Arts & Entertainment
Don’t look in the basement
Odd but endearing play explores pregnant teen’s isolation
‘Holly Down In Heaven’
Through Oct. 20
Forum Theatre
Round House Theatre Silver Spring
8641 Colesville Road, Silver Spring
$15-$25
240-644-1100

Maya Jackson as Holly in Kara Lee Corthron’s ‘Holly Down in Heaven.’ (Photo courtesy Round House Theatre)
Holly keeps counsel with dolls. When you’re a teenager marking time in your basement far from the world, it gets lonely. So she talks to them. And they talk back. Occasionally she even gets some good advice.
Emerging playwright Kara Lee Corthron writes thoughtfully about young women. In her funny and oddly heartwarming “Holly Down In Heaven” (currently making its world premiere at Forum Theatre in a fresh production ably staged by the company’s artistic director Michael Dove), Corthron explores a chaotic childhood journey.
After learning she’s pregnant, 15-year-old honor student Holly (Maya Jackson) sentences herself to nine months downstairs, vowing not to come up again until the baby is born. There, surrounded by her vast doll collection, she waits. Her indulgent widowed father (KenYatta Rogers) however has different ideas. From upstairs he keeps a close eye on his only child, gently encouraging her to consider alternatives to keeping the baby. For born again Christian Holly, abortion is out. She’s adamant: her intention is to remain underground, see no doctors and become a mother.
Tucked away, Holly seeks comfort from her dolls. Displayed on shelves around the perimeter of the open room, they’re arranged singly and in groups. The black contingent headed by a sassy Cabbage Patch baby includes a tiny, diplomatic Kofi Annan; next to them is a ponderously earnest Native American; then there are the Victorian dolls, most notably Queen Victoria herself; and across the basement in a spot lit place of honor stands a graceful Geisha girl (voiced by KyoSin).
Increasingly, conversation between Holly and the dolls centers on their reluctance to share her with a living, breathing baby. Sometimes these talks (actually just Holly talking to herself) become overly heated; and when it does, she quells the mayhem with threats of putting certain dolls in storage or even striking a match. (Like the “Wizard of Oz’s” scarecrow, these chatty collectibles are acutely aware of their flammability.)
For more serious chats, Holly goes one-on-one with her prized psychiatrist doll that bears a resemblance to Carol Channing in appearance and voice. The straight talking, potty-mouthed shrink (expertly handled and hilariously voiced by Vanessa Strickland) encourages her adolescent patient to become less closed off from the humans in her life.
Yes, non-dolls occasionally do make the subterranean scene: In addition to her father, Holly’s tutor Mia (Dawn Thomas), an agreeably neurotic grad student with father issues comes three times a week; and Yager (Parker Drown), the gamer next door pays brief unsolicited visits entering and exiting via a basement window.
Holly is at turns charming and charmless. A bundle of teenage hormones (and pregnant to boot), she is changeable and bratty as she explores notions of independence, relationships and faith. In the title role, Jackson perfectly places her character between little girl and young woman.
As Holly’s inept but well-meaning ex-boyfriend Yager, Drown (who’s gay) gives a terrifically understated performance, securing his growing reputation as a versatile local actor. He’s unrecognizable from his Helen Hayes Award-winning performance as Angel, the drum beating drag queen in Keegan Theatre’s production of “Rent.”
Sometimes the longish “Holly Down In Heaven” doesn’t seem sure what kind of play it is, veering from thoughtful comedy to sticky sitcom, but its general quirkiness make it worth a go.
Photos
PHOTOS: Remove the Regime rally and march
Dropkick Murphys, Earth to Eve perform on steps of Lincoln Memorial
The Remove the Regime rally and march was held on Saturday, Nov. 22.
(Washington Blade photos by Michael Key)








Transgender Day of Remembrance was observed at the Metropolitan Community Church of Washington, D.C. on Thursday, Nov. 20. The event was emceed by Rayceen Pendarvis and Dwight Venson. Musical selections were provided by Agape Praise and Dynamic Praise. Proclamations from the D.C. Council and the D.C. Office of the Mayor were presented. The Pouring of the Libation was conducted by Rev. Elder Akousa McCray and Rev. Paul Fulton-Woods of Unity Fellowship Church.
Remarks were given by trans survivors of violence. Family members of slain trans woman Dream Johnson were featured speakers. Prayers were given by Rev. Cathy Alexander and Rev. Dwayne Johnson of Metropolitan Community Church of Washington, D.C. Yael Shafritz gave a Jewish prayer through a video presentation. Closing remarks were given by community leader, Earline Budd.
(Washington Blade photos by Michael Key)







