Deborah Philips Poradie kníh

This book situates the production of The Boy Friend and the Players' Theatre within post-war London, analyzing The Boy Friend and Wilson's later works as exercises in contemporary camp. It presents Wilson as a significant transitional figure in musical theatre and in the representation of homosexuality during the pre-Wolfenden 1950s. Sandy Wilson's The Boy Friend, first produced at the Players' Theatre Club in 1953, became one of the most successful British musicals, transferring to the West End and Broadway, and launching the careers of stars like Julie Andrews and Twiggy in Ken Russell's 1971 film adaptation. Despite its success, Wilson, a gay writer in 1950s Britain when homosexuality was illegal, remains relatively unknown. This critical study draws on original research from the Wilson archives at the Harry Ransom Center, marking the first comprehensive examination of Wilson's role in 1950s British theatre. It begins with the often-overlooked context of the Players' Theatre Club and explores Wilson's connections with industry figures like Binkie Beaumont, Noël Coward, and Ivor Novello, situating his work within the broader history of Soho gay culture. In addition to a critical perspective on The Boy Friend, the study also addresses later works such as Divorce Me, Darling!, The Buccaneer, and Valmouth, as well as uncompleted musical adaptations, offering a fresh perspective on one of British theatre's celebrated yet overloo