A wonderful history, perhaps a little historically narrow, but for all that a great read. There is so much to say, and Elliott gives us everything he can here of the history of Gay Theatre. It's important to understand that this is a subject in development, there is much more from other places on the planet to add to this story, which is why Elliot is so invaluable, he gives us something unique and wonderful that will spawn other works and a greater understanding.

"Beyond Ridiculous" is a captivating journey through the vibrant and tumultuous world of Theatre-in-Limbo, an avant-garde theatre group that carved its niche in the heart of New York's East Village. Penned in first-person by director Kenneth Elliott, the book unveils the mesmerizing tale of the company's rise to fame, with a spotlight on the charismatic and iconic Charles Busch.

At its core, the narrative is a Cinderella tale woven with threads of fun, heartbreak, and dishy drama. The birth of the infamous "Vampire Lesbians of Sodom" at the Limbo Lounge marked the inception of a theatrical phenomenon that would later become the longest-running non-musical in off-Broadway history. The author vividly recounts the audacious spirit of Limbo productions from 1984 to 1991, where Charles Busch, a young and unforgettable personality, stole the spotlight in outrageously fabulous drag.

Charles Busch, a pivotal figure in the Limbo saga, emerges as a beacon of resilience and creativity. The book delves into his struggle to be seen, heard, and express his unique style as a writer-performer in plays such as "Psycho Beach Party" and "The Lady in Question." The author beautifully captures the essence of Busch's journey, making him a central and compelling character in the narrative.

The book doesn't shy away from addressing the challenges faced by the LGBTQ+ community during the turbulent era of President Ronald Reagan. The tragedy of AIDS casts a poignant shadow over the cherished friends within the company, adding a layer of depth to the narrative. The struggle for mainstream acceptance of LGBTQ+ theatre is portrayed with candor, highlighting the resilience and determination of artists pushing boundaries.

What makes "Beyond Ridiculous" truly exceptional is its ability to blend the bittersweet with the joyous. The exploration of new ways of being a gay theatre artist is a celebration of identity, diversity, and the ever-evolving landscape of LGBTQ+ representation in the arts. The book is a rollercoaster of emotions that leaves readers reflecting on the power of art to transcend adversity.

Having recently read Charles Busch's memoir "Leading Lady," I was glad to read this book by his college friend and collaborator in NYC for many of the plays for which Busch became famous. There is the famous story about appearing with Milton Berle at a Gay Games event (also told in Busch's memoir) but fun to hear it from Kenneth Elliott's perspective too. The author went on to direct many plays for Joseph Papp and other notable writers. This book provides a "behind-the-scenes" glimpse on what it takes to put on a show - from small bars and rooms in Alphabet City in the 1980's (pre-gentrification) and then later in larger theaters (but run-down and long abandoned). The devastation of the AIDS epidemic on the creatives and performers of "Theatre in Limbo" is a horrible and sad reality of the 1980's. I really enjoyed this book and recommend it in addition to Charles Busch's memoir.

Thank you to Netgalley and University Of Iowa Press for an ARC and I left this review voluntarily.

Beyond Ridiculous is the enthralling story of Theatre in Limbo, Charles Busch, and their groundbreaking productions in the 1980s. Kenneth Elliott, who directed, acted, and produced many of their productions tells the story in a very engaging manner. Their productions provided an important outlet for gay audiences and beyond at the height of the AIDS epidemic.

This was some cool history! I'm not gonna lie. There are some parts of this that are definitely racist. Yes some of the things said we part of history but they were also parts that were kind of inconsequential.

For those who want more details about Charles Busch’s work with the company Theater-in-Limbo, and its meaning for the culture at large, I avidly recommend another newly published book as a companion volume, Beyond Ridiculous: Making Gay Theatre with Charles Busch in 1980s New York (University of Iowa Press, 226 pages), part of a series entitled Studies in Theatre History and Culture. It is written by Kenneth Elliott, a professor at Rutgers University, who was Busch’s college classmate, first New York roommate, and longtime collaborator – actor, director and early producer.
There is some overlap. Elliott and Busch offer some of the same anecdotes.(You can see why they were both drawn to retelling at length the story of how 85-year-old Milton Berle hogged the spotlight at a Town Hall event called “Charles Busch’s Dressing Up! The Ultimate Dragfest.”)
But the bulk of “Beyond Ridiculous” more methodically chronicles the eight new plays that Theater-in-Limbo produced from 1984 until it disbanded in 1992. It is the best kind of academic book, providing historical, cultural and personal context without saddling us with the usual jargon. He explains, for example, the ways in which Theater-in-Limbo’s plays were rooted in the gay theatrical style created in the 1960s known as The Theater of the Ridiculous

What clearly emerges in “Beyond Ridiculous”, less so in “Leading Lady,” is how diligently Busch studied the great leading ladies of the past, poring through not just films and photos but biographies. Elliot recalls how in (and as) “Theodora, She-Bitch of Byzantium,” Busch’s performance began as a “series of citations” of female stars – a Sarah Bernhardt pose, a Bette Davis rolling of the eyes, a Fanny Brice voice, which switched to a Garbo accent on the line “Tonight I am yours.”
As Busch gained experience as a writer and performer, such “citations” (and those of Joan Crawford, Mae West, Norma Sheare and many more) were seamlessly worked into a coherent persona: The Star.