Arts & Entertainment
Best of Gay D.C. XIII: People
Winners from the Blade’s readers poll
To see the winners of the Washington Blade’s Best of Gay D.C. readers poll in other categories, click here.
Best Singer or Band
Frankie & Betty
Runner-up: Wicked Jezabel
Frankie and Betty (Washington Blade photo by Michael Key)
Frankie & Betty are a queer acoustic rock duo comprised of Rachel Bauchman (vocals/bass/guitar) and Jessie Strick (lead guitar). Since forming in 2011, they’ve played numerous events, including Roanoke Pride, Phasefest several times and more. They have shows planned at Tree house Lounge on Monday night and the Rock and Roll Hotel on Thursday. Look them up on Facebook to stay current. (JD)
Local Heroine
Ruby Corado
Runner-up: Ashliana Rowe
Ruby Corado (Washington Blade photo by Michael Key)
Long-time LGBT advocate Ruby Corado is the visionary behind Casa Ruby, a local bilingual, multicultural LGBT organization that works to create “success life stories” among LGBT, gender queer and gender non-conforming residents in need. The recently wed Corado is a former Capital Pride Hero and has received many accolades for her work. (JD)
Casa Ruby
2822 Georgia Ave., N.W.
202-355-5155
Local Hero
Sgt. Matthew Mahl
Runner-up: Ed Bailey
Sgt. Matt Mahl (Washington Blade photo by Michael Key)
Sgt. Matthew Mahl, who oversees six officers as part of the Gay & Lesbian Liaison Unit of the D.C. Metro Police Department, says it’s “been a good year.”
“I don’t want to say crime is up, but we have been busier,” the 35-year-old Havana, Ohio, native says. “We have our hands in a lot of stuff.”
Mahl, a cop for 15 years and in Washington since 2001, joined the MPD in 2004 and the GLLU in 2012, having spent his entire previous career on patrol duty. He was forced out on the job during a 2007 incident in which his locker was vandalized but says that’s the only bad experience he’s ever had on the force.
Although initially hesitant to join the GLLU, he says overall it’s been a great experience and he enjoys helping his fellow officers learn “the sensitivities and needs of the LGBT community.” (JD)
Best Drag King
Avery Austin
Runner-up: Sebastian Katz
Avery Austin (Washington Blade photo by Michael Key)
Anna Wimpelberg works by day as an HIV researcher at Whitman-Walker Health but her drag alter ego Avery Austin was born about 11 years ago when the 36-year-old New Orleans native and lesbian saw a drag show in Boston, her then-home.
A veteran of various high school and college theater productions, she says she recognized “immediately that it was something I would love to do.” She continued during an eight-year stint in Austin, Texas, and joined the D.C. Kings when she came to Washington about three years ago. She calls herself “the theater nerd of the group” and guesses she performs with them at Phase 1 and occasional other venues about four or five times per year, often recreating songs she’s seen on “Glee!”
Find more information on the Kings at dckings.com. (JD)
Best Realtor
Mark Rutstein
Mark Rutstein (Washington Blade photo by Michael Key)
1606 17th St. N.W.
202-498-1198
Runner-up: Ray Gernhart
Best DJ
DJ Rosie
Runner-up: Shea Van Horn
DJ Rosie (Washington Blade photo by Blake Bergen)
DJ Rosie Hicks has been spinning for about 13 years and spins regularly at the Hippo in her hometown Baltimore and also at LURe at Cobalt, Phase 1 and other area events in addition to a day job teaching special education.
Known for a mix of hip-hop, R&B, pop and more, she says she just all-around loves music. She also won this award in 2012.
“I love making people happy out there,” the Baltimore native says. “The whole point of coming out to a bar or club to hear a DJ is to let go of worries and cares and enjoy it.”
Look her up on Facebook to stay current with her events. (JD)
Best Drag Queen
Ba’Naka
Runner-up: Heidi Glum
Ba’Naka (Washington Blade photo by Michael Key)
A flip-flop of last year’s results when Glum won, Ba’Naka (Dustin Michael Schaad) is on top again this year adding to her 2012, 2011 and 2010 prizes (a Blade record) in this category.
