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‘Mommie Dearest’ actress shares diary
Carol Ann on Joan, Faye, Hollywood and the shoot from hell

Faye Dunaway, left, as Joan Crawford, and Rutanya Alda as Carol Ann on the set of ‘Mommie Dearest.’ (Photo courtesy Alda)
Editor’s note: This is part one of a two-part interview. Part two is here.
Actress Rutanya Alda was having a difficult time in early 1981. She was in the throes of the recurring drug habit her husband, Richard Bright, was battling and in Los Angeles spending many long hours filming “Mommie Dearest,” the Joan Crawford biopic that’s perhaps the biggest gay cult film of all time (one might make a credible case for “Valley of the Dolls” but that’s another discussion).
Though she’d made many films by that point (most notably 1978’s “The Deer Hunter” in which she played Angela), she says “Mommie” was an especially arduous shoot. To maintain her sanity, she kept a diary which she self-published this fall as “The Mommie Dearest Diary: Carol Ann Tells All.”
An hour-long phone interview from Alda’s New York City home was so far-ranging and candid, we’re publishing this in two parts. Look in next week’s edition for the conclusion. Her comments have been slightly edited for length. The book is available on Amazon.

Rutanya Alda, left, with Faye Dunaway, Mara Hobel and Jeremy Scott Reinholt in ‘Mommie Dearest.’ (Photo courtesy Alda)
WASHINGTON BLADE: You don’t mention any premiere for “Mommie Dearest” in the book. Was there one? When did you first see it?
RUTANYA ALDA: You’re right, there was no premiere which is really weird when I think back on it. It just opened in theaters in New York and I went and paid to see it just like everybody else.
BLADE: And what was your initial reaction?
ALDA: When the audience laughed, I was like, “Oh my gosh,” I was kind of taken aback because I knew (producer) Frank Yablans and (director) Frank Perry’s intention was to make this really serious drama and of course it turned into this kind of camp happening right from the get go. Even Paramount was caught off guard and they didn’t know how to promote it because it became such an audience experience right away. … I was actually quite pleased because the audience really got into it. It was just amazing to me.
BLADE: Had you always kept a diary?
ALDA: No, I’d never kept a diary before or since. This is my one and only diary.
BLADE: Why did you happen to keep one then?
ALDA: My personal life was in chaos because of Richard’s addiction problem and the set life was in chaos too because Faye Dunaway was causing a lot of stress, so between those two worlds, I just sort of had to survive it and my way of doing that was to journal it. That sort of gave me some balance. It made me feel better.
BLADE: You write that you were surprised at the camp angle when it came out but didn’t it seem like Faye Dunaway (Joan Crawford) was chewing the scenery during shooting? Or did it feel like she was just giving a really intense, bold performance?
ALDA: That’s a good question and I don’t know how to answer it. I know that Frank Perry lost control of the movie within the first week because as I also write in my book, when I did my first scene with little Christina and say that we should be more understanding that her mother has to do a screen test and this is very disgraceful for a star, when I finished that scene, Frank Perry had tears in his eyes. I was perplexed. He said, “No, this is the first honest piece of film we’ve had all week.” That sort of stunned me and I didn’t know what to say. They’d been shooting Faye for a week so that kind of gave me an inkling that he wasn’t getting what he wanted but there was nothing he could do about it. He was just overwhelmed and I think he was afraid of getting fired too. The stress level for him was very high as well as other people. You were dealing with a very unpredictable person and at the time, I think Faye was a huge star. … Frank Yablans had invested so much money on pre-production, the beautiful, just luscious sets and the great costumes by Irene Sharif that were custom made for Faye, they were just sumptuous and wonderful and I think they felt like they couldn’t replace Faye and it proved to be true. Early on, as I write, she held up production for a few days because she wanted Terry O’Neill, her boyfriend at the time, to get producer credit and I know (Yablans) was very upset about that. He was being squeezed. Frank Yablans was the former president of Paramount and not a small-time guy. I’m sure he wasn’t used to feeling sabotaged and he was upset about it. …. Faye’s performance was Faye’s performance. I know she’s going to probably say in her book that it’s going to be everybody’s else’s fault and we’re all the bad ones but I journaled it as it happened and she’s trying to remember it. Back in February, March, she asked me to come help her writer her book which was kind of a jaw-dropping moment for me because I hadn’t heard from this woman in 30 years and here she’s asking me to come help her write with her ghost writer because she can’t remember. And honestly, if I hadn’t journaled it, I wouldn’t have remembered the little details either. I would have kind of generally remembered it, but you know, I think it’s a fair book. It just sort of tells it as it happened observing the interactions with people on the set, their comments, what they said, working with these great people like the hairdresser, who had worked with Joan on many movies, and Charlie Schram, the makeup person who went back to Judy Garland and “The Wizard of Oz.” These people were all big people in their league in the industry so their reaction I thought was very interesting too.

