Arts & Entertainment

Romance and religion

Gay-themed play explores prickly subjects with humor

Published

14 years ago

February 9, 2012

Brian T. Carney

‘Next Fall’
Round House Theatre
Through Feb. 26

Chris Dinolfo as Luke, left, and Tom Story as Adam in ‘Next Fall’ at Round House Theatre. (Photo by Danisha Crosby; courtesy Round House)

Sex and spirituality — or the lack thereof — intersect in thought-provoking ways in the flawed-but-worthy play ‘Next Fall,” a 2009 piece that’s enjoying a post-Broadway local run at Round House Theatre in Bethesda, Md.

Luke (Chris Dinolfo) and Adam (Tom Story) meet when the former gives the latter the Heimlich maneuver to ease a panic attack at a party. He later admits it was just an excuse to get his arms around Adam, who’s older (he reluctantly admits to 40), a neurotic hypochondriac drifting through life. Luke is young and cute, a promising actor whose career is about to take off. Opposites attract, of course, and a one-night stand turns into a long-term committed relationship.

The premise may sound like a Hollywood screwball comedy, but playwright Geoffrey Nauffts (who’s played Adam in previous productions) soon dives into more serious territory. There’s another serious difference between the two men — Luke’s a devout fundamentalist Christian and Adam’s a committed agnostic. And unlike a typical screwball comedy, Nauffts’ fascinating script focuses not so much on what brings the characters together in the first place, but on what keeps them together over the years.

The play opens in a hospital. Luke has been struck by a taxi and his anxious family and friends keep vigil in the hospital waiting room. They have been summoned by the tightly wound Brandon (Alexander Strain in a somewhat underwritten role), Luke’s estranged friend who’s a thriving real estate mogul who is also struggling with Christianity and homosexuality. Adam’s friend Holly (Dawn Ursula) runs the candle shop where both Luke and Adam work at various times and who searches for meaning (and men) in a variety of New Age activities. Luke’s divorced parents have arrived from Tallahassee, Fla. Arlene (Kathryn Kelley) is fighting her own demons and the ruggedly pious Butch (Kevin Cutts) willfully ignores the signs that his son is gay. As the present-day medical drama unfolds, flashbacks move fluidly through time, tracing how the two men meet, move in together and negotiate the many compromises necessary in any relationship.

Unfortunately, the heavy-handed production at Round House Theatre frequently tramples on Nauffts’ finely wrought structure and delicately crafted language. Where the scenes should flow seamlessly together, director Mark Ramont and his design team stop the action cold after every scene with slow fades, overwrought music and awkward set changes. These painful transitions stop the play in its tracks, leaving the actors to struggle to regain their momentum when the action resumes.

This fumbling treatment also extends to some of the acting. Kelley struggles unsuccessfully with the role of Luke’s troubled hardscrabble mother Arlene who abandoned Luke when he was a toddler. She never finds her way through the complex vocal and emotional shadings of the character, missing the potent combination of desperation and guilt and anger that fuel the character and fighting against the complex rhythms of the dialogue.

Luckily, Story and Dinolfo bring passion and electricity to the central characters. The openly gay actors display an easy physicality in their onstage relationship. We see the deep physical and emotional bonds that pull them together and we also see the tense spiritual doubts that push them apart. Luke desperately and sincerely wishes that Adam could find faith so they can spend eternity together. Adam hates the fact that Luke prays for forgiveness after they have sex and refuses to come out to his parents. Story and Dinolfo make these tensions palpable and draw us into their compelling story.

They also expertly use Nauffts’ rich language to full effect. For all its serious themes and moving drama, “Next Fall” is often funny. Among other things, Nauffts explores the intriguing way humor is used in different situations: as a strategic defense, as a coping mechanism, as a weapon, as seduction, as social lubricant, as a world view. He also depicts spirituality in a sensitive and robust manner, embracing the many ways his characters find their way through an uncertain religious and ethical universe. All of them are on serious spiritual quests, whether they acknowledge it or not, and these issues come naturally to the fore as Luke battles for his life. Nauffts also captures the ebb and flow of the various long-term relationships with nuance and naturalness. It’s a rare play that tells us everything we need to know about the characters yet leaves us wanting more.

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Celebrity News

Madonna headlines World Pride Music Festival in Amsterdam

Kylie Minogue made surprise appearance alongside gay icon

Published

8 hours ago

August 2, 2026

Michael K. Lavers

Kylie Minogue with Madonna at the World Pride Music Festival in Amsterdam on Aug. 2, 2026. (Photo courtesy of Cejlon Studio)

AMSTERDAM — Madonna on Sunday headlined the final night of the World Pride Music Festival in Amsterdam.

The gay icon took the stage shortly before 2:30 a.m. local time (8:30 p.m. ET on Saturday) during Club Confessions, a set that MISTR, a telehealth platform that offers free access to PrEP, Doxy PEP, STI testing, and long-term HIV care, organized.

“Mother is here and this is gay heaven,” said Madonna when she took the stage inside Amsterdam’s AFAS Live concert hall that can hold up to 6,000 people.

Stuart Price, who produced Madonna’s 2005 “Confessions on a Dance Floor” album and “Confessions II,” which debuted on July 2, DJed the set.