Ba’Naka, who now does drag full-time and has positioned herself as the go-to gal for everything from hosting local Family Feud nights to getting you ready (for a fee of course!) for Miss Adams Morgan two weeks ago, she is widely known in the community for her outspoken Facebook comments, elaborate Disney routines (her Ursula is legendary) and consistent A-game delivery. And although it hasn’t happened yet, she’s our best local hope for “RuPaul’s Drag Race.” (JD)
Hottest Stripper or Go-go Dancer
Steve Pena
Runner-up: Christian Lezzil
Steve Pena (Photo courtesy Steve Pena)
Steve Pena got into dancing through his husband, Brent Everett, with whom he also runs a popular porn site (brenteverett.com). He’s nonchalant about the work, which he does every Friday night at Town when he’s in Washington and monthly at Latin Night at Cobalt.
“It’s a way to have fun, stay in touch with friends and fans and meet future models for our website,” the San Diego-born, Texas-reared Pena says.
In the region for about a year and a half, Pena, in an e-mail from Amsterdam where he’s traveling, says he appreciates the support.
“I have the best and most loyal friends, fans and followers out there.” (JD)
Best Burlesque Dancer
Private Tails
Runner-up: Glam Gamz
Private Tails (Washington Blade photo by Michael Key)
Private Tails (aka Ashliana Rowe) has been performing burlesque since 2005 and has drawn influence from classic burlesque, hip-hop, Broadway and more for what she calls “the art of the tease.”
As producer of Private Tease Productions, a monthly variety show she uses as an outlet for young performers she mentors, she says she “enjoys the creative process of developing new numbers and looks forward to the opportunity to whip up a fresh new performance.”
Although she has several titles under her belt, this is a new category for Best Of and she’s the inaugural winner.
Her next performance is at Phase 1 on Halloween. Keep up with her on Facebook or at privatetails.com. (JD)
Best Business Person
DC Allen
Runner Up: Ray Gernhart
DC Allen (Washington Blade file photo by Pete Exis)
Businessman DC Allen has been credited with setting the pace for local gay-owned businesses to support the broader LGBT community.
Allen along with his husband Ken Flick owns the Crew Club, a D.C. health club and sauna that caters to gay men.
Last year Allen, 58, presented the D.C. Center for the LGBT Community with a $25,000 check to help the Center pay for renovation costs for its new space in the city’s Reeves Center municipal building at 14th and U streets, N.W.
“We decided it was important for the center to be there for all of us in the community,” Allen says.
Since opening the Crew Club at 1321 14th St., N.W., in the early 1990s, Allen has supported a number of local LGBT organizations and causes, including the Gay and Lesbian Activists Alliance, which presented Allen with its Distinguished Service Award in 1998.
Under Allen’s direction, the Crew Club has also supported Whitman-Walker Health and Us Helping Us, two local community health organizations that provide services to the LGBT community, including AIDS education and prevention services.
In addition to providing financial support for the two groups, Allen has arranged for staff members of the groups to provide HIV testing on the Crew Club’s premises. The Crew Club also serves as a major distribution point for HIV prevention literature and free condoms.
The Capital Area Gay and Lesbian Chamber of Commerce recently named Allen Business Leader of the Year. (LC)
Best Massage
Che Young
Runner-up: Eddie Weingart
Che Young (Photo by Chris Jay Photography)
Relax the stress away with a massage by Che Young. Young provides deep tissue, Swedish, clinical and massage therapy. The Alexandra-based pro can be reached at 703-627-9090 or visit massagetherapy.com. (MC)
Best Visual Artist
Denis Largeron
Denis Largeron (Photo by Denis Largeron)
1621 T St., N.W., Apt. 201
202-420-1030
Runner-up: Amy Martin
Best Personal Trainer
Gerard Burley
Runner-up: Bucky Mitchell
Gerard Burley (Photo by Scott Henrichsen)
Gerard Burley shares fitness tips via his biweekly column in the Blade. He also makes appearances on Fox 5 and is known for his SweatDC fitness party. Find him via Facebook for regular updates and inspirational fitness-related posts.
(Editor’s note: Bucky Mitchell also writes a biweekly column in the Blade.)
