Inferred Alternatives

Inferred Alternatives their subjects’ homosexuality, despite hearsay and circumstantial evidence. Even so, several of the essays do rely substantially on conjecture and probability in claiming their subjects as other-than-heterosexual. The essays on playwright Rachel Crothers and lighting designer Jean Rosenthal, for example (by J. K. Curry and Jay Scott Chipman, respectively), are careful not to apply the label lesbian to women who may not have considered themselves homosexual. Both these pieces rely instead on Leila J. Rupp’s term women-committed women, and each offers a carefully argued case for seeing its subject’s avoidance of marriage in this light. Certainly, one could quibble over details. As Curry shows, for instance, Crothers provided the press with extensive explanations for remaining single that would be perfectly plausible from a heterosexual woman who had simply not found a satisfactory partner. Yet Crothers lived for decades with a Clyde Fitch at the time of writing Beau Brummel (1889– 90). Behind him on the wall is a portrait of Salomé holding the severed head of John the Baptist. Photo courtesy Montrose J. Moses and Virginia Gerson, eds., Clyde Fitch and His Letters (Boston: Little, Brown, 1924) female companion who kept her home, and while this fact alone http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Theater Duke University Press

Inferred Alternatives

Theater, Volume 33 (2) – Jan 1, 2003

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Publisher
Duke University Press
Copyright
Copyright 2003 by Yale School of Drama/Yale Repertory Theatre
ISSN
0161-0775
eISSN
1527-196X
DOI
10.1215/01610775-33-2-102
Publisher site
See Article on Publisher Site

Abstract

their subjects’ homosexuality, despite hearsay and circumstantial evidence. Even so, several of the essays do rely substantially on conjecture and probability in claiming their subjects as other-than-heterosexual. The essays on playwright Rachel Crothers and lighting designer Jean Rosenthal, for example (by J. K. Curry and Jay Scott Chipman, respectively), are careful not to apply the label lesbian to women who may not have considered themselves homosexual. Both these pieces rely instead on Leila J. Rupp’s term women-committed women, and each offers a carefully argued case for seeing its subject’s avoidance of marriage in this light. Certainly, one could quibble over details. As Curry shows, for instance, Crothers provided the press with extensive explanations for remaining single that would be perfectly plausible from a heterosexual woman who had simply not found a satisfactory partner. Yet Crothers lived for decades with a Clyde Fitch at the time of writing Beau Brummel (1889– 90). Behind him on the wall is a portrait of Salomé holding the severed head of John the Baptist. Photo courtesy Montrose J. Moses and Virginia Gerson, eds., Clyde Fitch and His Letters (Boston: Little, Brown, 1924) female companion who kept her home, and while this fact alone

Journal

TheaterDuke University Press

Published: Jan 1, 2003

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