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W.Va. theater festival presents uncannily timed lesbian wedding cake play

No connection to the Supreme Court case, but new work tackles thorny questions

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The Cake play, gay news, Washington Blade

Director Courtney Sale (center) with CATF Founder ED HERENDEEN on the left at the first table reading of ā€˜The Cake.ā€™ (Photo by Seth Freeman; courtesy CATF)

ā€˜The Cakeā€™
 
Contemporary American Theater Festival
 
Shepherd University Frank Center
 
620 University Drive, Shepherdstown, W.Va.
 
July 7-29
 
Runs two hours
 
$32-62

A play about a Christian bakerā€™s dilemma to make a wedding cake for a same-sex couple probably sounds more tragic than funny. But Bekah Brunstetter, writer and producer of NBCā€™s hit dramady ā€œThis Is Us,ā€ has written a comedy on just this topic.

This yearā€™s Contemporary American Theater Festival (CATF) presents ā€œThe Cakeā€ ā€”Brunstetterā€™s new comedy about a Christian baker whoā€™s forced to question her fundamental beliefs. The festival runs through July 29. Shepherdstown, W.Va., a small college town, is about 72 miles from Washington. Many Washingtonians visit the festival each summer where six new plays are performed with Equity actors in rotation. Package deals are available.

Brunstetter began writing her play in 2015 after hearing about cake-based conflicts across the country and reflecting on her own upbringing in North Carolina with parents who oppose same-sex marriage. Although the play was not directly inspired by the recent Masterpiece Cakeshop Supreme Court case, the parallels are striking and the timing prescient.

Courtney Sale, the playā€™s director, recalls receiving the ruling alongside the cast during rehearsal and how ā€œheavyā€ their hearts were. She says that although neither the case nor the ruling influenced the way she directed the play, it will ā€œchange peopleā€™s experience of the play ā€” no doubt about it.ā€

ā€œWhen we go the theater, weā€™re all haunted houses, and we come in with our own meanings and questions and perspectives,ā€ Sale says. ā€œSo I think (the ruling) is going to color it.ā€

The Virginia-native has directed at CATF the past two summers and says itā€™s ā€œone of the most exciting places for new work in the American theater.ā€ So when Ed Herendeen, founder and producing director of CATF, called and invited her back for a third summer to work on ā€œThe Cake,ā€ she was ecstatic.

Sale first read the playā€™s script in February and immediately loved it, both for the writing itself and its ā€œresonance and relevance to whatā€™s happening right now.ā€

ā€œItā€™s a comedy,ā€ she says, ā€œbut itā€™s so much more than that.ā€

Sale describes how Brunstetter ā€œmasterfullyā€ creates and develops four characters who are all relatable in their own right, even Della, the Christian baker. She says this complexity makes the play thought-provoking and nuanced and less caricatured than other works. Beyond the characters themselves, Sale says the comedic nature of the play also encourages the audience to re-examine their preconceived notions and lean into their discomfort.

ā€œThe comedyā€¦ (which) is in the DNA of the writing ā€¦ helps us go deeper and talk about stuff that may be uncomfortable,ā€ Sale says.

Sale also hopes the play will remind audience members of what a productive dialogue space looks like ā€” a phenomenon, she says, that has been blaringly absent in the past couple years.

ā€œWhat I love, love, love about (the characters) that weā€™re not seeing in national dialogue is that these people stay in the room together, and they donā€™t walk away from the argument, and they donā€™t walk away from the awkward, and they donā€™t walk away from the uncomfortable, and thatā€™s where the play lives,ā€ Sale says.

Although LGBT themes are not the primary focus of Saleā€™s work, she says her lens ā€œis always about inclusivity.ā€

ā€œWhen I make a play, I think what Iā€™m trying to make is the world that we all want to live in, and one that is radical and feminist and inclusive.ā€

Sale is excited about what she and the cast have created since their first read through at the end of May and is hopeful the play will leave a lasting impact on audience members of all backgrounds.

