Barry Boehm’s play Our House deals partly with family strife—a staple of American drama for a century—with the added difference that four of the six characters are gay. A long night of drinking and drug-taking puts it squarely in the vein of Long Day’s Journey into Night and Who’s Afraid of Virginia Woolf?, a show in which one of Boehm’s characters happens to be starring, in a community theater production. More particularly, the primarily gay characters echo any number of engaging dramas, from The Boys in the Band to Love! Valour! Compassion! to My Night with Reg.
Ibsen’s Ghost
Charles Busch has frequently used old films as fodder for his comedies: Red Scare on Sunset, Shanghai Moon, and The Lady in Question all draw on silver-screen melodrama for a knowing send-up of Hollywood tropes. But his latest play, Ibsen’s Ghost, is a marked change. Busch has steeped himself in the life of Norwegian playwright Henrik Ibsen and fashioned both facts and fiction into a charming and funny Improbable Biographical Fantasy, as he calls it.



