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Fierstein fired up for ‘Fiddler’

Anyone who tells me that I can’t play a part, I tell them ‘f-you’

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Susan Cella (Golde) and Harvey Fierstein (Tevye) star in the National Theatre’s “Fiddler on the Roof.’ (Photo by Joan Marcus; courtesy of National Theatre)

If you missed him on Broadway, now’s your chance to see gay icon Harvey Fierstein in “Fiddler on the Roof.” Once again, Fierstein has grown out his grey beard and picked up his pail to play Tevye the milkman in the North American tour of the much-loved musical (at National Theatre through May 2).

Based on stories by Shalom Aleichem, “Fiddler” is the tale of religious Jew Tevye, his wife Golde, and their five daughters, grappling with family, tradition and hard times in Tsarist Russia. Tony Award-winning Fierstein brings humor, pathos and political edge to the legendary role: “It’s wonderful entertainment and means a lot to a lot of people including my family,” he explains. “But it’s important to remember that behind the familiar songs are some serious, relevant issues like ethnic cleansing. I keep that in mind.”

All good interviews require preparation. But when it comes to Fierstein, rules don’t apply. In his unmistakably gravelly voice, Fierstein says what needs to be said, scarcely pausing for a breath: “While many actors have played Tevye, the interpretation of the role hadn’t changed much since the show’s debut in 1964,” he explains. “Through the course of the show, I move Tevye away from the fundamentalist we meet when the curtain comes up. As he gets closer to leaving his little village for America, he becomes more open to the world. It’s good change. Fundamentalism is death.”

When it was announced that Fierstein would be replacing Alfred Molina as Tevye the milkman in the Broadway revival of “Fiddler on the Roof” in 2005, some skeptics were unsure about his taking on the role. How could the guy who’d recently won a Tony for his star turn as plus-sized, Baltimore housewife Edna Turnblad in the musical “Hairspray,” pull off an Orthodox Jewish patriarch living on the shtetl? The always direct Fierstein was, not surprisingly, undeterred: “Anyone who tells me that I can’t play a part, I tell them f-you.”

“Tevye is one of the seminal roles in the musical theater canon — he’s the male equivalent to Gypsy’s Mama Rose,” notes Fierstein, 57. “Before agreeing to take the part, I consulted a friend who advised, ‘You can either play Tevye, or spend the rest of your life telling everyone that you were once offered the part, but passed on it.’ Of course, I had to accept.”

Fierstein’s only trepidation was that “Fiddler’s” composers — Jerry Bock and Sheldon Harnick — might not approve of him singing their songs. In true bravura fashion, Fierstein arranged to sing the show’s entire score (including “Tradition,” “If I Were a Rich Man,” and “Do You Love Me?”) for the “boys,” as he endearingly calls the musical team. The boys liked what they heard and Fierstein never looked back. He famously tackled Tevye, bringing his colossal presence to the part and earning some darn good reviews in the process.

Born in Brooklyn, Fierstein made his acting debut in Andy Warhol’s only play, “Pork,” and rose to fame in 1982 with his semi-autobiographical work “Torch Song Trilogy” in which he played Arnold, a torch song Jewish drag queen in search of love and family. He also, among other things, wrote the libretto for the mega-successful musical “La Cage aux Folles.”

Despite being busy with other projects, Fierstein jumped at the opportunity to join the North American tour last October and reprise his performance. “What can I say? It’s a great part, and I’m enjoying touring with a big cast. I’d never done that before.”

What’s up next for the remarkable Fierstein? At the time of this interview, the “Fiddler” tour was on a three-week break prior to opening in D.C. Instead of resting at his home in Connecticut, Fierstein was working in New York City putting finishing touches on a Broadway revival of “La Cage” opening this month. He’s also currently working on the book for stage adaptation of Disney’s “Newsies,” and collaborating with Cyndi Lauper on an as yet undisclosed musical theater project. “I’m a longtime fan of Cyndi’s but never did I know she could morph into a Broadway composer. Believe me,” Fierstein loudly assures, “people are going to be bowled over.”

