Laurel y parece llevar una vida heteronormada como siempre lo quiso. Arnold ahora está en una relación con un joven llamado Alan y son invitados por Laurel a pesar el fin de semana a su casa. Esta fue mi parte favorita, en general el libro tiene un tono muy cómico que a veces no se toma tan en serio a sí mismo, y eso se ve mucho en esta parte. Está interesante y en cierto punto muy chistoso leer como Laurel quiere forzosamente que Ed, su marido hable con su ex Alan y que le comparta esa parte de su vida.
En la última parte, Arnold ha adoptado a un joven y su madre no está tan contenta con eso y con las vida que en general Arnold ha llevado. Esta es la parte más seria del guión y tiene los discursos más fuertes. La trama principal aquí es como la madre de Arnold tiene diferencias con su hijo que comienza con un homosexual adoptando, pero que explora muchos más temas sobre criar a un hijo que esperaban fuera heterosexual y como hay solo una parte de Arnold que la madre quiere aceptar.
En general me gustó el libro, las ideas del closet, una sociedad homofóbica, el rechazo de la familia no es algo super novedoso de leer para mí que he leído decenas de historias queer, pero entiendo lo innovador que pudo ser en su tiempo, y claro ver la obra en escena a leerlo no debe compararse en lo absoluto.
Torch Song Trilogy es una historia divertida y seria cuando tiene que serlo, me imagino a los personajes y sus diálogos en el escenario y siento que si me harían reír bastante. Está muy corto, me divirtió en ratos y me lo leí en nada, para mí, un libro ya cumplió su función con eso.
July 2, 2025
i love harvey fierstein and i recommend this to every gay person
October 4, 2013
Wow. This was the most beautiful, real story I've ever read. I was 20 when the movie came out and didn't even know it was first a play. I enjoyed the movie and since I've been in a play-reading state of mind, scooped this up for nostalgia's sake. Who knew that this was so phenomenal?!?! I guess the Tony Awards did when they awarded this Best Play so many years ago.
These days, Mr. Fierstein is so involved with hit musicals, but even 30 years ago, the man knew how to craft a touching, hysterically funny, heartwarming, sad, rewarding story about a man who just wants to be loved. Is that so wrong?
These days, Mr. Fierstein is so involved with hit musicals, but even 30 years ago, the man knew how to craft a touching, hysterically funny, heartwarming, sad, rewarding story about a man who just wants to be loved. Is that so wrong?
July 26, 2022
What I would give for a time machine to be able to see Estelle Getty in this!
August 19, 2022
Read this after reading Fierstein’s new memoirs — knowing the story behind how it came to be and played out really enhanced my reading of the plays.
Want to read
March 2, 2025This book was one of many that were seized in 1984 from the first gay bookshop in London, or anywhere in the UK, Gay's The Word as part of a policy of intimidation against 'uppity' gays and I am posting information on this event against many of the books seized by the police.
That in 1985 the plays were being performed in a mainstream London theatre shows how insane this raid on Gay's The Word was.
This is a history that should not be forgotten.
Torch Song Trilogy and the 1984 attempt to destroy 'Gay's The Word' the UK's first gay bookshop:
This novel was one of many 'imported' gay books which were at the centre of an infamous attempt to push UK gays back into the closet by the conservative government of Margaret Thatcher in 1984. Amazingly this event, important not only for gays but civil liberties in the UK, does not have any kind of Wikipedia entry. Because of this lack I have assembled links to a number of sites which anyone interested in free speech should read. If we don't remember our history we will be condemned to repeat it.
The genesis of the prosecution of 'Gays The Word' was the anger of homophobes to books like 'The Milkman's On His Way' by David Rees which were written for young people and presented being gay as ordinary and nothing to get your-knickers-in-a-twist over. Unfortunately there was no way to ban the offending books because censorship of literature had been laughed out of court at the 'Lady Chatterley Trial' nearly twenty years earlier. But Customs and Excise did have the ability to seize and forbid the import of 'foreign' books, those not published in the UK. As most 'gay' books came from abroad, specifically the USA, this anomaly was the basis for the raid on Gays The Word and the seizure of large amounts of stock. The intention was that the legal costs, plus the disruption to the business, would sink this small independent bookshop long before it came to trial. That it didn't is testimony to the resilience of Gay's The Word, the gay community and all those who supported them.
