Contemporary American Theater Festival
Through Aug. 3
Shepherdstown, W.Va.
Catf.org

As a queer Latino freelance costume designer, Christopher Vergara’s work has taken him from Broadway to a multitude of regional outposts and companies worldwide. Over the last decade, he’s lent his prodigious talents to theater, opera, TV, and film, and beyond. 

Currently the native New Yorker is costuming playwright Mark St. Germain’s new two-hander “Magdalene,” now making its world premiere at the annual Contemporary American Theater Festival (CATF) at Shepherd University in historic, queer-friendly Shepherdstown, W.Va. (just a 90-minute drive from D.C.). 

“Magdalene”is the story of Peter reconnecting with the banished Mary Magdalene and discussing their widely divergent memories of Christ. At 90 minutes without costume changes, it may not sound like a big job, but Vergara applies his usual meticulous consideration.  

“It’s not the Bible pageant you might see at church,” he says. As a costume designer, Vergara approaches all new works by delving deep into the script with collaborators. 

“I like to do what I call a visual dramaturgy, to read the script and take it in aiming to arrive at a sort of truth, not necessarily historically accurate. 

“Without being period, I get to what their world was like in some way. And because the play’s conversation is contemporary, I’m inspired by both old and new lines and fabrics. It’s speaking to us now but set in a different time.” 

Born and raised in New York, Vergara learned to sew at the side of his Panamanian grandmother. “Growing up I was enthralled. She had an amazing Singer machine that could sew through steel. But it was always a covert thing. Boys shouldn’t be sewing.”

He put his skills to use at Valparaiso University in Indiana where while majoring in music he found a well-paying and flexible job in the costume shop. After graduation he returned to New York and entered a Juilliard apprentice program concentrating on a costume track and a busy career has ensued. His vast résumé includes Broadway shows like “Here Lies Love” and the revival of “The Color Purple”among numerous others; he was associate designer for a production of “Ben-Hur” in Rome that featured a cast of more than 200 with 1,000 costumes.

Vergara is enjoying his introduction to CATF. “Initially I was feeling a little apprehensive. I’d never been to West Virginia before, but when I saw all the Pride flags lining the main street in Shepherdstown, any misgivings were dispelled,” he says. 

CATF also presents “Happy Fall: A Queer Stunt Spectacular” by Lisa Sanaye Dring with Rogue Artists Ensemble. Based on true life events, it’s the story of queer Hollywood stuntmen navigating the dangers of exposing their love. Living up to the “spectacular” bit in the title, the guys’ story is told through video, puppetry, illusions, and live stunts.

The playwright says “I’m queer so I’m interested in queerness, and I’ve also been interested in masculinity for some time. I lived in LA for 10 years so the play is a love letter to Hollywood and the weirdness of the industry.”

Also, of interest to Sanaye Dring is the interracial and intergenerational relationship at the play’s center: Clay is a white man in his late 40s and Felix is mid-20s and Asian (played Aubrey Deeker and Glenn Morizio, respectively). 

Her transition from actor (including commercials and some TV) to playwright can be traced back to her one-woman show titled “Death Play,” a work spurred by the passing of her parents and grandmother. “It wasn’t easy. I hadn’t anticipated just how emotionally difficult that five-week run would be. It was after that when people started asking me to write plays and direct.”

CATF Artistic Director Peggy McKowen describes this year’s festival as being “about understanding the things that make us unique, but also the things that make us similar,” adding that it also explores “questioning who are as people and how we fit into our community.” 

Here are the other new works in the festival’s exciting lineup. 

West Virginia-born playwright Cody LeRoy Wilson’s “Did My Grandfather Kill My Grandfather?”It recounts the unlikely journey of his blended family from Vietnam to Plum Run, W. Va. 

In “Kevin Kling: Unraveled” NPR commentator Kevin Kling tells the story of finding his way as a disabled artist. With humor, he reflects the life challenges he has surmounted, including a congenital birth disorder and partial paralysis from a near-fatal motorcycle accident. 

