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The wild west

Shakespeare production works well in Folger variation

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‘The Taming of the Shrew’
Through June 10
Folger Theatre
201 East Capitol Street, SE
$39-$65 (discounts available)
202-608-1719

From left, Danny Scheie, Cody Nickell and Kate Eastwood Norris in ‘The Taming of the Shrew’ at Folger Theatre. (Photo by Jeff Malet courtesy Folger)

It was while watching the HBO series “Deadwood,” writes/director Aaron Posner in the program notes for Folger Theatre’s “The Taming of the Shrew,” that he first became inspired to set his production in the American West, circa 1890. While Posner admits it’s not a totally original take on the Bard’s battle of the sexes — it’s been done before — the move from Padua to the Old West works: the raucous, defiant aspects of Shakespeare’s early comedy translate quite nicely.

Because Posner has dropped the play’s official Induction, a cute framing device that establishes “Shrew” as a play within in a play, his fast-paced and funny production jumps quickly into the unconventional courtship of fortune-hunting gambler Petruchio and Katherine, the ornery shrew (played by real life husband and wife Cody Nickell and Kate Eastwood Norris). At first, Katherine wants no part of love and marriage, but through an assortment of carefully executed psychological and physical tortures Petruchio remarkably alters her into the most obliging of wives.

Norris’ Katherine is a sort of hard-drinking, pistol-packing Calamity Jane for whom a future of happy domesticity seems impossible or a real longshot at best; but, again, Petruchio’s abuse works wonders in tempering Katherine’s obstinate disposition. Yes, it’s all very sexist stuff, but Norris is a smart actor with a deft touch, and her transformation from shrew to obedient wifey is nuanced — it’s more about discovering love and finding a new way to live.

Similarly, Nickell’s charming Petruchio is clearly smitten with his Kate, and it’s a love that proves sincere. When he outfits his bride in elegant new duds, Petruchio strives to please by giving her pants and a beautiful pair of black boots complete with spurs. And after proving his wife’s changed nature in a high stakes bet, he hands the winnings over to Katherine. The pair is a team, and it bodes well for a happy and equal marriage.

The comedy’s secondary romantic subplot involves a complicated competition between the suitors of Katherine’s younger more desirable sister, Bianca (Sarah Mollo-Christensen). Her eager wannabe husbands are played by Marcus Kyd, Craig Wallace and Thomas Keegan. Katy Carkuff is a standout as a boozy, well-off widow. James Gardiner and gay actor Danny Sheie play the comic servants.

In a nod to the changing roles of frontier women, Posner has made some intriguing gender-bending choices. The part of Katherine and Bianca’s father Baptista has been changed to a same-named, marriage-brokering mother played by Sarah Marshall, who’s gay. Her Baptista is comically reminiscent of the silver screen types played by Jo Van Fleet and Mercedes McCambridge: Prosperous, independent, tightly wound and willing to level a shotgun when necessary.

The traditionally male Tranio, a clever servant who goes undercover for his master, is also female for this production. As Tranio, Holly Twyford (also gay), swaps out a dull long dress and petticoat for a dapper copper suit and jauntily worn boater. Tranio’s put on squared-off shoulders and masculine walk are belied by touching instances when Twyford reveals the vulnerable young woman beneath the phony moustache, and these are lovely moments indeed.

Tony Cisek’s set is a two-tiered saloon made from roughly hewn wood. Through its swinging doors lie endless plains and big sky. Helen Q. Huang heightens the effect of her beautiful period costumes with subtle flourishes of fancy, freeing them from being too overly moored to time and place.

Additionally, singer/songwriter Cliff Eberhardt in the role of “The Blind Balladeer” performs his bluesy, witty, heartfelt tunes intermittently throughout the play. It’s a wonderful touch that entertainingly trains the spotlight on the characters’ intentions and passions.

At the top of the show, we’re told the evening will end “after [the players] dance.” It’s a promise kept. Posner closes the play with an old fashioned rousing line dance, sending the audience off with a big shot of the Wild West, fun and romance.

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Egypt

Iran, Egypt play in World Cup ‘Pride Match’

FIFA allowed Pride flags inside Seattle stadium

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(Screen capture via KOMO News/YouTube)

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.

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Photos

PHOTOS: Frederick Pride Parade

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A scene from the 2026 Frederick Pride Parade. (Washington Blade photo by Michael Key)

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

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Carla Hall stars in ‘Please Underestimate Me.’ (Photo by Marvin Joseph)

‘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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