Best TV Personality
Chuck Bell, NBC4
Runner-up: Wendy Rieger
Chuck Bell (Washington Blade photo by Jonathan Ellis)
Best Actor
Mickey Daniel DaGuiso
Runner-up: Will Gartshore
Mickey Daguiso, center (Photo courtesy The Landless Theatre Company)
Mickey Daniel DaGuiso grew up in the D.C. suburbs. He attended Bishop Ireton High School in Alexandria, mostly for the music program, and graduated from the University of Virginia where he majored in anthropology and philosophy.
Throughout school, he was involved in band (saxophone, piano) and chorus. It wasn’t until after college that DaGuiso started doing musicals. “It began as sort of a whim,” he says, “and then I was instantly hooked.”
Among the local companies where he’s worked, his favorites are Keegan Theatre (“Man of La Mancha” and “Rent”) and Landless Theatre where he played Kebab in “Perez Hilton Saves the Universe” and the lead in “Spidermusical,” a spoof of Broadway’s “Spiderman,” and many other roles. He has also served as musical director and accompanist for assorted Landless productions.
“Keegan is such a friendly, supportive community yet the creativity and work involved is just superior. Landless is the most enjoyable both on stage and backstage, efficient and creative with time and space, with vision and little ego.”
Currently DaGuiso is taking a year away from theater to travel the world. (He responded to these interview questions via email from India where he’s embarking on a six-month walkabout.) While traveling he’s trying his hand at playwriting.
“I’m keeping it very open-ended so just reading a lot, taking down inspiration whenever it comes and doing a daily writing practice. I do plan on continuing with acting in D.C. when I get back. But who knows what the future holds? I’m like the wind.” (PF)
Best Actress
MaryBeth Wise
Runner-up: Holly Twyford
MaryBeth Wise in ‘How to Write a New Book for the Bible.’ (Photo by Danisha Crosby)
MaryBeth Wise likens acting to a never-ending education. Currently she’s taking a class for experienced actors at Studio Theatre.
“I feel that it’s a good way to flex my muscles when I’m not working,” she says. “And I get to do scenes that I’ve always wanted to do by my favorite playwrights like Pinter, Beckett and Chekhov.
Wise advises young actors to see as much theater as possible. “The more you absorb, the better off you’ll be. The more you’ll have available in experience and imagination. After all, what else do we have?”
Typically cast as women of substance, Wise’s more memorable roles include Anne Sullivan in Olney Theatre’s “The Miracle Worker,” a New York psychiatrist in Studio Theatre’s “Frozen,” a newly out lesbian in “Body Awareness” at Theater J, and most recently the stalwart wife and mother married to Mitchell Hébert in Round House’s “How to Write a New Book for the Bible,” a part that called for her to age from 40 to 80 on a dime.
Offstage, Wise’s partner is local actor Sarah Marshall. The talented pair got to know each other while working on Woolly Mammoth’s production of Paula Vogel’s “The Mineola Twins” in 2003. “It was a great time,” Wise says. “And the show was a lot fun. I played a man in the first act and a woman in the second.”
Wise grew up in Miami. She started acting while an undergraduate at Barry University. Initially she came to Washington to attend Catholic University where she earned a master’s in acting.
“The D.C. theater scene is one of the best in the country,” Wise says. “We have a variety of theaters doing interesting, cutting-edge work. Our audiences can handle thought-provoking theater. And the actors are supportive. It’s great.” (PF)
Best Hill Staffer
Kat Skiles
Runner-up: Kenneth Dowling
Kat Skiles (Washington Blade photo by Michael Key)
As Hill staffers go, Kat Skiles has moved to the top. In July, she became digital director and senior adviser to House Minority Leader Nancy Pelosi (D-Calif.). It’s the Utah native’s second consecutive year winning this award. (CJ)
Best Straight Ally
Leigh Ann Hendricks
Runner-up: Brett Johnson
Leigh Ann Hendricks (Washington Blade photo by Michael Key)
Leigh Ann Hendricks made a big change five years ago to manage Level One (in the basement of Cobalt) after 17 years just down the street at Annie’s Paramount Steakhouse.
Managing a staff of about 35 — 90-95 percent of whom, she estimates, are LGBT — she says was a logical change and one she made with no hard feelings toward Annie’s. Having grown up with a gay best friend, she says it simply never occurred to her to treat gay people any differently. She was also inspired by the example of Annie’s namesake, the late Annie Kaylor, whom she worked with for years.