Rutanya Alda today. (Photo courtesy Alda)
BLADE: As you write, several of them came out of retirement to do “Mommie Dearest.” If they admired Joan, as you say they had, why would they have come back for this character assassination?
ALDA: Yes, they all loved working with Joan so when somebody said, “Oh, Faye really channeled Joan,” I said, “No, no — if she had channeled Joan, she would have been polite to the crew.” Joan knew all their names, greeted them every morning, she was really gracious and kind, remembered their birthdays, gave thank-you notes, sent presents. This was her ball field so to speak. Often people who are that way at work, the tension and pressure sort of build up and they take it out on their wives, their kids, you know, the loved ones around them, because they have to relieve the pressure somewhere and I think in my mind, I suspect that’s what happened to Joan. She was under a lot of pressure, she was a huge star, she was losing her contract at MGM and I think she was under a lot of pressure and I think a lot of it is perspective. I read several books about her before we started the movie and you know, she grew up extremely poor, no clothes and the really pretty girls at her school made fun of her. I really identified with that because when I came to America wearing my one dress and having their girls dish me because I was always wearing the same dress … kids can be very hurtful at that age. … I’m sure in Joan’s eyes, she grew up with that poverty and struggle and she sees these kids in their Beverly Hills home and beautiful clothes being taken care of and, you know, she’s a disciplinarian. She was going to give them a good life, but they weren’t going to become spoiled brats. But it’s all relative. I’m sure from the kids’ point of view, maybe she was too strict and too punishing. … I look at my mother and I remember all the beatings, the belts, and I think, “Gosh, I would have loved to have lived in a beautiful house with beautiful clothes and just had a strict mother, that would have been great,” but again, it’s all relative and it’s such a personal experience growing up. No parents are perfect.
a&e features
Summer in D.C. brings sports, Restaurant Week, festivals, and more
Summer in D.C. just hits different. Congress is out, school is out, the sun is out, thighs are out. With the skies clearing from Canadian smoke, here are a few ways to stay entertained.
Dining
Summer restaurant week: The Restaurant Association of Metropolitan Washington (RAMW) is once again hosting Summer Restaurant Week, Aug. 18-24. This weeklong dining experience showcases the dynamic dining scene of the DMV, including 2026 RAMMY Award-winning favorites (the annual D.C. food awards show that took place June 29). Participating restaurants will offer three-course brunch and lunch selections for $25 or $35 per person, and three-course dinners for $40, $55 and $65 per person.
New Restaurants: A handful of new spots have opened, so the summer is a great time to check them out:
- Oribu: A new Mediterranean-Japanese restaurant in the Grand Hyatt hotel, which just underwent a remodeling effort. The sleek restaurant brings upscale charm, with dishes like Wagyu beef tartare with potato pavé and caviar.
- The Oak Room: A snazzy old-school American grill has just opened in Georgetown, alongside its sister upstairs supper club (Bernadette’s) restaurant, in the old El Centro space.
- Uchi: This showy Japanese sushi-forward chain has landed in Dupont with a chef’s tasting menu of favorites like fatty tuna.
- Kathmandu: Recalling the capital of Nepal, this warm, buzzy subterranean restaurant right in the heart of U Street brings spice, flair, and rare ingredients to its dishes (see: buffalo burgers) and drinks.
Sports
- Washington Spirit Pride Night OUT: On Sunday, Aug. 23, head to Audi Field for a massive, high-energy game following the exciting month of World Cup. The designated Pride Night OUT game promises boisterous crowds plus pre- and post-game community engagements.
- Washington Tennis Open – Now called the Mubadala DC Open, this annual tournament is only combined mens’ and womens’ 500-level tennis tournament in the world. The open is one of D.C.’s longest-standing sports traditions, and will take place at the Rock Creek Park Tennis Center July 25-Aug. 2. Naomi Osaka, Venus Williams, Ben Shelton, Frances Tiafoe, and others are expected to play.