ā€œI think people are going to be very moved and awakened.ā€

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Theater

Woman crashes ex-girlfriendā€™s wedding to a man in new play

Nonbinary playwright Bryna Turner brings ā€˜At the Weddingā€™ to Studio

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Playwright Bryna Turner (Photo by Lila Barth)

ā€˜At the Weddingā€™
Through April 21
Studio Theatre
1501 14th St., N.W.
$45-$99
Studiotheatre.org

For nonbinary playwright Bryna Turner, the way to theater was first as an actor. But as gender non-conforming, they couldnā€™t really see a future in it, so they decided to write their own plays.

ā€œAt the Wedding,ā€ Turnerā€™s play about a woman named Carlo who crashes her ex-girlfriendā€™s wedding to a man, is currently making its area debut at Studio Theatre with a production staged by out director Tom Story.  The comedy made its world premiere at LCT3 at Lincoln Center Theater and was featured in the New York Times Best of 2022 ā€œUnforgettable Theatrical Momentsā€ category. 

Brooklyn-based Turner, 33, is inspired by experience, storytelling, and language. With ā€œAt the Wedding,ā€ they humorously explore loneliness, estrangement, and a love for living.

WASHINGTON BLADE:  How do we meet Carlo? 

BRYNA TURNER: In the opening monologue, Carlo is at the kids table at a wedding reception telling them not to make her mistake. Youā€™ll fall in love but that will only break your heart. That kicks the show off and this is who weā€™re dealing with.  

BLADE: How was falling in love for you? 

TURNER: My experience when I fell in love was that I was joining the human race. But then comes heartbreakā€¦. that other thing everyone was always talking about. Poems and music took on new meaning. 

BLADE: But you can find a laugh in pain? 

TURNER: Comedic tone is important to me because thatā€™s how I view the world. I like to have a laugh when things are hard or sad. 

Also, I feel like itā€™s a way to bring people in. You relate to a character who makes you laugh. Two of my plays begin with a lesbian yelling at the audience. Itā€™s almost like crowd work.

BLADE: Were you ever hesitant about writing queer plays? 

TURNER: I was lucky at Holyoke [Mount Holyoke College where Turner was an undergrad]. Director Brooke Oā€™Hara was teaching there when I attended and she brought in some queer plays; she showed me there was a canon to join and that was exciting.

BLADE: When did you first identify as nonbinary? 

TURNER: In 2022. Iā€™d been butch-presenting for over a decade. Then during the pandemic, I began spending more time alone. When alone, you grant yourself more permission to think. 

For me, Iā€™d always wanted to be independent and not ask for anything, to be butch on my own. As nonbinary, suddenly I had to ask people to use my pronouns. Also, it granted the opportunity to allow people to surprise me in mostly positive ways.

BLADE: Was becoming a produced playwright tough?

TURNER: I wanted to be a playwright at 21 and I had a play produced when I was 27. Now, looking back, I can see it happened pretty quickly, but at the time it felt like forever.  

While doing my MFA in playwriting at Rutgers University, I was working in the box office at the Public Theater in New York where I managed to see things like ā€œFun Homeā€ and ā€œHamilton.ā€ 

If I wasnā€™t working, I was commuting to Rutgers in New Jersey, and I was always writing. I had to be diligent. Iā€™m a perfectionist, but I got things done. I wrote scenes in between waiting for customers at the box office or on the train. It took a lot of energy; drive pushes you. 

BLADE: A while before ā€œAt the Wedding,ā€ you wrote ā€œPhases of the Moonā€ about lesbian poet Elizabeth Bishop. What sparked that interest? 

TURNER: Itā€™s about her time at Vassar College when she fell in love with a woman. Itā€™s set in the 1930s but itā€™s bit anachronistic. Thereā€™s a scene with a Tegan and Sara song. 

Bishop identified as a socialist vegetarian while at one of the most expensive womenā€™s colleges during the height of the Great Depression. I thought to myself, ā€˜I know that girl, too.ā€™ I love how we can know this person across nearly 100 years.

BLADE: Can you describe your formative years? 

