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A chat with Desmond Bing

Mosaic’s maiden outing inspires out actor to explore his roots

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Freddie Bennet, gay news, Washington Blade
Freddie Bennet, gay news, Washington Blade

Desmond Bing, left, and Freddie Bennett. (Photo by Teddy Wolff; courtesy Mosaic Theater Company)

‘Unexplored Interior’

 

Through Nov. 29

 

Mosaic Theater Company

 

Atlas Performing Arts Center

 

1333 H St., N.E.

 

$40-60

 

202-399-7993

 

For a long time out actor Desmond Bing tried to hide his African heritage, or at least not bring it to the forefront, he says.

However, since he began playing Raymond in Jay O. Sanders’ world premiere “Unexplored Interior,” the epic story of the 1994 Rwandan massacre seen mostly through the eyes of a burgeoning African filmmaker, all that has changed.

“At the open call audition, I was asked if I could do an African accent,” Bing says. “I spoke like my mother who is from Liberia in West African. I was born in Minnesota, but I guess it was my heritage that landed me the part. Since then, playing Raymond has prompted me to embrace my lineage and culture. I’ve developed a strong desire to visit Africa, something I’ve never done before.”

In “Unexplored Interior,” young filmmaker Raymond returns from New York to his native Rwanda in search of his beloved grandfather following 100 days of terror in which the majority Hutus murdered 800,000 of the minority Tutsis. The powerful drama interweaves stories of romance and friendship between members of the opposing tribes before, during and after the genocide. Ably staged by Derek Goldman and skillfully acted by a top-notch cast, this new work is the impressive inaugural production of Mosaic Theater Company.

“I was 10 when the genocide happened and can remember my parents taking about it and seeing it on the news. But I didn’t know a lot until after we started rehearsal,” Bing says. “Rwandan suffering is a long story. In the 1800s Belgian’s King Leopold II who exploited the regions slaughtered 10 million people. There’s a line in the play that says nobody cared because these people were black. During the 1994 massacre President Clinton was criticized for not intervening.”

Last season Bing played in another heavy work, Theater Alliance’s “Occupied Territories,” a Vietnam War play that questions how bodies, minds and souls are vast territories altered by relentless conflict.

“Too often we shy away from important stories that need to be told because they make us uncomfortable. Processes for both plays were uncomfortable,” Bing says. “But stories need to be told despite the discomfort. My goal was to help share the story the best way I could. … But at this point, I wouldn’t turn down a Shakespeare part, particularly a comedy.”

In first approaching the play, Bing says he saw the subject strictly in black and white, but as he became more immersed in the details, he began to see things more gray.

“Those who carried out the killing were told you’re with us or you die too. It was something they were to do to protect their country and their livelihoods. I was able to see things from a Hutu perspective more than before.”

At 15 his father (also Liberian) died and the family moved to Maryland where he became interested in acting. He pursued a theater degree at the well-regarded University of North Carolina School of the Arts.

“I was out in college. At that point I decided closets were for clothes, not me. Still when I’d do a show and friends would say, ‘Oh my god, I couldn’t even tell you were gay. You were so straight on stage.’ ‘It’s acting. I’m acting,’ I’d tell them.”

Sometimes art imitates life. In “Unexplored Interior,” Raymond’s closest friend Alphonse is played by Bing’s real life best friend Freddie Bennett. Also an openly gay actor, Bennett met Bing in college.

Both Bennett and Bing are part of an ever-widening pool of talented, openly gay African-American working actors. Bennett came from New York to D.C. to appear in the Shakespeare Theatre Company’s stunning production of “The Tempest” last season. Next, along with Bing, he was cast in “Occupied Territories,” and now “Unexplored Interior.”

“Acting with your best friend offers a lot,” Bennett says. “It’s nice when it’s easy and fun, but then we also find new layers of what’s beneath our friendship and what’s beneath the work that we both have to give.”

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1 Comment

  1. Royal T

    November 21, 2015 at 3:18 pm

    Both Desmond and Freddie are awesome actors, wonderful men, and mentors to up and coming actors. They both have supported the younger actor in the cast, always teaching and encouraging. Be blessed!!

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Music & Concerts

Forget streaming, the holiday classics return to area stages

Bring your proof of vaccination and check out a local production this season

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A scene from a previous Gay Men's Chorus of Washington Holiday Show. (Blade photo by Michael Key)

A year ago, the holiday season was streamed. But now, thanks to various protocols including masks and proof of vaccination, DMV theatergoers can come together and experience – live and in-person — both beloved classics and some promising new works. Here’s a smattering of what’s out there.

