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STAYCATION: Treasures from the stage

Fringe shows, Signature’s cabaret series and more pack summer season

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Susan Lynskey and James Konicek in ‘THE BFG’ at Imagination Stage. (Photo by Margot Schulman)

Susan Lynskey and James Konicek in ‘THE BFG’ at Imagination Stage. (Photo by Margot Schulman)

No one ever said a staycation has to be without adventure, so why not include some theater in your plans? Theater is transporting, delivering you to far off places and unfamiliar situations. And the trip is easy. You can be at home sleeping in your own bed by 11 — even earlier if you attend a matinee. This summer’s selection is huge. Here are a few choices.

Studio 2ndStage is presenting “Carrie The Musical” (through Aug. 3) based on the Stephen King novel about a high school outcast who unleashes her telekinetic powers on the student body. They’re not going to laugh at her anymore. The best-selling book was adapted to the screen in ’76 as the hit horror flick starring Sissy Spacek in the title role. The musical opened on Broadway in 1988 to dismal reviews, but the 2012 off-Broadway revival was a stunning success. Its score by Dean Pitchford (lyrics) and Michael Gore (music) includes nicely named tunes like “And Eve Was Weak” and “The Destruction.”

2ndStage’s production co-directed by Keith Alan Baker and Jacob Janssen features Emily Zickler as Carrie White and Broadway’s Barbara Walsh as Carrie’s possessive, religious fanatic mother. Walsh was terrific as Little Edie in Studio Theatre’s production of “Grey Gardens” in 2008.

With well over a hundred shows in about a dozen local venues, Capital Fringe Festival 2014 (July 10-27) will definitely add variety to your D.C. summer staycation. On stage options (theater, music, dance, puppetry, etc.) run the gamut from inspiringly risky to not so great. The fun lies in ferreting out the gems.

Offerings include works of special interest to LGBT theatergoers including “A Lesbian Belle Tells!” written and presented by out performer Elizabeth McCain. In her solo show, McCain gives her take on eccentric southern relatives and coming out both in D.C. and at a family funeral.

In Larry E. Blossom’s “As We Are” presented by Out-Side the Box Theatre, three siblings confront memories about a gay bashing incident that has haunted them for years. Christopher Henley and his husband Jay Hardee co-direct “Dracula. A Love Story,” a contemporary retelling of the vampire story. And in Patrick DiBattista and Elizabeth Laffoon’s comedy “Love Song to Miss Kitty,” a strapping villain tries to steal a gay country western bar from an old lesbian couple so he can turn it into a dance boutique.

Looking for highbrow entertainment at no cost? For its annual Free For All, the Shakespeare Theatre Company is presenting a remount of Rebecca Taichman’s production of Shakespeare’s late romantic saga, “The Winter’s Tale” (August 19-31). A Washington tradition for 22 years, Free For All offers free tickets to the general public to experience Shakespeare in the sticky late summer. Performances once took place under the stars (weather permitting) at Carter Barron Amphitheater, but in recent years they’ve mercifully been moved indoors to the comfort of STC’s Sidney Harman Hall.

Spending your staycation with wee ones? Try the musical “Pinkalicious,” (thru Aug. 31) at the Adventure Theatre Musical Theater Center in Glen Echo Park. Siblings Pinkalicious and Peter Pinkerton (played by Carolyn Agan and John Sygar) love all things pink. Sadly Peter is denied pink outfits and toys because their father thinks it’s too girly. But Pinkalicious has no such restrictions. After binging on pink cupcakes she comes down with a case of pinkitis turning her skin — what else? — bright pink. The cure is to eat greens. Adventure Theater’s leafy Glen Echo location makes a nice staycation destination. After the show, you and the kids can enjoy ice cream and a ride on the park’s historic carousel.

Bethesda’s Imagination Stage is presenting “The BFG” (through Aug. 10). Based on the book by Roald Dahl, it’s the England-set tale of a little orphan girl who befriends a big friendly giant. The production uses outsized stage puppets, masks and imaginative projections and animation.

The Lion King” is parked at the Kennedy Center Opera House though Aug. 17. It’s the national tour of Julie Taymor’s celebrated Broadway production featuring an excellent cast, magnificent puppetry and uplifting score by Elton John and Tim Rice. Tickets aren’t cheap, but it’s a memorable theater experience for the family.

During staycation why not add music to your life? Through July 26, Shirlington’s Signature Theatre  presents its annual “Sizzlin’ Summer Nights Series.” (Sizzlin’ describes the performers, not Signature’s well air-conditioned venue). The series is two-and-a-half weeks of 17 one-night cabarets performed by an exciting and eclectic mix of D.C. and New York faces.

Many of those featured are out performers including leading man Will Gartshore; Broadway’s “Tarzan” Nicholas Rodriguez; Jeffrey Johnson as his leggy, space age alter ego “Galactica,” singer-songwriter Tom Goss (“Lover,” “Bears” and “Make Believe,”); Helen Hayes Award-winner Bobby Smith; and Stephen Gregory Smith who’s slated to perform a fun salute to TV theme songs.

The Gay Men’s Chorus of Washington will perform “Like a Virgin,” sharing first-time experiences (ranging from funny to poignant) through story and song.

The series ends with “Revenge of the Understudies.” It’s time for those would be stars in the wings — Signature understudies from this year’s season — to step into the spotlight and sing their hearts out.

 

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PHOTOS: Night of Champions

Team DC holds annual awards gala

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Team DC President Miguel Ayala speaks at the 2024 Night of Champions Awards on Saturday. (Washington Blade photo by Michael Key)

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)

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PHOTOS: National Cannabis Festival

Annual event draws thousands to RFK

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Growers show their strains at The National Cannabis Festival on Saturday. (Washington Blade photo 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)

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Theater

‘Amm(i)gone’ explores family, queerness, and faith

A ‘fully autobiographical’ work from out artist Adil Mansoor

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Adil Mansoor in ‘Amm(i)gone’ at Woolly Mammoth Theatre. (Photo by Kitoko Chargois)

‘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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