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Hope amidst hate

This weekend offers rare chance to see two ‘Laramie’ plays back to back

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‘The Laramie Project’

Friday at 8 p.m., Saturday and Sunday at 2.

‘The Laramie Project: Ten Years Later”

Saturday at 8 and Sunday at 7:30

Tickets: $35 (some available for $15 for those 30 and under)

Arena Stage

1101 6th Street, S.W.

202-488-3300

The company of Tectonic Theater Project's 'Laramie Project: 10 Years later' which will be performed this weekend at Arena's Mead Center. (Photo by Michael Lutch; courtesy of Arena)

This weekend Arena Stage provides an unprecedented opportunity to see the two “Laramie Project” plays ā€” works inspired by the death of hate crime victim Matthew Shepard that have become contemporary theatrical staples ā€” back to back.

The plays will be performed give times over three days. Together they present a poignant and stirring medley of emotions ā€” shock, rage, grief, and even hope. And now the two plays are presented here, for the first time together anywhere, but only this weekend at the stunning new Mead Center for American Theater, in Arena Stage’s Kreeger Theater. It’s the starting point for a national tour by the Tectonic Theater Project, with both plays directed by Moises Kaufman and Leigh Fondakowski, two of the five co-authors. For those interested in what being gay means in modern America, this is a great chance to catch these great works.

But why are they important? And what more can be said about the Shepard case, which received more national press attention than any other anti-gay hate crime? These works show there’s much more to the story, and it is one told with absorbing detail in a vivid reconstruction of how the people of Laramie responded in the aftermath of Shepard’s murder. This was the task tackled less than a month after Shepard’s death, when Kaufman and nine other members of the Tectonic, a New York City theatre company he had co-founded, arrived in Laramie, a city of 27,000 people, seeking to interview residents about what they knew and felt about what had happened.

At first, Kaufman says, “we had to put up with the people’s distrust of a New York theater company, and perhaps more damaging, the bruising caused by the media,” which had portrayed Laramie “as a town full of hillbillies, rednecks and cowboys,” so of course this hate crime could happen there. Ā After their initial visit, the group composed the first draft of what was called “The Laramie Project.” Ā But it took nearly a year before people really opened up to them.

They returned six more times to Wyoming for further interviews ā€” more than 200 in all ā€” until by the year 2000, it was ready for its premiere performance in Denver, next in New York City and, finally in 2002, in Laramie itself.Ā It was later produced for television by HBO and the stage version has quickly become one of the most frequently produced plays by colleges and community groups in America.

Then, 10 years after Shepard’s death, they returned again to Laramie to produce an epilogue, based on follow-up interviews with residents featured in the original play. These interviews were adapted into the companion piece, “The Laramie Project: Ten Years later,” which debuted as a reading in nearly 150 theaters across the U.S. and internationally in October 2009, on the 11th anniversary of his death.

As the critic Ben Brantley wrote in the New York Times in 2000 about the first play, “Kaufman has a remarkable gift for giving a compelling theatrical flow to journalistic and historical material.” In the playwright’s own words, “for me, there’s a great wealth of beauty and truth in reality, and how theatre can articulate this, that’s what I keep coming back to.”

Only eight actors play the more than 60 parts. The twin plays are constructed as a series of juxtaposed monologues and multiple viewpoints, featuring townspeople and Shepard’s friends as well as those who knew his assailants, and in the second play, Aaron McKinney himself, one of Shepard’s killers, is featured.

“Laramie is so small that there was one degree of separation between people,” Kaufman says. Ā “So it was personal. People asked themselves, ‘What did I do to cause this murder? Ā What kind of community am I helping to create?”

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Theater

Second City brings ā€˜Dance Like Thereā€™s Black People Watchingā€™ to D.C.