“She was like our second mother,” Hendricks says. “Her attitude was, ‘They either like my gay friends or they don’t like me,’ and that’s been mine as well.” (JD)
Level One
1639 R St. N.W.
202-745-0025
Best Bartender
Dusty Martinez (Town Patio/Number 9)
Runner-up: Angela Lombardi (Phase 1)
Dusty Martinez (Washington Blade photo by Michael Key)
Baltimore native Dusty Martinez has been in the food and beverage industry for a decade and recently completed an in-house internship at the W Hotel. He recently moved from serving customers at Number 9 to operating the new Town Patio, and he is also the owner and director of D&D Cocktails, a private bartending company serving the D.C. area.
Dusty Martinez
202-765-7550
danddcocktails.squarespace.com
Best Rehoboth Bartender
Holly Lane, Café Azafran
Runner-up: Matt Urban, Blue Moon
Holly Lane (Washington Blade photo by Kevin Naff)
Holly Lane has lived in more places than most people have visited: Martinique, Greece, Bahamas, Paris, Chicago, Switzerland, the list goes on.
She’s a native Washingtonian who trained in dance at the Washington School of Ballet and later at a modern dance school in Bethesda. After school — and a stint in Chicago with her then-husband — Lane’s travels began in earnest. She left her husband and moved to the Bahamas at age 23 to dance at the Paradise Island resort. A Club Med gig led to more travel and finally a trip to Paris, where she auditioned for a dancing job and stayed for 15 years.
“It was nice to have a place to decorate,” says Lane, sipping a coffee on an unseasonably warm October day in Rehoboth Beach, Del. “I rented a furnished apartment and gradually replaced everything with my own finds at the Paris flea markets.”
After years of working as a professional dancer, it was in Paris at age 30 that Lane discovered she could also sing. She landed a job in a musical production and then at the Hollywood Savoy in the ‘80s, where the wait staff also served as the entertainment, singing and dancing for customers during dinner.
“It was a great place to learn,” she says.
Despite the excitement and adventure of living and working abroad, Lane said a voice kept telling her it was time to go home and so in 1995, she returned to D.C.
“I’m glad I did all the things I did when I did them,” she says. “I just found my passport and realized I haven’t been abroad since 2007.”
After the death of a boyfriend, Lane went to visit her parents at their home in Rehoboth Beach, which they’ve owned since 1977 and stayed. She’s lived full time in the popular beach resort town since 2000 and spent about 10 years in a jazz band performing around the state. Her parents, now 93, still live there. Lane says her father sold the family home in D.C. through a real estate ad in the Washington Blade a few years ago and relocated full-time to Rehoboth.
In summer of 2010, the owner of Café Azafran was opening a new location in Rehoboth and offered Lane a bartending job. She’s worked there since. You can find her tending bar Thursday-Sunday evenings but Thursday is the night when she’s joined by fellow Rehoboth entertainer John Flynn, who plays the keyboard while Lane sings into her wireless headset while making drinks.
“I enjoy multi-tasking,” she says.
Café Azafran attracts a mixed crowd and Lane treats customers like they are guests in her home rather than patrons at a bar. She always finds room at the large granite bar for another stool and makes sure to introduce newcomers to the rest of the crowd.
Lane, 62, is “happily single” and lives with her dog JuJuBee, a “cheagle,” a Chihuahua and Beagle mix. In addition to her duties at Azafran, Lane sings at private parties and functions. (KN)
Café Azafran
18 Baltimore Ave.
302-227-8100
Most Committed Activist
David Mariner
Runner-up: Josh Deese
David Mariner (Washington Blade file photo by Michael Key)
In Washington since 1997, David Mariner, a Corning, N.Y., native, started volunteering at the DC Center in 2008 and became its first full-time executive director a year later.
Under his leadership, the once-fledgling Center has begun to flourish and now has a broad activity schedule and is a hub for LGBT-themed events such as the OutWrite LGBT Book Festival, Reel Affirmations and much more.
