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Witty Brits spar in ‘Jumpers’

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Jumpers for Goalposts, gay news, Washington Blade
Jumpers for Goalposts, gay news, Washington Blade

From left Liam Forde as Luke, Kimberly Gilbert as Viv, Zdenko Martin as Danny and Michael Glenn as Joe in ‘Jumpers for Goalposts.’ (Photo by Igor Dmitry; courtesy Studio)

‘Jumpers for Goalposts’

 

Through June 21

 

Studio Theatre

 

1501 14th St., N.W.

 

$44-88

 

202-332-3300

 

Studiotheatre.org

 

 

Viv would love to win just one match. She knows her aptly named soccer team Barely Athletic will never beat the Lesbian Rovers or the smug Man City for that matter. But she thinks they might stand a chance against Tranny United whose members play in stilettos. Still, it would be a win.

Penned by British gay playwright Tom Wells, “Jumpers for Goalposts” (now making its U.S. premiere at Studio Theatre) follows the short season of Barely Athletic, a ragtag five-a-side soccer team competing in an amateur LGBT league in Hull, a Northern England port city. For competitive lesbian Viv (Kimberly Gilbert), head coach and the only woman on the team, the stakes are high. Booted from the opposing lesbian team for being too bossy, she needs to save face.

The remaining players (four guys; three gay, one straight) are there for less ferocious reasons: recreation, perhaps sex and maybe a little romance. Beardy Geoff (Jonathan Judge-Russo), a witty, penniless street performer who dreams of becoming a gay singing sensation scores goals for the wrong team and isn’t averse to hitting on the opposition. Danny (Zdenko Martin), a fit and easy going physical education student likes the sport, but he also has is eye on teammate Luke (Liam Forde), a shy 19-year-old who until now has been unacquainted with a soccer ball and the world of dating. And there’s Joe (Michael Glenn), a boiler repairman who was married to Viv’s deceased big sister. At 39, Joe is the oldest and least in shape of the team, but he comes every Sunday afternoon at Viv’s insistence. She can’t bear the idea of him spending his weekends at home alone.

The story unfolds in a municipal locker room after the matches. It’s here where the team receives notes from Viv ranging from criticisms to pleas to do their best. It’s also where we learn about the players’ lives off the football pitch (that’s soccer field in American). Spikey-haired Viv runs a pub and lives with her longtime girlfriend. It seems her extreme concern for Joe allows her to bury her own sadness about her sister’s death. Beardy insists on wearing his lucky Peruvian knit hat when he’s playing soccer. But it turns out to be more than simply a talisman. He’s hiding something. And the gently budding romance between Luke and Danny is not without problems. It’s almost derailed by an HIV diagnosis.

Gilbert’s turn as Viv is nicely layered. Beneath the crusty exterior, she’s soft and caring. Her scenes opposite Glenn who wonderfully underplays Joe are among the play’s best. He poignantly conveys the essence of a sort of dulled mourning. He’s not happy but he’s OK.

Ably staged by Matt Torney, Studio’s take on Wells’ endearing comedy is quick-paced and satisfying. Scenes are punctuated with blasts of British pop. Set designer Debra Booth’s drearily real locker room looks so authentic you can almost smell it. Michael Giannitti’s lighting design is appropriately fluorescent. The casts’ accents are consistent — lots of “raight” instead of “right.” Not what you’d find in “Downton Abbey” above stairs.

Despite some predictable plot points, “Jumpers for Goalposts” isn’t your average gay or sports play. It’s truly inhabited by people living ordinary lives who just happen to be gay and ultimately the drama is more about sorting out skirmishes rather than battling for the trophy.

Jumpers for Goalposts, gay news, Washington Blade

Liam Forde as Luke and Zdenko Martin as Danny in ‘Jumpers for Goalposts.’ (Photo by Igor Dmitry; courtesy Studio)

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Theater

A busy season underway in local theater scene

Something for everyone indeed

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Carlos Castillo as Hugo and Victor Salinas as Elmar in ‘The 22+ Weddings of Hugo.’ (Photo by Stan Weinstein)

“Something for everyone.” It’s a tired tagline, but in the case of this fall’s DMV theater season, it happens to be pretty much true. And a lot of the work is queer, directly or tangentially. Here’s a sliver of what’s already opened and what’s in store. 

Theater J jumps into the new season with “How to Be a Korean Woman” (through Sept. 22), Sun Mee Chomet’s comic and heartfelt telling of searching for her birth family in Seoul, South Korea. edcjcc.org

Woolly Mammoth Theatre opens with “The Comeuppance” (through Oct. 6), the latest work from Tony-winning out playwright Branden Jacobs-Jenkins. 

