Aputheatre Aputheatre began life as the Aids Positive Underground Theatre Company at the Sussex AIDS Centre and Helpline, and was founded by John Roman Baker and Rod Evan to provide a cultural response to the HIV and AIDS epidemic. The company was quick to establish a reputation for hard-hitting queer drama and as a result controversy often accompanied the company's performances. Surprisingly, there was even opposition at the Sussex AIDS Centre and Helpline, which at the time was attempting a mainstream reinvention to secure funding and considered the work too gay and controversial. Crying Celibate Tears was first performed at the Sussex AIDS Centre and Helpline on the 22 May 1989 as part of the Brighton Fringe Festival, and was the only Aputheatre play to be staged there. It was directed by Geoffrey Coleman, and had the following cast – Eric – Andrew St. John David – Tom Sharpstone Jeff – Nigel Greenhalgh Keith - Graham White Aside - Geoffrey Coleman was a regular customer of mine at the time and two Gardners Café chairs were borrowed to dress the set. The Ice Pick was first performed on 21 May 1990 at the Marlborough Theatre as part of the Brighton Festival. The production was awarded the Zap Award for best theatre jointly with the Satyricon Theatre of Moscow. It was directed by Robert Snell, and had the following cast – Michael – Mark Laville Peter – Nigel Fairs Michael’s father – Ted Dawson Adam – Stephen Israel Tim – Stephen Israel Eric – Stephen Israel Man at party – Ted Dawson Freedom to Party was first performed on 14 May 1991 at the Marlborough Theatre as part of the Brighton Festival. The play was directed by Paul Hodson and had the following cast. Mark – Clive Perrott Simon – Nick Miles Alex – Dino G Houtas Paul - Simon Casson The three plays gained national and international recognition when they were performed, and in 1992 they were presented together for the first time as part of Brighton Lesbian & Gay Pride and the Brighton Festival. ‘Men behave with both courage and barbarism during a war. AIDS is the war of the recent past, present and future. If AIDS is a war, then Brighton is a town on the frontline with the highest incidence of HIV and AIDS outside of London. In human terms that amounts to widespread physical and emotional devastation. Our gay community continues to be the hardest hit of all, and our fight is not only against the virus but also against the day-to-day fascism of prejudice and complacency. We must be alert to those around us who are experiencing distress because of our avoidance of AIDS. This can be in the workplace where people are discriminated against because of their HIV status, but equally in our bars, clubs and social environment. But above all we must be vigilant against the prejudice within ourselves.’ – John Roman Baker, 1992. ‘A significant breakthrough in AIDS theatre’ – Plays & Players, 1989 (Crying Celibate Tears). ‘Guaranteed to outrage the bigots! – Derek Jarman, 1991 (The Ice Pick). ‘Takes the audience into uncharted emotional territory’ – New Statesman & Society, 1991 (The Ice Pick).

Reflections of an Unsung Hero Reflections of an Unsung Hero was a solo performance created by Robert Pacitti, directed by Colin Schantz and commissioned by Aputheatre (AIDS Positive Underground Theatre Company) to cherish the work of Graham Wilkinson. Playwright John Roman Baker was so impressed by Robert’s performance of ‘Lust’ during his second year at Art School in 1990, that he approached him to create a performance to honour Graham, and gave him full copies of Graham’s diaries to work with. The commission asked for a radical live performance that responded to the content of the diaries, Graham’s Gay Liberation Front and extensive AIDS activism, and his significant lifetime legacy fighting for change. Because Graham had lost his sight, Robert wore an eye mask and travelled around Brighton on the bus to immerse himself in the role. The play was rehearsed at the Sussex AIDS Centre and Helpline in readiness for the 1991 Brighton Festival, but was nearly de-railed when Gavin Henderson, the Brighton Festival director, pulled the play from the programme due to its subject matter and the theatre company name. Lindsey Kemp was one of the festival headliners that year, and when news reached him that the play had been removed from the programme, Robert was asked to meet at his hotel. When Lindsey heard the full story, he gave Robert £500 in cash so that the play could go ahead, and had it reinstated in the festival programme. The play was performed at the Marlborough Theatre on the 26 May 1991.