“Working at the DC LGBT Center has been one of the most rewarding experiences of my life,” Mariner says. “I am so proud of the work we do in the community and am profoundly grateful to the staff and the many volunteers and supporters who make this work possible.” (JD)
The DC Center
2000 14th St., N.W. No. 105
202-682-2245
Best Gay Politician
David Catania
David Catania (Washington Blade file photo by Michael Key)
Runner-up: Tammy Baldwin
Best Trans Advocate
Thomas Coughlin (see Queery)
Runner-up: Ruby Corado
Thomas Coughlin (Washington Blade photo by Michael Key)
Best Amateur Athlete
Matt Simeon
Runner-up: Eddie Valentine
Matt Simeon (Washington Blade photo by Michael Key)
Matt Simeon, who currently plays for the Washington Generals, has been a member of the D.C. Gay Flag Football League since 2010. Simeon was also named most valuable player of the league for the 2014 spring season. (MC)
Best Stylist
Michael Hodges
Runner-up: Barry Smythers
Michael Hodges (Washington Blade photo by Michael Key)
Michael Hodges has been sharpening his techniques in the Washington area for 25 years and is the owner and master Stylist of Logan 14. With a keen eye for current trends in men’s hair cuts and women’s styling, Michael and his team are making a powerful impact in the Logan Circle area. (SMH)
Michael Hodges
1314 B 14th St., N.W
202-506-6868
Best Clergy
Rev. David Lett
Rev. David Lett (Washington Blade file photo by Michael Key)
This is Father Lett’s second consecutive win in this category. He also won the best drag queen prize as Lena Lett in 2001 and 2002. (JD)
Runner-up: Rev. Kirsten Blom-Westbrook
Best Republican Advocate
Ted Olson
Ted Olson (Washington Blade photo by Michael Key)
Runner-up: Sen. Susan Collins
Best First Responder
Justin Markiewicz
Runner-up: Kate Fitzgerald
Justin Markiewicz (Washington Blade photo by Michael Key)
Officer Justin Markiewicz has been serving as a part-time member of the Washington D.C. Metropolitan Police Department’s Gay and Lesbian Liaison Unit since 2010. Markiewicz hails from Delaware and came to the District to attend Catholic University. After graduation he attended the police academy and was assigned to the 6th District. (MC)
Books
‘The Director’ highlights film director who collaborated with Hitler
But new book omits gay characters, themes from Weimar era
‘The Director’
By Daniel Kehlmann
Summit Books, 2025
Garbo to Goebbels, Daniel Kehlmann’s historical novel “The Director” is the story of Austrian film director G.W. Pabst (1885-1967) and his descent down a crooked staircase of ambition into collaboration with Adolph Hitler’s film industry and its Minister of Propaganda Joseph Goebbels. Kehlmann’s historical fiction is rooted in the world of Weimar German filmmaking and Nazi “Aryan” cinema, but it is a searing story for our challenging time as well.
Pabst was a legendary silent film director from the Weimar Republic’s Golden Era of filmmaking. He “discovered” Greta Garbo; directed silent screen star Louise Brooks; worked with Hitler’s favored director Leni Riefenstahl (“Triumph of the Will”); was a close friend of Fritz Lang (“Metropolis”); and lived in Hollywood among the refugee German film community, poolside with Billy Wilder (“Some Like it Hot”) and Fred Zinnemann (“High Noon”) — both of whose families perished in the Holocaust.
Yet, Pabst left the safety of a life and career in Los Angeles and returned to Nazi Germany in pursuit of his former glory. He felt the studios were giving him terrible scripts and not permitting him to cast his films as he wished. Then he received a signal that he would be welcome in Nazi Germany. He was not Jewish.
Kehlmann, whose father at age 17 was sent to a concentration camp and survived, takes the reader inside each station of Pabst’s passage from Hollywood frustration to moral ruin, making the incremental compromises that collectively land him in the hellish Berlin office of Joseph Goebbels. In an unforgettably phantasmagoric scene, Goebbels triples the stakes with the aging filmmaker, “Consider what I can offer you….a concentration camp. At any time. No problem,” he says. “Or what else…anything you want. Any budget, any actor. Any film you want to make.” Startled, paralyzed and seduced by the horror of such an offer, Pabst accepts not with a signature but a salute: “Heil Hitler,” rises Pabst. He’s in.
