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Experience the captivating title of The Faggots and Their Friends Between Revolutions at this year’s Festival d’Aix-en-Provence. Writer-director Ted Huffman and composer Philip Venables have created a remarkable music and theatre production based on Larry Mitchell and Ned Asta’s cult fantasy novel from 1977. This “fairytale-cum-manifesto” with a dedicated queer following brings together a harmonious blend of creativity and social commentary.
Mitchell and Asta, as founding members of a queer commune in Ithaca, New York, infused their work with a utopian polemicism. The characters described as “faggots” and their friends embody goodness, artistry, generosity, and a vibrant sexual nature. In contrast, the world of “men” is depicted as brutal, materialistic, and driven by greed. This production is a reflection on the revolutions of civilization and modernity and the anticipation for the next revolution that will bring about positive change.
Originally intended as a children’s picture book, the production maintains a simplistic and lighthearted tone. The festival atmosphere resembles a lively ’70s “happening” rather than a traditional opera performance. The intersectional performers authentically portray themselves, dress up, and engage in playful activities. At one point, the audience is encouraged to join in singing, creating a sense of participation akin to a kindergarten show, albeit with a touch of adult-themed enthusiasm.
Venables’ music serves a functional narrative purpose, featuring pleasant melodies. The cast includes exceptional musicians and charismatic performers who emanate joy and an inclusive spirit. From the dancer-choreographer to the emcee, each artist exudes energy and captivates the audience. This unconventional experience is reminiscent of a drag queen story hour, combining entertainment and social commentary.
While it is true that historically the “faggots and their friends” have influenced the international opera world, it is essential to recognize that the opera industry still lacks inclusivity and diversity. There is an urgent need for more transgender performers, louder queer voices, greater body diversity, and increased representation of people of color in prominent roles within music theatre. However, solely clustering them together in a confined space where their presence becomes the message itself can be seen as limiting their potential.
★★★☆☆
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