Arts & Entertainment
Summer of ‘69
Gay-helmed ‘Paperboy’ fails to gel despite strong cast
Matthew McConaughey and Zac Efron in new film ‘The Paperboy.’ The sordid tale opens today in the D.C. area. (Photo courtesy of the Karpel Group)
“The Paperboy” has an impressive pedigree.
It’s directed by Lee Daniels, the openly gay director who made a striking debut with “Precious.” It’s based on an award-winning novel by Pete Dexter. It stars Matthew McConaughey, Zac Efron, Macy Gray, Nicole Kidman and John Cusack. But unfortunately, despite this great promise and a strong start, this steamy tale of sex and violence, which opens today at Landmark E Street Cinemas in the D.C. area and at the Angelika Mosaic in Fairfax, Va., loses steam partway through.
Set in 1969, “The Paperboy” tells the story of two brothers who return to their hometown in rural northern Florida. Zac Efron plays Jack Jensen, a collegiate swimmer who has been kicked off the team and expelled from college. His father, the staunchly traditional publisher of the local paper (a great performance by a gruff Scott Glenn), puts him to work as a paperboy. Matthew McConaughey plays Ward Jensen, a hot-shot reporter for a Miami newspaper who returns home with his ambitious writing partner Yardley Acheman (David Oyelowo) to investigate a claim of wrongful imprisonment.
The convict in question is Hillary Van Wetter (John Cusack) who has been jailed for killing an abusive sheriff. Pleading his case is the sultry Charlotte Bless (Nicole Kidman), a death row groupie who has become engaged to Van Wetter even though they have never met. She has assembled boxes of evidence calling the prosecution’s case into question. Smelling a juicy story, the newsmen pursue leads through the squalid swamp shacks of Van Wetter’s relatives and the equally sordid offices of corrupt lawyers and law men.
The movie is well steeped in the traditions of the Southern Gothic: lies, sexual tension, racism, politics, hypocrisy, psychosis, hidden secrets, brutal violence and twisted family histories. The plot, of course, is full of twists and turns, including an unexpected revelation about a character’s sexual orientation and unorthodox sexual tastes. The film vividly recreates the look and feel of lurid period potboilers. Cinematographer Roberto Schaefer uses an intense saturated color palette to perfectly capture the stifling settings and sweltering temperatures. Composer Mario Grigorov effectively combines period music with original compositions to capture the shifting moods and alliances.
The cast throw themselves into the tawdry characters with admirable conviction. Zac Efron proves that he has made the transition from Disney star to Hollywood actor (although his fans will be pleased to know that he spends much of the movie shirtless and is frequently seen in his underwear). He displays Jack’s intense loyalties, inchoate anger, smoldering lust and casual cruelties with admirable restraint, especially given the emotional excesses of the story. John Cusack is chilling as the convicted killer who may be much cannier than he looks.
Nicole Kidman radiates sexual energy and an aching need as the vampy Charlotte, a siren who gets caught in her own snare. She looks great in the period styles and brings surprising depth to what could be a one-dimensional character. Her fearless performance includes some of the film’s already infamous scenes: dancing in the rain with Efron, applying the traditional cure for a jellyfish sting to him and bringing Cusack to a jailhouse orgasm from the other side of the room.
Macy Gray is somewhat less successful as Anita Chester, the Jensen family maid, but the fault lies with the direction and writing. The thankless role never quite escapes the well-worn Hollywood shorthand of the maternal black maid. Further, Anita awkwardly and unnecessarily serves as the movie’s narrator, telling the story from a confusing variety of perspectives. At one point, she is being interviewed by a journalist; at other times, she simply adds colorful commentary to the action; at other times, she controls the action of the movie, telling the audience, for example, that they don’t need to see any more of an unfolding sex scene as the camera cuts away.
