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Hit the Wall
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Hit the Wall
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Hit the Wall
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COPY LINK: https://pdf.bookcenterapp.com/yumpu/0881458457 It's the summer of '69 and the
death of music icon Judy Garland has emboldened her gay followers. A routine police raid on an
underground Greenwich Village hotspot erupts in to a full-scale riot, the impetus of the modern gay
rights movement. That's the well-known, oft-rehearsed myth of Stonewall, anyhow. Smash that
myth against the vivid theatrical imagination of playwright Ike Holter, add a howling live rock 'n' roll
band, and you get HIT THE WALL. Remixing this historic confrontation reveals ten unlikely
revolutionaries, caught in the turmoil and fighting to claim &quotIwas there.&quotquotThe words 'I
was there,' intoned repeatedly by the characters in HIT THE WALL, give Ike Holter's play about
the 1969 Stonewall riots the self-consecrated holiness of solemn testimony. But the crucial refrain
is: 'The reports of what happened next are not exactly clear.' Given the extent to which urban
legend and documented research of the events have blurred together over the decades, any
dramatic consideration of Stonewall must embrace the mythology. So Mr Holter's impassioned
evocation of the sparks that ignited the gay rights movement &#8230are strongest when stylized
interpretation eclipses conventional realism &#8230Watching the characters strut through a
liberating dance that erupts into chaos and violence when police lights pierce the smoky haze
gives the sense of being caught up in that momentous clash &#8230Among the most fully realized
figures are Carson, a black drag queen as fearful as he is imperious Peg, a 'stone butch' lesbian
ostracized by her family and the 'Snap Queen Team' of Tano and Mika, throwing shade at
passers-by from their perch on a Christopher Street stoop. The play is deeply affecting at times,
notably when Carson is bitterly rebuked during a rare foray outside in daylight to pay his respects
at the funeral of Judy Garland. Or when Peg's uptight sister insensitively suggests how much
better off she would be if she could just 'hold it in.' &#8230[We] feel the unendurable pain of selfdenial
&#8230What's perhaps more significant is that Mr Holter is working in a vernacular that
speaks sincerely and directly to today's gay youth. His freewheeling play invites them to honor the
earlier generation that broke the chains of marginalization and invisibility.&quot&#8212Daid
Rooney, The New York Times