In 1981, when Torch Song Trilogy opened, the first cases of Acquired Immune Deficiency Syndrome (AIDS) were becoming important medical news. When AIDS was discovered, it was soon recognized as deadly and, at the time, untreatable. It was unknown exactly how the disease was spread. Public fear was probably similar to the panic that spread across Europe in the fourteenth century when the Black Plague claimed every third person as a victim.
Since the public had no real understanding about how the disease was transmitted, they focused on the early victims, who were largely homosexual men. Homosexuals were unfairly blamed for both the cause and spread of the virus and thus became the victims of even greater prejudice. Information that was disseminated by the press included data on the disease’s growth pattern—including the assertion that gay bath-houses, where anonymous sex could be enjoyed, was responsible for much of the spread of the disease. In response, many people began to think that gays where preoccupied with promiscuity, anonymous sex with many different partners. The rumor spread that committed monogamous relationships were a rarity among gays.
One of the social points that Fierstein makes in Torch Song Trilogy is that gay men really desire the same committed relationships that heterosexuals enjoy. Through Arnold’s speeches, the audience understands that love is the same regardless of the participants’ genders. When Arnold tries to equate love with anonymous sex and fails, the play further reinforces the idea that love and sexuality are partnered with commitment.
Fear of AIDS also meant that homosexuals were even less likely to become accepted by mainstream America. In the 1980s, President Ronald Reagan squashed attempts by the government to fund additional research into the causes and cures of AIDS. He viewed the disease as solely a gay epidemic and saw no point in channeling large sums of money into research. It would be years before the government would start to fund research and only after it became clear that heterosexuals were also acquiring the disease.
The debate on the transmission of AIDS and funding of research—widely covered, sometimes to sensational effects, by the world media—fed into the public’s paranoia that AIDS was a death sentence too easily caught. People became so afraid that violence against homosexuals increased. Another unfortunate side-effect of AIDS’s proliferation was that the nation’s blood supply had became contaminated by unwitting donors infected with the virus. As a result, the disease was spread to a number of new victims; where previous cases could be traced to either intravenous drug use or unprotected sex, these new victims became infected through routine blood transfusions. Especially at risk were hemophiliacs, people whose blood can not properly clot and who required frequent infusions. A young hemophiliac, Ryan White, became infected with AIDS by such a transfusion. His experience with prejudice regarding the disease—he was kicked out of his school solely because of his illness—made him a poster child for the movement to educate the public and humanize the disease.
White was not the only child to experience prejudice. When other children became victims of AIDS, they also became victims of the public fear. These infected children were banned from schools and from neighborhood businesses, and they were forbidden to enter other children’s homes. Rational people became irrational and were afraid to touch anything that an infected individual have touched. Parents did not want their children to breath the same air as a child with AIDS, and they petitioned schools, sometimes violently, to have an infected child removed from school. Early in the epidemic, scientists made it clear that the only way to transmit the virus was through contact with infected blood, touching or breathing the air of an AIDS victim posed no threat. Despite this fact, irrationality and fear won out over common sense; people remained prejudiced and fearful of AIDS sufferers well into the 1990s.
The largest benefit of the public’s acceptance of Torch Song Trilogy was that Fierstein was able to demonstrate to a large number of people the stupidity and hurt that comes from prejudice—and violence—against gays.