ABSTRACT
A few weeks have passed since I finished the last chapter. I have been putting off writing the concluding chapter, with some perfectly good reasons for procrastinating. But upon getting down to it, I realise that it is virtually an impossible chapter to write, since there are no final conclusions to be drawn. Or rather, there is one fundamental conclusion: that the area of theatrical history represented in this book demonstrates how varied, exciting, contentious and necessary sexual politics are to the development of a healthy theatre of the future. Such a conclusion cannot be ‘final’ in any sense, since there is no guarantee whatsoever that feminism and gay politics will continue to challenge received theatre practice.