Kylie Minogue made a surprise appearance. She and Madonna performed a new remix of “Love Sensation” from “Confessions II.”

(Washington Blade video by Michael K. Lavers)

“Throughout my career, I’ve always supported efforts to fight HIV and AIDS, and that fight begins with education and access,” said Madonna in a MISTR press release. “With MISTR, (CEO) Tristan (Schukraft) is expanding access to HIV prevention and sexual healthcare for everyone. Through this work, he’s helping preserve and strengthen LGBTQ+ spaces while investing in the communities and culture that have long sustained us.”

Minogue in an Instagram post thanked Madonna, Price, Schukraft, and MISTR.

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A post shared by Kylie Minogue (@kylieminogue)

Madonna appeared at The Abbey in West Hollywood, Calif., in April. Madonna in June celebrated Pride month with a pop-up performance in New York’s Times Square.

Jake Resnicow and Insomniac produced the World Pride Music Festival that also featured Bebe Rexha and Paris Hilton, among others.

“Pride has always been about bringing our community together,” said Resnicow. “At a moment when too many people are being told to hide or make themselves smaller, gathering openly, joyfully, and without apology matters more than ever. I couldn’t be prouder of what this festival brought to life in Amsterdam — one dance floor, completely free.”

Theater

Reggie White relishing first season as artistic director of Woolly Mammoth

First five shows a reminder that ‘pressure is a privilege’

Published

17 hours ago

August 2, 2026

Patrick Folliard

Reggie D. White (Photo by Ambe J. Williams)

Madly talented and preternaturally energetic, Reggie D. White, 38, is about to launch his first season as artistic director of D.C.’s boundary-pushing Woolly Mammoth Theatre Company.

White brings a lot to the job. As actor, playwright, and director, his varied resume includes a 2019 Broadway acting debut in Matthew López’s Tony Award–winning play “The Inheritance,” his semi-autobiographic play “Fremont Ave.” that opened to acclaim last season at Arena Stage, and a number of exciting regional directing credits.

A longtime admirer of Woolly, the out theater-maker was selected from a pool of candidates before receiving the offer last November and starting work in January. His season of five world premieres kicks off with gay playwright Steve Yockey’s “Venus” (Sept. 9-Oct. 4), a darkly funny study of modern relationships told through two lesbians looking back on their first encounter.

White was introduced to Woolly Mammoth as a pre-law student at Cal State Hayward in the San Francisco Bay Area, long before he foresaw a life in the arts. “As part of a random theater history course, I was assigned to write a paper on a counterculture company called Woolly Mammoth,” he recalls “Strange name. I was like what the hell is that?”

Nineteen-year-old White was intrigued. Research acquainted him with Howard Shalwitz who co-founded Woolly in 1980, and the company’s commitment to living playwrights and new work. He also learned how theater could be used as a tool for difficult conversations and shape the way people thought about social issues by employing imagination and rigor.

“Never in a million years did young me envision that one day I’d be Woolly’s third artistic director in its 46-year history,” says White. “It’s kind of serendipitously insane.”

WASHINGTON BLADE: Was there a moment when the enormity of the job hit you?

REGGIE D. WHITE: After I’d signed my contract and finished all the paperwork, I got my keys and sat in the theater by myself in the dark and thought about what an incredible honor it is to be trusted with what happens in this beautiful space [in D.C.’s Penn Quarter]. I might have cried. Sometimes I have to pinch myself to remember it’s real.

BLADE: Are you curating the upcoming 2026–2027 season?

WHITE: Yes, I am. It’s very rare that an incoming artistic director gets to program their first season, but I was lucky in terms of time. After being hired late last year, I asked Woolly’s managing director Kimberly E. Douglas, if she thought it would be crazy if I programmed the season. She warned me it would be hard.

I invoked tennis legend Billie Jean King’s maxim “pressure is a privilege” and got to work.

These plays [dubbed White’s “first five”] represent both the kind of theater that Woolly can do really well and speak directly to my voice as curator and how I want to contribute to the larger theatrical conversation in the DMV.

Getting here has meant a lot of late nights. But I knew the juice would be worth the squeeze.

BLADE: As a queer artistic director, what makes you unique?

WHITE: When I was playing in “Inheritance” on Broadway, after a performance, U.S. Supreme Court Justice Sotomayer came backstage to meet the cast. She spoke about how her lens on the world as a Puerto Rican woman shapes her decisions. Similarly, because I’m a queer Black man I see through a lens that shapes my work.

I know I’m not the only queer artistic director in town. For me, it influences how I make editorial decisions. Out of this season’s five plays there are explicitly queer characters in four [“Venus,” “Chanukkah Spectacular,” “Ten Grand,” and “Love I Awethu Further”] and I’m directing two [“Venus,” “Ten Grand”].

BLADE: Will we see familiar faces?

WHITE: Every show this season will feature a Woolly Mammoth company member in its cast. Our company also includes designers and directors who we’ll include. I’m invested in continuing to provide a showcase for their work.

BLADE: How do you think queer audiences will receive the season?

WHITE: Very well, I think. For queer people who’ve had to navigate the world subversively and solve problems in unique ways, I think it will be especially interesting. I find theater a potent place for questions.

Like all artistic directors. I’ll show up for the job in my own way. I’m just excited that I’ve been invited to bring the fullness of myself to the role.