‘Fiddler on the Roof’
Through May 2
National Theatre
1321 Pennsylvania Ave, N.W.
Tickets start at $51.50
800-447-4700
nationaltheatre.org

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Theater

Second City brings ‘Dance Like There’s Black People Watching’ to D.C.

‘The full spectrum of Blackness and queerness represented’

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Breon Arzell (Photo by Ian McClaren)

‘Dance Like There’s Black People Watching’
Through Dec. 22
Woolly Mammoth Theatre Company
641 D St., N.W.
$40 – $83
woollymammoth.net

The Second City, Chicago’s famed improv proving ground, makes a timely return to Woolly Mammoth with “Dance Like There’s Black People Watching,” a humor-loaded and sharp show especially tailored to D.C. 

Breon Arzell who’s Black and gay, has been a part of Second City and “Dance Like There’s Black People Watching” since 2022, first as choreographer and now as both cast member and choreographer. He says although the show is highlighting Black culture, it’s geared for everyone. In short, “if you don’t know about [Black culture], learn about it; and if you’re a part of it, come celebrate with us.” 

He adds, “There are some things Black audiences will instantly get and appreciate more. But there’s something for everyone to enjoy. It’s rooted in joy and comedy.” 

Performed by six talented and versatile Black actors, the show consists of sketches derived from improvisation, audience participation improv, monologues, songs, and rap solos. 

As the title suggests, Arzell’s choreography is a vital part of what’s happening on stage, too. The dance (inspired by TV’s “In Living Color” and its unforgettable Fly Girls) peppers the show’s 90 minutes with bursts of backup and transitional moves. 

“Dance Like There’s Black People Watching” was created and premiered in Chicago, and it was “very Chicago,” says Arzell, adding “there were some references that wouldn’t have worked here, so we slotted in some D.C. specific things including political references and there’s a cast member [Julius Shanks II] who’s currently in his senior year at Howard University. He shouts out the school.” 

It’s opening in D.C. at an undeniably hot time, and there’s no guarantee that election results will be settled anytime soon. Arzell says, “We know nothing will be wrapped up neatly with a bow. We have contingency plans depending on how things go and how that might play into the material.” 

Any queer aspects to the show? “Oh, it’s so gay in a lot of ways,” he says without hesitation. “I don’t shy away from queerness at all and I make sure it’s infused in my character work.”

For instance, during songs he changes lyrics, mostly pronouns, and intention. Also, his costuming is gender fluid and close to his preferred real life masc-femme style. 

And his funniest bit? He says it’s his praise dance, “a good old Black church moment. It’s very fun, comes out of nowhere, and audiences love it.”

While based in the Windy City, Arzell, 41, is no stranger to Woolly Mammoth. In both 2022 and 2023, he memorably acted in “Ain’t No Mo’” and “Incendiary,” respectively. 

“I’m an actor first and foremost,” he says. “I was a theater major in college [Miami University in Oxford, Ohio] but choreography sort of just happened to me. I’ve always had an affinity for movement. As a kid growing up in Detroit, it was me dancing in front of the TV doing a little show for company. I was that little chubby Black kid. 

Watching videos when MTV actually was music television, he learned to dance and developed a vision. Now with regard to professional employment, choreography is on par with acting. His “absolute jam” is acting in a show that he’s also choreographed. 

Beyond the comedy and the fun, says Arzell, are the perspective and inclusiveness that come with the work and its troupe of players. 

“As Black people we’re not a monolith; there’s not a specific way to operate as a Black person in this world. And the same goes for queer people. 

“At Woolly, you’ll see the full spectrum of Blackness and queerness represented.”

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Signature’s fresh take on classic ‘Forum’

Actor Mike Millan says ‘it’s like a new work in many ways’

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‘A Funny Thing Happened on the Way to the Forum’
Through Jan. 12
Signature Theatre
4200 Campbell Ave.
Arlington, Va.
$40-$126
sigtheatre.org

For out actor Mike Millan, Signature Theatre’s production of “A Funny Thing Happened on the Way to the Forum,” couldn’t feel fresher. 

