Arts & Entertainment
No walk in the ‘Park’ for Claybourne Elder
George’ actor Elder on the rigors of artistic life

Brynn O’Malley as Dot and Claybourne Elder as George in ‘Sunday in the Park with George.’ (Photo by Margot Schulman; courtesy Signature Theatre)
‘Sunday in the Park with George’
Through Sept. 21
4200 Campbell Ave. Arlington
703-820-9771
At 32, Claybourne Elder is living the theater dream with a charmed career. The handsome out actor’s first big break came playing Hollis Bessemer, the young gay heir in the original off-Broadway production of Stephen Sondheim’s “Road Show” in 2008.
“I’d just moved to New York and went on an open chorus call never dreaming I’d be cast,” he says. “They asked me back and I got the part. Suddenly I was playing across from two actors I revere, Michael Cerveris and Alexander Gemignani, and Sondheim was sitting around drinking coffee and giving notes. It was unreal.”
Elder has worked nonstop ever since on Broadway and beyond, interpreting extant parts and creating roles like Clyde Barrow’s likable brother Buck in the Broadway musical “Bonnie & Clyde,” and aviator Charles Lindbergh in “Take Flight.” He played Ollie, a New Orleans prostitute in “One Arm,” Moisés Kaufman’s dramatic adaptation of Tennessee Williams’ same-titled short story and unfinished screenplay.
And now he’s tackling the part of George in Signature Theatre’s production of Stephen Sondheim and James Lapine’s wondrous musical “Sunday in the Park with George,” a role Elder has had his eye, and ear, on for a long time. The story focuses on the struggles of French painter Georges Seurat (called George in the musical). He’s surrounded by his lover Dot, and his masterpiece “A Sunday Afternoon on the Island of Le Grande Jatte” and those characters depicted in the painting. In the second act, George’s sculptor descendant (also named George and also played by Elder) strives to make sense of life, love and art in 1980s New York City.
For many musical theater lovers, “Sunday in the Park with George” holds a special place in the canon.
“It’s my favorite among all the children,” says Elder laughing. “It’s true. The show has so many universal themes. People connect to it in deep ways. It’s an emotionally charged theatrical event.”
“And my part is magically written,” he adds. “I couldn’t ask for a part written more perfectly in my range. I’m a tenor with a dash of baritone. My songs have lovely rich lower things and then go up high. It’s technically challenging but in a very pleasurable way, never needlessly challenging. Sondheim never writes music to impress. He doesn’t have to.”
Matthew Gardiner, the Signature production’s director, concurs on “Sunday’s” specialness. “Ever since first watching the original Broadway production on VHS tape in middle school, I’ve always wanted to do this musical. The score sung by Mandy Patinkin and Bernadette Peters is forever seared on my brain. It’s perfection and for my money, it has some of the best music ever written. It speaks to what it is to be an artist. And what it means to connect with people and achieve harmony in our lives.”
Finding the right actor to play George was imperative to Signature’s production, Gardiner says. “There were casting sessions in New York and Washington. We were looking for a strong, quiet presence. There’s something serious going on behind Elder’s eyes. In tandem with him being a fantastic singer and a great actor, he’s a likable and engaging person — someone to root for. That’s not something you can direct.”
Elder, who graduated from the University of Utah with a degree in dramaturgy, confesses to being sort of a geek. His major allowed him to study works within historical and philosophical contexts. As an actor, he uses extensive research to get a handle on his characters. And it works. Fans sometimes don’t recognize him from one show to the next. “Well, that’s what actors do,” Elder says. “We disappear into the role.”
It’s not as easy to disappear on TV. Last year Elder took a break from theater to appear on CW’s “The Carrie Diaries,” the now-canceled prequel to “Sex and the City.”
“From that show I got recognized by 15-year-old girls and gay men a lot,” he says, recalling one bar visit with family. “A patron wouldn’t stop screaming ‘Pete!’ It took me a while to realize he was calling me. Pete was my character’s name on the show. That was a first.”
Georges Seurat died at just 31 without ever having sold a painting. Still, Elder feels connected to him. “He’s consumed by art. I can relate to that. Theater requires me to be in a room every day performing. When you’re in a show in New York you don’t leave town. You miss weddings and life events all the time. That’s just how it is.”
Fortunately, Elder’s husband, director Eric Rosen, is in the business and understands how it works. The couple is based in New York City and Kansas City, Mo., where Rosen heads up the Kansas City Repertory Theatre. They work hard to spend quality time together and stay close with their families. Elder describes his Mormon parents as “the most liberal conservatives you’ll ever meet.”
Next up, Elder is slated to play the young doctor in John Doyle’s off-Broadway revival of Rodgers and Hammerstein’s “Allegro.” Rehearsals start the day after Signature’s “Sunday” closes. And the dream continues.
