Archives for LGBT history

Outside, looking in

Veteran gay activist Ted Brown, who came out before LGBT people had any rights in the UK, has dedicated his life to combating racism and homophobia since joining the Gay Liberation Front (GLF) in 1970, after meeting a group of activists picketing The Boys in the Band in London’s West End. Ted Brown had been aware of his feelings for other boys at school when he was 11 or 12, but it was the discovery of a Tom of Finland book in a Popular Books store in New Cross, London, when he was 15 that convinced him this was not a phase. “I

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Dancing to a different beat in Deptford: from Outdance to We Raise Our Hands

  Back in the late 1980s, the Albany used to host a weekly LGBT club night that attracted hundreds of revellers from the local community and beyond every Saturday. Former promoter Brendan Nash explains how it all came about. The Albany in Deptford has a fantastic tradition of developing LGBTQ work like our new show We Raise Our Hands In The Sanctuary, which tells a gay friendship story set in the 1980s London underground gay club scene. Around the same time they scheduled a week of research and development for this show as part of their Hatched new writing programme,

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Playing a character who is not the average black man seen on stage

Jahvel Hall, who plays up-and-coming 1980s DJ Michael in We Raise Our Hands In The Sanctuary, explains how he researched a complex character who faces down the homophobia, racism and HIV/AIDS prejudice of the 1980s. How has the rehearsal process been for you, how does it compare to other productions you have done? Having three weeks instead of four or more was a bit intense, we sort of hit the ground running which was good. I think the main thing about the rehearsal process for me – aside from getting lines, getting the dialogue out and practising it with the other actors on stage –

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Chanelling a sense of a character’s potent sexuality

Dean Graham, who plays club promoter Paul in We Raise Our Hands In The Sanctuary, talks about how his performance has evolved in the rehearsal room and on the stage. How did you prepare for the role of Paul? Well obviously, I did a lot of research that [writers and directors] Daniel and Martin passed over to me and I followed that. I was also really interested in notions of masculinity. I think that there’s a lot that you can take from your own life as a man and your relationship to your own father. I think it’s one of

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We that are great fellows of pleasure: having fun with a ’50s rent boy

I was delighted when I found out that I had gotten the role of Julian in Cover Her Face (Julia in Webster’s original) because I knew that he was a character that I could have a lot of fun with. And fun was the feeling I wanted to keep with me when working on this character and in the rehearsals, because that’s what I felt Webster was offering in the text. After my first reading of the play, I jokingly referred to Julian as the “whorish fool” of the play but even though I said that in jest, that really was

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