Arts & Entertainment
Strongly brewed ‘Tea’
Black gay performance piece gives author one-man tour de force
‘Sweet Tea’
Through Oct. 9
Signature Theatre
4200 Campbell Avenue, Arlington
703-820-9771
signature-theatre.org
E. Patrick Johnson in ‘Sweet Tea,’ a pastiche-based performance piece on stage now at Signature. (Photo by Scott Suchman; courtesy Signature)
As a chubby little gay boy growing up in Hickory, N.C., E. Patrick Johnson staved off bullies by making them laugh. His specialty was imitations. The moment would-be tormentors planned to attack, Johnson typically averted imminent pain by breaking into an uncanny impersonation of a less-than-loved teacher.
Today Johnson, a performance artist and professor of performance studies and African-American studies at Northwestern University in Chicago, is neither class clown nor chubby, but mimicry remains an integral part of his skill set. In his one-person performance piece “Sweet Tea” — now in production at Signature Theatre — Johnson portrays himself as well as a dozen other gay black characters drawn from real life interview subjects. With names like Countess Vivian, Chaz/Chastity and D.C., the men Johnson brings to life are a part of the South that sometimes goes unnoticed.
Amiable and soft spoken offstage, Johnson says, “I can assure theatergoers that they haven’t seen this play before — these kind of gay black experiences have never been shared before in a theater. LGBT audiences in particular will connect with these men’s stories in ways that may even surprise themselves.”
Johnson’s desire to record black gay men’s stories was sparked on a visit to Washington back in 1995. “I was at a cookout for Us Helping US, and I became engrossed with a group of African-American gay men who were sitting around a table sharing experiences about growing up in the day in the South. Then and there, I vowed that when I had the time and the resources to collect these stories I would. I feel it’s important to create an archive of these never-before-documented lives.”
Eventually, Johnson followed through: In 2004, he took a sabbatical from Northwestern and began collecting narratives from 77 African-American gay men ages 19 to 92 from all the southern states as well as Oklahoma and Missouri (both of which had been slave states). In 2008, he published an oral-history anthology titled “Sweet Tea: Black Gay Men of the South.”
It was about a year into the project when Johnson realized that in addition to making a book, the interviews would also make a great performance. The material is rich and covers a wide range of topics: coming out, love and relationships, HIV/AIDS, bullying (Freddie recounts carrying a razor blade for protection), religion, mama drama, and of course sex (another character had sex with the entire football team in high school). Full of humor and poignancy, the tales are ultimately universal.
“In the past,” says Johnson, 44, “I’ve done staged readings of collected monologues in which I’d sit on a stool giving vocal impressions of different characters. But with ‘Sweet Tea’ it’s different — it’s a play and I fully embody the characters.”
“From the start, I intuitively knew that I was part of the ‘Sweet Tea’ story but it took me a while to understand that it’s my story too. While we were workshopping the play in Chicago, the show’s producer Jane Saks and others involved in the project agreed that I needed to interject my own story into the work. As it turned out, my own experiences are a through line: I’m in search of something and the other men help me to find it.”
Johnson has enjoyed electrifying rapport with audiences. He remembers a specific sold out performance of “Pouring Tea” (an earlier performance piece also comprised of gay black men’s stories) at the University of Pennsylvania.
“The crowd was mostly black and gay, and they were identifying with the show’s coming out stories, the church stories. The energy was unreal. We were levitating.”
His audiences at Signature will most likely be drawn primarily from a different demographic. Does that worry Johnson?
“I’ve been schooled about Signature’s blue-haired crowd, but I learned long ago never to make assumptions about audiences. I remember performing at the main library in downtown Mobile, Alabama, for a mostly white, straight crowd. During the post-show Q&A session, a minister thanked me for bringing the show to town. He approved of open talk about sexuality. After all, he said, God was there for the first wet vagina and the first erection. A hush fell over the room, and after what felt like an endless silence, I offered up an ‘Amen!’ It seemed right.”
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Uncloseted Media published this interview on July 7.
By SPENCER MACNAUGHTON, ISABEL STOKES, and BELLA SAYEGH | After appearing on the 11th season of “RuPaul’s Drag Race,” the first season of “Canada’s Drag Race: Canada vs. the World,” the sixth season of “RuPaul’s All Stars” and now the 11th season of “All Stars,” Silky Nutmeg Ganache, known by many as the Reverend, is undoubtedly a legend.