The unsteady pacing, uncertain direction and uneven writing (the screenplay is by Daniels and Dexter) sadly rob the film of much of its potential impact. Fans of the genre and fans of the talented cast will be amply rewarded, but this is definitely not a film for all audiences.
Theater
‘The Inheritance’ is most-nominated at this year’s Helen Hayes Awards
42nd annual celebration of excellence in local theater set for May 18
Helen Hayes Awards 2026
May 18, 2026
For tickets go to theatrewashington.org
Last year, when out director Tom Story took on the daunting task of directing Round House Theatre’s production of “The Inheritance, Parts One and Two,” he knew that casting would be important, maybe even paramount, to the endeavor’s success. So, Story didn’t mess around.
Penned by queer playwright Matthew López, “The Inheritance” (inspired by E.M. Forster’s 1910 novel “Howards End”) is based on gay culture in the wake of the AIDS crisis.
Story looked at actors he knew, and some he didn’t. He wanted low drama and maybe players who could relate to the LGBTQ experience. In the end, the production’s 13-person cast was entirely queer except for brilliant local favorite Nancy Robinette as Margaret, the wise housekeeper.
Clearly, Story’s vision resonated with audiences. Round House’s production of “The Inheritance” is the most-nominated work of this year’s Helen Hayes Awards, earning 14 nominations. It’s also one of Round House’s highest grossing popular successes ever.
The queer cast members whose ages ranged from about 22 to 60, worked hard and enjoyed the process, and along the way garnered an Outstanding Ensemble in a Play (Hayes) nomination for their efforts.
The ensemble included Jamar Jones as Tristan, a brilliant doctor who leaves New York for Canada after deciding there’s no place for a gay, HIV-positive Black man in America. For the experienced actor, being part of “The Inheritance” was profound: “I think it was a divinely orchestrated production.”
He adds “I really feel that it’s so rare that you get to work on a show of that magnitude…size, time, where virtual strangers genuinely fell into rhythm. We became a cohort. I never felt a sense of unease, or reluctance to try things. I could be as big or bold as I wanted to be; or I could be small. Fail, mess up, try again. I didn’t feel judged.”
Jones considers Richmond his home, but says “I’m based where the work is.” Currently, he’s back at Round House rehearsing “Sally & Tom” (May 27-June28), a play within a play/meta exploration of the relationship between Thomas Jefferson and Sally Hemings by Suzan-Lori Parks.
Jones plays both a contemporary violinist and an enslaved fiddler, parts that have required him to learn to “air fiddle.” He’s all over it: “I want to represent the art and to be as precise as possible. Taught by an instructor, I’ve made strides with movement of the bow; next up is finger placement.”
Will he leave the play a violinist? “I’ll report back on closing night. Maybe I will have added something to the special skills list on my resume.”
For about a decade, Jones worked in living history, interpreting, performing, and writing pieces about the enslaved people of Colonial Virginia. Among the many historical characters he portrayed was Jupiter (Thomas Jefferson’s longtime enslaved manservant), an experience that’s proved a connection and preparation for his current role.
The 42nd Helen Hayes Awards celebration recognizing excellence in professional theater in the DMV will be held on Monday, May 18, 2026 at The Anthem on the District Wharf in Washington, D.C. Named for Helen Hayes, the legendary first lady of Broadway, the program consists of the awards presentation hosted by Felicia Curry, Awa Sal Secka, and Derrick Truby, followed by an after-party at nearby Whitlow’s.
With works selected from 149 eligible productions presented in the 2025 calendar year, nominations were made in 41 categories and grouped as either “Helen” (non-Equity/small Equity presence) or “Hayes” (Equity-heavy).
The many nominations are the result of 49 vetted judges considering 1,997 pieces of work, such as design, direction, choreography, performances, and more. The productions under consideration included 42 musicals, 107 plays, and 33 world premieres.
The following are more of this year’s queer nominees.