Set in ancient Rome, the 62-year-old Tony-winning hit (music with lyrics by Stephen Sondheim and book by Burt Shevelove and Larry Gelbart) borrows from Roman comedy, farce, and a dash of bawdy vaudeville to the tales of slaves, soldiers, courtesans, and a lovesick young man. 

Millan plays Hysterium, a nervous slave in the House of Senex, whose tagline reads “I live to grovel.”

“I’ve never done ‘Forum,’ so to me it’s like a new work in many ways,” he says. “And because it’s older and has a classic musical point of view and we’re doing it now, it’s as if we’ve been given a lovely opportunity to make it our own.” 

And indeed, they are doing just that. Directed and choreographed by Matthew Gardiner, the Signature production is introducing new bits and playing with gender: the central character Pseudolus, a sly slave role created by Zero Mostel, is played by Erin Weaver; Erronius is played by Sherri Edelen in drag; and two male actors and one nonbinary actor play courtesans.

Though Millan, 35, is based with his partner in Los Angeles, he regularly travels to New York and is pleased to make Signature in Shirlington an additional destination on his bicoastal work journey. Recently, the affable actor took time to talk about Signature and “Forum.” 

WASHINGTON BLADE: A little about the brilliantly named Hysterium, please. 

MIKE MILLAN: As a gay actor, I can say that Hysterium is one of the gayer characters I’ve ever played. He’s a sort of fop and he’s in drag most of the second act. How can you not see him as a queer character?” 

When the part was written it was sort of gay coded and now it’s just abundantly clear, you don’t think twice about it. 

BLADE: “Forum” is unapologetically fun. Is now the right time for a romp? 

MILLAN: The show comes with a level of escapism that is really infectious. During these tense times, it feels great to be doing a silly musical. We’re doing fart jokes in tunics, and the material and jokes really hold up. You’ll feel better leaving than when you came in.

BLADE: All that and a Sondheim score too? 

MILLAN: He’s the reason I’m here. In high school, I discovered his “Into the Woods” and remember locking myself in my room until I knew every word to “Giants in the Sky.” 

“Passion,” “Follies,” I love it all. He’s so singular because he writes from a perspective of acting and storytelling; Sondheim touches me in a way that feels quasi-religious. 

When I think about the number of times I sang “Last Midnight” alone in my car, it fills me with a joy that I’ve never gotten from any other composer or jukebox musical.

BLADE:  In 2022, you played Idina Menzel super fan Jeff in “Which Way to the Stage” at Signature. Are you glad to be back? 

MILLAN: Yes, I’m happy to be employed. It’s a tough business. Not only are we asked to be great singers, dancers, actors, and performers but we’re asked to have a social media presence and to be the most popular kid in school. 

Signature provides a safe environment to try something new and different, to experiment with a community that respects doing that. Also at Signature, it never feels like any audience members are being dragged by their partners to see a show. It’s a supportive community. 

BLADE: Speaking of partners, do you miss being away from home?

MILLAN: Sometime it’s nice to have that time away from each other; it builds a little mystery.

BLADE: Will your performance change between now and January?

MILLAN: In recent years, I’ve changed my acting approach from cracking the code on how to play a character to inviting the audience on a journey and making them part of the process. 

I was raised in musical theater, but by doing comedy, standup, and improv, I’ve come to find the joy of failure freeing. And I like being part of a changing show. I like the idea of somebody being able to say “I was there the night Patti LuPone yelled at the guy who took a picture.”

BLADE: An unexpected moment. 

MILLAN: Of course, I go in with certain things I have planned out, but I like the element of excitement that anything might happen. And I think the audience should feel that way too.

