Arts & Entertainment
From Broadway to Hollywood
‘Double Life’ memoir recounts 50-year love story of artist and TV mogul
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.
Movies
Superb direction, performances create a ‘Day’ to remember
A rich cinematic tapestry with deep observations about art, life, friendship
According to writer/director Ira Sachs, “Peter Hujar’s Day” is “a film about what it is to be an artist among artists in a city where no one was making any money.” At least, that’s what Sachs – an Indie filmmaker who has been exploring his identities as both a gay and Jewish man onscreen since his 1997 debut effort, “The Delta” – told IndieWire, with tongue no doubt firmly planted in cheek, in an interview last year.
Certainly, money is a concern in his latest effort – which re-enacts a 1974 interview between photographer Peter Hujar (Ben Whishaw) and writer Linda Rosenkrantz (Rebecca Hall), as part of an intended book documenting artists over a single 24-hour period in their lives – and is much on the mind of its titular character as he dutifully (and with meticulous detail) recounts the events of his previous day during the course of the movie. To say it is the whole point, though, is clearly an overstatement. Indeed, hearing discussions today of prices from 1974 – when the notion of paying more than $7 for Chinese takeout in New York City seemed outrageous – might almost be described as little more than comic relief.
Adapted from a real-life interview with Hujar, which Rosenkrantz published as a stand-alone piece in 2021 (her intended book had been abandoned) after a transcript was discovered in the late photographer’s archives, “Peter Hujar’s Day” inevitably delivers insights on its subject – a deeply influential figure in New York culture of the seventies and eighties, who would go on to document the scourge of AIDS until he died from it himself, in 1987. There’s no plot, really, except for the recalled narrative itself, which involves an early meeting with a French journalist (who is picking up Hujar’s images of model Lauren Hutton), an afternoon photo shoot with iconic queer “Beat Generation” poet/activist Allen Ginsburg, and an evening of mundane social interaction over the aforementioned Chinese food. Yet it’s through this formalized structure – the agreed-upon relation of a sequence of events, with the thoughts, observations, and reflections that come with them – that the true substance shines through.
In relaying his narrative, Hujar exhibits the kind of uncompromising – and slavishly precise – devotion to detail that also informed his work as a photographer; a mundane chronology of events reveals a universe of thought, perception, and philosophy of which most of us might be unaware while they were happening. Yet he and Rosenkrantz (at least in Sachs’ reconstruction of their conversation) are both artists who are keenly aware of such things; after all, it’s this glimpse of an “inner life,” of which we are rarely cognizant in the moment, that was/is their stock-in-trade. It’s the stuff we don’t think of while we’re living our lives: the associations, the judgments, the selective importance with which we assign each aspect of our experiences, that later become a window into our souls – if we take the opportunity to look through it. And while the revelations that come may occasionally paint them in a less-than-idealized light (especially Hujar, whose preoccupations with status, reputation, appearances, and yes, money, often emerge as he discusses the encounter with Ginsberg and his other interactions), they never feel like definitive interpretations of character; rather, they’re just fleeting moments among all the others, temporary reflections in the ever-ongoing evolution of a lifetime.
Needless to say, perhaps, “Peter Hujar’s Day” is not the kind of movie that will be a crowd-pleaser for everyone. Like Louis Malle’s equally acclaimed-and-notorious “My Dinner With Andre” from 1981, it’s essentially an action-free narrative comprised entirely of a conversation between two people; nothing really happens, per se, except for what we hear described in Hujar’s description of his day, and even that is more or less devoid of any real dramatic weight. But for those with the taste for such an intellectual exercise, it’s a rich and complex cinematic tapestry that rewards our patience with a trove of deep observations about art, life, and friendship – indeed, while its focus is ostensibly on Hujar’s “day,” the deep and intimate love between he and Rosenkrantz underscores everything that we see, arguably landing with a much deeper resonance than anything that is ever spoken out loud during the course of the film – and never permits our attention to flag for even a moment.
Shooting his movie in a deliberately self-referential style, Sachs weaves the cinematic process of recreating the interview into the recreation itself, bridging mediums and blurring lines of reality to create a filmed meditation that mirrors the inherent artifice of Rosenkrantz’s original concept, yet honors the material’s nearly slavish devotion to the mundane minutiae that makes up daily life, even for artists. This is especially true for both Hujar and Rosenkrantz, whose work hinges so directly to the experience of the moment – in photography, the entire end product is tied to the immediacy of a single, captured fragment of existence, and it is no less so for a writer attempting to create a portrait (of sorts) composed entirely of fleeting words and memories. Such intangibles can often feel remote or even superficial without further reflection, and the fact that Sachs is able to reveal a deeper world beyond that surface speaks volumes to his own abilities as an artist, which he deploys with a sure hand to turn a potentially stagnant 75 minutes of film into something hypnotic.