The novel develops the disgusting world of compromise and collaboration when Pabst is called in to co-direct a schlock feature with Hitler’s cinematic soulmate Riefenstahl. Riefenstahl, the “Directress” is making a film based on the Fuhrer’s favorite opera. She is beautiful, electric and beyond weird playing a Spanish dancer who mesmerizes the rustic Austrian locals with her exotic moves. The problem is scores of extras will be needed to surround and desire Fraulein Riefenstahl. Mysteriously, the “extras” arrive surprising Pabst who wonders where she had gotten so many young men when almost everyone was on the front fighting the war. The extras were trucked in from Salzburg, he is told, “Maxglan to be precise.” He pretends not to hear. Maxglan was a forced labor camp for “racially inferior” Sinti and Roma gypsies, who will later be deported from Austria and exterminated. Pabst does not ask questions. All he wants is their faces, tight black and white shots of their manly, authentic, and hungry features. “You see everything you don’t have,” he exhorts the doomed prisoners to emote for his camera. Great art, he believes, is worth the temporal compromises and enticements that Kehlmann artfully dangles in the director’s face. And it gets worse.
One collaborates in this world with cynicism born of helpless futility. In Hollywood, Pabst was desperate to develop his own pictures and lure the star who could bless his script, one of the thousands that come their way. Such was Greta Garbo, “the most beautiful woman in the world” she was called after being filmed by Pabst in the 1920s. He shot her close-ups in slow motion to make her look even more gorgeous and ethereal. Garbo loved Pabst and owed him much, but Kehlmann writes, “Excessive beauty was hard to bear, it burned something in the people around it, it was like a curse.”
Garbo imagined what it would be like to be “a God or archangel and constantly feel the prayers rising from the depths. There were so many, there was nothing to do but ignore them all.” Fred Zinnemann, later to direct “High Noon”, explains to his poolside guest, “Life here (in Hollywood) is very good if you learn the game. We escaped hell, we ought to be rejoicing all day long, but instead we feel sorry for ourselves because we have to make westerns even though we are allergic to horses.”
The texture of history in the novel is rich. So, it was disappointing and puzzling there was not an original gay character, a “degenerate” according to Nazi propaganda, portrayed in Pabst’s theater or filmmaking circles. From Hollywood to Berlin to Vienna, it would have been easy to bring a sexual minority to life on the set. Sexual minorities and gender ambiguity were widely presented in Weimar films. Indeed, in one of Pabst’s films “Pandora’s Box” starring Louise Brooks there was a lesbian subplot. In 1933, when thousands of books written by, and about homosexuals, were looted and thrown onto a Berlin bonfire, Goebbels proclaimed, “No to decadence and moral corruption!” The Pabst era has been de-gayed in “The Director.”
“He had to make films,” Kehlmann cuts to the chase with G.W. Pabst. “There was nothing else he wanted, nothing more important.” Pabst’s long road of compromise, collaboration and moral ruin was traveled in small steps. In a recent interview Kehlmann says the lesson is to “not compromise early when you still have the opportunity to say ‘no.’” Pabst, the director, believed his art would save him. This novel does that in a dark way.
(Charles Francis is President of the Mattachine Society of Washington, D.C., and author of “Archive Activism: Memoir of a ‘Uniquely Nasty’ Journey.”)
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Theater
Swing actor Thomas Netter covers five principal parts in ‘Clue’
Unique role in National Theatre production requires lots of memorization
‘Clue: On Stage’
Jan. 27-Feb. 1
The National Theatre
1321 Pennsylvania Ave., N.W.
thenationaldc.com
Out actor Thomas Netter has been touring with “Clue” since it opened in Rochester, New York, in late October, and he’s soon settling into a week-long run at D.C.’s National Theatre.
Adapted by Sandy Rustin from the same-titled 1985 campy cult film, which in turn took its inspiration from the popular board game, “Clue” brings all the murder mystery mayhem to stage.
It’s 1954, the height of the Red Scare, and a half dozen shady characters are summoned to an isolated mansion by a blackmailer named Mr. Boddy where things go awry fairly fast. A fast-moving homage to the drawing room whodunit genre with lots of wordplay, slapstick, and farce, “Clue” gives the comedic actors a lot to do and the audience much to laugh at.
