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Synetic expands tableau

‘Dorian Gray’ intersperses dialogue with company’s signature moves

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The Picture of Dorian Gray, Synetic Theater, gay news, Washington Blade
The Picture of Dorian Gray, Synetic Theater, gay news, Washington Blade

The cast of Synetic’s ‘Picture of Dorian Gray.’ The production represents a bold move for the company. (Photo courtesy Synetic)

‘The Picture of Dorian Gray’

Through Nov. 3

Synetic Theater

1800 South Bell Street, Crystal City

$35 and up

866-811-4111

Synetictheater.org

In adapting Oscar Wilde’s “The Picture of Dorian Gray,” Synetic Theater turns its attention to that eternal nagging question: What price beauty? The 1891 work, Wilde’s only novel, chronicles the downfall of a handsome Londoner who trades his soul to remain eternally young. While Dorian never ages, his physical decline and moral purification is reflected in a portrait tucked safely away in the attic. Tempting tradeoff, eh?

“The only way to get rid of a temptation is to yield to it,” advises decadent Lord Henry (Joseph Carlson) to his willing young student Dorian (Dallas Tolentino). And yield Dorian does: he enthusiastically tastes all the pleasures that the British metropolis has to offer, tragically seducing young actresses, damaging the reputations of respectable married ladies and bedding their sons. He dips into opium, orgies, blackmail and along the way develops an increasingly cruel edge that takes him from pleasure seeking fop to cold-hearted killer.

Typically Synetic follows a fast-paced mostly mute, 90-minute formula. Many past productions have succeeded using this recipe. For “Dorian Gray,” they’ve veered from the course. At two-and-a-half hours, it combines spates of wordy dialogue intercut with choreographer Irina Tsikurishvili’s endlessly imaginative, athletic dance movement for which the company is best known.

And though heavier on witticisms and lyricism than action (despite a murder-filled plotline), “Dorian Gray’s” poetry and foray into the unreal give director Paata Tsikurishvili a lot to play with. Rather than a static painting, the picture is portrayed by Synetic veteran Philip Fletcher, allowing Dorian to interact and struggle with his likeness — these curious and sometimes combative interactions are the most interesting part of the play. As the portrait, Fletcher (who is gay) changes from enigmatically beautiful to hideously debauched, effectively demonstrating Dorian’s excessively naughty behavior. Fletcher’s is a strong and graceful performance.

With his gravity defying backside and enviable abs, Tolendo’s Dorian is the envy of his contemporaries including besotted portraitist and eventual victim Basil (Robert Bowen Smith) and Lord Henry who revels in his ageless friend’s possibilities to continue on a path of evil indefinitely. But despite a good long run of nastiness, Dorian grows tired and reconsiders his wicked ways.

Daniel Pinha’s versatile set is made up of stark metal frames suspended at different heights, beautifully fostering a complete multimedia experience. It’s clear from Coin K. Bills’ wonderfully evocative lighting and Kendra Rai’s gorgeous late Victorian costumes and orgy gear (including Dorian’s tight pleather briefs) that Synetic’s once shallow pockets have grown deservedly deeper in recent years.

While Wilde identified with Dorian, Basil and Lord Harry, his most worldly, pithiest philosophies are voiced through the self-serving aristocrat Lord Henry, haughtily delivered by Carlson. Maxims spoken to Dorian include “there is only one thing in the world worse than being talked about, and that is not being talked about,” and “to get back my youth, I would do anything in the world, except take exercise, get up early or be respectable.”

Other than Wilde’s clever words, the play is mostly devoid of wit, which seems a missed opportunity since Synetic productions are typically peppered with amusing movement bits. Here, they take their decadence and immorality quite seriously.

And while the exchanges between Carlson’s Lord Henry and Tolentino Dorian gives insight into the title character’s motives and emotional turmoil, the play’s best moment are not spoken. And though this production is without Synetic’s more virtuosic choreographic moves, there are moments of sheer ingenuity. For instance, when Dorian visits an opium den, Irina Tsikurishvili uses splattered Day-Glo paint and a plastic screen to transform one more orgy gone wrong into a stunningly dramatic tableau. It’s just another inspired Synetic moment. And this is why even though “Dorian Gray” is not the company’s most sterling effort, it’s still something beautiful and not to be missed.

