Arts & Entertainment
‘If’ out, ‘Then’ what?
Broadway vet lets go of fear at home and on stage
Actress Jenn Colella in rehearsal for ‘If/Then.’ (Photo by Matthew Murphy; courtesy National Theatre)
‘If/Then’
Through Dec. 8
National Theatre
1321 Pennsylvania Avenue, NW
$53-$93
800-514-3849
Early in her acting career, Broadway’s Jenn Colella was counseled that it would be unwise for her to be out professionally. When casting directors see you as lesbian, her advisors reasoned, they become less likely to cast you in straight romantic leads.
There was a time, Colella says, when she would have been reluctant to portray a lesbian on stage much less talk about her sexuality openly. But in recent years her outlook has definitely changed.
Today Colella is out and proud. She’s also playing one half of a lesbian couple in the hotly anticipated Broadway-bound musical “If/Then,” currently premiering at National Theatre. Created by Tom Kitt (music) and Brian Yorkey (book and lyrics), and staged Michael Greif (the creative team behind the Tony Award-winning “Next to Normal”), “If/Then” tells the story of Elizabeth (“Wicked’s” green-faced wonder Idina Menzel), a woman on the precipice of middle age who returns to New York City to reboot her life. The heady cast also stars LaChanze, who won a Tony Award for her portrayal of Celie in “The Color Purple, and out actor Anthony Rapp (“Rent”).
“I’m thrilled to have the opportunity to play a gay character in ‘If/Then,’ especially someone like Anne,” says Colella, 39. “She’s a sassy fun-loving girl not unlike myself who’s in a relationship with Kate [LaChanze’s character]. Anne is madly in love and very sincere about taking it to the next level and actually tying the knot. It’s a very real look at a contemporary lesbian relationship. You don’t see a lot of that in musical theater.”
She says changing attitudes overall helped her loosen up.
“As I became older and wiser, and began noticing straight comrades realizing it was no longer fair to discriminate against gay and lesbian actors, being out got easier,” Colella says. “Also, I began to feel a responsibility to be out. I used to think it was entirely a personal choice, but now I think being out is also taking responsibility for others who may not have the courage to do so.”
Last year Colella was involved romantically with a male actor, but she doesn’t identify as bisexual because the vast majority of her relationships have been with women. Currently she is in a committed relationship with a woman who is studying for her master’s degree in midwifery.
Growing up in Summerville, S.C., Colella began singing early. She and mother frequently sang Barbra Streisand around the house, and while there weren’t many theatrical training opportunities in town, Colella took advantage of what was available.
“There was a woman who taught out of her garage, but my mom was a teacher and couldn’t afford the fees, so I traded odd jobs for classes. I was scrawny at 15 but I painted that lady’s entire house. And it was worth it. The group did ‘Oklahoma,’ and I got to play to Gertie.”
Before leaving South Carolina for the West Coast, she graduated from college and did some professional acting at the respected Trustus Theater in Columbia. She earned a master of fine arts in acting from the University of California, Irvine, and remained in L.A. determined to go the sitcom route. During this time, she got into standup.
“It was challenging. If you fail in standup you can’t blame anyone but yourself. But it definitely increased my confidence and now there’s really nothing that scares frightens me in terms of performance. Scarier were the fellow comics. They can be a dark bunch.”
Next Colella smartly reconsidered musical theater. In a high profile Broadway debut, she was cast as Sissy opposite Matt Cavenaugh in the musical “Urban Cowboy” in 2003. She went on to star in “High Fidelity,” and as Hedda Hopper in “Chaplin.” Her Off-Broadway credits include, among others, “Closer Than Ever” and “Slut.” She played Daisy in “Sideshow” at the Kennedy Center.
Prior to taking on “If/Then’s” Anne, Colella was cast as a lesbian just once before. In 2008 she starred off-Broadway as the title character in “The Beebo Brinker Chronicles” based on Ann Bannon’s pulp fiction novel about a young lesbian’s adventures in 1950s Greenwich Village.
“Beebo was a real butch,” Colella says. “I wore batteries in my front pockets to alter my center of gravity. My male and feminine energies are pretty equally balanced and in that way I’m more like Anne. But like Beebo, I have been accused of being a bit of a womanizer.”
