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When reading popular as well as scholarly criticism of contemporary gay and/or lesbian theater, I am always struck by how much of this theater is still, whether we like it or not, mostly a fringe phenomenon, staged in specific theatrical venues for a specific public. The immediate concern resulting from an observation like this is how far gay/lesbian theater is culturally relevant within the larger economy of stage production, and how far and where has it claimed a position within that apparatus. There are strong indications that gay/lesbian theater has become a genre that is recognized and acquires specific signification as a result of this recognition. There are also clear indications that its rhetoric and imagery influence more mainstream poetics and cultural production. However, there are also obviously moments of clashes, in which elements are attacked as illegitimate. Ironically, as Pierre Bourdieu

The Romans in Britain and the Effect of Male/Male Sexual Iconography at London's National Theatre