Arts & Entertainment
STAYCATION: Treasures from the stage
Fringe shows, Signature’s cabaret series and more pack summer season
No one ever said a staycation has to be without adventure, so why not include some theater in your plans? Theater is transporting, delivering you to far off places and unfamiliar situations. And the trip is easy. You can be at home sleeping in your own bed by 11 — even earlier if you attend a matinee. This summer’s selection is huge. Here are a few choices.
Studio 2ndStage is presenting “Carrie The Musical” (through Aug. 3) based on the Stephen King novel about a high school outcast who unleashes her telekinetic powers on the student body. They’re not going to laugh at her anymore. The best-selling book was adapted to the screen in ’76 as the hit horror flick starring Sissy Spacek in the title role. The musical opened on Broadway in 1988 to dismal reviews, but the 2012 off-Broadway revival was a stunning success. Its score by Dean Pitchford (lyrics) and Michael Gore (music) includes nicely named tunes like “And Eve Was Weak” and “The Destruction.”
2ndStage’s production co-directed by Keith Alan Baker and Jacob Janssen features Emily Zickler as Carrie White and Broadway’s Barbara Walsh as Carrie’s possessive, religious fanatic mother. Walsh was terrific as Little Edie in Studio Theatre’s production of “Grey Gardens” in 2008.
With well over a hundred shows in about a dozen local venues, Capital Fringe Festival 2014 (July 10-27) will definitely add variety to your D.C. summer staycation. On stage options (theater, music, dance, puppetry, etc.) run the gamut from inspiringly risky to not so great. The fun lies in ferreting out the gems.
Offerings include works of special interest to LGBT theatergoers including “A Lesbian Belle Tells!” written and presented by out performer Elizabeth McCain. In her solo show, McCain gives her take on eccentric southern relatives and coming out both in D.C. and at a family funeral.
In Larry E. Blossom’s “As We Are” presented by Out-Side the Box Theatre, three siblings confront memories about a gay bashing incident that has haunted them for years. Christopher Henley and his husband Jay Hardee co-direct “Dracula. A Love Story,” a contemporary retelling of the vampire story. And in Patrick DiBattista and Elizabeth Laffoon’s comedy “Love Song to Miss Kitty,” a strapping villain tries to steal a gay country western bar from an old lesbian couple so he can turn it into a dance boutique.
Looking for highbrow entertainment at no cost? For its annual Free For All, the Shakespeare Theatre Company is presenting a remount of Rebecca Taichman’s production of Shakespeare’s late romantic saga, “The Winter’s Tale” (August 19-31). A Washington tradition for 22 years, Free For All offers free tickets to the general public to experience Shakespeare in the sticky late summer. Performances once took place under the stars (weather permitting) at Carter Barron Amphitheater, but in recent years they’ve mercifully been moved indoors to the comfort of STC’s Sidney Harman Hall.
Spending your staycation with wee ones? Try the musical “Pinkalicious,” (thru Aug. 31) at the Adventure Theatre Musical Theater Center in Glen Echo Park. Siblings Pinkalicious and Peter Pinkerton (played by Carolyn Agan and John Sygar) love all things pink. Sadly Peter is denied pink outfits and toys because their father thinks it’s too girly. But Pinkalicious has no such restrictions. After binging on pink cupcakes she comes down with a case of pinkitis turning her skin — what else? — bright pink. The cure is to eat greens. Adventure Theater’s leafy Glen Echo location makes a nice staycation destination. After the show, you and the kids can enjoy ice cream and a ride on the park’s historic carousel.
Bethesda’s Imagination Stage is presenting “The BFG” (through Aug. 10). Based on the book by Roald Dahl, it’s the England-set tale of a little orphan girl who befriends a big friendly giant. The production uses outsized stage puppets, masks and imaginative projections and animation.