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Sexy, spooky werewolf tale comes to Congressional Cemetery

‘Lýkos Ánthrōpos’ explores story of men who live double lives

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Patrick Kilpatrick (left) and Nicholas Gerwitz in Lýkos Ánthrōpos at Congressional Cemetery

Lýkos Ánthrōpos
Oct. 31-Nov. 24
Thursday through Sunday at 8 p.m., 75 minutes without intermission
Congressional Cemetery
1801 E St., S.E.
Tickets: bob-bartlett.com

Just in time for Halloween, Bob Bartlett is reprising “Lýkos Ánthrōpos.” With his sexy, spooky werewolf tale, the gay playwright brings his passion for horror and site-specific productions to historic Congressional Cemetery on Capitol Hill.  

“Vampires are great and I love ghosts and kind of believe in the spirit world, but werewolves are my favorite,” he says. 

Bartlett is interested in the duality of men who turn into wolves and consequently live double lives. The character he’s written is on the queer spectrum but not particularly discriminating. However, one night a month when the moon is full, he reliably leaves his wife and kids and hooks up with a guy. The play’s conceit starts off with two men cruising in the dark outdoors. 

Before penning “Lýkos Ánthrōpos,” Bartlett believed “there isn’t a lot of horror theater, and what there is, isn’t particularly sophisticated. It’s kind of grand guignol, or tongue in cheek,” and he was — and remains — eager to expand on that. 

So, he spent a month in the summer of 2022 in Rhodes, Greece, immersed in lycanthropy. Based in an Airbnb far from any touristy hubbub, he explored the countryside and wrote his werewolf-themed play. 

“It was sunny, dry summertime, and I wrote a good deal of the play in ruins and ancient amphitheaters; I looked at classical texts, including Ovid’s ‘Metamorphoses,’ and included much of what I learned in my play.” 

His characters talk about rocky landscape, the heavens, and the effect of the moon on the Earth ranging from tides to our moods and, of course, its impact on werewolves. It’s all a bit more nuanced than the classic Hollywood take, i.e. Lon Chaney Jr’s 1941 horror hit “The Wolf Man.”  

In keeping with the playwright’s love for site specific locales, “Lýkos Ánthrōpos” premiered around Halloween in 2022 in a clearing in the woods on a farm near Bartlett’s home in Davidsonville, Md.  

The team that opened the two-hander in the woods, director Alex Levy and cast members Patrick Kilpatrick and Nicholas Gerwitz, remain on board for the Congressional Cemetery version. 

Moving the story from the farm to an urban cemetery in the Nation’s Capital presented some amusing challenges: “I definitely did some tweaking; rewrites include references to the city and all the dog walkers found in the cemetery. It’s been fun.”  

A horror fanatic since childhood, Bartlett cut his teeth on George A. Romero’s “Night of the Living Dead,” when his aunt let him stay up past his bedtime and watch the scary classic on TV, and though he only made it through the first five minutes, and didn’t didn’t sleep for a week, he was hooked.  

Growing up in Accokeek, Md., Bartlett was introduced to theater through his high school pit band. Later he acted, and did some directing at the community theater level. After returning to school for a second master’s in playwrighting, he took up writing. 

With his current production, he says “The gods had my back. We open on Halloween and its first weekend will be performed under a full moon,” says Bartlett. “People (about 30 per performance) are asked to bring a fold up chair, blanket and lantern or flashlight. They will meet as a group and walk together, with a guide, to the performance site at the cemetery where the actors will be in place surrounded by a circle of eerie light. Death metal will be pounding from the woods.  

“Sometimes it’s more terrifying if the violence is offstage. I believe in the mantra don’t show the monster, so there are moments when the characters turn off the lights.”

Also, a longtime professor of theater at Bowie State University, Bartlett is a semester from retiring after which he intends on becoming “a full-time creepy writer.”

Upcoming projects include a play about the controversial and closeted FBI Director J. Edgar Hoover and his longtime romantic partner Clyde Tolson, who not incidentally are buried just a few yards apart in Congressional Cemetery. Largely fictional, the play won’t be site specific, but, says Bartlett, will have its own monster in Hoover.

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