Arts & Entertainment

From Broadway to Hollywood

‘Double Life’ memoir recounts 50-year love story of artist and TV mogul

Published

14 years ago

April 19, 2012

From left, Alan Shayne and Norman Sunshine with Christine Baranski and Charles Busch at a launch party for their book in November. They’ll be in Washington this week for a similar event. (Photo courtesy Scott Manning & Associates)

Careers in the arts are never easy, but for every Sinatra, Hepburn or Garland there are hundreds, perhaps thousands, of actors, singers and behind-the-scenes moguls and designers who manage long, successful careers in New York or Hollywood without becoming household names.

Alan Shayne and Norman Sunshine are two such figures. Shayne is a former actor-turned-casting agent-turned TV mogul who nurtured hit ‘70s shows like “Dukes of Hazzard” and “Alice” to the airwaves during his 10 years as president of Warner Brothers Television. Sunshine, his partner of 50 years, is a painter and sculptor who made ads for Blackglama Minks (“What becomes a legend most?”) and Danskins (“Danskins are not just for dancing”) famous between stints of having his own exhibitions and commercial projects. After decades of navigating the thick jungles and uphill battles of the art world and entertainment industry, one wonders their thoughts on the ways of those worlds: with tenacity, does the cream inevitably rise or have we missed geniuses along the way?

They say it’s gotten tougher to “make it” over time.

“I think the thing I’ve observed in the fine arts is the phenomenon of money coming into play more and more in which careers are measured by the amount of money that can be made off of it,” Sunshine says. “All these art fairs are really about money, the dealers and collectors being able to make money off of it. It’s different. I don’t know how one quite survives that … there’s a horrendous fickleness now on a scale we’ve not seen before.”

Shayne, who gave up acting because casting seemed more stable and practical, agrees.

“It’s a really tough road to hoe,” he says. “In my day, I could go to New York and live and rent a room for $5 a week and make it work. Now you can’t possibly do that. I don’t know how the young actors and young artists do it today. Yes, the Meryl Streeps and the Dustin Hoffmans and the Robert De Niros are going to succeed but I worry about some of the little people who are also very talented.”

In November, the two had their joint autobiography published by Magnus Books — “Double Life: a Love Story from Broadway to Hollywood.” They’ll be in Washington Monday for a private reception for the book.

A self portrait of the couple by Sunshine. (Image courtesy the couple)

And even though the book is drawing raves — Joan Rivers called it “beautifully written” and “filled with humor” and legendary critic Rex Reed called it a “riveting” book by “two extraordinary men” — Shayne and Sunshine, who worked on it for about three years, say getting it published was not easy.

“We got the most glowing rejection letters you could imagine from the leading publishing houses,” Shayne says.

He says it was worth the effort to get the book in print to show that long-term gay relationships are possible.

“We’d been terribly disturbed by the suicides,” Shayne says. “Time magazine did a story where they talked to young gays in their 20s who didn’t believe any [gay] relationship could last past 10 years. People have told us we’re a rather inspirational couple so we decided to tell our story.”

“There had always been this thinking that, ‘Oh God, it’s a terrible life,’” Sunshine says. “We wanted to kind of deal with that issue and let people know we’re not always in feathers or this and that. We’re like you. We have the same loves, desires and careers. We felt we had a responsibility to tell that story.”

And it is quite a story. With fun anecdotes of the famous paths with whom they’ve crossed — Lena Horne, Laurence Olivier, Marlon Brando, David Susskind, Helen Hayes, George Cukor, Katharine Hepburn, Norman Lear, Bette Davis, Rock Hudson and more make memorable appearances — the book is delightfully shameless in its name dropping.

Just as vivid, though, are lengthy passages where the two write evocatively of what it was like to be gay in the ‘50s and ‘60s, to what degree they were able to be out (if at all) and how their relationship evolved over the decades. Shorn of any Jackson-Paris-type false idealism — they make it clear it wasn’t always a bed of roses — their experiences come vividly to life.