And finally, playwright Lisa Loomer’s “Side Effects May Include…,” a work that takes audiences on a frightening and complex trip into the world of psychiatry as a mother tries to help her son on his journey to wellness. 

CATF runs through Aug. 3 in three varied venues on the Shepherd University campus: Frank Center, Marinoff Theater, and Studio 112. 

‘A Wrinkle in Time’
Through July 20
Arena Stage
1101 Sixth St., S.W.
Tickets range from $59-$209
Arenastage.org

Currently at Arena Stage, talented out actor and singer Taylor Iman Jones is rekindling an old friendship with an adored character of fiction. 

Broadway vet Jones is starring as 13-year-old Meg Murry in “A Wrinkle in Time,” the world-premiere musical adaptation of Madeleine L’Engle’s same-titled book. 

For many readers, especially women, the classic 1962 young adult novel, was their first foray into sci-fi, particularly one with a female protagonist.

The story centers on Meg, an awkward schoolgirl whose physicist father has mysteriously disappeared. Now, Meg, her popular friend Calvin, and smart younger brother Charles Wallace are tasked with moving through time and space to find him. Along the way they encounter adventure and evil.

For Jones, 33, playing 13-year-old Meg feels freeing in ways. She says, “As you get older, you’re told to grow up, so I like letting go of some of that. To feel feelings in their rawest form and to tap back into that is fun. I like the spontaneity. There are highs and lows to revisit.”

Born and raised in the San Francisco Bay Area, Jones began piano lessons at just six and soon added band and plays to their pursuits. Following high school, she made a deep dive into California theater for seven years before making the big move to New York in 2017 where after just two months she was singing on Broadway. 

The determined and appealing Jones, who lives in New York with their partner, boasts an impressive bio. She has appeared on Broadway as Catherine Parr, Henry VIII’s sixth and final wife in Six, and in the original casts of “Head Over Heels” and “Groundhog Day.” She’s been seen in national tours of “Hamilton” and “American Idiot.”

WASHINGTON BLADE: It seems “A Wrinkle in Time” and Meg mean a lot to a lot of people. 

TAYLOR IMAN JONES: The book tells the story of a girl with so much undiscovered power who’s accomplishing things she never imagined that she could. 

BLADE: Can you relate?

JONES: Meg wears her emotions on her sleeve. I can certainly relate to that. I’m a Pisces. Sometimes being hyperemotional and very empathetic can feel like a burden, but as I’ve matured, I have realized that it’s not a bad quality. And it’s something I’ve learned to harness and to enjoy. I love that I can play a role like Meg in front of thousands of people.

BLADE: Was “Wrinkle in Time” a book you knew well?

JONES: Oh yeah, it’s a favorite book that lives in my heart and my mind. It’s one of the first books that taught me about the adventure of reading.

BLADE: And playing a favorite character must be a kick.

JONES: It really is. 

BLADE: Meg is a big part in a big show.  

JONES: This musical is huge. They’re traveling through space and meeting people on different planets. 20-person cast. 30 songs in the show. Quite the undertaking and I’m proud of us. I’m on stage for the entire musical and I sing four or five numbers. 

As a mezzo soprano I guess you’d say I have the luxury of being able to do a lot of musicals that span a lot of different genres: rock musical, pop musical, and standards. “A Wrinkle in Time” is contemporary musical theater. 

For me, singing is probably the least difficult part of the show. What’s harder for me is the way Meg experiences trauma; I need to be careful when I’m screaming and yelling.

BLADE: It seems mostly women have been involved in making this production happen (book by Lauren Yee; music and lyrics by Heather Christian; directed by Lee Sunday Evans; and choreography by Ani Taj.)

JONES: It’s true, the director, writer, etc., and most of our producers are all women. This doesn’t happen most of the time. For me it means new ideas and fresh energy, and pushing the limits of musical theater. 

It’s also created a wonderful space in which to work. It can be more generous, and understanding. And centering the story on a young girl is something we can all relate to. 