TURNER: I grew up the youngest of four in a small coastal town surrounded by redwoods. It was pretty rural but included an enclave of hippies. Despite being a shy kid, I developed an interest in theater. My parents were relieved. I had tried a lot of things and quickly lost interest: soccer, ballet, Tee-Ball. I remember striking out and all my family laughing. I threw down the bat and that was it. 

BLADE: Do you think about who youā€™re writing for? 

TURNER: I do. Iā€™m thinking of a queer audience, and writing things that I want to see. In doing that, Iā€™ve been happily surprised that straight people want to come along too.

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Theater

D.C.ā€™s spring theater scene offers ā€˜Macbeth,ā€™ ā€˜Peter Pan,ā€™ Sedaris and more

Queer themes well represented in seasonā€™s productions

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Out actor Adam Chanler-Berat to play Andrew the archivist in ā€˜Unknown Soldierā€™ at Arena Stage (March 29-May 5). (Photo courtesy Arena)

Thereā€™s a lot on for theater this spring. And hereā€™s a queer heavy sampling. 

If itā€™s ā€œCompanyā€ youā€™re after, try the Kennedy Center. The national tour of the Tony-winning, gender-swapped revival of out legend Stephen Sondheimā€™s hit musical withBritney Colemanas forever single Bobbie is moored to the Opera House through March 31. Kennedy-center.orgĀ 

Signature Theatre in Arlington presents ā€œPenelopeā€ (through April 21), a one-woman musical featuring out Broadway star Jessica Phillips. With glass of bourbon in hand, Penelope, the wife of Odysseus, gets a few things off her chest. Think Trojan War. Sigtheatre.org

At Studio Theatre, nonbinary playwright Bryna Turnerā€™s ā€œAt the Weddingā€ is currently making its regional debut in a production helmed by out director Tom Story. Itā€™s a queer comedy about a woman crashing her exā€™s wedding with the intention of not making a scene. Good luck with that. Out actor Holly Twyford plays Maria, mother of the bride. Studiotheatre.org

At Woolly Mammoth Theatre, Helen Hayes Award-winning actor Justin Weaks is workshopping his new play ā€œA Fine Madnessā€ (March 17-24)). The solo piece is inspired by the talented out actorā€™s 2016 HIV diagnosis and the ensuing years he spent alone and processing. (Tickets are pay what you will – starting at $5.)

Also slated for Woolly is ā€œAmm(i)goneā€ (April 20ā€“May 12). Created and performed by queer theater maker Adil Mansoor, the personal story is about inviting his Pakistani mother to translate ā€œAntigoneā€ into Urdu as means of exploring the tensions between family and faith. Woollymammoth.net

At Atlas Performing Arts Center on H Street, N.E., Mosaic Theater presents Rhiana Yazzieā€™s ā€œNancyā€ (March 30- April 21), a tale of ambition and ancestry soaked in ā€˜80s nostalgia. Staged by out director Ken-Matt Martin, the seven-person cast includes Lynn Hawley as Nancy, out actor Michael Kevin Darnall as Ronnie, and Anaseini Katoa is Esmeralda, a Navajo woman advocating for her community. Mosaictheater.org

Wolf Trap in Vienna, Va., delivers divas. Meow Meow, the post-post-modern phenom from down under, brings her globally celebrated act to the parkā€™s Barns venue on March 21. And on June 8, a single show featuring both Patti LaBelle and Gladys Knight promises to light up Wolf Trapā€™s cavernous Filene Center with legendary star power.Wolftrap.org Ā 

Arena Stage presents ā€œUnknown Solderā€ (March 29-May 5), Daniel Goldstein and Michael Friedmanā€™s sweeping musical about a woman in search of her familyā€™s past. The topnotch cast includes Lori Lee Gayer, out actor Adam Chanler-Berat, and Broadwayā€™s Judy Kuhn. Arenastage.org

At 1st Stage in Tysons, Va., wonderful out actor Michael Rusotto plays the titular sissy in Douglas Carter Beaneā€™s ā€œThe Nanceā€ (April 4-21). Set in 1930s New York, the action follows a queer burlesque actor as he navigates his way through a world where itā€™s safer to be gay onstage than off. Nick Olcott directs. 1ststage.org

