Even in high school Gus Motta (Gustavo Alfredo Motta, Jr., June 20, 1944, Providence, Rhode Island - February 6, 1993, New York, New York) showed a passion for opera and an affinity for teaching, writing and directing. He organized trips to the Metropolitan Opera for his fellow students, and held "classes" for them beforehand so they would know what they were hearing. He directed and wrote incidental music for a student production of Macbeth. And the school literary magazine he founded and wrote for, The Laureate, still exists today. (Photo: courtesy Jo Marian Motta Going)As a student at Georgetown University in the 1960s Motta wrote, directed and produced three original musicals — Gambit (1963), 571 B.C. (1964) and My Son Hamlet (1968) — with fellow undergraduate Richard Murphy, and wrote incidental music for productions of The Good Woman of Setzuan, Hetty and Mourning Becomes Electra.
Motta entered the graduate theater program in Stage Direction at the University of Wisconsin at Madison, and received Shubert Fellowships in Playwriting in 1966 and 1967. He directed several student productions including Albee's Tiny Alice, and created a sensation with his modern production of Shakespeare's Troilus and Cressida. He also wrote and produced an anti-war play, Heresiarch, and founded and directed a student summer stock company. Some of the people he worked with in those years, such as set and costume designer John Wright Stevens and stage manager Margaret Peckham, along with Richard Murphy, remained his lifelong friends.
In 1969 Motta pursued postgraduate studies in playwriting at Columbia University and received another Shubert Fellowship in Playwriting. He directed his own modern adaptation of Die Entfuehrung Aus Dem Serail with members of the New York City Opera and Metropolitan Opera Studio in 1971, and wrote the music for an erotic puppet show, Kumquats, given by Wayland Flowers and "Madame" late at night at the Village Gate after performances of Jacques Brel.
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Source: www.artistswithaids.org/artforms/music/catalogue/motta.html
The stage director was a very affable, intelligent, and artistic soul named Gustavo ("Gus") Motta. I liked him immediately. It was obvious to me that we shared similar dreams of using the stage to make characters come to life. I felt like I could easily do the staging he wanted and also draw from my own preparation for this role. Gus was something of a rising star in Opera America. He was being seriously examined by the moguls who make or break careers, and the King mogul was there for the whole production, Matthew Epstein. Gus has done great research on Verdi and Rigoletto which made it easy for me to draw from my own research. I enjoyed being compliant with his concepts.( Further Readings )
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The system just could not stand Gus Motta's mistake in the staging of Rigoletto's ending... "because the... lower rungs of the profession are not congenial to the biggest mistakes, the more abrasive temperaments of the truly dramatic artists." Gus never worked in opera again.--GOOD DREAMS - Miracles In Opera And In Life by Joseph Shore
More LGBT History at my website: www.elisarolle.com/, My Ramblings/Gay Classics
Richard Barnfield (1574–1620), English poet, was born at Norbury, Staffordshire, and brought up in Newport, Shropshire.
Ronald Field (1934 – February 6, 1989) was an American choreographer, director, and dancer.
During rehearsals for Stephen Sondheim's trouble-plagued Merrily We Roll Along in 1981, Field was unceremoniously dismissed from the creative team. It wasn't until a revival of Cabaret in 1987 that he would have another Broadway success. (P: Ronald Field, Kismet, between numbers) 

John Rowell is a native of North Carolina who now teaches and writes theater criticism. He is also currently studying writing at Bennington College in Vermont, under the tutelage of such luminaries as Jill McCorkle, Susan Cheever, and Amy Hempel. He lives in New York City.
Gay Contemporary General Fiction
Gay Erotic Romance
Considering that I’m not an huge fan of collections (I usually prefer longer novels) and that erotica is not really my cup of tea (I prefer sweet more than hot), I’m truly, but very much pleasantly, surprised of how much I enjoyed this one, to a level that I really love some stories, even the naughtier.
I admit, I was ready to dislike this novella as soon as I started it: a young man in prison for a nefarious crime (killing children) has to pay his debt becoming a whore, first raped by the prison guards, and then sold to the relatives of the children he killed. I wasn’t sure what was worst, the crime he committed or the punishment he was enduring. Because the young man was basically stupid, used by others as a mean for the crime, a crime he committed not understanding the implications.