“The Lion King” is parked at the Kennedy Center Opera House though Aug. 17. It’s the national tour of Julie Taymor’s celebrated Broadway production featuring an excellent cast, magnificent puppetry and uplifting score by Elton John and Tim Rice. Tickets aren’t cheap, but it’s a memorable theater experience for the family.
During staycation why not add music to your life? Through July 26, Shirlington’s Signature Theatre presents its annual “Sizzlin’ Summer Nights Series.” (Sizzlin’ describes the performers, not Signature’s well air-conditioned venue). The series is two-and-a-half weeks of 17 one-night cabarets performed by an exciting and eclectic mix of D.C. and New York faces.
Many of those featured are out performers including leading man Will Gartshore; Broadway’s “Tarzan” Nicholas Rodriguez; Jeffrey Johnson as his leggy, space age alter ego “Galactica,” singer-songwriter Tom Goss (“Lover,” “Bears” and “Make Believe,”); Helen Hayes Award-winner Bobby Smith; and Stephen Gregory Smith who’s slated to perform a fun salute to TV theme songs.
The Gay Men’s Chorus of Washington will perform “Like a Virgin,” sharing first-time experiences (ranging from funny to poignant) through story and song.
The series ends with “Revenge of the Understudies.” It’s time for those would be stars in the wings — Signature understudies from this year’s season — to step into the spotlight and sing their hearts out.
Out & About
DC Center to host queer market
Clothes, shoes, accessories and other items will be available
The DC Center for the LGBT Community will host “Metro Queer Market” on Saturday, Nov. 9 at 11 a.m. at its offices at 2000 14th St., N.W., Suite 105.
Guests will have the opportunity to check out the center’s closet. Clothes, shoes, accessories and other items will be available.
For more details, visit the DC Center’s website.
The DC Center for the LGBT Community will host “Seniors and Safety with the USDA” on Thursday, Nov. 7 at 5 p.m on Zoom.
This lecture will cover a variety of topics including food safety tips, leftover safety and more. To RSVP, visit the DC Center’s website.
Movies
A writer finds his voice through sex work in ‘Sebastian’
An engaging, sexy, and thought-provoking ride
When Finnish-British filmmaker Mikko Mäkelä’s film “Sebastian” premiered at the 2024 Sundance Festival, he told Variety he wanted his movie to provide a “frank and honest portrayal of queer sexuality.” That’s surely enough to lure queer audiences – particularly gay male audiences, thanks to its gay male protagonist – with the promise of steamy onscreen sex, and his movie, now available on VOD platforms after a limited theatrical release, certainly delivers on it.
That, however, is only half (perhaps less) of what it’s all about, because, like its title character, it lives in two worlds at once.
In fact, “Sebastian” isn’t even his real name. He’s actually Max (Ruaridh Mollica), an aspiring writer who works a “survival job” at a literary magazine while working on his first novel – a “pseudo-memoir” chronicling a gay sex worker’s encounters with various clients. It’s not exactly “pseudo,” though; the experiences he writes about are real, gained by advertising himself on a website for gay escorts to obtain “research” for his book. The results are getting him noticed, and a publisher (Leanne Best) is interested in the completed manuscript – but he finds his focus being pulled away from his “real” life and deeper into the anonymous thrill of exploring his own sexuality in the safety of an assumed identity.
It’s not just his work that’s affected; among the other things that begin to suffer from his growing obsession are his relationships: with his co-worker and bestie, fellow aspiring writer Amna (Hiftu Quasem); with his conservative mother back in Edinburgh, who already disapproves of his lifestyle in faraway, hedonistic London; and to a much older client (Jonathan Hyde) with whom “Sebastian” has developed an unexpected emotional attachment. Most of all, it’s his own sense of identity that is caught in the conflict, as he tries to keep both sides of his double life together while preventing his whole world from falling apart.
