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Tom on Tom

Connections extend beyond name for ‘Menagerie’ actor

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Tom Story, gay news, Washington Blade
Tom Story, gay news, Washington Blade

From left are Tom Story as Tom, Madeleine Potter as Amanda and Jenna Sokolowski as Laura in ‘The Glass Menagerie.’ (Photo by Scott Suchman, courtesy Ford’s Theatre)

‘The Glass Menagerie’

 

Through Feb. 21

 

Ford’s Theatre

 

511 10th St., N.W.

 

$17-64

 

800-982-2787

 

Legendary gay playwright Tennessee Williams was 33 when he burst on the national scene with “The Glass Menagerie,” his lyrical memory play set in Depression era St. Louis.

It’s the coming-of-age story of Tom Wingfield, a budding young writer who longs for adventure but instead punches a timeclock at a shoe warehouse to pay the rent on the cramped apartment he shares with his domineering mother Amanda, a faded southern belle who wants the best for her children, and his painfully shy sister, Laura. When it becomes clear that Laura is incapable of making a living, Amanda sets her sights on finding a gentleman caller, pulling a reluctant Tom into her schemes.

For local actor Tom Story, who’s gay is playing Tom in “The Glass Menagerie” at Ford’s Theatre, aspects of Williams’ semi-autobiographical play resonate, particularly the pull of family.

“My mom is not Amanda, but she is from the South and was always very involved in our lives,” he says. “There’s a point where you have to break away. I understand the frustration of trying to be something for other people that you cannot be, and not always family, necessarily.

Story grew up in Woodbridge, Va.

“I’ve loved the play since high school,” he says. “From the start, I related to the way Tom thinks. His wit and irony drew me in.”

As an undergrad at Duke University, Story’s love for Williams grew. Later at Juilliard School in New York, Michael Kahn (Shakespeare Theatre Company artistic director and then-Juilliard instructor) assigned Story a Williams one act titled “I Can’t Imagine Tomorrow,” about human dependence, fear and loss.

“It was the first time onstage that I felt like I revealed something true,” Story says. “It was a big turning point for me in terms of my acting and further connected me with Williams’ writing.”

And almost 10 years ago, Story played Tom in a production at the esteemed Berkshire Theatre Festival in Stockbridge, Mass. When he heard Ford’s was mounting a production, Story was eager to reprise the role.

“I thought it would be interesting to approach the part from a different time in my life. Luckily they let me do it. It’s a memory play told from Tom’s point of view some years after he’s left his mother and sister. I wanted to make it clear that I wasn’t trying to pretend I’m 21. This is a man who is 40-ish going back into his past.”

Like much of Williams’ work, “The Glass Menagerie” is infused with humor. Both Tom and Amanda (here played by British actor Madeleine Potter) are wonderfully witty. From the start of  rehearsals, Story says Potter was vocal about how similar the mother and son are. They both have big dreams and ideas and they’re going in different directions. They share a rye southern humor, something Story recognizes from his own family.

Included in the cast are Jenna Sokolowski as Laura and Thomas Keegan as the Gentleman Caller.

There are different ways to successfully play Tom, Story says.

“But I believe Williams wrote a clear character. Tom is gay. And whether Tom can express that using language available in the ‘30s, I’m not sure. But he definitely knows that he’s different and I think he’s on to the fact that he’s a gay man. There are clues in the script. Yes, he does go to the movies all the time, but there are a lot of things that happen at the movies.”

The production’s assistant director, out actor/director Rick Hammerly, describes Story as a “learned and instinctual” actor.

“I love this play with its flawed characters,” Hammerly says. “All are looking for something just out of reach, something they can’t quite get their hands on. It’s delicate and fragile yet strong and forceful. Story captures this duality. His character is supporting his family and dealing with sexuality. He has to leave them to survive.”

