Authors: Harvey Fierstein

  • Last updated on December 10, 2021

American playwright and actor

Identity: Gay or bisexual

Author Works


In Search of the Cobra Jewels, pr. 1972

Freaky Pussy, pr. 1973

Cannibals Just Don’t Know Better, pr. 1974

Flatbush Tosca, pr. 1975

Torch Song Trilogy, pr. 1978-1979 (includes The International Stud, Fugue in a Nursery, and Widows and Children First!)

La Cage aux folles, pr. 1983 (libretto; music and lyrics by Jerry Herman)

Spookhouse, pr. 1982

Safe Sex, pr., pb. 1987 (trilogy; includes Manny and Jake, Safe Sex, and On Tidy Endings)

Legs Diamond, pr. 1988 (libretto; music and lyrics by Peter Allen)


Torch Song Trilogy, 1988 (adaptation of his play)


Kaddish and Old Men, 1987

Tidy Endings, 1988 (adaptation of his play On Tidy Endings)

Children’s/Young Adult Literature:

The Sissy Duckling, 2002


Harvey Fierstein (FIR-steen), the son of Eastern European immigrants, made his homosexuality public when he was thirteen and became a female impersonator in a gay nightclub in New York’s East Village when he was sixteen. His father, a handkerchief manufacturer, died in 1976. His mother was a librarian in a junior high school. Fierstein and his older brother, who became an attorney, were brought up on a regular diet of Broadway matinees.{$I[AN]9810001303}{$I[A]Fierstein, Harvey}{$I[geo]UNITED STATES;Fierstein, Harvey}{$I[geo]GAY OR BISEXUAL;Fierstein, Harvey}{$I[tim]1954;Fierstein, Harvey}

The Fierstein family was close, and Harvey’s early revelation of his sexual orientation did not diminish that closeness. Harvey’s first homosexual friends were two men whose relationship had continued for more than thirty years, so, although he was regularly exposed to the world of one-night stands and promiscuity that he encountered in the smoke-filled bars where he entertained, he also knew another side of gay life. It was this side that he wanted for himself. He took to cross-dressing as a teenager.

Fierstein enjoyed painting and, because his parents wanted him to continue his education, he enrolled in the Pratt Institute, near the Bensonhurst area of Brooklyn. He received a degree in fine arts from Pratt in 1973. Two years earlier, he had begun acting in Off-Off-Broadway plays in Greenwich Village, making his debut as a lesbian cleaning lady in the Andy Warhol play Pork at La Mama Experimental Theatre Club. By 1973, he had begun writing himself, and his early plays were presented in the Village.

It was not until 1976, however, that Fierstein began work on the three one-act plays that record six years in the life of Arnold Beckoff; in 1982, the plays, collectively entitled Torch Song Trilogy, brought him a Tony Award for best playwright and, for his portrayal of Beckoff, the same award for best actor of the year. Fierstein wrote the autobiographical sketches of Torch Song Trilogy at the suggestion of a psychotherapist he consulted to help him handle the trauma and depression brought about by the failure of a two-year relationship. These sketches were first presented in the East Village as one-act plays. Assisted by The Glines, a nonprofit organization founded by John Glines and Lawrence Lane to encourage projects in the arts with homosexual themes, Fierstein welded them into a unified play.

Torch Song Trilogy presents gay men as people who share the aspirations common to all human beings. They want to have jobs that give them some fulfillment, decent places to live, enough money to get along, and someone to love. Fierstein does not apologize for homosexuality and does not believe that gay people require approval from the straight world. They, like heterosexuals, have an inherent right to live as they choose.

Before Torch Song Trilogy ended its Broadway run, Fierstein was asked to write the libretto for La Cage aux folles on the basis of the Jean Poiret play. He relinquished his role as Arnold Beckoff and began to work on the new project, which in his eyes was similar thematically to Moss Hart’s You Can’t Take It with You (pr. 1936), for in La Cage aux folles two gay men live with the son one of them fathered in his only straight experience; the son is straight, making him the orthodox offspring in a heterodox household.

By the time La Cage aux folles reached Broadway, its advance sales exceeded the five-million-dollar cost of the show. Both Torch Song Trilogy and La Cage aux folles received less negative press from straight critics than from gay critics, who saw both plays as glorifying the surrogate straight situations in which Fierstein places his characters. To many gay people, the plays appeared to disparage a lifestyle that consisted of one-night stands and little commitment. However, Fierstein demonstrated the ability to address universal themes within a gay context, explaining that homosexuality was not about perpetual adolescence. By 1988, when the film version of Torch Song Trilogy was released, acquired immunodeficiency syndrome (AIDS) was more prevalent, reversing the criticism by charging that Fierstein did not depict the dangers of one-night stands.

Spookhouse portrays the fears and frustrations of trying to raise decent children. The Coney Island amusement park ride is a metaphor for the unexpected problems of life that haunt parents. Fierstein addressed the AIDS crisis in Safe Sex, another trilogy of one-act plays. Manny and Jake shows an HIV-positive Manny, surrounded by the corpses of his dead lovers, fearful of infecting more men. In Safe Sex, Ghee, who is HIV-negative, refuses all intimacy. On Tidy Endings portrays two characters mourning the death of a lover; here, the gay lover remains HIV-negative but the former wife becomes infected. A 1988 cable television production of Tidy Endings was enthusiastically received and won four ACE awards for cable excellence.

BibliographyConnema, Richard. “San Francisco’s Torch Song.” Talkin’ Broadway’s Regional News: San Francisco Reviews, June 27, 2000. Presents a history of Torch Song Trilogy and a study of the drama itself as well as a review of a 2000 theater production. Connema calls the play, which he also saw in the 1980’s, “the best gay play written at the time; far superior to Boys in the Band.”Ebert, Roger. “Torch Song Trilogy.” Chicago Sun-Times, December 23, 1988. Offers insight into the ideas behind the film and praises Fierstein’s on-screen portrayal of the character he had initially created for the stage. Ebert calls the film “more intimate and intense” than the play; and in saying that the main character is more comfortable with his sexuality than with other facets of himself, he concludes that “homosexuality is not his problem–it is the arena for his problems.”Fierstein, Harvey. “His Heart Is Young and Gay.” Interview by Jack Kroll. Newsweek, June 20, 1983. Focuses on Fierstein’s emergence as a successful gay playwright.Fierstein, Harvey. Interview by Harry Stein. Playboy 35 (August, 1988). A comprehensive appraisal of Fierstein’s writing.Hungerford, Jason. “My Reaction to Torch Song Trilogy.” Pflag-Talk, January 19, 1997. Offers a response to the film that addresses and underlines the reality with which the stage and screen version of Fierstein’s Torch Song Trilogy deals. Hungerford is inspired by Fierstein’s film to say that “it’s because of the kids who live on the streets, and the innocent children disowned by their parents, and the people who have lost their respectable jobs, and the people who have died senseless deaths, it’s because of all of them that I do what I do.”
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