Arts & Entertainment
Shadows of war
Compelling character study crackles at Signature
‘Dying City’
Signature Theatre
Through Nov. 25
4200 Campbell Ave.,
Arlington, VA
$39-$75
703-820-9771
Rachel Zampelli as Kelly and Thomas Keegan as Peter in ‘Dying City,’ a charged drama playing at Signature through Nov. 25. (Photo by Scott Suchman, courtesy Signature Theatre)
In gay playwright Christopher Shinn’s quietly compelling “Dying City” (now making its D.C. premier in a smart, effective production at Signature Theatre), a trio of young characters negotiate emotional battlefields in the shadow of the Iraq War.
Set in New York, far from Baghdad, the play begins with Kelly (an aptly reserved Rachel Zampelli) watching TV alone in her comfortable New York City apartment (compliments of set designer Daniel Conway) when suddenly she receives an unexpected and not wholly welcomed evening visitor. It’s Peter (Thomas Keegan), the identical twin brother of her late husband Craig, a Harvard graduate student who was killed the previous year during military service in Iraq. Kelly and Peter haven’t spoken since the funeral.
A successful Hollywood actor in town doing theater (O’Neill’s classic portrait of family dysfunction, “Long Day’s Journey Into Night”), Peter is all ingratiating charm as he coaxes Kelly, a therapist, to talk about their shared loss. Guarded and at times visibly anguished, Kelly reluctantly enters into conversation. Together, they revisit the night before Craig’s departure for training camp in Georgia, the murky circumstances surrounding his death and their disparate backgrounds (Kelly’s rich parents were emotionally absent, the twins’ father was a violent Vietnam vet and their mother held ambitions for her sons to escape the confines of their modest Midwestern upbringing).
An intimate play, “Dying City” is ideal for the Ark, Signature’s smaller black box. The fast-paced drama’s action alternates between Peter and Kelly’s strained visit and flashback scenes involving Kelly and Craig (also played by brawny Keegan). This casting trick requires a lot of quick exits and entrances. Fortunately, gay director Matthew Gardiner’s shrewd staging along with Colin K. Bills’ lighting and Matt Rowe’s transporting sound design make time travel smooth and not the least bit hokey. By changing shirts and adding a little swagger, Keegan morphs from the more effusive, self-absorbed Peter to his butcher, more reticent straight brother Craig.
Slowly, Kelly becomes more comfortable. The in-laws are getting along. Conversation strays to backstage gossip and the latest on Peter’s tumultuous love life. But when Peter unexpectedly pulls out a cache of beautifully crafted emails sent to him from Craig while in Iraq, the intentions of Peter’s visit become suspect. While both Kelly and Peter have always dismissed the Iraq War as destructive and senseless adventure, the once pro-war Craig demonstrates in his eloquent missives that during the last days of his life, he joined the anti-war ranks with his brother and wife. Other revelatory passages (but less well-received by Kelly) come to light as well. Layers of truths and untruths, and who knew what when, are explored.
Since her husband’s death, Kelly spends a lot of time holed up at home watching TIVOed episodes of “Law and Order.” After seeing scores of episodes, she has figured out the secret to the cop show’s success: Kelly believes that people find comfort in the idea being remembered after their death. We like the notion that if we’re murdered, a team of detectives and forensic experts will convene to remember us and give closure. Nothing about Craig’s death has been neatly closed. And while Kelly’s future is uncertain, she seems to be getting stronger.
The DC Center for the LGBTQ Community, SMYAL and Rainbow Families sponsored Gay Day at the Zoo on Sunday at the Smithsonian National Zoo. The Smithsonian marked International Family Equality Day with special exhibits and an event space.
(Washington Blade photos by Michael Key)
Covering Gay Day at the Zoo for @WashBlade . Here at @NationalZooDC pic.twitter.com/LqgGNOOAiM
— Michael Patrick Key (@MichaelKeyWB) May 5, 2024
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Annual fundraiser held for LGBTQ youth scholarship, mentorship organization
The Point Foundation held its annual Taste of Point fundraiser at Room & Board on May 2.
