b'Short Essays Beth Bowdenlittle to challenge heterosexual hegemony by exploringMcNulty, C (1993) The Queer as Drama Critic, Theater, 24 (2), pp. 12-20. homosexual experiences. Although Wise Children exploredRice, E. (2018) Eyes Wide Open, [Online] https://www.oldvictheatre.com/gender fluidity which engaged directly with drag and cross- news/2018/09/eyes-wide-open[11 May 2019]dressing gender play, the storyline focused on heterosexual relationships. Though the production had underlyingRice, E. (2018) The Wise Children Podcast with Emma Rice // New Beginnings, The Old Vic, [Online] https://www.oldvictheatre.com/news/2018/09/homosocial and homoerotic desires with the interaction ofthe-wise-children-podcast-with-emma-rice[11 May 2019]men kissing men pretending to be women, the productionRice, E. (2018) in Ferguson, S. (2018) Wise Children at the Old Vicon the whole, failed to engage with homosexual storylinesTeaching Resources, The Old Vic (Fortier 2016: 98). Queer theorist Robert Wallace demands the presence of the homosexual gaze, which decentres theSolga, K. (2016), Theatre and Feminism, New York: Palgrave Macmillanaesthetic of the heterosexual male gaze in theatre (WallaceWallace, R. (1990) Producing Marginality: Theatre and Criticism in in Fortier 2016: 102). Ultimately, for a production whichWriting, Saskatoon; Fifth House in Fortier, M. (2016) Theory/Theatre: an introduction, London: Routledge p. 102engaged with aspects of both Queer and Feminist theory, it failed to fully represent homosexual experience, an important aspect of Queer Theory. Throughout the production, Wise Children creates a utopian theatrical world, where the other is represented. Diverse casting ensured that a range of ages, shapes, sizes, skin colours and genders were represented onstage. As a result of this, the concept of gender, and also of the female body/sexuality, were explored. Though homosexual experience was absent, Wise Children used gender play to highlight how gender is constructed and performed in society. Moreover, oppressive views about the older female body and sexuality were challenged, through the inclusion of sexually active elderly women. On the whole Wise Children aligned with the aims of both Queer and Feminist theory: to challenge and undermine oppressive notions around gender, female experience and sexuality. Butler, J. (2004) The Judith Butler Reader, Oxford: Blackwell Publishing Cixous, H. (1975) The Laugh of the Medusa, in Marks, E. and de Courtivron, I. (1981) New French Feminisms, p. 250. Diamond, E. (1988) Brechtian Theory/Feminist Theory: Towards a Gestic Feminist Criticism, TDR 32-1 (Spring 1988): pp. 8294.Dolan, J. (2012) The Feminist Spectator as Critic, University of Michigan Press p. 10 Dolan, J. (2001) Queer Theatre: Theorizing a Theatrical VernacularRuminations on Queer Pleasures and Performance in the Twenty-First Century, in Geographies of Learning, Middletown: Wesleyan University Press, pp. 105-116.Ellen Case, S. (2008) Feminism and Theatre, Macmillan EducationFortier, M. (2016) Theory/Theatre: an introduction, London: RoutledgeLaris, M. (1995) Review of As You Like it, Theatre Journal 47 (2): pp. 300-302.Marinucci, M. (2016) Queer Feminism: The Intimate Connection between Queer and Feminist Theory, Zed Books Ltd49'