Movies
Few openly queer nominees land Oscar nominations
‘Sinners’ and ‘One Battle After Another’ lead the pack
This year’s Oscar nominees feature very few openly queer actors or creatives, with “KPop Demon Hunters,” “Come See Me in the Good Light,” and “Elio” bringing some much-needed representation to the field.
“KPop Demon Hunters,” which quickly became a worldwide sensation after releasing on Netflix last June, was nominated for best animated feature film and best original song for “Golden,” the chart-topping hit co-written by openly queer songwriter Mark Sonnenblick. “Come See Me in the Good Light,” a film following the late Andrea Gibson and their wife, Megan Falley, was nominated in the best documentary feature category. Finally, Pixar’s “Elio” (co-directed by openly queer filmmaker Adrian Molina) was nominated for best animated feature film alongside “Zootopia 2,” “Arco,” and “Little Amélie or the Character of Rain.”
Ethan Hawke did manage to land a best actor nomination for his work in Richard Linklater’s “Blue Moon,” a biopic that follows a fatal night in Lorenz Hart’s life as he reckons with losing his creative partner, Richard Rodgers. Robert Kaplow was also nominated for best original screenplay for penning the script. Amy Madigan, as expected, was recognized in the best supporting actress category for her work in “Weapons,” bringing celebrated gay icon Aunt Gladys to the Oscar stage.
While “Wicked: For Good” was significantly underperforming throughout the season, with Cynthia Erivo missing key nominations and the film falling squarely out of the best picture race early on, most pundits expected the film to still receive some recognition in craft categories. But in perhaps the biggest shock of Oscar nomination morning, “For Good” received zero nominations — not even for costume design or production design, the two categories in which the first film won just last year. Clearly, there was “Wicked” fatigue across the board.
There was also reasonable hope that Eva Victor’s acclaimed directorial debut, “Sorry, Baby,” would land a best original screenplay nod, especially after Julia Roberts shouted out Victor during the recent Golden Globes (which aired the day before Oscar voting started). A24, the studio that distributed “Sorry, Baby” in the U.S., clearly prioritized campaigns for “Marty Supreme” (to much success) and Rose Byrne in “If I Had Legs I’d Kick You,” leaving “Sorry, Baby” the indie darling that couldn’t quite crack the Oscar race.
However, with the Film Independent Spirit Awards taking place on Feb. 15, queer films like “Sorry, Baby,” “Peter Hujar’s Day,” and “Twinless” will finally get their time to shine. Maybe these films were just underseen, or not given a big enough PR push, but regardless, it’s unfortunate that the Academy couldn’t make room for just one of these when “Emilia Pérez” managed 13 nominations last year.
a&e features
MISTR’s Tristan Schukraft on evolution of HIV prevention
From ACT UP to apps, embracing stigma-free care
It was not too long ago that an HIV diagnosis was read as a death sentence. In its earlier decades, the HIV/AIDS crisis was synonymous with fear and loss, steeped in stigma. Over recent years, open conversation and science have come together to combat this stigma while proactively paving the way for life-saving treatments and preventive measures like PrEP. Now, in 2026, with discreet and modern platforms that meet people where they’re at in their lives, HIV prevention has evolved from hushed words of warning into something far more sex-positive and accessible. Game-changing services like MISTR are a testament to this shift, showing our community that healthcare doesn’t have to feel clinical or shaming to work. It can be empowering and, dare I say, celebratory.
Few people embody this evolution quite like Tristan Schukraft, founder of MISTR. With one hand in healthcare and the other high-fiving through queer nightlife, Schukraft gets that, from the bar to the bedroom and beyond, prevention happens in person and in real life. His approach has helped turn PrEP, DoxyPEP, and testing into normalized parts of our daily queer life, reaching hundreds of thousands of people across the US.
In our conversation, Schukraft shares candidly about stigma, policy, and why the future of sexual health depends on keeping it real.
BLADE: You have one hand in healthcare and the other in nightlife and queer spaces. Can you share with us how these two spheres impact and inform each other? How do they impact and inform you?
SCHUKRAFT: Honestly, for me, they’ve never been separate. Nightlife and queer spaces are where people meet, date, hook up, fall in love, and make friends. That’s real life. Being in queer spaces all the time keeps me grounded and reminds me who we’re building MISTR for.
BLADE: MISTR markets sexual health in a sex-positive, stigma-free fashion. Can you share with us how you measure the impact of this approach?
SCHUKRAFT: This year, we held the first-ever National PrEP Day. Dua Lipa performed, and Cardi B was there. After the event, Cardi B went on her Instagram live to encourage people to sign up for PrEP.
When you make sexual health stigma-free and sex positive, people talk about it. We see it in how people use the platform. When 700,000 people are willing to sign up, get tested, start PrEP, and add things like DoxyPEP, that tells us we’ve made it feel safe and normal instead of scary or awkward. And then we see it in the results. Since we expanded DoxyPEP, STI positivity among our patients dropped by half.
BLADE: How have you seen the conversation of sexual health in our LGBTQ+ community change in mainstream culture in recent years?
