'Forced to flee his family home in Goulburn, Shane ... suddenly finds himself in a strange suburb surrounded by prostitutes, bikies and junkies. The confused teenager is unsure of his sexuality, more unsure of how to find intimacy, and completely thrown by having to choose between laundry liquid and powder. But he soon meets two strangers - the very-Sydney Will who offers brotherhood, sex and something unexpected; and the beguiling Peter a 50-year-old gay man whose mother is dying in a nursing home.'
Source: http://www.theprogram.net.au/giveawaysSub.asp?id=371&state_id= (Sighted 09/02/2005)
Produced in London, UK, at the King's Head Theatre, Islington, in summer 2016, with a return season in January 2017.
'Gay theatre, or at least identifiably queer theatre, has never had much of a presence in Australia; most of what we consider canonical has come from overseas. The Elizabethan stage had Marlowe’s Edward II and Shakespeare had two characters named Antonio, in Twelfth Night and The Merchant of Venice, who are fairly obviously queer. Since then, most quintessentially gay theatre has come from the United States. Tennessee Williams perfected the unspoken queer subtext, often tying himself in knots to speak clearly what remained unspeakable. But it took Tony Kushner to produce the first openly gay theatrical masterpiece in the two-part Angels in America (1991–92). Anyone who caught last year’s production of Angels at fortyfivedownstairs will know just how vital and electrifying the piece remains as a touchstone of gay representation on stage.' (Introduction)
'Gay theatre, or at least identifiably queer theatre, has never had much of a presence in Australia; most of what we consider canonical has come from overseas. The Elizabethan stage had Marlowe’s Edward II and Shakespeare had two characters named Antonio, in Twelfth Night and The Merchant of Venice, who are fairly obviously queer. Since then, most quintessentially gay theatre has come from the United States. Tennessee Williams perfected the unspoken queer subtext, often tying himself in knots to speak clearly what remained unspeakable. But it took Tony Kushner to produce the first openly gay theatrical masterpiece in the two-part Angels in America (1991–92). Anyone who caught last year’s production of Angels at fortyfivedownstairs will know just how vital and electrifying the piece remains as a touchstone of gay representation on stage.' (Introduction)