BLADE: Will “A Wrinkle in Time” resonate with queer theatergoers and their families?

JONES: I think so, especially on the heels of pride month. It’s truly a show for all ages about finding your inner strength and fighting for the things that you love; not letting evil win over the power of good, and not just for yourself but for those around you too.

‘Andy Warhol in Iran’
Through July 6
Mosaic Theater Company at Atlas Performing Arts Center
1333 H St., N.E., WDC
$70
Mosaictheater.org

Behind the blasé veneer, Andy Warhol was more curious than people knew. Particularly when it came to money. He kept a close eye on how the ultra-rich lived, what fellow artists were being paid and who was paying them, and, of course, all the new and more saleable ways of making and selling art.  

In playwright Brent Askari’s “Andy Warhol in Iran,” now playing at Mosaic Theater Company, Warhol (Alex Mills) is brought outside of his usual area of interest when he lands face to face with a young revolutionary. While Warhol could be artistically revolutionary, he didn’t connect with the idea of forgoing the pursuit of money and fame for the infinitely more difficult task of achieving social justice.

The 90-minute play is not fully factual, but rather inspired by Warhol’s real life 1976 trip to Tehran to make portraits of the royal Pahlavi family in the waning days of their reign, with a focus on Farah Diba, the Shah’s elegant wife and Iran’s last empress. 

The action unfolds in a Tehran hotel suite boasting a glorious view of the snowcapped Alborz Mountains not far from Iran’s vibrant and bustling capital. It’s here, disguised as room service, that Farhad (played by Nathan Mohebbi) gains entrance to Warhol’s rooms, seeking to kidnap the pop art star to garner attention for the university students’ movement. 

Warhol meets the armed intruder with a sort of wide-eyed wonderment, flummoxed why he has been selected for abduction. Warhol can’t understand why a young man like Farhad wouldn’t prefer to be paid a big ransom on the spot, or be cast as a star in one of the Warhol Factory flicks. 

When Farhad replies it’s because Warhol is the most decadent artist in the world, Warhol mistakenly takes it for the ultimate compliment. After all, his biggest successes had been connected to celebrity and consumerism (think Campbell’s Soup Cans. 1962).  

For Warhol, decadence is aspirational. He made portraits of financiers, movie stars, and jet setters. In fact, he’d been obsessed with the lives of the rich and famous since he was a small kid in Pittsburgh thumbing through Photoplay Magazine while bed bound with Saint Vitus Dance. 

Accompanying Warhol to Tehran (unseen) are his business manager Fred Hughes, and Bob Colacello, editor of Interview magazine. Together, they make a merry trio of gay social climbers. These kinds of trips were a boon to the artist. Not only did they solidify a new strata of high society contacts, but were also superbly lucrative, thickly padding the painter’s pockets. 

While in Iran, Warhol wanted only to view Farah’s vast world-class collection of jewels, sample the caviar on tap, and get his Polaroids. Then he’d fly first class back to New York and transfer the images to silk screen and sell the portraits to the Persian royals at a hefty price. He didn’t foresee any obstacles along the way. 

Serge Seiden’s direction is spot on. He’s rendered a wonderfully even two-hander with a pair of terrifically cast actors. And Seiden plumbs the piece for humor mostly drawn from the absurdity of the situation without missing any of the serious bits.  

As Warhol, out actor Mills is instantly recognizable as the eccentric artist. He’s wearing the button-down shirt, jeans, blazer, glasses, and, of course the famed shock of white hair wig (here a little more Karen than Andy). His portrayal is better than an imitation. He gives a bit of the fey and confused, but has also infuses him with a certain dynamism. 

The energy works well with the intensity of Mohebbi’s would-be kidnapper Farhad. And while it isn’t a romance, it’s not impossible to think that Warhol might fall for a handsome male captor.  

The connection between art and politics is almost always interesting; and though not a super deep dive into the era or the life of an artist, “Andy Warhol in Iran” is a compelling, charming, and sometimes funny glimpse into that intersection.