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Dishing with Bruce

Hollywood funny guy on ‘70s drugs, the Oscars and hanging out with Robert Reed

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Bruce Vilanch, gay news, Washington Blade
Bruce Vilanch, gay news, Washington Blade

Bruce Vilanch is in town to honor Carol Burnett at the Kennedy Center this weekend. He’s at Cobalt Friday night. (Photo by Rick Stockwell)

Bruce Vilanch — perhaps America’s favorite gay funny man — will be at Cobalt Friday night to greet fans. Famous for his Oscar jokes and appearances on “Hollywood Squares,” we caught up with him by phone two weeks ago where he was in a jovial mood, cracking jokes the whole time. His comments have been slightly edited for length.

WASHINGTON BLADE: Is it harder to make people laugh in the Internet age? How do you still make people laugh when they’ve seen it all?

BRUCE VILANCH: Well yeah, it’s harder to come up with original stuff because someone will write something, post it online then it’s out there before it’s even been performed. It’s like instantaneous. So it’s harder now to surprise people. But on the other hand, people are so much more connected now that they get every joke. Things are in touch almost to a sickening amount so that by the time you try something live, they get every reference because they’ve had a chance to be exposed to it. I guess there are plusses and minuses. I think also the chances of offending somebody have quadrupled.

BLADE: Why?

VILANCH: Everybody feels their opinion is valid and they have a place to post it publicly now. It used to be reserved for the people who had the platforms but now anybody can post their opinion.

BLADE: Is it hard to keep doing it? I think many of us outside of Hollywood imagine it must be constant pressure.

VILANCH: Well, you have to keep working at it. Fortunately as a writer, you can generate your own work. Actors have a hard time doing that. But then you have to go off and try to sell it. You can never afford to be asleep at the switch, unlike the people who run trains in Chicago. But thankfully there are no real term limits on these kinds of things. I guess at a certain point you start fighting a creeping ageism but if you’re distinctive enough, people don’t mind. Everybody loved Rodney Dangerfield and now he’s up there with God. God must be happier now.

BLADE: What brings you to our fair city?

VILANCH: I’ll be in town to be part of the Mark Twain Prize ceremony to Carol Burnett at the Kennedy Center (on Sunday), so while I’m here I’ll be making a little appearance at Cobalt as well.

BLADE: Will you be performing at Cobalt?

VILANCH: Not really a performance. More of a meet-and-greet and maybe answer some questions. And getting some phone numbers hopefully. Facebook is unreliable. You have to save them in your phone.

BLADE: Did you do any writing for Carol’s show back in the ‘70s?

VILANCH: No, I never did. She and her husband at the time believed in hiring writing teams. They seemed to like what they were getting with the contracts for a writing team and I didn’t have a writing partner. I had a sex partner, but that’s not what they were interested in. Later I worked with her on some specials and some personal appearances but not anything where she was in character.

BLADE: What was the show she did in the early ‘90s on NBC?

VILANCH: Oh yeah, “Carol & Company” I think. It did fairly well I think, but she stopped because she said it was like shooting a new pilot every week. Each episode was like a one-act play and that’s very hard to pull off on a weekly basis. I think she had some success with it but she just didn’t want to work that hard all the time.

BLADE: The Screen Actors Guild just came out with a study on actors and anti-gay discrimination. It seemed a little surprising considering how many power gays we have in Hollywood like Ellen and Neil Patrick Harris.

VILANCH: Who look remarkably similar, don’t they?

BLADE: We see lots of LGBT actors, but is it still squeamish in the boardrooms? What’s been your experience?

VILANCH: I think it’s a lot less squeamish than it was. I’m not really in the boardrooms, so I can’t really comment on that. It’s just like every place generally. We’ve become part of the mainstream. We’re probably getting very close to having a big male action or romantic star who’s gay. I don’t know who it would be. Maybe if Cheyenne Jackson got a big role or something we could test the long-held theory that they won’t buy you in a big action or romantic role if you’re gay. It’s happening more in pro sports. … Maybe someday we’ll have somebody say, “Yes, I’m James Bond. And I enjoy a good old fudgepacking.”

BLADE: Of course we have to talk about the Oscars. The host job seems notoriously brutal. The critics seem like they can’t wait to hate anybody new who tries it. Yet you always seem to come out smelling like a rose. Is it because you’re not out there on stage?

