Arts & Entertainment
Flocking together
Gay playwright explores celebrated bird pairings
‘Birds of a Feather’
Through Aug. 7
The Hub Theatre @
The New School
9431 Silver King Court, Fairfax
703-674-3177
From left, Matt Dewberry, Jjana Valentiner, playwright Marc Acito, director Shirley Serotsky, Dan Crane and Eric Messner. (Photo by C. Stanley Photography; courtesy of Hub Theatre)
Much of gay writer Marc Acito’s work is ripped from the headlines. This applies to his National Public Radio commentaries, and it’s also true about his funny new play “Birds of a Feather” now making its world premiere at the Hub Theatre in Fairfax.
Inspired by two Manhattan stories that got a lot of press about seven years ago, the comedy focuses on gay penguins that fall in love and hatch an egg in the Central Park Zoo, and a messy-but-devoted pair of straight hawks who famously make their home high atop a tony Fifth Avenue co-op. Acito explores what he imagines to be the birds’ motivations as well as the ways in which humans react to these two feathered families.
“What most interested me about the bird stories,” says Acito by phone from his home in New York, “is that both elicited such a huge response from the public. There was a lot of anthropomorphizing going on — the hawk Pale Male was praised as a good father, and the co-op was accused of attempting to unjustly evict a lovely family. The hetero normative hawks were pretty much unanimously supported.”
On the other hand, says Acito, 45, the longtime pair-bonded male penguins Silo and Roy who together hatched an abandoned egg weren’t entirely celebrated. In fact, an award winning children’s book about the penguins’ nontraditional family “And Tango Makes Three” ranks as one of America’s most controversial books, and has been challenged or banned in numerous libraries and school districts.
When “Birds of a Feather” was first read two summers ago at JAW Playwright’s Festival in Portland, (Acito’s home from around 1990 until last year), Hub Theatre artistic director Helen Pafumi contacted Acito. She was eager to mount the show in Fairfax. “There had been controversy about the children’s book in neighboring Loudon County, and Helen thought my play was relevant to the community. Part of Hub’s mission is to facilitate conversation among different factions who live side by side.”
“Hub is a real gem waiting to be discovered,” Acito says. “I realize it might be a little out of way, but I’m hoping gay theatergoers will be willing to make the trek out of curiosity. They can attend a matinee and be back in town for happy hour. If nothing else I know my audiences.”
Staged by Shirley Serotsky, “Birds of a Feather” features a talented quartet who play the penguin and hawk couples (the aptly named Dan Crane and Matt Dewberry), a female zookeeper (Jjana Valentiner) whose best friend is gay man, a birder (Eric Messner), as well as myriad other characters including Mary Tyler Moore, Paula Zahn and a bevy of Catholic school girls.
“All the facts of the play are true, but of course I fictionalize what the birds are thinking,” Acito says. “I certainly feel qualified to write about relationships. My partner and I have been together for 25 years. And while gay relationships are unique in many ways, the fundamentals of living with a partner are the same for everyone.”
Growing up in New Jersey, Acito starred in high school musicals. He describes himself as the guy darting about in Capezio dance shoes and leg warmers. Later he dropped out of Carnegie Mellon’s drama program due to “artistic differences.”
“I thought I could act. They didn’t,” he says.
After more study, he began a professional opera career: “I played character parts — drunks and hunchbacks mostly. It was fun and I learned a lot about comedy and western history, but for me opera was a shoe that never really fit. Ultimately I decided that I needed to create art rather than recreate it onstage, so I began writing.”
He started with the gay press. Next he wrote “How I Paid for College: A Novel of Sex, Theft, Friendship and Musical Theater,” a cult novel about theater people. A successful sequel followed. When the bottom fell out of publishing, he returned to theater and relocated to New York, but this time as a writer. Currently he’s collaborating with composer Jeffrey Stock on a musical adaptation of E.M. Forster’s classic “A Room with a View” slated to premiere at the Old Globe in San Diego next spring. Buzz is good.
Today Acito is thrilled to have found new meaning in his life and career. “There’s an audience that understands my message and aesthetic, and they’re very much in the theater. This time, I feel that I’ve found the shoe that really fits.”
Theater
José Zayas brings ‘The House of Bernarda Alba’ to GALA Hispanic Theatre
Gay Spanish playwright Federico García Lorca wrote masterpiece before 1936 execution
‘The House of Bernarda Alba’
Through March 1
GALA Hispanic Theatre
3333 14th St., N.W.
$27-$52
Galatheatre.org
In Federico García Lorca’s “The House of Bernarda Alba,” now at GALA Hispanic Theatre in Columbia Heights, an impossibly oppressive domestic situation serves, in short, as an allegory for the repressive, patriarchal, and fascist atmosphere of 1930s Spain
The gay playwright completed his final and arguably best work in 1936, just months before he was executed by a right-wing firing squad. “Bernarda Alba” is set in the same year, sometime during a hot summer in rural Andalusia, the heart of “España profunda” (the deep Spain), where traditions are deeply rooted and mores seldom challenged.
