If you haven’t heard the name Marc Shaiman, you’ve most likely heard his music or lyrics in one of your favorite Broadway shows or movies released in the past 50 years. From composing the Broadway scores for Hairspray and Catch Me if You Can to most recently working on Only Murders in the Building, Hocus Pocus 2, and Mary Poppins Returns, the openly queer artist has had a versatile career — one that keeps him just an Oscar away from EGOT status.

The one thing the award-winning composer, lyricist, and writer credits with launching his successful career? Showing up, time and time again. Eventually, he lucked out in finding himself at the right place at the right time, meeting industry figures like Rob Reiner, Billy Crystal, and Bette Midler, who were immediately impressed with his musical instincts on the piano.

“Put my picture under the dictionary definition for being in the right place at the right time,” Shaiman says. “What I often try to say to students is, ‘Show up. Say yes to everything.’ Because you never know who is in the back of the theater that you had no idea was going to be there. Or even when you audition and don’t get the part. My book is an endless example of dreams coming true, and a lot of these came true just because I showed up. I raised my hand. I had the chutzpah!”

Recalling one example from his memoir, titled Never Mind the Happy: Showbiz Stories from a Sore Winner ( just hit bookshelves on Jan. 27), Shaiman says he heard Midler was only hiring Los Angeles-based artists for her world tour. At the young age of 20, the New York-based Shaiman took a chance and bought the cheapest flight he could find from JFK. Once landing in L.A., he called up Midler and simply asked: “Where’s rehearsal?”

“Would I do that nowadays? I don’t know,” Shaiman admits. “But when you’re young and you’re fearless … I was just obsessed, I guess you could say. Maybe I was a stalker! Luckily, I was a stalker who had the goods to be able to co-create with her and live up to my wanting to be around.”

On the occasion of Never Mind the Happy’s official release, the Bladehad the opportunity to chat with Shaiman about his decades-spanning career. He recalls the sexual freedom of his community theater days, the first time he heard someone gleefully yell profanities during a late screening of The Rocky Horror Picture Show, and why the late Rob Reiner was instrumental to both his career and his lasting marriage to Louis Mirabal. This interview has been edited and condensed.

BLADE: Naturally, a good place to start would be your book, “Never Mind the Happy.” What prompted you to want to tell the story of your life at this point in your career?

SHAIMAN: I had a couple of years where, if there was an anniversary of a movie or a Broadway show I co-created, I’d write about it online. People were always saying to me, “Oh my God, you should write a book!” But I see them say that to everybody. Someone says, “Oh, today my kitten knocked over the tea kettle.” “You should write a book with these hysterical stories.” So I just took it with a grain of salt when people would say that to me. But then I was listening to Julia Louis-Dreyfus’ podcast, and Jane Fonda was on talking about her memoir — not that I’m comparing myself to a career like Jane Fonda’s — but she felt it was time to take a life review. That really stuck in my head. At the time, I was sulking or moping about something that had not gone as well as I wished. And I guess I kind of thought, “Let me look back at all these things that I have done.” Because I have done a lot. I’m just weeks short of my 50th year in show business, despite how youthful I look! I just sat down and started writing before anyone asked, as far as an actual publisher.

I started writing as a way to try to remind myself of the joyous, wonderful things that have happened, and for me not to always be so caught up on what didn’t go right. I’ve been telling some of these stories over the years, and it was really fun to sit down and not just be at a dinner party telling a story. There’s something about the written word and really figuring out the best way to tell the story and how to get across a certain person’s voice. I really enjoyed the writing. It was the editing that was the hard part!

BLADE: You recall experiences that made you fall in love with the world of theater and music, from the days you would skip class to go see a show or work in regional productions. What was it like returning to those early memories?

SHAIMAN: Wonderful. My few years of doing community theater included productions that were all kids, and many productions with adults, where I was this freaky little 12-year-old who could play show business piano beyond my years. It was just bizarre! Every time a director would introduce me to another cast of adults, they’d be like, “Are you kidding?” I’d go to the piano, and I would sightread the overture to Funny Girl, and everybody said, “Oh, OK!” Those were just joyous, wonderful years, making the kind of friends that are literally still my friends. You’re discovering musical theatre, you’re discovering new friends who have the same likes and dreams, and discovering sex. Oh my god! I lost my virginity at the opening night of Jesus Christ Superstar, so I’m all for community theater!

BLADE: What do you recall from your early experiences watching Broadway shows? Did that open everything up for you?

