Arts & Entertainment
‘Hello Gorgeous’
Gay biographer deconstructs Streisand’s ascent to superstardom
Jewish Literary Festival: William Mann
Closing Night
Wednesday, 7:30 p.m.
D.C. Jewish Community Center
1529 16th Street, NW
Tickets: $10
Barbra Streisand in the recording studio for Columbia in New York, mid-1960s. (Photo from the Collection of Stuart Lippner, courtesy Houghton Mifflin Harcourt)
It’s an interesting time for Barbra Streisand fans.
She’s on tour and played New York last weekend (no D.C. dates scheduled).
A (sort of) new album dropped Oct. 9 called “Release Me” that collects 11 previously unreleased outtakes from various album projects going back to the beginning of her career in the early ‘60s. The faithful legion, of course, are beside themselves finally getting to hear rare cuts like her interpretations of Jimmy Webb’s “Didn’t We” and “Home” from “The Wiz.” Her MusiCares tribute concert, in which she was serenaded last year by Diana Krall, Barry Mainlow, Seal, Stevie Wonder and others, is out on DVD and Blu-ray from Shout! Factory Nov. 13.
But just as interesting is the new book “Hello, Gorgeous: Becoming Barbra Streisand,” also released this month from gay author William J. Mann, who, in addition to several novels, has penned well-received bios on William Haines, John Schlesinger, Katharine Hepburn and Elizabeth Taylor. Mann, an iconoclast who doesn’t smash his subjects but delights in deconstructing widely parsed anecdotes of show biz folklore, zeroes in on Streisand’s early years from early 1960 (when she was 17) to the spring of ’64 by which time she had opened in the long-delayed “Funny Girl” on Broadway and recorded three platinum-selling albums for Columbia.
Mann focuses on her early years because he says “everything we think we know about her can be traced back to this seminal period … She arrived in New York in 1959 as a penniless teenager without any connections or experience. Less than five years later she was the top-selling female recording artist in the country and the star of one of Broadway’s biggest smash hits. Going in as close as I have in this book has allowed me to really shed light on how she accomplished such a feat.”
Mann’s in Washington Wednesday on his book tour at the D.C. Jewish Community Center for a 7 p.m. Streisand presentation after which he’ll sign copies of the book. During two phone chats this week, the 49-year-old author talked about the process of bringing the book — he wasn’t particularly a Streisand fan before — to fruition and how writing it compared to his mammoth Hepburn and Taylor tomes.
Mann says focusing on Streisand’s early years turned out to be an unexpected advantage. Because few of the key players are still in touch with the notoriously private and exacting legend, they felt freer, Mann says, to cooperate. He wasn’t on a mission to bash Streisand, but he did want an honest and fresh take.
“These very, very famous people really live in a bubble,” he says. “It becomes virtually impossible to get an unvarnished opinion because any colleague you talk to is going to have nothing but superlatives and that becomes very difficult. … About 90 percent of the people I spoke to didn’t continue on with her. … so they could be candid. They didn’t have to think, ‘Gee, is Barbra gonna be pissed at me, I have to work with her next month.’”
Gay historian and author William J. Mann (Photo by Michael Childers; courtesy Houghton Mifflin Harcourt)
Despite calling the book “notable for its breadth of detail and fair mindedness,” biographer James Gavin writing for the New York Times said “little” of the book is new, a point Mann counters with his biggest coup — being granted the right to delve into the Jerome Robbins (the Broadway legend who worked on “Funny Girl”) papers at the New York Public Library, which had not previously been plumbed for any Streisand book and are not available to researchers (Mann got an exception through the Robbins’ estate).
And even though Streisand’s first boyfriend, Barry Dennen has written an entire book (1997’s “My Life with Barbra”) on their relationship, Mann says he got fresh material from the gay actor for “Gorgeous.”
One of Mann’s favorite experiences was visiting Phyllis Diller, who became a pal and mentor of the young Streisand during their time performing at seedy New York nightclub the Bon Soir in the early ‘60s. (Diller died in August.)
“She was such a hoot,” Mann says with a laugh. “That interview was probably the most enjoyable of the process. I got to go to her house and she was flirting and laughing. I asked her if she’d give me one of her trademark laughs and she did. I just sat there thinking, ‘I love my job.’”
Other “gets” weren’t so splashy but proved equally invaluable. Though scads of Streisand material has been released and is on YouTube, Mann says the Streisand aficionados — almost all gay — were helpful. He thinks his track record on the Hepburn and Taylor books helped open doors on several fronts.