VILANCH: I’m flattered you think that but obviously you don’t read the same blogs I do. I get slammed all the time. I get slammed for Oscar shows I didn’t even write, that I had nothing to do with. People are always saying, “Why don’t they get rid of that guy?” I’m like, “Well, if you stayed to read the credits, you’d see,” but I guess nobody is awake to read the credits at 4 or 5 in the morning so I really can’t blame them. But that’s the hallmark of the Internet really. People cutting loose with ignorant opinions, so I continue to get blamed. I feel like I wake up covered in mud. Even when the show’s a hit, or I win an Emmy, people are saying, “Oh, it was boring, it was horrible.” I remember the producer of the Oscar show used to have two framed reviews on his office wall. One was a rave from the New York Times and one was a slam from the Los Angeles Times. They were as extreme as they could be and they were about the same show. So you really never win, except, I guess, when you do.

BLADE: But why are people so tough on the host? I remember watching David Letterman and Jon Stewart do it and laughing throughout the night. They may not have been the best ever, but they didn’t seem to me to be as bad as everybody thought they

VILANCH: Well, just by the sheer numbers you realize that a lot of people who watch must be unfamiliar with these hosts beforehand. Suddenly you’re up there in front of 35 million people, so everybody has an opinion. And they’re working within a certain limitation, so they can’t just do what they do on their own shows. And sometimes things play differently at home but didn’t play that well in the house. Sometimes it’s just the wrong energy. With Letterman I think it was kind of like, “OK, we don’t need TV boy here coming out and making fun of our names.” But then he used that as a running gag on his own show forever. … And a lot of these people who watch aren’t even people who go to the movies. It’s like people watching the Super Bowl who never watch football. It’s just kind of a cultural experience people feel they have to share in. It’s like the people going out on New Year’s Eve and that’s the only time they go out. So you’re not always working with the best possible audience to be honest.

BLADE: You wrote for the “Brady Bunch Hour.” Was Robert Reed out to you?

VILANCH: Oh sure. He lived with his mother but we would go out to clubs together. He was kind of into rough trade. But he was afraid to go anywhere much because he was afraid of being seen. So we would arrange to sit back in some dark corner. It was very pre-Stonewall. I mean, it wasn’t technically pre-Stonewall, but it still felt like pre-Stonewall.

BLADE: What was he like? Was he fun to hang out with?

VILANCH: Well, he was so deeply closeted it was hard to get him to let loose and just have fun. He was always very nervous about it. A lot of these people living this kind of big secret tend to be pretty tightly wound because so much is at stake. But yeah, once you broke through all that, he was fun. I was always out and I was this big flamboyant comedy type and he was comfortable with me. I kind of helped him lubricate his way so to speak (laughs).

BLADE: For all the great stuff you’ve done, you’ve also been involved in some of the most ignominious bombs in all of pop culture history with stuff like “The Brady Bunch Hour” and the “Star Wars Holiday Special.” I hope you’re not offended by this question, but did you have any sense at the time, these would attain such train wreck

VILANCH: Well, you always go into something thinking it’s a good idea but you have to remember, this was the ‘70s and so we were all a bit chemically altered at the time. You have to also realize, like with the Brady show, this type of variety show concept was still popular at the time. We didn’t realize it was breathing its last. It’s the kind of thing that could have been really terrific if any of them could sing and dance. I mean they did a little on their original show but it became clear pretty quickly when we tried this sort of hybrid thing, that it wasn’t going to work. It’s still fun to roll the dice. Now had you told me if would have become like this kind of cult thing, that would have surprised me at the time.

BLADE: Obviously when you’re writing an awards show, you have to know the material that’s nominated. How do you have time to watch whole seasons of TV shows and all the Oscar nominees?

VILANCH: Well, it’s a lot easier than it used to be because they just send you screeners now and you can sit at home. It sure beats having to go to screenings, which were horrible experiences. No popcorn. But I go to the movies anyway. To get paid for it just tickles me to no end.

BLADE: Obviously most of us are not Hollywood insiders, so something I’m always curious to ask people who are is this: Does the cream always rise or have you seen true cases of highly talented people who just never got the right break? Sometimes it feels surprising to watch some of the stuff that does get a green light.

VILANCH: Have I seen people fall through the cracks, yes I have. There’s a feeling that there’s a kind of natural selection at work and it’s survival of the fittest. You kind of have to have the right combination too. It’s not always enough to just have the talent. You have to have the talent and the ambition and the kind of personality that allows you to hang in there long enough and have a thick hide so that you can get through life with all that rejection. So yes, there have been lots of people who didn’t have just that right combination. Maybe there were too dependent on something or they just didn’t have the oomph to push themselves through. With others, the talent seems to rise briefly because they get lucky but the ones who really last really do have unbelievable stamina and manage to break through all the other stuff. It sounds terribly dry, but it’s true.