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Theater

In ‘Trans Am,’ a trans person telling a trans story

Lisa Stephen Friday shines in Keegan one-woman show

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Lisa Stephen Friday (Photo by Mike Kozemchak)

TRANS AM
Jan. 29-Feb. 26
Keegan Theatre
1742 Church St. N.W.
$55-$65
Keegantheatre.com

In the fall of 2020, Lisa Stephen Friday’s one-woman show “Trans Am” premiered virtually at Keegan Theatre. “Honestly, streaming a dozen shows isn’t something I want to do again. I was thrilled to do it but performing a live musical with no audience was daunting. Like performing to a black hole. Exhausting.”

But now the trans woman performer is back at Keegan with a live world premiere of the same piece. “Trans Am” is 90 minutes of uninterrupted autobiographical stories and the music of Friday’s cult-favorite NYC glam rock band Lisa Jackson & Girl Friday. 

Her transition hasn’t been easy and that’s reflected in the work, but so is a happy default setting – Friday likes to laugh and make people laugh. The meat of the story is the intensity of time spent in the band, but also her youth in Georgia, other aspects of New York, and her move to D.C. “For me as a trans woman that story involves a very laborious journey to self-actualization. We live in a world that doesn’t allow space for trans people. So, it’s a lot,” she says.

Work as a project manager for Barbizon, a leading provider of entertainment lighting systems, brought Friday to the DMV, specifically Dupont (Trump’s election prompted a move from Alexandria to the gayborhood). She’s currently dating a chef: “He’s great at what he does and he’s thrilled to see the show,” she says. 

BLADE: Was it tough writing a deeply personal show like Trans Am? 

LISA STEPHEN FRIDAY: I wrote my story over five weekends. It was incredibly cathartic. There are fun memories with downtown queens, but also the time I went to the pharmacy and the pharmacist totally read me about getting hormones. That was jarring. It was definitely time for me to acknowledge the enormity of what it means to be trans in this country.

BLADE: Would you describe your professional experience as unique? 

FRIDAY: Before transitioning, I went through the world as your typical 25-year-old cishetero male. Oblivious. I was a theater actor in New York, chasing roles like Chris in “Miss Saigon” or Marius in “Les Miz.” These were my life goals. I look back and think how trite.

Coming out and transitioning meant I was no longer cast. The last time I went on an audition for musical theater was in 2003 for “Taboo” to play Boy George’s friend Marilyn. The part went to a soap star. Instead, I found the downtown queer rock and roll scene. That’s where I needed to be. 

It took me a while to find clarity about who I was. A lot of what I talk about in the show is about finding that East Village crowd who said “honey, you’re a woman.” Surrounding yourself with community is the way to reach that. 

BLADE: What’s your history with “Hedwig and the Angry Inch.” 

FRIDAY: In the late ‘90s I asked to audition to replace Hedwig. In New York, they knew me as Steve Friday, a good rock and roll singer. I remember thinking I can’t do this shit. No one knows that I sit around my house wearing women’s clothes. 

I cancelled those auditions because I was living in fear. For a while, I really regretted that. Then 20 some years later, I had an opportunity to do it at Keegan. But the pandemic stopped that. 

The truth is I no longer feel that I need or want to play Hedwig. There is trauma in that story attached to medical transition. I’m a trans woman who has gone through all confirmation surgeries. I feel really uncomfortable standing on stage singing about an angry inch. 

I know Hedwig’s creators wrote that show from a loving place but it was written in 1998 and it’s very dated. That said, it opened the door to a queer space in theater that didn’t exist before. 

Now with “Trans Am,” Keegan can do something different. A trans person telling a trans story, which is a step forward from “Hedwig.”

BLADE: With productions shutting down due to the Omicron surge, do you feel any trepidation about getting through the run?  

FRIDAY: That fear is always there. For me it would be really disappointing. My life has been in the theater – performing or production. I’m hyper aware of everything the Keegan and all theaters are risking financially. So, I’m excited and grateful, but kind of walking on eggshells.

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Theater

‘Flight,’ an astonishing tale told using diorama and figures

Afghan brothers embark on arduous journey to U.K.