“There’s one fan, and of course he’s made me promise never to reveal who he is, who had some really amazing stuff. There was a DVD (Streisand) was planning to put out maybe five-six years ago of all her old TV appearances but for whatever reason, it never came out. This guy had a bootleg copy of it, which was extraordinarily helpful. Another fan had some of her original contracts. Which is crazy. Who knows how they get this stuff. You’d think she’d have those herself, but somehow they had them and those were very helpful as well. And of course once you get in those fan circles, one things leads to another and another. I didn’t write it for the fans, because then you’d end up censoring it to please them, but they were a great help.”
Early signs are good.
(Courtesy Houghton Mifflin)
According to Nielsen BookScan, the book has already sold about 2,000 copies. And a glowing USA Today review said Mann’s “meticulous research and insightful analysis go deeper than any previous (Streisand) biography.” Liz Smith called it “excellent.” Amazon reader feedback has been highly positive and perhaps the surest sign that the writer did his homework, there’s been nary a peep, at least so far, from the Streisand camp (she devotes a whole section of her official website to debunking what’s written about her — check out the juicy reads on her tangles with Larry Kramer over a never-made film adaptation of “The Normal Heart” she wanted to do).
At more than 500 pages, “Gorgeous” makes for a lengthy yet brisk read. Mann, who splits his time between New York and Provincetown (where he does most of his writing), is happy to engage a few questions the book inspires, one common enough that he’s written a Huffington Post piece on the topic: that is, surely it’s no coincidence that Streisand, who had several key gay men in her life very early on in her career, ended up one of the biggest gay entertainment icons of all time, right?
“It’s not a coincidence at all,” he says. “She was shaped by so many gay influences … in various ways. The way she dressed, the way she put a song across, the way she styled her songs, they way she interacted with an audience, it’s so obvious all her early mentors were gay and I believe that when those early audiences went to see her, they responded to something familiar. The way she laughed, the way she moved, her campy humor. There was something there gay men recognized and thought, ‘Oh, we can relate to this chick.’ And she was not the first one to have this happen either. It goes all the way back to Mae West and the drag queens she worked with in New York. You see it with Judy (Garland) with Roger Edens, with Joan Crawford and Billy Haines … with Madonna it was the same thing.”
Barbra Streisand with first husband, actor Elliott Gould en route to the Tony Awards on April 29, 1962. (Photo from the collection of Stuart Lippner, courtesy Houghton Mifflin Harcourt)
And since Mann, with the Taylor and Streisand books especially, has focused on the nature of fame and how it was achieved — a dissection of the lucky breaks versus the raw material — another question occurs: given Streisand’s undeniable talent and famous drive, was her legend and success inevitable?
Mann says no.
“She would like us to think that, but no, I don’t think it was at all. I think she benefited form some really shrewed salesmanship and a degree of luck. Just the fact that there were some major parts with ‘I Can Get it For You Wholesale’ and “Funny Girl’ for unusual looking Jewish girls, she was lucky that she was there for those parts at the time they came along. Of course she’s brilliantly talented but there are lots of people who were. You hear some of these other singers from the nightclub era like Blossom Dearie or Joanna Beretta and you’re like, ‘Wow, they’re every bit as good as Barbra,’ but they lacked something — either a very shrewd publicity campaign on their behalf or perhaps their own ambition … it took a terrific amount of PR to make it happen.”
Game time: Kate, Liz or Babs?
William J. Mann has written well-received bios of three of the most famous legends the 20th century produced: Katharine Hepburn, Elizabeth Taylor and now, Barbra Streisand. At the end of an interview, Mann was game for a “lightening round” in which he considers how the three icons stack up. He had to answer each question with one of the three names.
Of the three, which had:
- the most raw talent? “Streisand”
- the most career triumphs? “Taylor”
- Was the most personally content? “Taylor”
- Whose personality evolved the most over the decades? “Hepburn”
- Which was the most fan friendly? “Taylor, by far.”
- The most private? “Streisand. Hepburn was private, but she also put things out there, although not always her true self. So I guess Streisand.”
- Whose work has best stood the test of time? “That’s kind of a draw. They all have. You look at Hepburn in a film like “Alice Adams,” which is this beautiful, brilliant, heartbreaking film that totally stands up. Or Elizabeth in ‘Virginia Woolf’ and you just think, ‘Wow, nobody could have done that better.’ Or one of Barbra’s albums.”
- Which had (or has) the most ardent fans? “Streisand”
- Was the toughest to research? “I suppose Hepburn but she had just passed away so that opened some doors. The other two were alive when I was writing.” (Taylor died shortly after the Mann book came out.)
- Had the most gays in her personal life? “Taylor”
- Had the easiest path to stardom? “Taylor. It was practically handed to her.”
- The toughest? “Streisand, even though it was really fast.”
