Arts & Entertainment
‘Company’ and beyond
‘Carrie’ actress recalls memorable Stritch encounters
Barbara Walsh as Margaret in ‘Carrie: the Musical.’ (Photo courtesy Studio Theatre)
When Barbara Walsh was preparing to play Joanne, the iconic character created by the legendary Elaine Stritch, in the Broadway revival of “Company,” friends were quick to point out that she had large shoes to fill.
“That’s OK,” the actress wryly responded. “I have really large feet.” She also adds, “And they keep getting bigger with age. Bunions are hell.”
Walsh, now onstage as Margaret White in “Carrie the Musical” at Studio Theatre, which runs through Aug. 3 (studiotheatre.org) was shocked when she heard that Stritch died last Thursday.
“It’s a huge loss to the Broadway community,” she says.
When Walsh was in previews for “Company” in 2006, the New Yorker wanted to do a joint interview with the new and old Joanne. As Walsh arrived at the Carlyle (Stritch’s long-time residence in Manhattan), Stritch looked her up and down and declared in her stentorian voice, “Oh, you’re too young to play the part.” Walsh did not mention that she was older than Stritch was when she originated the role.
Stritch, of course, dominated the interview (which was unfortunately never published), but Walsh remembers that the two had a lovely conversation about composer Stephen Sondheim. As Walsh was leaving, Stritch said she was looking forward to seeing the new production, but wouldn’t tell her when she was coming to see the show so she wouldn’t make the younger actress nervous.
As reimagined by British director John Doyle, the Broadway revival of “Company” featured the actors doubling as the orchestra. As the hard-drinking Joanne, Walsh played the triangle and other percussion instruments, most memorably striking a martini glass with a swizzle stick. The cast never left the stage, so Walsh had plenty of time to scan the audience. One night she spotted a woman in an aisle seat in the fifth row dressed in white from head to foot, including, of course, a white hat.
“It was Stritch,” Walsh says. “You couldn’t miss her.”
After the show (“It was a lovely performance”), Walsh was headed from the wig room to her dressing room when she heard a voice booming down the stairwell. “Where’s Barbara?” Stritch bellowed. She descended the staircase and gently grabbed Walsh by the face, quietly saying, “That was just wonderful.”
“It was such a magical moment, a moment I’ll never forget. We just won’t see anyone like her ever again.”
Now Walsh has several pairs of large shows to fill as she tackles the role of Carrie’s murderous mother. There were Piper Laurie and Julianne Moore on the big screen, and Barbara Cook, Betty Buckley and Marin Mazzie in earlier productions of the stage musical. Walsh did not see those other stage performances, but she does remember watching the famous Brian De Palma film for the first time as a teenager.
“I remember being absolutely terrified of Piper Laurie,” she says. “Her performance was simply amazing. Seeing her come down the stairs in her nightgown carrying that knife was delicious. … When you’re playing a role with this rich history, you just have to stay on track and tell the story. It’s an amazing story about a lot of fascinating things.”
For Walsh, the essence of the character is a mother who is terrified of letting her daughter go, rather than religious zealotry or sexual repression, although these elements are also important. The key to the role is deep maternal love.
“That helps me to tell her story in a more grounded way. It was important for me to play the humanity against the madness. I was also very interested in the role reversal between the mother and daughter. It is terrifying to Margaret when Carrie takes over. When Carrie unleashes her telekinetic powers at the end of act one, Margaret is suddenly in uncharted waters. That is very interesting to play.”
One of the most complicated moments for the tangled character is the haunting act two ballad, “When There’s No One.” It illuminates Margaret’s tortured decision to kill her daughter. Walsh says it’s “such a beautiful song, an unbearable life-shifting moment for Margaret that leads to her psychotic break.” She credits the creative team of Michael Gore (music), Dean Pitchford (lyrics) and Lawrence D. Cohen (book) for laying out the moment so well in the script and creating such a multi-layered song.
Despite the excellent writing, Walsh still says the song was a struggle.
“It’s not easy. It’s a very tricky shift and I’m still finding it in some ways.”
