Sky Gilbert is arguably one of the most famous – or infamous – theatre artists in Canada. A playwright and director, Gilbert is best known for his avant-garde theatrical works, produced over a lengthy career that includes his co-founding of Toronto’s Buddies in Bad Times Theatre, currently self-described as “Toronto’s destination for culture and a world leader in developing queer voices and stories for the stage.” Compulsive Acts, an anthology of academic articles, collegial interviews, and personal anecdotes, attempts to illustrate why Gilbert’s name tends to inspire equal fits of celebration and outrage.

The collection is a bit of a mixed bag, ranging from pieces saddled with unnecessary academic jargon to deeply felt personal testimonials and illuminating stories of just what it’s like to live in Gilbert’s milieu. We are even treated to one of Gilbert’s short plays, To Myself at 28, which is marked by his trademark combination of humour, absurdism, and touching moments.

One of the most valuable contributions is J. Paul Halferty’s survey of Gilbert’s early career, which parallels the development of gay culture in Toronto from 1975–1985. The essay is a potent reminder of the struggle not only to create homegrown Canadian theatre, but theatre that is gay- and lesbian-positive with an avant-garde slant. Despite the unlikely nature of such a project, Gilbert’s transgressive artistic voice and astute political viewpoints landed at the right place and time, a rare convergence of aesthetic and social change that led to the formation of one of Canada’s premiere alternative theatres.

For many contributors here, Gilbert’s genius lies in his willingness to speak his truth – without censorship – as loudly and as often as he can. His commitment to sexual freedom and sexual expression – which leads to startling, sometimes lurid, but always entertaining and thought-provoking theatrical experiences – is inextricably linked to his artistic brilliance. Compulsive Acts ably provides a diverse set of viewpoints that – love him or hate him – prove Gilbert’s enormous impact on Canadian theatre and society cannot be ignored.