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By Eric Trump
The New Zealand playwright Robert Lord kept eight diaries throughout much of this time, from 1974 to 1991, shortly before his death from an AIDS-related illness in 1992.

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By Brian Fehler
This spring, Ground Floor Theatre in Austin presented the world premiere of Always a Boy, by mother-son playwrights Jo and Jeremy Ivester. The play, which addresses the family dynamics of having a trans son, had its world premiere deep in the heart of Texas.

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By Sarah Drepaul
This is what distinguishes the festival from other queer art performances, at least in the U.S.: it is not afraid to understand and showcase queerness in all the ways it impacts us.

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By Jonathan Alexander
Both of these shows also offer us portraits of queer life and love amidst the homophobia of the mid to late twentieth century. But as I watched and thought about the film and series, I came to feel more and more…baited — queerbaited by the representation of our own history.

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By Kevin Winkler
It wouldn’t be fair to call Howard Jeffrey a forgotten name since he was never particularly well-known. But as a dancer, choreographer, and later a producer, his personal and professional lives intersected with several key figures in mid-century theater and film.

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By Andrew Binks
In this new space which opened this fall, Depoivre and Doussot hope to a have one room dedicated to queer art year-round. The theme will always be positive masculinities while incorporating gendering, a subject that is triggering a lot of conversation.

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By Steve Warren
As inspiring as it is informative, Mama’s Boy, streaming now on Max, made me cry more tears—happy and sad—than any film in years.

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By Steve Warren
The six characters and the actors who play them are humanized to some extent, but there’s too little time to get to know them. Still, if Framing Agnes weren’t so good, I would not be left wanting more.

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