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Music & Concerts

Janet Jackson doc premieres this weekend

Remembering 10 times iconic singer was there for LGBTQ community

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Janet Jackson’s two-part, four-hour documentary debuts this weekend. (File photo by Shilla Patel)

Iconic singer Janet Jackson, a longtime LGBTQ ally, unveils her long-awaited documentary simply titled “Janet” on Friday, Jan. 28. It concludes the following night; each installment is two hours long. 

Jackson has said she spent five years compiling footage and creating the documentary, which airs at 8 p.m. both nights on A&E and Lifetime networks. It was produced by Jackson and her brother Randy Jackson and it’s timed to commemorate the 40th anniversary of her 1982 debut album. 

An extended trailer for the film reveals Jackson will talk candidly about her brother Michael and the 2004 Super Bowl incident, including the news that Justin Timberlake reached out and asked her to join him during his widely panned 2018 Super Bowl return performance. 

Prior to the pandemic, Jackson announced a new studio album and tour titled “Black Diamond,” but both were postponed due to COVID. No official word about the status of either, but speculation is rampant that she will finally release the new album once the documentary airs.

“Musically, what I’ve done, like doing ‘Rhythm Nation’ or doing ‘New Agenda’ or doing ‘Skin Game,’ creating those bodies of work with Jimmy and Terry, I feel like I’ve laid a certain foundation,” Jackson tells Allure magazine in a new cover story this month. “I would hope that I’d be able to continue if I choose to. You know what I mean? But only time will tell.”

As Jackson’s legion of queer fans awaits this weekend’s premiere, the Blade takes a look back at 10 times Janet was there for the LGBTQ community. 

1. “The Velvet Rope” project. In 1997, Jackson released her critically acclaimed sixth studio album “The Velvet Rope,” an introspective and deeply personal collection of songs that touched on her depression, but also tackled LGBTQ issues. On the track “Free Xone,” she spoke out forcefully against anti-LGBT bias. She also covered Rod Stewart’s “Tonight’s the Night,” without changing the pronouns in the love song, prompting speculation about her sexual orientation. But it was her international No. 1 hit “Together Again” that continues to resonate with LGBTQ fans. An upbeat, joyful dance song, it was conceived as a tribute to Jackson’s friends who died of AIDS.

2. GLAAD award. In 2008, Ellen DeGeneres presented Jackson with the Vanguard Award at the 19th annual GLAAD Media Awards. GLAAD’s president said, “We are delighted to honor Janet Jackson at the 19th annual GLAAD Media Awards in Los Angeles as such a visible, welcoming and inclusive ally of the lesbian, gay, bisexual and transgender community. Ms. Jackson has a tremendous following inside the LGBT community and out, and having her stand with us against the defamation that LGBT people still face in our country is extremely significant.”

3. Ebony magazine interview about her sexuality. In 2001, Jackson gave an interview to Ebony magazine in which she was asked about her sexual orientation. “I don’t mind people thinking that I’m gay or calling me gay,” she said. “People are going to believe whatever they want. Yes, I hang out at gay clubs … I go where the music is good. I love people regardless of sexual preference, regardless of race. No, I am not bisexual. I have been linked with dancers in our group because we are so close. I grew up in a big family. I love being affectionate. I love intimacy and I am not afraid to show it.”

4. Video support for It Gets Better, Trevor Project. In 2010, Jackson recorded a video for the Trevor Project and later appeared on CNN’s “Larry King Live” to promote awareness of youth suicide. “If you’re LGBT you’re probably thinking you’re all alone, but you’re not,” she said in the video. “I can relate because I was one of those kids who internalized everything.”

5. “State of the World Tour.” Jackson’s LGBTQ support continued in 2017. Her tour’s opening sequence highlighted a range of problems facing the world, from famine and war to police brutality and included a call for justice and for LGBTQ rights.