When Netter tells friends that he’s touring in “Clue,” they inevitably ask “Who are you playing and when can we see you in it?” His reply isn’t straightforward.
The New York-based actor explains, “In this production, I’m a swing. I never know who’ll I play or when I’ll go on. Almost at any time I can be called on to play a different part. I cover five roles, almost all of the men in the show.”
Unlike an understudy who typically learns one principal or supporting role and performs in the ensemble nightly, a swing learns any number of parts and waits quietly offstage throughout every performance just in case.
With 80 minutes of uninterrupted quick, clipped talk “Clue” can be tough for a swing. Still, Netter, 28, adds, “I’m loving it, and I’m working with a great cast. There’s no sort of “All About Eve” dynamic going on here.”
WASHINGTON BLADE: Learning multiple tracks has got to be terrifying.
THOMAS NETTER: Well, there certainly was a learning curve for me. I’ve understudied roles in musicals but I’ve never covered five principal parts in a play, and the sheer amount of memorization was daunting.
As soon as I got the script, I started learning lines character by character. I transformed my living room into the mansion’s study and hallway, and got on my feet as much as I could and began to get the parts into my body.
BLADE: During the tour, have you been called on to perform much?
NETTER: Luckily, everyone has been healthy. But I was called on in Pittsburgh where I did Wadsworth, the butler, and the following day did the cop speaking to the character that I was playing the day before.
BLADE: Do you dread getting that call?
NETTER: Can’t say I dread it, but there is that little bit of stage fright involved. Coming in, my goal was to know the tracks. After I’d done my homework and released myself from nervous energy, I could go out and perform and have fun. After all, I love to act.
“Clue” is an opportunity for me to live in the heads of five totally different archetype characters. As an actor that part is very exciting. In this comedy, depending on the part, some nights it’s kill and other nights be killed.
BLADE: Aside from the occasional nerves, would you swing again?
NETTER: Oh yeah, I feel I’m living out the dream of the little gay boy I once was. Traveling around getting a beat on different communities. If there’s a gay bar, I’m stopping by and meeting interesting and cool people.
BLADE: Speaking of that little gay boy, what drew him to theater?
NETTER: Grandma and mom were big movie musical fans, show likes “Singing in the Rain,” “Meet Me in St. Louis.” I have memories of my grandma dancing me around the house to “Shall We Dance?” from the “King and I” She put me in tap class at age four.
BLADE: What are your career highlights to date?
NETTER: Studying the Meisner techniqueat New York’sNeighborhood Playhouse for two years was definitely a highlight. Favorite parts would include the D’Ysquith family [all eight murder victims] in “A Gentleman’s Guide to Love & Murder,” and the monstrous Miss Trunchbull in “Matilda.”
BLADE: And looking forward?
NETTER: I’d really like the chance to play Finch or Frump in Frank Loesser’s musical comedy “How to Succeed in Business Without Really Trying.”
BLADE: In the meantime, you can find Netter backstage at the National waiting to hear those exhilarating words “You’re on!”
Movies
A ‘Battle’ we can’t avoid
Critical darling is part action thriller, part political allegory, part satire
When Paul Thomas Anderson’s “One Battle After Another” debuted on American movie screens last September, it had a lot of things going for it: an acclaimed Hollywood auteur working with a cast that included three Oscar-winning actors, on an ambitious blockbuster with his biggest budget to date, and a $70 million advertising campaign to draw in the crowds. It was even released in IMAX.
It was still a box office disappointment, failing to achieve its “break-even” threshold before making the jump from big screen to small via VOD rentals and streaming on HBO Max. Whatever the reason – an ambivalence toward its stars, a lack of clarity around what it was about, divisive pushback from both progressive and conservative camps over perceived messaging, or a general sense of fatigue over real-world events that had pushed potential moviegoers to their saturation point for politically charged material – audiences failed to show up for it.
The story did not end there, of course; most critics, unconcerned with box office receipts, embraced Anderson’s grand-scale opus, and it’s now a top contender in this year’s awards race, already securing top prizes at the Golden Globe and Critics’ Choice Awards, nominated for a record number of SAG’s Actor Awards, and almost certain to be a front runner in multiple categories at the Academy Awards on March 15.