The best, not perfect, but only, guide to the event is at:
https://www.gayinthe80s.com/2012/10/1...
There follows a series of links to the event connected with an exhibition at the University of London:
The background:
https://www.london.ac.uk/news-events/...
The 142 books seized:
https://exhibitions.london.ac.uk/s/se...
The history of the prosecution:
https://www.london.ac.uk/news-events/...
The fight to clarify the law after the prosecution was dropped:
https://www.london.ac.uk/news-events/...
That in 1985 the plays were being performed in a mainstream London theatre shows how insane this raid on Gay's The Word was.
This is a history that should not be forgotten.
Torch Song Trilogy and the 1984 attempt to destroy 'Gay's The Word' the UK's first gay bookshop:
This novel was one of many 'imported' gay books which were at the centre of an infamous attempt to push UK gays back into the closet by the conservative government of Margaret Thatcher in 1984. Amazingly this event, important not only for gays but civil liberties in the UK, does not have any kind of Wikipedia entry. Because of this lack I have assembled links to a number of sites which anyone interested in free speech should read. If we don't remember our history we will be condemned to repeat it.
The genesis of the prosecution of 'Gays The Word' was the anger of homophobes to books like 'The Milkman's On His Way' by David Rees which were written for young people and presented being gay as ordinary and nothing to get your-knickers-in-a-twist over. Unfortunately there was no way to ban the offending books because censorship of literature had been laughed out of court at the 'Lady Chatterley Trial' nearly twenty years earlier. But Customs and Excise did have the ability to seize and forbid the import of 'foreign' books, those not published in the UK. As most 'gay' books came from abroad, specifically the USA, this anomaly was the basis for the raid on Gays The Word and the seizure of large amounts of stock. The intention was that the legal costs, plus the disruption to the business, would sink this small independent bookshop long before it came to trial. That it didn't is testimony to the resilience of Gay's The Word, the gay community and all those who supported them.
The best, not perfect, but only, guide to the event is at:
https://www.gayinthe80s.com/2012/10/1...
There follows a series of links to the event connected with an exhibition at the University of London:
The background:
https://www.london.ac.uk/news-events/...
The 142 books seized:
https://exhibitions.london.ac.uk/s/se...
The history of the prosecution:
https://www.london.ac.uk/news-events/...
The fight to clarify the law after the prosecution was dropped:
https://www.london.ac.uk/news-events/...
July 6, 2017
I have been lucky enough to see this as a stage play and also own the DVD version. I love this play it is funny, insightful and an engaging representation of LGBT life in the 80's. I hadn't read the play before so it was an interesting experience, having seen Harvey Fierstein in the DVD its hard not to read it with his voice speaking Arnold's words. The play is different from the play, they have clearly made some changes to make it work cinematically. The best speeches remain however and the main premise of the play has not been changed.
I really liked the introduction by Harvey where he talks about his hope that people will see something of themselves in one or more characters and feel less alone. It made me love him and the play a little but more. Arnold is a hilarious central character, with devastating wit and quick repartee. You can't help but be absorbed by him and his life and choices. As a play it works well, you do need to focus as there are overlapping conversations but its a clever way to put across important stories with a small cast and a limited set. An enjoyable and important read I can't recommend it enough.
I really liked the introduction by Harvey where he talks about his hope that people will see something of themselves in one or more characters and feel less alone. It made me love him and the play a little but more. Arnold is a hilarious central character, with devastating wit and quick repartee. You can't help but be absorbed by him and his life and choices. As a play it works well, you do need to focus as there are overlapping conversations but its a clever way to put across important stories with a small cast and a limited set. An enjoyable and important read I can't recommend it enough.
August 7, 2023
"[...] You might just catch a line [...] that reaches out and touches something going on inside of you. And for that instant you are relieved of the isolation. That is the worth of a Torch Song. That is the goal of these plays." (Author's Note, 1979).