SHAIMAN: I don’t remember seeing Fiddler on the Roof when I was a kid, but I remember being really enthralled with this one woman’s picture in the souvenir folio — the smile on her face as she’s looking up in the pictures or looking to her father for approval. I always remember zooming in on her and being fascinated by this woman’s face: turns out it was Bette Midler. So my love for Bette Midler began even before I heard her solo records.

Pippin and The Wiz were the first Broadway musicals I saw as a young teenager who had started working in community theater and really wanted to be a part of it. I still remember Pippin with Ben Vereen and all those hands. At the time, I thought getting a seat in the front row was really cool — I’ve learned since that it only hurts your neck, but I remember sitting in the front row at The Wiz as Stephanie Mills sang Home. Oh my god, I can still see it right now. And then I saw Bette Midler in concert, finally, after idolizing her and being a crazed fan who did nothing but listen to her records, dreaming that someday I’d get to play for her. And it all came true even before I turned 18 years old. I just happened to be in the right place at the right time, and met one of her backup singers and became their musical director. I was brought to a Bette Midler rehearsal. I still hadn’t even turned 18, she heard me play and said, “Stick around.” And I’ve stuck around close to 55 years! She’s going to interview me in L.A. at the Academy Museum. Would I have ever thought that Bette Midler would say yes to sitting with me, interviewing me about my life and career?

BLADE: That’s amazing. Has she had a chance to read the book yet?

SHAIMAN: She read it. We just talked yesterday, and she wants to ask the right questions at the event. And she even said to me, “Marc, I wasn’t even aware of all that you’ve done.” We’ve been great friends for all these years, but sometimes months or almost years go by where you’re not completely in touch.

More than 40 openly LGBTQ athletes are expected to compete in the Milan Cortina Winter Olympics that open on Friday.

Outsports.com notes eight Americans — including speedskater Conor McDermott-Mostowy and figure skater Amber Glenn — are among the 44 openly LGBTQ athletes who will compete in the games. The LGBTQ sports website also reports Ellis Lundholm, a mogul skier from Sweden, is the first openly transgender athlete to compete in any Winter Olympics.

“I’ve always been physically capable. That was never a question,” Glenn told Outsports.com. “It was always a mental and competence problem. It was internal battles for so long: when to lean into my strengths and when to work on my weaknesses, when to finally let myself portray the way I am off the ice on the ice. That really started when I came out publicly.”

McDermott-Mostowy is among the six athletes who have benefitted from the Out Athlete Fund, a group that has paid for their Olympics-related training and travel. The other beneficiaries are freestyle skier Gus Kenworthy, speed skater Brittany Bowe, snowboarder Maddy Schaffrick, alpine skier Breezy Johnson, and Paralympic Nordic skier Jake Adicoff.

Out Athlete Fund and Pride House Los Angeles – West Hollywood on Friday will host a free watch party for the opening ceremony.

“When athletes feel seen and accepted, they’re free to focus on their performance, not on hiding who they are,” Haley Caruso, vice president of the Out Athlete Fund’s board of directors, told the Los Angeles Blade.

Four Italian LGBTQ advocacy groups — Arcigay, CIG Arcigay Milano, Milano Pride, and Pride Sport Milano — have organized the games’ Pride House that will be located at the MEET Digital Culture Center in Milan.

Pride House on its website notes it will “host a diverse calendar of events and activities curated by associations, activists, and cultural organizations that share the values of Pride” during the games. These include an opening ceremony party at which Checcoro, Milan’s first LGBTQ chorus, will perform.

ILGA World, which is partnering with Pride House, is the co-sponsor of a Feb. 21 event that will focus on LGBTQ-inclusion in sports. Valentina Petrillo, a trans Paralympian, is among those will participate in a discussion that Simone Alliva, a journalist who writes for the Italian newspaper Domani, will moderate.

“The event explores inclusivity in sport — including amateur levels — with a focus on transgender people, highlighting the role of civil society, lived experiences, and the voices of athletes,” says Milano Pride on its website.

The games will take place against the backdrop of the U.S. Olympic and Paralympic Committee’s decision to ban trans women from competing in women’s sporting events.

President Donald Trump last February issued an executive order that bans trans women and girls from female sports teams in the U.S. A group of Republican lawmakers in response to the directive demanded the International Olympics Committee ban trans athletes from women’s athletic competitions.

The IOC in 2021 adopted its “Framework on Fairness, Inclusion and Nondiscrimination on the Basis of Gender Identity and Sex Variations” that includes the following provisions:

• 3.1 Eligibility criteria should be established and implemented fairly and in a manner that does not systematically exclude athletes from competition based upon their gender identity, physical appearance and/or sex variations.