Festivals
- Afro Plus Fest: This huge, three-day Afro-Caribbean Hip-Hop Festival brings together headliners Davido, Alkaline, and Wizkid, plus Tems and Ayra Starr. The event moves from RFK to the Northwest Stadium Complex for three days, Sept. 4-6.
- Capital Fringe Festival: Running from July 11-21, this massive celebration features dozens of live theater, comedy, dance, and boundary-pushing nighttime performances across multiple DC neighborhoods.
- The National Book Festival returns, with headliners like Cynthia Erivo, and Martin Scorsese. The one-day festival, Saturday, Aug. 22, brings together bookworms and word nerds under the theme “America 250: It’s Your Story.” There are talks, workshops, musical sessions and more.
- All Things Go: A three-day festival Sept. 25-27 at Merriweather Post Pavilion featuring Mitski, Hayley Williams, Brandi Carlile, MUNA, Zara Larsson, Ethel Cain, and many, many more artists. There are single-day and three-day tickets. Featuring and highlighting female artists, the festival has turned into a must-see for many LGBTQ audience members.
- Fuchsia Fest: The inaugural Fuchsia Fest is a new multi-day celebration created to celebrate LGBTQ community and expression, bringing together a mix of community gatherings, entertainment, and nightlife. The event takes place Sept. 18-20 and is hosted by Capital Pride.
Art and Music
- United We Dance: A high-energy rave with house, techno, bass, and festival music, on Aug. 1 at the 9:30 Club.
- The Fray. On Aug. 14, this American rock band famous for How To Save A Life is at Merriweather Post Pavilion.
- Kesha: Kesha’s high-energy The Freedom Tour comes to the D.C. area on Aug. 14 at Jiffy Lube Live.
- ALOK: On Sept. 3 at Lincoln Theater, ALOK (they/them) performs. The poet, comedian, and actor is putting on a new comedy show.
- 2charm, the emerging Australian electronic club-pop duo popular with the queer community, which blends hyperpop and dance music, comes to the Atlantis.
- Sapphic Dance Party: a vibrant, inclusive nightlife and social event designed specifically for queer women, lesbians, bisexuals, trans individuals, and nonbinary folks, at Atlantis on Aug. 21.
- Jazz in the Garden: The most quintessential of D.C. activities returns Friday evenings through Aug. 14. This season’s theme, “American Sounds,” is a nod to the nation’s 250th anniversary. Tunes themes range from Appalachian and Americana to Creole jazz, Hill Country blues, contemporary jazz, and more. Tickets are available through a lottery system a week before each event.
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Tickets on sale for chef Patrick O’Connell’s book launch event
Sept. 18 kickoff to feature José Andrés, Tom Sietsema
Acclaimed chef Patrick O’Connell is preparing to publish his new memoir, “Main, Middle & Gay” in September and he’s launching the book with an event on Sept. 18 at 6 p.m. at Lisner Auditorium featuring Chef José Andrés and former Washington Post food critic Tom Sietsema.
Tickets for the event go on sale Tuesday, July 21 at Ticketmaster; prices start at $55.
O’Connell, who’s gay, is the pioneering Michelin-starred chef and longtime proprietor of the Inn at Little Washington. He spoke with the Blade about the September event and the launch of his first memoir.
“I’ve known [Andrés and Sietsema] for more than 25 years and I have great respect for them,” O’Connell said. “I felt that it would allow us to add a different dimension rather than just have an interviewer. The chemistry will be fun and lively and unpredictable and exciting. I think we’re all different personalities and we’ll compliment each other.”
O’Connell has published cookbooks but this is his first memoir. The event will feature a short film that will highlight his work and the Inn.
“What I hope to do with the event is bring the book to life visually,” he said. “So we’re producing a short film that will be part of it. Most of the audience will not have read the book so it’ll give them a visual flavor of the book. It parallels the evolution of American cuisine over 50 years. It’s a rare perspective to be in the trenches for that long.”
The book’s title refers to the location of the garage on the corner of Main, Middle, and Gay streets in Washington, Va., where he launched his restaurant that became an international culinary destination.
The Blade will publish the rest of its wide-ranging interview with O’Connell in September in conjunction with the book’s release.
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The queer Asian comics building collective joy in D.C.
Spotlighting chaotic ways family, romance, identity take shape in their lives
Kevin Chen’s family tombstone has room for four: him, his parents and his boyfriend. The arrangement might prove to be a little awkward.