BLADE: Where do you live?

VILANCH: In West Hollywood. I was up in the Hills for 28 years, but now I have a fabulous loft right on the boulevard. I stand out on my balcony like Eva Peron for the AIDS Walk and Pride and Halloween. And now I can stagger home.

BLADE: Do you hang out at gay bars in West Hollywood?

VILANCH: Yeah, some. Usually the reason you go out to a bar is to meet people who don’t answer your job description. But now there’s Grindr and that stuff, so you don’t have to go out as much.

BLADE: Some of the stuff they try for the Oscars seems a little head scratching at times. Like one year, they handed out some categories down in the aisles. Another year they had all the nominees come up on stage. Do you have any say in those kinds of decisions?

VILANCH: Um, no. Listen, at the time that kind of stuff is usually a response to some criticism that’s come up. Like that year, somebody had said, “Gee, how can we save some time here?” All those technical awards, the people are sitting in the back and it takes them so long to get to the stage. Somebody thought maybe having some of that done in the aisle would save some time. That was the perceived solution, but then everybody thought it made them seem like second-class citizens. There’s a little bit of reinventing the wheel every year but with a lot of it, there’s not a whole lot you can do. And the networks aren’t really upset with the long running time, because that just allows them to sell more ads so even when it’s absurdly long, they’re still pretty happy. I think one year they added like three or four honorary awards and that ended up adding like 45 minutes to the show and the network said, “OK, guys, this is a little ridiculous.” But one thing that’s worked is to hand some of those technical awards out at its own separate function, then just show highlights as a clip package and that saved a lot of time. The innovation I really liked the most was when Bill Condon had previous winners come out and salute the nominees individually. Then they said, “Oh it was too long,” so they only did it in two categories the next eyar and it didn’t have the same impact at all. I thought it was a fabulous innovation but the only problem was after awhile you would run out of previous winners. You only get one each year in each category.

BLADE: Well, you could just keep having Luise Rainer (age 103) come out every year to do it, God bless her. She’s been great about coming back for the milestones.

VILANCH: Yes, wasn’t that great? And one year Olivia de Havilland flew in from Paris, that was just great too.

BLADE: What’s one thing you miss about ‘70s-era Hollywood and one thing you don’t miss?

VILANCH: Well I guess I miss the drugs. It was the ‘70s so there was all this hedonism so you had that and the porno mustaches, which I love. But on the other hand, to be honest, I don’t miss the drugs. I really don’t miss everybody being loaded all the time and they really were. It was probably the first time there was really this relentless

VILANCH: Um, no. Listen, at the time that kind of stuff is usually a desire to be young and that really hasn’t gone away but it was hysterical then when I was young. People would be wearing these flowered shirts with love beads and just trying very hard to be hip when really they were all barracudas. They did make us laugh.

BLADE: For all of us gays who love Carol, but will never get to schmooze with her, please give her our regards.

VILANCH: (laughs) OK.

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Jason DePuy on coping with homophobia in ‘Big Brother’ house

First drag queen contestant on CBS show fought to stay positive

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Jason DePuy on Big Brother (Photo courtesy of CBS Broadcasting,Inc.)

One week after Jason DePuy (known as Salina EsTitties on “RuPaul’s Drag Race”) was bullied and eventually evicted from CBS’s “Big Brother” house, the queer drag performer is still emotionally processing his feelings.

During his 24 days in the reality TV competition, DePuy often had a rough time, with fellow cast member Kamuela “Kamu” Kirk making homophobic comments and feeling isolated.

In a conversation with Head of Household Rick Devens, Kirk left viewers upset when he said, “Bro, miss me with the drag stuff. Miss me. I’m still an MMA guy, and I have an image to uphold.”

Former “Big Brother” contestant Frankie Grande called his words  ‘homophobic’ and ‘gross.’ Another comment, where Kirk said he wanted to end DePuy’s career, also received strong backlash online.

Now that he is out of the house, DePuy has been shocked and deeply touched by the love from “Big Brother” fans and former contestants. We chatted with DePuy for this Blade exclusive.

“To know that my community was rallying for me outside the house was the most wonderful thing. Seeing how much people were just wanting to shower me with love was incredible. Even my friends, I went to say hi and give them a hug, and they’re like, ‘Uh, uh, come here.’ They had to hold me and let me know America was feeling for me in a way that I had no idea.”

