List Film

Glasgay! - Steven Thomson interview

Glasgay! - Steven Thomson interview

2009 will be both one of Glasgay!’s best and most troubled years. The programme is stronger than ever, but as Glasgay! has grown in its cultural importance it has attracted new levels of criticism and controversy that now threaten to undermine its purpose. Kirstin Innes meets Steven Thomson, the director of Glasgay!, to talk about censorship, activism and Glasgay!’s role in mainstream culture

Glasgay!’s director Steven Thomson has always conceived his role as a balancing act: creating a programme that includes experimental work by LGBT artists, while pulling in as broad an audience as possible to take the festival out of a niche and into the mainstream.

‘It’s important to me to look at how our culture intersects or interrelates with mainstream culture,’ he says. ‘We don’t do quirky live art for forty people: we’ve got an audience of over 30,000 with half a million pounds of economic impact on the community.’

No doubt about it: Glasgay! is an increasingly huge force on Scotland’s cultural scene, and their 2007 SAC award of ongoing flexible funding has increased Thomson’s ability to work with playwrights and directors on the kind of work he wants well in advance, to set themes in motion over a period of years.

‘Families have been at the core of our programme for a while now. I began to notice it during Tennessee Williams season last year, and of course families are so central to his work. This year, I’ve begun to think, right, we’re in the 21st century now, at the end of the first decade; it’s time to bring this notion of the queer family bang up to date and look at dysfunctional family in a contemporary context. And this year, you can see the first results of our funding award.

‘I’ve been able to take a writer like Martin O’Connor, who we refer to as our “queer-identified straight artist” (his work looks at gender and masculinity from the underdog position and that resonates with an LGBT audience), and get him to look at certain themes that have cropped up in the Tennessee Williams season, and produce a new work that picks up from there. We also had the freedom to work closely with someone like Louise Welsh, to commission her to do something new, to bring in a director, Sam Rowe, who has done drama therapy with sex offenders, understands the character she’s created [in her new work Memory Cells] and who has filtered ideas into her head during the writing process.

‘That’s been a big mission of mine, to look at where we fit queer stories into these more mainstream dramas. How we knit together – or not, sometimes.’

While the choice of ‘family’ as a theme was established last year, there’s a particular, immediate poignancy about it now for Thomson. The day we meet, he’s just come back from installing Dani Marti’s exhibition Insideout in a new venue on Parnie Street, after Culture and Sport Glasgow chose not to install some of his film works in the balcony space at GoMA. The decision followed on from a period of high-profile outcry from right-wing pressure groups and certain corners of the media. According to Thomson, one of the main objections was that the work, which features HIV positive men talking frankly about living with the disease, ‘wasn’t suitable for a family venue.’

‘A family venue!’ he says. ‘Well, I’m sorry, but all LGBT people come from and are part of families too. You can’t segregate us, look at us as though we’re sexualised independent beings with no contact with the outside world. I’ve been quietly biting the political wire over six years at Glasgay!, and for the first time I’m going to go out there and say, we’re not taking this! They seem to be bowing down to a right-wing minority in the press, who question the council’s right to spend tax money on LGBT arts at all. You can’t stigmatise us like this any more.’

The ongoing funding has allowed the Glasgay! team to turn next year’s festival into a vehicle for responding to these issues.

‘We’ve had to become activists around our own work again. And that’s no bad thing; it galvanises us as a community. I’ve never had so many strong lesbian women standing in support of me. Next year, we want to take on institutions; particularly those institutions that want to attack us. Celebrate our positive identity but subvert it in ways that allows us to make social comment. Glasgay!’s still rolling. We’re not going away.’

Talking heads

Kirstin Innes talks to six of the playwrights who’ve created new pieces around the ideas of ‘family’ and ‘the feminine’ for Glasgay! 2009

Novelist Louise Welsh worked closely with Glasgay! while writing Memory Cells
‘Memory Cells might just be my most full-on piece. I’ve always liked the underground, rumbly quality of the Arches, and it helped inspire the setting of the play, an old nuclear shelter where Cora lives alone, except from visits from Barry. Barry and Cora’s relationship is initially ambiguous. Is he her lover, father, jailer or carer? The couple’s verbal tarantella uncovers what they are to each other, and why the young woman is compelled to live beneath the earth. I wrote Memory Cells with two top Scottish actors in mind, Tam Dean Burn and Kirstin Mclean. They’re both strong, adaptable, brave artists, which was essential. Memory Cells is not for the faint-hearted. I had nightmares when I was writing it and I’m hoping it’ll inspire a sleepless night or two in the audience. After all, no one likes to suffer alone.’
The Arches, Tue 20–Sat 24 Oct

