Murder Most Queer: The Homicidal Homosexual in the American Theater

Ithaca College
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In Act I, he takes temporary refuge at the apartment of fellow opera aficionado Mendy to dish about divas , listen to records, and avoid thinking about his rapidly unravelling eight-year relationship. In Act II, he returns home to confront his unfaithful partner.

Theatre Journal

Two thousand copies of an unauthorized recording made by a cast member during a live performance, despite their amateur quality, quickly became collector's items among the diva's fans. Mike Nichols and others had told him the original brutal ending was too much to handle, so he changed it.

follow When we came to San Francisco, he returned to the original ending. That's the one you see here. Toby Silverman Zinman wrote that The Lisbon Traviata was important in McNally's progress to becoming a "mature and contemplative theatrical voice", noting that the characters were more "fully developed" with complicated relationships.

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Philip Fisher, in his review of the London production for British Theatre Guide , stated that the play was "extremely funny but also heart rending. Peter Marks reviewed a production at the Kennedy Center for The Washington Post , calling the play "one of McNally's more daring plays and one of his best. Listen to this article Thanks for reporting this video!

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Murder Most Queer: The Homicidal Homosexual in the American Theater

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Andrew Sofer. Ann Arbor: University of Michigan Press, , pp. Emma Willis.