Arts & Entertainment
Blind to barriers
Bi theater head recalls emerging sexuality
Ike Schambelan, artistic director of Breaking Through Barriers, an off-Broadway theater outfit in New York. (Photo courtesy Ike Schambelan)
The artistic director of the only disability-specific off-Broadway theater in New York, knows a few things about being different.
The 72-year-old head of Breaking Through Barriers recalls during a phone interview his early sexual explorations.
“I’d gone to a folk sing in a dorm,” Ike Schambelan says. He was at Swarthmore College when another male student invited him to his room. “I was told,’ Don’t do that, stay on the sofa,” he says. “I knew without anything being verbalized that I was being protected. I did not want to be protected.”
He co-founded Theater Breaking Through Barriers (then known as Theater By the Blind) in 1979 not to be altruistic, but to “support my directing addiction,” Schambelan says.
It’s the only off-Broadway theater, and one of the few in the country, dedicated to advancing actors and writers with disabilities. The company can be a tough sell to people wary of disability, Schambelan says.
“They spend five minutes trying to figure out who’s disabled and who’s not, often getting it wrong. But, then they relax and get into the play.”
Schambelan, who was raised in West Philadelphia with the theater bug embedded in his DNA, grew up with many of the conflicts around sexuality held by many of his generation.
“My grandmother, who went blind, lived with us until I was 10,” he says. “Every Monday night, we’d listen to Lux Radio Theater and I’d brush her hair. I came to associate blindness, affection and theater.”
When Schambelan was in junior high a friend invited him to go to a drama at school.
“I was hooked,” Schambelan says. “I acted in high school. When I went to college I mostly stage managed, which I loved, as I wasn’t a very good actor.”
In his junior year, Schambelan directed the annual Thanksgiving musical.
“It was a big hit and I was hooked to a discipline, directing,” he says.
After graduating from Swarthmore in 1961, Schambelan earned a degree from Yale Drama School in 1967.
There, his passion for the theater and his burgeoning, conflicted sexuality merged.
“On my first night at the Drama school, a med student picked me up,” Schambelan says. “We had sex. Then, I … didn’t have sex until the end of the year. I dated women a little, but I didn’t do a lot of sex.”
In the 1960s during the pre-Stonewall era, being queer was more openly accepted at the Drama School and in the theater than in other parts of society, Schambelan says. Despite this, he was “conflicted.”
“It was internalized homophobia — feeling it was wrong to have sex with men.”
In the ‘60s and ‘70s, Schambelan directed productions at such companies as Playwrights Horizons and the George St. Playhouse. He shot a TV commercial with Farrah Fawcett (“She was lovely to work with,” he says) before she was famous.
Over these years, Schambelan dated women and men.
“I’d take up with a woman during the summer and the romance would last until the fall,” he says.
He married a woman in 1980, Joan, who remains his wife. She’d been a dancer so she’d known gays and just felt her husband’s bisexuality made him “more interesting.”
For years, he saw a psychotherapist who “… wanted me to be straight,” Schambelan says. “But, then, being gay had just been removed as the list of mental illnesses by the American Psychiatric Association.”
The therapist he sees today is completely accepting of his bisexuality, Schambelan says.
He admits it’s not always an easy thing to explain.
“The LGBT community doesn’t always get what it means to be bisexual,” he says. “Sometimes people have worked so hard to come out as gay, they have difficulty understanding the greater complexity of being bi. They want you to be gay.”
Movies
‘Things Like This’ embraces formula and plus-size visibility
Enjoyable queer romcom challenges conventions of the genre
There’s a strange feeling of irony about a spring movie season stacked with queer romcoms – a genre that has felt conspicuously absent on the big screen since the disappointing reception met by the much-hyped “Bros” in 2022 – at a time when pushback against LGBTQ visibility is stronger than it’s been for 40 years.
Sure, part of the reason is the extended timeline required for filmmaking, which tells us, logically, that the numerous queer love stories hitting theaters this year – including the latest, the Manhattan-set indie “Things Like This,” which opened in limited theaters last weekend – began production long before the rapid cultural shift that has taken place in America since a certain convicted fraudster’s return to the White House.