Martin O’Connor’s Playing Houses looks at a family falling apart on a Big Brother eviction night.
‘My last couple of shows [Reality, performed as part of last year’s Glasgay!, and Inner Circle, performed on the Glasgow Subway] have made me realise the importance of reflecting modern life back onto an audience without pretension or patronisation. It’s important for me to try to create authentic characters that are based on the way we live now, in this city, coping with all the things that modern Scottish life throws at us. The show is deliberately lo-fi: I’m focusing on storytelling and creating something that’s intimate and conversational. I want each audience member to feel like they are being spoken to one to one, over a pint or at the kitchen table with their mate. It’s about inviting people in and showing them a familiar, localised situation and then going with them on a journey to somewhere else that can help to educate and inspire.’
The Arches, Tue 13–Sat 17 Oct

Jo Clifford, writer and performer of Jesus, Queen of Heaven, portrays the Second Coming as a transsexual woman.
‘I’m amazed there’s been such a fuss about this play. Everybody knows that Jesus empathised really strongly with people that the respectable society of his time rejected – prostitutes, tax collectors, members of despised ethnic groups. I am sure if we had been around, he would also have made friends with us transsexuals. He said and did so many things that offended conventional and narrow-minded people then. As the idea of a transsexual portraying Jesus seems to offend them today. I feel very sad when I see Jesus’ name and sayings being used to justify repressive and intolerant sexual values. I think this betrays everything he stood for. So much of what he said is so full of wisdom, joy and compassion and I hope I can convey some of that in the play. As well as my pride in being the person I am.’
Tron Theatre, Tue 3–Sat 7 Nov

Grant Smeaton’s Bette/Cavett re-imagines one of the most candid US television meetings in history.
‘Dick Cavett was a bit of a phenomenon on American TV in the late 60s and throughout the 70s. He got huge TV audiences and big stars were throwing themselves at his feet to get on his show. I’ve always been a bit of a Bette Davis fan and I knew she had done a big interview with Cavett in 1971: I discovered it online and I was blown away! I just had to put it on stage. The 63-year-old Bette doesn’t have a movie or a book to sell – she’s just there to talk. And she talks! I’ve worked the interview into a one-hour performance with cuts to 1971 commercials and “during the break” scenarios. I play Bette and Mark Prendergast plays Dick. It’s been fantastic to work with verbatim text, and if there’s anywhere this can work, it’s Glasgay 2009!’
Tron Theatre, Tue 6–Sat 10 Oct

Matthew McVarish was commissioned after the success of last year’s To Kill a Kelpie.
‘A Child Made of Love is a very different piece from anything I have ever written. Firstly, I didn’t write it myself. This play has been created and developed over a year with the actors who will be performing it. As associate artist with Poorboy theatre company, I have become very excited by the possibilities of collaboration and also, having worked as an actor as part of their ensemble for two years, I am convinced that a group of actors creating together on their feet in a room can produce work worthy of publishing. The story has grown with the actors. All I proposed was that we tell a story about hopeful gay dads who are about to give up trying when a child suddenly appears from nowhere. It has been a fascinating experience so far and I am confident the production will reflect that.’
Tron Theatre, Tue 20–Sat 24

Jackie Kay’s piece The Maw Broon Monologues grew out of poems she’d published from the point of view of Scotland’s most famous matriarch.
‘Everyone in Scotland understands the Broons. They’re the quintessential Scottish family, so they’re an interesting mirror to hold up to ourselves in the 21st century, by using them to explore what’s happening politically, what’s happening in our society. Maw Broon is really fun to play with. You can say quite dark, serious things through her, and also very, very funny things. My Maw Broon does things that the Maw Broon of the comics would never do: like going for colonic irrigation, or having an orgasm. She also has a doppelganger, who was always going to be black, and both Maw Broons are joined onstage by [daughter] Daphne, played by Tom Urie in drag. She’s unhappy in her family life. Everyone’s had points in their family life where they’ve felt a bit lost, and my Maw Broon, at the beginning of this play, just wants there to be more to life than a stovie and an Irn Bru.’
Tron Theatre, Tue 3–Sun 8 Nov


Residents Hushpuppy and Bonjour Boi promise a blend of electro, Italo disco, punk-funk and 'wrong sounds a-plenty' at this new monthly residency, with visuals from Joe Crogan. This month will be a special one-off event dedicated to cosmic disco, space-concept rock and galactic boogie which will boldly go where no club has…

Glasgay! Ceilidh

Traditional Scottish music and dancing Glasgay! style with live music from Loud & Proud Choir and The Belle Star Band.


Emma Barton steps into the role of adulterous nightclub dancer Roxie Hart while Gary Wilmot suits up to play double-talking lawyer Billy Flynn in this cell-block musical. 'Part of Glasgay!'