- And just for fun, any word on how Streisand or Hepburn felt about tying for the Best Actress Oscar in ’68? “They both probably hated to share it,” he says. “Hepburn made a big show of not caring about the Oscars but of course she cared a great deal. … Streisand was very gracious when she accepted (Hepburn did not attend) and said she was ‘in great company.’ It was probably unlike either of them to send the other a congratulatory note, but I don’t fully know the answer to that or whether anybody ever tried to get them together for a photo. I suspect neither of them would have been too wild about that.”
— Joey DiGuglielmo
Movies
Superb direction, performances create a ‘Day’ to remember
A rich cinematic tapestry with deep observations about art, life, friendship
According to writer/director Ira Sachs, “Peter Hujar’s Day” is “a film about what it is to be an artist among artists in a city where no one was making any money.” At least, that’s what Sachs – an Indie filmmaker who has been exploring his identities as both a gay and Jewish man onscreen since his 1997 debut effort, “The Delta” – told IndieWire, with tongue no doubt firmly planted in cheek, in an interview last year.
Certainly, money is a concern in his latest effort – which re-enacts a 1974 interview between photographer Peter Hujar (Ben Whishaw) and writer Linda Rosenkrantz (Rebecca Hall), as part of an intended book documenting artists over a single 24-hour period in their lives – and is much on the mind of its titular character as he dutifully (and with meticulous detail) recounts the events of his previous day during the course of the movie. To say it is the whole point, though, is clearly an overstatement. Indeed, hearing discussions today of prices from 1974 – when the notion of paying more than $7 for Chinese takeout in New York City seemed outrageous – might almost be described as little more than comic relief.
Adapted from a real-life interview with Hujar, which Rosenkrantz published as a stand-alone piece in 2021 (her intended book had been abandoned) after a transcript was discovered in the late photographer’s archives, “Peter Hujar’s Day” inevitably delivers insights on its subject – a deeply influential figure in New York culture of the seventies and eighties, who would go on to document the scourge of AIDS until he died from it himself, in 1987. There’s no plot, really, except for the recalled narrative itself, which involves an early meeting with a French journalist (who is picking up Hujar’s images of model Lauren Hutton), an afternoon photo shoot with iconic queer “Beat Generation” poet/activist Allen Ginsburg, and an evening of mundane social interaction over the aforementioned Chinese food. Yet it’s through this formalized structure – the agreed-upon relation of a sequence of events, with the thoughts, observations, and reflections that come with them – that the true substance shines through.
In relaying his narrative, Hujar exhibits the kind of uncompromising – and slavishly precise – devotion to detail that also informed his work as a photographer; a mundane chronology of events reveals a universe of thought, perception, and philosophy of which most of us might be unaware while they were happening. Yet he and Rosenkrantz (at least in Sachs’ reconstruction of their conversation) are both artists who are keenly aware of such things; after all, it’s this glimpse of an “inner life,” of which we are rarely cognizant in the moment, that was/is their stock-in-trade. It’s the stuff we don’t think of while we’re living our lives: the associations, the judgments, the selective importance with which we assign each aspect of our experiences, that later become a window into our souls – if we take the opportunity to look through it. And while the revelations that come may occasionally paint them in a less-than-idealized light (especially Hujar, whose preoccupations with status, reputation, appearances, and yes, money, often emerge as he discusses the encounter with Ginsberg and his other interactions), they never feel like definitive interpretations of character; rather, they’re just fleeting moments among all the others, temporary reflections in the ever-ongoing evolution of a lifetime.
Needless to say, perhaps, “Peter Hujar’s Day” is not the kind of movie that will be a crowd-pleaser for everyone. Like Louis Malle’s equally acclaimed-and-notorious “My Dinner With Andre” from 1981, it’s essentially an action-free narrative comprised entirely of a conversation between two people; nothing really happens, per se, except for what we hear described in Hujar’s description of his day, and even that is more or less devoid of any real dramatic weight. But for those with the taste for such an intellectual exercise, it’s a rich and complex cinematic tapestry that rewards our patience with a trove of deep observations about art, life, and friendship – indeed, while its focus is ostensibly on Hujar’s “day,” the deep and intimate love between he and Rosenkrantz underscores everything that we see, arguably landing with a much deeper resonance than anything that is ever spoken out loud during the course of the film – and never permits our attention to flag for even a moment.