Before the song starts, Margaret watches Carrie cross the sage in her home-made prom dress. As Walsh watches Emily Zickler, she says, “a tiny smile that quickly goes away crosses my face. I don’t know if anyone notices, but for me, its Margaret’s last moment of humanity before the madness takes over. The song starts a cappella — that was my decision — because Margaret is super vulnerable in that moment. The song brings together all of Margaret’s conflicting emotions, that she needs to save Carrie’s soul, that she wants to stop her daughter from making the mistakes she made, her anger that Carrie will leave her for someone else, her fear that Carrie will be taunted again and her dread of the horrible loneliness she will feel when Carrie is gone.”
Born in Chevy Chase, the D.C. native calls New York home now, but has returned to the area to star in Studio’s 2008 production of “Grey Gardens” and in “Vanya and Sonia and Masha and Spike” at Center Stage in Baltimore earlier this year. In addition to “Company,” Walsh’s Broadway credits include “Blood Brothers,” “Hairspray,” “Nine” and “Falsettos,” William Finn’s ground-breaking musical about AIDS. Walsh is thrilled to be back at Studio Theatre tackling this incredible role, but is looking forward to returning to her husband (Jack Cummings, artistic director of the Transport Group) and dog in Manhattan.
Anja Dick will host “Song Birds – Live Music Drag Cabaret” on Saturday, Aug. 15 at 9 p.m. at Shaw’s Tavern.
This is an all live singing drag hit sensation. The event will debut performances from Breast Midler and Harri Balls.
Tickets start at $17.85 and are available on Eventbrite.
Friday, August 14
Go Gay DC will host “First Friday LGBTQ+ Happy Hour” at 7 p.m. at Freddie’s Beach Bar and Restaurant.This is a chance to relax, make new friends, and enjoy happy hour specials at this classic retro venue. Attendance is free and more details are available on Eventbrite.
Women in their Twenties and Thirties will meet at 8 p.m. on Zoom. This is a social discussion group for queer women in the Washington, D.C. area. For more details, visit Facebook.
Saturday, August 15
Go Gay DC will host “LGBTQ+ Community Brunch” at 11 a.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.
LGBTQ People of Color will be at 7 p.m. on Zoom. This peer support group is an outlet for LGBTQ people of color to come together and talk about anything affecting them in a space that strives to be safe and judgement free. There will be all sorts of activities like watching movies, poetry events, storytelling, and just hanging out with others. For more details, visit thedccenter.org/poc or facebook.com/centerpoc.
Sunday, August 16
“Nellie’s DC Drag Brunch” will be at 12 p.m. at Nellie’s Sports Bar. Come get served like a queen by a queen. Join Sapphire Blue, Deja Diamond and their team of amazing drag performers for the most fun you’ll have all weekend. Tickets are $58.51 and are available on Eventbrite.
Monday, August 17
“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]).
Tuesday, August 18
“Self-Defense Class with Avi Rome” will be at 12:30 p.m. Rome is a proud member of the LGBTQ+ community and a full-time Martial Arts instructor with 25 years of teaching experience. He holds a 5th Degree Black Belt in Jhoon Rhee Tae Kwon Do and is the director of the studio’s Adaptive Tae Kwon Do program for students with special needs. He has also run numerous self-defense workshops for various groups and situations. For more details, visit the center’s website.
Center Bi+ Roundtable will be at 7 p.m. on Zoom. This is an opportunity for people to gather in order to discuss issues related to bisexuality or as Bi individuals in a private setting.Visit Facebook or Meetup for more information.
Wednesday, August 19
Job Club will be at 6 p.m. on Zoom upon request. 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.
The DC LGBTQ+ Community Center will host “Movement for Healing” at 3 p.m. This trauma- and yoga therapy–informed class is designed to help guests gently reconnect with their body and their breath. Through mindful movement, somatic awareness, and grounding practices, guests will explore how to release tension, increase mobility, and cultivate a deeper sense of safety and ease within. For more details, visit the DC Center’s website.
Thursday, August 20
The DC LGBTQ+ Community Center’s Fresh Produce Program will be held all day at the Center. 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 free weekly class is a combination of yoga, breath work and meditation that allows LGBTQ+ community members to continue their healing journey with somatic and mindfulness practices. For more details, visit the DC Center’s website.
a&e features
Jason DePuy on coping with homophobia in ‘Big Brother’ house
First drag queen contestant on CBS show fought to stay positive
One week after Jason DePuy (known as Salina EsTitties on “RuPaul’s Drag Race”) was bullied and eventually evicted from CBS’s “Big Brother” house, the queer drag performer is still emotionally processing his feelings.