At Bernarda’s house, the atmosphere, already stifling, is about to get worse.
On the day of her second husband’s funeral, Bernarda Alba (superbly played by Luz Nicolás), a sixtyish woman accustomed to calling the shots, gathers her five unmarried daughters (ages ranging from 20 to 39) and matter-of-factly explain what’s to happen next.
She says, “Through the eight years of mourning not a breeze shall enter this house. Consider the doors and windows as sealed with bricks. That’s how it was in my father’s house and my grandfather’s. Meanwhile, you can embroider your trousseaux.”
It’s not an altogether sunny plan. While Angustias (María del Mar Rodríguez), Bernarda’s daughter from her first marriage and heiress to a fortune, is betrothed to a much younger catch, Pepe el Romano, who never appears on stage, the remaining four stand little chance of finding suitable matches. Not only are they dowry-less, but no men, eligible or otherwise, are admitted into their mother’s house.
Lorca is a literary hero known for his mastery of both lyrical poetry and visceral drama; still, “Bernarda Alba’s” plotline might suit a telenovela. Despotic mother heads a house of adult daughters. Said daughters are churning with passions and jealousies. When sneaky Martirio (Giselle Gonzáles) steals the photo of Angustias’s fiancé all heck kicks off. Lots of infighting and high drama ensue. There’s even a batty grandmother (Alicia Kaplan) in the wings for bleak comic relief.
At GALA, the modern classic is lovingly staged by José Zayas. The New York-based out director has assembled a committed cast and creative team who’ve manifested an extraordinarily timely 90-minute production performed in Spanish with English subtitles easily ready seen on multiple screens.
In Lorca’s stage directions, he describes the set as an inner room in Bernarda’s house; it’s bright white with thick walls. At GALA, scenic designer Grisele Gonzáles continues the one-color theme with bright red walls and floor and closed doors. There are no props.
In the airless room, women sit on straight back chairs sewing. They think of men, still. Two are fixated on their oldest siter’s hunky betrothed. Only Magdelena (Anna Malavé), the one sister who truly mourns their dead father, has given up on marriage entirely.
The severity of the place is alleviated by men’s distant voices, Koki Lortkipanidze’s original music, movement (stir crazy sisters scratching walls), and even a precisely executed beatdown choreographed by Lorraine Ressegger-Slone.
In a short yet telling scene, Bernarda’s youngest daughter Adela (María Coral) proves she will serve as the rebellion to Bernarda’s dictatorship. Reluctant to mourn, Adela admires her reflection. She has traded her black togs for a seafoam green party dress. It’s a dreamily lit moment (compliments of lighting designer Hailey Laroe.)
But there’s no mistaking who’s in charge. Dressed in unflattering widow weeds, her face locked in a disapproving sneer, Bernarda rules with an iron fist; and despite ramrod posture, she uses a cane (though mostly as a weapon during one of her frequent rages.)
Bernarda’s countenance softens only when sharing a bit of gossip with Poncia, her longtime servant convincingly played by Evelyn Rosario Vega.
Nicolás has appeared in “Bernarda Alba” before, first as daughter Martirio in Madrid, and recently as the mother in an English language production at Carnegie Melon University in Pittsburgh. And now in D.C. where her Bernarda is dictatorial, prone to violence, and scarily pro-patriarchy.
Words and phrases echo throughout Lorca’s play, all likely to signal a tightening oppression: “mourning,” “my house,” “honor,” and finally “silence.”
As a queer artist sympathetic to left wing causes, Lorca knew of what he wrote. He understood the provinces, the dangers of tyranny, and the dimming of democracy. Early in Spain’s Civil War, Lorca was dragged to the the woods and murdered by Franco’s thugs. Presumably buried in a mass grave, his remains have never been found.
Cupid’s Undie Run, an annual fundraiser for neurofibromatosis (NF) research, was held at Union Stage and at The Wharf DC on Saturday, Feb. 21.
(Washington Blade photos by Michael Key)
Sweat DC is officially expanding to Shaw, opening a new location at 1818 7th St., N.W., on Saturday, March 28 — and they’re kicking things off with a high-energy, community-first launch event.
To celebrate, Sweat DC is hosting Sweat Fest, a free community workout and social on Saturday, March 14, at 10 a.m. at the historic Howard Theatre. The event features a group fitness class, live DJ, local food and wellness partners, and a mission-driven partnership with the Open Goal Project, which works to expand access to youth soccer for players from marginalized communities.
For more details, visit Sweat DC’s website and reserve a spot on Eventbrite.
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