Sir: Mr Waspe's ungracious article on Sir Noel Coward and
Binkie Beaumont (March 31) far exceeded in bitchiness anything written or said by either of the men whose death he (laments? celebrates?). He clearly is obsessed by homosexuals, contriving to use, in three columns of print, almost as many derogatory terms as the language will allow — "fairy, fag, mincing, wrist-flapping, bent, twee coteries, rampant." Obviously, Mr Waspe is not queer: he has gone to great trouble to leave us in no doubt of that, and besides, his vocabulary would be different if he were. But "the lady doth protest too much, methinks." It is amusing to watch mulish malice in butch circles striving hard to emulate the polished wit of those it would aumiliate — and failing miseraply, I might add.
But what is the aptly named Mr Waspe on about? He deplores " homosexual domination of the British theatre" and the "network of homosexuality that :overs so much of theatrical life." He defends this manifest irrelevance to a man's work by claiming that the power and influence of Beaumont and Coward render their love life Important to the public. Rubbish! Waspe admits himself that homosexual directors control their libido in casting sessions far more than their heterosexual count erparts. So why is it important?
Peter Daubeny, a man of power and influence, only has one arm. Is that important merely because he has power and influence? What if a man be vegetarian? Does the importance of that peculiarity increase in proportion to his Power and influence in public life? Waspe needs a lesson in clear thinking, I am afraid, and could do with a few notes on humility as well. He does not say 'darling ' to his men friends, but then neither does he write like ■ loel Coward. Brian Masters 47 Caithness Road, London W14
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