If a Person Was a Slur — the Lyric that Drives Some Sondheimians Crazy
Pride Month roundtable: Revisiting the most controversial line in Company
They welcomed the world. Now let’s explore their story. On 9/11, 38 planes were grounded in a small Canadian town—and what happened next became one of Broadway’s most uplifting musicals. In this FREE, one-hour Zoom class, Broadway Maven David Benkof unpacks the extraordinary true stories, emotional depth, and musical brilliance of Come From Away. The class meets twice: on Monday, July 7 at Noon and 7 pm ET.
Shalom, Broadway lovers!
In today’s issue of MARQUEE: The Broadway Maven’s Weekly Blast: A) a roundtable that attempts to explain Sondheim’s use of “fag” in his musical Company; B) a Broadway Maven YouTube GEM about social issues on Broadway; C) a Broadway Blast about Rent; D) a quiz about LGBT Broadway characters; and E) a Last Blast about Sweet Charity.
ESSAY: Happy Pride!
Why did Stephen Sondheim, by all reports generally comfortable with his homosexuality throughout his adult life, put perhaps the worst anti-gay slur into one of his lyrics in the early 1970s? If you're not familiar with the line:
I could understand a person. If it's not a person's bag.
I could understand a person. If a person was a fag.
In "You Could Drive a Person Crazy" from 1970's Company, Bobby's girlfriends sing that line. Though later replaced with "gay," the original lyric was arresting in its day and probably more so today. I asked several Sondheim experts how they explain, or explain away, the lyric.
Sondheim educator and Broadway Maven Adjunct Faculty Gail Leondar-Wright: That’s a great question. To get a handle on this, we could ask why Sondheim would use the expression “n-word lover” in Assassins. The answer there seems simple. It is John Wilkes Booth, not Sondheim that is racist. Sondheim never said “fag.” Rather, he put the words into the mouths of Marta, Kathy and April, three angry, not particularly politically sensitive women. (How do I know this? Sondheim has them use the word “fag.”) With Sondheim, it is always the character and (almost) never the writer speaking.
Everything Was Possible: The Birth of the Musical Follies author Ted Chapin: Remember that on the cast album the lyric is changed to “drag,” which indicates a certain discomfort. But the word was more allowable in 1970 and the song is reminiscent of the Andrews Sisters close harmony when it would have been fine. And because it is Sondheim, the whole song is about frustrations with a man…so why not that be one of the problems, whatever word is used?
Tony winner Murray Horowitz (Ain't Misbehavin'): Steve always insisted that he was writing for characters in musicals—not engaging in naked self-expression. So "You Could Drive a Person Crazy" is a statement by the three women Bobby is dating, and "I could understand a person/If a person was a fag" is what those characters would say, and it tells us something about them. (Among other things, it tells us how insensitive and unaware they are, given that Bobby actually might be gay, and has had... experiences.)
The Stephen Sondheim Encyclopedia editor Rick Pender: In 1970 the term "gay" for a homosexual was still in its infancy; the older term "fag" — from the early 20th century — was considered impolite and even derogatory, but not so profoundly homophobic as it evolved in subsequent decades. The three girlfriends singing about their frustration with Robert's lack of commitment might have used a slightly off-color term to reflect their annoyance with him. We know how carefully Sondheim chose his words, so that might explain why he put this term into the song. By 1995, the word's negative connotations were more profound, and Sondheim rewrote the song lyric for the revival of Company at the Roundabout. He replaced "fag" with the more acceptable term "gay." I suggest that his revision is evidence of his recognition that the f-word was no longer acceptable or appropriate.
Richard Schoch, author of How Sondheim Can Change Your Life: Especially with lyrics like this one, I try to remember that Sondheim wrote it for a character. It’s not him speaking for himself so much as it’s another person in another place and time. Same with John Wilkes Booth using the “N word” in Assassins. It’s wholly credible for the character. And in New York City in 1970, the word ‘fag’ was, regrettably, in common parlance. I think it’s more revealing of Sondheim himself not that he wrote that lyric in the first place but that he rewrote it decades later, understanding that it was offensive without serving any dramatic purpose.
Let's include one more voice: that of The Master himself, in this original document containing Sondheim's notes about the song (thank you, Gail!). It’s a little hard to read, but Sondheim starts his comments by jotting that the “3 GIRLS” have “Rage” because “there are few enough men around, he’s not a fag, what’s wrong?” So it's clear that Bobby's sexuality is an important part of the design of the song, rather than a throwaway line included as a gag (or worse, a rhyme).
What do you think about the lyric and why Sondheim wrote, and rewrote, it? Put your explanations below.
VIDEO INTRODUCTION: Broadway has never just been about razzle-dazzle. From union halls to bedrooms, from protest to pride, the American musical has tackled society's toughest issues—sometimes boldly, sometimes subtly, but always compellingly. In this sweeping video essay adapted from a recent Broadway Institute lecture by Broadway Maven David Benkof, commentary on 11 shows reveals just how wide-ranging Broadway's social conscience has been—from the racial injustice of Show Boat to the queer celebration of La Cage aux Folles, and everything in between.