He added: “To see that reality was just overwhelming, and I couldn’t ask for more.”

Known as a messy player in the house, DePuy often had to fight to stay positive and stand up for himself. 

“No one was coming to my rescue. In real life, it’s easy to block people, but in the house, I didn’t have that luxury, so I had to find it within myself to learn how to speak up for myself in a way that wasn’t nasty or biting. I didn’t attack anyone personally, which is what I was the most proud of.”

DePuy acknowledged he has had a history of putting his foot in his mouth when it came to certain “Drag Race”moments, being in the public eye, and making a fool of himself. “I’ve learned my lessons; to see how I handled myself in the ‘Big Brother’ house was amazing.” 

While DePuy has been sober for 14 and a half years and has a strong spiritual foundation, in the Big Brother house, he often felt like he couldn’t communicate what he was feeling. 

“As a queer person, a person of color, a drag queen, I have to be very careful about how I move. I don’t have the luxury or privilege to just act a certain way or say a certain thing. I have to be very careful; I’m representing me. But who I am is a Latino, a person of recovery, a drag queen, a queer person in the community. I know that there’s a lot of pressure that comes with that. I felt it was safer for me to sit there and just breathe than try to do anything crazy.”

He continued: “I couldn’t speak to the personal attack that was happening in the house, because in my mind I was like, ‘no, this is a game, and I have to play it, put that aside.’”

Not only can viewers watch the episodes, but they can also watch the live feeds of what’s happening. Seeing the fans’ social media posts from people who had watched the episodes and the live feeds also contributed to DePuy realizing that his feelings of discomfort were valid.

“To know that I wasn’t delusional in those moments, that others could see what was happening, has been a lot to take in. Fans and friends let me know the comments made went beyond the game…I’m like, ‘Oh, so my instincts were correct.”

One of the most poignant moments on the live feeds occurred when DePuy was crying, alone in his room, and said how he missed his gay community.

“I really missed my friends. I missed my queer community. We’re so colorful. We’re so loud. We’re so vibrant. We speak off the cuff, and we’re very truthful and honest with how we speak, and it’s fun. We have fun lingo.”

DePuy had to censor his expressions in the house. “Because I can say one thing, but it can mean something different to straight people than it does with my queer brothers and sisters. So, there was a sense of code-switching that I had to do. I had to even put aside some of my queerness in a way sometimes to fit in.”

DePuy was thrilled to be the very first drag queen to ever be cast on the show. 

“I’m honored to have been chosen. There’s a million drag queens out there, and to know that I was a contender to come in the house and not even be in drag was like a wow for me. I’m over here in Hollywood, running around these streets with a wig and heels just to make a dollar to survive, and I have to rely on drag to do that. And then to be offered this opportunity and be given the privilege to say, ‘hey, you don’t have to put on the wig for you to be valuable here,’ is just insane to me.”

Prior to his shows, DePuy has been hustling for 15 years, flipping burgers and doing drag at night.

“That has been my life these past since I was 17. So it’s been a long journey; the opportunity to do this out of drag is a very big blessing. I’m honored and grateful to be the representation of my community.”

If you missed Jason on “Big Brother: Unlocked,” the episode can be seen on CBS.com. He will be back on the show for the finale.

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Sports

2 former NBA players launch cheap anti-trans stunt to exploit WNBA rules

Enes Kanter Freedom and Royce White are attempting to extend their finished sports careers through vague gender eligibility policy in the WNBA.

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The future of transgender participation on the basketball court could change following changes to the league's gender based eligibility policy. (Photo by yobro/Bigstock)

As transgender sports policy continues to make headlines, two former NBA players are attempting to use vague WNBA wording on players’ gender identity to extend their finished professional sports careers.

Enes Kanter Freedom and Royce White, two male former professional basketball players who have aligned themselves with the ‘far-right’ political spectrum, have announced that they plan to self-identify as transgender in order to meet the requirements to declare themselves eligible for the WNBA draft.

Freedom last played for the NBA in 2022, while White played his last professional game in 2018.

Both players have explicitly stated that this choice is an attempt to exploit the policy currently in place in the WNBA — one that assumes those who say they identify as transgender women are women — unlike what these two have done.

The WNBA’s collective bargaining agreement states that “only players who are women are eligible to play in the WNBA,” but it does not include more specific language about gender identity or sex assigned at birth, according to The Athletic, The New York Times’s sports publication.

Neither Freedom nor White has previously made any statements about being trans.