At Olney Theatre, Paul Morello is thrilled to bring back “A Christmas Carol 2021” (through Dec. 26), his solo adaptation of Dickens’ ghost story. Concerning returning to a live audience, Morello says, “While this is technically a one-person show, it’s really about the connection and collaboration with an audience, being in the same room, breathing in unison. I can’t do this without an audience and for a story that thrives on redemption, mortality, isolation, the need for community and connection, and the things that matter most, the timing couldn’t be better.”

Olney also presents “Disney’s Beauty and the Beast” through Jan. 2. This musical “tale as old as time” stars out actor Jade Jones as Belle and Evan Ruggiero plays the Beast. olneytheatre.org

For the holidays, Synetic Theater at Crystal City is reworking “Cinderella” (Nov. 27-Dec. 26). Led by an all-female team of creators, this festive take on the classic fairytale is inspired by Afro-Latino music and dance. Directed and adapted by Maria Simpkins who also plays the title role. synetictheater.org

Last year, because of COVID-19, Ford’s Theatre presented “A Christmas Carol” as a radio broadcast, but now the fully produced play returns to the venue’s historic stage through Dec. 27. A popular Washington tradition for more than 30 years, the thoroughly enjoyable and topnotch take on the Dickens’ classic features Craig Wallace reprising the part of Scrooge, the miser who after a night of ghostly visits, rediscovers Christmas joy. fords.org

Another D.C. tradition guaranteed to put audiences in a holiday mood is the Washington Ballet’s “Nutcracker,” playing at the Warner Theatre through Dec. 26. Set to Tchaikovsky’s enchanted score, this charming and superbly executed offering takes place in Georgetown circa 1882 and features a retinue of historic figures along with children, rats, fairies and a mysterious godfather. Choreography is by Septime Webre. washingtonballet.org

The Folger Consort, the superb early music ensemble in residence at the Folger, will be performing seven concerts of “A Medieval Christmas” (Dec. 10-18) at St. Mark’s Church on Capitol Hill. A streaming version of the concert will also be available to view on-demand. folger.edu

At Lincoln Theatre, the Gay Men’s Chorus of Washington, D.C. presents “The Holiday Show” (Dec. 4, 11, and 12) replete with tap-dancing elves, a dancing Christmas tree, snow, and a lot more. The fun and festive program’s song list includes “Let It Snow! Let It Snow! Let It Snow!”, “The 12 Rockin’ Days of Christmas,” and “Boogie Woogie Frosty.” Featured performances range from the full Chorus, soloists, all GMCW ensembles, and the GenOUT Youth Chorus. gmcw.org

Arena Stage is marking the season with August Wilson’s “Seven Guitars” (through Dec. 26), a drama about a small group of friends who gather following the untimely death of their friend, a blues guitarist on the edge of stardom. Directed by Tazewell Thompson, the production features an exciting cast that includes local actors Dane Figueroa Edidi and Roz White. arenastage.org

Creative Cauldron is serving up some holiday magic with “The Christmas Angel” (Dec. 9-19). Based on a little-known 1910 novel by Abbey Farwell Brown, it’s the story of a lonely and bitter spinster who returns to happiness through a box of old toys. The commissioned new holiday musical is a collaboration of longtime musical collaborators and married couple Matt Conner and Stephen Gregory Smith (lyrics and book). creativecauldron.org

In keeping with the Yuletide spirit, the National Theatre presents two feel-good national tour musicals. First, it’s “How the Grinch Stole Christmas!” (through Dec. 5), a musical take on Dr. Seuss’ classic holiday tale featuring the hit songs “You’re A Mean One, Mr. Grinch” and “Welcome Christmas.”

Next up is “Tootsie” (Dec. 7-12), the hit musical based on the 1982 gender-bending film starring Dustin Hoffman as an out-of-work actor who disguises himself as a woman to land a role on a popular soap opera. The show boasts a Tony-winning book by Robert Horn and a score by Tony winner David Yazbek (The Band’s Visit). thenationaldc.com

Keegan Theatre presents its annual holiday offering, “An Irish Carol” (Dec. 10-31). Set in a modern Dublin pub, the funny yet poignant original work (a nod to Dickens) tracks the changes in the life of a rich but miserable publican over the course of one Christmas Eve. keegantheatre.org

At Theater J, it’s the Kinsey Sicks’ “Oy Vey in a Manger” (Dec. 17-25). Blending drag, four-part harmony, and political humor, the “dragapella beautyshop quartet” brings its own hilariously irreverent view on the holidays. theaterj.org

