Another long review of an author whose works I realize I expect far more from than I actually get. The official Goodreads summary for this sums it up thoroughly. Had I read that before finally slogging through this today, I would have skipped reading it entirely. The cover suggests this is a history lesson about queers through history in the context of theatre, which I would be fascinated by and should research on my own anyway. The actual content of the book couldn't be more different.
I've tried to get through this book three times in the past decade, and finally succeeded today. It makes way, way more sense if you've read "People in Trouble" before this, or any of the numerous, detailed interviews Schulman has given about the plagiarism of her book by the playwright of "Rent." I had the fortune of reading both within a day of one another. Schulman outlines this book in the introduction. I'm so glad she indicated it was in parts. Otherwise, I'd have assumed it was entirely about her frustration about "Rent" supposedly plagiarizing "People in Trouble," and I wouldn't have read it. Because "People inTrouble" was so poorly written, and has little plot, I don't see the plagiarism. All the plot Schulman says is in her book is a sentence or paragraph, maybe a few pages, of each point she claimed was ripped off. I am, however, simultaneously sorry for what she's endured in regards to it, and I wish it had gone differently for her. At the very least, she should have gotten a massive chunk of the royalties and other monies, and far more recognition. Household name at the very least.

Circling back to the introduction and Part I...she's beating a dead horse to the point that it feels like sour grapes. The introduction explains what the rest of the book is about in a single paragraph. It is many pages longer than that. Schulman dedicates the rest to insisting Larsen plagiarized her work. Part I reads like the introduction never ended. I'm not sure what this has to do with AIDS and the marketing of gays in America--oh, wait, it just clicked. Um...Schulman? You mention "People in Trouble" isn't the only book trying to turn opera for the decade. Stop acting like it's the only one! Sour grapes, indeed.

Schulman does something I was impressed by and really appreciated: she saved her professional, negative review of the original "Rent" production, and reprints it in its entirety in this book. I agree 100% with it, and was really glad for her that she was able to publish it in her book. My perspectives seem to contradict themselves, but it's because there's different factors at play. She points out why "Rent" had the success it did bluntly, which explained things for me and I was glad.

She examines for a good of Part I how she tried to have "People in Trouble" adapted for the stage. She bitterly notes how no one got back to her except to be hostile, and points out the misogyny and homophobia that were factors. Roger and Mark were made straight, which was stupid and unfair, I insist. One man read Schulman's hoped-for adaptation and responded crassly, expressing essentially that he didn't like women feeling romantic or sexual towards one another or in general, and neither would straight ("mainstream") audiences. The phrase "dripping pussy" got used. What a disgusting man. Unfortunately, he was probably happily married with kids because jerks never face real consequences, except in books and movies. And their victims are just told to get over it or "be the bigger person," or forgive them in certain circles. BLECH. Onward.

Every part of this novel is somehow tied to Schulman's distaste for "Rent" and her repeating it was plagiarized. In Part II, she talks about other theatre she's recently seen that will not connect with audiences thirty years later (now) who don't live in New York. They amounted to mini-reviews. She talks about race in theatre a little bit. In Part III, she goes on such a sharp detour that she practically drives off the road metaphorically. She talks about gay marriage, economics and touches on advertising in general. This is clearly a late 90s book and Schulman was utterly convinced nothing would change. Things have changed and this book is outdated in several regards. Schulman criticizes new writers in the 90s for having to get MFAs . It's even more of a requirement thirty years later, and the complaints are from the students themselves now. Schulman noted the new writers flapped their jaws about how their professors are famous writers who are helping them out...and a page later, she lets it slip that Audre Lorde was a professor of hers too. She uses purple prose to describe things she likes, so I can kind of understand "People In Trouble" a touch more stylistically.

This wasn't the history lesson I thought it would be. What a disappointment. ( )

This is an important read for those only familiar with the "official" story of the making of the Broadway musical "Rent". Although I don't think Schulman fully realizes the potential of this project the ideas she formulates are fascinating and significant fodder for thought. The theft of authentic LGBT stories by straight authors is still going on, even in today's culture of supposed openness and acceptance. I congratulate Schulman for feeling this underhanded creative theft is more insidious than any monetary gain she might've lost from Jonathan Larson lifting ideas and characters from her book "People in Trouble". I'd love to read a follow-up now that it's been seventeen years since "Stagestruck"'s first publication. It would be interesting to read what new, similar cases have popped up over the years and Schulman's opinions on the marketing of today's Gay America. ( )

Stage Struck: Theater, Aids, and the Marketing of Gay America is about exactly what the title says. It is the story of how Sarah Schulman attempted to publisize the idea of Rent plagerizing her book People in trouble. It also talks about the false information provided to the public by Rent. This false information has to do with homosexuality and the fight against AIDS. I suggest those who enjoy reading about legal struggles or those who enjoyed the musical Rent to read this book. ( )

This book is my Outside Reading Book. ( )