We’re Here, We’re Queer: Our Review of ‘Log Cabin’

We’re Here, We’re Queer: Our Review of ‘Log Cabin’

(l to r) Cindy Cheung, Dolly Wells, Jesse Tyler Ferguson and Phillip James Brannon in ‘Log Cabin.’ (Photo: Joan Marcus)

By Matthew Wexler

Confession. I’ve often been known to mumble “Yaaas!,” “Oh, guuurl,” and other gay-centric expletives under my breath as gay boys prance through my neighborhood, which over the last 20 years, has become Manhattan’s über queer epicenter. I do this to pay tribute to my LGBTQIABCDEF brethren. And also to mock them. It probably comes from being pushed around the back of a bus during my formative years or my never-healed resentment against Kristi Jacobs for not French kissing me at an eighth grade Halloween party. Maybe if she had, I wouldn’t have turned out gay. Not true.

These social patterns and memories have been rumbling around my lavender-tinged brain this weekend as New York City celebrated Pride with its usual Nicholas Nickleby-length parade and Log Cabin opened at Playwrights Horizons. The latest in a series of new works and revivals portraying different facets of the queer experience, including Angels in AmericaSugar in Our Wounds, and The Boys in the Band, Jordan Harrison’s new play explores the evolving relationships of two couples—one gay, the other lesbian—and how they interface with each other, their communities, and the world at large during a five-year period from 2012 through 2017.

Keep reading over at The Broadway Blog

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