their subjectsâ 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. Ruppâs term women-committed women, and each offers a carefully argued case for seeing its subjectâs 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 (1889â 90). Behind him on the wall is a portrait of SalomÃ© 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
Theater – Duke University Press
Published: Jan 1, 2003
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