SCHUKRAFT: Ten years ago, nobody was casually talking about PrEP, and if they did, it likely referenced one being a Truvada whore. Now it’s part of the culture. Popstars like Troye Sivan post pictures of their daily PrEP pill on social media. Cardi B goes on Instagram Live telling people to get on PrEP.
For many sexually active gay men, taking PrEP is simply part of the gay experience. For people in more remote areas, it might not be as talked about. Particularly in rural or more conservative places, MISTR can be a life-changing option. No awkward visits to the family doctor or the local pharmacy where everybody knows your business. It’s all done discreetly online and shipped straight to your door.
BLADE: You have publicly argued that cuts to government HIV prevention funding are of high risk. Would you please elaborate for us on what those budget decisions mean on an individual level?
SCHUKRAFT: It means real people fall through the cracks. Someone doesn’t get tested. Someone waits too long to start PrEP. Someone finds out they’re HIV-positive later than they should have. Community clinics will be the hardest hit, especially those in underserved communities. The good news is that MISTR is ready to help people who might lose their access to care. All you need to do is sign up at mistr.com, and it’s totally free with or without insurance.
BLADE: From your (and MISTR’s) perspective, how do these funding cuts threaten ongoing efforts to end the HIV epidemic?
SCHUKRAFT: For the first time, we have all the tools to end HIV. If everybody who is HIV negative is taking PrEP and everyone HIV+ is virally suppressed, we can end all new HIV transmissions in the United States. We have everything we need today. All we need is to get more people on PrEP. Cutting funding risks losing that momentum. Ending HIV requires scale and consistency. Every time funding gets cut, you lose momentum, trust, and infrastructure, and rebuilding that takes years.
HIV transmissions don’t pause because budgets change.
BLADE: In our current climate of decreased federal investment, what role do you feel private healthcare and business should play in sexual health?
SCHUKRAFT: With reports that the current administration is considering cuts to HIV and prevention funding, we face a moment of reckoning. At the same time, some employers are seeking to exclude PrEP and HIV prevention from their coverage on religious freedom grounds. If these challenges succeed, and if federal funding is slashed, the consequences for public health will be devastating. But this is where the private sector must step up to fill the gap, bridge divides, and deliver results.
Businesses have the power and platform to normalize HIV prevention and drive measurable outcomes. At MISTR, we see firsthand what’s possible: since introducing DoxyPEP, STI positivity rates among our patients have been cut in half. But it’s not just about medication. It’s about messaging.
Our sex-positive, stigma-free marketing speaks directly to our community, making sexual health part of everyday life. No awkward doctor visits, no needles, no paperwork — just free online PrEP and STI testing, prescribed by real physicians and delivered to your door. That kind of impact could grow exponentially if more employers embraced this approach and made HIV prevention part of their employee wellness programs.
Employers, this is your call to action. Start by making sure your health plans cover PrEP and DoxyPEP. Partner with platforms like MISTR to give employees private, stigma-free access to care. Offer on-site testing. Talk openly about sexual health, not just during Pride, but every day of the year. This is not political — this is about protecting lives, strengthening communities, and building a healthier, more productive workforce. Because healthy employees aren’t just good for public health — they’re good for business.
When the private sector steps up, outcomes improve. And when businesses align with platforms like MISTR, scaling impact isn’t just possible — it’s happening.
BLADE: Has MISTR experienced any direct effects from these recent shifts in public health funding?
SCHUKRAFT: MISTR’s unique model is totally free for patients with or without insurance, and we don’t cost the government or taxpayers a penny. We are scaling up our efforts to reach people who might be losing their access or care.
BLADE: What would be your message to policymakers who are considering further cuts to HIV/AIDS programs?
SCHUKRAFT: During his first term, President Donald Trump committed unprecedented resources to the Ending the HIV Epidemic initiative here at home. Bipartisan support has shown what’s possible when bold leadership meets smart strategy. To policymakers: I urge you to reconsider any cuts to HIV prevention funding. This is not the time to pull back. It’s the time to push forward. Ending HIV is within reach — but only if government, private industry, and community organizations stand together.
BLADE: What is one perhaps overlooked win from last year that impacted you on a personal level?
SCHUKRAFT: Seeing our STI positivity rate drop by half after expanding DoxyPEP.
BLADE: Looking at the year ahead, what are MISTR’s most significant priorities for sexual health in 2026?
SCHUKRAFT: Expanding access, especially in the South and in communities that still get left out. Rolling out injectable PrEP. And just continuing to make sexual healthcare easier and more normal.
The 2026 Mr. Mid-Atlantic Leather competition was held at the Hyatt Regency Capitol Hill on Sunday. Seven contestants vied for the title and Gage Ryder was named the winner.
(Washington Blade photo by Michael Key)

















































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