Broadway at the National moves musically into spring with ā€œPeter Panā€ (April 9-21). Playwright Larissa FastHorseā€™s fresh adaptation of the eternal boyā€™s classic tale feels fresh without losing the familiar including terrific tunes like ā€œIā€™m Flying,ā€ ā€œI Gotta Crow,ā€ and ā€œI Wonā€™t Grow Up.ā€ Broadwayatthenational.com

Shakespeare Theatre Company (STC) presents ā€œMacbethā€ (April 9-May 5) starring movie star Ralph Fiennes as the Thane of Glamis, and Indira Varma as sleepwalking Lady M. Staged by STCā€™s artistic director Simon Godwin, the production wonā€™t be performed in the companyā€™s usual digs but rather a borrowed former BET soundstage (1301 W St., N.E.) where the world of the Scottish play will be created. Exciting stuff. Shakespearetheatre.org

Attention dance lovers! In Fairfax, GMU Center of the Arts presents Martha Graham Dance Company ā€” the oldest modern dance ensemble in the countryā€” for just one night (April 13) with a program that showcases the companyā€™s legacy through iconic classics and new work. Cfa.gmu.edu

Also on April 13, bestselling gay author David Sedaris brings his inimitably hilarious take on life to the Strathmore in North Bethesda. Strathmore.orgĀ 

Kennedy Centerā€™s Terrace Theater presents Opera Lafayetteā€™s modern premiere of ā€œMouret’s Les FĆŖtes de Thalieā€ (May 3 and 4), an opĆ©ra-ballet that broke with serious French operas by putting contemporary characters on stage. Renowned French conductor/musician Christophe Rousset conducts. Operalayette.org

At GALA Hispanic Theatre, itā€™s Gustavo Ott and Mariano Valeā€™s ā€œThe Return of Eva PerĆ³n: Momia en el closetā€ (May 9ā€“June 9), a dark musical comedy filled with ā€œhistorical intrigue and spine-chilling entertainment.ā€ (Performed in Spanish with English surtitles.) Galatheatre.org

This spring, Creative Cauldron in Falls Church presents Kirsten Childsā€™ new musical ā€œThe Bubbly Black Girl Sheds Her Chameleon Skinā€ (May 16-June 9), the humorous and pointed story of a seemingly confident womanā€™s journey through racism, sexism, showbiz, and finally self-acceptance. Angelisa Gilyard directs. Creativecauldron.orgĀ 

For one night only, the Alden Theatre in Mclean, Va., presents ā€œMama, Iā€™m a Big Girl Now ā€” The Three Leading Ladies of ā€˜Hairsprayā€™ā€ (Saturday, June 8) with Marissa Jaret Winokur, Kerry Butler, and Laura Bell Bundy. Broadwayā€™s original Tracy, Penny, and Amber are staging a rare reunion to celebrate the hit musicalā€™s 20th anniversary. Mcleancenter.org

And on time for Pride, the Gay Menā€™s Chorus of Washington presents what promises to be a beautifully rendered multidisciplinary event. Titled ā€œPortraitsā€ (Sunday, June 16 at Lincoln Theatre), the concert features visual art, music, and dance, representing a vibrant spectrum of sexual, gender, racial, ethnic, and cultural identities in a nine-movement commission combining the work of nine visual artists, nine composers, nine choreographers, and sung by the Chorus and featuring 17th Street Dance. Gmcw.org

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Theater

ā€˜Avaazā€™ traces journey from Iran to California

Olney production brings comedy, singing, improv, and even magic

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Michael Shayan in ā€˜Avaaz.ā€™ (Photo by Jenny Graham)

ā€˜Avaazā€™
Through April 7
Olney Theatre Center
2001 Olney-Sandy Spring Road
Olney, MD 20832
$55-$90
Olneytheatre.org

How better to understand your own motherā€™s psyche than by playing her on stage? 

In his solo show ā€œAvaaz,ā€ queer actor/writer Michael Shayan pretty much does just that. As ā€œRoyaā€ (not his motherā€™s actual name), he explores how a womanā€™s fun, larger-than-life presence might belie a deeper sadness. Itā€™s a party but not without truth and moving drama. 