“On the night of their 20th high school reunion, the self-proclaimed “Multi-Ethnic Reject Group” reconnects while they pregame in Prince George’s County, Md. But amid the flow of reminiscing, an otherworldly presence forces these former classmates to face the past head-on and reckon with an unknowable future.” Woollymammoth.net 

Signature Theatre kicks off with the D.C. premiere of Eboni Booth’s Pulitzer-winning play “Primary Trust” (through Oct. 20). Booth’s contemporary humor-filled tender tale of self-discovery and connection is followed by Signature’s big musical “A Funny Thing Happened on the Way to the Forum” (Oct. 29-Jan. 12), Stephen Sondheim’s classic Roman-set musical comedy staged by Signature’s out artistic director Matthew Gardiner. Sigtheatre.org 

GALA Hispanic Theatre’s season opener, Gustavo Ott’s “The 22+ Weddings of Hugo” (through Sept. 29), is based on a true story. Performed in Spanish with easy-to-follow English surtitles, Ott’s raucous tale seeks to cover the various scenarios immigrants experience through many weddings. The cast features out actors Carlos Castillo as Hugo, a quiet postal clerk, and Victor Salinas who plays Elmar, a gay writer seeking refuge. José Zayas directs.  Galatheatre.org.

Mosaic Theater Company at Atlas Performing Arts Center presents “Lady Day at Emerson’s Bar and Grill” (through Oct. 6), a play with music about jazz legend/queer icon Billie Holiday starring Roz White. Mosaic’s out artistic director Reginald L. Douglas directs. Mosaictheater.org 

Ford’s Theatre presents “Mister Lincoln” (Sept. 20-Oct. 13), a “witty and revelatory” one-man show starring Scott Bakula (stage and screen actor famous for TV’s “Quantum Leap”). Fords.org  

ExPats Theatre (also housed at Atlas) opens with “Marlene” (Sept. 28 through Oct. 20) featuring Karin Rosnizeck as the legendary Dietrich, a great star who famously defied social and gender conventions while dazzling the world with her glamorous career. Expatstheate.com 

There’s a lot on offer at George Mason University’s Center for Arts this autumn, not least of all “An Evening with Lea Salonga” (Saturday, Sept. 28).

Tony-winning singer and actress Lea Salonga headlines the 2024 ARTS by George! benefit concert, performing songs from a four-decade career on Broadway and in animated movie hits. Born in the Philippines, Salonga originated the lead role of Kim in Miss Saigon, and she was the first Asian cast member to perform the role of Eponine in Les Misérables on Broadway. 

Other promising one-day-only GMU entertainments include Ballet Hispánico (Oct. 5) and Mark Morris Dance Group and Music Ensemble (Oct. 19). cfa.gmu.edu

Creative Cauldron in Falls Church presents “Sondheim Tribute Revue” (Oct. 3-27) a celebratory salute to musical giant Stephen Sondheim with eight performers singing 20 titles from the gay composer’s brilliant songbook including “Company,” “Follies,” “Into the Woods,” “A Little Night Music,” “Sweeney Todd,” and the recent Tony Award Winner, “Merrily We Roll Along,” and more. Creativecauldron.org 

Olney Theatre explores what makes a president great with “Eisenhower: This Piece of Ground,” Sept. 27-Oct. 20. And for Disney fans, don’t miss “Frozen,” Oct. 24-Jan. 5. Olneytheatre.org

The Kennedy Center offers laughs and nostalgia with “Clue” (Sept.17 through Oct. 6), a whodunit based on the fan-favorite 1985 Paramount movie and inspired by the classic Hasbro board game. Next up is “The 25th Annual Putnam County Spelling Bee” (Oct. 11 – 20). 

Other Kennedy Center treats include “An Evening with David Sedaris” (Oct. 15).  The gay humorist is slated to share his inimitable brand of satire and hilarious observations, and then it’s out sound healing artist Davin Youngs with “The Reset” (Oct. 28), his take on a “sound bath” including improvisational singing, looping devices, and healing instruments. Kennedy-center.org 

Fall is the best time at the beach, so plan a weekend in Rehoboth and visit the phenomenal Clear Space Theatre. “Venus in Fur” runs Sept. 19-29 followed by “Sweeney Todd” Oct. 11-27; and “Shrek” runs Nov. 8-10. Clearspacetheatre.org

Fall cabaret will be in full swing at the Gay Men’s Chorus of Washington, D.C., as soloists share heart-warming stories and songs about their travel adventures (Oct. 19 at 2, 5, and 8 p.m.). And, of course, no holiday season is complete without the Chorus’s annual holiday celebration set for Dec. 7, 14, and 15. Gmcw.org

