Arts & Entertainment
Big Apple romance
Gay actress Twyford makes directorial debut in lesbian-themed dramedy
Rachel Zampelli as Callie (left) and Alyssa Wilmoth as Sara in No Rules’ production of ‘Stop Kiss.’ (Photo by C. Stanley Photography; courtesy No Rules)
In playwright Diana Son’s “Stop Kiss,” New York City is a dangerous thing that demands respect or else. After 10 years in Manhattan, jaded Callie understands this, but her new friend Sara, a recently arrived Midwesterner who teaches third grade in the Bronx, doesn’t quite get it, and despite numerous warnings — disregard loud neighbors, ignore catcalls, avoid panhandlers — nothing can alter her open and courageous approach to life.
Though slightly concerned by Sara’s lack of street smarts, Callie is mostly delighted with her refreshing forthrightness. Romantic impulses ensue. But despite a mutual attraction, the women (who up until this point have only dated men) are hesitant to act on their feelings. When they finally do, their first kiss is interrupted by extreme violence that almost ends their budding relationship altogether.
Sounds pretty grim, but actually there’s comedy in this drama. Staged by celebrated local actor Holly Twyford (who’s gay) in her directorial debut, No Rules Theatre Company’s production evokes just the right balance of laughs and pain in what’s ultimately a sweet story about love and commitment. At a recent performance, the sizable lesbian portion of the audience seemed particularly pleased at seeing familiar parts of their lives effectively portrayed on stage. They laughed and groaned at the female characters’ clumsy romantic overtures and were audibly disturbed by the play’s gay bashing, a pivotal plot point which takes place off stage.
The action begins when traffic reporter Callie (the reliably good Rachel Zampelli) agrees to cat sit for a friend-of-a-friend named Sara played naturally by Alyssa Wilmoth. Though the women seem polar opposites — Callie is more interested in trendy restaurants than work and Sara is utterly devoted to her underserved students — they click. Still both deny their growing romantic feelings. Sara remains in touch with Peter (Jonathan Lee Taylor), the ex-boyfriend she left in St. Louis, and Callie periodically sleeps with George (Ro Boddie), a longtime sort-of boyfriend whom she may or may not one day marry. The lesbian couple’s getting together is long in coming. At some point, you’re ready to yell “C’mon, plant one on her already.”
The story unfolds non-chronologically, moving back and forth from Callie’s messy apartment to a stark hospital room. Because we know the ordeal that’s awaiting our heroines, it’s as if a dark cloud is gathering over what should be the carefree early days of falling in love.
Costume designer Frank Lobovitz ably assists in demonstrating the women’s differences: Sara is unmistakably a Gotham newbie in her blue wool car coat and synthetic print skirts, while Callie is experimenting with sophisticated looks in black with mixed results. The strong supporting cast includes Karin Rosnizeck, who plays both a soignée witness to the crime and a patient nurse, and Howard Wahlberg as a veteran New York detective.
The straight playwright covers all the coming out bases: Discomfort with revealing sexuality to friends and co-workers, problems with parents and potential in-laws, etc. The 1998 play might sound instructive if it weren’t for its thoughtfully written, intimate scenes. Twyford especially excels in staging the work’s quieter moments, particularly the softly lit scene in which Callie tenderly helps Sarah change from her hospital gown to street clothes. Only when Sara must choose whether to return to St. Louis or remain in New York does Callie truly bare her soul, uncharacteristically committing wholeheartedly.
The 2026 Mr. Mid-Atlantic Leather competition was held at the Hyatt Regency Capitol Hill on Sunday. Seven contestants vied for the title and Gage Ryder was named the winner.
(Washington Blade photo by Michael Key)
Theater
Voiceless ‘Antony & Cleopatra’ a spectacle of operatic proportions
Synetic production pulls audience into grips of doomed lovers’ passion
‘Antony & Cleopatra’
Through Jan. 25
Synetic Theater at
Shakespeare Theatre Company’s Klein Theatre
450 7th St., N.W.
Synetictheater.org
A spectacle of operatic proportions, Synetic Theater’s “Antony & Cleopatra” is performed entirely voiceless. An adaptation of the Bard’s original (a play bursting with wordplay, metaphors, and poetic language), the celebrated company’s production doesn’t flinch before the challenge.