And through Jan. 2, Signature Theatre continues to brighten the season with its production of Jonathan Larson’s “Rent” directed by the company’s out artistic director Matthew Gardiner and featuring out actor David Merino as Angel, a preternaturally energetic drag queen and percussionist. sigtheare.org

The Music Center at Strathmore, also in Bethesda, is presenting a wide range of musical holiday offerings including “Manheim Steamroller Christmas” (Dec. 3 and 4), a multimedia holiday tradition; Sarah Brightman in “A Christmas Symphony” (Dec. 6 and 7); “A Celtic Christmas with Séan Heely Celtic Band” (Dec. 11); Washington Bach Consort’s “Bach’s Epic Christmas Oratorio” (Dec. 11); the beloved “The Washington Chorus: A Candlelight Christmas” (Dec. 16 and 17); and last but not least “The Hip Hop Nutcracker” (Dec. 20), Tchaikovsky’s classic reimagined with MC Kurtis Blow (“White Lines”). strathmore.org

And finally, something strictly for the kids: Imagination Stage presents “Corduroy” (Dec. 11-Jan. 24). Based on the beloved children’s books by Don Freeman, it’s the heartwarming story of a girl and her perfectly imperfect Teddy Bear. Best for ages 3-9. imaginationstage.org

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Theater

‘The Great Leap’ explores change in 1989 China

‘As an Asian American, you rarely play the lead in a play’

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Grant Chang (Photo courtesy of Round House Theatre)

‘The Great Leap’
Through Dec. 5
In-person with Streaming on demand beginning Nov. 26
Round House Theatre
4545 East-West Highway
Bethesda, Md., 20814
$34-$71
roundhousetheatre.org

Sometimes, working on a single play can change an actor’s feelings about his craft and career. For Grant Chang, it was Lauren Yee’s “The Great Leap,” an international sports story set in 1989 at the time of the Tiananmen Square uprising.

Chang, who is gay, garnered terrific reviews for playing Wen Chang, a reserved Beijing university basketball coach of the 1970s and ’80s, in the Los Angeles production of Yee’s comic drama, and is now reprising the role in an original production at Round House Theatre.

He says, “As an Asian American, you rarely play the lead in a play, so having that opportunity and to be in something good and meaningful is so rewarding. It makes you work harder to be the best you can be on stage.”

Like the actor’s parents, his character Wen Chang grew up in China and lived through the Cultural Revolution. “In order to survive, he has to essentially take orders from the government, no questions,” explains Chang. “That’s where we meet him when the play begins. In the second act, 18 years have passed and he has experienced a transformation. Without spoiling things, let’s just say as heartbreaking as the change is, it’s also inspiring.”

Chang’s casting story is cute. While playing Whiterose’s handsome assistant on television’s “Mr. Robot,” he became close friends with castmate B.D. Wong, who first shot to fame playing the title role in David Henry Hwang’s “M. Butterfly.” When Wong was tapped to direct the East West Players and Pasadena Playhouse co-production of Yee’s play in 2019, he asked Chang to audition for Wen Chang, a part Wong had previously played in New York.

“B.D. thought I’d be right for the role, but I wasn’t so sure. To step into his shoes was really a lot,” says Chang, 42. “They were looking for local L.A. hires, and I’m a New York- based actor. He asked if they couldn’t find someone would I send in a self-tape. I hesitantly agreed.”

“That same night B.D. texted me and said ‘put yourself on tape by tomorrow.’ I thought dammit, I have to do this, so I did,” he recalls.

After viewing Chang’s audition tape, the production team made a unanimous decision to cast him: “B.D. believed in me more than I believed in myself. It’s changed my way of acting, and I’m still very grateful for that.”

And that was the beginning of “a great and beautiful journey” that continued at Round House under the sensitive direction of Jennifer Chang who was open to letting the actors explore, he says.

Chang adds, “I’m Chinese American, my parents are from China, and I majored in East Asian Studies. There’s something instilled in me that I bring to this character. I humanize him in many ways that others might not and I think the audience picks up on that.”

Despite an abundance of basketball focused marketing, the play is less about the sport and more about the game of life, says Chang. Incidentally, as a kid in New York City, he struggled with learning to dribble and even longer with how to dribble and run. But he wasn’t unfamiliar with the rules and jargon. His dad and brothers watched a lot of basketball, and periodically he’d join them.