BROADWAY BLAST: For a show that became a queer cultural landmark, Rent centers its most dramatic love stories on heteronormative dynamics. Roger and Mimi’s relationship is the emotional backbone of the show, while Collins and Angel—arguably its most beloved queer couple—still follow a traditional male-female structure if we take Angel at her word as a woman. Even Joanne and Maureen’s relationship isn’t strictly about same-sex love, since Maureen is openly bisexual, and her arc focuses more on trust and commitment issues than on queer identity itself. Rent broke ground in LGBTQ+ representation, but its biggest romantic moments—"Light My Candle," "Without You," "Your Eyes"—all revolve around heterosexual pairings. For a show about defying expectations, Rent ultimately tells its most passionate love stories in ways that would feel familiar in a Rodgers & Hammerstein or Lerner & Loewe show.
QUIZ: In which Broadway show would you find an LGBT…
Funeral Director
LDS Missionary
Boot Designer
Prince
Senator’s Daughter
Dancer with a Broken Leg
Nightclub Owner
Usher
Answers at the end of the issue, below the Last Blast.
PITCH DAYS: Our list of celebrity panelists for “Pitch Days” continues to grow. Every Sunday in September, several brave and ambitious pre-screened MARQUEE subscribers who have a Broadway project they’re working on will have a chance to summarize plot, play a song, perhaps share a lyric, and hear what true pros have to say.
The newest panelists:
• Ted Chapin, world’s foremost expert at Rodgers & Hammerstein
• Wendy Federman, producer with more than a dozen Tonys (The Band’s Visit, Dear Evan Hansen, and many more)
They join previously announced Tony winner Robert L. Freedman, author of the Best Musical winner A Gentleman’s Guide to Love and Murder and hopefully several others of comparable talent and judgment.
If you’d like to be included, please contact David at DavidBenkof@gmail.com.
(Oh, and we also have room for more celebrity panelists! You know who you are.)
PETITION: In opposition to the looming Times Square casino, The Broadway Maven is circulating the following petition. Read more here:
We, the undersigned, oppose the construction of a casino in Times Square. It would threaten the fragile ecosystem that sustains Broadway’s theaters, artists, and surrounding community. While we respect the many perspectives within the theater industry, we encourage Actor’s Equity, allied unions, and other Broadway stakeholders to end their support and let individuals weigh the issue on its merits. Times Square is not the right place for a casino—and it’s not too late to stop it.
Great news! First-time Members who join The Broadway Maven can get 30 days FREE at the link below. Normally $18, a one-month Membership comes with invitations to 5-15 classes and other expert-led Broadway experiences. In the case of the next 30 days, that means a lecture on 21st century Broadway, SIX with YouTube sensation Howard Ho; Sweeney Todd with Juilliard Prof. Edward Barnes; a class on American Sign Language and Braodway, a watch party for Ain’t Misbehavin’ with one of its Tony-winning creators; a lecture on Broadway poster art, and Avenue Q. Cancel at any time, or continue exploring Broadway with this vibrant educational community. It’s your home for Broadway appreciation.
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• Tuesday, July 1 Noon ET 21st century Broadway with University of Washington Prof. David Armstrong (Members only)
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• Tuesday, July 15 Noon ET SIX with YouTuber extraordinaire Howard Ho (Members only)
• Monday, July 21 Noon ET Sweeney Todd with Juilliard Prof. Edward Barnes (Members only)
• Tuesday, July 22 Noon ET ASL and Broadway (Members only)
LAST BLAST: “Rhythm in the bedroom, rhythm in the streets,” a lyric from “The Rhythm of Life” in Sweet Charity, isn’t just about dance and music—it’s a cheeky nod to the rhythm method, a popular form of birth control during the 1960s. This sly double entendre connects the private sphere of contraception with the public exuberance of the sexual revolution, reflecting the era’s blending of personal liberation and social transformation. Within the context of Sweet Charity, the lyric also underscores the show’s playful yet pointed exploration of life’s complexities, making it both a time capsule of its swinging era and a celebration of shifting societal norms.
ANSWERS TO QUIZ: Fun Home, The Book of Mormon, Kinky Boots, Bad Cinderella, Rent, A Chorus Line, La Cage Aux Folles, A Strange Loop
The Broadway Maven is a vibrant educational community that helps its members think more deeply about musical theater. Every month, members may attend 5-15 expert-led classes and innovative Broadway experiences, all for just $18. We also foster enthusiasm for Broadway through the FREE weekly Substack newsletter MARQUEE and host an expansive YouTube channel. It's your home for Broadway appreciation. Contact The Broadway Maven at DavidBenkof@gmail.com.