And now, after a successful world premiere run in Californiaā€™s South Coast Repertory last spring, his play is at Olney Theatre Center (through April 7) before kicking off on a national tour. 

ā€œAvaaz,ā€ a Farsi word for ā€œa song as it is being sung,ā€ follows Royaā€™s journey from Tehran to what Shayan cheekily tags ā€œTehran-geles, CA, formerly known as Westwood.ā€ Itā€™s here where the courageous single mother carves out a life for herself and her closeted queer son.

Recently, via phone, Shayan offered a glimpse into his show, describing how we first meet Roya in her heavily chandeliered L.A. living room where sheā€™s marking Nowruz (Persian New Year) with a lavish party; but despite the festive atmosphere thereā€™s some detectable tension in the air.

Over 80 minutes, Royaā€™s story unfolds, alternating between dark revelations and her return to fabulous hostess mode. After all, Roya is entertaining guests ā€“ in this case itā€™s the 200 theatergoers seated in Olney Theaterā€™s intimate Mulitz-Gudelsky space. 

He adds, ā€œThereā€™s a lot going on. This show brings everything together: writing, acting, comedy, a little singing, lots of improv, and even some magic.ā€  

For Shayan, an early and ardent interest in magic set the stage for theater: ā€œAs an illusionist, I was big on the bar mitzvah circuit. With magic, youā€™re a one man show. There was acting, directing, learning about audience and theatricality. I learned a lot.ā€ 

He also did characters — Elaine Stitch, Bernadette Peters, all the divas, but other than a few snippets of her Persian accent, never his mom. 

Higher education lured Shayan eastward. A Harvard grad with an MFA in playwriting from Brooklyn College, his bio includes gigs such as Emmy-nominated writer and consulting producer on ā€œThe Book of Queerā€ for Max and worked on ā€œWeā€™re Here,ā€ the Emmy-winning Max show featuring former ā€œDrag Raceā€ contestants.

But the actual genesis of Roya, and in turn ā€œAvaaz,ā€ was sparked at a Lambda Literary Retreat. ā€œWe were doing an exercise where you put your hand on your heart and feel the heartbeat of a character. I felt my momā€™s heartbeat, and listened to what she had to say.

ā€œIā€™d always wanted to better understand my mother and had even interviewed her in the past, but it was at the Lambda retreat that a first draft really poured out. And still, more continues to be revealed about her past and our dynamic.ā€

When asked exactly how he approaches the part, Shayan, who exudes warmth and humor, replies, ā€œItā€™s about the channeling of energy and personality.ā€

Visually, heā€™s not exactly going for total realness. Shayan paints his nails but keeps his full beard. Emmy-winning costume designer Joshua “Domino” Schwartz dresses him in a golden Persian-inspired robe over pants emblazoned by a single outsized Gucci logo. Ā 

ā€œWhen I put that on, I become Roya, baby,ā€ Shayan says. ā€œItā€™s very powerful. Itā€™s a ritual. There are several pieces. My posture changes.ā€

Royaā€™s over the top dĆ©cor comes compliments of Tony Award-winning set designer Beowulf Borritt.

And because Roya leans on humor to pivot away from whatā€™s uncomfortable, Shayan indulges in a bit of standup: ā€œTony-nominated director Moritz von Stuelpnagel and I share a language ā€“ not Farsi, but humor. Recently he surprised me by singing a Persian pop song pitch perfect and almost word perfect. I call him Persian adjacent. Heā€™s a comic genius.ā€

As both performer and writer, his solo show is serving up new opportunities for the Iranian American theater maker. 

Playwright Stephen Adly Guirgis, whom Shayan describes as both an inspiration and a friend, has given him parts in several readings of some funny and moving new works. He says, ā€œIā€™d like to be acting more, but my writing career is busier than ever.ā€

These days, Shayan very happily splits time between New York and L.A., depending on when and where heā€™s needed for each of his many projects. 

There isnā€™t a lot of down time, and he couldnā€™t be happier. 

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