Glasgay! 2010

Seeming to follow a highly idiosyncratic path, often ignoring other West Coast trends, Glasgay! has consistently supported the younger generation of Scottish artists, and connected with established companies for a programme that is the envy of larger festivals.

Both Drew Taylor and Wendy Millar have received ongoing support: after last year’s Even In Another Time (a trilogy of witty and trenchant sketches), Millar returns with The Bridge, a look at the difficult transition into adulthood. Cryptic, another veteran company, offer an adaptation of Orlando, Virginia Woolf’s gender-switching saga of an immortal being’s search for life and a lover.

This year, the focus on local artists has increased: James Ley’s UP makes a welcome return to grapple with issues of sexuality and psychiatry, and the author of last year’s Maw Broon Monologues, Jackie Kay, hits back with a reading from her memoires, accompanied by vocalist Suzanne Bonnar. Cabaret arrives courtesy of Gram Cumming – his Head Over Heels combines comedy, drag and musical theatre, while spoken word outfit Confab offer Gracie Flair, and guests, getting political and poetical.

Another distinctive characteristic of Glasgay! is its consistent attempt to go beyond simple categories: as in past years, it presents events for a variety of ages, and across the spectrum of performance. Even the King’s Theatre gets involved, with the Glee-inspired Don’t Stop Believing and another visit from The Rocky Horror Show.

Despite a clear commitment to queer politics and work, Glasgay! is never exclusive: while it is unlikely that anyone would follow the entire performance programme, there is consciously something for everyone: how much of the King’s audience even realises that the November events are part of a radical queer celebration?