“We felt we had to be totally honest for the book to work,” Shayne says. “We found out things about each other we didn’t know but we felt if we weren’t totally honest about it, what would be the point? Otherwise it would be so goody-goody you couldn’t stand it. But we got through it and that’s really the story of our relationship. We ended up supporting each other.”

“A lot of people have identified very strongly with the book,” Sunshine says. “It gives them insight into the time period and the history of the gay situation vis-à-vis us.”

During a lengthy phone chat from their home in Palm Beach, Fla., the two — on a joint call — happily elaborate on topics touched on in the book.

Though they still drink, it’s mostly just wine these days —they’ve traded in the Rob Roys they drank copiously for years for California chardonnay.

Norman, left, and Alan on their wedding day. (Photo courtesy the couple)

They attribute their long careers to their mutual abilities to adapt. Some opportunities came out of nowhere — like the Tiffany display that helped launch Sunshine’s impressive art career — while others were built piece by piece through painstaking work like the cards Shayne kept on each actor he saw so he’d have a bounty of suggestions to directors casting various projects.

Their various country houses — in Pennsylvania, Connecticut and more — have helped them grow together, they say.

“In the ‘50s, when you couldn’t really be openly gay, our homes became terribly important to us and we were happiest when we were there by ourselves,” Shayne says.

He also says the popular notion that CBS didn’t care about “Alice” spin-off “Flo,” an eponymous sitcom for Polly Holliday’s sassy character, isn’t true. It was not a victim, he says, of the network carelessly changing the show’s time slot repeatedly in those pre-VCR or TiVo days. Shayne says he worked hard to make “Flo” fly just as he’d done with “Alice” in its rocky first season but ultimately the audience wasn’t buying the character in a world outside Mel’s Diner.

But how did “Alice” succeed another five seasons without its most popular character while “Flo” failed?

“I love Polly and at the time, it seemed like a good idea to bring Diane (Ladd — who’d played Flo in the film) back (to ‘Alice’),” Shayne says. “We really had hoped ‘Flo’ would be a big success and believe me, we did everything. We changed writers, changed producers, nothing seemed to work, but God knows we tried. … the public kind of wanted her there saying, ‘Kiss my grits’ in the diner and she became really a different character when she had her own show. She wanted to be different … CBS was actually very cooperative.”

Ironically perhaps, Shayne and Sunshine say though they socialized several times with Cukor, the legendary “old Hollywood” director who was gay and famous for his parties, they never discussed their relationship or homosexuality with him.

“He knew we were a couple, he would invite us both to dinner, but it was always a mixed group. Sometimes Kate (Hepburn, who lived in Cukor’s guest house when she was on the West Coast) would stop by and say hello, but it was all very proper … I don’t think he ever mentioned the word gay to us,” Shayne says.

As for the changing times, they say it’s only in the last eight or 10 years that they’ve felt comfortable being fully out in all aspects of their lives. They wed in Massachusetts eight years ago initially for practical reasons. They were pleasantly shocked at how welcomed they were by the hotel staff where they stayed.

“AIDS really exploded the conversation on gay issues,” Sunshine says. “It was the instrument by which the whole gay thing came out as a national discussion.”

And what about the irony of Sunshine being the Emmy winner in the family despite Shayne’s long career in television (Sunshine won for titles he designed for a special in the mid-‘70s)?

“Can you hear me gnashing my teeth,” Shayne says.

Up Next

Calendar: April 20

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Theater

Iconic Eddie Izzard takes on 23 characters in ‘Hamlet’

Energized take on role offers accessible way to enjoy Shakespeare

Published

2 hours ago

April 4, 2026

Patrick Folliard

Eddie Izzard in ‘The Tragedy of Hamlet.’ (Photo by Carol Rosegg)

‘The Tragedy of Hamlet’
Through April 11
Shakespeare Theatre Company’s Klein Theatre
450 7th St., N.W.
Tickets start at $90
Shakespearetheatre.org

Eddie Izzard is an icon.