Folger Theatre presents Shakespeare’s “Romeo and Juliet” (Oct. 1-Nov. 10) staged by inspiring out director Raymond O. Caldwell. A large, versatile cast features Cole Taylor and Caro Rayes Rivera as the star-crossed lovers, and a host of familiar local faces including Luz Nicolas, Deirdra LaWan Starnes, and out actor Fran Tapia as Lady Capulet. folger.edu

Studio Theatre serves up “Summer, 1976,” (opening Nov. 13), a memory play by Pulitzer Prize-winning playwright David Auburn (“Proof”).  Directed by Vivienne Benesch, the two-hander features longtime D.C. favorites Kate Eastwood Norris and out actor Holly Twyford playing disparate women whose unlikely friendship and ensuing connection changes the course of their lives. Studiotheatre.org 

And on Wednesday, Dec. 4, Strathmore in North Bethesda presents “A Swingin’ Little Christmas,” a fun takeoff on kitschy, classic ‘50s and ‘60s holiday specials, featuring out TV star Jane Lynch (“Glee,” “The Marvelous Mrs. Maisel”) alongside Kate Flannery (“The Office”), Tim Davis (“Glee’s” vocal arranger), and The Tony Guerrero Quintet. Strathmore.org

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Theater

Explore new venues, productions during D.C. Theatre Week

30 shows, including musicals, comedies, dramas, premieres, and more

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Michael Ramirez serves as a Helen Hayes Awards judge and board member at Woolly Mammoth Theatre. (Photo by DJ Corey Photography)

2024 Theatre Week
Sept. 26-Oct. 13
Theatreweek.org

For Michael Ramirez, theater remains an ongoing source of inspiration and pleasure. As a little boy in El Paso, Texas, his mom took him to see lots of kids’ shows. And later in high school, he played one of the Sharks in “West Side Story.” All fond memories. 

At the University of Texas in Austin for social work (undergraduate) and social work/public administration (graduate school) and then as a successful human resources professional and policy wonk in Washington, Ramirez continued to enjoy theater from the audience or behind the scenes. Now retired, he serves as a Helen Hayes Awards judge and board member at Woolly Mammoth Theatre. 

Theatre Washington is the umbrella organization that not only produces the Helen Hayes Awards but also Theatre Week, an annual celebratory launch of the season with shows at low prices, a free kickoff fest, and other fun events. 

The 2024 Theatre Week, explains Ramirez, features about 30 varied productions in the DMV, including musicals, comedies, dramas, new works, premieres, and works geared to young audiences. And tickets are affordably discounted at $60, $40, and $20.

“It’s a great opportunity to take a chance on a theater that you might not be familiar with,” he says. “When it comes to seeing shows, a lot of people think Kennedy Center or Ford’s. This can be an introduction to something entirely new. D.C. is a busy theater town with lots of companies and venues.”  

At the heart of Theatre Week are its plays and musicals. Ramirez has already made his list. 

His picks include GALA Hispanic Theatre’s “The 22+ Weddings of Hugo” featuring out actor Carlos Castillo as Hugo and staged by out director José Zayas; busy out playwright Branden Jacobs-Jenkins’ “The Comeuppance” at Woolly Mammoth; and “Rosencrantz & Guildenstern Are Dead” at Nu Sass Productions.

He also plans to see Mosaic Theatre’s “Lady Day at Emerson’s Bar and Grill,” a play with music about jazz legend/queer icon Billie Holiday starring Roz White; ExPats Theatre’s “Marlene,” featuring Karin Rosnizeck as legendary diva Marlene Dietrich; and Rorschach Theatre’s “Sleeping Giant” written by gay playwright Steve Yockey well known as the developer of the HBO Max comedy-drama television series “The Flight Attendant.”

Ramirez adds, “And as a good gay, I can’t miss ‘Sondheim Tribute Revue’ at Creative Cauldron.” 

There are also parties and outdoor events. He advises a few of his favorites. 

On Monday, Sept. 9, Woolly Mammoth hosts a Theatre Week Launch Party replete with drinks and season sneak peaks (invitation only). 

The Historic Theatre Walking Tour (Sept. 21) asks the public to check out downtown D.C. theaters with guides Farar Elliot and Chris Geidner (free). And with City on the River Concert (Sept. 22), Theatre Washington returns to the D.C. Wharf Transit Pier to present “musical theater showstoppers” from a dozen of the season’s upcoming shows (free).  

Next up it’s “DC Theatre at the Nats” (Sept. 24), a night out at the ballgame that baseball lover Ramirez is sure to attend. And typically, he says, performers from a local show or company are booked to sing the anthem ($20). 