“My boyfriend is 100% white, and my parents are 100% disappointed,” Chen confessed.
Jokes about family traditions and the untraditional ways they’re practiced earned a burst of laughs at the bar where Chen was opening for the Pride Comedy Special. The D.C. stand-up event, produced by Comedy Bonfyre last month, spotlighted queer Asian comics who shared the chaotic ways family, romance and identity take shape in their lives.
From candid oral sex takes to top surgery hypotheticals like “Where do the boobs go?”, the night highlighted the loud camaraderie of the queer Asian experience — one that sounds like a cacophony of snorts, cackles and belly laughs. While the comics say they are not quite a community, there’s more than enough shared material to bring them together.
“It was such a magical experience. I loved performing in a queer API lineup. It feels so validating,” Chen said after the show. “I’m wondering, ‘Is this how white men feel all the time?’”
Each performance evoked queer Asian joy through a medium that could use more of its presence.
According to Chen, who is based in D.C., it’s hard to say whether there is a true queer Asian comedy presence in his city. There are only a scattered “handful” of Asian comics, and people of color are underrepresented in queer comic circles, he said.
When Tarunika Anand, a nonbinary lesbian comic, first entered the mainstream D.C. comedy scene, they mostly encountered straight white men, describing the experience as “a culture shock.”
“I feel like sometimes a lot of queer spaces are really white, and then a lot of Asian spaces are really straight,” Anand said. “I don’t feel like I fit into either.”
But feeling marginalized didn’t stop these comics from honing their craft and creating spaces for others like them. Alex Kim, who headlined the special and is based in Brooklyn, runs the queer Asian comedy group Boba Gays, which began on WhatsApp and has since made its way to Lincoln Center.
Every Wednesday, Anand co-produces a free comedy show called Funny Side Up. The queer-led group focuses on inclusivity and showcasing new talent.
“It’s really beautiful to speak about your experience and your existence in a way that’s uplifting,” Anand said.
Family is a major throughline of their comedic repertoires.
Chen, for instance, shared that he identifies with jokes about having Asian immigrant parents and the expectations they pass down.
“You see me, you know this part about me, you know this experience intimately, and I can see the truth that you’re trying to wrap a joke around,” he said. “That hits even harder because that’s my truth too. I think that’s what makes good comedy.”
Anand had the audience at the special howling when they explained that their parents’ be-more-like-them comparisons didn’t end when they came out. Instead, the expectations took on a new form.
“Now, my parents want me to be the best gay,” Anand said. “They’re like, ‘Do you know Ellen DeGeneres?’”
Kim said he’s been trying to unlearn things from his Christian Korean mom. Yet he described a moment when he was getting ready for the club and realized he looked just like his mother getting ready for church.
“I’ve been finding it hard to escape her,” Kim said.
Mutual recognition also radiates through the different ways queer love can take shape. From singlehood to death-do-us-part commitments, the comics cover just about every corner.
Anand is holding out hope for settling down with “a nice, pretty, Indian girl.” They recently went through a breakup and said they felt they dodged a bullet.
“As a person of color, I just don’t think I should be with a Swiftie,” they said.
Chen, touching on what it’s like to be in a queer interracial relationship, said that meeting his white boyfriend’s baby nephew for the first time felt like he was forced to participate in a diversity, equity and inclusion training.
“The dad was like, ‘Please welcome Kevin. Be curious about his culture, his history, his foods,’” Chen joked.
Laughter is not the only reward for the comics.
To Anand, comedy is a space where they can say whatever they want. “It gives me a voice,” they said.
Nik Narain, a North Carolina-based trans and nonbinary South Asian comic who performed at the special, said meeting older trans comedians and taking the stage helped him feel reassured in his identity during his transition.
“Stand-up was a really cool way to process that onstage,” he said. “[It] became a way for me to repackage my thoughts.”
Queer Asians are still figuring out their place in the greater D.C. comedy scene. The group is small in numbers and many are still working toward a full-time comedy career. But Narain feels he’s already made it.
Narain is reluctant to pin it all on one moment. He feels that success is already peeking through in milestones — opening for celebrities, traveling to performances and self-producing shows.
“As long as I can keep doing this, I’m super happy,” he said.
This story was produced as part of the AAJA VOICES fellowship program, a student journalism project of the Asian American Journalists Association (AAJA).
