Arts & Entertainment
Judy in disguise
New York production explores Garland’s wobbly London shows
‘End of the Rainbow’
Belasco Theatre
111 West 44th Street
New York
$31.50-$121.50
212-239-6200

From left, Michael Cumpsty, Tracie Bennett and Tom Pelphrey in ‘End of the Rainbow.’ (Photo by Carol Rosegg; courtesy O and M Co.)
The Judy Garland of “End of the Rainbow” (now on Broadway) isn’t the triumphant Judy who reclaimed her starry diadem after the astonishing comeback concert at New York’s Carnegie Hall in 1961. This Judy is seven years older, further down on her luck and shakier than ever. And while playwright Peter Quilter’s close-up look at the disintegration of a great talent is compelling, it’s Tracie Bennett as Judy who takes the show to an entirely different level. Her spookily spot-on channeling of the troubled superstar is phenomenal.
Set in a suite in London’s Ritz Hotel and the nearby Talk of the Town nightclub where Judy is precariously poised to make yet another comeback, the musical play repeatedly asks the question will she or won’t she? Will Judy be able to perform? Will she stay sober? Doing their best to prop her up offstage and on are manager and soon-to-be fifth husband Mickey Deans (Tom Pelphry), and her gay Scottish-born pianist, Anthony (the excellent Michael Cumpsty). Ultimately, each is fighting a losing battle. Just months after the erratic London club dates, Judy would be dead from an accidental overdose of barbiturates. But for now the show must go on.
Bennett’s Judy draws on the star’s renowned wit, clownishness, foul humor and charm. There’s also the cunning and desperation of an inveterate drug addict. At this point in her life, Judy’s poison of choice is Ritalin washed down with Stoli vodka, but when she can’t get that, any other “adult candy” will do: After mistakenly gobbling pills that were prescribed for a mangy cocker spaniel, she says, “I don’t need a doctor. Call a vet. If I start to pee on a lamppost, then call a doctor.”
Within the fancy suite (designed by William Dudley who also did the perfect costumes), there’s tension. Judy sees her younger paramour as a protector while accompanist Anthony considers Mickey a crass opportunist. He’s written and Pelphrey plays him somewhere in between. Initially Mickey weans Judy off drugs, but later becomes her supplier when she can’t perform without them.
Like any good bio play, “End of the Rainbow” covers all the bases. Judy recalls her vaudeville roots and Benzedrine-fueled MGM youth, cracking jokes about Mickey Rooney’s cigarette–stunted growth, Deanna Durbin’s unibrow and young Elizabeth Taylor’s charm (“She was so charming you just wanted to run her down with a car!”). She covers her lifelong drug addiction and a couple ex-husbands, but conspicuously absent is any mention of her three children whom from all accounts she adored. She gives a nod to her gay fans: “I could throw up in their laps and I would still be glamorous.”
Bennett, who’s been playing the part since early 2010 when the musical opened to critical acclaim in London before transferring to Broadway in March, sounds and looks (especially in profile) like the bony, middle-aged Garland seen in variety show and concert clips. The manic, jerky movements are all there — outstretched arms, upturned palms, jumpy legs. But it’s more than an impersonation. Directed by Terry Johnson, Bennett fully inhabits the star, artist and damaged woman.
Her quavering voice is a tad hoarse, but it works for this late stage in Judy’s career. When she sings “The Man that Got Away,” her hotel room morphs into a nightclub, nicely demonstrating the blurred boundary separating the star’s private life and career. Her riveting Ritalin-addled take on “Come Rain or Come Shine” is a poignant commentary on a once great talent now sick but still putting across one of her signature songs.
Wry and unconditionally loving, Anthony (representing Garland’s many gay fans) offers Judy permanent sanctuary at his home by the sea, promising wholesome food, quiet walks and chaste kisses. Sounds cozy, but Judy isn’t biting. Despite more than once claiming to be “all sung out,” in the end she goes with what she knows: a chaotic life of work, fans and drugs.
Celebrity News
Silky Nutmeg Ganache talks sex and dating, gender, politics, weight loss journey
‘RuPaul’s Drag Race All Stars’ semifinalist grew up in Bible Belt
Uncloseted Media published this interview on July 7.
By SPENCER MACNAUGHTON, ISABEL STOKES, and BELLA SAYEGH | After appearing on the 11th season of “RuPaul’s Drag Race,” the first season of “Canada’s Drag Race: Canada vs. the World,” the sixth season of “RuPaul’s All Stars” and now the 11th season of “All Stars,” Silky Nutmeg Ganache, known by many as the Reverend, is undoubtedly a legend.
