Arts & Entertainment
Crewe club
Gay actor plays fey in long-running ‘Jersey Boys’
Jonathan Hadley as Bob Crewe in ‘Jersey Boys.’ He says the long-running show has been a blessing. (Photo by Joan Marcus; courtesy Center Stage Marketing)
‘Jersey Boys’
Through Jan. 7
National Theatre
1321 Pennsylvania Avenue, NW
$36.50-$151.50
800-447-7400
nationaltheatre.org
After four years playing in the Tony Award-winning musical “Jersey Boys,” gay actor Jonathan Hadley shows no sign of slowing down.
“My entrance line is, ‘Watch your mouth Toto, you’re not in Newark anymore.’ How great is that?”
Based on audience reaction, it’s pretty great and so is Hadley’s performance as Bob Crewe the flamboyant manager of the legendary Frankie Valli and the Four Seasons. Hadley’s is a showy supporting part in a terrific production that follows the professional and personal fortunes of the group’s members over four decades (approximately1963-2003). A little limp-wristed and plenty camp, the Crewe character is an integral part of the dream machine that catapults four streetwise Italians boys from New Jersey to the stratosphere with songs like “Sherry,” “Walk Like a Man” and “Stay.”
“Today we’d identify Bob Crewe as a gay man,” Hadley says. “He dated women but he had boyfriends. What’s extraordinary to me is that these tough straight guys totally click with this sort of Paul Lynde type. They accept him for who he is — a talented and brilliant producer, manager and lyricist.”
Without Crewe, there would not be the mega-success and long careers. In addition to managing the group, Crewe wrote great lyrics, Hadley says. For instance, late one night while admiring his sleeping boyfriend, he jotted down a little something titled “Can’t Take My Eyes Off You.” The song was a huge hit, arguably one of the biggest pop songs ever and unbeknownst to most, it’s basically a gay love song.
Hadley first played Crewe on Broadway, then in Vegas, and for three-and-a-half years he’s been on the road with the national tour.
“It an adjustment. At times [the cast] feels like carnies. But for me it’s been really interesting not only exploring the country but observing how the show plays in different regions. In the Northeast where there are a lot of Italian Americans, audiences totally get the humor. In the South, they sometimes get upset with the language — we’ve had to modify the script in some places. In the Midwest, they respond to the music. They were wild in Omaha. Wherever we are audiences always leap to their feet to applaud at the end.”
He says the music is a guaranteed pick me up.
“Touring can get tiring, but once you’re onstage and the music starts, you get on that train and ride for two-and-a-half hours. Also, it’s easier to remain engaged with ‘Jersey Boys’ because the book is so good. Every night we tell a story about people living their dreams, seeing them fall apart and putting them back together again.”
Hadley has no plans to give up the role anytime soon. On tour breaks back home in New York City, Hadley sometimes stops by Splash for a drink. Out-of-work actors with an eye on playing Crewe will ask if he’s ready to leave the show. He simply says “Not yet” and buys them a drink.
Growing up in Charlotte, N.C., as part of a theatrical family — more academic (instructors and heads of drama departments) than show biz — Hadley began acting in plays as a child. He did a lot of community theater before studying classically at North Carolina School of the Arts. After graduating, Hadley headed to Broadway and began working right away.
His first job was “Into the Woods,” the famous Stephen Sondheim/James Lapine musical.
“I thought, ‘Hey, I can get used to this, and I’ve been doing the New York thing ever since,” he says.
Although Hadley has never met Crewe in person (they’ve exchanged e-mails), he has studied his voice, photos and quotes.
“Crewe started out as a model in L.A., and despite wanting to become a star, he ended up behind the scenes,” Hadley says. “I’ve heard that he’s very pleased with ‘Jersey Boys’ because he’s finally a star. And I like that I play a part in that.”
The 2026 Mr. Mid-Atlantic Leather competition was held at the Hyatt Regency Capitol Hill on Sunday. Seven contestants vied for the title and Gage Ryder was named the winner.
(Washington Blade photo by Michael Key)
Theater
Voiceless ‘Antony & Cleopatra’ a spectacle of operatic proportions
Synetic production pulls audience into grips of doomed lovers’ passion
‘Antony & Cleopatra’
Through Jan. 25
Synetic Theater at
Shakespeare Theatre Company’s Klein Theatre
450 7th St., N.W.
