LGBTQ Historical Scholarship:What Was It Like Twenty Years Ago? Robert A. Schanke and Kim Marra Introduction We developed our project on gays and lesbians in American theatre history from two very different institutions and career stages in our home state of Iowa long before we ever dreamed that we would be able to marry our partners legally in our own backyards. The original catalyst came from what Bob Schanke, then professor and chair of the theatre department at Central College in Pella, Iowa, learned while on a coast-to-coast book signing tour for his 1991 biography Shattered Applause: The Lives of Eva Le Gallienne. People were really interested in how the same-sex sexual desires of this actress impacted her life, her art, and her career. He envisioned a collection of essays on other such figures that he would coedit as a gay male scholar with a lesbian scholar, hence his recruitment of Kim Marra, then a new assistant professor at the University of Iowa, whom he had met at the Mid-America Theatre Conference. Although the University of Iowa in the early 1990s led the Big Ten in establishing health coverage for same-sex domestic partners, administrators were under fire by politically appointed regents for condoning the use of sexually explicit gay-themed materials in classes, which contributed to an anxious climate for untenured out faculty. Bob was long tenured, but he endured homophobic vandalism of his office multiple times on his small, religious campus as his scholarship made his personal proclivities more public. Thus, we both had to consider certain risks in pursuing this project, but those risks fueled our sense of need for such work ultimately to combat homophobia. When our original proposal for a single book was expanded into three books, as LeAnn Fields details below, we needed to bring on a third coeditor as point person for the final volume. The late Billy J. Harbin (1930–2004), professor and former chair of the theatre department at Louisiana State University, who also contributed essays to the first two volumes, took on that role. Whereas the two of us had both been out for nearly a decade, Billy had been deeply closeted for his entire career. This project, which he joined in his mid-sixties, marked his coming out. The contracts for the three books were rendered in the winter of 1994–95. At the ATHE conference in San Francisco the following summer, during sessions of the newly constituted LGT Focus Group led by Tad Currie and Willa Taylor, several of us appeared on a roundtable, “(Re)writing the Invisible: Gay and Lesbian Theatre History,” and we solicited many more of the fifty-eight authors who would ultimately contribute to this multivolume venture. It took considerable maneuvering over the next three years with LeAnn’s and Jill’s sagacious guidance to bring the first volume into print. Among many other revisions, we had to rewrite the introduction four times to justify the project. Passing Performances: Queer Readings of Leading Players in American Theater History finally appeared in October 1998. The second volume, Staging Desire: Queer Readings of American Theater History, followed in 2002, and the third, The Gay and Lesbian Theatrical Legacy: A Biographical Dictionary of Major Figures in American Stage History in the Pre-Stonewall Era, in 2005. [End Page 27] Billy did not live to see the publication of that last volume, whose compilation he directed. He suffered an embolism while leading a London theatre tour the previous summer. Just before the ultimately futile last-ditch procedure to save him, he handwrote us a fax from his overseas hospital bed with instructions about where to find the files in his house in Baton Rouge in case he did not return. He worked to the end on the project that had transformed his life. In the dedication to him at the front of the volume, which LeAnn personally helped us assemble, we quoted from Billy’s remarks at the first symposium on queer American theatre history, held at the Center for Lesbian and Gay Studies (CLAGS) in New York City in 1998 to mark the publication of Passing Performances. These were words that at...
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