“If simply declaring who you are is all that’s required, then I meet every single requirement necessary to compete in the WNBA,” Freedom wrote on X. “Based on the current guidelines, I can and am officially declaring my eligibility for the upcoming WNBA draft in April 2027.”

Hours later, White made a similar statement to Fox News, emphasizing that this was solely an attempt to exploit the policy — an attempt at inclusion — and use it as a loophole to stay relevant in the sport he left in 2018.

“I’m transgender. I’m a woman. I identify as sometimes identifying as a woman for purpose of basketball, professional basketball, so I’ll be declaring for the WNBA draft in 2027 as well,“ White told Fox News. “I think I’d be unstoppable. But I’m a team-first guy. I’m a pass-first kind of player. I do the little things. I led my team in all five major stat categories at Iowa State University, so I do a little bit of everything. I’ll do whatever the coach needs me to do. I’ll do whatever the girls need me to do.”

White also said that he would be open to suing the WNBA if he were not allowed to be a part of the draft, while making transphobic comments about genitalia in the same breath.

“I think the WNBA could come out and make a definitive statement about guys with a pair of balls playing in the Women’s Association,“ White said, saying he doesn’t “want to be discriminated against.”

“I want fair treatment,” White continued while also using the opportunity to promote his run for the U.S. Senate seat in Minnesota. “I’m a young Black, hopefully United States Senator that would like a fair chance to participate as a sometimes-identifying-as-a-transgender-woman athlete.”

“We’re gonna have to have a huge legal battle about discrimination if I can’t play,” he added.

White has made multiple failed attempts to run for office as a Republican since leaving the NBA, with statements surrounding conspiracy theories and his support for Trump coming under fire.

He has faced court actions after falling behind on court-mandated child support payments and has faced family repercussions for his political activities.

White’s grandfather has distanced himself from White, stating: “There’s no way I can support my grandson supporting the GOP, and in essence, Trump.”

In response to Freedom’s X post and White’s announcement, the Women’s National Basketball Players’ Association, the players’ union for the WNBA, released a statement doubling down on its commitment to inclusivity in the sport.

“We embrace justice, equity, diversity, and inclusion. Those are the values that unite this Union and allow it to protect women’s sports while creating transformational change,” the statement said in a post on Instagram.

“Hate, abuse, and demonization of any person or group of people, including transgender people, only fuel fear, division, and harm. We will continue to have hard conversations,” the post continued. “But we will not be used as political pawns.”

The statement comes just days after WNBA Commissioner Cathy Engelbert sent a memo to teams attempting to address ongoing discussions around transgender athletes in women’s basketball.

“I know many of you have received questions in recent weeks regarding transgender athlete participation in women’s basketball, and I expect this topic will continue to receive significant attention,” Engelbert wrote in the memo, which was sent Friday afternoon and published in the Associated Press. “I wanted to reach out to share how we are approaching these conversations at the league office and to thank those of you who have responded to questions from the media with thoughtfulness and professionalism.”

“We recognize that this is a complex and nuanced topic, and we will continue to have important conversations with all of you and the Players Association in the weeks and months ahead,” Engelbert said. “We also plan to convene additional discussions and offer listening sessions for any team leaders who would like to participate. Your perspectives and feedback are invaluable, and I appreciate those who have already reached out to share their thoughts.”

The memo, which does not clarify whether the league’s stance on gender eligibility will change or what the ongoing conversations have looked like, comes as political figures — particularly those on the right — continue to fuel debates over transgender participation in women’s sports across the country and across sports.

Republican Florida Gov. Ron DeSantis also commented on the ongoing eligibility meetings the WNBA is holding, using the issue to criticize transgender participation in women’s sports.

“WNBA meeting to decide whether 2+2=4 or 2+2=5,” Desantis wrote on X on Saturday.

Indiana Fever player Sophie Cunningham voiced support for barring transgender girls and women from girls’ and women’s sports. Cunningham’s comments sparked small rallies and protests in Seattle and Portland when the Fever were on the road last week.

Despite the loudest voices — and those being covered by non-LGBTQ outlets — highlighting negative takes on transgender inclusion on female sports teams, multiple WNBA members have voiced their support for transgender women participating in sports.

Seattle Storm center Stefanie Dolson and Minnesota Lynx coach Cheryl Reeve have used their platforms to continue their vocal support for transgender women participating in sports.

“We need to protect trans kids,” Reeve said on Aug. 1. “To me, it’s a human rights issue. Every kid has a right to sports.”