ā€˜The full spectrum of Blackness and queerness representedā€™

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Breon Arzell (Photo by Ian McClaren)

ā€˜Dance Like Thereā€™s Black People Watchingā€™
Through Dec. 22
Woolly Mammoth Theatre Company
641 D St., N.W.
$40 ā€“ $83
woollymammoth.net

The Second City, Chicagoā€™s famed improv proving ground, makes a timely return to Woolly Mammoth with ā€œDance Like Thereā€™s Black People Watching,ā€ a humor-loaded and sharp show especially tailored to D.C. 

Breon Arzell whoā€™s Black and gay, has been a part of Second City and ā€œDance Like Thereā€™s Black People Watchingā€ since 2022, first as choreographer and now as both cast member and choreographer. He says although the show is highlighting Black culture, itā€™s geared for everyone. In short, ā€œif you donā€™t know about [Black culture], learn about it; and if youā€™re a part of it, come celebrate with us.ā€ 

He adds, ā€œThere are some things Black audiences will instantly get and appreciate more. But thereā€™s something for everyone to enjoy. Itā€™s rooted in joy and comedy.ā€ 

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, Arzellā€™s choreography is a vital part of whatā€™s happening on stage, too. The dance (inspired by TVā€™s ā€œIn Living Colorā€ and its unforgettable Fly Girls) peppers the showā€™s 90 minutes with bursts of backup and transitional moves. 

ā€œDance Like Thereā€™s Black People Watchingā€ was created and premiered in Chicago, and it was ā€œvery Chicago,ā€ says Arzell, adding ā€œthere were some references that wouldnā€™t have worked here, so we slotted in some D.C. specific things including political references and thereā€™s a cast member [Julius Shanks II] whoā€™s currently in his senior year at Howard University. He shouts out the school.ā€ 

Itā€™s opening in D.C. at an undeniably hot time, and thereā€™s no guarantee that election results will be settled anytime soon. Arzell says, ā€œWe 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.ā€ 

Any queer aspects to the show? ā€œOh, itā€™s so gay in a lot of ways,ā€ he says without hesitation. ā€œI donā€™t shy away from queerness at all and I make sure itā€™s infused in my character work.ā€

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 itā€™s his praise dance, ā€œa good old Black church moment. Itā€™s very fun, comes out of nowhere, and audiences love it.ā€

While based in the Windy City, Arzell, 41, is no stranger to Woolly Mammoth. In both 2022 and 2023, he memorably acted in ā€œAinā€™t No Moā€™ā€ and ā€œIncendiary,ā€ respectively. 

ā€œIā€™m an actor first and foremost,ā€ he says. ā€œI was a theater major in college [Miami University in Oxford, Ohio] but choreography sort of just happened to me. Iā€™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 ā€œabsolute jamā€ is acting in a show that heā€™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. 

ā€œAs Black people weā€™re not a monolith; thereā€™s not a specific way to operate as a Black person in this world. And the same goes for queer people. 

ā€œAt Woolly, youā€™ll see the full spectrum of Blackness and queerness represented.ā€

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Theater

Signatureā€™s fresh take on classic ā€˜Forumā€™

Actor Mike Millan says ā€˜itā€™s like a new work in many waysā€™

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ā€˜A Funny Thing Happened on the Way to the Forumā€™
Through Jan. 12
Signature Theatre
4200 Campbell Ave.
Arlington, Va.
$40-$126
sigtheatre.org

For out actor Mike Millan, Signature Theatreā€™s production of ā€œA Funny Thing Happened on the Way to the Forum,ā€ couldnā€™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 ā€œI live to grovel.ā€

ā€œIā€™ve never done ā€˜Forum,ā€™ so to me itā€™s like a new work in many ways,ā€ he says. ā€œAnd because itā€™s older and has a classic musical point of view and weā€™re doing it now, itā€™s as if weā€™ve been given a lovely opportunity to make it our own.ā€ 

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 ā€œForum.ā€ 

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 Iā€™ve ever played. Heā€™s a sort of fop and heā€™s in drag most of the second act. How can you not see him as a queer character?ā€ 

When the part was written it was sort of gay coded and now itā€™s just abundantly clear, you donā€™t think twice about it. 