That does not, however, make them any less welcome; on the contrary, they’re a refreshing assertion of queer existence that serves to counter-balance the hateful, politicized rhetoric that continues to bombard our community every day. In fact, the word “refreshing” is an apt description of “Things Like This,” which not only celebrates the validity – and joy – of queer love but does so in a story that disregards “Hollywood” convention in favor of a more authentic form of inclusion than we’re ever likely to see in a mainstream film
Written, starring, and directed by Max Talisman and set against the vibrant backdrop of New York City, it’s the story of two gay men named Zack – Zack #1 (Talisman) is a plus-sized hopeful fantasy author with a plus-sized personality and a promising-but-unpublished first novel, and Zack #2 (Joey Pollari) an aspiring talent agent dead-ended as an assistant to his exploitative “queen-bee” boss (Cara Buono) – who meet at an event and are immediately attracted to each other. Though Zack #2 is resigned to his unsatisfying relationship with longtime partner Eric (Taylor Trensch), he impulsively agrees to a date the following night, beginning an on-again/off-again entanglement that causes both Zacks to re-examine the trajectories of their respective lives – and a lot of other heavy baggage – even as their tentative and unlikely romance feels more and more like the workings of fate.
Like most romcoms, it relies heavily on familiar tropes – adjusted for queerness, of course – and tends to balance its witty banter and starry-eyed sentiment with heart-tugging setbacks and crossed-wire conflicts, just to raise the stakes. The Zacks’ attempts at getting together are a series of “meet-cutes” that could almost be described as fractal, yet each of them seems to go painfully awry – mostly due to the very insecurities and self-doubts which make them perfect for each other. The main obstacle to their couplehood, however, doesn’t spring from these mishaps; it’s their own struggles with self-worth that stand in the way, somehow making theirs more of a quintessentially queer love story than the fact that both of them are men.
All that introspection – relatable as it may be – can be a downer without active energy to stir things up, but fortunately for “Things Like This,” there are the inevitable BFFs and extended circle of friends and family that can help to get the fun back on track. Each Zack has his own support team backing him up, from a feisty “work wife” (Jackie Cruz, “Orange is the New Black”) to a straight best friend (Charlie Tahan, “Ozark”) to a wise and loving grandma (veteran scene-stealer Barbara Barrie, “Breaking Away” and countless vintage TV shows) – that fuels the story throughout, providing the necessary catalysts to prod its two neurotic protagonists into taking action when they can’t quite get there themselves.
To be sure, Talisman’s movie – his feature film debut as a writer and director – doesn’t escape the usual pitfalls of the romcom genre. There’s an overall sense of “wish fulfillment fantasy” that makes some of its biggest moments seem a bit too good to be true, and there are probably two or three complications too many as it approaches its presumed happy ending; in addition, while it helps to drive the inner conflict for Zack #2’s character arc, throwing a homophobic and unsupportive dad (Eric Roberts) into the mix feels a bit tired, though it’s hard to deny that such family relationships continue to create dysfunction for queer people no matter how many times they’re called out in the movies – which means that it’s still necessary, regrettably, to include them in our stories.
And in truth, “calling out” toxic tropes – the ones that reflect society’s negative assumptions and perpetuate them through imitation – is part of Talisman’s agenda in “Things Like This,” which devotes its very first scene to shutting down any objections from “fat shamers” who might decry the movie’s “opposites attract” scenario as unbelievable. Indeed, he has revealed in interviews that he developed the movie for himself because of the scarcity of meaningful roles for plus-sized actors, and his desire to erase such conventional prejudices extends in every direction within his big-hearted final product.
Even so, there’s no chip-on-the-shoulder attitude to sour the movie’s spirit; what helps us get over its sometimes excessive flourishes of idealized positivity is that it’s genuinely funny. The dialogue is loaded with zingers that keep the mood light, and even the tensest scenes are laced with humor, none of which feels forced. For this, kudos go to Talisman’s screenplay, of course, but also to the acting – including his own. He’s eminently likable onscreen, with wisecracks that land every time and an underlying good cheer that makes his appeal even more visible; crucially, his chemistry with Pollari – who also manages to maintain a lightness of being at his core no matter how far his Zack descends into uncertainty – isn’t just convincing; it’s enviable.