Books
Pioneering gay journalist takes on Trump 2.0 in new book
Nick Benton’s essays appeared in Fall Church News-Press
Nicholas Benton is a well-known local LGBTQ advocate and journalist and the longtime owner and editor of the Falls Church News-Press, a weekly newspaper.
In his eighth book out now, Benton offers a new set of remarkable essays all crafted in the first eight months of Trump 2.0 and its wholesale effort at dismantling democracy and the rule of law. Most were published in the Falls Church News-Press, but he adds a new piece to this volume, as an addendum to his “Cult Century” series, revealing for the first time his experiences from decades ago in the political cult of Lyndon LaRouche, aimed at providing a clearer grasp of today’s Cult of Trump.
His “Please Don’t Eat Your Children” set takes off from the satire of Jonathan Swift to explore society’s critical role of drumming creativity out of the young.

Below is an excerpt from “Please Don’t Eat Your Children, Cult Century, and other 2025 Essays.”
Please Don’t Eat Your Children
In his famous short essay, “A Modest Proposal: For Preventing the Children of Poor People in Ireland From Being a Burden to Their Parents or Country and for Making Them Beneficial to the Public,” author and Anglican priest Jonathan Swift (1667-1745) uses cutting satire to suggest that cannibalism of the young might help solve a battery of social ills.
As we examine our broken society today, it seems to me that reflecting on Swift’s social critique can be quite useful. Now we face a nation filled with anger and division and there is little to suggest any real solutions other than insisting people “don’t do that!” We can start out with the observation that young children, left to their own, are neither hateful nor cruel. How do they get that way later on in their lives? What drives them toward such emotional states and behaviors? It is not a problem only for the margins of society, for the extreme misfits or troubled. It is defining the very center of our culture today. Our divisions are not the cause, but the result of something, and nobody is saying what that is.
Swift doesn’t say what it is in his biting little essay. But it is implied by a context of a lack of bounty, or poverty, on the one hand, and an approach to it characterized by obscenely cruel indifference, on the other. He coined the phrase “useless eaters” in defining his radical solution. In Hitler’s Germany, that term resonated through the death camps and some in our present situation are daring to evoke it again as the current administration pushes radical cuts in Medicaid funding.
But while that refers to the old and infirm, mostly, it is the young we are talking about here. The problem is that our society is structured to devour our young and as they begin to find that out, they rebel. Not in all cases is this the practice, of course. Where there is little or no lack, things are different. We nurture our young, as we should, and we love them. Lucky is the child who is born to parents who are of means, and in a community where nurture is possible and valued. But even such children are ultimately not immune from facing a destiny of pale conformity battered by tightly delimited social expectations and debt slavery. If they have enough ambition, education and doors opened for them, some can run the gauntlet with relative effectiveness. Otherwise, our young are raised to die on battlefields, or to struggle in myriad other painful social conflicts aimed at advancing the world of their elders. In the Bible, there is a great admonition against this process that comes at the very precondition for the tradition it represents that begins with Abraham.
It is in the book of Genesis at the beginning of the Biblical story when, as that story goes, God commanded Abraham to kill his son, Isaac, as a sacrifice. As Abraham is about to obey, God steps in and says no. The entire subsequent eons-long struggle to realize Abraham’s commission by God to make a great nation that would be a light to the world would have been cut short right then if Abraham had slain his own son. The message is that all of the Abrahamic traditions, Judaism, Islam and Christianity, owe their source, and in fact are rooted, in God’s command to reject the sacrifice of children to the whims of their elders. The last thousands of years can be best defined in these terms, where nurture is pitted against exploitation of our young with, at best, vastly mixed results. Scenes like that at the opening of “All Quiet on the Western Front,” the World War I novel and film where a teacher rallies a classroom full of boys to enlist in the war, is bone chilling. Or, the lyric in Pink Floyd’s iconic song, Comfortably Numb, “When I was a child, I caught a fleeting glimpse out of the corner of my eye. I turned to look but it was gone. I cannot put my finger on it now. The child is grown, the dream is gone.”
Nick Benton’s new book is available now at Amazon.
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