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‘Flight’ at Studio Theatre. (Photo by Mihaila Bodlovic)

‘Flight’
Through March 6
Studio Theatre’s Stage 4
1501 14th St., N.W.
$42-$52
studiotheatre.org

I wish I could fly. It’s a little boy’s dream, and certainly one that would be helpful to young Kabir who along with his older brother Aryan is traversing thousands of miles escaping their battered homeland Afghanistan in search of a future in the U.K.

Their arduous journey is titled “Flight,” an astonishingly moving tale told using diorama, tiny modeled figures, and voiceover. With neither live actors nor a traditional set, the Vox Matus (an innovative Glasgow-based theater company) production isn’t Studio Theatre’s typical offering, yet it serves as a compelling reopening lure after a long closure.

Despite seeming an ideal fit for the times, “Flight” wasn’t crafted with pandemic in mind (it premiered at the Edinburgh International Festival in 2017). The hybrid theater/installation is a reassuringly distanced theater experience.

After ascending to Studio’s third floor atrium, you’re handed a boarding pass and in small groups beckoned up to Stage 4 where you’re led to individual viewing booths. Then, seated comfortably and wearing head phones, you focus on over 200 small, brilliantly made dioramas, successively lit as they slowly pass by on a revolving carousel.

“Kabul, Tehran, Istanbul, Rome, Paris, London.” The green-eyed orphaned brothers repeat their direct route to a better life with unyielding determination. And the more it’s said, the more possible it seems. But minors traveling alone without passports is a perilous journey fraught with risk and miseries.

We meet Aryan and Kabir (voiced by Farshid Rokey and Nalini Chetty, receptively) just as they reach the Turkish coast and set sail to the E.U. in a rubber raft. Here, we’re also introduced to the first of many faceless profiteers – ruthless but necessary to the journey – who gain from human desperation.

Soon the boys land in Greece and are forced into farm labor at meager wages. When the harvest ends, the brothers hop a truck to Athens. As they move onward, their longing to attend school in the West, London to be specific, grows more intense.

Throughout what becomes a two-year odyssey, they wear out multiple pairs of trainers, encounter harsh weather, exploitation, sexual violence, hunger, and the occasional random act of kindness. As kids, they take time for a game of soccer and a plunge in the sea at Nice. But inevitably, such moments are cut short by officials depicted as menacing, uniformed seagulls.

“Flight’s” heavy themes and remarkable images blend well. The tiny tableaus chronicling the boys’ flight fittingly range from extraordinarily realistic to fantastical, alternately portraying the vastness and claustrophobic aspects of their ordeal. The intricately made models’ expressive faces, sometimes tear-streaked or bordering on joy, draw us to the likeable, intelligent brothers.

While Vox Motus’ co-artistic directors Jamie Harrison and Candice Edmunds conceive, direct and design the company’s innovative productions, collaboration with other artists is key to their success.

“Flight” is ably adapted by Oliver Emanuel from Caroline Brothers’ 2012 novel “Hinterland.” Enhancing the work’s intimate storytelling are Simon Wilkinson’s lighting design and composer and sound design by Mark Melville.

Each year more than 300,000 displaced children journey on their own. Behind that hideous number are individual stories; “Flight” effectively relays the personal story of two young Afghans, making them something other than a statistic.

After 45 minutes, the story ends. Slowly, you recede from the brothers’ reality in which you’ve been deeply immersed. A silent, black clad usher gently taps you on the shoulder and leads you out of Stage 4. For past productions, the vast versatile space has credibly passed as a nightclub and a church basement, among other things. This time it’s a window into an alternate world where a duly stamped official document means everything, sometimes including the difference between life and death.

