Fierstein as a writer, but also the human heart itself. The play, an uproarious comedy of the zinger variety, is a humanizer, its three segments-“International Stud”, “Fugue in a Nursery”, and “Widows and Children First!”-mapping not just the journey of its characters and the evolution of Mr. “Torch Song”, which hails from a precious moment of gay life post-liberation (roughly 1969) and pre-AIDS (roughly 1981), finds new resonance in 2018, a precarious moment of gay life witness to lightning-fast social, political, and legal recognition, and its concomitant backlash heightened by increasing polarization and fracturing of American society. What blissfully remains intact, though-beside the sterling cast assembled for the Off-Broadway production-is the abundance of heart and humanity at the core of the play. To quote its leading character: “ain’t that a kick in the rubber parts?”ģ6 years later, the three one act plays that comprise “Torch Song Trilogy”-which premiered separately Off-Off-Broadway at LaMama ETC between 19-are consolidated into two acts, with over an hour of dialogue cut, and graced with a newly abridged title, the pithy “Torch Song”. Fierstein’s landmark play (then titled “Torch Song Trilogy”) opened on Broadway in 1982, following an acclaimed Off-Broadway run.
In a feat of synchronistic fate, the Hayes is the same theatre (then named the Little) where Mr. Following an acclaimed Off-Broadway run at Second Stage Theater last fall, a triumphant revival of Harvey Fierstein’s “ Torch Song” opened at the Helen Hayes Theatre on Broadway earlier this month.
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