Best known for her innovative standup and film roles, the famed British performer is also a queer activist who over the years has good-naturedly shared details from her decades long trans journey. What’s more, Izzard has remarkably run 43 marathons in 51 days for charity.

And now, Izzard finds a towering new challenge with the worldwide tour of “The Tragedy of Hamlet” (at Shakespeare Theatre Company’s Klein Theatre through April 11), in which she plays 23 characters (Hamlet, King Claudius, Queen Gertrude, the ghost, etc.) in a solo performance running just over two hours.

At a recent performance, Izzard, before slipping into character, appeared on the unadorned stage to say that though infused with comedy, “Hamlet” is definitely a tragedy, a story of a family and country both tearing themselves apart. She also warns that there’ll be a lot of breaking the fourth wall. After all, it didn’t exist in 1600 around the time when “Hamlet” was written.

The play unfolds in flurry of movement and scandal as the Danish prince begins to plot revenge after learning that his father, the old king was conspired against and murdered.

While some of Izzard’s character shifts are shown only by a subtle change in stance or modulation of voice, others are more obviously displayed like court sycophant Polonius walking with a stiff leg and mimed cane, or his ill-fated daughter Ophelia trotting girlishly across the upstage platform.

Delivered downstage at the intimate Klein venue, Izzard’s Hamlet soliloquies are performed with striking clarity. The one actor play is adapted and edited by Mark Izzard (the star’s older brother) and directed by Selina Cadell who successfully fosters the visceral connection between the actor and the house. Directly addressing an audience is something Izzard does exceedingly well. You feel as if she’s looking at/speaking to only you.

Cuts and choices are made that might not please traditionalists. The stabbing of eavesdropping Polonius might prove disappointingly underplayed to some. Whereas, the subsequent satisfying dual/death scene is long and precisely choreographed. Fear not, Izzard doesn’t flag a bit, not even when battling a cough (as was the case on the night of No Kings Day).

Not surprisingly, Izzard leans into the comedy. Her deliciously placed pauses, lines read ironically, and double takes, all gifts of comedy sharpened to perfection over a long career that kicked off as a street performer in the early eighties in London’s Covent Garden.

The play within a play scene finds Hamlet slyly rattling the conscience of King Claudius. As played by Izzard, it’s wickedly delightful and especially good. And the back and forth between the grave diggers done as a clever Cockney and his green assistant is a master class in how to play a Shakespearean clown.

Kitted out in a black peplum jacket over leather leggings and boots, Izzard gives gender fluid shades of contemporary diehard scenester and a Renaissance courtier. (Design and styling by Tom Piper and Libby DaCosta)

Attention has been paid to the blonde high ponytail, crimson lips and matching lacquered nails. The hands are important. Whether balled into fists or fingers fluttering, they’re in use, especially when playing Hamlet’s ex-friends Rosencrantz and Guildenstern (a clever surprise that can’t be spoiled).

Tom Piper’s set is wonderfully minimal. It’s an empty white walled space with three narrow windows that appear cut deeply into stone like those of a castle. These white flats serve as the ideal canvas for lighting designer Tyler Elich’s looming shadows, ghostly green light, and other unexpected flourishes of drama.

Izzard fills the stage. Her presence is huge, and her acting first-rate. At times, you forget it’s a one-person show.

I’d like to say, prior knowledge of the Bard’s best tragedy isn’t necessary to enjoy this fast-paced production. Despite a halved runtime and obscure words replaced with modern equivalents (“tedious old git” Hamlet says of Polonius), familiarity with the play is helpful.

With “The Tragedy of Hamlet,” Izzard secures a place among fellow queer Brits like Miriam Margolyes (“Dickens’ Women”), Sir Ian Mckellan (“Ian McKellen on Stage”), and more recently Andrew Scott (“Vanya”) in the solo players’ pantheon.

Izzard’s energized take on Hamlet is terrific. The way her powerful public persona bleeds into the work without taking over is exciting, and a uniquely accessible way to enjoy Shakespeare.