BLADE: ā€œForumā€ 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. Weā€™re doing fart jokes in tunics, and the material and jokes really hold up. Youā€™ll feel better leaving than when you came in.

BLADE: All that and a Sondheim score too? 

MILLAN: Heā€™s the reason Iā€™m here. In high school, I discovered his ā€œInto the Woodsā€ and remember locking myself in my room until I knew every word to ā€œGiants in the Sky.ā€ 

ā€œPassion,ā€ ā€œFollies,ā€ I love it all. Heā€™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 ā€œLast Midnightā€ alone in my car, it fills me with a joy that Iā€™ve never gotten from any other composer or jukebox musical.

BLADE:  In 2022, you played Idina Menzel super fan Jeff in ā€œWhich Way to the Stageā€ at Signature. Are you glad to be back? 

MILLAN: Yes, Iā€™m happy to be employed. Itā€™s a tough business. Not only are we asked to be great singers, dancers, actors, and performers but weā€™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. Itā€™s a supportive community. 

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

MILLAN: Sometime itā€™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, Iā€™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, Iā€™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 ā€œI was there the night Patti LuPone yelled at the guy who took a picture.ā€

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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Theater

Sexy, spooky werewolf tale comes to Congressional Cemetery

ā€˜LĆ½kos Ɓnthrōposā€™ explores story of men who live double lives

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Patrick Kilpatrick (left) and Nicholas Gerwitz inĀ LĆ½kos ƁnthrōposĀ at CongressionalĀ Cemetery

LĆ½kos Ɓnthrōpos
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 ā€œLĆ½kos Ɓnthrōpos.ā€ 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.  

ā€œVampires are great and I love ghosts and kind of believe in the spirit world, but werewolves are my favorite,ā€ he says. 

Bartlett is interested in the duality of men who turn into wolves and consequently live double lives. The character heā€™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 playā€™s conceit starts off with two men cruising in the dark outdoors. 

Before penning ā€œLĆ½kos Ɓnthrōpos,ā€ Bartlett believed ā€œthere isnā€™t a lot of horror theater, and what there is, isnā€™t particularly sophisticated. Itā€™s kind of grand guignol, or tongue in cheek,ā€ and he was ā€” and remains ā€” 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. 

ā€œIt was sunny, dry summertime, and I wrote a good deal of the play in ruins and ancient amphitheaters; I looked at classical texts, including Ovidā€™s ā€˜Metamorphoses,ā€™ and included much of what I learned in my play.ā€ 

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. Itā€™s all a bit more nuanced than the classic Hollywood take, i.e. Lon Chaney Jrā€™s 1941 horror hit ā€œThe Wolf Man.ā€  

In keeping with the playwrightā€™s love for site specific locales, ā€œLĆ½kos Ɓnthrōposā€ premiered around Halloween in 2022 in a clearing in the woods on a farm near Bartlettā€™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 Nationā€™s Capital presented some amusing challenges: ā€œI definitely did some tweaking; rewrites include references to the city and all the dog walkers found in the cemetery. Itā€™s been fun.ā€  

A horror fanatic since childhood, Bartlett cut his teeth on George A. Romeroā€™s ā€œNight of the Living Dead,ā€ 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 didnā€™t didnā€™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 masterā€™s in playwrighting, he took up writing. 

With his current production, he says ā€œThe gods had my back. We open on Halloween and its first weekend will be performed under a full moon,ā€ says Bartlett. ā€œPeople (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.  

ā€œSometimes itā€™s more terrifying if the violence is offstage. I believe in the mantra donā€™t show the monster, so there are moments when the characters turn off the lights.ā€

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

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 wonā€™t be site specific, but, says Bartlett, will have its own monster in Hoover.

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