Typically Colella does new work. Not by design, she says. It just happens that way.
“I’m honored that creators trust me to collaborate on their babies. It touches me deeply. Plus I get to start from a blank slate and play. Of all the characters I’ve ever played, Anne is the closest to who I am in the world. It makes me feel very vulnerable but I love it. I’m wide open to this experience.”
Denali (@denalifoxx) of “RuPaul’s Drag Race” performed at Pitchers DC on April 9 for the Thirst Trap Thursday drag show. Other performers included Cake Pop!, Brooke N Hymen, Stacy Monique-Max and Silver Ware Sidora.
(Washington Blade photos by Michael Key)
Arts & Entertainment
In an act of artistic defiance, Baltimore Center Stage stays focused on DEI
‘Maybe it’s a triple-down’
By LESLIE GRAY STREETER | I’m always tickled when people complain about artists “going political.” The inherent nature of art, of creation and free expression, is political. This becomes obvious when entire governments try to threaten it out of existence, like in 2025, when the brand-new presidential administration demanded organizations halt so-called diversity, equity and inclusion (DEI) programming or risk federal funding.
Baltimore Center Stage’s response? A resounding and hearty “Nah.” A year later, they’re still doubling down on diversity.
“Maybe it’s a triple-down,” said Ken-Matt Martin, the theater’s producing director, chuckling.
The rest of this article can be found on the Baltimore Banner’s website.
‘La Lucci’
By Susan Lucci with Laura Morton
c.2026, Blackstone Publishing
$29.99/196 pages
They’re among the world’s greatest love stories.
You know them well: Marc Antony and Cleopatra. Abelard and Heloise. Phoebe and Langley. Cliff and Nina. Jesse and Angie, Opal and Palmer, Palmer and Daisy, Tad and Dixie. Now read “La Lucci” by Susan Lucci, with Laura Morton, and you might also think of Susan and Helmut.
When she was a very small girl, Susan Lucci loved to perform. Also when she was young, she learned that words have power. She vowed to use them for good for the rest of her life.
Her parents, she says, were supportive and her family, loving. Because of her Italian heritage, she was “ethnic looking” but Lucci’s mother was careful to point out dark-haired beauties on TV and elsewhere, giving Lucci a foundation of confidence.
That’s just one of the things for which Lucci says she’s grateful. In fact, she says, “Prayers of gratitude are how I begin and end each day.”
She is particularly grateful for becoming a mother to her two adult children, and to the doctors who saved her son’s life when he was a newborn.
Lucci writes about gratitude for her long career. She was a keystone character on TV’s “All My Children,” and she learned a lot from older actors on the show, and from Agnes Nixon, the creator of it. She says she still keeps in touch with many of her former costars.
She is thankful for her mother’s caretakers, who stepped in when dementia struck. Grateful for more doctors, who did heart-saving work when Lucci had a clogged artery. Grateful for friends, opportunities, life, grandchildren, and a career that continues.
And she’s grateful for the love she shared with her husband, Helmut Huber, who died nearly four years ago. Grateful for the chance to grieve, to heal, and to continue.
And yet, she says of her husband: “He was never timid, but I know he was afraid at the end, and that kills me down to my soul.”
“It’s been 15 years since Erica Kane and I parted ways,” says author Susan Lucci (with Laura Morton), and she says that people still approach her to confirm or deny rumors of the show’s resurrection. There’s still no answer to that here (sorry, fans), but what you’ll find inside “La Lucci” is still exceptionally generous.
If this book were just filled with stories, you’d like it just fine. If it was only about Lucci’s faith and her gratitude – words that happen to appear very frequently here – you’d still like reading it. But Lucci tells her stories of family, children and “All My Children,” while also offering help to couples who’ve endured miscarriage, women who’ve had heart problems, and widow(ers) who are spinning and need the kindness of someone who’s lived loss, too.
These are the other things you’ll find in “La Lucci,” in a voice you’ll hear in your head, if you spent your lunch hours glued to the TV back in the day. It’s a comfortable, fun read for fans. It’s a story you’ll love.
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