A past Helen Hayes Award recipient and nominee, Fran Tapia is competing against herself this year in the Outstanding Lead Performer in a Musical (Helen) category. Nominated for her memorable turn as the diva barkeep in GALA Theatre’s “Columbia Heights Bolero Bar,” an immersive musical centered on songs of longing and immigration set in a diverse neighborhood on the eve of a divisive presidential election
“It was a challenging time, because a lot of what was happening in the show was happening in the neighborhood,” says Tapia who lives in Columbia Heights just eight minutes from GALA.
Based in D.C. since 2019, Tapia says “Being recognized in a country that is not my homeland but where I’m building my artistic home, is deeply meaningful. And the variety of roles I have been able to play speaks to the richness of DC theater and the collaborators who trusted me with these roles.”
Her other individual nomination is for the title role in Spooky Action Theater’s “Professor Woland’s Black Magic Rock Show,” a passionately comedic political satire. She approached the mysterious central character as nonbinary.
Tapia (“Chilean, Latina, queer and proud immigrant”) says while very different, both performances involved particularly strong characters. She’s grateful audiences responded positively to her work.
Stanley Bahorek, who moved to D.C. with his husband four years ago, is best known as an accomplished actor with a long list of Broadway and regional credits (including playing Carl, the gay son in Studio Theatre’s recent production of “The Mother Play”). Now, he is nominated for Outstanding Music Direction (Helen) for his work on “A Strange Loop,” a production of D.C.’s Visionaries of the Creative Arts (VOCA) in collaboration with Deaf Austin Theatre. He shares this nomination with Walter “Bobby” McCoy.
Michael R. Jackson’s Tony and Pulitzer wining play “A Strange Loop,” is the story of Usher, a Black, queer theater usher trying to write a musical. VOCA’s take on the work is seen through a deaf BIPOC lens with a deaf Usher played by a deaf actor (out actor Gabriel Silva). Invited by director and longtime friend Alexandria Wailes (who is deaf), Bahorek (who is hearing) joined the creative team as a sort of hybrid associate director/ music supervisor.
“I’m fluent in conversational American Sign Language (ASL),” he says. “I sort of functioned as a sherpa between the hearing and deaf and hard-of-hearing creatives. It’s been a great thrill to be a part of VOCA’s biggest production to date.”
If he and McCoy take home the prize, who makes the acceptance speech? Bahorek takes a beat before replying “That’s something we still need to talk about. And soon.”
A full list of award recipients will be available at theatrewashington.org on Tuesday, May 19, 2026.
Anthony Oakes will host “DC Black Pride Comedy Show” on Thursday, May 21 at 7 p.m.
Oakes will workshop his new hour about addiction, incarceration, recovery, and redemption with special guests.
This event will be hosted by the hilarious Apple Brown Betty with TJ So Silly, Howl Cooper, and featuring Patrice Deveaux. DJ Art.is will be spinning on the 1’s & 2’s. Libations will be provided by Drink Alchy. Images by RGF ENT. Tickets are $28.52 and can be purchased on Eventbrite.
Out & About
United Night Out set for Saturday
Team DC hosts evening of soccer, Pride, music, drag and community
On Saturday, May 16, Team DC is taking over Audi Field for United Night OUT as D.C. United faces St. Louis SC.
Come out for an evening of soccer, Pride, music, drag, and community. The night kicks off with pre-game fun featuring DC Different Drummers, DJ Heat, and a Pride Night OUT Party at the Heineken Rooftop. Then get ready for a 7:30 p.m. match, including the National Anthem sung by Dana Nearing and a halftime drag performance.
After the match, the celebration continues at the Post-Game Rooftop Party with DJ Heat and the After Party at Dacha Navy Yard. Game tickets and after party tickets are available now through Zeffy. After party tickets are $20 and include one drink.
‘The Inheritance’ is most-nominated at this year’s Helen Hayes Awards
HIV Vaccine Awareness Day set for May 18
DC Black Pride is around the corner
United Night Out set for Saturday
Calendar: May 15-21
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