Arts & Entertainment
Buckley vs. Vidal
New doc recalls seminal debates of 1968
William F. Buckley Jr., left, with Gore Vidal in their 1968 summer showdown on ABC. (Photo courtesy Magnolia Pictures)
According to “Best of Enemies,” the excellent new documentary by Morgan Neville and Robert Gordon, television news coverage changed forever on the night of Aug. 28, 1968.
During a live television debate on ABC News, conservative icon William F. Buckley Jr. called liberal author Gore Vidal “a queer.”
Gordon explains, “A word like that was way across the line. It was so shocking that ABC pulled the broadcast from the West Coast. The task of this film, which opens on Friday, Aug. 7 at Landmark E Street and Bethesda Row Cinemas, was to put that moment in context.”
In the summer of 1968, there were only three major broadcast television networks. ABC was dead last in the ratings war with CBS and NBC. Executives at ABC News decided to take a desperate gamble. They replaced part of the traditional gavel-to-gavel coverage of the Republican and Democratic presidential nominating conventions with a series of live debates. They went all in by choosing two towering public intellectuals who were both ideological opposites and personal enemies.
On the right was Buckley, editor of the influential “National Review” and host of the popular television show “Firing Line.” A conservative Catholic, Buckley was instrumental in reshaping the Republican Party, ultimately helping to usher in the Reagan Revolution. As Gordon notes, “Buckley tried to make the party more reasonable and respectable.”
On the left was Gore Vidal, a prolific author and an estranged member of the Kennedy clan. Vidal’s groundbreaking 1948 novel “The City and the Pillar” dealt with male homosexuality in a forthright and positive manner and his satirical 1968 novel “Myra Breckinridge” skewered gender norms and conventional sexual practices.
Over the course of 10 nights, the two men sparred under the gentle watch of bemused anchorman Howard K. Smith. The debates were an amazing blend of erudite political commentary and barbed personal invective. This impassioned rhetoric was fueled by a fascinating undercurrent of gay baiting.
On the night of Aug. 28, Vidal upped the ante by calling Buckley a “crypto-Nazi.” Gordon notes that Vidal really hit Buckley “where it hurt. Buckley had gone to great lengths to rid the party of that rhetoric. Gore was trying to undermine all of Buckley’s work.”
Buckley lashed out at Vidal’s insult. Rising from his seat, he shouted, “Now listen, you queer, stop calling me a crypto-Nazi or I’ll sock you in your goddamn face and you’ll stay plastered.”
According to the filmmakers, that moment changed the lives of both men and the nature of political discourse in America. Neville says, “It got a lot of attention. People talked about it for years and they were asked about it for the rest of their lives. For Buckley, it was probably the moment he was most ashamed of. He had prided himself on a lifetime of creating difficult situations and maintaining his cool in them. His outburst meant he lost the debate. It certainly haunted him thereafter.”
The impact for ABC was much more positive. The debates were a hit. Before the broadcasts, Neville notes, “CBS and NBC each had around 300 affiliates and ABC only had 150. After the debates, ABC quickly caught up with its rivals and became the trendsetter in news coverage.” Neville and Gordon contend that a new era in television journalism was launched by the Buckley-Vidal debates.
Theater
Out dancer on Alvin Ailey’s stint at Warner Theatre
10-day production marks kickoff of national tour
Alvin Ailey American Dance Theater
Through Feb. 8
Warner Theatre
513 12th St., N.W.
Tickets start at $75
ailey.org
The legendary Alvin Ailey American Dance Theater is coming to Washington’s Warner Theatre, and one of its principal veterans couldn’t be more pleased. Out dancer Renaldo Maurice is eager to be a part of the company’s 10-day stint, the kickoff of a national tour that extends through early May.
“I love the respectful D.C. crowd and they love us,” says Maurice, a member of esteemed modern dance company for 15 years. The traveling tour is made of two programs and different casting with Ailey’s masterwork “Revelations” in both programs.
Recently, we caught up with Maurice via phone. He called from one of the quiet rooms in his New York City gym where he’s getting his body ready for the long Ailey tour.
Based in North Newark, N.J., where he recently bought a house, Maurice looks forward to being on the road: “I enjoy the rigorous performance schedule, classes, shows, gym, and travel. It’s all part of carving out a lane for myself and my future and what that looks like.”
Raised by a single mother of three in Gary, Ind., Maurice, 33, first saw Alvin Ailey as a young kid in the Auditorium Theatre in downtown Chicago, the same venue where he’s performed with the company as a professional dancer.
He credits his mother with his success: “She’s a real dance mom. I would not be the man or artist I am today if it weren’t for the grooming and discipline of my mom. Support and encouragement. It’s impacted my artistry and my adulthood.”
Maurice is also part of the New York Ballroom scene, an African-American and Latin underground LGBTQ+ subculture where ball attendees “walk” in a variety of categories (like “realness,” “fashion,” and “sex siren”) for big prizes. He’s known as the Legendary Overall Father of the Haus of Alpha Omega.