Of course, he could not accomplish that feat without his actors. Whishaw, who has proven his gifts and versatility in an array of film work including not only “art films” like this one but roles from the voice of Paddington Bear to “Q” in the Daniel Craig-led “James Bond” films, delivers a stunning performance, carrying at least 75% of the film’s dialogue with the same kind of casual, in-the-moment authenticity as one might expect at a dinner party with friends; and though Hall has less speaking to do, she makes up for it in sheer presence, lending a palpable sense of respect, love, and adoration to Rosenkrantz’s relationship with Hujar.
In fact, by the time the final credits role, it’s that relationship that arguably leaves the deepest impression on us; though these two people converse about the “hoi polloi” of New York, dropping legendary names and reminding us with every word of their importance in the interwoven cultural landscape – evoked with the casual air of everyday routine before it becomes cemented as history – of their era, it’s the tangible, intimate friendship they share that sticks with us, and ultimately feels more important than any of the rest of it. For all its trappings of artistic style, form, and retrospective cultural commentary, it’s this simple, deeply human element that seems to matter the most – and that’s why it all works, in the end. None of its insights or observations would land without that simple-but-crucial link to humanity.
Fortunately, its director and stars understand this perfectly, and that’s why “Peter Hujar’s Day” has an appeal that transcends its rarified portrait of time, place, and personality. It recognizes that it’s what can be read between the lines of our lives that matters, and that’s an insight that’s often lost in the whirlwind of our quotidian existence.
Out & About
Gala Hispanic Theatre’s Flamenco Festival returns
Gala Hispanic Theater will host the 21st Annual “Fuego Flamenco Festival” from Thursday, Nov. 6 to Saturday, Nov. 22.
The festival will feature American and international artists who will gather in the nation’s capital to celebrate the art of Flamenco. Guests can save 20% on tickets with a festival pass.
The festival kicks off now through Nov. 10 with the D.C. premiere of Crónica de un suceso, created, choreographed and performed by Rafael Ramírez from Spain, accompanied by renowned flamenco singers and musicians. In this new show, Ramírez pays homage to the iconic Spanish Flamenco artist Antonio Gades who paved the way for what Flamenco is today. GALA’s engagement is part of an eight-city tour of the U.S. by Ramírez and company.
The magic continues Nov. 14-16 with the re-staging of the masterpiece Enredo by Flamenco Aparicio Dance Company, a reflection of the dual nature of the human experience, individual and social, which premiered at GALA in 2023.
For more information, visit the theatre’s website.
Friday, November 7
“Center Aging Friday Tea Time” will be at 12 p.m. in person at the DC Center for the LGBT Community’s new location at 1827 Wiltberger St., N.W. To RSVP, visit the DC Center’s website or email [email protected].
Go Gay DC will host “LGBTQ+ Community Social” at 7 p.m. at Silver Diner Ballston. This event is ideal for making new friends, professional networking, idea-sharing, and community building. This event is free and more details are available on Eventbrite.
Saturday, November 8
Go Gay DC will host “LGBTQ+ Community Brunch” at 12 p.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.
Sunday Supper on Saturday will be at 2 p.m. at the DC Center for the LGBT Community. This event will be full of food, laughter and community. For more information, email [email protected].
Monday, November 10
“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]).
“Soulfully Queer: LGBTQ+ Emotional Health and Spirituality Drop-In” will be at 3 p.m. at the DC Center for the LGBT Community. This group will meet weekly for eight weeks, providing a series of drop-in sessions designed to offer a safe, welcoming space for open and respectful conversation. Each session invites participants to explore themes of spirituality, identity, and belonging at their own pace, whether they attend regularly or drop in occasionally. For more details visit the DC Center’s website.
Genderqueer DC will be at 7 p.m. on Zoom. This is a support group for people who identify outside of the gender binary, whether you’re bigender, agender, genderfluid, or just know that you’re not 100% cis. For more details, visit genderqueerdc.org or Facebook.
Wednesday, November 12
Job Club will be at 6 p.m. on Zoom. 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 thedccenter.org/careers.
“Gay Men Speed Dating” will be at 7 p.m. at Public Bar Live. This is a fresh alternative to speed dating and matchmaking in a relaxed environment. Tickets start at $37 and are available on Eventbrite.
Thursday, November 13
The DC Center’s Fresh Produce Program will be held all day at the DC Center for the LGBT Community. People will be informed on Wednesday at 5 p.m. 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 is a free weekly class focusing on yoga, breathwork, and meditation. For more details, visit the DC Center for the LGBT Community’s website.
Un país que vota desde el miedo y la esperanza
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‘Sandwich guy’ not guilty in assault case
Gay speedskater racing toward a more inclusive future in sports
FBI thwarts Halloween terror plot targeting Mich. LGBTQ bars
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