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Theater

‘Nine Night’ explores Jamaican custom of mourning

‘Equally moving and hilarious in many parts’

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Timothy Douglas (Photo courtesy of Round House Theatre)

‘Nine Night’
Through Jan. 30
(Begins streaming on demand Jan. 20)
Round House Theatre
4545 East-West Highway, Bethesda, Md.
$41-$56, and $32.50 (virtual)
roundhousetheatre.org

When Round House Theatre began making plans for the U.S. premiere of Natasha Gordon’s “Nine Night,” they asked out director Timothy Douglas to interview with the playwright about helming the production. “It’s like we were separated at birth,” says Douglas. “It felt right from the first moment we met on Zoom, and I when I learned Natasha wanted to work with me, I made it work.”

A big success in London, “Nine Night” is a dramedy centered on the death of a family matriarch followed by the prescribed Jamaican tradition of exuberant mourning. 

The end-of-life custom entails nine consecutive nights of serious partying to celebrate the life of the departed, but there’s also a spiritual component. On the ninth night, it’s believed that the spirit returns to its earthly dwelling. By celebrating and rearranging furniture, the revelers discombobulate the deceased so they don’t want to stay, ensuring the spirit crosses over.

“In traditional Jamaican culture, nine night is a serious thing,” explains Douglas. “And while I didn’t set out to direct a dramedy. I found it equally moving and hilarious in many parts.”

Gordon, the London-born playwright of Jamaican descent, possessed only a casual knowledge of nine night growing up. But when her grandmother died, her mother became overwhelmed with a devotion to cultural specificity, and the ritual was thrust on the family. 

“From the playwright’s perspective what happened was chaos,” adds Douglas. “And going through that inspired her to write the play.”  

The work’s central character draws from the Gordons’ life experience straddling two different cultures. And while it was the play itself that really grabbed Douglas, he relates to that aspect too. 

“It connected a lot of dots for me,” says Douglas, 60. “Elders in my family are from the Caribbean and share similar ways of celebrating life and in particular the deceased. There was an immediate familiarity on a feeling level for me. And with every bit of specific research, it’s unlocked things within in me rather than being introduced to me cold.”

Douglas caught the theater bug in grade school, and it grew from there. When he attended Marymount Manhattan College it was transitioning from all women to coeducational, and though he was studying technical theater and not acting, he landed all the male leads in the college’s plays. 

It was a part during his last year at Marymount (“Beckett’s ‘Endgame’ of all things,” adds Douglas with a chuckle) that seemingly solidified his desire to be an actor. He went on to train at Yale followed by five or six years of acting professionally. 

But then something changed. The director ardently explains, “I’m grateful to acting. It gave me focus, a way to communicate and navigate complicated life experiences. It saved my life.” But after therapy and spiritual growth coupled with an epiphany experienced while acting in a play in West Hollywood, he knew it wasn’t for him. He needed to direct. 

While “Nine Night” has no LGBTQ characters as identified in the play, Douglas’ upcoming project is a different story. 

In spring, Douglas makes his first foray into staging opera with Terrance Blanchard’s “Champion” at Boston Lyric Opera. It’s based on the life of queer boxer Emile Griffith, the talented welterweight who regained the world championship in 1962 when gay sex was still classified as a crime in developed countries. 

And to Douglas’ astonishment, internationally famous mezzo soprano Stephanie Blythe is cast to play a supporting role in “Champion.” He’s both excited and terrified: “I’m incredibly lucky that she’s a part of the production. But any hope of flying under the radar with my first opera is over.” 

At 18, Douglas made a beeline from Long Island to Manhattan. For many years he called New York home. Now he’s in Boston where he is the distinguished artist in residence at Emerson College. But over the years, he’s maintained a special relationship with the DMV. In addition to being sort of a staple at Round House, he’s directed to much acclaim at Arena Stage, Studio Theatre, and Theater Alliance to name a few. 

In fact, his professional directorial career kickstarted at D.C.’s Folger with “Richard III” in 1995. 

“I was a complete unknown to them. I had no track record yet. But the Folger was at a point where they could take risks. They needed to replace a director, and on the recommendation of a costume designer who’d heard of me, Michael Tolaydo who played the production’s titular role, agreed to take me on. That really changed things for me.”

“Being pretty much a gun for hire, every time D.C. asks me back, I always say yes.”

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