• 3.2 Provided they meet eligibility criteria that are consistent with principle 4 (“Fairness”, athletes should be allowed to compete in the category that best aligns with their self-determined gender identity.

• 3.3 Criteria to determine disproportionate competitive advantage may, at times, require testing of an athlete’s performance and physical capacity. However, no athlete should be subject to targeted testing because of, or aimed at determining, their sex, gender identity and/or sex variations.

The 2034 Winter Olympics are scheduled to take place in Salt Lake City. The 2028 Summer Olympics will occur in Los Angeles.

Alvin Ailey American Dance Theater
Through Feb. 8
Warner Theatre
513 12th St., N.W.
Tickets start at $75
ailey.org

The legendary Alvin Ailey American Dance Theater is coming to Washington’s Warner Theatre, and one of its principal veterans couldn’t be more pleased. Out dancer Renaldo Maurice is eager to be a part of the company’s 10-day stint, the kickoff of a national tour that extends through early May. 

“I love the respectful D.C. crowd and they love us,” says Maurice, a member of esteemed modern dance company for 15 years. The traveling tour is made of two programs and different casting with Ailey’s masterwork “Revelations” in both programs.

Recently, we caught up with Maurice via phone. He called from one of the quiet rooms in his New York City gym where he’s getting his body ready for the long Ailey tour. 

Based in North Newark, N.J., where he recently bought a house, Maurice looks forward to being on the road: “I enjoy the rigorous performance schedule, classes, shows, gym, and travel. It’s all part of carving out a lane for myself and my future and what that looks like.”

Raised by a single mother of three in Gary, Ind., Maurice, 33, first saw Alvin Ailey as a young kid in the Auditorium Theatre in downtown Chicago, the same venue where he’s performed with the company as a professional dancer.

He credits his mother with his success: “She’s a real dance mom. I would not be the man or artist I am today if it weren’t for the grooming and discipline of my mom. Support and encouragement. It’s impacted my artistry and my adulthood.”

Maurice is also part of the New York Ballroom scene, an African-American and Latin underground LGBTQ+ subculture where ball attendees “walk” in a variety of categories (like “realness,” “fashion,” and “sex siren”) for big prizes. He’s known as the Legendary Overall Father of the Haus of Alpha Omega.

WASHINGTON BLADE: Like many gay men of his era, Ailey lived a largely closeted public life before his death from AIDS-related complications in 1989. 

RENALDO MAURICE Not unusual for a Black gay man born during the Depression in Rogers, Texas, who’s striving to  break out in the industry to be a creative. You want to be respected and heard. Black man, and Black man who dances, and you may be same-sex gender loving too. It was a lot, especially at that time.  

BLADE: Ailey has been described as intellectual, humble, and graceful. He possessed strength. He knew who he was and what stories he wanted to tell.

MAURICE: Definitely, he wanted to concentrate on sharing and telling stories. What kept him going was his art. Ailey wanted dancers to live their lives and express that experience on stage. That way people in the audience could connect with them. It’s incredibly powerful that you can touch people by moving your body. 

That’s partly what’s so special about “Revelations,” his longest running ballet and a fan favorite that’s part of the upcoming tour. Choreographed by Alvin Ailey in 1960, it’s a modern dance work that honors African-American cultural heritage through themes of grief, joy, and faith.

BLADE: Is “Revelation” a meaningful piece for you?

MAURICE: It’s my favorite piece. I saw it as a kid and now perform it as a professional dance artist. I’ve grown into the role since I was 20 years old. 

BLADE: How can a dancer in a prestigious company also be a ballroom house father? 

MAURICE: I’ve made it work. I learned how to navigate and separate. I’m a principal dancer with Ailey. And I take that seriously. But I’m also a house father and I take that seriously as well.  

I’m about positivity, unity, and hard work. In ballroom you compete and if you’re not good, you can get chopped. You got to work on your craft and come back harder. It’s the same with dance. 

BLADE: Any message for queer audiences? 

MAURICE: I know my queer brothers and sisters love to leave with something good. If you come to any Ailey performance you’ll be touched, your spirit will be uplifted. There’s laughter, thoughtful and tender moments. And it’s all delivered by artists who are passionate about what they do. 

BLADE: Alvin Ailey has been a huge part of your life. Thoughts on that?

MAURICE: I’m a believer in it takes a village. Hard work and discipline. I take it seriously and I love what I do. Ailey has provided me with a lot: world travel, a livelihood, and working with talented people here and internationally. Alvin Ailey has been a huge part of my life from boyhood to now. It’s been great.