Shooting his movie in a deliberately self-referential style, Sachs weaves the cinematic process of recreating the interview into the recreation itself, bridging mediums and blurring lines of reality to create a filmed meditation that mirrors the inherent artifice of Rosenkrantz’s original concept, yet honors the material’s nearly slavish devotion to the mundane minutiae that makes up daily life, even for artists. This is especially true for both Hujar and Rosenkrantz, whose work hinges so directly to the experience of the moment – in photography, the entire end product is tied to the immediacy of a single, captured fragment of existence, and it is no less so for a writer attempting to create a portrait (of sorts) composed entirely of fleeting words and memories. Such intangibles can often feel remote or even superficial without further reflection, and the fact that Sachs is able to reveal a deeper world beyond that surface speaks volumes to his own abilities as an artist, which he deploys with a sure hand to turn a potentially stagnant 75 minutes of film into something hypnotic.
Of course, he could not accomplish that feat without his actors. Whishaw, who has proven his gifts and versatility in an array of film work including not only “art films” like this one but roles from the voice of Paddington Bear to “Q” in the Daniel Craig-led “James Bond” films, delivers a stunning performance, carrying at least 75% of the film’s dialogue with the same kind of casual, in-the-moment authenticity as one might expect at a dinner party with friends; and though Hall has less speaking to do, she makes up for it in sheer presence, lending a palpable sense of respect, love, and adoration to Rosenkrantz’s relationship with Hujar.
In fact, by the time the final credits role, it’s that relationship that arguably leaves the deepest impression on us; though these two people converse about the “hoi polloi” of New York, dropping legendary names and reminding us with every word of their importance in the interwoven cultural landscape – evoked with the casual air of everyday routine before it becomes cemented as history – of their era, it’s the tangible, intimate friendship they share that sticks with us, and ultimately feels more important than any of the rest of it. For all its trappings of artistic style, form, and retrospective cultural commentary, it’s this simple, deeply human element that seems to matter the most – and that’s why it all works, in the end. None of its insights or observations would land without that simple-but-crucial link to humanity.
Fortunately, its director and stars understand this perfectly, and that’s why “Peter Hujar’s Day” has an appeal that transcends its rarified portrait of time, place, and personality. It recognizes that it’s what can be read between the lines of our lives that matters, and that’s an insight that’s often lost in the whirlwind of our quotidian existence.
Out & About
Gala Hispanic Theatre’s Flamenco Festival returns
Gala Hispanic Theater will host the 21st Annual “Fuego Flamenco Festival” from Thursday, Nov. 6 to Saturday, Nov. 22.
The festival will feature American and international artists who will gather in the nation’s capital to celebrate the art of Flamenco. Guests can save 20% on tickets with a festival pass.
The festival kicks off now through Nov. 10 with the D.C. premiere of Crónica de un suceso, created, choreographed and performed by Rafael Ramírez from Spain, accompanied by renowned flamenco singers and musicians. In this new show, Ramírez pays homage to the iconic Spanish Flamenco artist Antonio Gades who paved the way for what Flamenco is today. GALA’s engagement is part of an eight-city tour of the U.S. by Ramírez and company.
The magic continues Nov. 14-16 with the re-staging of the masterpiece Enredo by Flamenco Aparicio Dance Company, a reflection of the dual nature of the human experience, individual and social, which premiered at GALA in 2023.
For more information, visit the theatre’s website.
Friday, November 7
“Center Aging Friday Tea Time” will be at 12 p.m. in person at the DC Center for the LGBT Community’s new location at 1827 Wiltberger St., N.W. To RSVP, visit the DC Center’s website or email [email protected].
Go Gay DC will host “LGBTQ+ Community Social” at 7 p.m. at Silver Diner Ballston. 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, November 8
Go Gay DC will host “LGBTQ+ Community Brunch” at 12 p.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.
Sunday Supper on Saturday will be at 2 p.m. at the DC Center for the LGBT Community. This event will be full of food, laughter and community. For more information, email [email protected].
Monday, November 10
“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]).
“Soulfully Queer: LGBTQ+ Emotional Health and Spirituality Drop-In” will be at 3 p.m. at the DC Center for the LGBT Community. This group will meet weekly for eight weeks, providing a series of drop-in sessions designed to offer a safe, welcoming space for open and respectful conversation. Each session invites participants to explore themes of spirituality, identity, and belonging at their own pace, whether they attend regularly or drop in occasionally. For more details visit the DC Center’s website.
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 that you’re not 100% cis. For more details, visit genderqueerdc.org or Facebook.
Wednesday, November 12
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.
“Gay Men Speed Dating” will be at 7 p.m. at Public Bar Live. This is a fresh alternative to speed dating and matchmaking in a relaxed environment. Tickets start at $37 and are available on Eventbrite.
Thursday, November 13
The DC Center’s Fresh Produce Program will be held all day at the DC Center for the LGBT Community. 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 Class 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.
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