Late on 20th October, 1953, Sir John Gielgud, then at the zenith of
his theatrical career, was arrested in a Chelsea public lavatory.
He pleaded guilty the next day to the charge of persistently
importuning male persons for immoral purposes. In the prim,
homophobic Britain of the 1950s, Gielgud's offence attracted
vicious criticism from public and press alike and threatened to
terminate his career. A few weeks later, however, when Gielgud
opened in London in a new play, something extraordinary happened.
Nicholas de Jongh's Plague Over England is not just a dramatized
account of a scandal. It relates Gielgud's emergency to the
country's political mood and depicts a nation in the grip of a gay
witch-hunt.
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