Isn’t It Queer?
Little Triangle
April 2022, PACT
MUSIC AND LYRICS Stephen Sondheim
CONCEPT Alexander Andrews
DIRECTOR AND DESIGNER Alexander Andrews
MUSIC DIRECTOR Alec Steedman
PRODUCER Rose McClelland
PIANIST Andrew Howie
LIGHTING DESIGNER Alex Smiles
SOUND DESIGNER Andy Wang
STAGE MANAGER Zach Selmes
CASTING CONSULTANT Grace Driscoll
MARKETING PHOTOGRAPHER Blake Condon
POSTER AND PROMOTION Alexander Andrews
“This brilliant concept by Alexander Andrews, director of the show, explores some of the greatest songs ever written by Stephen Sondheim.”
— The Plus Ones
“Andrews’s attention to the emotional detail of the song selection came through.”
— Night Writes
Broadway is dominated by the boy-meets-girl narrative, leaving queer characters waiting in the wings. Little Triangle welcomes you to an evening of musical theatre that empowers queer people through the work of renowned gay composer and lyricist, Stephen Sondheim. Featuring a collection of cut numbers, rarely performed works and beloved classics, Isn’t It Queer? is an exploration of queer love and a celebration of the LGBTQI+ experience.
CAST
Gavin Brown, Phoebe Clark, Blake Condon, Andy Freeborn, Samuel Hurley, Adelaide Robertson, Marissa Saroca, Allinora Tame, Jack Francis West
BAND
Andrew Howie (Piano), Alec Steedman (Violin), Andy Freeborn (Melodica)
Director’s Note
As a queer kid, I looked for myself in musicals—for a character or a story that felt like me. I didn’t find them in the great love affairs of those old movie musicals or the heroes of my favourite Broadway shows and while musical theatre has made great leaps forward in representation and diversity, heteronormativity has hung around like a bad smell. And I’m still looking for myself.
Isn’t It Queer? is the result of an idea I’ve had swimming around my head for many years, to take the work of Stephen Sondheim and create a show about queer stories and queer people—people who fall in and out of love and navigate the now age-old cliché of being alive. This is not a show about the considerable challenges faced by queer people, it is merely a celebration of love.
The show begins in the golden age of musical comedy, when girls couldn’t say no to tapdancing cowboys or when sailors on shore-leave chased women all over Manhatten, and is split wide open by ten queer characters who take us on a journey of happy beginnings and painful endings—through first dates and final goodbyes, new romances and old relationships.
This show is a love letter to the queer people I made it with—the sixteen artists who played, shared and created magic in the rehearsal room.