(Washington Blade photos by Michael Key)
Theater
Miss Kitty tackles classical mythology in ‘Metamorphoses’
Folger production seen through the lens of the African diaspora
‘Metamorphoses’
May 7-June 16
Folger Theatre
201 East Capitol St., S.E.
$20-$84
Folger.edu
Miss Kitty’s words are thoughtful and measured, occasionally punctuated by flamboyant flourishes and uplifting proclamations. Her tried and tested tagline is “live in fierce not fear.”
She describes herself as “AMAB (assigned male at birth), nonbinary, genderqueer, transfemme” as well as “chanteuse, noble blacktress, and dancer.”
Currently, Miss Kitty is testing her talents in Mary Zimmerman’s “Metamorphoses” at Folger Theatre on Capitol Hill.
At 90 minutes, “Metamorphoses,” is made up of interwoven vignettes from classical mythology including the tales of Midas and his daughter, Alcyone and Ceyx, and Eros and Psyche.
“It’s all stories that relate to the human condition: the follies, the happiness, the love, the loss,” Miss Kitty explains. “And a thorough knowledge of mythology isn’t a requirement for enjoyment.”
The language is contemporary and with its 11-person ensemble cast – comprised exclusively of Black or indigenous people of color – they’re adding their own spin to its present-day feel, she adds.
In Zimmerman’s famously staged premiere production, the actors performed in and around a pool of water. At Folger, director Psalmayene 24 has ditched actual aquatics; instead, he suggests the element by introducing Water Nymph, a new character constructed around Miss Kitty.
Water Nymph doesn’t speak, but she’s very visible from the opening number and throughout the play on stage and popping up in unexpected places around the venue.
“It’s a lot of dancing; I haven’t danced the way Tony Thomas is choreographing me in a very long time. At 40, can she still make theater with just my body as her instrument?
The name “Miss Kitty” was born over a decade ago.
Miss Kitty recalls, “She was still presenting as male and going by her dead name. Someone commented that with the wig she was wearing for a part, she looked like Eartha Kitt whom she deeply admires.”
Her penchant for illeism (referring to oneself in third person) isn’t without good reason. She explains, “It’s to reiterate that however she might look, she’s always there; and if you misgender, she will let you know.”
Initially, the moniker was a drag persona at Capital Pride or the occasional fabulous cabaret performance at a nightclub.
But as time passed, she realized that Miss Kitty was something she couldn’t take off. She had always been a part of her.
“She’s helped me to grow and flourish; she’s given me the strength that I never would have had before. I’m so proud of myself for realizing that before it was too late.”
Bringing Miss Kitty into her theatrical career presented some concerns. Would theater folks be open to the new her, especially those she’d worked with before?
Not always, but she’s found new companies who’ve welcomed Miss Kitty with open arms including Avant Bard, Spooky Action Theater, and now Folger.
Last fall, Miss Kitty appeared in Spooky Action’s Agreste (Drylands), a stunning queer story penned by gay Brazilian playwright Newton Moreno.
After being invited to audition and reading the script, Miss Kitty was determined to be a part of the production.
A work dealing with love and being trans, and transphobia, and how people can turn on a dime once they learn the truth about someone, resonated deeply with the actor.
“The play speaks to the idea that if people just let people be who they are and love who they want to love we’d all be a lot happier,” she says.
For her sublime efforts, Miss Kitty nabbed a Helen Hayes Award nomination in the Outstanding Lead Performer category (winner to be determined on Monday, May 20 during a ceremony at The Anthem).
It’s her first time nominated and first time attending. She’s thrilled.
Miss Kitty grew up in Oxen Hill, Md., and now lives near Washington Harbor. Her entry into performance was through music followed by high school plays. She graduated from Catholic University with a degree in music/concentration in musical theater, and from there dove directly into showbiz.
Looking back, Miss Kitty says, “being a person of color AND queer can be a double whammy of difficulty. You have to live in light and do the things you’re afraid to do. That’s the game changer.”
Presenting “Metamorphoses” through the lens of the African diaspora (the cast also includes Jon Hudson Odom and Billie Krishawn, among others) helps us to realize that every story can be universal, especially for marginalized people — South Asian, Native American, or fully queer perspectives, she says.
“Having an all-Black ensemble opens all new worlds for everyone.”
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