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Gay Cirque performer in peak shape after conquering addictions
Joe Putignano says his passion for gymnastics never went away. Even in the throes of heroin addiction, he replayed his old routines in his mind. (Photo courtesy Cirque du Soleil)
Cirque du Soleil’s ‘Totem’
Aug. 15-Sept. 30
Plateau at National Harbor
201 Harbor View Ave.
Tickets: $40-$153
cirquedusoleil.com
Cirque du Soleil gymnast Joe Putignano prepares for his character in the big top show “Totem” by donning a dazzling costume containing eight pounds of Swarovski crystals. When he enters the arena, he descends from the ceiling illuminated in light.
“Totem,” which opens at the National Harbor on Wednesday, is a story about evolution, combining the scientific theories and myth that humans have developed about it. Putignano’s character, the Crystal Man, is the spark of hope and light that begins the journey. He says the character embodies Charles Darwin’s quote, “Light will be thrown on the origin of man.”
As he performs, audience members can sense the intensity and passion in the movement of his body. Company manager Jeff Lund describes him as a “human disco ball.” Putignano says, “It is difficult, performing in a heavy costume is like running a small machine and it does take a lot of practice.”
However, the audience will not realize that less than 10 years ago, the spark in Putignano’s life almost went out. At age 17, he began using various drugs, including ecstasy, cocaine and later heroin, and would not be clean again until he was around 29. When he was 19, he quit gymnastics thinking he would never return to the floor.
“I felt I betrayed myself,” he says. “I never wanted to do a handstand or a split again. It was like a divorce.”
Lund, who has worked with Putignano for almost two years and is in charge of almost all aspects of “Totem,” says Putignano’s performances these days defy his background.
“He is a world-class athlete,” he says. “His story is a very inspiring one.”
Joe Putignano (photo courtesy Joe Putignano)
Putignano began gymnastics when he was around 8 years old, after watching the Olympic gymnasts compete on television. He says as he watched them, he knew he wanted to be doing this for the rest of his life.
He was immediately very good and began competing around the U.S. and went to the Olympic Training Center in Colorado Springs twice when he was 11 and 13.
“As a child you bend to the laws of passion,” Putignano says. “You can’t imagine as many people as passionate as you. Later you see that it is a sport and there are rules, and now everybody sees your imperfections.”
As a Boston native, he says competing in New England is different from competing with top gymnasts from around the country. For a young Putignano, the mounting pressure to reach perfection and to compete began to wear on him. Especially, as he describes, an injury can completely derail a gymnast from his path very quickly.
“We know that our art form is fleeting, we can’t take it for granted because it can leave you in a moment,” he says.
He says growing up with gymnastics made it feel like his church. Though he did not come out until he was 19, being gay and a gymnast was never an issue for Putignano. He says, “The floor has no sexuality.” But the increased competition felt like a violation of his sacred space.
Putignano began taking ecstasy and cocaine during the “’90s rave era” and eventually quit gymnastics when he was a sophomore in college.
“To be a gymnast, one has to conquer perfect precision and control over the physical capacities of the body,” he says. “To be an addict, one must surrender this control over to the underworld, and I couldn’t keep them both together.”
After walking away from competing, Putignano plunged into what would turn out to be a very dark 10 years. He moved to New York in 1999 and began using heroin. He says his experiences with the drug were full of “bitter irony.”
“The more I shot up to escape the memories of my once beautiful pure sport, the quicker I nodded out into a dreamscape of performing my old gymnastics routines,” he says. “I was shooting up to escape the memory of my failed destiny, only to be flooded into an unconscious heroin state where I performed my gymnastics skills over and over. If there was ever a layer of Dante’s inferno, this was it.”
In New York City, he worked various jobs like waiting tables and modeling. He tried to stop several times with no success.
“Eventually, I was getting older and hadn’t gotten any better and over the years I saw the tiny spark of light inside me dimming down to nothing,” he says. “That one thing which made me myself was going to burn out forever. The fear of losing this light kept me constantly chasing sobriety.”
As time went on, Putignano ended up homeless and overdosed twice where he was declared dead both times.
“At the time of my overdoses, I was so far from reality that I was actually strengthened by my experience because I believed I had beat death,” he says.
This cycle continued until he was 26, when he was in rehab for the fifth time. One day, he went up into his room and began doing headstands. Though it would be another three years before he was completely clean and intense training was required to get back in shape, his interest was rekindled. But sobriety did not come easily.
“When I started to audition for shows, I was still not completely clean,” Putignano says. “I would be three months clean and relapse.”
Putignano’s second chance in gymnastics came when he got clean and began performing at the Metropolitan Opera House and Broadway Bares. A pivotal turning point came for him when he was eventually hired by Twyla Tharp to perform in her Broadway show “The Times They Are A Changin,’” based on Bob Dylan’s music. This was important to Putignano, as he was rejected from the show twice before being hired.
“It was such an important point in my sobriety. Tharp is an icon in the dance world,” he says.
While performing on Broadway and the Opera house, he connected with Robert Lepage, one of the creators of Cirque du Soleil. Lepage knew Putignano’s background and asked him if he would like to be part of show. Putignano says it is not a coincidence that his character should represent hope and light in the world.
“For myself, my character represents my sobriety, my hope, my faith and the relentless power of the human spirit,” he says.
Now six days a week, he brings that light to others through the 4,000 pieces of reflective glass. And just like Putignano, Lund says the costume is far more durable than it seems.
“At the end of the night, it gets thrown in the wash with everything else,” he says. “Sometimes pieces will fall off, but we have people who will reattach them when it happens.”
With a tight performing schedule and around six years of sobriety under his belt, Putignano says remaining sober is still a challenge.
“I would love to say that touring has been easy for me in sobriety, but the truth is, it isn’t,” he says. “Some humans are like trees and they need to stay close to their roots. My sober network is in New York City and it has been difficult without them.”
Despite the challenge, he has remained clean so far and he is able to use his experiences to be an emotional support for other performers. He says since he has been in dark places himself, he can be empathetic to others’ emotional struggles.
Lund describes the “Totem” performers and crew as one big family. Nationality and sexuality do not matter there, he says.
“For me as a manager, I try to avoid making lines between artists and technicians and so on, “ he says. “I know in other companies it may be like that, but I like my entire crew to be connected with each other. This is made easy since we are on the road together for so much out of the year.”
What keeps Putignano going is the thought that many who have been in his position have not received a second chance.
“I have to continue to carry the torch for the dead, for those who didn’t get a second chance and I have to do everything in my power to bring hope to the hopeless,” he says. “I was once the hopeless.”
Another Cirque show to open in Baltimore
“Dralion,” Cirque du Soleil’s acrobatic show that fuses influences from the East and the West, is opening in Baltimore on Aug. 22 and runs through Aug. 26.
The name of the show represents the different parts of the world combined— it’s the combination of the dragon, representing the East, and the lion, representing the west. It mainly draws on the 3,000-year-old tradition of Chinese acrobatics combined with the more modern Cirque du Soleil twist, according to the website.
In the show, the four elements of nature come to life. At first they are separated and have their distinct colors. Air is blue, water is green, fire is red and earth is ochre. When they are combined balance is achieved.
“Dralion” is one of Cirque du Soleil’s arena shows, and is performing at the 1st Mariner Arena (201 West Baltimore St.) Tickets range from $40 to $165. For more information, visit cirquedusoleil.com.
Theater
Iconic Eddie Izzard takes on 23 characters in ‘Hamlet’
Energized take on role offers accessible way to enjoy Shakespeare
‘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.
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’
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.
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