Staged by Paata Tsikurishvili and choreographed by Irina Tsikurishvili, this worthy remount is currently playing at Shakespeare Theatre Company’s Klein Theatre, the same venue where it premiered 10 years ago. Much is changed, including players, but the usual inimitable Synectic energy and ingenuity remain intact.
As audiences file into the Klein, they’re met with a monumental pyramid bathed in mist on a dimly lit stage. As the lights rise, the struggle kicks off: Cleopatra (Irina Kavsadze) and brother Ptolemy (Natan-Maël Gray) are each vying for the crown of Egypt. Alas, he wins and she’s banished from Alexandria along with her ethereal black-clad sidekick Mardian (Stella Bunch); but as history tells us, Cleopatra soon makes a triumphant return rolled in a carpet.
Meanwhile, in the increasingly dangerous Rome, Caesar (memorably played by Tony Amante) is assassinated by a group of senators. Here, his legendary Ides of March murder is rather elegantly achieved by silver masked politicians, leaving the epic storytelling to focus on the titular lovers.
The fabled couple is intense. As the Roman general Antony, Vato Tsikurishvili comes across as equal parts warrior, careerist, and beguiled lover. And despite a dose of earthiness, it’s clear that Kavsadze’s Cleopatra was born to be queen.
Phil Charlwood’s scenic design along with Colin K. Bills’ lighting cleverly morph the huge pyramidic structure into the throne of Egypt, the Roman Senate, and most astonishingly as a battle galley crashing across the seas with Tsikurishvili’s Antony ferociously at the helm.
There are some less subtle suggestions of location and empire building in the form of outsized cardboard puzzle pieces depicting the Mediterranean and a royal throne broken into jagged halves, and the back-and-forth of missives.
Of course, going wordless has its challenges. Kindly, Synectic provides a compact synopsis of the story. I’d recommend coming early and studying that page. With changing locations, lots of who’s who, shifting alliances, numerous war skirmishes, and lack of dialogue, it helps to get a jump on plot and characters.
Erik Teague’s terrific costume design is not only inspired but also helpful. Crimson red, silver, and white say Rome; while all things Egyptian have a more exotic look with lots of gold and diaphanous veils, etc.
When Synetic’s voicelessness works, it’s masterful. Many hands create the magic: There’s the direction, choreography, design, and the outrageously committed, sinewy built players who bring it to life through movement, some acrobatics, and the remarkable sword dancing using (actual sparking sabers) while twirling to original music composed by Konstantine Lortkipanidze.
Amid the tumultuous relationships and frequent battling (fight choreography compliments of Ben Cunis), moments of whimsy and humor aren’t unwelcome. Ptolemy has a few clownish bits as Cleopatra’s lesser sibling. And Antony’s powerful rival Octavian (ageless out actor Philip Fletcher) engages in peppy propaganda featuring a faux Cleopatra (played by Maryam Najafzada) as a less than virtuous queen enthusiastically engaged in an all-out sex romp.
When Antony and Cleopatra reach their respective ends with sword and adder, it comes almost as a relief. They’ve been through so much. And from start to finish, without uttering a word, Kavsadze and Tsikurishvili share a chemistry that pulls the audience into the grips of the doomed lovers’ palpable passion.
Out & About
Love board games and looking for love?
Quirk Events will host “Board Game Speed Dating for Gay Men” on Thursday, Jan. 22 at 7 p.m. at KBird DC.
Searching for a partner can be challenging. But board games are always fun. So what if you combined board games and finding a partner?
Picture this: You sit down for a night of games. A gaming concierge walks you through several games over the course of the night. You play classics you love and discover brand new games you’ve never heard of, playing each with a different group of fun singles. All while in a great establishment.
At the end of the night, you give your gaming concierge a list of the folks you met that you’d like to date and a list of those you met that you’d like to just hang out with as friends. If any two people put down the same name as each other in either column, then your gaming concierge will make sure you get each other’s e-mail address and you can coordinate a time to hang out.
Tickets cost $31.80 and can be purchased on Eventbrite.
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Voiceless ‘Antony & Cleopatra’ a spectacle of operatic proportions
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