In addition to acting, Chang teaches dance and also directs. For his short film, “Finding You” (2015), he was awarded Best Actor and Best Director at the 38th Annual Asian American International Film Festival and the 11th Annual 72 Hour Shootout 2015, presented by the Asian American Film Lab.

He intends to do more directing when he can: “I have the patience to bring out things in other actors and inspire them to do really good work. Not everyone can do that.”

Following his stint at Round House, besides teaching dance, there’s nothing on the horizon, says Chang: “I’m constantly auditioning. Like everybody, we’re all trying to get back to some normalcy by working, but we’re also trying to live day to day, be happy, and accept what life brings us.”

(Photo by Kent Kondo; courtesy Round House Theatre)
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Theater

Exploring a complicated father-daughter relationship

Mosaic’s ‘Birds of North America’ unfolds over 10 years

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David Bryan Jackson and Regina Aquino in 'Birds of North America.’ (Photo by Chris Banks)

‘Birds of North America’
Through Nov. 21
Mosaic Theater Company
Atlas Performing Arts Center
$20-$68
Mosaictheater.org

In the leafy backyard of a suburban Maryland home, a father and daughter watch birds and talk about life. Sounds amiable, but in Anna Ouyang Moench’s “Birds of North America” it isn’t, well not entirely. 

The affective and humorous two-hander, now at Mosaic Theater Company, covers nearly 10 tense years of annual October visits home during which John and adult daughter Caitlyn, both avid birders, indulge in their gentle hobby when they’re not fighting. 

“A tufted titmouse,” says John (David Bryan Jackson) motioning toward a heard but unseen songbird. Caitlyn (Regina Aquino) who’s down from New York to see her parents, quickly picks up the binoculars and the feathery friend takes center stage. It’s the same when they spy a nuthatch, cardinal, or morning dove, but after the birds fly off with an audible swoosh, the conversation inevitably turns from the latest hawk or barn owl sighting back to Caitlyn’s lack of ambition or John’s intractability and seeming inability to empathize.

He hates her job choices (working at a conservative news website and later doing marketing for the oil industry), and wishes she’d complete her novel or help to save the planet. She mocks him for putting solar panels on a large house, much too big for two people. 

Time passes. Father and daughter continue to masterfully press each other’s buttons. Initially, he seems cringingly unaware of the impact of his wounding words, particularly when it comes to Caitlyn’s pain surrounding infertility issues. But sometimes he goes for the jugular. She fights back similarly. Despite the ongoing brutal contretemps, there’s still love, and some laughs, between them. 

Without a lot of reference to specific time and place, the playwright cleverly moves the years forward, revealing the details of new relationships, job changes, illness using sometimes quotidian dialogue that rings particularly true. Yet, the work is simultaneously lyrical. 

Mosaic’s out managing director and producer, Serge Seiden, smartly directs the piece with a light, elegant touch, resulting in a thought-provoking and pleasurable 90 minutes. He ably helms a topnotch design team: Alexa Ross creates a simple backyard (worn picket fence, picnic table, and unassuming lawn chairs) backed by a feathery wing of blazing autumnal colors. Brittany Shemuga bathes the intimate stage with the dappled sunlight of a fall day, and David Lamont Wilson’s appealing sound design includes coos, caws, chirps, and pecking sounds. In between scenes, an increasing number of crunchy leaves are scattered over the stage/yard. 

Aquino and Jackson share a combative chemistry, and throughout the years covered, both effectively age, mostly through voice and demeanor. Though stubborn until the end, John seems increasingly resigned and vulnerable; Caitlyn becomes less youthfully exuberant, and more practical and self-contained.  

While Caitlin’s eco-friendly father can be preachy, the play isn’t. The urgency of climate change is couched in unstilted conversations that all of us have overheard or been a part of more than once.  

And by spacing the piece over a decade, Moench demonstrates the vicissitudes of life and relationships, and what a warming climate entails (i.e., decreased bird migration, a longer tick season that results in more dreaded Lyme disease, etc.) Unfortunately, John continues to criticize Caitlyn’s professional choices. She fires back that unlike her father, she needs to earn a paycheck. It seems the mother, a practicing doctor and family bread winner, has long made it possible for John to pursue an unpaid career in vaccination research, an endeavor that he is certain, unfoundedly so, will one day result in a big money payoff. 

As the audience becomes invested in the actors’ finely assayed characters, there also comes a sense of frustration, regret about what might have been. And some hope.  

“Birds of North America” marks Mosaic’s first in-person production after 18-months of closure. COVID-19 infection prevention measures include proof of vaccination, masks, and socially distanced seating. A streaming version will also be available.

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