Road Showmarked the acknowledgement of a gay sensibility in Sondheim’s work: not only do the homosexual couple, Addison Mizner and Hollis Bessemer, represent the show’s only functional relationship, the lovers sing its one duet, “The Best Thing that Ever Has Happened.” How do the queer instances that have always permeated Sondheim’s work resonate for gay audiences? While some critics attest that Sondheim must be read as a closeted writer, this is true only if you read his work superficially, focusing on questions regarding the relationships in his works: from Bobby’s chosen isolation inCompanythrough Sweeney’s villainous rampage inSweeney Todd(1979) to Fosca’s destructive behavior patterns inPassion(1994). The chapter reveals how, in dismantling the heteronormative structure of the traditional musical, Sondheim “queered” the form in a variety of ways.
BEHAVIORAL ECONOMIC INFLUENCES ON TREATMENTS DESIGNED TO DECREASE DESTRUCTIVE BEHAVIOR