Arts & Entertainment
Artistic adjustments
Signature’s ‘Russia’ premiere plays loosey goosey with the Rasputin legend
‘Brother Russia’
Through April 15
Signature Theatre
4200 Campbell Avenue, Arlington
703-573-SEAT

Doug Kreeger, center, as Grigori in Signature’s ‘Brother Russia.’ Also seen from left are Stephen Gregory Smith, Erin Driscoll, Russell Sunday and Rachel Zampelli. (Photo by Scott Suchman; courtesy Signature)
Advanced word on Signature Theatre’s world premiere production of “Brother Russia” promised the story of Rasputin set to music. If you’re expecting a faithful retelling of the mad monk’s rise from backwater Serbian peasant to Russian Imperial Court favorite, don’t. The show’s creators — musical team Dana Rowe (music) and John Dempsey (book and lyrics) — have toyed widely with the facts and invented something entirely new.
Propelled by a hard-driving rock score, “Brother Russia” is a play within a play. The action begins with a ragtag troupe of sometime post-Glasnost Russian actors gathering to perform their next show. The itinerant company’s leader, Brother Russia (John Lescault), suggests they tell his story, the story of Rasputin. Of course, he couldn’t possibly be the real Rasputin — though old, he’s not nearly old enough, and besides Rasputin’s murdered corpse was dragged from the Neva River in 1916. Still, the actors press on. Parts are assigned, costumes donned and places taken.
Visibly seated throughout the musical in a big wooden wheelchair, wisecracking Brother Russia watches things unfold from the sidelines. Family tragedy prompts young Rasputin (a bearded Doug Kreeger) to embark on his quixotic journey (lucidly staged by Signature’s gay artistic director Eric Schaeffer). Along the way a horny witch (Rachel Zampelli) claims his soul. Whether it’s her magic, or Rasputin’s later apprenticeship with a pair of faith-healing hucksters (Kevin McAllister and Christopher Mueller) that primes him for the big time is unclear. Once in St. Petersburg, Rasputin vaults to in-house healer to the young, hemophilic Tsarevich and wins inordinate influence with the boy’s parents, Tsar Nicholas and Tsarina Alexandra. Not surprisingly, court insiders grow jealous, particularly Prince Felix Yusupov (gay in real life, and here played by Stephen Gregory Smith as a totally louche, glam rock queen strutting in impossibly high red heels), and trouble ensues.
But what would a musical be without a love story? “Brother Russia” defies history by portraying Rasputin and the Tsar’s youngest daughter, the fabled Anastasia (played by the talented and always excellent Natascia Diaz), as a love match. Of course this never happened. Anastasia was a small child when womanizing Rasputin arrived at court. Ordinarily, reshuffling history isn’t a big deal, but with this shows it proves a recurring distraction.
Still, there are things to like. Kreeger, who is gay, is fully committed to the role. He’s terrific and his vocals are gorgeous whether sung sweetly (“The Tsarevich’s Lullaby”) or powerfully (“I Serve No Man”). Other highlights include Amy McWilliams’ turn as the opium smoking (more artistic license), fabulous headdress-wearing Tsarina; and Tracy Lynn Olivera’s number, a bawdily delivered drinking song titled “Vodka.”
Misha Kachman’s impressive set is an expansive stage of rough planks beneath strings of colored lights. In the background are tattered curtains, a depilated caravan and a battered steamer trunk. Costume designer Kathleen Geldard imagines the troupe as sexy and punk expect for Brother Russia who’s dressed as an aging hippie activist in an army surplus coat dotted with political buttons, Birkenstocks and a Che Guevara T-shirt.
In the end, Brother Russia is called out on his historical inaccuracies by the company’s irate manager (Russell Sunday). Ah ha, so this is where everything will make sense, right? Unfortunately, what feels like a tacked-on explanation is unsatisfying. Evidently, this is Brother Russia’s reality, and his proof of the eternal power of theater and the Russian spirit … or something.
Iran and Egypt on Friday faced off during the World Cup’s “Pride Match” in Seattle.
Iran is among the handful of countries in which consensual same-sex sexual relations remain punishable by death. Discrimination and persecution based on sexual orientation and gender identity is commonplace in Egypt.
Friday’s match coincided with Pride weekend in Seattle. The Egyptian Football Association and the Football Federation Islamic Republic of Iran both objected to playing in the “Pride Match.”
Egypt and Iran tied 1-1.
FIFA, for its part, allowed Pride flags inside the stadium during the match.
“The FIFA World Cup 2026 is an inclusive event that welcomes people from all backgrounds,” a FIFA spokesperson told the Washington Blade in a statement. “Fans of all sexual orientations and gender identities are welcome at matches and events. General statements of human rights, including rainbow flags and other flags representing sexual orientation and gender identity, are permitted under the FIFA World Cup 2026™ Stadium Code of Conduct and may be displayed inside stadiums provided they are used in a manner consistent with the code.”
Human Rights Watch welcomed FIFA’s decision to allow Pride flags inside the stadium. Outright International, a global LGBTQ and intersex rights group, distributed Pride flags in Seattle on Friday, which was Pride Match Day.
“Visibility matters,” said Outright International Executive Director Maria Sjödin. “Pride is now being celebrated in more than 100 countries, including this weekend in Seattle. For many LGBTIQ people, seeing a Pride flag in public is a reminder that they are not alone, and that their rights and dignity are recognized.”
FIFA President Gianni Infantino earlier this year told Die Weltwoche, a Swiss magazine, that “there will be no ‘Pride Match’ at the (FIFA) World Cup.”