Calendar

Calendar: April 3-9

LGBTQ events in the days to come

Published

1 day ago

April 3, 2026

Tinashe Chingarande

Friday, April 3

Center Aging Monthly Luncheon With Yoga will be at 12 p.m. at the DC Center for the LGBT Community. Email Mac at [email protected] if you require ASL interpreter assistance, have any dietary restrictions, or questions about this event.

Go Gay DC will host “First Friday LGBTQ+ Community Social” at 7 p.m. at Silver Diner Ballston. This is a chance to relax, make new friends, and enjoy happy hour specials at this classic retro venue. Attendance is free and more details are available on Eventbrite.

Saturday, April 4

Go Gay DC will host “LGBTQ+ Community Brunch” at 11 a.m. at Freddie’s Beach Bar & Restaurant. This fun weekly event brings the DMV area LGBTQ+ community, including allies, together for delicious food and conversation. Attendance is free and more details are available on Eventbrite.

Nellies Sports Bar will host “Nellies DC Drag Brunch” at 12 p.m. Come get served like a queen, by a queen at the top rated Drag Brunch in DC! Join Sapphire Blue, Deja Diamond and their team of amazing drag performers, for the most fun you’ll have all weekend. Tickets start at $58.51 and are available on Eventbrite.

Monday, April 6

Center Aging: Monday Coffee Klatch will be at 10 a.m. on Zoom. This is a social hour for older LGBTQ+ adults. Guests are encouraged to bring a beverage of choice. For more information, contact Adam ([email protected]).

Go Gay DC will host “LGBTQ+ Community Happy Hour Meetup” at 5:30 p.m. at Freddie’s Beach Bar and restaurant. This event is ideal for making new friends. It’s free to attend. The group will gather inside at the purple booth to the left. Attendance is free and more details are available on Eventbrite.

Tuesday, April 7

Universal Pride Meeting will be at 7 p.m. on Zoom. This group seeks to support, educate, empower, and create change for people with disabilities. For more details, email [email protected].

Wednesday, April 8

Job Club will be at 6 p.m. on Zoom upon request. This is a weekly job support program to help job entrants and seekers, including the long-term unemployed, improve self-confidence, motivation, resilience and productivity for effective job searches and networking — allowing participants to move away from being merely “applicants” toward being “candidates.” For more information, email [email protected] or visit www.thedccenter.org/careers.

Thursday, April 9

The DC Center’s Fresh Produce Program will be held all day at the DC Center for the LGBT Community. To be more fair with who is receiving boxes, the program is moving to a lottery system. People will be informed on Wednesday at 5:00 pm if they are picked to receive a produce box. No proof of residency or income is required. For more information, email [email protected] or call 202-682-2245.

Virtual Yoga Class will be at 7 p.m. on Zoom. This free weekly class is a combination of yoga, breathwork and meditation that allows LGBTQ+ community members to continue their healing journey with somatic and mindfulness practices. For more details, visit the DC Center’s website.

a&e features

Award-winning D.C. chef reaching new culinary heights

Anthony Jones of Marcus DC competing on ‘Top Chef’

Published

2 days ago

April 2, 2026

Evan Caplan

Anthony Jones (Photo by Joshua Foo)

In Anthony Jones’s kitchen, all sorts of flags fly, including his own. Executive chef at award-winning restaurant Marcus DC, Jones has reached culinary heights (James Beard Award semifinalist for Emerging Chef, anyone?), yet he’s just getting started.

Briefly stepping away from his award-winning station, Jones took a moment under a different set of lights. Recently, he temporarily gave up his post at the restaurant for a starring small-screen slot on the latest season of “Top Chef,” which debuted in March. (The show airs weekly on Bravo and Peacock).

Before his strategic slice-and-dice competition, however, Jones, who identifies as gay, draws from his deep DMV roots. In the years before “Top Chef” and the top chef spot at Marcus, he was born and raised in Sunderland, Md., in southern Maryland, near the Chesapeake.

