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Laughing all the way

Westenhoefer on her divorce, Birchmere return and Jodie Foster

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Suzanne Westenhoefer, gay news, Washington Blade
Suzanne Westenhoefer, gay news, Washington Blade

Suzanne Westenhoefer (Photo by Adam Bouska)

For one of her first shows this year, comedian Suzanne Westenhoefer cannot assure her audience she will stick to a certain theme or what kind of jokes she will make. She doesn’t even have a name for her current tour.

However, she does promise that straight or gay, boy or girl, attendees will laugh.

Westenhoefer comes to the Birchmere (3701 Mount Vernon Ave., Alexandria) Friday night, bringing with her personal stories that audiences can relate to and laugh about.

“Because the act I do is very truthful, very personal, my show is changing hourly,” she says. “If something changes in my life that makes the story not true, the show changes. It’s not like a written script.”

The blend of honesty and often self-deprecating humor is what brings audiences back year after year, says Michael Jaworek, Birchmere promoter, who has been booking Westenhoefer for more than 15 years.

“Her audience is very devoted and follows her,” he says. “She is funny. Her humor is insightful. A lot of her material deals with gay life, or rather lesbian life. She speaks to and for the majority of her audience.”

Suzanne Westenhoefer
February 1
The Birchmere
3701 Mount Vernon Ave.
Alexandria, Va
Tickets are $54.50

Westenhoefer does know that a bulk of her show will deal with recovering from divorce and entering the dating world for the first time in years. Through this process, she’s learned a few new things about herself.

“I suck at dating,” she says. “I don’t date, I don’t know how.”

A little less than a year ago, Westenhoefer divorced long-term partner Jennifer Houston, whom she married in 2008 before Proposition 8 was voted on in California. Through the transition, she’s learned a lot of new things about herself.

“I thought I would be fine, apparently not,” she says. “I didn’t know how to feed myself. I hadn’t cooked for myself since I moved in with my first partner when I was 21.”

But she says despite the bumps and challenges in her new life, there are so many great and new people to meet and that everyone should “go out, be nice, buy someone a cocktail and meet somebody.” She’s currently exclusively seeing a woman whom she calls “tall girl” in order to respect her privacy.

The stage to Westenhoefer is an open diary, and even when the story is tragic in nature, she always tries to make it comedic.

“I see what everybody is thinking, what needs to be said,” she says. “I’m getting everybody off the hook by saying it. I’m giving them a chance to laugh at tragedy that befalls them all.”

Growing up in the heart of Amish country in Pennsylvania, and coming out right when the AIDS crisis was starting in 1981, Westenhoefer has had plenty of stories to tell. But the act of sharing her personal narrative has its roots in something deeper and older.

“My grandfather was the same way,” she says. “He was that kind of person who goes to the store to get milk and bread, come back and have a fantastic funny story about it.”

On stage, Westenhoefer is not afraid to say whatever is on her mind.

“Once my sister told me she thinks she might be gay, but asked me not to tell anybody,” she says. “What did I do? I went right on stage and said ‘So, my sister thinks she’s gay.’”

This has not gotten her in trouble with her family so far, she claims, because they know it is “out of love.”

Westenhoefer began her stand-up career at the end of 1990, when a friend dared her to go on stage while she was working as a New York bartender. However, she did not need anyone to dare her to be honest and talk about gay life.

“My opening line was I am the only gay comedian you’re going to see tonight,” she says.

Though her first time on stage didn’t go well (by her own admission), her career took off through the ‘90s. In 1991, she became the first lesbian comic to appear on television, when she was on an episode of “Sally Jessy Raphael” called “Breaking the Lesbian Stereotype: Lesbians Who Don’t Look Like Lesbians,” and then went on to be the first openly gay comic to host an HBO Comedy Special in 1994.

Being on television created an opportunity to start a conversation, she says.

“It was a way to tell people not to panic, we aren’t killing babies,” Westenhoefer says. “This has always been and always will be.”

This is not the first time Westenhoefer has been a force for change. She says in high school she formed a group to ban dodge ball. She says activism is in her blood and that she and her family always were political

While still blunt and honest with her audience, Westenhoefer says things have certainly changed since she began. Westenhoefer no longer uses her original opening line.

“I used to do shows in straight clubs and I literally would say I was lesbian in the beginning of every show,” she says. “It’s definitely gotten to be a different show. It doesn’t have to be gay gay gay gay.”

Recent events, such as Jodie Foster’s speech at the Golden Globes and Barack Obama’s speech at his second inauguration, she says mark the change in attitudes toward the LGBT community.

When she came out at 19, Westenhoefer says it was a scarier time period. There was more violence against the community. However, most of her friends and family were supportive.

Now she finds it amazing that people like Foster can go on international television and discuss their sexuality with the world.

“I am very excited for her,” Westenhoefer, who’s met Foster three times, says. “She is a very shy, very private woman. I am very proud of her. To get up in front of an international audience and tell this, it’s amazing.”

Despite leaving the much warmer West Coast to do so, Westenhoefer says she’s always glad to return to the D.C. area.

“I love D.C. for several reasons,” she says. “First of all people will come out for a show even if there is an ice storm. They have southern hospitality, they are political and they want to be entertained. It is the perfect storm for comedy.”

Jaworek is happy to have her back because, “Suzanne is a very funny woman period.”

Even though she shares the experiences of a lesbian, Westenhoefer insists that, “the boys are welcome. It is not just for girls. It’s a show for straights, for gays, and if they wanna come, I promise they’ll laugh.”

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Theater

José Zayas brings ‘The House of Bernarda Alba’ to GALA Hispanic Theatre

Gay Spanish playwright Federico García Lorca wrote masterpiece before 1936 execution

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Luz Nicolás in ‘The House of Bernarda Alba’ at GALA Hispanic Theatre (Photo by Daniel Martinez)

‘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.

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Photos

PHOTOS: Cupid’s Undie Run

Annual fundraiser for NF research held at The Wharf DC

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A dance party was held at Union Stage before Cupid's Undie Run on Saturday. (Washington Blade photo by Michael Key)

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)

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Out & About

Sweat DC expands to Shaw

Community workout and social planned for March 14

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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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