“There will be a FIFA World Cup match in Seattle, and on the same day, events organized by external organizations will be taking place in the city,” said Infantino. “But that has nothing to do with the match itself.”
Peter Tatchell, a long-time LGBTQ activist from the U.K. who is director of the Peter Tatchell Foundation, was among those who traveled to Seattle for Friday’s match. Tatchell accused FIFA of not vetting World Cup teams — specifically Iran, Egypt, Saudi Arabia, Ghana, Senegal, Qatar, Tunisia, Morocco, Iraq, Uzbekistan, and Algeria — over whether they would allow gay players.
“FIFA is protecting LGBT+ visibility in the stands while failing to protect LGBT+ players on the pitch,” said Tatchell.
Photos
PHOTOS: Frederick Pride Parade
The second annual Frederick Pride Parade was held in the streets of downtown Frederick, Md. on Friday, June 26.
(Washington Blade photos by Michael Key)


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Theater
Carla Hall goes from ‘Top Chef’ to the stage
Solo show ‘Please Underestimate Me’ premieres at Olney
‘Please Underestimate Me’
Through July 12
Olney Theatre Center
at Mulitz-Gudelsky Theatre Lab
2001 Olney-Sandy Spring Rd.
Olney, Md.
$47-$101
Olneytheatre.org
Carla Hall gained celebrity status from Bravo TV’s “Top Chef.” She was funny and fun, and with her kooky signature catch phrase “Hooty hoo” and the southern-inspired recipes she lovingly cooked, Hall stood out in a kitchen crammed with contestants.
Now the D.C.-based Hall is taking revisiting her earliest love with the world premiere of her solo show “Please Underestimate Me,” currently running at Olney Theatre Center’s intimate and revamped Mulitz-Gudelsky Theatre Lab.
In the 90-minute piece (written by Hall, Lori Kaye, and Kaye’s partner Leslie Thomas; and directed by Lili-Anne Brown), Hall leads with food but quickly swerves into her personal and other aspects of her professional life. Built around an immersive fictional TV cooking show, her new play draws on experiences from her seven seasons (2011-2019) co-hosting cooking/chat show “The Chew”an ABC daytime proving ground, and her heady years on “Top Chef.” (2008, 2010).
Born and raised in Nashville, Hall wanted to attend Boston University to major in theater, but was rejected. Instead, she went to Howard University at her mother’s urging, where she ultimately majored in accounting. After graduating in 1986, she donned a bespoke business suit and briefly worked as a CPA for Price Waterhouse.
Business wasn’t for Hall. Tall and slender, she walked the runways in Paris for a while before ultimately finding her niche as a chef. Cooking seemed to come from her heart, something she learned from her grandmother who not incidentally bankrolled Hall’s way through culinary school.
Now she’s bringing the vibrancy and good humor that made her a “Top Chef” fan favorite and a popular TV host to the stage with “Please Underestimate Me.”
WASHINGTON BLADE: You seem a natural live performer. Were at all you nervous about doing this?
CARLA HALL: Anytime you step outside of what you’re known for you have to take a risk and make it happen. I’d been working on this the idea for seven years. I decided that I really wanted to do a variety show and really wanted to step back into my original love of theater.
I didn’t know what that looked like so I was asking a lot of people, actors and friends, about how to break into it. Can they see me as more than a chef? So, I told my agency to book me for voice overs, cameo roles. I got an acting coach and I was seeing a lot of single person shows. I literally embodied the thing that I wanted.
BLADE: Have you always been a vocal and public ally of the queer community?
HALL: For me, it’s natural. I came from the theater and dance world. I have a lot of gay and queer friends.
There’s something about people being gay and queer that goes with a need to be authentic to yourself. I think that’s why you find a lot of queer people in the arts. Dare to be you. Dare to be different, right? I like that.
BLADE: Long ago, I remember stopping by a Safeway in Wheaton to grab a sheet cake for a party. Your second or first episode of “Top Chef” had just aired. I wanted to yell “Hooty hoo” across the aisles, but was too shy.
CARLA HALL: My catering kitchen was near that Safeway.You should have yelled. I’d have given you a hug. I’ll hug almost anyone.
BLADE: Thanks. I think. You hear actors saying there’s nothing quite like TV fame because you’re invited into people’s living rooms. What were those days like when you started being recognized?
HALL: I like people. I tell Matthew [Matthew Lyons, Hall’s husband of 20 years], when fans say hello it’s my chance to get to learn about them. I owe them a lot; without them I wouldn’t be working.
BLADE: At Olney, Lauren M. Nichols’ surprise-filled set and Kelly Colburn’s projections of your personal snapshots from over the years are really wonderful.
HALL: It becomes really emotional. At the end of the show, I see 12-year-old me. I’m looking at that girl, and they did a put a little crown on my head, and I’m living her dream 50 years later.
BLADE: Is the pace hard?
HALL: Seven shows a week isn’t easy. I used to say “Top Chef” was my most grueling experience…well, that was before I did this.
BLADE: And is it gratifying?
HALL: At the end of the day, yes. Look, this play is filled with personal highs and lows and emotionally it’s exhausting. It’s also rewarding. Two weeks before the show started, I wasn’t sure I could do this.
BLADE: But of course, you are doing it. And you’re doing it so well.
HALL: A while back, I reached out to the executive producer of “The Chew” and thanked him for being the messenger of my lessons. Without those experiences I wouldn’t be here now doing “Please Underestimate Me.” My confidence has definitely grown. I’m a firm believer that everything that happens to you is for you.
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