The catty screeches of the smashed birthday partying queers in Mart Crowley’s Off-Broadway play “The Boys in the Band” were not merely sliver-sharp gibes and ice pic-like verbal jabs for their own sake.
They were, rather, frayed confessions of self-loathing, a velvet rage that had curdled into shouts that were partially enough to mobilize gay and queer men to assert their identities in an unwelcome world.
Though perhaps necessarily narrow, or specific, in its point of view, “The Boys in the Band” was a manifestation of a social tipping point, produced just before the Stonewall Uprising.
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