6. “The Kids.” Jackson has always employed a diverse crew of professional dancers for her videos and tours. Some of her closest friends and collaborators over the years have been prominent out gay and lesbian choreographers, singers, dancers, makeup artists and designers. She lovingly refers to her backup dancers as “the Kids.”

7. NYC Pride performance. In 2004, Jackson performed for a packed audience at Pride Dance NYC at Pier 54.

8. “Will & Grace” cameo. In 2004, Jackson made a memorable cameo on “Will & Grace,” judging a dance-off between Jack and another dancer.

9. HRC, AIDS Project Los Angeles awards. In 2005, Jackson was honored by both the Human Rights Campaign and AIDS Project Los Angeles for her work raising money for AIDS charities.

10. Janet’s Blade interview. In 2006, Jackson granted an exclusive interview to the Washington Blade. It was one of the rare times she touched on the Super Bowl controversy and her brother Michael’s acquittal on child molestation charges, telling Blade Editor Kevin Naff, “I got all of that out of my system, that’s not what I’m feeling right now. I wrote about [those controversies] but I didn’t choose to put it out there on the album.” In the interview, Jackson also reiterated her support for marriage equality, said she’d never had a sexual relationship with a woman and revealed that she’d never met Madonna.

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Out & About

International Women Club set for Jan. 24

Event at National Harbor

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International Women United Organizer will host “Multicultural International Women Club” on Monday, Jan. 24 at 7 p.m. at National Harbor.

The goal of this event is to bring together women from different countries and cultures for friendship, support and community. Guests will get to share interesting facts about their country, talk about their culture, values, styles, and differences with others while learning from others and making friends from all over the globe. Those who speak English as a second language are welcome to attend.

This event is free and more details are available on Eventbrite.

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Movies

SAG Award slate points to a not-very-queer Oscar night

‘Power of the Dog’ snubbed in Best Cast category

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Can Lady Gaga turn a SAG nomination into Oscar gold? (Photo courtesy of United Artists Releasing)

It’s mid-January, and pandemic or not, Hollywood’s “awards season” has kicked off in earnest.

The announcement last week of nominations for the 28th Annual Screen Actors Guild Awards means that it’s now time for armchair pundits, bookmakers, and film journalists to start compiling their predictions for the Oscars, which everyone knows are the main event when it comes to Hollywood awards.

This should be a good-natured exercise in fun, driven by a love for the movies and a genuine appreciation of the artistry of the people who make them – but at a time when the film industry is under deep scrutiny for diversity and inclusion, things can get complicated. 

Since they are decided by members of a union that also makes up a substantial portion of the Academy’s voting body, the SAG Awards are considered a reliable bellwether for the Oscars race, though with fewer categories than the Academy, not to mention the complex interplay of personal loyalties and working relationships that undoubtedly influence their choices, they still leave room for a lot of speculation. Still, their record for aligning with the Academy’s eventual choices makes it worth factoring them in as we attempt to assess the chances for our favorite contenders to earn Oscar gold.

For Blade readers, of course, the key question is likely to be about which of the year’s LGBTQ movies are going to snag wins. Unfortunately, the answer to that question might be pretty bleak.

Of the 22 titles nominated within the SAG Awards’ six film categories, only one – “The Power of the Dog” – could be said to have any significant queer content. Others, like “West Side Story”, “tick, tick… BOOM!”, “The Eyes of Tammy Faye”, “Being the Ricardos”, or “House of Gucci”, have either LGBTQ-relevant elements in their narratives or obvious LGBTQ appeal in their subject matter, and some have both. But there is no “Moonlight” or “Call Me By Your Name” on which to hang the hope of a definitively queer winner in any category.

In the Best Performance by a Cast in a Motion Picture race – which is essentially the SAG Awards’ equivalent of Best Picture – the biggest surprise is the omission of “Power of the Dog.” Filmmaker Jane Campion’s dark and subtle western about the toxic relationship between a domineering older rancher and his effeminate new nephew has been a fixture in the top categories at awards ceremonies so far, but despite earning nods in other categories, it was shut out of the competition for this one. That leaves little in the way of LGBTQ inclusion among the five nominees (“Belfast”, “CODA”, “Don’t Look Up”, “House of Gucci”, “King Richard”), but it doesn’t keep “Power” from being a front-runner at the Oscars, where the Best Picture category can include up to 10 contenders. Even if all five of the SAG choices make it into the Academy’s race, Campion’s movie is almost certainly going to be there, too. The same can probably be said of “West Side Story”, another presumptive front-runner, but given its track record of wins so far, “Power” still stands as our favorite to take the honor on Oscar night.

