Arts & Entertainment
Rites of passage
Lesbian coming-of-age story moving, effective
(Image courtesy Gallery Books)
‘Teaching the Cat to Sit: A Memoir’
By Michelle Theall
Gallery Books
$24.99
288 pages
Sometimes, you feel so adrift in your rites of passage.
Unmoored, unanchored, you feel as though you ride each wave alone, emotions and events washing over you until you can’t weather the storm any longer and you need an anchor. That’s when you reach for family or God.
But what if both were denied to you? In “Teaching the Cat to Sit,” Michelle Theall shares her story of standing up instead of standing still.
Al Theall and his wife were sure their second child, born in 1966, would be a boy but — surprise! — they got another daughter. Later, they were even more astounded that their second girl was so different from the first one: unlike her older, popular, outgoing sister, Michelle grew to be athletic, bullheaded and introverted; in fact, aside from the cat, her only friend was a neighbor girl whose parents had scandalously been divorced.
Divorce, of course, was against the teachings of the Catholic Church, the religion that Theall’s mother strictly followed. She was reluctant to even let her daughter play at the Crandall’s house, but reasoned that Theall needed one friend.
That bond ended abruptly when the girl’s father molested Theall.
In high school, Theall had an Evangelical Christian friend, but the girl’s mother thought Theall was a lesbian, and put an end to the relationship. That hurt, because Theall herself didn’t yet realize her sexuality.
After a sweet and almost-accidental love affair with another woman while at college, Theall examined her sexual preferences and felt deeply ashamed. Catholicism taught that being gay was a sin against God. Her parents would not accept her as a lesbian. She tried to be heterosexual, but that wasn’t who she was. So upon graduation from Texas Tech, she moved to Colorado where she chose long-term celibacy and started re-building a relationship with her parents.
Then, after a surprising (and awkward) introduction, Theall fell in love. When she and Jill started their family, she fell in love again with a baby who’d had a rough start in life. They’d hoped to raise their child in Theall’s Catholic faith.
But the church wasn’t having it.
Despite its inherent sadness, “Teaching” is hard to put down because author Michelle Theall is a first-rate storyteller and knows how to keep a reader wanting more. Half of it is about her battle with the Catholic Church for recognition of her partner and their son and, eventually, their search for an acceptable (and accepting) religion. The other half is the memoir of her tumultuous relationship with her parents and her journey to understanding, both of them and herself.
The book works because of its deliberateness and its ultimately empowering message of truth to self. For that, and for the great biography it is, “Teaching the Cat to Sit” is a must-read, especially for those who can relate.
Team DC, the umbrella organization for LGBTQ-friendly sports teams and leagues in the D.C. area, held its annual Night of Champions Awards Gala on Saturday, April 20 at the Hilton National Mall. The organization gave out scholarships to area LGBTQ student athletes as well as awards to the Different Drummers, Kelly Laczko of Duplex Diner, Stacy Smith of the Edmund Burke School, Bryan Frank of Triout, JC Adams of DCG Basketball and the DC Gay Flag Football League.
(Washington Blade photos by Michael Key)
The 2024 National Cannabis Festival was held at the Fields at RFK Stadium on April 19-20.
(Washington Blade photos by Michael Key)
Covering the @NatlCannaFest at RFK Stadium for @WashBlade . Stop by the LGBTQ+ booth and pick up a paper if you are here. pic.twitter.com/is7hnsaPns
— Michael Patrick Key (@MichaelKeyWB) April 20, 2024
Theater
‘Amm(i)gone’ explores family, queerness, and faith
A ‘fully autobiographical’ work from out artist Adil Mansoor
‘Amm(i)gone’
Thorough May 12
Woolly Mammoth Theatre
641 D St., N.W.
$60-$70
Woollymammoth.net
“Fully and utterly autobiographical.” That’s how Adil Mansoor describes “Amm(i)gone,” his one-man work currently playing at Woolly Mammoth Theatre.
Both created and performed by out artist Mansoor, it’s his story about inviting his Pakistani mother to translate Sophocles’s Greek tragedy “Antigone” into Urdu. Throughout the journey, there’s an exploration of family, queerness, and faith,as well as references to teachings from the Quran, and audio conversations with his Muslim mother.
Mansoor, 38, grew up in the suburbs of Chicago and is now based in Pittsburgh where he’s a busy theater maker. He’s also the founding member of Pittsburgh’s Hatch Arts Collective and the former artistic director of Dreams of Hope, an LGBTQ youth arts organization.
WASHINGTON BLADE: What spurred you to create “Amm(i)gone”?
ADIL MANSOOR: I was reading a translation of “Antigone” a few years back and found myself emotionally overwhelmed. A Theban princess buries her brother knowing it will cost her, her own life. It’s about a person for whom all aspirations are in the afterlife. And what does that do to the living when all of your hopes and dreams have to be reserved for the afterlife?
I found grant funding to pay my mom to do the translation. I wanted to engage in learning. I wanted to share theater but especially this ancient tragedy. My mother appreciated the characters were struggling between loving one another and their beliefs.
BLADE: Are you more director than actor?
MANSOOR: I’m primarily a director with an MFA in directing from Carnegie Mellon. I wrote, directed, and performed in this show, and had been working on it for four years. I’ve done different versions including Zoom. Woolly’s is a new production with the same team who’ve been involved since the beginning.
I love solo performance. I’ve produced and now teach solo performance and believe in its power. And I definitely lean toward “performance” and I haven’t “acted” since I was in college. I feel good on stage. I was a tour guide and do a lot of public speaking. I enjoy the attention.
BLADE: Describe your mom.
MANSOOR: My mom is a wonderfully devout Muslim, single mother, social worker who discovered my queerness on Google. And she prays for me.
She and I are similar, the way we look at things, the way we laugh. But different too. And those are among the questions I ask in this show. Our relationship is both beautiful and complicated.
BLADE: So, you weren’t exactly hiding your sexuality?
MANSOOR: In my mid-20s, I took time to talk with friends about our being queer with relation to our careers. My sexuality is essential to the work. As the artistic director at Dreams of Hope, part of the work was to model what it means to be public. If I’m in a room with queer and trans teenagers, part of what I’m doing is modeling queer adulthood. The way they see me in the world is part of what I’m putting out there. And I want that to be expansive and full.
So much of my work involves fundraising and being a face in schools. Being out is about making safe space for queer young folks.
BLADE: Have you encountered much Islamophobia?
MANSOOR: When 9/11 happened, I was a sophomore in high school, so yes. I faced a lot then and now. I’ve been egged on the street in the last four months. I see it in the classroom. It shows up in all sorts of ways.
BLADE: What prompted you to lead your creative life in Pittsburgh?
MANSOOR: I’ve been here for 14 years. I breathe with ease in Pittsburgh. The hills and the valleys and the rust of the city do something to me. It’s beautiful, it’ affordable, and there is support for local artists. There’s a lot of opportunity.
Still, the plan was to move to New York in September of 2020 but that was cancelled. Then the pandemic showed me that I could live in Pittsburgh and still have a nationally viable career.
BLADE: What are you trying to achieve with “Amm(i)gone”?
MANSOOR: What I’m sharing in the show is so very specific but I hear people from other backgrounds say I totally see my mom in that. My partner is Catholic and we share so much in relation to this.
I hope the work is embracing the fullness of queerness and how means so many things. And I hope the show makes audiences want to call their parents or squeeze their partners.
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‘Amm(i)gone’ explores family, queerness, and faith
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