A source familiar with the league told the Blade that the WNBA is not taking Freedom and White’s announcements seriously and is not entertaining what the source characterized as bad-faith efforts to demonize the transgender community. The source emphasized that there are no serious or immediate eligibility issues involving the two men and said their attempts to enter women’s sports do not represent an effort to protect women’s sports.

“The WNBA will not allow bad-faith publicity stunts designed to mock or demean others to dictate serious conversations about league policy,” the source told the Blade on Tuesday. “There are no immediate eligibility issues affecting the WNBA.”

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Theater

Don’t miss summer productions at Clear Space in Rehoboth Beach

‘Cher Show,’ ‘Pretty Woman’ among season’s standouts

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Abby Lynne and Caetano de Sá (Photo by Deny Howeth)

“The Cher Show” at Clear Space Theatre is wonderful. I am always amazed at the talent they attract for their summer series. Kudos to Wes Drummond, the artistic director of the theater. “The Cher Show” is written by Rick Elice. Compliments to the talented director, James FitzSimmons, who brought to life this production. His immensely talented cast includes Shannen Hofheimer as Star, Breanna Lemerise as Lady, Abby Lynne as Babe, and Anya Kay, as young Cher. Each is a pleasure to both watch and listen to. They command the stage. Then more kudos to the entire cast and ensemble. Also, the creative team, which includes among so many who make this show a hit, choreographer Shondelle Graulich; scenic designer, David Chappell; lighting designer Brendan Smith; costume designer Valerie Beardsley; and the entire orchestra led by conductor, Jerry Birl. 

But the actor who I was looking forward to seeing in the production, was a young actor I had written about, and reviewed, when I saw him at Clear Space two years ago. In this production he is Sonny Bono, and he definitely didn’t disappoint. 

Let me introduce Caetano de Sá. I have written about him before, but his resume is worth repeating. It says; Height: 5’7 ½, Eyes: Brown, Voice part: Tenor G2 – C5, Build: Athletic. All true. Then you add to this he speaks Brazilian Portuguese, is certified in stage combat by the Society of American Fight Directors, and is a 2nd Degree Black Belt in Taekwondo. Then as his resume of roles confirms, he can act, sing, and dance with the best. He does a great job as Sonny and is fun to watch on stage. Here he displays his talents as a singer and actor, and they are as good as I remembered them when I first met Caetano while he was still in school in 2024, and was starring as Frankie Valli in “Jersey Boys,” at Clear Space. At the time he was a rising senior at the Boston Conservatory at Berklee BFA Musical Theater program. I interviewed him, and Harry Sperduto, who played Tommy Devotee, after seeing them in the show, and being amazed by their talent. Since that time, I have followed their careers. When I heard Caetano was coming back to Clear Space for the summer, I reached out, and he agreed to sit down and chat, which we did. I knew Clear Space Theatre was planning a busy summer season. Their lineup of shows included “The Cher Show,” “Mean Girls,” and “Pretty Woman.” They always have talented casts, including the many college students who are getting their first chance to shine, which was the case for Caetano in 2024. Now he is back as a graduate, with more experience under his belt, a little more established. This season he was going to play Sonny in their production of “The Cher Show,” Martin/Coach Carr, in “Mean Girls,” and Mr. Hollister in “Pretty Woman,” and being a part of the ensemble. He told me he really enjoys being at Clear Space, and that his castmates are all talented. He is a lot more experienced than when he was here before, having performed in productions at the Prairie Repertory Theatre, the Emerald Coast Theatre Company, Firehouse Center for the Arts, and the Sullivan Rep, among others. In productions as diverse as “Oklahoma!,” “Mystic Pizza,” “Hairspray,” and “Rock of Ages.” He now lives in New York City and clearly New York is the perfect place for an aspiring actor. He has an agent at Bramante Artists, who is getting him gigs, like the one he had at 54 Below and even a TV commercial for AFLAC. 

“The Cher Show” is the second show I have seen at Clear Space this summer. After our chat I got one of the last tickets available that evening for “Pretty Woman.” In that production he has a smaller role, and is part of the incredibly talented ensemble. It is also an entertaining show and its very talented stars, Abby McDonough as Vivian, and Jaiden Leo Riley as Edward, are a pleasure to watch. Kudos to the talented director, Ashley Williams, and the entire creative team. 

For anyone living at the beach, or coming for a visit, I urge you to plan a night at Clear Space. You won’t regret it. But know tickets for all the shows, and Sunday evening cabaret nights, sell out fast. So, I suggest you see what’s available online and buy yours today.   

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