WASHINGTON BLADE: Like many gay men of his era, Ailey lived a largely closeted public life before his death from AIDS-related complications in 1989.
RENALDO MAURICE Not unusual for a Black gay man born during the Depression in Rogers, Texas, who’s striving to break out in the industry to be a creative. You want to be respected and heard. Black man, and Black man who dances, and you may be same-sex gender loving too. It was a lot, especially at that time.
BLADE: Ailey has been described as intellectual, humble, and graceful. He possessed strength. He knew who he was and what stories he wanted to tell.
MAURICE: Definitely, he wanted to concentrate on sharing and telling stories. What kept him going was his art. Ailey wanted dancers to live their lives and express that experience on stage. That way people in the audience could connect with them. It’s incredibly powerful that you can touch people by moving your body.
That’s partly what’s so special about “Revelations,” his longest running ballet and a fan favorite that’s part of the upcoming tour. Choreographed by Alvin Ailey in 1960, it’s a modern dance work that honors African-American cultural heritage through themes of grief, joy, and faith.
BLADE: Is “Revelation” a meaningful piece for you?
MAURICE: It’s my favorite piece. I saw it as a kid and now perform it as a professional dance artist. I’ve grown into the role since I was 20 years old.
BLADE: How can a dancer in a prestigious company also be a ballroom house father?
MAURICE: I’ve made it work. I learned how to navigate and separate. I’m a principal dancer with Ailey. And I take that seriously. But I’m also a house father and I take that seriously as well.
I’m about positivity, unity, and hard work. In ballroom you compete and if you’re not good, you can get chopped. You got to work on your craft and come back harder. It’s the same with dance.
BLADE: Any message for queer audiences?
MAURICE: I know my queer brothers and sisters love to leave with something good. If you come to any Ailey performance you’ll be touched, your spirit will be uplifted. There’s laughter, thoughtful and tender moments. And it’s all delivered by artists who are passionate about what they do.
BLADE: Alvin Ailey has been a huge part of your life. Thoughts on that?
MAURICE: I’m a believer in it takes a village. Hard work and discipline. I take it seriously and I love what I do. Ailey has provided me with a lot: world travel, a livelihood, and working with talented people here and internationally. Alvin Ailey has been a huge part of my life from boyhood to now. It’s been great.
Catfish Comedy will host “2026 Queer Kickoff Show” on Thursday, Feb. 5 at A League of Her Own (2319 18th Street, N.W.). This show features D.C.’s funniest LGBTQ and femme comedians. The lineup features performers who regularly take the stage at top clubs like DC Improv and Comedy Loft, with comics who tour nationally.
Tickets are $17.85 and can be purchased on Eventbrite.
Arts & Entertainment
Catherine O’Hara, ‘Schitt’s Creek’ star and celebrated queer ally, dies at 71
Actress remembered for memorable comedic roles in ‘Beetlejuice’ and ‘Home Alone’
Catherine O’Hara, the varied comedic actor known for memorable roles in “Beetlejuice,” “Schitt’s Creek,” and “Home Alone,” has died at 71 on Friday, according to multiple reports. No further details about her death were revealed.
O’Hara’s death comes as a shock to Hollywood, as the Emmy award-winning actor has been recently active, with roles in both “The Studio” and “The Last of Us.” For her work in those two shows, she received Emmy nominations for outstanding supporting actress in a comedy series and outstanding guest actress in a drama series.
In 2020, O’Hara won the Outstanding Lead Actress in a comedy series award for her work in the celebrated sixth and final season of “Schitt’s Creek.” She was also known as a queer ally and icon for her theatrical and often campy performances over multiple decades. In “Schitt’s Creek,” she played Moira Rose, the wig-loving mother of David Rose (played by series creator Dan Levy). David is pansexual, but the characters around him simply accept him for who he is; the show was embraced by the LGBTQ community with how naturally David’s sexuality was written and portrayed. That show ran from 2015 to 2020 and helped bring O’Hara and her co-stars into a new phase of their careers.
In a 2019 interview with the Gay Times, O’Hara explained why the show got LGBTQ representation right: “Daniel has created a world that he wants to live in, that I want to live in. It’s ridiculous that we live in a world where we don’t know how to respect each other and let each other be. It’s crazy. Other shows should follow suit and present the world and present humans as the best that we can be. It doesn’t mean you can’t laugh, that you can’t be funny in light ways and dark ways. It’s all still possible when you respect and love each other.”
Additional credits include “SCTV Network” (for which O’Hara won a writing Emmy), “Beetlejuice Beetlejuice,” “Curb Your Enthusiasm,” “Six Feet Under,” “Best in Show,” “Home Alone 2: Lost in New York,” and “Dick Tracy.” O’Hara also lent her voice to “The Nightmare Before Christmas,” “Chicken Little,” “Monster House,” and “Elemental.” O’Hara was expected to return for Season 2 of “The Studio,” which started filming earlier this month.
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