During his 24 days in the reality TV competition, DePuy often had a rough time, with fellow cast member Kamuela “Kamu” Kirk making homophobic comments and feeling isolated.
In a conversation with Head of Household Rick Devens, Kirk left viewers upset when he said, “Bro, miss me with the drag stuff. Miss me. I’m still an MMA guy, and I have an image to uphold.”
Former “Big Brother” contestant Frankie Grande called his words ‘homophobic’ and ‘gross.’ Another comment, where Kirk said he wanted to end DePuy’s career, also received strong backlash online.
Now that he is out of the house, DePuy has been shocked and deeply touched by the love from “Big Brother” fans and former contestants. We chatted with DePuy for this Blade exclusive.
“To know that my community was rallying for me outside the house was the most wonderful thing. Seeing how much people were just wanting to shower me with love was incredible. Even my friends, I went to say hi and give them a hug, and they’re like, ‘Uh, uh, come here.’ They had to hold me and let me know America was feeling for me in a way that I had no idea.”
He added: “To see that reality was just overwhelming, and I couldn’t ask for more.”
Known as a messy player in the house, DePuy often had to fight to stay positive and stand up for himself.
“No one was coming to my rescue. In real life, it’s easy to block people, but in the house, I didn’t have that luxury, so I had to find it within myself to learn how to speak up for myself in a way that wasn’t nasty or biting. I didn’t attack anyone personally, which is what I was the most proud of.”
DePuy acknowledged he has had a history of putting his foot in his mouth when it came to certain “Drag Race”moments, being in the public eye, and making a fool of himself. “I’ve learned my lessons; to see how I handled myself in the ‘Big Brother’ house was amazing.”
While DePuy has been sober for 14 and a half years and has a strong spiritual foundation, in the Big Brother house, he often felt like he couldn’t communicate what he was feeling.
“As a queer person, a person of color, a drag queen, I have to be very careful about how I move. I don’t have the luxury or privilege to just act a certain way or say a certain thing. I have to be very careful; I’m representing me. But who I am is a Latino, a person of recovery, a drag queen, a queer person in the community. I know that there’s a lot of pressure that comes with that. I felt it was safer for me to sit there and just breathe than try to do anything crazy.”
He continued: “I couldn’t speak to the personal attack that was happening in the house, because in my mind I was like, ‘no, this is a game, and I have to play it, put that aside.’”
Not only can viewers watch the episodes, but they can also watch the live feeds of what’s happening. Seeing the fans’ social media posts from people who had watched the episodes and the live feeds also contributed to DePuy realizing that his feelings of discomfort were valid.
“To know that I wasn’t delusional in those moments, that others could see what was happening, has been a lot to take in. Fans and friends let me know the comments made went beyond the game…I’m like, ‘Oh, so my instincts were correct.”
One of the most poignant moments on the live feeds occurred when DePuy was crying, alone in his room, and said how he missed his gay community.
“I really missed my friends. I missed my queer community. We’re so colorful. We’re so loud. We’re so vibrant. We speak off the cuff, and we’re very truthful and honest with how we speak, and it’s fun. We have fun lingo.”
DePuy had to censor his expressions in the house. “Because I can say one thing, but it can mean something different to straight people than it does with my queer brothers and sisters. So, there was a sense of code-switching that I had to do. I had to even put aside some of my queerness in a way sometimes to fit in.”
DePuy was thrilled to be the very first drag queen to ever be cast on the show.
“I’m honored to have been chosen. There’s a million drag queens out there, and to know that I was a contender to come in the house and not even be in drag was like a wow for me. I’m over here in Hollywood, running around these streets with a wig and heels just to make a dollar to survive, and I have to rely on drag to do that. And then to be offered this opportunity and be given the privilege to say, ‘hey, you don’t have to put on the wig for you to be valuable here,’ is just insane to me.”
Prior to his shows, DePuy has been hustling for 15 years, flipping burgers and doing drag at night.
“That has been my life these past since I was 17. So it’s been a long journey; the opportunity to do this out of drag is a very big blessing. I’m honored and grateful to be the representation of my community.”
If you missed Jason on “Big Brother: Unlocked,” the episode can be seen on CBS.com. He will be back on the show for the finale.
Live music drag cabaret set for Shaw’s Tavern
Calendar: August 14-20
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