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** Some versions of [[NightmareFuelUnleaded "The Dark I Know Well"]] have Ilse holding Martha protectively in a loving fashion. (The level of UnfortunateImplications in interpreting that as slashy -- one sexual abuse survivor comforting another -- is {{YMMV}}.)
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* Alfred de Musset's ''Lorenzaccio'', anyone? Lorenzo obviously has a serious case of a love/hate crush on Alexander. I mean, comparing himself with a "bride", calling Alexander "mignon" (darling) and talking about "kissing from his lips the remains of his orgies"... And as it is 16th-century Florence we're talking about... sufficient to say they were all BiAllTheWay there.
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* Alfred de Musset's ''Lorenzaccio'', anyone? Lorenzo obviously has a serious case of a love/hate crush on Alexander. I mean, comparing himself with a "bride", calling Alexander "mignon" (darling) and talking about "kissing from his lips the remains of his orgies"... And as it is 16th-century Florence we're talking about... sufficient to say they were all BiAllTheWay BiTheWay there.
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** Geez, it's the 16-century Catholic Spain we're talking about, man. Plus, Carlo is in love with Elizabeth, his own stepmother, and Rodrigo is a Knight of Malta. He probably didn't even know such things existed!
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* Pick a Britten opera. ANY Britten opera.
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* Titus/Sextus in Mozart's ''La Clemenza di Tito'' (Tito's Clemency). [[http://www.youtube.com/watch?v=JFmvp8Duc_M It's just not possible to interpret this otherwise.]]
* Pick a Britten opera. ANY Britten opera.
* Pick a Britten opera. ANY Britten opera.
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** The first time she saw the film, this troper's non-slashing mother said ''hopefully'', "Maybe those two will get together now," after Mark and Roger hugged at the end of 'What You Own'.
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** Hugging, one putting his coat on the other while he sleeps, breaking up and making up roughly every ten pages...
--> '''Estragon:''' Haha, he wants to know if we're ''friends''!
--> '''Vladimir:''' No, I think he means friends with ''him''.
** Also, Pozzo, who pretty much claims ownership over another man, carrying him on a chain. That's beyond Ho Yay, that's just... ''weird''.
--> '''Estragon:''' Haha, he wants to know if we're ''friends''!
--> '''Vladimir:''' No, I think he means friends with ''him''.
** Also, Pozzo, who pretty much claims ownership over another man, carrying him on a chain. That's beyond Ho Yay, that's just... ''weird''.
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* Mountararat and Tolloller in ''Iolanthe.'' See especially the scene where they're arguing over Phyllis (and seeing as [[spoiler: she's inevitably going to end up with Strephon, that leaves the two lords as the obvious pairing.)]]
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** In the version that [LadyAmi this Troper]] saw, Judas just barely missed a lip lock.
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*** [[http://www.youtube.com/watch?v=sJmp5yjZHtY Depending on the actors]] (start at 6:30), the musical can have some ''serious'' Enjolras/Grantaire vibes. At the very least, Grantaire's usually pining for Enjolras.
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* This happens very often in {{Takarazuka}} productions. Directors seem to have realized the erotic potential of their Otokoyaku (actresses playing male roles) and give them as many homoerotic scenes as their "pure, proper, beautiful" motto will allow. Especially their revues tend to feature extremely suggestive dance scenes between Otokoyaku. Or, leaving the Otokoyaku slash aside for a moment, the classical "het" pairings are homoeroic enough, given that ALL roles are played by women.
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* This happens very often in {{Takarazuka}} productions. Directors seem to have realized the erotic potential of their Otokoyaku (actresses playing male roles) and give them as many homoerotic scenes as their "pure, proper, beautiful" motto will allow. Especially their revues tend to feature extremely suggestive dance scenes between Otokoyaku. Or, leaving the Otokoyaku slash aside for a moment, the classical "het" pairings are homoeroic homoerotic enough, given that ALL roles are played by women.
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* BertoltBrecht was quite fond of this. A relationship between Macheath (Mack The Knife) and his friend Tiger Brown in the ''ThreepennyOpera'' is ''almost'' explicitly confirmed in the text. The recent Broadway revival was much less subtle, giving one of Mack's wives (Tiger's daughter) a penis.
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* BertoltBrecht was quite fond of this. A relationship between Macheath (Mack The Knife) and his friend Tiger Brown in the ''ThreepennyOpera'' ''TheThreepennyOpera'' is ''almost'' explicitly confirmed in the text. The recent Broadway revival was much less subtle, giving one of Mack's wives (Tiger's daughter) a penis.
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** This is turned UpToEleven in a callback joke. When a new woman steps in, Anita's immediately enamored. The proprietor of the whorehouse, Jenny, crudely asks the new girl if she's here for service, "because we don't do girl-on-girl here." Then Anita stops her and says "Wait, wait, don't be so sure!" Jenny asks why and Anita gives as her justification "Well she smells nice!" From then on Anita determines to be the girl's best friend, coming off as being in crush-mode.
** There's also FoeYay between Francis and the new girl, in the form of an extended TakeThatKiss scene after the new girl Natalie asks her what to do with the man (at this point, she hasn't started her job yet).
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* In ''AmericanIdiot'', St. Jimmy serenades Jesus of Suburbia with Last Night On Earth.
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* In ''AmericanIdiot'', St. Jimmy serenades Jesus of Suburbia with Last "Last Night On Earth.Earth".