I dont usually read plays and went into reading Torch Song Trilogy without any expectations and was positively surprised! I love how vividly and lively the characters are created and how family and socio-cultural issues are playfully woven into the story. The play is quite witty and touching at the same time (some scenes hit a little too close to home), and overall left me moved and with a positive feeling.
I dont usually read plays and went into reading Torch Song Trilogy without any expectations and was positively surprised! I love how vividly and lively the characters are created and how family and socio-cultural issues are playfully woven into the story. The play is quite witty and touching at the same time (some scenes hit a little too close to home), and overall left me moved and with a positive feeling.
March 14, 2024
wow. i can't even imagine being a gay person in the 70's/80's and getting to see these three plays live. i would've probably laughed out loud, despaired, jubilated and sobbed my heart out all in the span of those few hours.
(this has marked me and will probably stay with me all my life, but i won't be giving it 5 stars because there are some race-ish wordings that i didn't like, even though i understand it might be reflective of its time)
(this has marked me and will probably stay with me all my life, but i won't be giving it 5 stars because there are some race-ish wordings that i didn't like, even though i understand it might be reflective of its time)
November 26, 2024
I should have read this sooner!!! Harvey's Torch Song Trilogy left me gutted. This play is a powerful, soul-stirring experience that will leave you emotional. I found myself seething with hatred for Ed and aching with longing for Arnold to receive the love he deserved. The sharp wit and sassy attitude of Ma instantly reminded me of my own grandmother. I can't wait to read Harvey's memoir to gain a deeper understanding of his journey. Honestly, Torch Song Trilogy is a must-read.
June 28, 2017
Such a great play and what a joy to read. Really sad I didn't make it in time for book club.
Thanks for generously handing over your book, @Bellish. :)
Thanks for generously handing over your book, @Bellish. :)
January 28, 2025
Starts off kinda wish fulfillment, then it won me over in the end, can see why it won Harvey the Tony.
October 10, 2018
The love Fierstein has for his characters despite all their flaws and foibles makes these plays both affecting and delightful.
January 22, 2023
Took me a while to read. I enjoyed the last of the three stories best. I love the playwright (Harvey Fierstein) so I think I would enjoy this better live as a production rather than reading it.
March 30, 2020
Eh. This is one of those plays that has an “everything but the kitchen sink” mindset, and the result is a bloated, shallow insight into gay culture in late 1970s New York City. There are drag queens, closeted gay men, mommy issues, twinks, drama, long speeches on love, random sexual encounters, violence, and the list goes on.
It’s too much. That the AIDs epidemic was only a couple years away casts a shadow over the play’s “live and let live” attitude. Not recommended.
ETA: The film adaptation is better. There’s a more cohesive narrative, and if nothing else, it makes for an interesting watch from a historical standpoint given that it was one of the earlier mainstream films to portray an openly gay man.
It’s too much. That the AIDs epidemic was only a couple years away casts a shadow over the play’s “live and let live” attitude. Not recommended.
ETA: The film adaptation is better. There’s a more cohesive narrative, and if nothing else, it makes for an interesting watch from a historical standpoint given that it was one of the earlier mainstream films to portray an openly gay man.
June 6, 2017
A witty and thoughtful representation of a very specific period in gay history and the ideas of different ways of being a family, whether those involved are gay, straight or bi. There are lots of little truths hidden in what the characters say to each other, and plenty of humour.
I am currently in between seeing the two parts of Angels in America at the National Theatre and it's interesting to some extent to compare the two since they are set probably less than a decade apart in what might well be pretty much the same New York scene. There is more dividing them though than the intervention of HIV, all-encompassing as that was. Torch Song Trilogy is far smaller in focus and more personal, in terms of thinking about relationships between individuals: lovers, exes, parents and children. Angels in America seems almost to focus on where individuals fail to relate to each other, as well as touching far more on bigger picture politics. The former appeals to me more, although that's not to say it's necessarily a better play.