Cruz is the movie’s “ace in the hole” MVP as Zack #2’s under-appreciated but fiercely loyal bestie, and Buono’s hilariously icy turn as his “boss from hell” makes for some of the film’s most memorable scenes. Likewise, Tahan, along with Margaret Berkowitz and Danny Chavarriaga, flesh out Zack #1’s friend group with a real sense of camaraderie that should be recognizable to anyone who’s ever been part of an eclectic crew of misfits. Trensch’s comedic “ickiness” as Zack #2’s soon-to-be-ex makes his scenes a standout; and besides bigger-name “ringers” Roberts and Barrie (whose single scene is the emotional climax of the movie), there’s also a spotlight-grabbing turn by Diane Salinger (iconic as Francophile dreamer Simone in “Pee-Wee’s Big Adventure”) as the owner of a queer bar where the Zacks go on one of their dates.
With all that enthusiasm and a momentum driven by a sense of DIY empowerment, it’s hard to be anything but appreciative of “Things Like This,” no matter how much some of us might cringe at its more unbelievable romcom devices. After all, it’s as much a “feel-good” movie as it is a love story, and the fact that we actually do feel good when the final credits role is more than enough to earn it our hearty recommendation.
Friday, May 23
“Center Aging Monthly Luncheon and Yoga” will be at 12 p.m. in person at the DC Center for the LGBT Community. For more details, email [email protected].
Trans Discussion Group will be at 7 p.m. on Zoom. This group is intended to provide an emotionally and physically safe space for trans people and those who may be questioning their gender identity and/or expression. For more details, email [email protected].
Go Gay DC will host “LGBTQ+ Community Happy Hour” at 7 p.m. at DIK Bar. 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, May 24
Go Gay DC will host “LGBTQ+ Community Brunch” at 11 a.m. at Freddie’s Beach Bar and 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.
Black Lesbian Mixer will be at 11 a.m. on Zoom. This is a support group dedicated to the joys of being a Black lesbian. For more details, email [email protected].
Sunday, May 25
“The Queen’s Table: A Women’s Empowerment Brunch” will be at 11 a.m. at Zooz. This event will celebrate queer women’s strength. For more details visit Eventbrite.
Monday, May 26
“Center Aging Monday Coffee and Conversation” 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 details, email [email protected].
Tuesday, May 27
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 you’re not 100 percent cis — this is your group. For more details, visit genderqueerdc.org or Facebook.
Coming Out Discussion Group will be at 7 p.m. on Zoom. This support group is a safe space to share experiences about coming out and discuss topics as it relates to doing so. For more details, visit the group’s Facebook.
Wednesday, May 28
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.
Thursday, May 29
The DC Center’s Fresh Produce Program will be held all day at the DC Center for the LGBT Community. To be fairer with who is receiving boxes, the program is moving to a lottery system. 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 with Charles M. 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.
Photos
PHOTOS: Helen Hayes Awards
Gay Men’s Chorus, local drag artists have featured performance at ceremony
The 41st Helen Hayes Awards were held at The Anthem on Monday, May 19. Felicia Curry and Mike Millan served as the hosts.
A performance featuring members of the Gay Men’s Chorus of Washington and local drag artists was held at the end of the first act of the program to celebrate WorldPride 2025.
The annual awards ceremony honors achievement in D.C.-area theater productions and is produced by Theatre Washington.
(Washington Blade photos by Michael Key)
Adams Morgan queer bar broken into and vandalized
‘Things Like This’ embraces formula and plus-size visibility
Calendar: May 23-29
Comings & Goings
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Looking back at 50 years of Pride in D.C
WorldPride events round-up
Wes Moore signs HIV decriminalization bill
Federal judge scraps trans-inclusive workplace discrimination protections