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** St. Jimmy is usually interpreted as a figment JOS's imagination (outright says so in the song "Letterbomb"), and St. Jimmy is only singing this song because JOS is busy making out with his girlfriend, Whatshername. However, despite all this, when St. Jimmy sings this song, he looks pained. As if he is heartbroken JOS is making out with ''her'' and not ''him''.
*** St. Jimmy also calls Whatshername the enemy later in "Know Your Enemy".
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** It doesn't help that in the 2010 Edinburgh version they replaced all of Dionysus' female worshippers/followers with young men.
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* Another StephenSondheim show, ''Merrily We Roll Along'', basically reeks of this trope with Frank/Charlie. The entire show might as well be called "Frank and Charlie break up" - especially the song "Franklin Shepard Inc." in which Charlie not only complains the whole time about Frank not paying enough attention to him, but also lists the reasons he's still "the guy [he] love[s]"
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* Death ("Der Tod") from German musical [[Elisabeth text]] is in love with the title heroine, but still manages to be rather ...suggestive... with her son. As in, most productions have Death taking the guy's life with a kiss that can be anything from a small peck on the lips to something that approaches a full-out snog.
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* Death ("Der Tod") from German musical [[Elisabeth text]] {{Elisabeth}} is in love with the title heroine, but still manages to be rather ...suggestive... with her son. As in, most productions have Death taking the guy's life with a kiss that can be anything from a small peck on the lips to something that approaches a full-out snog.
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* Death ("Der Tod") from German musical [[Elisabeth]] is in love with the title heroine, but still manages to be rather ...suggestive... with her son. As in, most productions have Death taking the guy's life with a kiss that can be anything from a small peck on the lips to something that approaches a full-out snog.
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* Death ("Der Tod") from German musical [[Elisabeth]] [[Elisabeth text]] is in love with the title heroine, but still manages to be rather ...suggestive... with her son. As in, most productions have Death taking the guy's life with a kiss that can be anything from a small peck on the lips to something that approaches a full-out snog.
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* Some of the oldest [[FoeYay Foe Yay]] [[LesMiserables in the book]] (and this counts separately from the book) is Jean Valjean and Inspector Javert in ''[[LesMiserables Les Mis]]''. It opens the play, it's drawn out for twenty years, it [[DrivenToSuicide ends in rejection, followed by suicide.]]
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* Some of the oldest [[FoeYay Foe Yay]] [[LesMiserables in the book]] (and this counts separately from the book) is Jean Valjean and Inspector Javert in ''[[LesMiserables ''[[Theatre/LesMiserables Les Mis]]''. It opens the play, it's drawn out for twenty years, it [[DrivenToSuicide ends in rejection, followed by suicide.]]
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<<|HoYay|>>
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<<|HoYay|>>
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** In the English translation this troper read of the original book, the Cat was female, [[HetIsEw disappointingly enough]].
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* Onegin/Lensky. And it ends in a duel because Onegin is an asshole and flirts with Olga. {{You Should Know This Already}}.
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* Onegin/Lensky. And it ends in a duel because Onegin is an asshole and flirts with Olga. {{You Should Know This Already}}.
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** In the production at this Troper's school, they took the ho yay [[UpToEleven Up To Eleven]]. In addition to Riff and Tony, we had Action acting like a jealous lover every time Riff brought Tony up, Riff and Bernardo just seeming like they were trying to make each other jealous during the dance scene, not to mention their fight, and the way all the other Jets acted towards each other and Riff... Yeah, the guy playing Riff was kind of the [[LauncherOfAThousandShips Launcher of a Thousand Ships]]...
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** And of course, Hanschen/Ernst is canon.
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* Operas are good in this. See Don Carlo and Rodrigo. If that's not Ho Yay, nothing is.
* Also, depending on the singers, but in Il Trovatore, the rivalling over Leonora might be just an excuse to cover up the incestuous Foe Yay.
* Don Giovanni/Leporello. Especially in modern productions. Apparently, 1003 women are not enough...
* Onegin/Lensky. And it ends in a duel because Onegin is an asshole and flirts with Olga. {{You Should Know This Already}}.
* I could definitely see Amfortas/Klingsor before they lost their, um, instruments.
* Pick a Britten opera. ANY Britten opera.
** Grimes has no adult Ho Yay but there's the possibility he's a {{Little Kid Lover}}. Eek.
** Billy Budd. It takes place on a 18th century warship, with an all-male cast. You can pair up just about anyone with anyone.
** Quint/Miles. Jessel/Flora. Jessel/Governess. If you are evil, even Mrs. Grose/Governess.
** Aschenbach/Tadzio is canon, althoguh nothing ever happens, but the tension! It needs more love.
* Also, depending on the singers, but in Il Trovatore, the rivalling over Leonora might be just an excuse to cover up the incestuous Foe Yay.
* Don Giovanni/Leporello. Especially in modern productions. Apparently, 1003 women are not enough...
* Onegin/Lensky. And it ends in a duel because Onegin is an asshole and flirts with Olga. {{You Should Know This Already}}.
* I could definitely see Amfortas/Klingsor before they lost their, um, instruments.
* Pick a Britten opera. ANY Britten opera.
** Grimes has no adult Ho Yay but there's the possibility he's a {{Little Kid Lover}}. Eek.
** Billy Budd. It takes place on a 18th century warship, with an all-male cast. You can pair up just about anyone with anyone.
** Quint/Miles. Jessel/Flora. Jessel/Governess. If you are evil, even Mrs. Grose/Governess.
** Aschenbach/Tadzio is canon, althoguh nothing ever happens, but the tension! It needs more love.
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*** He has said ""something" was going on between them in a romantic sense, but he never [[ShrugOfGod clarified on it after that]].
