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lizawall's review against another edition
5.0
Ok I know this book makes some really important true points that are pretty devastating in their implications, and I can understand how this whole experience would have been absolutely enraging to go through, but I just had a really hard time staying in the headspace of taking Rent so seriously, you know? Like a little 500 25 thousand six hundred minutes kept popping into my head and making me want to laugh. I'm probably part of the problem, is what I'm trying to say. Sorry!
berryplusbears's review against another edition
5.0
The plagarism allegations are startling, and only deepen my personal vendetta against all things RENT-related, but those details aren't nearly as fascinating as what follows: an in-depth cultural analysis of the neoliberal posturing and queer commodification that RENT has caused in the following years, an effect still lingering in American fields of art and culture.
johnny_trashbag's review against another edition
4.0
Stagestruck is essentially a very interesting cohesive collection of essays framed around Schulman's personal experience with the alleged plagiarism of Rent. The weakest parts of the book is when Schulman goes into great depth to explain her side of the story, the moustache-twirling villainy of her opponents, and her sacrifice in not pursuing the suit. The most compelling part of this story- why Schulman decided not to pursue the suit, even though she clearly had a case and support, wasn't explained fully. In the absence of that explanation, the reader is left to determine there was little actual merit in the case itself.
This is only the premise of Stagestruck, however, which quickly ascends to a deep and incisive study of the sexual and ethnic gentrification of the East Village, and the fundamental issues with the presentation and consumption of gay culture. This is where the deeply personal nature of Stagestruck is at its strongest, as Schulman rattles off queer icons, plays, performances, and magazines in quick, yet loving, succession. Her knowledge of the impact of HIV/AIDS on culture is particularly profound, and it shows her proximity and understanding of the subject matter. In particular, the arguments she makes against biological determinism were ahead of their time, and will continue to be the gold standard in challenging the "Born This Way" narrative.
A clearer picture of Schulman and her suit against the Larson estate emerges in these arguments than in her recounting of the experiences. Towards the end of the book, it becomes clearer that, to Schulman, Rent was not only emblematic of the marketing of gay America, but represented the demeaning of her life's work fighting AIDS and the gentrification of her neighbourhood. Doubts about her authenticity in the suit are quelled.
This is a useful introductory book to problems with representation in theatre, yet those expecting an academic or genuinely persuasive text will be deeply disappointed.
This is only the premise of Stagestruck, however, which quickly ascends to a deep and incisive study of the sexual and ethnic gentrification of the East Village, and the fundamental issues with the presentation and consumption of gay culture. This is where the deeply personal nature of Stagestruck is at its strongest, as Schulman rattles off queer icons, plays, performances, and magazines in quick, yet loving, succession. Her knowledge of the impact of HIV/AIDS on culture is particularly profound, and it shows her proximity and understanding of the subject matter. In particular, the arguments she makes against biological determinism were ahead of their time, and will continue to be the gold standard in challenging the "Born This Way" narrative.
A clearer picture of Schulman and her suit against the Larson estate emerges in these arguments than in her recounting of the experiences. Towards the end of the book, it becomes clearer that, to Schulman, Rent was not only emblematic of the marketing of gay America, but represented the demeaning of her life's work fighting AIDS and the gentrification of her neighbourhood. Doubts about her authenticity in the suit are quelled.
This is a useful introductory book to problems with representation in theatre, yet those expecting an academic or genuinely persuasive text will be deeply disappointed.
spacestationtrustfund's review against another edition
3.0
I've said it before and I'll say it again: I just want someone to love me as much as Sarah Schulman hates RENT
bswizzle's review against another edition
4.0
The second part of this book is rather inapplicable unless you're invested in 90's theatre, which Schulman is quite obviously rather knowledgeable in. Aside from the non-engaging second part, this book is super important to our understanding of how LGBTQ identities have been commodified in an overall culture which still lacks the empathy to consider them as equals.
stargoddess's review
challenging
informative
slow-paced
3.0
An interesting time capsule, very much grounded in the author’s personal experiences and beliefs, for better or worse. I definitely learned a lot and was given some things to think about, but I also think so much has changed since the book’s publication in 1998 that it is difficult to relate to.
justsimplehonestjuice's review against another edition
challenging
dark
informative
inspiring
reflective
medium-paced
4.0
While reading this book I could not shut up about Sarah Schulman. She is a compelling writer. Her thoughts towards the end made me think a lot about how theatre and markets have changed in the last 24 years and how they haven't. What can I do to establish and legitimize my own narratives? Where do I find financial allies in those endeavors?