In fact, I would resist judging it at all based on reading on paper: I'm not really a fan of reading plays and only ever do it when one is selected for book club. At some points the cleverness of the scripting - four people having concurrent conversations, sometimes at different time points - made it quite difficult to understand on the page, but I would say it is certainly worth picking up if you can't see it on stage.
I am currently in between seeing the two parts of Angels in America at the National Theatre and it's interesting to some extent to compare the two since they are set probably less than a decade apart in what might well be pretty much the same New York scene. There is more dividing them though than the intervention of HIV, all-encompassing as that was. Torch Song Trilogy is far smaller in focus and more personal, in terms of thinking about relationships between individuals: lovers, exes, parents and children. Angels in America seems almost to focus on where individuals fail to relate to each other, as well as touching far more on bigger picture politics. The former appeals to me more, although that's not to say it's necessarily a better play.
In fact, I would resist judging it at all based on reading on paper: I'm not really a fan of reading plays and only ever do it when one is selected for book club. At some points the cleverness of the scripting - four people having concurrent conversations, sometimes at different time points - made it quite difficult to understand on the page, but I would say it is certainly worth picking up if you can't see it on stage.
August 30, 2020
Harvey Fierstein's _Torch Song Trilogy_ Receives five stars from me due to the timelessness of the themes and the excellent writing.
It has been decades since I read the plays or watched the film version of it. It gives a nice slice of gay life in the 70s, but the final play, Widows and Children First!, hits me strongly as it is timeless--parents not accepting their gay son, gay sons not knowing how to help their parents accept them. I think this should be taught in high schools as it would help show how many gay kids life their lives and why they fear telling their parents.
Recommended: yes
It has been decades since I read the plays or watched the film version of it. It gives a nice slice of gay life in the 70s, but the final play, Widows and Children First!, hits me strongly as it is timeless--parents not accepting their gay son, gay sons not knowing how to help their parents accept them. I think this should be taught in high schools as it would help show how many gay kids life their lives and why they fear telling their parents.
Recommended: yes
March 19, 2013
It's a play. I picked it up at the library because 1) I was a high school drama nerd for four years and had never read it 2) I'm gay (most of the time), so I think there's a requirement somewhere that I have to read it. So now it's read and Harvey Fierstein is great so it was very easy for me to imagine him playing out the scenes in my head. Hooray! :)
April 6, 2020
4.5 stars. I absolutely love the play, and after I saw it on Broadway in 2019, it instantly became my all-time favorite. I love how Fierstein uses the backdrop and social issues of what occurred during this time period to help convey this deeply stunning character study.
October 7, 2020
Finally read the play as I’d already seen the movie several times. The play is sharper and deeper than the movie but that’s to be expected. Well worth a read and the scenes with his Ma still give me the shivers.
March 26, 2019
I recently watched the film with someone who'd never seen it. So I thought I'd re-read the play. An all time favorite in both mediums. MA!
July 27, 2017
Gostei demais dessa peça. Achei que sua força maior é sua sutileza. É singela, doce, cheia de humor e otimismo, apesar de tratar de marginalização, sexualidade, família e corações quebrados. O protagonista, Arnold, encanta com sua dedicação ao amor, mesmo enquanto tenta proteger o próprio coração por meio de ironias, ocasional frieza e surtos de honestidade dolorosa. A peça ganha mais pontos por incluir um homem bissexual como co-protagonista, tendo em vista que personagens como este mal são representados em qualquer plataforma de comunicação. Mas a personagem que mais me surpreendeu foi Laurel - ao contrário de minhas expectativas preconceituosas, a suposta rival de Arnold é escrita, aqui, como uma moça que não só aceita a bissexualidade do marido, mas que se coloca disponível para uma possível amizade com o ex-amante dele. Ela, mesmo tendo os defeitos que tem, é tão doce e esperançosa quando Arnold. Harvey Fierstein nos deu um presente com essa peça - trata-se de um dramaturgo generoso, que estabelece conflitos sem medo de sentimentalismo (nada barato) e que cuida de seus personagens com muito afeto.
Displaying 1 - 30 of 92 reviews