Mrs Barbara Nice: Hiya and Higher

'Phoenix Nights'' Janice Connolly's Barbara Nice embraces the positive and eschews the offensive in these homespun and uplifting tales. 'Part of Glasgay!'

Death Disco Glasgay! Special

Expect glitzy and deliciously dirty disco as this monthly orgy of anarchic electronic rock'n'roll comes to Glasgay! with only the bloomin' legend that is Erol Alkan joining the line-up and of course residents Hush Puppy, DJ Mingo-Go, Josh Jones and Wavy Graves. Dress up for maximum effect. Half price tickets available via…


Europe's largest queer multi-arts festival takes over Glasgow with comedy, music, film, theatre, visual art, performance art, literature, club nights, educational events and community arts projects.

Alun Cochrane . . . is a Daydreamer (at Night)

Quietly intelligent and warming comedy from award-winning Alun Cochrane, master storyteller and all-round good egg. 'Part of Glasgay!'

Matthew Bourne's Dorian Gray

Big-budget dance reinvention of Oscar Wilde's novel with Bourne's trademark gender trickery, in which the eternally beautiful boy is now a male model. 'Part of Glasgay!'

Craig Hill Makes Your Whole Week

Captain camp Craig Hill presents comedy with a week-long guarantee. 'Part of Glasgay!'.

Wicked Wenches

AL Kennedy and Lucy Porter join tiny firebrand Susan Calman for a Glasgay! special. 'Part of Glasgay!'

Hello Sailor!

  • 4 stars

A touring exhibition from National Museums, looking at gay life on board passenger ships and cargo vessels from the 1950s to 1980s. 'Part of Glasgay!'

The Stripper

Richard O'Brien writes and stars in this fast-paced musical on its only Scottish dates. 'Part of Glasgay!'.

sh[OUT]: Discussion

Authors Zoe Strachan and Louise Welsh and 'sh[OUT]' artist Sadie Lee discuss the representation of LGBT people in literature and art. 'Part of Glasgay!'

Dani Marti: Insideout

  • 3 stars

An exhibition of sound, video and sculptural installations exploring issues of gay men's health, sexuality and disclosure. 'Part of Glasgay!'


The life of Queen Elizabeth I is examined through dance, text and video by choreographer Tom Sapsford and designer Stevie Stewart. 'Part of Glasgay!'

Bette / Cavett

Grant Smeaton plays a domineering Bette Davis in this verbatim recreation of her candid television interview with smarmy late-night talk show host Dick Cavett. 'Part of Glasgay!'

A Child Made of Love

World premiere of Matthew McVarish's play about a gay couple who desperately want a child. 'Part of Glasgay!'

Jesus Queen of Heaven

Jesus is reinvented as a transsexual woman in this new work written and performed by Jo Clifford. 'Part of Glasgay!'

The Maw Broon Monologues

Maw Broon's search for happiness takes in therapy, environmentalism, Tolstoy and Britain's Got Talent in these new monologues by Jackie Kay, with a cast of Suzanne Bonnar, Terry Neason and Tom Urie.

Memory Cells

Louise Welsh examines gender divides and disparities of power in this exploration of women being trapped by predatory men. 'Part of Glasgay!'

Playing Houses

Martin O'Connor's world premiere focuses on a house in turmoil while the whole country is watching the 'Big Brother' house during eviction night. 'Part of Glasgay!'

Markus Makavellian's International Order

An hour of commentary on contemporary life from New York performance poet Markus Makavellian, aka Drew Taylor.

David Hoyle

Performance by David Hoyle to accompany his exhibition, 'October Show'. 'Part of Glasgay!'

Hair I Am

Helen Cuinn looks at life through the prism of her ginger locks. 'Part of Glasgay!'

Even in Another Time

Three shorts inspired by the 40th anniversary of the Stonewall riots from writer and director Wendy Miller. 'Part of Glasgay!'

Glasgay's Swinging Sunday Sparkler

Jonathan Mayor hosts the end-of-the-week chuckle session with headliner Magic Mandy Muden, Scott Agnew and Elaine Malcolmson. 'Part of Glasgay!'

Black Cab

A queer people of colour cabaret. 'Part of Glasgay!'

Salon Society, Ashoka, Sandra McBeth and Jill Jackson

Line-up of fab (at least partially) female bands and singer-songwiters and album launch for Salon Society's 'Promenade'. 'Part of Glasgay!'

Hallowe'en Ceilidh

Spooky ceilidh (or should that be gaylidh?) in aid of Gay Mens Health. 'Part of Glasgay!'

sh[OUT]: Multiculturalism - The Subversion of Human Rights?

A talk with LGBT activist Peter Tatchell. 'Part of Glasgay!'

Terry Neason

The singer performs piano-led cover versions of various well-known Celtic and county songs.


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