For cinema buffs who care about such things, that means the time has come: get over all those misgivings and hesitations, whatever reasons might be behind them, and see for yourself why it’s at the top of so many “Best Of” lists.
Adapted by Anderson from the 1990 Thomas Pynchon novel “Vineland,” “One Battle” is part action thriller, part political allegory, part jet-black satire, and – as the first feature film shot primarily in the “VistaVision” format since the early 1960s – all gloriously cinematic. It unspools a near-mythic saga of oppression, resistance, and family bonds, set in an authoritarian America of unspecified date, in which a former revolutionary (Leonardo DiCaprio) is attempting to raise his teenage daughter (Chase Infiniti) under the radar after her mother (Teyana Taylor) betrayed the movement and fled the country. Now living under a fake identity and consumed by paranoia and a weed habit, he has grown soft and unprepared when a corrupt military officer (Sean Penn) – who may be his daughter’s real biological father – tracks them down and apprehends her. Determined to rescue her, he reconnects with his old revolutionary network and enlists the aid of her karate teacher (Benicio Del Toro), embarking on a desperate rescue mission while her captor plots to erase all traces of his former “indiscretion” with her mother.
It’s a plot straight out of a mainstream action melodrama, top-heavy with opportunities for old-school action, sensationalistic violence, and epic car chases (all of which it delivers), but in the hands of Anderson – whose sensibilities always strike a provocative balance between introspection, nostalgia, and a sense of apt-but-irreverent destiny – it becomes much more intriguing than the generic tropes with which he invokes to cover his own absurdist leanings.
Indeed, it’s that absurdity which infuses “One Battle” with a bemusedly observational tone and emerges to distinguish it from the “action movie” format it uses to relay its narrative. From DiCaprio (whose performance highlights his subtle comedic gifts as much as his “serious” acting chops) as a bathrobe-clad underdog hero with shades of The Dude from the Coen Brothers’ “The Big Liebowski,” to the uncomfortably hilarious creepy secret society of financially elite white supremacists that lurks in the margins of the action, Anderson gives us plenty of satirical fodder to chuckle about, even if we cringe as we do it; like that masterpiece of too-close-to-home political comedy, Stanley Kubrick’s 1964 nuclear holocaust farce “Dr. Strangelove,” it offers us ridiculousness and buffoonery which rings so perfectly true in a terrifying reality that we can’t really laugh at it.
That, perhaps, is why Anderson’s film has had a hard time drawing viewers; though it’s based on a book from nearly four decades ago and it was conceived, written, and created well before our current political reality, the world it creates hits a little too close to home. It imagines a roughly contemporary America ruled by a draconian regime, where immigration enforcement, police, and the military all seem wrapped into one oppressive force, and where unapologetic racism dictates an entire ideology that works in the shadows to impose its twisted values on the world. When it was conceived and written, it must have felt like an exaggeration; now, watching the final product in 2026, it feels almost like an inevitability. Let’s face it, none of us wants to accept the reality of fascism imposing itself on our daily lives; a movie that forces us to confront it is, unfortunately, bound to feel like a downer. We get enough “doomscrolling” on social media; we can’t be faulted for not wanting more of it when we sit down to watch a movie.
In truth, however, “One Battle” is anything but a downer. Full of comedic flourish, it maintains a rigorous distance that makes it impossible to make snap judgments about its characters, and that makes all the difference – especially with characters like DiCaprio’s protective dad, whose behavior sometimes feels toxic from a certain point of view. And though it’s a movie which has no qualms about showing us terrifying things we would rather not see, it somehow comes off better in the end than it might have done by making everything feel safe.
“Safe” is something we are never allowed to feel in Anderson’s outlandish action adventure, even at an intellectual level; even if we can laugh at some of its over-the-top flourishes or find emotional (or ideological) satisfaction in the way things ultimately play out, we can’t walk away from it without feeling the dread that comes from recognizing the ugly truths behind its satirical absurdities. In the end, it’s all too real, too familiar, too dire for us not to be unsettled. After all, it’s only a movie, but the things it shows us are not far removed from the world outside our doors. Indeed, they’re getting closer every day.
Visually masterful, superbly performed, and flawlessly delivered by a cinematic master, it’s a movie that, like it or not, confronts us with the discomforting reality we face, and there’s nobody to save it from us but ourselves.
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