Born and raised in Moss Point, Miss., Ganache bears all in this episode of “UNCLOSETED with Spencer Macnaughton.” She speaks about her relationship with gender, her 100-pound weight loss, what it’s like living as a queer person of color in a red state and why she’s calling on allies to stand up for the trans community.
Patrons enjoyed a night out at the popular LGBTQ venue Crush Dance Bar on Friday, July 3.
(Washington Blade photos by Landon Shackelford)













Theater
‘My Favorite Sociopath’ debuts at Shepherdstown’s CATF
Gay playwright Aurin Squire’s take on D.C. journalism in the ‘90s
‘My Favorite Sociopath’
Contemporary American Theater Festival
July 10-Aug. 2
Shepherdstown, W.Va.
Catf.org
Discernment. It’s a thing some people have, explains playwright Aurin Squire, especially when you’re gay or Black in America (Squire is both).
“You instinctively know when the mob is teaming up for the best interests of the powers that be. You can feel it in the air.”
In his sharp new satire “My Favorite Sociopath,” Squire writes about life experiences but set in a different time and place: It’s the 1990s, early days of the 24-hour news cycle, and three ambitious journalism students are pursuing success in D.C.
And now, Squire’s play, along with other new works, are making their world premieres at the annual Contemporary American Theater Festival (CATF) at Shepherd University in historic, queer-friendly Shepherdstown, W.Va. (just a 90-minute drive from D.C.).
“All of my plays are queer in some way,” says Squire, 46. “This one touches on harmless and dangerous lies. The characters are on the spectrum sexually, and it’s interesting how all that falls out.”
And he’s given it a lot of thought.
“Already as a kid, it seemed to me that the rage against rap music and sex was coming from closeted people resisting their own urges and temptations. For me, it was interesting to see a witch hunt led by witches. Queer people can always call out a lie.”
Since September, Squire has also been working with a TV show about the tech industry set in Silicon Valley. He says, “It seems the general flow of the tech industry is that humanity and civilization is finished and it’s just about accumulating as many goods as possible before everything collapses. In fact, those who are profiting actually agree. But for those who disagree, they believe the solution is to build bigger gates, but activists believe we can stop this”
Yet, he’s learned from folks associated with the show. “Many say the quickest way to divorce yourself from any responsibility or regulations — smash and grab. Otherwise, you have to stop and think and regulate your desires for greed and power”
Squire possesses a penchant for pithy titles. He laughs, explaining the first thing he wrote as a student at Juilliard was “Obama-ology,” the comedy with contemporary message. While a lot of people liked the name, it didn’t necessarily vibe with the author. He concedes that he chooses names based on “easy to remember” and titles that won’t be easy to lose as a file.
Another is “Defacing Michael Jackson,” a coming-of-age dramedy set in rural Florida in 1984, specifically Squire’s native town Opa-locka, Miami, a fantastical place famed for its fanciful Moorish revival architecture.
Living in the shadow of exotic structures, he wasn’t particularly fazed. Squire says “It wasn’t until returning to visit after my freshman year at Northwestern University in Chicago that I realized how weird it was: When you grow up in a place, you take surroundings for granted no matter how over the top.”
Now based in New York (where for two happy years, 2017-2019, he shared digs with drag king Murry Hill), Squire returns frequently to Miami to be with family, but this summer has been filled with both work and travel.
Currently, he’s in Shepherdstown with CATF shaping up “My Favorite Sociopath.” Later this summer he will travel to South Africa for research, followed by a silent writing retreat in Santa Fe, N.M.
Much of Squire’s work reflects the Latino, African, Caribbean, African-American, and Jewish cultures he grew up around in South Florida.
When asked if today’s winds of anti-multiculturalism worry him, he replies, “No, because that’s going to pass. Most people don’t like, people are seeing the negative results of it, and the young people coming up despise it. White male gamers were tricked momentarily through the algorithms into voting against their own interests and they’re now seeing how it’s not working out for them.
“Conservatives always try to stop progress and eventually they always lose. It’s just a question of where we’ll be in the middle of the end of civilization before that happens. I’d like to hope we can turn the ship around before then.”
In addition to “My Favorite Sociopath,” CATF summer season features three other world premieres (Lisa D’Amour’s comedy “The Smoker,” “Refugee Rhapsody” by Yussef El Guindi, “Best Line Wins: A Play Inspired by the Improvised Lives of Elaine May & Mike Nichols” by Beth Kander) and “¡VOS!” by Christina Pumariega.
CATF runs from July 10-Aug. 2 in three venues on the Shepherd University campus: Frank Center, Marinoff Theater, and Studio 112.