It’s a story with a lot of irons on the fire – a quality it seems to share with the novel its protagonist is writing, much to the irritation of his would-be publisher. What begins as the saga of a fledgling male escort – we first meet Max during his first booking as “Sebastian,” after all, suggesting almost from the start that it is this persona that is our true protagonist – soon shifts into that of an ambitious-but-frustrated young author attempting to fuel his creativity through lived experience, laced with the ongoing thread of his own sexual awakening and self-acceptance. It even makes overtures toward an unexpected (and unorthodox) love story, before venturing down a darker path to become something of a cautionary tale, a warning against the dangers of leading a compartmentalized existence and allowing the gratification of one’s personal appetites to overshadow all the other facets of our lives. Along the way, it throws in some commentary about the tense dynamic between creative expression and commercialism in the arts, not to mention the reinforcement of stigma and negative attitudes around sex workers – and sex in general – through the perceptions and representations created by social traditions and popular culture.
This latter perspective might be the key to what is really at the heart of “Sebastian” all along, toward which Mäkelä’s screenplay hints with a description of Max’s work-in-progress as being about “the shame of being ashamed.” From the beginning, it is his own fear of being found out that becomes his greatest obstacle; far more than his reluctance to cross lines he’s been raised to respect, it’s the dread of having his reputation and his prospects shattered that causes him to waver in his path – and that feeling is not unfounded, which is in itself a telling indicator that the power of social judgment is a very real force when it comes to living our authentic lives. Indeed, his personal taboos are quick to fall away as he pursues his undercover “research”, but the guilt he feels about being caught in a social position perceived as “beneath” his own is something he cannot shrug off so easily. With so many generations of religious and societal dogma behind them, such imperatives are hard to ignore.
Yet, there’s yet another aspect of “Sebastian” to discuss, that, while it is self-evident in the very premise of Mäkelä’s movie, might be easy to overlook in the midst of all these other themes. A story about someone pretending to be someone else is inherently about deception, and Max, regardless of his motives, is a deceiver. He deceives his clients to obtain the material for his writing, and he deceives his employers and his publisher about where he gets it; he deceives the people closest to him, he deceives potential romantic partners – but more than anyone else, he deceives himself.
It’s only by becoming honest with oneself, of course, that one can truly find a way to reconcile the opposing sides of our own nature, and that is the challenge “Sebastian” sets up for its protagonist, no matter which name he is going by in the moment. Whether or not he meets it is something we won’t spoil, but we’ll go as far as saying that a breakthrough comes only when Max is forced by circumstance to follow his instincts and “get honest” with someone – though we won’t tell you who.
In the end, “Sebastian” satisfies as a character study, and as a journey of self-acceptance, largely thanks to a charismatic, layered, thoroughly authentic performance from Mollica, a Scots-Italian actor of tremendous range who convincingly captures both sides of Max’s persona and transcends them to create a character that incorporates each into a relatable – if not always entirely likable – whole. Mäkelä’s steady, clear-eyed direction helps, as does the equally dignified and vulnerable performance from veteran character actor Hyde, whose chemistry with Mollica is as surprising as the relationship they portray in the film.
Even so, “Sebastian” suffers from the many balls it attempts to keep in the air. Though it aims for sex-positive messaging and an empathetic view of sex work, it often devolves into the kind of dramatic tropes that perpetuate an opposite view, sending mixed messages about whether it’s trying to diffuse old stereotypes or simply reinvent them for a modern age of “digital hustlers.” Further, in its effort to offer an unfiltered presentation of queer sexuality, it spends perhaps a bit more screen time than necessary showing it to us as explicitly as possible while omitting all but a glimpse of full-frontal nudity, but just enough to conjure the word “gratuitous.”
Don’t get us wrong, though; Mäkelä’s movie – only his second feature film effort to date – is an engaging, sexy, and ultimately thought-provoking ride, even if its tangled ambitions sometimes get the better of its narrative thrust, and it comes with our recommendation.
It’s just that, one of these days, we’d really like to see a movie where sex work is honestly portrayed as a job, just like any other – but I guess we’ll have to wait until society is ready for it before we get that one.
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