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A review by johnny_trashbag
Stagestruck: Theater, Aids, and the Marketing of Gay America by Sarah Schulman
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.