For Best Performance by a Female Actor in a Motion Picture, the lineup includes several films of LGBTQ interest. “The Eyes of Tammy Faye,” which earned a nod for star Jessica Chastain, is a biopic that takes time to address its real-life protagonist’s surprising legacy as a queer ally; “Being the Ricardos,” though it contains no directly LGBTQ material, has the obvious appeal of focusing on Lucille Ball, a show biz icon beloved for decades by the gay community, who is portrayed with delicacy and respect by nominee Nicole Kidman; Jennifer Hudson’s star turn as Aretha Franklin – another legendary diva with queer appeal – snagged her a nomination for “Respect”; and finally, Ridley Scott’s “House of Gucci” grabbed another nod here for Lady Gaga, the only out member of the LGBTQ community in the running. It would be great to see Mother Monster take home this prize, but she’s got stiff competition; based on honors given out so far, she stands as a frontrunner, but with Hudson and Kidman in the mix, not to mention awards darling Olivia Colman (nominated for “The Lost Daughter”), it feels like anybody’s race. Win or lose at the SAGs, Gaga still has a strong chance of being included in Oscar’s Best Actress category – as does out actress Kristin Stewart, whose performance as Lady Diana in “Spencer” puts her solidly on the Oscar shortlist, despite being snubbed here.

Best Performance by a Male Actor in a Motion Picture might also be wide open. A few weeks ago, Benedict Cumberbatch would likely be the clear favorite to win for his towering performance as the closeted rancher in “Power of the Dog”, but after fellow nominee Will Smith’s win at the Golden Globes for “King Richard” his chances seem less sure. It’s a category that includes two Black actors – Smith and Denzel Washington (“The Tragedy of Macbeth”) – and on a slate that is otherwise dominated by white nominees it’s one of the few opportunities for the SAGs to diversify its winners’ circle. It’s also worth mentioning that Andrew Garfield, nominated for “tick, tick… BOOM!”, won the Globes prize for Best Actor in a Comedy or Musical, which combined with widespread acclaim for his performance makes him a strong contender to pull off an upset from either of the two frontrunners – a scenario likely to be repeated at the Academy Awards. In any case, Washington and Javier Bardem (nominated for playing Desi Arnaz in “Being the Ricardos”) are probably the dark horses here.

In the supporting categories, things look even less promising for LGBTQ inclusion. Nominated for “West Side Story” is Ariana DeBose, who is the clear favorite to win as Female Actor, though Kirsten Dunst’s quietly devastating performance in “Power of the Dog” has been accumulating considerable buzz, too. Both will likely be included at the Oscars as well. On the Male Actor side, the most clearly queer-friendly choice is Kodi Smit-McPhee, also for “Power of the Dog”; it’s a wild card category, skewed by the presence of big names (Ben Affleck and Bradley Cooper, nominated for “The Tender Bar” and “Licorice Pizza”, respectively) who might gain votes on the basis of star status alone, but Smit-McPhee has made a consistently strong showing throughout the awards race so far – and frankly, deserves to win just for his ability to hold his own opposite the charismatic Cumberbatch. He’s our favorite in the category not just here, but also on Oscar night.

The SAG Awards, of course, also present awards for television. Those don’t have much bearing on the Oscars, but it’s worth mentioning that the nominees there include LGBTQ-relevant favorites like “The Handmaid’s Tale”, “Succession”, “Hacks”, “The White Lotus”, and “Halston.” We’ll take a closer look at those when the Screen Actors Guild makes their presentation, which will air live on TNT and TBS, on Sunday, Feb. 27.

Meanwhile, it’s time to start working on those Oscar predictions. Ready, set… GO!

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