Early memories were steeped in afternoons on boats with his dad bonding over fishing, and wandering the garden of his great-grandparents spread with fresh vegetables and a few hogs. “It was Southern, old-school ethics and upbringing,” he said. “Family and food went hand in hand.” Weekends meant grabbing bushels of crabs, dad and grandma would cook and crack them. Family members would host fish fries for extra cash. In this seafood-heavy youth, Jones managed time to sneak in episodes of the “OG” Japanese “Iron Chef” show, which helped inspire him to pursue a career in the kitchen.

Jones moved to D.C. after graduating from college, ending up at lauded Restaurant Eve, and met famed chef Marcus Samuelson, who brought him to Miami to be part of the opening team for Red Rooster Overtown. After three years, Jones moved back to D.C., where he ran Dirty Habit, reinventing and reimagining the menu, integrating West African flavors and ingredients.

Samuelson, however, wouldn’t let a talent like Jones stay away for too long. Pulling Jones back into his orbit, Samuelson elevated Jones to help him open his namesake restaurant Marcus DC, which has been named a top-five restaurant by the Washington Post. Since then, Jones has been nominated as a semifinalist for the RAMMYs Rising Culinary Star in 2026 and won the Eater DC’s Rising Chef award in 2025.

Samuelson’s Marcus is a tour de force interpreting the Black Diaspora on the plate, from the American South to West Africa, along with his signature “Swedopian” touches. Yet it’s Jones who has deeply informed the plate, elevating his own story to date. Marcus DC is primarily a seafood restaurant, which serves Jones well.

“Where I’m from is seafood heavy, and as I’ve progressed in my career, I’ve moved away from meat.” Veggies and fish are hero dishes. His own dish, Mel’s Crab Rice, was not only lauded by the Washington Post, but is framed by his youth carrying home the crustaceans from Mel’s crab truck. It’s a bowl of Carolina rice, layered with pickled okra, uni béarnaise, and crab. Jones also points to a dish on the opening menu, rockfish and brassica, paying respect to a landmark D.C. institution, Ben’s Chili Bowl. Jones reverse engineered a favorite bowl of chili that’s seafood instead of meat forward, leveraging octopus and rockfish along with different riffs of cauliflower: showing his intellectual, creative, and cultural sides.

While “Top Chef” is showing Jones’s spotlight side, he also lets his identity show at work. “In the kitchen, I make sure we’re inclusive. We don’t tolerate discrimination. Everyone that’s here should feel confident to express themselves. There are so many different flags in the kitchen.”

Jones says that he didn’t fully express his gay identity until fairly recently. He felt reluctant coming out to certain family members, “you’re scared to tell them about being different,” he says, and while that anxiety ate at him, “I’m lucky and fortunate to have unconditional love and that weight off my shoulders.”

Today, “I’m me all the time, Monday to Sunday. I’m honest with people, and my staff is honest with me.”

“Being a chef is hard,” he says, “and being a chef of color is even more difficult.”

Yet his LGBTQ identity is a juggling act, he says. “I need to keep that balance, because once someone finds out something about you, their opinion can change, whether you want it or not.”

Being on a whole season of TV cooking competition, however, might mean millions more might have an opinion of him (Jones has appeared on TV already, on an episode of “Chopped”). To prepare, he says, “I’ve just kept a level head. It’s just an honor to be on top chef with amazing people happy to be there.”

Plus, this season is set in the Carolinas, and Jones attended Johnson & Wales University in Charlotte, N.C. “It’s a full story of my life, now a monumental moment for me.”

Jones also recently was nominated for a James Beard Foundation Award. “JBF has been a north star, a dream for so long. I always had this goal on my wall.”

Being at the top spot at Marcus DC, making waves through his accolades, and cooking on Bravo means that Jones is highly visible. “I think that if someone has a similar background to me, and can see our story, trajectory, and success, they can have more ability to be themselves. This is my goal.”

Back at Marcus, Jones has plenty up his chef’s white’s sleeves. A new spring menu is in the works. He’ll be launching a new tasting menu “dining experience,” he says, and has plans to work on more events and collaborations with chefs and friends to bring in new talent and share the culinary wealth.