While Sylviane Gold raises a valid point about Broadway's reluctance to tackle plays about sex, she seems to believe that the only plays that are really about sex are those that depict repeated acts of sexual coupling or repeated discussions about the sex act [''One Place Sex Is Seldom Taken Seriously,'' June 27]. I would submit that the most interesting play about sex on Broadway this year is neither ''Closer'' nor ''The Blue Room'' but Conor McPherson's ''Weir,'' in which passions arrival of a woman in a formerly all-male domain a remote Irish pub radically reorganizes the structure of the community, not because she has sex with anyone but simply because she presents the possibility.
Ruling Passions: Sex, Race and Empire
The power of sexual anticipation drives the events of the play practically from the first line. In this, ''The Weir'' resembles Harold Pinter's ''Homecoming,'' another play largely about sex, which sex always said to be about such vague subjects as ''menace'' and ''hostility.
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