Born and raised in Moss Point, Miss., Ganache bears all in this episode of “UNCLOSETED with Spencer Macnaughton.” She speaks about her relationship with gender, her 100-pound weight loss, what it’s like living as a queer person of color in a red state and why she’s calling on allies to stand up for the trans community.
Patrons enjoyed a night out at the popular LGBTQ venue Crush Dance Bar on Friday, July 3.
(Washington Blade photos by Landon Shackelford)
Theater
‘My Favorite Sociopath’ debuts at Shepherdstown’s CATF
Gay playwright Aurin Squire’s take on D.C. journalism in the ‘90s
‘My Favorite Sociopath’
Contemporary American Theater Festival
July 10-Aug. 2
Shepherdstown, W.Va.
Catf.org
Discernment. It’s a thing some people have, explains playwright Aurin Squire, especially when you’re gay or Black in America (Squire is both).
“You instinctively know when the mob is teaming up for the best interests of the powers that be. You can feel it in the air.”
In his sharp new satire “My Favorite Sociopath,” Squire writes about life experiences but set in a different time and place: It’s the 1990s, early days of the 24-hour news cycle, and three ambitious journalism students are pursuing success in D.C.
And now, Squire’s play, along with other new works, are making their world premieres 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.).
“All of my plays are queer in some way,” says Squire, 46. “This one touches on harmless and dangerous lies. The characters are on the spectrum sexually, and it’s interesting how all that falls out.”
And he’s given it a lot of thought.
“Already as a kid, it seemed to me that the rage against rap music and sex was coming from closeted people resisting their own urges and temptations. For me, it was interesting to see a witch hunt led by witches. Queer people can always call out a lie.”
Since September, Squire has also been working with a TV show about the tech industry set in Silicon Valley. He says, “It seems the general flow of the tech industry is that humanity and civilization is finished and it’s just about accumulating as many goods as possible before everything collapses. In fact, those who are profiting actually agree. But for those who disagree, they believe the solution is to build bigger gates, but activists believe we can stop this”
Yet, he’s learned from folks associated with the show. “Many say the quickest way to divorce yourself from any responsibility or regulations — smash and grab. Otherwise, you have to stop and think and regulate your desires for greed and power”
Squire possesses a penchant for pithy titles. He laughs, explaining the first thing he wrote as a student at Juilliard was “Obama-ology,” the comedy with contemporary message. While a lot of people liked the name, it didn’t necessarily vibe with the author. He concedes that he chooses names based on “easy to remember” and titles that won’t be easy to lose as a file.
Another is “Defacing Michael Jackson,” a coming-of-age dramedy set in rural Florida in 1984, specifically Squire’s native town Opa-locka, Miami, a fantastical place famed for its fanciful Moorish revival architecture.
Living in the shadow of exotic structures, he wasn’t particularly fazed. Squire says “It wasn’t until returning to visit after my freshman year at Northwestern University in Chicago that I realized how weird it was: When you grow up in a place, you take surroundings for granted no matter how over the top.”
Now based in New York (where for two happy years, 2017-2019, he shared digs with drag king Murry Hill), Squire returns frequently to Miami to be with family, but this summer has been filled with both work and travel.
Currently, he’s in Shepherdstown with CATF shaping up “My Favorite Sociopath.” Later this summer he will travel to South Africa for research, followed by a silent writing retreat in Santa Fe, N.M.
Much of Squire’s work reflects the Latino, African, Caribbean, African-American, and Jewish cultures he grew up around in South Florida.
When asked if today’s winds of anti-multiculturalism worry him, he replies, “No, because that’s going to pass. Most people don’t like, people are seeing the negative results of it, and the young people coming up despise it. White male gamers were tricked momentarily through the algorithms into voting against their own interests and they’re now seeing how it’s not working out for them.
“Conservatives always try to stop progress and eventually they always lose. It’s just a question of where we’ll be in the middle of the end of civilization before that happens. I’d like to hope we can turn the ship around before then.”
In addition to “My Favorite Sociopath,” CATF summer season features three other world premieres (Lisa D’Amour’s comedy “The Smoker,” “Refugee Rhapsody” by Yussef El Guindi, “Best Line Wins: A Play Inspired by the Improvised Lives of Elaine May & Mike Nichols” by Beth Kander) and “¡VOS!” by Christina Pumariega.
CATF runs from July 10-Aug. 2 in three venues on the Shepherd University campus: Frank Center, Marinoff Theater, and Studio 112.
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