Pretty much the same thing I did.

This past winter, that young man, if he had the money, would have seen the first Broadway revival of “Falsettos.” This fall, he might catch the first major revivals of “Torch Song Trilogy” (starring Michael Urie and Mercedes Ruehl), “M. Butterfly” (starring Clive Owen and Jin Ha) and “When Pigs Fly” (with costumes by Bob Mackie that pay homage to the outlandish originals). Come spring, he would probably pony up for the 50th-anniversary production of “The Boys in the Band,” which Ryan Murphy, who directed the 2014 television movie of “The Normal Heart,” plans to produce, with Joe Mantello directing, and Jim Parsons in a starring role.

Granted, these revivals are sometimes revisions. “Torch Song Trilogy” is no longer even a trilogy — and has therefore been retitled simply “Torch Song.” (Moisés Kaufman directs.) And Mr. Hwang, working with the director Julie Taymor, has rewritten parts of “M. Butterfly” to reflect information that has emerged in recent years about the real-life people the play is based on.

Despite these updatings, the fall schedule feels to me like a rewind of my young adulthood in New York, circa 1980 to 1998. Of course, many other gay-themed works arrived in that period, some, like “Angels in America,” eternally fresh. (The recent London revival, starring Nathan Lane and Andrew Garfield, begins performances at the Neil Simon Theater on February 22.) But the rest are more like songs on a dusty mixtape found in a bottom drawer. Will they even play? What will they sound like to older — or younger — ears?

Until this year, I would have guessed they’d sound, well, old. Recent “gay” plays have moved past the existential phase (“We are here”) toward second-stage questions of assimilation (“Get used to us”) and beyond. Mr. and Mr. debating fidelity and diapers in CB2 living rooms has almost become passé. Gay men were even beginning to cede the theatrical spotlight to other parts of the L.G.B.T.Q. rainbow, and to intersectional issues of sexuality, gender and race.