There was so much info coming out because of pride that the Culture Corner was overcrowded, so here’s some more dish!

Patricia Kane’s “Pulp” is both an homage to and a parody of film noir, lesbian pulp novel, and tough-dame movies.

The premise of Erin K. Considine’s world premiere play will be familiar to many gay men of a certain generation: A gay son returns to his childhood home and must wrestle with the death of an abusive father and the advancing dementia of his aging mother. Meanwhile, his sister, who stayed behind to care for their parents, is afraid to let go and move forward.

Joe Pintauro’s “The Dead Boy” has a troubled script and the fact that it succeeds to the level it does is only because of the strong acting of some of its cast members, most notably, Rick Prada as Francis Cardinal, and Kelly DiLorenzo as reporter Katherine McGuire. David Simson directs the show with a sure hand, making things run smoothly for the most part.

In the movies and on television, psychologists make great detectives, profiling their suspects, digging into the deepest and sometimes darkest motivations for their crimes. In real life, licensed psychologist Bayla Travis does somewhat the opposite – using her training and clinical experiences to create engaging characters for the stage.

Nearly 60 years ago, a Broadway classic was born when John Kander, Fred Ebb, and Joe Masteroff’s “Cabaret” opened on Broadway. But what opened on Broadway in 1966 is a show very different from what many people know today. Unlike shows like classic musicals that have been revived more or less unchanged books and scores, Cabaret has seen multiple dramatic transformations in both its book, score, and staging as it was adapted for the screen and then revived on Broadway three times.