And big event Kickoff Fest 2024, an all-afternoon event for all ages, takes place on Sept. 28 at Arena Stage (also free).

Not surprisingly Ramirez fell for another theater aficionado. He and husband John Ralls got together in 1990 and married in 2014. Ralls is a board member at Rorschach.

As board members, they “function as ambassadors and marketers for the theater. We reach into our pockets and write the checks. We buy the season tickets, and encourage our friends to do the same.”

Ramirez enthusiastically reiterates: “Theatre Week is especially fun. Again, tickets are reasonable. There’s everything from puppet plays at Glen Echo Park to something more serious. It’s the perfect chance to try something new.” 

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Mosaic kicks off 10th anniversary with ‘Lady Day at Emerson’s Bar and Grill’

Play set in nightclub where Billie Holiday gave one of her last performances

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Reginald L. Douglas (Photo courtesy of Mosaic Theater)

‘Lady Day at Emerson’s Bar and Grill’
Sept. 5-Oct. 6
Mosaic Theater Company
1333 H St., N.E. 
$50–$80
mosaictheater.org

Throughout a big career, jazz icon Billie Holiday experienced tremendous highs and lows. Unapologetically herself and openly bisexual, she made her mark with songs like the very popular “Lover Man (Oh, Where Can You Be?)” and successfully stepped into social activism with her performances and recording of “Strange Fruit,” a searing protest anthem inspired by the photograph of a lynching.

On the downside, she was dogged by addiction and fell prey to users of various stripes (more often than not male), but fans and music experts agree that it’s these less-than-sanguine life experiences that helped to shape the emotional content of her inimitable take on the blues. 

Currently Mosaic Theater Company is kicking off its 10th anniversary season with Lanie Robertson’s “Lady Day at Emerson’s Bar and Grill,” a play with music set in a seedy Philadelphia night spot where Holiday gave one of her last performances just months before dying from heart disease at just 44 in 1959.  

Mosaic’s immersive production is directed by the company’s out artistic director Reginald L. Douglas and stars D.C. favorite Roz White. At 90 minutes, the one-woman show features about a dozen of Holiday’s songs, and tucked in between are book scenes touching on personal and political themes including racism, sexism, domestic abuse, and drug use. In many ways, says Douglas, it’s the history of what Black female singing stars have had to endure to achieve success. 

For Mosaic’s season opener, a black box space at Atlas Performing Arts Center on H Street, NE, is being reconfigured as a nightclub with café seating and drinks. White as Holiday (affectionately nicknamed Lady Day by famed saxophonist Lester Young) sings with a standard jazz tiro: pianist (William Knowles), bassist (Mark Saltman), and drummer (Greg Holloway). 

An avowed Holiday admirer, director Douglas says staging the production has only increased his devotion: He describes her as an all-gender loving woman, who possessed a love of life, and an openness about her struggle.

“Without a doubt, she was a force of nature that queer audiences respond to and admire. Particularly for queer Black people, legends like Billie Holiday are vital for our ability to see ourselves.”

And as a theater maker who goes in as a Billie fan, Douglas already knew the show’s classics like ‘Strange Fruit’ and ‘God Bless the Child,’ and now he’s excited to be learning more from her canon like ‘What a Little Moonlight Can Do,’ ‘Crazy He Calls Me,’ and ‘Easy Living’ which has become a special moment in the show. 

And working with the powerful White as Holiday is proving “a dreamy collaboration.”

“The core is respect,” says Douglas who began his tenure with Mosaic in November of 2021. “I trust the experts and Roz is an expert. She knows how to command a stage and she is Billie Holiday’s biggest fan. She has a depth of knowledge about the artist and her music, jazz, the blues. I just want to listen and soak that up and elevate it and amplify it on stage.”

The experience is filled with trust and admiration and give and take, he adds. And along with wonderful choreography and movement consultant Sandra L. Holloway who is a queer Black woman, the three of them are having a great time.

White recently returned to D.C. after completing a two-year national tour of “TINA: The Tina Turner Musical.” And now with “Lady Day at the Emerson Bar and Grill,” she marks her return to Mosaic where, among other performances, she is remembered for her compelling portrayal of Sister Rosetta Tharpe, the queer Black woman who invented rock ‘n’ roll, in “Marie and Rosetta.”

Holiday’s voice is unmistakable. With its wonderfully unique phrasing and a gravel and hoarseness resulting from years of late nights and strain, it’s often copied, but that’s not what they’re going for here. 

Douglas says, “We’re not striving for an impersonation here. We’re letting Roz be Roz; but while honoring the spirit of Billie, you’ll notice some pronunciation and dialect work. Still, Roz brings her own kind of special sauce to the work.”

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