Synetictheater.org
A spectacle of operatic proportions, Synetic Theater’s “Antony & Cleopatra” is performed entirely voiceless. An adaptation of the Bard’s original (a play bursting with wordplay, metaphors, and poetic language), the celebrated company’s production doesn’t flinch before the challenge.
Staged by Paata Tsikurishvili and choreographed by Irina Tsikurishvili, this worthy remount is currently playing at Shakespeare Theatre Company’s Klein Theatre, the same venue where it premiered 10 years ago. Much is changed, including players, but the usual inimitable Synectic energy and ingenuity remain intact.
As audiences file into the Klein, they’re met with a monumental pyramid bathed in mist on a dimly lit stage. As the lights rise, the struggle kicks off: Cleopatra (Irina Kavsadze) and brother Ptolemy (Natan-Maël Gray) are each vying for the crown of Egypt. Alas, he wins and she’s banished from Alexandria along with her ethereal black-clad sidekick Mardian (Stella Bunch); but as history tells us, Cleopatra soon makes a triumphant return rolled in a carpet.
Meanwhile, in the increasingly dangerous Rome, Caesar (memorably played by Tony Amante) is assassinated by a group of senators. Here, his legendary Ides of March murder is rather elegantly achieved by silver masked politicians, leaving the epic storytelling to focus on the titular lovers.
The fabled couple is intense. As the Roman general Antony, Vato Tsikurishvili comes across as equal parts warrior, careerist, and beguiled lover. And despite a dose of earthiness, it’s clear that Kavsadze’s Cleopatra was born to be queen.
Phil Charlwood’s scenic design along with Colin K. Bills’ lighting cleverly morph the huge pyramidic structure into the throne of Egypt, the Roman Senate, and most astonishingly as a battle galley crashing across the seas with Tsikurishvili’s Antony ferociously at the helm.
There are some less subtle suggestions of location and empire building in the form of outsized cardboard puzzle pieces depicting the Mediterranean and a royal throne broken into jagged halves, and the back-and-forth of missives.
Of course, going wordless has its challenges. Kindly, Synectic provides a compact synopsis of the story. I’d recommend coming early and studying that page. With changing locations, lots of who’s who, shifting alliances, numerous war skirmishes, and lack of dialogue, it helps to get a jump on plot and characters.
Erik Teague’s terrific costume design is not only inspired but also helpful. Crimson red, silver, and white say Rome; while all things Egyptian have a more exotic look with lots of gold and diaphanous veils, etc.
When Synetic’s voicelessness works, it’s masterful. Many hands create the magic: There’s the direction, choreography, design, and the outrageously committed, sinewy built players who bring it to life through movement, some acrobatics, and the remarkable sword dancing using (actual sparking sabers) while twirling to original music composed by Konstantine Lortkipanidze.
Amid the tumultuous relationships and frequent battling (fight choreography compliments of Ben Cunis), moments of whimsy and humor aren’t unwelcome. Ptolemy has a few clownish bits as Cleopatra’s lesser sibling. And Antony’s powerful rival Octavian (ageless out actor Philip Fletcher) engages in peppy propaganda featuring a faux Cleopatra (played by Maryam Najafzada) as a less than virtuous queen enthusiastically engaged in an all-out sex romp.
When Antony and Cleopatra reach their respective ends with sword and adder, it comes almost as a relief. They’ve been through so much. And from start to finish, without uttering a word, Kavsadze and Tsikurishvili share a chemistry that pulls the audience into the grips of the doomed lovers’ palpable passion.
Out & About
Love board games and looking for love?
Quirk Events will host “Board Game Speed Dating for Gay Men” on Thursday, Jan. 22 at 7 p.m. at KBird DC.
Searching for a partner can be challenging. But board games are always fun. So what if you combined board games and finding a partner?
Picture this: You sit down for a night of games. A gaming concierge walks you through several games over the course of the night. You play classics you love and discover brand new games you’ve never heard of, playing each with a different group of fun singles. All while in a great establishment.
At the end of the night, you give your gaming concierge a list of the folks you met that you’d like to date and a list of those you met that you’d like to just hang out with as friends. If any two people put down the same name as each other in either column, then your gaming concierge will make sure you get each other’s e-mail address and you can coordinate a time to hang out.
Tickets cost $31.80 and can be purchased on Eventbrite.
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